Portfolio 08 3

design & marketing

Jesse Caverly designer

Jesse Caverly2006-2008 designer

Focus Magazine, layout & design, 2008

22 FOCUS SANTA FE August /September 2008 FOCUS SANTA FE August /September 2008 23

adjustment, when he discovered that he wasn’t going to be the per-

former he’d envisioned. A pianist until age 18, he hit a wall and his

musical aspirations were over; his way of breaking through that wall

was to take on multiple majors at McGill University and then con-

tinue on to getting a degree in law in California.

Three years into being a lawyer, Burega was miserable. So he

transitioned. After a hiatus on the Big Island of Hawaii, he came

back to California and shifted himself and his career into the film

industry. Working on commercials, first in production and then

directing, Burega recalls that “I thought I’d find my creative voice in

entertainment. But instead I was frustrated with all of the layers of

creative management and none of the freedom I’d hoped.”

However, throughout his entire life Burega had always

been painting. In 1998 a Los Angeles designer friend admired his

work and asked him for paintings to install in his showroom,

Burega happily obliged. That was destiny and the beginning of

finding his creative voice for life. From the exposure he gained in

his friend’s atelier, he was approached by a small gallery and of-

fered a one-person show. He immediately quit his career in TV

and started painting full-time. Says Burega, “I was petrified, but I

never looked back.” After 8 years in Los Angeles trying to figure

what to do with his life, he felt that he had now found his calling.

“I’ve never had any fear of changing careers.” Part of that fearless-

ness stems from the death of Burega’s dad, a former economist and

entrepreneur, who died 20 years ago in his 50s. Since that suddenly

unexpected passing of his father, Burega, the oldest of three boys,

developed a live-life-to-the-fullest point of view.

Having been a full-time painter now for over 10 years, Burega be-

gan to create work on masonite panels, then canvas and paper. After

a few years, he progressed to birch board. He mixed in wax with his

oils and applied it all to his surfaces largely with brushes and knives.

“I used to have the notion that I had to be a ‘painterly’ painter—my

work used to be open and ethereal, lots of brush strokes and I was

painting very abstract landscapes,” says Burega. “Now my work’s gone

through a progression in the past few years. I’ve started investigating

the forms of geometry. There are still elements of the landscapes but

there’s a definite exploration of the grid and of color fields.” He now

paints only with trowels and knives, almost burnishing and polish-

ing his surfaces.

Opposite page: Virgin Gorda # , oil on panel, "× ";; This page,

above: Virgin Gorda # , oil on panel, "× "; Below: Virgin

Gorda # , oil on panel, "× "

Peter Burega’s powerful paintings are deep studies in color and geometry. They are beauti-

ful, but a beauty with a bruise here, a scratch there, a scrape, a cut, a depth, a luminosity, an

intensity, a look not only into the way Burega’s brain views the world but at how he processes

light, color, space, line, lines, the very big, the very small, and how all that and more relates—

or doesn’t relate—to each other and everything else. “I get off on the idea of putting across

two totally different ways of thinking, painting big and small at the same time,” says Burega.

“I’m breaking down elements but bringing them back together in a cohesive way. That’s the

way my brain processes it,” explains the artist

Possessed of an admittedly “percussive” brain, Burega also admits to having had a rather

“weird learning curve” as an artist. Born in Montreal, Canada in 1965, Burega, from the age

of five, seemed destined to become a pianist. He never really acknowledged any other gifts

aside from those he expressed musically, so it was something of a shock, if not at the least an

Peter Burega: Pictures of His Floating World

BY DEVON JACKSON




and simply started doing what feels right for a particular piece. I can obsess on a three inch passage

of a six-foot board or tackle a painting as a whole and approach it within a “macro” perspective.

It’s because I let it all hang out that my work and process have this freedom of thought.”

Approaching each painting as a kind of geometrical equation to be solved or played with,

Burega now constructs an asymmetrical grid on which to begin painting. This grid, which he

embraced at around the same time he gave up wax, is as important to him now as his subject

matter. Whatever landscape still remains often serves simply as a departure point. “I’m certainly

still affected by geography and places. I’m still painting what I see out there, like the way the light

plays off a leaf, but it’s not just an image I’m after anymore but my thought process in access-

ing that information,” he says. “I often don’t see the big picture of what I’m looking at. I’ll look

at specific details.

“The grid is really important because it allows me to do that—to do this micro-macro thing,

to change my point of perspective, to shift back and forth between the two,” he continues. “Some-

times I’m shifting perspective on a giant scale and sometimes it is more subtle.”

Last summer, while spending time in the dense, wet climes of the British Virgin Islands,

Burega’s work underwent a dramatic change in palette and light, which also affected the

rest of his painting. “It tends to be a more golden light we experience here in Santa Fe, it’s a

mirage-like light, it plays tricks on you,” says Burega. “Down on the islands, though, the light

flickers totally differently. It’s a denser bluer atmosphere and it infuses everything with a cer-

tain lushness that has affected and changed my perceptions.”

Hoping to give people a peek into how it is he sees the world, and how he thinks—and

how he processes what he sees—Burega has left behind the world of beauty and gone

inside his head. “I still have a pleasing palette but that’s not what drives me,” says Burega.

“My work is much more thoughtful. I used to be purely visceral but now I’m more focused

on the psychology of my work and that’s more like me. I’m very right brain left-brain: I am

simultaneously very organized and chaotic – completely able to let go and not live with any

plans. That juxtaposition is what my paintings are all about.”

Opposite page: Virgin Gorda # , oil on panel, "× "; This page: Indian Canyons # ,

oil on panel, "× ";

Peter Burega’s work can be seen at Meyer East Gallery, 225 Canyon Road. (505)983-1657.

www.meyereastgallery.com

He began the journey of exploring glazing

—layering his birch boards with lots of semi-

transparent glaze. “There’s only so much you can

do with wax,” explains Burega, who went wax-less

at the suggestion of an artist friend. “Wax is un-

forgiving when you are exploring prior layering.

It didn’t allow me to explore backwards and it

refused to let me reveal my under painting.”

Glazing isn’t hardly as limiting to the art-

ist as wax. “I paint with a ton of glaze, so I can

work backwards now in creation,” says Burega.

“But I have to stay in the painting—I have to keep

my surface malleable so that I can continue to

reveal former layers as well add more.” And the

best way for Burega to stay in the painting has

been in how he now works on his underpainting.

“I still have a lot of color and light information

that seep through from below the surface, so my

work has developed a luminescence,” he points

out. “Subconsciously, you know there’s still stuff

going on behind the box (the frame and the grid

are now equally important), and subconsciously

I know what’s back there. I experience a lot of dis-

covery in the removal process. These days I’m as

much about removal as application.”

By which he means, he’ll sometimes scrape

away as many as 50 layers of paint (or under-

painting paint) to get what he’s after; as opposed

to layering it on 50 times to get at what he wants.

The former is why he requires tools like his trusty trowel; the latter would

require a brush. But Burega doesn’t use brushes anymore, or any other tradi-

tional artist’s tools. “I’m Mr. Home Depot on a certain level,” he says with a

laugh. “I paint only with scrapers and trowels. Whether I am painting small or

big, I work with the same tools. At the end of the day my process is very physi-

cal and I’m covered in cuts from using my tools,” say the painter.

Having not taken a formal class, a workshop, or spent any time in art

school, Burega has consciously avoided subjecting himself to any kind of artis-

tic influence. Burega has not eschewed an academic approach to his work. He

can sound like the headiest of hard theory art-school artists when he really gets

going about his technique, or his approach. His discovery and exploration of

what he calls “the grid,” how the “graphic elements were framing” for him, the

way “the grid gave me so much to hang onto cerebrally,” and how “although you

still get a sense of a horizon line in my work, I continually try to exorcise that

line from my life because it’s easy and I don’t want to do easy anymore.”

“Some people’s artistic schooling can really hamper their progress—pre-

conceptions run rampant,” suggests Burega. “I have let go of all pre-conceptions


georgia o’keeFFe MuseuM, Youth guide for the natural affinities exhibit, layout & design, 2008

4 | Georgia O’Keeffe and Ansel Adams: Natural Affinities | May 23 – September 7, 2008 Georgia O’Keeffe and Ansel Adams: Natural Affinities | May 23 – September 7, 2008 | 5

Connect the dots on the cities where Georgia O’Keeffe and Ansel Adams each lived and worked.

Mark the places on the map where you have lived, visited, or want to see.

Georgia O’Keeffe and Ansel Adams always got together when he visited New York. O’Keeffe’s husband, Alfred Stieglitz, was an important photographer and he owned a gallery. He invited Adams to have an exhibition of photographs in New York City. Adams and Stieglitz wrote each other many letters. Alfred Stieglitz was an older artist and an inspiration to Ansel Adams.

I have planned to write you ever since my return to San Francisco. I wanted to tell you a little of what my talks with you have meant to me. . . . I trust you will believe me when I say that my meetings with you touched and clarified many deep elements within me. It has been a great experience to know you. I wonder if you can ever know what the showing of my work has done for my whole direction in life?

from an Ansel Adams letter to Alfred Stieglitz

Alfred Stieglitz, Self-Portrait, , × inches.

Taos NM Taos NM

Canyon TX

New York NYNew York NY

San Francisco CA

Amarillo TX


RANCHOS DE TAOS CHURCH

The Ranchos de Taos Church is one of the most beautiful buildings left in the United States by the early Spaniards. Most artists who spend any time in Taos have to paint it, I suppose, just as they have to paint a self-portrait. I had to paint it—the back of it several times, the front once. I finally painted a part of the back thinking that with the piece of the back I said all I needed to say about the church. . . . And I long ago came to the conclusion that even if I could put down accurately the thing that I saw and enjoyed, it would not give the observer the kind of feeling it gave me. I had to create an equivalent for what I felt about what I was looking at—not copy it. I was quite pleased with the painted fragment of the Ranchos Church.

Georgia O’Keeffe

Georgia O’Keeffe said that she “had to paint” this church. Ansel Adams also felt a need to photograph the church.

Is there a place, a person, or something you need to draw, paint, or photograph? Make a note or sketch here of what you want to do and try to follow through with your idea.

AN ARTIST FRIENDSHIP

Two of the best known and loved American artists of the twentieth century met in Taos, New Mexico, in 1929, almost eighty years ago.

Georgia O’Keeffe was born on a farm in Wisconsin and later moved with her family to Virginia. When she was a little girl, her mother read stories to her about the adventurous cowboys and Native Americans who lived in the West. O’Keeffe studied in Chicago and New York and, in 1912, she took a job teaching in Amarillo, and later in 1916, in Canyon, Texas. On her way back to Texas from a trip to Colorado in 1917 she stopped in Santa Fe, New Mexico. She loved what she saw and wanted to return. She started to spend summers in North-ern New Mexico in 1929 and eventually moved to New Mexico from her home in New York City.

Ansel Adams was born in San Francisco, California. He first went camping with his family in Yosemite National Park when he was fourteen. He returned there most summers to work and take photographs. Adams met his wife, Virginia Best, in Yosemite, where she was living with her family. Adams met O’Keeffe when he came to New Mexico in 1929, with the writer Mary Austin, to take photographs for a book called Taos Pueblo. Throughout the years, Adams and O’Keeffe shared a similar interest in finding “subjects” for art in nature, as well as exploring, in their artwork, a belief that beauty was an important aspect of art-making.

Ansel Adams, Saint Francis Church,

Ranchos de Taos, New Mexico, c. ,

gelatin silver print,

⁄ × ⁄ inches.

We have finally decided on the subject of the Portfolio. It will be the Taos Pueblo. A Council meeting was held, and the next morning I was granted permission to photograph the Pueblo. It is a stunning thing—great pile of adobe five stories high with the Taos peaks rising a tremendous way behind. And the Indians are really majestic. . . . I have every hope of creating something really fine.

Ansel Adams

Georgia O’Keeffe, Ranchos Church No. , , oil on

canvas, ⁄ × inches. Georgia O’Keeffe, Taos Pueblo,

/ , oil on canvas, × inches.

Youth Guide

Georgia O’Keeffe and Ansel Adams:

Natural Affinities

I have used these things to say what is to me the wideness and wonder of the world as I live in it.

Georgia O’Keeffe

Art is both love and friendship, and under-

standing of the desire to give. It is not charity which is the giving of things, it is

more than kindness, which is the giving of self. It is

both the taking and giving of beauty, the turning out to the light the inner folds

of the awareness of the spirit. It is art—something said about something felt.

Ansel Adams

What is art to you?

May – September ,

www.okeeffemuseum.org

Ansel Adams, Nancy Newhall

Georgia O’Keeffe, Alfred Stieglitz

Continued in >



28 FOCUS SANTA FE January/March 2008 FOCUS SANTA FE January/March 2008 29

Often contemporary art is maligned for

acting as a vehicle for social change; others

praise it as an opportunity to express politi-

cal, religious and social views and create a

dialog for transformation. When viewing

art that falls into the "difficult" or "pro-

vocative" category, the spectator often has

a visceral response, clearly mapping out

their position on a given piece of art and

its content. This is not typically the kind

of art that finds its way to gallery walls or a

seasoned art collector's portfolio. But for

those who are brave enough to purchase

works that stand for truth, whether the art-

ist's expression thereof or truths shared by

collector and artist alike, a certain social dis-

tinction is conferred for such fearlessness.

When the kernel of the contemporary art movement was germinating

in the 1960's and 1970's minority and oppressed artists in particu-

lar found a new medium for expression — one that was progressive

without the limitations sometimes imposed by traditional art. The

use of art as social commentary flourished. Along came artist Judy

Chicago, who for the past forty years has been committed to creating

art to further social change, tackling a vast array of ambitious content

in as many mediums. She has shown us The Dinner Party in which

abstract paintings and sculptures were assembled to host a spiritual

last supper for thirty-nine of history's most accomplished women,

who were not recognized in male-dominant histories. Then she em-

barked upon The Holocaust Project: From Darkness Into Light, which

examined power and powerlessness. These are not lighthearted pieces

that translate easily into galleries or homes. But Chicago and LewAl-

len Contemporary found a way to marry the exhibit of large scale

installation art with the personal experience of a gallery.

Recently LewAllen exhibited the

preparatory materials for The Din-

ner Party. This meant that many of

the preliminary sketches, test plates

and weaving samples that Chicago

relied upon in summoning the final

project could be viewed, appreciated

and even acquired by collectors. To

own a piece of this great monument

to the women's movement was an

astounding opportunity and a rare

ability to take home a piece of his-

tory. Such a bridge is important in

Santa Fe since many exhibits of sig-

nificant new works debut in large

urban areas. The Dinner Party in

particular reflects the artist's truth

expressed to the masses and its con-

tent eventually became part of the

fabric of our collective psyche.

Seeing even a small part of such a

project allows people to experience

and appreciate how art can have a

major impact on society.

In speaking with Linda Durham of Linda Durham Contemporary Art in Santa Fe I was struck by

her commitment to pushing contemporary art forward while honoring an artist's individual vi-

sion. Currently featuring the work of Erika Wanenmacher, Linda Durham's latest exhibit is sure

to test the viewer's limits and take collectors and spectators out of their comfort zone. Greeted

by an enormous wood carving encased in snakeskin shed by a local snake, you are aware that

Wanenmacher's perspective is challenging the mind to widen its interpretation of what we con-

sider art. Turn the corner and you'll find Wanenmacher expressing her range in use of medium

with a life-sized sculptural self portrait, her nakedness (tattoos, exposed breasts and all) fash-

ioned using the underside of coyote skin, complete with prosthetic eyeballs. It is not easy to look

at; in fact it is difficult to be with. And whether you find it beautiful or not, there is no doubt that

Wanenmacher has created something important to her, with considerable skill, and is devoted to

her vision, rather than considering first what will hang nicely over someone's couch.

Kathleen Kinkopf, Simpatico, mixed media/acrylic on canvas, " × "

Judy Chicago, test plate from The Dinner Party – Theodora Test Plate #7,

1975-1978, china paint on porcelain, 14” dia., 1.5” deep 18.5” x 18.5” x

10.5” installed.tif "diameter × "height, × 18.5" × 18.5" × 10.5,

installed

Judy Chicago, Grand Snake Arm 2, 2007, etching,

cold work and gold leaf on cast glass,

24" × 24" × 21", multi-stage

carving by Dobbins Studio

Judy Chicago, test plate from The

Dinner Party – Hatshepsut Test Plate

#3, 1975-1978, china paint on por-

celain, " diameter × "

height, × 28.5" × 28.5"

× 10.5 installed


also cleverly titled the “Sip Savor & Groove.” The fun and funky

event which pairs entertainment from exceptional musicians with

spirits provided by 25 different vintners, takes place on Saturday

afternoon at the Hilton of Santa Fe.

According to Susan McGarry, Editor of the ARTfeast Guide,

organizers are particularly excited to unveil the introduction of

plate sets that children have created which will be available as

part of an auction at most of the events. The project came about

as a result of ARTsmart’s work with the schools for the last sev-

eral years. Fifth and sixth graders created the designs which were

juried and the top 50 were picked to be fired. According to Mc-

Garry, “This year there were so many exciting themes developed

by the teachers that ARTsmart decided to fire several sets of plates

on those themes, auctioning them as sets of anywhere from six to

twelve. –One set commemorates the Great Master paintings as mon-

keys, others have animal themes or are in modernistic modes.

This year’s ARTfeast promises to provide participants with a fun and enlighten-

ing experience while donating to a great cause. For a full list of events and more

information on how to purchase tickets, log onto www.artfeast.com.

their existing art budget. Aptly named “Art Builds Self Esteem,”

one program provides funding to purchase supplies for 7,300 ele-

mentary age students. Other projects encourage students to learn a

variety of mediums and methods of expression, as well as a schol-

arship fund for particularly promising young artists.

ARTfeast events have evolved into can’t miss gatherings that

locals and tourists alike look forward to each year. One of the

more popular attractions of the weekend is the “Edible Art Tour”

on Friday evening. Participants travel between local galleries,

most of which are within walking distance on Canyon Road and

dowtnown, to experience the works of talented artists and par-

take in the creations of Santa Fe’s most esteemed chefs.

There are a couple of free events as well, including one

which provides an opportunity to view some of the most beautiful

homes in Santa Fe. On Saturday and Sunday afternoon “Unique

Homes, Original Art” takes visitors on a tour of eight fabulous lo-

cal residences. Each home will feature works of art from several

area galleries, including one home which will showcase original

works by some of Santa Fe’s young student artists.

The weekend wouldn’t be complete without music and at-

tendees won’t be disappointed in the Art of Wine & Jazz gathering,

Truth and Beauty: Contemplating Contemporary

ArtBY CLAUDIA JOSEPH

Generally speaking, many gallery owners and representatives agree that Santa Fe's art market, ranked third nationally

behind New York and Los Angeles, is somewhat conservative. It should be no surprise that the City Different does not fol-

low global or national trends, but considering the open-mindedness we pride ourselves on as a city, you'd think we could

generate a bit more excitement for avant garde contemporary art. Perhaps we are still rooted in traditional art of the west

and we need a bit more time for our eyes to adjust. But don't let this lead you to believe that Santa Fe's contemporary art

market is not strong; this sector of the art market has grown the most in recent years, and shows no signs of slowing down.

We can expect great things from the Railyard development evolving as a new Mecca to contemporary art. And there

are many in the local art community who are toeing the line for the rest of us, until we catch up.

Contemporary art has always had its devout as well as its

detractors. Once upon a time the use of mixed media

was eschewed by traditionalists as less than fine art. But

today contemporary art is holding its own in top art mar-

kets and is even touted by financial advisors as a means

of adding diversity to one's portfolio. Whatever your aim

when approaching contemporary art, you are sure to find

something that assuages your particular penchant for

truth or beauty, and sometimes both.

Judy Chicago, installation view of The Dinner Party, 1974-1979, photo by Donald Woodman




When I pressed Durham about the economic

realities of owning an art gallery and the diffi-

culty she may face selling some of these pieces,

she is stalwart. "I have had this gallery for thirty

years and I always tell people, 'I have been

through thin and thin,' but my commitment is

so deep." Rather than seeking out artists and

work that will fit into the market, Durham finds

what she likes and cultivates a market for it.

This is not to say that Linda Durham is opposed

to or shuns beauty in the art she promotes —

quite the contrary. If something is well thought

out, comes from an original place and happens

to be beautiful, so be it. Relying on the truism

that the notion of truth is broad and the notion

of beauty is even broader, Durham observes

"beauty used to be taboo, but if it is what you

respond to, there is value in that."

Linda Durham attributes her ability to divine

interesting art to working only with artists

whom she knows and considers smart, who

are devoted to studio life. She realizes the

importance of working with local artists so

that she can foster relationships between peo-

ple in the community who are involved in art.

This allows her to use the gallery as a vehicle

for communication between herself, the artists

and the collectors for a richer experience.

As for Robins, whose choices lean towards beauty, she likes to cul-

tivate forward momentum in the artists she represents by allowing

them to use their range and explore. This can be intimidating to an

artist with a well-established clientele who has developed a signature

look, but Robins sees it as an opportunity. "In order for them to func-

tion well as an artist they must be able to paint what they love and

break away from the norm by taking a departure." She continues, "I

often find that this freedom opens the artist up to attracting new

collectors and the existing ones eventually come around too."

Erika Wehenmacher, Stealth Mask to Steal

Back Holidays for the Pagans, popcorn

and cookie tins, fabric embroidery,

31" × 22" × 5.5"

Kathleen Kinopf, Yakueda Dream, mixed

media/acrylic on canvas, "72" × 56"

Selecting art without social or political content, Joyce

Robins Gallery has a varied and interesting selec-

tion of contemporary artists' work gracing its walls

on Galisteo Street. Joyce Robins acknowledges the

importance of pushing the envelope in contem-

porary art, whether it be to further development

of mediums and art forms or to voice controver-

sial commentary, but sees public art institutions as

the more appropriate setting for the latter. Robins

reasons, "SITE Santa Fe and the Center for Contem-

porary Arts are great, but we can't do what they do,"

on the premise that often galleries simply do not

have the capacity to house large installation exhibits

which should reach a wide audience.

Erika Wehenmacher, Coyote’s Suit to Disguise Himself

as Me(detail), vintage coyote coats, latex, thread,

20" × 20" × 80"


ONGOING EXHIBITIONS

SANTA FE & SURROUNDING AREA

Fri, Feb 1 - May 11

Flower Power: A Subversive Botanical

An exhibit whitch examines anti-war sentiments,

anti-establishment demands, class realignments,

gender divisions, and utopian desires associated

with the single petal, daisy flower that was an

icon of the 1960s. Artists including Betty Hahn,

Corita Kent, Warhol, and the MariMekko design

group will be associated with contemporary art-

ists such as Tim Jag, Murakami, Yumi Roth, and

Erika Wanenmacher.

New Mexico Museum of Art

On the Plaza / 107 West Palace Avenue

(505)476-5072, www.mfasantafe.org

Sun, Feb 18 - Jan 6

Golden Dawn: The legendary art of Santa Clara

Pueblo artist Pablita Velarde

At the young age of nineteen Velarde was com-

missioned by the National Park Service, under

the Works Progress Administration (WPA),

to create scenes of traditional Pueblo culture

for the visitor center being built at Bandelier

National Monument. She produced over 84

paintings in casein on masonite, matte board

and glass between 1939 and 1945. This new exhi-

bition provides a glimpse into this period

of Pablita Velarde’s life.

Museum of Indian Arts and Culture

710 Camino Lejo, on Museum Hill

(505)476-1250, www.IndianArtsandCulture.org

Sun, May - Apr 13

Needles and Pins: Textiles and Tools

This exhibit highlights the tools and techniques

used to create and embellish textiles and dress.

Needles and Pins juxtaposes spinning wheels,

looms, and a variety of needlework accessories

from across the globe with examples of the

beautiful textiles that result. It will feature never

before seen pieces from the Museums’ renowned

collection of international textiles and costumes.

Museum of International Folk Art


(505)476-1200, www.internationalfolkart.org

Sun, May 20 - Apr 27

New Visions Inspired by Tradition: Sculpture

by Tammy Garcia and Evelyn Fredericks

Tammy Garcia of Santa Clara Pueblo and Evelyn

Frederick of the Hopi Villages present very dif-

ferent images through their recent large scale

bronzes that are both contemporary yet tradi-

tional at the same time. In the Doris and Arnold

Roland Sculpture Garden.



(505)476-1250, www.IndianArtsandCulture.org

Sun, May 14 - Apr 6

Spider Woman’s Gift: Classic Navajo Textiles

Features weavings from the 1850s through the

1890s - the Classic and Transitional periods.


710 Camino Lejo

(505)476-1250, www.miaclab.org

Fri, Jun 15 - Jan 31

Home Altar: Recreation of Marie Romero

Cash’s Personal Altar

Marie Romero Cash’s home altar evolved over

30 years as a part of her family tradition. Cash,

a Santa Fe santera, is well-known to Spanish

Market-goers for her creativity and innovation

in depicting saints, and especially depicting

the women of the Bible. With the assistance

of museum staff, the artist will install the altar

herself in the Hispanic Heritage Wing in the

changing gallery which will be almost as it has

been in her home.

Museum of International Folk Art


(505)476-1200, www.internationalfolkart.org

Fri, Sep 21 - Jan 20

The Disappeared / Los Desaparecidos

IAIA Museum joins forces with other Santa Fe

art museums and exhibition facilities in present-

ing this traveling, multi-part show concerning

individuals who have vanished as the result of

political turmoil in Argentina, Brazil, Uruguay,

Chile and Venezuela.

Institute of American Indian Arts Museum /

IAIA

108 Cathedral Place

(505)983-1777, www.iaiamuseum.org

Fri, Sep 14 - Jan 13

Lockhart River Art Gang / War Paint

Based in north Queensland, Australia, the Lock-

hart River Art Gang is a group of Aboriginal

FOCUS CALENDAR FOR JANUARY/FEBRUARY/MARCH

This page: Julia Gill, Dream, b/w photo, www.

juliagill.com

A good example of the positive effects of allowing such artistic

freedom is the divergent work of artist Kathleen Kinkopf. Known

for her surrealist portrayals of people and objects, Kinkopf recently

stepped out of her box to demonstrate her quiet reverence for earth,

sky and animals. Robins shows the vastly different works side by

side and chuckles when loyal Kinkopf collectors walk right by her

new work, completely unaware of its origins. Robins says "eventu-

ally their eye adjusts to the new style and they can appreciate

that the quality offered by the artist remains

the same with a new twist."

Even if an artist isn't using contemporary

art as a medium for politically or socially

charged content, there is always growth

in technique and mediums. Certainly the

digital age and technology have opened

up new horizons to artists, so change is al-

ways afoot. Contemporary art is constantly

pushing its limits, both in the gallery

and institutional settings. It is only once

enough time has passed that we can reflect

to discern trends on a macro level, leading

to the new labeling of a period or move-

ment. For now we can revel in the vast

array of choices we have to encounter and

acquire so many different types of art, in so

many different mediums right in our own

backyard - some truthful, some beautiful

and some, thankfully, offering both.

Erika Wehenmacher, Shining Path, wood, shed python

skin, silver, paint, strontium aluminate pigment,

76" × 36" × 10"


ricoh, layout & design for ProJecT TeMPLe, 2008

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San Francisco Office 155 Montgomery St., Ste. 800, San Francisco, CA 94104 415.490.5060

San Jose Office 181 Metro Dr., Ste. 100, San Jose, CA 95110 408.467.1800

San Ramon Office 2000 Crow Canyon Pl., Ste. 350, San Ramon, CA 94583 925.242.1017

*ISO 14001 is the internationally recognized standard that provides the framework for an organization to develop its own Environmental Management System. It offers a systematic way to help reduce the risk an individual product or organization may have on the environment, with special focus on energy consumption, use of natural resources, and the paper handling and treatment of waste. It is the only standard that offers actual certification to organizations of all types and sizes worldwide.

Ricoh has achieved ISO 14001 Certification at every manufacturing plant, worldwide. Conformance to this rigorous international standard tells our partners, customers, and suppliers that we are committed to protecting the environment and encourage them to do the same.

This piece is printed on and using: 100% recycled chlorine free paper • Soy-based inks and varnishes • Water-based chemical • Chemistry-free printing plates • 100% wind powered facility

Create, share, and think as one.




David Pearson infuses layers of ethereal meaning into

the solid permanence of bronze.

BY WOLFGANG MABRY

Being born on the autumnal equinox might have some-

thing to do with the balance in the sculptures and in the

life of David Pearson. Both have finely tuned equilibrium,

and there are measures of serendipity and carefully con-

sidered intention in both. Where any soul alights is up to

chance, and for Pearson, growing up in the optimism of the

sixties and seventies, under the legendarily blue skies of New

Mexico turns out to be just one of many such fortuitous acci-

dents. Pearson recalls an easygoing youth, in which he was not

just allowed, but actually encouraged to find and follow his

passion. He found and followed a passion for art that came

fully out of dormancy when his family moved to Santa Fe.

Paintings, sculptures, galleries, art books, and the people be-

hind these treasures fascinated and inspired him.

By the age of 16, Pearson landed his job at Shidoni

Foundry, which had just been established four years earlier

by Dorothy and Tommy Hicks, parents of another life-long

friend, Scott Hicks. His formal art education took place on

the job, as he began by divesting bronzes from their ceramic

molds. Within a year Pearson was promoted to metal chaser.

During his six year apprenticeship at Shidoni, Pearson mas-

tered each of the 32 essential steps in producing a

finished fine-art bronze from the sculptor’s clay

model. By the age of 18, Pearson completed his

first bronze, which quickly found a buyer at the

Shidoni Gallery. By age 21, Pearson was repre-

sented by galleries in Santa Fe, Dallas, Scottsdale,

and Colorado Springs. Recruited in 1982 by

Art Foundry, also in Santa Fe, Pearson

quickly rose to the positions of Direc-

tor and Master Sculptor. In his ten years

there, he collaborated and sculpted on

projects from inception through installation

with sculptors Allan Houser, Bruce Nauman,

Ron Cooper, Luis Jimenez, and Fritz Scholder. A

year after Allan Houser died, Pearson helped de-

sign and build a foundry for that sculptor’s

estate, and spent the next three years finishing

out Houser’s remaining editions.

Numbers are important in Pearson’s

bronzes, for several reasons. His first edition was

limited to 15, and Pearson has kept his editions

at that size ever since, a gesture considerate

of collectors who value rarity in conjunc-

tion with beauty and meaning. The little white

birds Pearson often includes for aesthetic and

symbolic reasons appear in groupings suggest-

ing the kind of symbolic significance religions

and cosmologies around the globe have attached

to numbers. Pearson’s figures are tall, slender,

and graceful. Their elongation suggests a reach-

ing heavenward, even as the solidity and weight of

bronze subjects them to the laws of gravity. Graceful

women, angels, couples, birds, branches, and leaves

are favored subjects in Pearson’s work.

Pearson gives residence to multi-layered cur-

rents of meaning in each aspect of every bronze.

Viewers can identify from many points of view with

the serene intuition and the sense of ascension that

pool and rise within and around his sculptures. Di-

urnal and seasonal cycles affect all of life, and Pearson

calls these things to mind in sculptures with titles like

Dawn, Midnight, Gentle Nature, Evening Calm, Rain,

Autumn’s Eve, and Meeting at Midday. Pearson’s genuine

respect for spiritual quests in every religion and culture

finds expression in titles like Heavenly, Angelic Being, Le

Jeune Saint, Nitya, Little Swami, and

Kyrie. Love is a subject with highest

relevance in every life, and Pearson’s

Kiss, Sweet Hearts, Caress, Dream-

wish, and Secrets speak eloquently

This page: Heartfelt, (front and back),

bronze, " h, ed. 15; Opposite page: Sum-

mer Breeze, (front), bronze, " h, ed. 15.

Between Earth and

Sky: Heaven

Here and Now


in sculptural terms of that huge, mysterious, and

wonderful complex of human emotions.

Whether maquette—up to 12” high, mid-

scale—up to 30” high, or life-size, Pearson’s

bronzes epitomize the highest ideals of crafts-

manship, artistry, and universality of meaning.

Pearson completes between eight and

twelve new works per year, always with

the goal of connecting with people

through sculpture. He does this visually,

emotionally, intellectually, and spiritually,

making his sculptures attractive to institu-

tional and private collectors. Municipalities,

banks, hospitals, and museums have long been

Pearson collectors. In 2002, his Unique Bronze

Bird was acquired for the White House Christmas

Tree. Just this year, the New Mexico Governor’s

Mansion acquired Une Danse de Reve, a 52” high

bronze ballerina standing with her hands clasped

behind her back. The sculptor strikes the perfect

balance between suggestion and articulation in

her pose, degree of abstraction, and expressions

in face and gesture. Pearson lets every viewer

complete his sculptures on every viewing, con-

sidering each viewer’s own particular set of

emotional, aesthetic, and psychological mindsets

as important as his own.

His first limited editions took about ten years

to sell out. Today, his editions are often sold out

within a year of release. Many go into collections of

repeat buyers, who have found earlier works to be

sources of comfort, inspiration and sheer aesthetic

euphoria. Pearson derives creative energy from nature

in his sacred environment, and it infuses his work with

an indescribable energy of a similarly soothing, tranquil-

ity-inducing quality. Anchored in the earth, reaching for

the sky, Pearson’s bronzes remind us that Heaven can be

a state of mind, achievable right here, right now.

This page: Summer Breeze, (back), bronze, " h, ed. 15; Op-

posite page: Midnight, (front and side), bronze, " h, ed. 15.

David Pearson’s sculpture can be seen at Patricia Carlisle Fine

Art, Canyon Road, Santa Fe, New Mexico, . Gallery

hours: : a.m. – : p.m. Monday – Sat-

urday; : noon – : p.m. Sunday.

( ) - , ( ) - . Fax

( ) - . Website: www.carlislefa.

com; e-mail: [email protected]


selections from the seLF-aPParenT series, illustration and collage, 2008

Wot?

Wot?

shoot forthe moon,

skewer thy neighbor

Wot?




instructed him that it is not only about the physical molding of the

pottery, but also about the message, and that if the artist is in a good

and spiritual place, the work will take on its own evolution. “One of

the things we learned was how to treat and respect the clay,” Nam-

ingha said. Because, as it was explained to him, the clay itself has an

element of spirituality that drives and guides the creation of each

piece. What she shared with him was more than a means to earn a liv-

ing, but a treasured gift. He has taken the lessons to heart.

Namingha’s work is at once traditional and contemporary. He

utilizes many of the conventional methods of pottery making as

passed down through generations, though his work could

also be considered very progressive. He describes his ab-

stract style as “veering more toward contemporary”

though it is clear that he cherishes the lessons of the

past. He still uses the traditional clay materials,

but fires his pots using an electric kiln and

applies acrylic paints. He has also

used a technique reminiscent of

his aunt’s work, the shard, or

motif method. With this

technique the artist ap-

plies shard pieces to

the pottery to create

intricate designs.

Today Nam-

ingha and his wife

have four children

and they reside

in Santa Fe with

their two young-

est. Though he is

best known for his

ceramics, he has

an insatiable ap-

petite for exploring

many different art

forms. His pottery

often incorporates

both Zuni and Hopi

influences, with the

foundation of much

of his work based in

his spirituality. “Each

Award winning artist Les Namingha’s work marries traditional and

progressive elements to create unique and innovative pottery. A Hopi

potter, Namingha is a descendant of Nampeyo of Hano and acquired

his practical training from his aunt, artist Dextra Quotskuyva, whose

name is synonymous with Hopi pottery making. In recent years he

has distinguished himself as a ground breaking and brilliant artist in

his own right.

Namingha’s mother is a member of the Zuni Pueblo and his

father is Tewa/Hopi. He spent much of his childhood on the Zuni

Pueblo but received his elementary and high school education in

Utah. He went on to study design at Brigham Young Univer-

sity but it wasn’t until after college that he truly started on

his path to carry on the family legacy.

To say that Namingha was trained by one of the

greatest potters of modern times isn’t an exagger-

ation. When Namingha was in his early 20s,

Quotskuyva invited him, as well as sev-

eral of his cousins, to the reservation

in Arizona to commence their

practical education. The first

few days were spent obser-

ving her in the creative

process but it wasn’t long

before he began imitat-

ing what he witnessed.

As a result he gained

invaluable hands

on experience, with

Quotskuyva provid-

ing pointers along the

way. She passed along

the tools to create the

pieces and equally as

important, to respect

and appreciate the craft.

She took painstaking

measures to encourage

his talent. With pot-

tery making in his blood,

Quotskuyva required that

her young protégé’ review

the family designs, includ-

ing the well documented

works of Nampeyo.

With Quotskuyva as his

mentor, he learned not only

the traditions and techniques but

the importance of one’s state of mind

when shaping and creating the works. She

Opposite page: Heal-

ing Hand, natural clay with

acrylic paint, "h × "d; This

page: In Looking Outside, natural

clay with acrylic paint, "h × "d

The Pottery of Les Namingha: The Evolution of a Legacy

His work reflects a combination of raw talent and artistic lineage

BY: ERIN KINNARD THOMPSON

Continued in >



Design Week Santa Fe

2007BY EMILY VAN CLEVE

esign Week, Santa Fe’s seven-day conference from October 11-17 at the Santa Fe Indian

School, is focused on increasing awareness of design and its role in society. The event is

particularly exciting, says its director Naomi Woodspring, because the topic of design is

discussed from different angles by a diverse group of professionals.

“We have speakers representing a wide range of disciplines,” Woodspring explains.

“Most of them have never met each other before. We expect the conversations to be very

stimulating.”

At the heart of Design Week is the Design Matters Conference, which features four

half-day sessions with keynote speakers and panelists. La Buena Vida, the Good Life

explores the history of design and the innovative work created by Santa Feans. Passion

is Possible: Believe addresses the question that many creative people ask themselves: is

it possible to turn what you love doing into a design profession? The idea that workers,

consumers and producers are all part of the design process is the subject of Design Revo-

lution: Creative Minds in Conversation. The final session, Design for Good, talks about

how design is driving solutions to some of the world’s most pressing problems.

Each session begins with a 30-40 minute keynote speech and is followed by a moder-

ated panel discussion. “We’re inviting audience members to participate in question and

answer segments with the keynote speaker and the panelists,” Woodspring says. “Since

design is totally visual, we’ll have work by our panelists projected on screens so audi-

ence members can see exactly what they do.”

Among the invited guest panelists and keynote speakers coming from outside

New Mexico are Aaron Draplin, who is a snow board designer and graffiti artist;

Lorrie Vogel, the general manager for Nike’s Considered team who is responsible for

introducing sustainable products and business models; Leslie Speer, assistant profes-

sor in the industrial design program at San Jose State University and director at the

London-based design firm Bolton Associates; Martha Skinner, assistant professor at

Clemson University School of Architecture; and Sicangu Lakota director/producer

Carol Burns.

Many talented Santa Feans are members of panel discussions. Dawn Winters-

Rizika is the designer and manufacturer of the Kid’s Console, a car console/organizer

specifically designed for children strapped in child safety seats. She is also the owner

of Baby Azul, Inc., which is the small Santa Fe company that is bringing this product

to market. A native of Santa Fe, Eric Griego has more than 12 years’ worth of expe-

rience in graphic design and advertising. He worked for Cisneros Design prior to

32 FOCUS SANTA FE October/December 2007 FOCUS SANTA FE October/December 2007 33

Both pages: Keep Adding, Silo, spray paint on

concrete, a work in progress, sizes vary; This

page, inset: Andrew Campo, Gravel-Stars-

Euphoria, photograph; Opposite page, inset:

Dawn Purnell, tattoo artist, from the

"Passion is Possible" panel.

starting his own company. Local artists participating on panels include Santero Arthur

Lopez and tattoo artist Dawn Purnell.

A fashion show highlighting cutting edge contemporary/regional indigenous de-

signs kicks off Design Week on Thursday night, October 11. Work from the collection of

Argentinean fashion designer Carola Besasso of Dam Boutique in Buenos Aires lights up

the runway. Immediately following the fashion show is a trunk show with jewelry and

accessories created by Besasso and other designers.

Although the fashion show costs $45, the Design Matters Conference and other

weekend happenings, including the Business Expo, Design Exhibition and Community

Design Dialog Events, are free. There’s even a fringe festival where community members

can host their own workshops, performances or exhibitions and post them on Design

Week’s website. A series of interior design events with a panel discussion, luncheon and

tour cost $60.

Some local businesses, such as Victoria Price Art & Design at 550 South Guadalupe

Street, are hosting side-by-side events. Price’s gallery is showcasing furniture by designer

Peter Danko, whose work is exhibited in a number of prestigious museums such as the

Museum of Modern Art in New York and the Smithsonian Institution.

“Peter’s furniture is made with wood that has been harvested and produced in envi-

ronmentally-sensitive ways,” says gallery director Hollis Walker. “Some of the chairs have

web seats and backs made out of left over seat belts from the automotive industry. They’re

very strong and durable as well as aesthetically beautiful.”

Walker hopes that Danko is able to make a special trip to Santa Fe during Design

Week and give a talk about his work at the gallery.

A complete schedule of Design Week Santa Fe events, as well as bios of all participating

panelists and keynote speakers, is posted on the website www.designweeksantafe.com.

This page, inset: Arthur Lopez, San Francisco

34 FOCUS SANTA FE October/December 2007



Jesse Caverly2006-2008

georgia o’keeFFe MuseuM, city bus side-panal ad, 2007sacraMenTo news & review, illustrated newspaper cover, 2003

Learn more: www.okeeffemuseum.org

What if Sacramento were inBaghdad’s position? A 2,000-poundbomb could do terrifying things to the Capitol and its neighborhood. See Essay, page 10.

Imagine

Sacramento’s News & Entertainment Weekly Volume 14, No. 52 Thursday, March 27, 2003

FREE

Sacramento’s News & Entertainment Weekly Volume 14, No. 52 Thursday, March 27, 2003Sacramento’s News & Entertainment Weekly Volume 14, No. 52 Thursday, March 27, 2003

Sacramento’s musicscene has evolvedfrom garage rock toalt-pop, and thoughthe names have changed,

one constant is Valleylegend David Houston.by Jackson Griffith page 16

sessions, concreTe Magazine, BLoc sTar enTerTainMenT, & aLwaYz BeauTeFuL sPa and saLon, logo design, 2005–2008

magazinemagazine

Design and layout for Focus Santa Fe magazine and Edible Santa Fe magazine. Between these two periodicals I have learned the value of simple, clean design and have had ample oppurtunity to create cutting-edge work. The best of my portfolio to date.

Designer and production artist for M. Motley design, a small firm based in Santa Fe, New Mexico. Largely a tele�commuting job, I have both designed and worked as a production artist on several catalogs, posters, and books for the firm. Here I have gained a profound understanding of design theory and the instinct to know when to break the rules.

Worked for Action Learning Systems as a production artist. I had to turn over a large amount of work under short deadlines. I developed an attention to detail and a skill for properly building documents into the most user�friendly and efficient template possible.

Lead graphic designer for the feature film ‘Her Minor Thing,’ filmed in Sacramento. I designed most of the badges, press passes, posters and magazines that were used in the film. I also worked in the set design department. It was an intense, high�maintenance project that I thrived in.

Graphic designer for the design department of Prima Games, a video game publishing company in Roseville, California. I created e�guides, a down�loadable PDF version of their gaming titles. This required working in Illustrator, Photoshop, Quark, & Acrobat. What was to be a 3 week contract became 3 months, as Prima was so happy with my work.

Graduated from the Sacramento Waldorf High School. This is an alternative, arts�based school that encouraged my interest in design and writing. Graduates of the Waldorf schools tend to do well in the field of the arts.

Highly proficient in the following software: Indesign, Photoshop, Illustrator, Quark, and Acrobat. I am a quick study with new programs and enjoy learning new software. I have experience with a variety of media and styles of illustration, from pen and ink to brush, watercolor, graphite, color pencils, and more. I also have experience in writing copy and content.

When people say, ‘It’s all been done,’ I disagree. Design is, for me, the art of the remix. When you place the right elements together and create something new but that also fits into the whole...that’s the moment I look for.

2006 to present

2004 to present

2006-2007

2004

2004

1990

eXperIenCe

“

jesse

caverly

[email protected]

916-821-3117


georgia o’keeFFe MuseuM, Youth guide for the natural affinities exhibit, layout & design, 2008


When O’Keeffe lived at Ghost Ranch, New Mexico, she painted the landscape right outside the door to her home.

Find the Ghost Ranch paintings.

What do you know about Ghost Ranch from these pictures? How is it similar and how is it different from Yosemite?

CAMPING IN YOSEMITE

In 1938 Ansel Adams organized a camping trip for several of his friends and he wanted Georgia O’Keeffe to join them. He wrote in a letter:

And of course if O’Keeffe comes the party will be extraordinary—never was there such a collection of all personalities in the Sierra all at once! Please don’t think that I mean that the party would only be extraordinary if O’Keeffe were along—but there is something about the lady that is dynamic, to say the least. . . . You can assure O’Keeffe that we will take her to the most beautiful parts of the mountains, that we will do everything we can do to make things “fluent” for her. During the stay overs the photographers will go beserk—why not O’Keeffe? Impress on O’Keeffe she will see things she has never seen before, and see them under conditions that are rare. This is really important. There is no human element in the High Sierra—nothing like New Mexico. But there is an extraordinary and sculptural beauty that is unexcelled anywhere in the world. . . .

The camping trip started on September 11th. Georgia O’Keeffe, Ansel Adams, art collector David McAlpin III, along with Godfrey and Helen Rockefeller spent ten days in the high country together. They were accompanied by four-teen pack mules and four back country experts who guided, set up camp, and cooked, so the others could hike, take photographs, and be in awe.

I met O’Keeffe at Merced and drove her to Yosemite. Tuesday. She likes our country, and immediately began picking out white barns, golden hills, oak trees. As we climbed through the mountains the scene rapidly changed and as we entered Yosemite she was practically raving—“Well, really, this is too wonderful!!” She says very little but she looks, and once in a while something is said that sums everything up in a crystal, inevitable clarity.

Ansel Adams

Georgia O’Keeffe, Black Hills with

Cedar, , oil on canvas,

× inches.

In 1937 Ansel Adams visited Georgia O’Keeffe at Ghost Ranch, New Mexico, with their friend, David McAlpin III. Here’s what Adams said about New Mexico:

It is all very beautiful and magical here—a quality which cannot be described. You have to live it and breathe it, let the sun bake it into you. The skies and land are so enormous, and the detail so precise and exquisite that wherever you are you are isolated in a glowing world between the macro and the micro, where everything is sidewise under you and over you and clocks stopped long ago.

Can you tell which photograph(s) Ansel Adams made at Ghost Ranch?

Georgia O’Keeffe, Black Mesa Land-scape, NM/Out Back at Marie’s II,

, oil on canvas, × inches.

Ansel Adams, Detail, Juniper Wood, Sierra Nevada, , gelatin silver print,

⁄ × ⁄ inches.

> Continued from


ELEMENTS IN THE EXHIBITION: Trees

In the summer of 1937, Georgia O’Keeffe and Ansel Adams traveled together. Adams took a photograph of O’Keeffe sitting in her car, painting. She called her painting Gerald’s Tree—a friend named Gerald Heard had visited her at Ghost Ranch that summer along with the writer Aldous Huxley. The tree was a dead cedar. Gerald had danced around it and left his foot prints.

There are many pictures of trees and tree trunks in this exhibi-tion. Both Adams and O’Keeffe used trees as their subjects to express their feelings about life.

Looking at these tree pictures, what do you see? How are they alike and how are they different? Some tree trunks make interesting shapes, some have interesting textures. Find examples of tree shapes and textures you like. Tell a story about one or two of these trees.

Adams wrote a letter to his friend Cedric Wright and said that he, Cedric, was a Redwood tree, but sometimes he sounded like a cactus when he complained!

What is the difference between a Redwood tree and a cactus? If you were another part of nature, what would you be?

Ansel Adams, Fog near Cascade Pass, Northern Cascades, Washington,

, gelatin silver print, ⁄ × ⁄ inches.

TONE AND COLOR: The Zone System of Ansel Adams

One of Adams’s greatest contributions to photography was the creation of The Zone System. It is a complete method of exposing, developing, printing, and even viewing photographs based on careful pre-visualization of the subject. Pre-visualization means viewing the subject as it would appear in a final print before making the exposure, and then gearing the exposing, developing, and printing processes toward reproducing the pre-visualized tones.

In black-and-white photography, color is translated into black, white, and various shades of gray. The Zone System uses a gray scale representing ten possible zones or tonal values, ranging from the darkest possible black to the brightest possible white that can be reproduced in a print. The zones are numbered, beginning with zero and then in Roman numerals I through X. The higher the number, the lighter the tone (in the print) and the greater the density (in the negative).

Choose one of Adams’s photographs, then look at the scale represented here.

Can you find the following areas in the picture?

Zone III (the darkest shadow area with full detail) Zone V (middle gray)Zone VII (the brightest highlight area with full textured detail)

Photographic Terms

Exposure—The act of letting the light fall on the light-sensitive film.

Develop—Using a chemical solution to change the invisible image produced during exposure into a visible one.

Tones—The lightness or darkness of a particular area in a photo. A highlight is a light tone and a shadow is a dark tone.

Density—The relative amount of silver present in various areas of film or paper after development, which causes the darkness of a photographic print.

Georgia O’Keeffe, Gerald’s Tree I, , oil on canvas, × ⁄ inches.

I II III IV V VI VII VIII IX X


Adams’s photography and love of nature helped to call attention to the importance of conservation. The environmental movement—which preserved and protected wilderness areas, created National Parks, and taught people to be aware of America’s natural resources—owed so much to Adams’s influence and life-long efforts. He worked for the Sierra Club and lobbied on behalf of the environment. The Ansel Adams Wilderness located in the Sierra Nevada mountain range in Cali-fornia is named in his honor.

Great artists leave a legacy—something that is handed down to the next generation. What would you like your legacy to be?

TONE AND COLOR: Georgia O’Keeffe’s Paint Swatches

Color was very important to Georgia O’Keeffe. She visualized the exact colors or tones she wanted to use in her paintings. She would mix the colors and record them on a small piece of paper much like the paint samples you can get in a store. On the back she would write the recipe for creating the colors, for example, two parts green, one part white, one part yellow.

Using these recipes, she mixed her colors before she started to paint, in order to make the exact matches of the colors.

The next time you are painting, try making a color swatch by mixing the colors. Write down what you did, then see if you can make the same color by following your own color recipe.

WHEN ARTISTS ARE TRUE TO THEIR WORK THEY CAN AFFECT THE WORLD

By the 1970s both Georgia O’Keeffe and Ansel Adams were important figures in American art. Although it was never their goal, their work had also become a voice for larger social movements. Through their commitment to their art they changed people’s values.

O’Keeffe became an example to millions of women who were embracing the feminist movement. She never doubted that she could make great art regard-less of her gender. She didn’t allow herself to be limited by the ideas and beliefs of other people.

Georgia O’Keeffe, The Black Iris, , oil on canvas, × inches.

Ansel Adams, Dogwood Blossoms, printed , gelatin silver print,

⁄ × ⁄ inches.t




again Namingha utilizes traditional designs in harmony with more

contemporary and bold patterns.

Namingha’s work is represented by the Blue Rain Gallery in

Santa Fe, and will be featured along with other contemporary Native

American artists during the week of August 20 – 23, as a precursor

to Indian Market. Gallery Executive Director Peter Stoessel describes

Namingha’s contributions as complex and cutting edge. “Les Nam-

ingha masterfully combines innovation with refinement in his

meticulously painted ceramic pieces. By using Hopi, Zuni, and Ana-

sazi motifs in conjunction with his unique designs and forms, he

creates spectacular pottery with each piece having its own identity,”

stated Stoessel. During a reception on August 22, Namingha’s pieces

will be offered for purchase through a lottery process because of

the high demand for his work.

Namingha wants collectors and viewers of his art to under-

stand the unifying nature of it. “I hope they see my work as a

bridge between my culture and their own, whatever that might

be.” He goes on to explain he believes there is much commonal-

ity amongst us, not just as spiritual beings, but in that we can find

pleasure and love in that which is aesthetically pleasing. Through

his exquisite art he is not only bridging that gap, but carrying on

the family legacy with distinction.

Opposite page: Cuts, natural clay with acrylic paint, "h × "w ×

"d; This page: Numbers, natural clay with acrylic paint, "h × "w

Les Namingha’s work can be viewed at Blue Rain Gallery, located at 130

Lincoln Avenue in Santa Fe, (505)954-9902 or on the web at

www.blueraingallery.com.

individual piece has a spiritual message that is the result of things I

have experienced in my daily life,” Namingha explains.

A good example of this is a ceramic piece entitled Healing

Hand. It is a vessel created with the shard design and includes the

impression of a hand. The inspiration for the piece was the inter-

nal struggle he was experiencing after injuring his thumb on his left

hand, which was most likely fractured. Though the physical pain

was very real, Namingha’s primary concern was whether the injury

would hinder his ability as an artist. During those months of recov-

ery, he made peace with his difficult circumstances through spiritual

meditation. With the receipt of blessings and the offering of prayer,

he honored what he describes as his Creator and he conceptualized

that through the impression of the hand. In Namingha’s own words,

the outline of his hand on the ceramic represents “both the healing

hand of a higher power, as well as a hand that is healing.”

His current works reflect his exposure to more modern influ-

ences and abstract art. Through continuing education he has been

exposed to a variety of different philosophies as it relates to art.

Recent classes at the Institute of American Indian Arts have piqued

his interest in “activist art” some of which utilizes text as part of

the illustration. Namingha has incorporated the application in

some of his latest pieces, including Numbers, a pot with intricate

designs encapsulating a series of numerics connected together by

intersecting lines.

Also within the realm of his abstract works, Cuts offers the

viewer a snapshot into Namingha’s creative perspective. Through

the application of metallic paints the pottery bears a surface design

revealing layers of depth through large jagged slits or cuts. Once

> Continued from



Gallery Shows:

Mark Sublette Medicine Man Gallery602A Canyon RoadOpening reception: 2 to 4 p.m., August 22For more information: (505)820-7451

Blue Rain Gallery130 Lincoln AvenueOpenings: 5 p.m., August 205 p.m., August 21 8 a.m., August 22 5 p.m., August 22Artist demonstrations: 11 a.m.- 4 p.m., August 22 and August 23For more information: (505)954-9902

River Trading Post Santa Fe610B Canyon RoadOpening reception: 6 to 9 p.m., August 21For more information: (505)982-2805

Niman Fine Art125 Lincoln AvenueOpening reception: 5 to 7 p.m., August 22For more information: (505)988-5091

Morning Star Gallery513 Canyon RoadOpening reception: 6 to 8 p.m, August 16For more information: (505)982-8187

Manitou Galleries123 West Palace AvenuePreview Party: 5 p.m. to 8 p.m., August 21Opening reception: 5 to 8 p.m., August 22Artists in attendance from 8 a.m. to 8 p.m., August 23 and August 24, 8 a.m. to 5 p.m. For more information: 800-283-0440

Opposite page: Arapaho Tobacco Bag ca. 1860, "× ", Morn-

ing Star Gallery; This page, top to bottom: Paint Horses, Joe

Oreland, Colorado alabaster, " × " × Medicine Man Gal-

lery Arlo Namingha, Sandhills, " × " × bronze, wood.

Ed. 9, 2007, Niman Fine Art; Ed Noisecat, Sun Eagle, "dia ×

"h on stand cast glass, Manitou Galleries.

FOCUS SANTA FE August /September 2008 29

While the outside air temperature sizzles during Santa

Fe Indian Market, the only thing that’s hot inside area

galleries is the art. Some Native American artists opt to

participate in gallery shows during this festive weekend

that celebrates the creative endeavors of tribal members

throughout the country.

For a historical perspective of Native arts, check out

Morning Star Gallery’s annual summer show that takes

place a week before Market. This year’s extravaganza fea-

tures Plains beadwork and quillwork, Southwestern

pottery and textiles and baskets from California and the

Southwest that share the common design of bands or

stripes. Banded Together: The Striped Aesthetic in the

Southwest and Beyond is a show that includes approxi-

mately two dozen works created between 1850 and 1940.

“We’ve been gathering these items together during

the past year,” says the gallery’s assistant director Vanessa

Hernandez. “Everything is one-of-a-kind.”

Located in an historic building on Canyon Road,

Morning Star Gallery specializes in carrying cultural and

artistic treasures from more than 50 Native North Ameri-

can tribes. It has been a destination for serious collectors

since 1984.

Admirers of pottery by Maria Martinez (1887-1980) and

the family of her son, Popovi Da (1923-1971), shouldn’t miss

an opportunity to stop by Mark Sublette Medicine Man

Gallery during Indian Market when more than 70 pieces

of pottery by the Martinez family are on display. The show

also highlights recent work by painter Shonto Begay, who

is sometimes referred to as “the Navajo Van Gogh” due to

his palette and brushstrokes.

“Shonto Begay is known for depicting Native Ameri-

cans as they really are today, which includes their troubles

and sad times,” explains Jaime Gould, the sales manager for

the gallery’s Tucson location.

More than Meets the EyeIn addition to the Indian Market there are many Indian artists in galleries around town to see.

BY EMILY VAN CLEVE

28 FOCUS SANTA FE August /September 2008


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ART WORKSHOPS, CLASSES,

LECTURES & DEMOS

AUGUST


Mon, Aug 4–Aug 8, 9:30–4:30pm

Creating a Timeless Oil Portrait

Margaret Baumgaertner workshop.

Andreeva Portrait Academy, W San Francisco

St – STE . - -

www.AndreevaPortraitAcademy.com

Mon, Aug 4–8

Craig Srebnik. Portrait in Oil. Valdes Art Work-

shops, Marquez Place

- - , www.valdesartworkshops.com

Mon, Aug 4–15 , 9:30–4:30pm

Long Pose Portrait Drawing

and Painting Workshop

Dan Thompson workshop.

Andreeva Portrait Academy, W San Francisco

St - STE

- -

www.AndreevaPortraitAcademy.com

Mon, Aug 18–22, 9:30–4:30pm

Figure Painting

Juliette Aristides workshop.

Andreeva Portrait Academy, W San

Francisco St - STE

- - , www.AndreevaPortrait-

Academy.com

Mon, Aug 18–22

John Poon

Plein Air Oil.

Valdes Art Workshops, Marquez Place


Mon, Aug 25–29

Pat San Soucie

Watercolor/ Mixed Media.

Valdes Art Workshops, Marquez Place


TAOS & NORTHERN NEW MEXICO

Mon, Aug 4–8

Sherrie McGraw: The Still-life Figure

Oil painting workshop through Aug .

Fechin Art Workshops / Donner Ranch

DH Lawrence Ranch Rd

- - , www.fechin.com

Mon, Aug 11–17, 9–5pm

8th Annual Sax Stonecarving Workshops

Session - East Meets West - with Guest Instruc-

tor Joseph Kincannon and Guest Artist Kazutaka

Uchida. Through / . Presented by Rift Gallery

/ Southwest Stoneworks. Rift Gallery, High-

way in Rinconada. - -

www.riftgallery.com

Mon, Aug 11–15

David Leffel: The Still-life & Figure

Oil painting workshop.




Thu, Aug 14

Exhibition Walk Through with Charles Strong.

In conjunction with current exhibition, Discov-

ery Series I. Call for time.

Harwood Museum of Art, Ledoux Street

- - , www.harwoodmuseum.org

Mon, Aug 18–22,

Gregg Kreutz: The Still-life and Figure

Oil painting workshop.




MUSIC, CONCERT &

THEATRE PERFORMANCES

AUGUST


Fri, Aug 1, 2, 8pm

The Symphony in Summer: A

Beethoven Marathon

Two evening performances recreat-

ing parts of Beethoven’s ‘’marathon’’

concert. Featuring pianist Adam Neiman

and the Santa Fe Symphony Chorus.

Conducted by Steven Smith. Lensic

Performing Arts Center, West San

Francisco Street

- - , www.sf-symphony.org

Fri, Aug 1, 7, 15, 8:30pm & Aug 20, 8pm

Radamisto by George Frideric Handel

First performance by The Santa Fe Opera. Con-

ductor Harry Bicket, Director David Alden

The Santa Fe Opera, Santa Fe Opera, Tesuque

- -

www.santafeopera.org

Sat, Aug 2, 4pm & 7pm

Broadway Theater Dance

Workshop Performance

Talented young performers present scenes from

award-winning Broadway musicals. National

Dance Institute of NM, Alto Street

- -

www.ndi-nm.org

Sat, Aug 2, 3, 9, 10, 16, 17, 7pm

Storytelling with Joe Hayes

Santa Fe’s premier storyteller returns to

share his tales of Southwest lore, Native

American myth, and Spanish legends.

A must-see event for audiences of all

ages. Held outside by the main entrance

of the Wheelwright. Be sure to bring

comfortable seating.

Wheelwright Museum of the American

Indian, Camino Lejo,

on Museum Hill

www.wheelwright.org

Sat, Aug 2, 5, 9, 13, 8:30pm Mon, Aug 18, 22, 8pm

The Marriage of Figaro

by Wolfgang Amadeus Mozart

New Production! Last performed in SF in .

Conductor Kenneth Montgomery. Debut perfor-

mances by Luca Pisaroni, Figaro and Elizabeth

Watts, Susanna.


- - , www.santafeopera.org

Mon, Aug 4, 11, 19, 8:30pm, Sat, Aug 23, 8pm

Falstaff by Giuseppe Verdi

Last performed in SF in . American debut of

conductor Paolo Arrivabeni.



Wed, Aug 6, 14, 8:30pm Thu, Aug 21, 8pm

Billy Budd by Benjamin Britten

First performance by The Santa Fe Opera. Con-

ductor Edo de Waart


- -

www.santafeopera.org

Fri, Aug 8, 12, 8:30pm

Adriana Mater by Kaija Saariaho

American Premiere. American Debut of con-

ductor Ernest Martinez Izquierdo. Director

Peter Sellars.



Fri, Aug 8 , 7pm

Ralph Vaughan Williams—A Retrospective

With the Santa Fe Symphony Orchestra

Santa Fe Desert Chorale

Cathedral Basilica of St. Francis, Cathedral Pl

- -

www.desertchorale.org

Sun, Aug 10 , 4pm

Ralph Vaughan Williams — A Retrospective

With the Santa Fe Symphony Orchestra

Santa Fe Desert Chorale

The Lensic, West San Francisco St

- - , www.desertchorale.org

Tue, Aug 26, 7:30pm

Live Rhubarb Tour

Garrison Keillor and A Prairie Home Compan-

ion visit the Santa Fe Opera with Suzy Bogguss.



TAOS & NORTHERN NEW MEXICO

Sat, Aug 2, 8pm, Sun, Aug 3, 7:30pm

46th Summer Chamber Music Festival

Young Artists Concert. Free admission.

Taos School of Music

Hotel St Bernard - Taos Ski Valley

- - , www.taosschoolofmusic.com

Sun, Aug 3, 7:30pm

46th Summer Chamber Music Festival

Young Artists Concert, for the benefit of SOMOS.

Taos School of Music

SMU - Fort Burgwin, NM Highway

- - , www.taosschoolofmusic.com

EVENTS & OPENINGS

SEPTEMBER


Fri, Sep 5, 5–7pm

Earl B. Lewis: Fluid Narrative

A solo exhibition of figures and interiors. His

new figurative paintings are poignant reminders

of the wonderfully simple moments that make

up each of our lives. By acknowledging dignity

and humanity in his subjects, he ‘’feels much like

a documenter of our times.’’

Deloney Newkirk Galleries, Canyon Road

- -

www.DeloneyNewkirk.com

Sat, Sep 6, 4–7pm

Art Walk to the Madrid Galleries

First Saturday of each month throughout

Madrid on the Turquiose Trail. Plan to spend

This page: Shoshone Dress, c. 1860, Cour-

tesy of H. Malcolm Grimmer, Santa Fe, NM

– Whitehawk Antique Show


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TeMPLe design, e-blasts and print collateral production work, 2008


2 0 0 8 - 2 0 0 9 S e a s o n

Great performances at a great value.

Single tickets available or subscribe now.

Series packages include:

BROADWAY DANCE

INTERNATIONAL LEGENDS OF MUSIC

CHILDREN FAMILY

Reserve now www.sunsetcenter.org

831.620.2048

Come early, meet friends, enjoy pre-show refreshments

and festivities.

Ample free parking available.

Ninth Avenue &

San Carlos Street

Carmel-by-the Sea

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SUNSET CENTERSan Carlos Street at Ninth Avenue

Carmel-by-the-Sea

Order tickets online: www.sunsetcenter.org or call: 831.620.2048

ElectrifyingU Theatre’s Sound of the OceanNovember 8, 2008 8 PM

“There is a great and complex beauty to the intricate meshes of pre-cisely articulated rhythms.”–The New York Times

EverlastingIrving Berlin’s I Love a PianoNovember 30, 2008 7 PM

“Its passage across 70 years of national iden-tity forms an overview through which 64 Berlin songs supply narrative. It proves a masterstroke.”–The Los Angeles Times

UpliftingGrooveLily’s Striking 12December 14, 2008 2 PM and 7 PM

“Striking 12 uses con-vention for kindling and leaves us all basking in the glow of the hippest holiday show in recent memory. Striking 12 is too hot to miss.”–The San Jose Mercury News

Bebe Neuwirth Stories with Piano

October 3, 2008 8 PM

“A formidable combination of grace, ferocity, intelligence and beauty.”—San Francisco Chronicle

Soweto Gospel Choir


“Resplendent in a rainbow of robes and patterned textiles . . . the South African songs were both spirited and spectacular.” —New York Times

Order tickets online: www.sunsetcenter.org

831.620.2048

SUNSET CENTER

San Carlos Street at Ninth Avenue Carmel-by-the-Sea

Bebe Neuwirth Stories with Piano


“A formidable combination of grace, ferocity, intelligence and beauty.”—San Francisco Chronicle

Soweto Gospel Choir


“Resplendent in a rainbow of robes and patterned tex-tiles . . . the South African songs were both spirited and spectacular.”—New York Times

SUNSET CENTER

San Carlos Street at Ninth Avenue

Carmel-by-the-Sea

Order tickets online:

www.sunsetcenter.org 831.620.2048

Jungle Jack HannaOctober 26, 2008 1 PM and 4 PM

“The best known zoologist in the world.”—Larry King

SUNSET CENTER

San Carlos Street at Ninth Avenue Carmel-by-the-Sea

Best of MOMIXNovember 1, 2008 8 PM

“Like animated sculpture.”—Financial Times

U Theatre’s Sound of the OceanNovember 8, 2008 8 PM

“A great and complex beauty . . . .”—The New York Times

Voted Best Concert Venue on the Monterey Peninsula

Order tickets online: www.sunsetcenter.org

831.620.2048



ico,” such as adobe earth blocks, straw bale, rammed earth

and other materials unique to Santa Fe.

The benefi ts of building a green home are numerous,

from lower operational and maintenance costs, to increased

durability and comfort. Often people are concerned with

increased costs associated with building green, but con-

structing a LEED (Leadership in Energy and Environmental

Design) certifi ed building can be done with an average in-

crease of only two percent in up front costs and sometimes

even below standard market construction costs. In addition

to cost savings gleaned over the life of a building, there are

some wonderful tax breaks that can be enjoyed on both the

state and federal levels for building green. Currently LEED

certifi ed buildings earn more credit, but it is the hope that

energy saving methods that address local climate issues, such

as harnessing solar or photo-voltaic power in New Mexico,

Opposite page: EcoNest living and dining rooms; This

page: Japanese inspired EcoNest entry and niche. Photo-

graphs by Laurie Dickson.

inspection, with requirements growing stricter commensurate with

increased square footage. The ultimate goal of the code is to achieve

carbon-neutral buildings over time. According to the City, “The ben-

efi t of having a projected HERS rating early in the process is that it

can identify simple changes in the building design or specifi cations

that can reduce a home’s energy requirements and save the home-

owner money over time.”

The movement towards standardized energy efficiency in

homes is spurred on by the American Institute of Architects and

the U.S. Congress of Mayors who have adopted the challenge of

achieving zero carbon emissions from new buildings by the year

2030. The City of Santa Fe joined the cause by resolving to enact

policies and programs for sustainable building practices which

meet or beat the Kyoto Treaty protocol. To that end, Santa Fe’s

Green Building Code has been composed to “highlight ways in

which a home builder can effectively weave environmental con-

cerns holistically into a new home … and strives to give equal

weight to the practices of mainstream home building methods as

well as the historic, environmentally conscious building methods,

and other innovative practices being used in Northern New Mex-


in them to change our community and our world for the better.

Given that buildings are responsible for approximately forty per-

cent of energy use in most countries, many cities across the United States

are working towards meaningful laws that will help reduce greenhouse

gas emissions or carbon footprint produced by new development — and

Santa Fe is no exception. There is a Green Building Code slated for consid-

eration by the City of Santa Fe which will require new residential buildings

to meet stricter energy effi ciency standards. The ordinance will utilize a

Home Energy Rating System (HERS) to measure energy consumption

with an initial goal of reduction by approximately thirty percent over

existing home building and design systems.

Since January of this year builders of new homes in the City of

Santa Fe have had to conduct a HERS rating before a certifi cate of

occupancy will be issued, but no mandatory rating level has yet been

set. However, considerable rebates have been offered for homes achiev-

ing a rating of 85 or less as an energy effi ciency incentive. The proposed

Green Building Code will require a minimum HERS rating of 70 to pass

First Mother Nature tossed us a pebble, then a rock, then

what has felt like a brick to the head — climate change is

upon us and it can no longer be ignored. In the quest to

embody an environmentally sustainable lifestyle many of us

contemplate how we can change our own practices to be-

come part of the solution rather than contributing to the

problem. The more one learns about the fragility of our

planet and the many astounding examples of peril that cur-

rently exist the more one begins to feel like most of our

conventional systems are broken. With so many areas in

need of transformation to facilitate global impact, deciding

where to begin can feel daunting. But we all have the power

to make personal choices about our homes and how we live

Coming Into Consciousness: Santa Fe Building Green

BY CLAUDIA JOSEPH


A national trend observed by architects in 2007 was an increase in the use of

renewable materials, especially in fl oor and countertop applications, demonstrat-

ing an increase in environmental awareness in building nationwide. However,

there are different levels of commitment when it comes to choosing sustainable

home elements. While bamboo fl ooring is preferable to some conventional mate-

rials, one should also consider the use of fossil fuels needed to transport bamboo

from far fl ung regions, like Asia. Some homes contain earthen fl oors, for exam-

ple, making use of regionally resourced clay, sand and straw that is troweled and

sealed with natural oils, giving the effect of walking on leather. Laporte also sug-

gests that a stone slab may be viewed as more desirable than a renewable paper

based material countertop if the slab is going to last 200 years and can later be

used for another function.

While a wide variety of options exist for environmentally conscious materi-

als and methods, Laporte emphasizes that humans are the greatest resource we can

rely upon when trying to achieve sustainability. “We can change our buildings, but

how we choose to live in them is where real progress occurs. The bigger goal is to

change our consciousness.”

Opposite page, top: Nevada City EcoNest, photograph by JT Heater; Bottom:

EcoNest yoga/meditation room, photograph by Laurie Dickson. This page,

top: EcoNest living room, photograph by Laurie Dickson; Bottom: EcoNest

entry path and structure, photograph by Robert Laporte.

ing what is available locally — the Santa Fe Green

Building Code addresses that without penalizing

traditional methods.” a

Laporte is grateful that Santa Fe, and New

Mexico in particular, has an unbroken tradition

of building with earth and existing resources

since this allows New Mexicans to use traditional

sustainable materials and methods to achieve

“green” status. It is hoped that this will make the

transition to widespread sustainable building in

our state much smoother and perhaps provide a

greater likelihood of success in meeting energy

effi ciency goals.


well as creating workable, effi cient systems for roof water

collection, gray water and human waste, recycling, com-

posting and solar power.

Paula Baker-Laporte considers the Santa Fe Green

Building Code a good start on the road to community, state

and nationwide sustainable building practices. The code is

designed to introduce green building principals and tech-

niques to conventional construction, but naturally Laporte

wishes it would go a bit further. She reminds us “indigenous

peoples throughout the world, and North Americans until

very recent history, have always built sustainable structures

in response to their climates, primarily with the materials

at hand.” So she appreciates that the code recognizes nat-

ural building and the materials and techniques employed

in New Mexico for centuries. “The heart of green building

requires building regionally appropriate structures, utiliz-

will be assigned equal incentives and rewards in the future.

One Santa Fe business that has been creating envi-

ronmentally conscious homes since 1994 is The EcoNest

Company, which builds what it calls “living sanctuaries of

clay, straw and timber.” The Tesuque based company, founded

by architect Paula Baker-Laporte and her husband, builder

Robert Laporte, creates habitats that refl ect sustainabil-

ity, health and beauty. EcoNest homes are hand crafted and

designed to incorporate natural building techniques with

natural, non-toxic fi nishes throughout. The clay/straw walls

of each home are built during a four day workshop, giving

homeowners an opportunity to create some sweat equity and

affording them the pride that comes with hands-on partici-

pation in the construction of their home.

Sustainability defi nes the concept behind EcoNest as it

constructs structures built to last for centuries. The company

considers EcoNest owners to be “building stewards passing on

a handcrafted heirloom that will serve many generations to fol-

low.” These homes are designed to work in harmony with their

natural surroundings, mindful of existing site conditions as





12 FOCUS SANTA FE April / May 2008 FOCUS SANTA FE April / May 2008 13

Landscapes are Day’s first love, although the well-trained painter

has devoted hundreds of hours to drawing and painting the figure. He

feels a special kinship to Western scenes and to the special mountain

valleys that meander through New Mexico. Recently, Day and his wife

Cheri moved from the suburbs of Denver to a rural area outside Taos.

The couple purchased an old adobe home several years ago and im-

mediately began a series of renovations. Although everything was not

completely finished when they moved, they were thrilled to become

residents of the Land of Enchantment.

“I have been up and down all the back roads in New Mexico,”

Day says. “I’ve painted scenes around Socorro and Magdalena and as

far west as Grants, Gallup and Zuni. My favorite area is Tierra Ama-

rilla. There are a lot of old adobes in that area that haven’t been fixed

up. I like to paint traditional adobe buildings within the landscape.”

Each adobe structure has its own personality, which Day says is a

result of how it was built. “Most adobes started with just one room,”

he explains. “Over the course of the years, other rooms were added to

accommodate growing families. No two adobes have exactly the same

shape. They all have stories to tell.”

At the top of his list of favorite adobes is the Catholic Church

in Canoncito, which was erected in 1869 and is located a few miles

southeast of Santa Fe in Apache Canyon. Day has painted the church

in every season and from every possible angle. “I love that church so

much that I often ask myself if there is another angle I can get,” he

says. “There probably is.”

Even when the thermometer dips below freezing, Day packs

up his panels and oil paints and travels to canyons, ridge tops and

mountain valleys to find expansive vistas and intimate, contempla-

tive settings. His passion for snowy scenes equals his love for sunsets.

“Snow is as big a challenge to paint as sunsets, because snow reflects

the sunlight around it,” he says. Day also enjoys painting arroyos that

gently wind through the pinõn and sage-covered landscape. “Around

each corner is an interesting view,” he adds. “In the winter, snow on

the north facing banks of the arroyos inspires many paintings.”

Occasionally, the small studies created out in the field find their

way to gallery walls. Often, they become the basis of a larger work

which better conveys the image that first caught his eye.

Stephen Day’s evocative landscape paintings exude mood and feeling

BY EMILY VAN CLEVE

Sunsets are a defining part of the Southwestern landscape for oil

painter Stephen Day. He savors the way light filters through early

evening clouds and illuminates the area’s vast skyscapes with a broad

range of subtle and dynamic colors. “I paint what I see, and even after

all these years, it is still a challenge to capture what nature gives you,”

he explains.

This page: Across the Wide Horizon, oil, "× "

14 FOCUS SANTA FE April / May 2008 FOCUS SANTA FE April / May 2008 15

“It met once a week, every Thursday,” he recalls. “We drew and

painted still life and models in the studio and went out to paint on

location. It was an unbelievable experience. I couldn’t have asked for

anything better.”

Day’s paintings have been included in "Representing the West"

Invitational Show at the Sangre de Cristo Arts Center in Pueblo,

Colorado and in Artists of the West Invitational Show in Colorado

Springs. The Colorado Rockies baseball team purchased three paint-

ing for their Coors Field Pinnacle Room.

Although Day loves to travel and paint the landscape in other

parts of the country, he is always thrilled to return to the Southwest.

Inspiration for new work is right outside his front door. His northern

New Mexico home has stunning views of the Sangre de Cristo Moun-

tains. “I see incredible sunsets every evening,” he says.

“I use photos for reference, but I have to get the sense of the light

through field studies,” he says. “Painting on location is very important

even though pigment can’t exactly capture the colors and contrast

found directly in nature.”

Day’s extraordinary connection with the landscape was nurtured

during his early childhood, which was spent in Santa Fe. He recalls

playing outdoors on Canyon Road and feeling awed by the majestic

mountains that surrounded him. When his father made the decision

to go to school to become a Methodist minister, the family moved

to Texas.

During his teen years Day was an avid sports fan and played

on basketball, football and baseball teams. After graduating from

high school, he attended Fort Lewis College in Durango and South-

ern Methodist University in Dallas. It was during the time that he and

Cheri lived in Casper, Wyoming that art became the focal point of his

professional life.

Day took a number of art classes at Casper College before the

couple moved to the Denver area to be close to a large city. He studied

at the Art Students League, while Cheri worked at Lockheed Martin as

a computer programmer. Through connections with the Denver art

community, he heard about a painting group in Loveland formed by

internationally-known artist Richard Schmid. Day became a member

and stayed with the group for five years.

Stephen Day’s paintings are represented by Peterson-Cody Gallery,

LLC, West Palace Ave., Santa Fe, New Mexico, . Hours: :

a.m. – p.m. daily. Phone: ( ) - ; www.PetersonCodyGal-

lery.com; E-mail: [email protected].

This page: Adobe Fall, oil, "× "; Opposite page: Winter Eve-

ning, oil, "× "



georgia o’keeFFe MuseuM, newspaper ad, 2007

JOIN US

FOR THE BIG

A C

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PRESENTED BY THE GEORGIA O’KEEFFE MUSEUM AND THE PUEBLO DE ABIQUIU L IBRARY & CULTURAL CENTER

ALL PROGRAMS ARE FREE COMMUNITY KICK-OFF EVENTS

SUNDAY OCTOBER 14 3PM WITH TRIO JALAPENO DE ANTONIA APODACA

Northern New Mexico College Nick Salazar Center for the Arts – Espanola

SUNDAY OCTOBER 21 4PM WITH CIPRIANO VIGIL

Cutting Hall, Northern New Mexico College – El Rito

One of New Mexico’s best loved books, Bless Me, Ultima comes to life with a theatrical reading from the novel by Teatro del Alma. Delight in a performance of canciones tradicionales and learn about The Big Read/Bless Me, Ultima programs happening in your community in the days to come.

Following events at the Pueblo de Abiquiu Library, (505)685-4884

TUESDAY OCTOBER 23

The Golden Carp and Other Magical Stories by Rudolfo Anaya

After School Program 3:30–4:30PM: Enjoy storyteller Paulette Atencio’s presentation of stories from one of New Mexico’s best loved books!

For Ultima Even the Plants Had Spirits 6:30PM

A conversation with Lydia and Chriselda Dominguez, curanderas from Abiquiu pueblo. Hear about the beliefs that healers like Ultima, an unforgettable character in Rudolfo Anaya’s Bless Me, Ultima, practiced.

THURSDAY OCTOBER 25 3:30PM

Illustrate A Story!

After School Program 3:30PM - Join Leland Chapin, a skilled artist and illustrator to learn how to draw stories taken from literature. We will use Rudolfo Anaya’s Bless Me, Ultima as an example.

Book Discussion 6:30PM The public is invited to join in a lively discussion of Bless Me, Ultima

The Georgia O’Keeffe Museum thanks the William Randolph Hearst Foundation, JP Morgan Chase, NM Arts, a Division of the Office of Cultural Affairs, the City of Santa Fe Arts Commission, the New Mexico Humanities Council, El Museo Cultural de Santa Fe, and the Pueblo de Abiquiu Library.

Pueblo de Abiquiu Library October Book of the Month: Bless Me, Ultima by Rudolfo Anaya

Copies of the book are available in English and Spanish at the Library. You are going to LOVE this book! For program information contact the Pueblo de Abiquiu Library at 505.685.4884, or email: [email protected]

These events are part of The Big Read, an initiative of the National Endowment for the Arts in partnership with the Institute of Museum and Library Services and Arts Midwest. Designed to restore reading to the center of American culture, The Big Read provides citizens with the opportunity to read and discuss an important piece of American literature. The Georgia O’Keeffe Museum selected Rudolfo Anaya’s novel, Bless Me, Ultima, as the focus for The Big Read activities. For more information on these programs contact 505.946.1007, or [email protected], or go to www.neabigread.org/communitycalendar.

Illustration by John Sherffius

READ!

georgia o’keeFFe MuseuM, brochures, 2007

JO IN US

Events & ProgramsJUNE THROUGH

S E P T E M B E R 2 O O 7

1 0 T H A N N I V E R S A R Y P R O G R A M S

FRIDAY AUGUST 24 6 PM

O’Keeffe’s Country: A Dinner at the Artist’s

Abiquiu House

Enjoy an elegant summer evening on the grounds of O’Keeffe’s

private home and studio in Abiquiu, New Mexico. Space is lim-

ited. Call 505.946.1033 for information and reservations.

SATURDAY AUGUST 25 11 AM

Women of Distinction Lecture:

The Honorable RUTH BADER GINSBURG

Associate Justice of the United States Supreme Court, Ruth Bader

Ginsburg will participate in a question and answer session with

Roberta Cooper Ramo, the first woman to be elected president of

the American Bar Association. Our Women of Distinction Lecture

Series honors accomplished women in all fields of endeavor as

part of 2007: The Year of O’Keeffe.

The Lensic, Santa Fe’s Performing Arts Center $15. Members. $10.

Tickets: 505.988.1234 or www.ticketssantafe.org

SATURDAY AUGUST 25 6 –11 PM

10th Anniversary Celebration: A Festive Dinner

Dance Honoring Anne and John Marion

Join us for a light-hearted evening celebrating the Georgia O’Keeffe Museum’s first decade and honoring its founders, Anne

and John Marion. The event begins with a live auction offering

unique travel opportunities, works of art, elegant jewelry and other

one-of-a-kind items. Dinner, dancing and entertainment by The Pink Flamingos follow the auction, continuing the festivities into the

evening.

Georgia O’Keeffe Museum, 123 Grant Street. Call 505.946.1033

for information and reservations.

SUNDAY AUGUST 26 8 PM

10th Anniversary Finale: Diana Krall, Grammy Award-winning

Jazz Vocalist

Diana Krall and her quartet perform standards and new works

under the stars at the Santa Fe Opera. This concert is a benefit

culminating the Georgia O’Keeffe Museum’s 10th Anniversary.

Concert-goers have the opportunity to purchase limited prime seats

including preferred parking and a pre-concert reception at the Governor’s mansion.

Available at the Santa Fe Opera Box Office. Tickets: $15–$250.

Call 1.800.280.4654 or 505.986.5900.

10TH ANNIVERSARY CELEBRATIONS

In recognition of the Georgia O’Keeffe Museum’s contributions to

the artistic and economic life of its community, the State of New

Mexico and the City of Santa Fe Council passed resolutions declar-

ing 2007 “The Year of O’Keeffe.” Throughout 2007, the Museum

will honor women of distinction and celebrate the Museum’s achievements in its first decade.

SATURDAY JULY 7 10 AM–5 PM

An O’K Day Community Celebration

The Plaza and the Georgia O’Keeffe Museum will be buzzing all

day with free food, hands-on art-making, music, and merriment, as

New Mexico celebrates the Museum’s 10th Anniversary in grand

style. And, on this day only, admission to the Museum is free.

Dance on the Plaza to Latin jazz performed by Manzanares, funk by Sister Mary and the Bad Habits, or the Trillium Marimba

Ensemble. Watch Maria Benitez’s Next Generation, or perform-

ers from the National Dance Institute and Mexican Folk Dancing

presented by Aspen Santa Fe Ballet School. In the Museum’s Courtyard you can hear traditional flute music from Native Sounds

and French accordion by Dadou. Fun for all ages.

This event is chaired by Mayor David Coss and Carol Rose.

The Santa Fe Plaza and the Georgia O’Keeffe Museum

THURSDAY AUGUST 23 7 PM

O’Keeffe: Speaking with Friends and Lovers

A Reading of O’Keeffe’s Letters JOAN ALLEN

Renowned actress Joan Allen (The Crucible, The Contender, Pleasantville, Nixon, The Ice Storm, The Bourne Supremacy) will

take the stage of The Lensic to perform excerpts from Georgia

O’Keeffe’s prolific correspondence, including letters exchanged

with Alfred Stieglitz, as well as friends and acquaintances. Allen, a Tony Award winner and three-time Academy Award

nominee, is famous for her ability to inhabit her roles complete-

ly. She will use her talents to illuminate O’Keeffe’s personality,

keen sense of humor, and passion for her work. Allen will be

joined by other professional actors to be announced.

The Lensic, Santa Fe’s Performing Arts Center Tickets: $15–50 ($5

discount for Museum members). Available at the Lensic box office,

or by calling 505.988.1234

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A special thanks to the following 10th Anniversary sponsors: Anonymous (2),

Mercedes and Sid Bass, Bessemer Trust, Century Bank, Christie’s, City of Santa Fe

Arts Commission and the 1% Lodgers’ Tax, City of Santa Fe Occupancy Tax Advisory

Board, Coca-Cola Bottling of Santa Fe, Daniels Insurance, Inc., Eldorado Hotel and

Spa, Patricia Friedman, Lynn Friess, Grimmer Roche, Hilton of Santa Fe, Hinkle,

Hensley, Shanor & Martin, Susan and Larry Hirsch, Hotel Santa Fe, Charles Evans

Hughes Memorial Foundation, Inn of the Anasazi, JP Morgan Private Bank, R.V. Kuhns

and Associates, Inc., La Fonda on the Plaza, La Posada of Santa Fe Resort and Spa,

Los Alamos National Bank, Anne and John Marion, Mish New York, New Mexico

Department of Tourism, O’Neil Printing, Owings-Dewey Fine Art, Barbara Palmer,

Louisa Sarofim, Paul Schorr III, Donna and Marvin Schwartz, Sotheby’s, Southwest

Airlines, Lissa and Cyril Wagner, Jr., Robert G. Weiss Family Foundation

This year-long series of events owes much to the hard work and dedication of the 10th

Anniversary Committee: First Lady Barbara Richardson, Honorary Chair; Michael

Burns, Lionsgate Co-Founder, Honorary Chair; Nedra Matteucci, Gala Chair; Mayor

David Coss and Carol Rose, An O’K Day Chairs; and Susan Berk, Ellen Bradbury,

Julee Brooke, Jill Cooper Udall, Anita De Domenico, Sande Deitch, Sandy Durrie, Jane

Egan, Kelly Egolf, Patrice Emrie, Sara Jo Fischer, Brenda French, Richard Gaddes,

Bruce Galpert, Jill Gray-Momaday, Leslie Hoeflich, Sarah S. King, Karen A. G. Loud,

Marilyn Macbeth, Tom Maguire, Sharon Maloof, Marilyn Mason, Marsha Mason,

Michael Odza, John O’Laughlin, Lucy Peterson, Janey Potts, Sarah Robarts, Carol

Robertson-Lopez, Jodi Stumbo, Margarita Waxman, Patti Webster, Susan Wells,

Rebecca Wurzburger, and the OK Day Commitee members.

Official 10th Anniversary Printing Sponsor: O’Neil Printing.

For more information on “2007 The Year of O’Keeffe,” contact the Georgia O’Keeffe

Museum at 505.946.1039 or visit www.okeeffemuseum.org.

GEORGIA O'KEEFFE , ABSTRACT ION WHITE ROSE , 1927 .O I L ON CANVAS. 36 × 30 . G I F T

OF THE BURNETT FOUNDAT ION AND THE GEORGIA O'KEEFFE FOUNDAT ION. © 2006

GEORGIA O’KEEFFE MUSEUM/ART ISTS R IGHTS SOCIETY (ARS ) , NEW YORK

JO IN US

Events & ProgramsS E P T E M B E R

THROUGH

DECEMBER

2 O O 7

L E C T U R E S A N D M U S I CMUSIC EVENTS

THURSDAY NOVEMBER 15 7 PMTime Shards Music Series: Aki Takahashi Performs Works by Morton Feldman

The Time Shards Music Series, founded by composer Barbara Monk Feldman, will be revived with an all Morton Feldman concert featuring pianist Aki Takahashi. Triadic Memories (1981) and the later work Palais de Mari (1986) will be performed. A close associate of New York painters of the 1950s, Feldman’s delicate interaction of tones and silence is, according to Wilfrid Mellers, “of exquisite musicality; and it certainly pres-ents the American obsession with emptiness completely absolved from fear.” Takahashi resides in Tokyo, Japan, and is highly regarded internationally for her dedication to interpreting the work of 20th-century composers.

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Avenue. $12. Members, $10. Reservations suggested: 505.946.1039

FR IDAY DECEMBER 7 5 –8 PMHoliday Concert Performed by Santa Fe New Music

Join us for the Museum’s annual concert in the galleries offered as a gift to the community. The performance features 20th-century compositions, including Peter Garland’s Matachin Dances. Santa Fe New Music promotes the music of our time and delivers to audiences the experience of music as a living art form. One of America’s foremost proponents of New Music, John Kennedy, founder and director of SFNM, has forged a diverse musical career through work as a composer, conductor, performer, and educator.

Georgia O’Keeffe Museum, 217 Johnson Street. Thirty-minute performances begin at 5:00, 5:45, 6:30, and 7:15 pm. Free.

FR IDAYS OCTOBER 5 AND NOVEMBER 2 5–8 PMMusic with O’Keeffe

OCTOBER : ROBERTO CAPOOCHI , SPANISH GU I TARNOVEMBER : WAYNE WES LEY, GU I TAR

Alfresco Performance Series and wine bar in the Museum Courtyard. Sponsored by El Corazon de Santa Fe. Free.

LECTURES

THURSDAY NOVEMBER 29 7 PMThe Modernist Spirit: Women Photographers and the Stieglitz Circle

SUSAN EHRENS

Anne Brigman created pictorial equivalents of her innermost feel-ings as she celebrated wilderness, sexual freedom, and the human body. Ehrens looks at Brigman’s work and her contributions to the development of photography, her relation to women working in the field, and especially, her relationship to Alfred Stieglitz. Drawing from unpublished writings and visual materials, Ehrens also discusses Imogen Cunningham, who sought advice and support from Stieglitz. Cunningham’s photographs were influenced by Gertrude Käsebier and Brigman, whose work she encountered in Stieglitz’s seminal publication, Camera Work. Ehrens, an independent curator and arts writer, is a respected authority on pictorialist and modernist photog-raphy as well as women photographers of the West. She has curat-ed photography exhibitions for the American Federation of the Arts, the Art Institute of Chicago, Friends of Photography, et al., and is author of A Poetic Vision: The Photographs of Anne Brigman (1995).

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Avenue, Santa Fe. Lecture co-sponsored by Aperture West. $5. Members, free. Reservations suggested: 505.946.1039

WEDNESDAY DECEMBER 5 7 PMA Research Center Scholar Lecture Mentoring a Movement: F. Holland Day, Alfred Stieglitz, and the Development of American Art Photography

ELIZABETH BISCHOF

The story of F. Holland Day and Alfred Stieglitz is reconsidered to understand the development of pictorial photography in 20th-century America. This talk re-examines leadership of the art photography movement at the turn of the century by focusing on the relationship between Day and Stieglitz as well as the relationships they fostered with other prominent photographers of the era, including Gertrude Käsebier, Clarence White, Frederick H. Evans, Frank Eugene, and Edward Steichen, among others. A close examination of such rela-tionships reveals that while Day befriended and mentored individual photographers, Stieglitz mentored a movement. Bischof explores the ramifications in the development of American Modernism with regard to styles of mentoring: the personal, communal, and col-laborative approach of Day versus the competitive individualism fostered by Stieglitz’s emphasis on “the movement.” Bischof is an Assistant Professor of History at the University of Southern Maine, Portland/Gorham.

Georgia O’Keeffe Museum Education Annex, 123 Grant Avenue. $5. Members, free. Reservations suggested: 505.946.1039

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Documents

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