SOFA

WEST:SANTA

FE

2010

The Art Fair Company, Inc.Producer of SOFA WEST: Santa Fe 20104401 North Ravenswood, Suite 301Chicago, IL 60640voice 773.506.8860fax 773.345.0774www.sofaexpo.com

Michael FranksChief Executive OfficerThe Art Fair Company, Inc.

Mark LymanPresidentThe Art Fair Company, Inc.Founder/Director, SOFA Fairs

Anne MeszkoJulie OimoenKate JordanGreg WorthingtonBarbara Smythe-JonesPatrick SedaMichael MacigewskiBridget TrostAaron AndersonStephanie HatzivassiliouGinger PiotterHeidi HribernikErinn M. CoxDonald BromaginJoe PonegalekDonna Davies

Library of Congress – in Publication Data

SOFA WEST: Santa Fe 2010Sculpture Objects & Functional Art Fair

ISBN 0-9789206-6-X2009913077

Published in 2010 by The Art Fair Company, Inc., Chicago, I l l inois

Graphic Design by Design-360º Incorporated, Chicago, I l l inois

Printed by Unique Active, Chicago, I l l inois

SOFA CHICAGONovember 5-7, 2010Navy PierOpening Night Preview Thursday, November 4

SOFA WEST: SANTA FEAugust 4-7, 2011Santa Fe Convention CenterOpening Night Preview Wednesday, August 3

SOFA NEW YORKApril 15-18, 2011Park Avenue ArmoryOpening Night Preview Thursday, April 14

SOFAWEST: Santa Fe 2010Sculpture Objects &

Functional Art FairJuly 8-11, 2010

Santa Fe Convention Center

FRONT COVER: Randy Walker, Shimmer Frames, steel,nylon thread, six 72 x 24 panels, browngrotta arts

All dimensions in the catalog are in inches (h x w x d)unless otherwise noted

2

Conte

3

nts

4 Acknowledgements

10 Lectures Series

14 Essays

16 Earth Pigs and Earth Mothers:The Ceramics of Diego RomeroGarth Clark

20 The Fire Burns OnPilchuck Glass School

24 My Favorite Tools Are My Hands:Feral Metal in a Tame LandDr. Bruce Bernstein and Gabe Gomez

28 Exhibitor Information

88 Partners

126 Index of Exhibitors

130 Index of Artists

S C U L P T U R E O B J E C T S& F U N C T I O N A L A R T

Welcome toSOFA WEST: Santa Fe!

We have taken time to organize an art fair that hasboth quality and diversity of offerings, with a rangeof galleries returning with familiar artists, as well asfirst-time galleries exhibiting exciting new materials.As with our long-standing SOFA fairs in New York andChicago, a full program of regional art tours, collectionvisits, panels and lectures, and festive gatherings issure to make the week a memorable one. In this, the400th anniversary year of the City of Santa Fe, we aredelighted to be a part of the excitement!

There are many people to thank who make this eventwhat it is. We thank Tom Aageson, Executive Directorof the Museum of New Mexico Foundation and AnnScheflen, Director of Membership and Communications,who have led the effort to make SOFA WEST’s openingnight a success by inviting key Foundation supportersto kick off the fair.

SOFA WEST has been enthusiastically embraced byMayor David Coss, Councilor Rebecca Wurzburger,Mayor Pro Tem, as well as Keith Toler, Executive Directorof the Santa Fe Convention and Visitors Bureau. Wethank them for helping SOFA WEST integrate intothe busy summer schedule. Special thanks also toMelanie Moore, Convention Services Supervisor ofthe Convention Center.

After last year’s stirring success of SOFA WEST’s Nightat the Santa Fe Opera, visitors to the fair may againenjoy a dinner program feted by the Opera’s ApprenticeProgram. Special thanks to honored guest artist KlausMoje and his representative at SOFA WEST, BullseyeGallery of Portland Oregon, which is co-sponsoring theevening. We are delighted to support the world-famousOpera by donating the proceeds to the Santa FeOpera Company Apprentice Program.

Special thanks to Ellen Bradbury of Recursos/RoyalRoad; and Dr. Bruce Bernstein, Executive Director ofthe Southwestern Association of Indian Arts (SWAIA)and the esteemed Santa Fe Indian Market, for theirhard work in organizing Historic Bond/ContemporarySpirit: Collecting New Native Southwest Pottery. Thanksare also due to ceramic scholar and SOFA WEST dealer,Garth Clark, for lending his expertise and enthusiasmas one of its key presenters. This exciting forum willadd depth to SOFA collectors’ understanding of theextraordinary cultural and artistic heritage of Santa Feand its surrounding pueblos.

We are looking forward to SOFA WEST’s free, outdoorevening celebration themed “The Desert is an Ocean,”featuring Santa Fe artist collective Meow Wolf. Widelyknown for its site-specific installation art, Meow Wolfwill transform the Convention Center Courtyard intoan undersea wonderland. Much thanks to Meow Wolfproject lead and co-founder, Quinn Tincher, and also tothe other artists contributing to the nights festivities:jazz pianist Eliot Fisher and violinist Karles McQuade,Moving People Dance, DJ Pablo 77, and Whistle Works.

This is the first year that SOFA WEST: Santa Fe has hadan editorial special section produced by the Santa FeNew Mexican. Special thanks to Robert Dean, ManagingEditor; Inez Russell, Special Sections Magazines Editor;and Joe Vigil, Advertising Director for all their hard workin producing an informative and handsome magazine.

Special thanks to the Hotel Santa Fe and The Haciendaand Spa for their Pincuris Pueblo hospitality year-round,especially Suzanne Brown, Director of Sales, and ToddGlanz, Director of Catering. Thanks also to Lynn Zeckand Todd Davis of Casas de Santa Fe, and Joe Romeroof Romero Rentals for their assistance.

We thank Charlotte Jackson of Charlotte Jackson FineArt and Art Santa Fe, for her assistance in securingthe show carpet for the Convention Center’s SweeneyBallroom, and congratulate her on the 10th anniversaryof Art Santa Fe! Thanks to the Friends of ContemporaryArt of the New Mexico Museum of Art for its cooperativebreakfast programming and delightful ContemporaryCantina at the fair. Thanks also to the principals of theSanta Fe Folk Art Market happening the same weekas SOFA WEST for their gracious spirit of team work.

Thanks as always to the dedicated and hardworkingSOFA team for making it all happen.

Last but not least, special thanks are due to mybusiness partner, Michael Franks, CEO of The ArtFair Company for his tempered ability to simplify thechallenges of organizing SOFA, while making sure theevent is properly paired with an appropriate wine.

Enjoy!

Mark Lyman, Founder/Director of SOFAPresident, The Art Fair Company, Inc.

Anne Meszko, Director of Advertisingand Programming

Participating galleries,artists, speakers andorganizations

Tom Aageson

Laura Addison

Paul Allingham

Marcus Amerman

Phyllis Archuleta

The Bailey Family

JoAnn and Bob Balzer

Dr. Bruce Bernstein

Ellen Bradbury

Dr. Jerry Broday

Nancy Brown

Suzanne Brown

Bullseye Gallery

Winn Burke

Joan Caballero

Cecil Campbell

Kristin Carlson

Chavez Security

Garth Clark

Keith Couser

Todd Davis

Christina Dallorso Kortz

Design 360

Mark Del Vecchio

Anne & Lenny Dowhie

Bryan Dowling

Dupli-Graphic

Linda Durham

Tadeas Dzikovsky

D. Scott Evans

Jane Evans

Eliot Fisher

Luke Fiordalis

Randy Fleszar

Greg Franke

The Franks Family

Leroy Garcia

Georgia O’KeefeMuseum

Todd Glatz

Gabe Gomez

Tim Gonchoroff

Tom Grotta

ConstantineHatzivassiliou

Richard Hertz &Doris Meyer

Christi Hield

Hogle’s TheatricalSupplies

Kenn Holsten

Hotel Santa Fe

Michael Hribernik

Scott Jacobson

Mary Jebsen

Howard Jones

Charles King

Jay Kobrin &Gordon Micunis

Greg Kouvolo

Dwight Lanman

Cris Levy

Lucy Lewis

Steve Lewis

Locus Communications

Linda Lofstrom

Ellie Lyman

Nate Lyman

Sue Magnuson

Lani McGregor &Dan Schwoerer

Christine McHorse

Karles McQuade

Meow Wolf

Mariann Minana-Lovato

Charlie Miner

Klaus Moje

Melanie Moore

Tom & Jerri Morin

Moving People Dance

Museum of Glass,Tacoma

Les Namingha

Ann Nathan

John Olsen

Pilchuck Glass School

Karl Piotter

Valerie Pistole

Melissa G. Post

Reliable Transport

David Rettig

Amber Reyes

Clint Riley

Bruce Robbins

Joe Romero

Denise Marie Rose

Lorraine Rotunno

Inez Russell

William & Meg Salman

Santa Fe Opera

Jane Sauer

Ann Scheflen

Miroslava Sedova

Shidoni Bronze Factory

Harue Shimomoto

Preston Singletary

SITE Santa Fe

Jo-Anne Skinner

Romi Sloboda

Paul Stankard

Peter Stoessel

Studio X

Roxanne Swentzell

Lino Tagliapietra

TAI Gallery

Davira Taragin

Tesuque Glass Works

THINK CreativeConsulting

Quinn Tincher

Keith Toler

Joe Traugott

Joe Vigil

Sue Walker

Rebecca Wurzburger

Nathan Youngblood

Lynn Zeck

Toots Zynsky

We would like to thank the following individuals and organizations:

photo: Pablo Mason

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Bill RichardsonGovernor

As Governor of New Mexico, I am joined by First Lady, Barbara Richardson in welcoming the second annual SOFA WESTto Santa Fe during a wonderful and cultural time of the year. It is an honor for Santa Fe and the Museum of New MexicoFoundation to be a partner for this year’s opening night activities.

We are elated to share the hospitality of our beautiful Santa Fe Convention Center for this well attended event. Over 2,000guests attended SOFA WEST’s inaugural Opening Night last year, with an estimated 10,000 visitors attending the fair duringits four-day run. We are confident and in high spirits to know that we can exceed the attendance of last year with thesewonderful artist creations and the ambiance of our City.

New Mexico has a lot to offer and we hope that SOFA collectors will find time to enjoy the extraordinary cultural and artisticheritage of Santa Fe and its surrounding Native American Pueblos.

New Mexico offers stunning sunsets, an exciting menu of Southwestern cuisine where you will be asked the official Statequestion: Red or Green? SOFA brings an international flavor to the Southwest and we look forward to sharing our hospitalitywith one and all.

With warmest regards,

Bill RichardsonGovernor of New Mexico

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As Mayor of Santa Fe, it is my great pleasure to welcome you on behalf of the City of Santa Fe to the second annualSculpture Objects & Functional Art Fair: SOFA WEST. The City is commemorating our Cuatrocentenario of 400th Anniversaryand we hope that you will enjoy your time in our historic city.

SOFA WEST has become a major contributor to the Santa Fe art experience. Santa Fe joins Chicago and New York ascommunities that present modern and contemporary cutting-edge design in decorative arts and jewelry. The Art FairCompany, SOFA WEST’s producer, has partnered with the Southwestern Association of Indian Arts (SWAIA) to presenta pre-Fair symposium on contemporary Native American pottery. I am confident that the 2010 Fair will continue the SOFAtradition of acclaimed art in a historic destination.

I am honored, on behalf of the citizens and the Governing Body to thank you for selecting the City of Santa Fe to hostthis event.

Muchas Gracias and Bienvenidos!

David CossMayor

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Dear Art Patrons,

Once again, the Museum of New Mexico Foundation is thrilled to welcome SOFA WEST: Santa Fe 2010 to the City Different. One aspect of theFoundation’s mission is to preserve and enhance New Mexico’s unique cultural resources through collaboration and advocacy. The fact that SOFA WESThas returned for a second year speaks volumes to the quality, passion, and support the Santa Fe community continues to demonstrate for the arts andour cultural heritage. We look forward to another engaging cultural experience for all residents and visitors.

This year, our Circles’ Members and Business Council will enjoy an exclusive preview of SOFA WEST. These special Museum of New Mexico Foundationmembers will have first pick of pieces that cross the boundaries of fine art, decorative art and design with an elite selection of international dealerspresenting one-of-a-kind masterworks. The quality of exhibitions and educational programming that our Museums produce, through the support ofFoundation members, confirms what an appropriate pairing SOFA WEST: Santa Fe and MNMF make.

The Circles offers members an intimate association with the rich collections, vibrant exhibits and stimulating educational programs of our Museums,monuments and Office of Archaeological Studies. Business Council members celebrate where art, commerce and culture connect through a strongnetwork of Northern and Central New Mexico Foundation. With special, exclusive programming for both groups, it’s easy to see why membership tothe Museum of New Mexico Foundation is an essential component of experiencing New Mexico’s rich and varied cultural past, present and future.

We wish all of the SOFA WEST 2010 participants an auspicious show!

Best regards,

Tom AagesonExecutive DirectorMuseum of New Mexico Foundation

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On behalf of all of us at the New Mexico Museum of Art, I am delighted to welcome SOFA back to Santa Fe. The cultural vibrancy of summer in Santa Fecan only really be appreciated by those who are fortunate enough to experience it – it is wonderful that SOFA encourages so many people to come hereand share in the excitement and creativity of the area.

I hope you will take the opportunity to enjoy the area’s cultural offerings as part of your SOFA experience. The Museum of Art’s summer exhibition offersa slightly different take on functional arts in Solemates: Cowboy Boots and Art, presenting cowboy boots as reflections of American cultural values, asmarkers of Western life, and as works of art.

Complementing Solemates Is Art on the Edge, showcasing the work of seven contemporary artists selected by Nicholas Baume for this biennialjuried show. To experience a distinctly New Mexican cultural flavor we offer you How the West is One: The Art of New Mexico, a delightful displayof Southwestern Art by Native American, Hispanic, and European-American artists which illustrates the changing aesthetic ideals that have evolvedwithin southwestern art over the last 125 years.

Welcome to Santa Fe, and enjoy!

Mary J KershawDirectorNew Mexico Museum of Art

Le c

Lectures Series

ctures

12:30 - 1:30 pmPhotorealism in FreestyleMachine EmbroideryArtist Carol Shinn talks abouther photorealistic, freestylemachine embroidery textilesand the inspirations andobsessions behind them.

2:30 - 3:30 pmScreening of Legacy: ThePilchuck Founders’ Totem PoleThe monumental wood and glasstotem pole at Pilchuck GlassSchool, Seattle, WA, was createdin honor of Pilchuck founders DaleChihuly, John Hauberg and AnneGould Hauberg. Artist PrestonSingletary will introduce the filmand answer audience questionsafterwards.

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Lecture SeriesThursday, Friday, Saturday and Sunday in the O’Keeffe Room.Admission to the Lecture Series is included with general admission.

Thursday, July 8

12:30 - 1:30 pmPrehistoric ReflectionsSculptor Bud Latven looks atNative American and Africaninfluences on his lathe turnedsculpture and how 40 years inthe high desert has made itsimprint on his work, sometimesintentional but often unbidden.

2 - 3 pmSanta Fe Native Arts:The Muse of an Artistic CityThe Native arts continue to play akey role in Santa Fe’s artistic life.Whether new resident or old, artisticinspiration comes from Nativetraditional and contemporary artforms. Whether glass or clay, metalor paint, artists look to indigenouspeople’s understanding of the vastland and skies and deep culturalties to make sense of their viewand work. Bruce Bernstein, Ph.D.,Executive Director, SouthwesternAssociation for Indian Arts(SWAIA), Santa Fe, NM.

3:30 - 4:30 pmMy Hands Are My FavoriteTools: A Conversation withFour Jewelers: Robin Waynee,Kenneth Johnson, Pat Pruitt,and Cody SandersonA panel discussion on Southwestjewelry today featuring four artistswhose work is contemporary andindividualistic, but at the same timea continuum of the art inspired bythe vast cultural and natural land-scapes of the American Southwest.

Friday, July 9

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11 am -12 noonKlaus Moje: Artist InnovatorBruce Guenther, Curator ofModern and ContemporaryArt, Portland Art Museum, OR,explores the roots of Klaus Moje’sartistic development and hisgroundbreaking work in translatingpainterly issues to the mediumof glass. Guenther will discussthe innovations and new formspioneered by this internationalmaster of glass over the course ofhis distinguished 40 year career.

1 - 2 pmContemporary Artsin AlbuquerqueAlbuquerque supports a large,dynamic, vibrant, and affordableaesthetic scene with artists workingin all media including historicallyrooted craft, world renownedphotography, and innovative hightech fabrication and imaging.Andrew Connors, Curator of Art,Albuquerque Museum of Art andHistory, Albuquerque, NM

3:30 - 4:30 pmHot Stuff!Artist John Miller talks about hiscurrent body of work – realisticlarge scale glass sculpturesinspired by everyday objects andrecreated using hot sculpted andmold blown glass. Miller is headof the glass program at IllinoisState University in Normal, IL.

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Saturday, July 10

2:30 - 3:30 pmExperimental Glassin New MexicoAn exploration of experimentalglass in New Mexico by Santa Feartist Stacey Neff, founder of theNew Mexico Experimental GlassWorkshop. Neff will talk about herwork, which is represented by LindaDurham Contemporary Art, Santa Fe,NM, as well as the work of artistsparticipating in the NM ExperimentalGlass Workshop.

Sunday, July 11

Essays

Essays

Earth Pigs and Earth Mothers:The Ceramics of Diego RomeroBy Garth Clark

The Fire Burns OnPilchuck Glass School

My Favorite Tools Are My Hands:Feral Metal in a Tame LandBy Dr. Bruce Bernsteinand Gabe Gomez

Earth Pigs andEarth Mothers:The Ceramicsof Diego RomeroBy Garth Clark

There are only a handful of potters preparedto confront pueblo realities in their artwork.For most the subject is taboo. Jody Folwellwas among the first to speak out through herpottery in the 1980s, and also went beyondpueblo politics and took on national scandalssuch as Ollie North. Her daughter, Susan, hasfollowed in her footsteps. Puebloans deal withsexual dysfunction, unemployment, poverty, risingnumbers of single parent families, the alienation oftheir youth, difficulty in sustaining their religion andtraditions and AIDS. These are problems facingAmerica at large but the pueblos deal with more,cultural marginalization, rampant alcoholism, andthe highest incidence of diabetes in America (thelatter two as the result of genetic susceptibility).Diego Romero’s ability to gently confront thesedifficult issues, pushing aside the veil of privacy,is carried out with concern of a healer tending awound, the triumph of a nurturing spirit over adifficult childhood.

Romero was born in Berkeley, California in 1964and refers to himself without any discomfort asa “half-breed,” son of a white mother, Nelly Guth,a quintessential 1960’s liberal and a Cochiti Indianfather, Santiago Romero. The two met whileattending the then uber-radical University ofCalifornia, Berkeley. Santiago was a talented artistand educator but tormented and ambivalent toboth worlds. He disliked the Indian reservationfor being too controlling (although he choseto go back when he was dying) but was alsobitter towards the Anglos because of his servicein the Korean War that cost him one of his hands– a sacrifice he felt was underappreciated.

Romero was raised in Northern California’s BayArea and spent his summers in Cochiti, a yoyobetween two worlds: a liberal urban environmentand the hermetic conservative reservation. Comingto terms with this was not easy. He was tauntedby both sides; mostly by the whites in Berkeley forbeing half-Native but also on his annual summervisits to Cochiti for being half-white. He also hadto endure constant insulting remarks about hismother who was never accepted by the pueblo.This real adolescent pain gives his pots a nuancedcontent that is unique, straddling both sides ofthe racial fence, and taking no prisoners fromeither camp, yet teasing out the humanity of both.

In his mid-teens Romero took matters into hisown hands, studied the Indian ways, made closefriends in the Pueblo, took part in their ceremonies,celebrations and eventually, the religious dances.It paid off. He is much more comfortable withhis dual identity, maybe more native today thanAnglo. A few years ago, the Cochiti council grantedhim the right to occupy his grandfather’s property,a gesture of acceptance that Romero foundemotionally overwhelming at the time. (No one ownsland in the pueblos, the council assigns propertyrights.) He did not care that his grandfather’shouse was little more than a crumbling adobeoutline on the ground, it meant the world to Romero.

Early on he saw art as the only possible avenue,considering it an escape route as much as acareer. Surrounded by ceramic makers and hisfirst mentor Nathan Begaye, a remarkably icono-clastic potter, who encouraged him, clay called toRomero. He studied at the Institute of AmericanIndian Arts in Santa Fe for a year before relocatingto Los Angeles where he studied with two ofAmerica’s most legendary ceramists: Ralph Bacerraat the Otis Art Institute, Los Angeles and AdrianSaxe in the graduate program at the Universityof California Los Angeles.

Romero credits Bacerra with refining his craft andAdrian Saxe with his conceptual breakthroughs.At UCLA he made Native pots with the Anasaziand Mimbres decoration painted in gold. He feltthis was a cool and brave step, something unheardof in Native pottery. Gilded or not, Romero’s potsdid not impress Saxe, who informed him, “you cancontinue to paint these pots as long as you wishbut that is not art and unless you do somethingmore transformational, you will be denied yourmaster’s degree.”

Stung, Romero began to look further afield forinspiration. He noted the importance of athleteson Ancient Greek pottery and then made theconnection to the painted runners in Mimbrespottery and their continuing place in Indian lore.He painted a reserve panel in a bowl with atrio of stylized runners, clearly Indian, sprintingacross the bowl with the same composition ason the Greek pots, surrounded by his golddecoration – the bridge that united his twoworlds. He graduated in 1993.

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Images list left to right

and top to bottom

Diego Romero

Pyramid, c. 2004

earthenware, 16.25 x 6

collection SM’s-Stedelijk Museum

’s-Hertogenbosch/NL

Chongo in the White House, c. 1990

earthenware, 3.5 x 7.5

Atlas Series (Group of 8), c. 2000

earthenware, 3.5 x 8

collection of John Benfatto

and Grace Perez

Chongo’s Wet Dream, c. 1990

earthenware, 4 x 8.75

Atlas Series #5, c. 2000

earthenware, 3.5 x 8

collection of John Benfatto

and Grace Perez

Runners, c. 2005

earthenware, 4 x 8

Cadillac Farm, 2004

earthenware, 13.25 x 10.25

collection SM’s-Stedelijk Museum

’s-Hertogenbosch/NL

Atlas Series #6, c. 2000

earthenware, 3.5 x 8

collection of John Benfatto

and Grace Perez

A.

Diego Romero

A.

Mimbres is Romero’s touchstone and the centralreference point in almost all of his work. Thispottery was made around 1200 A.D. and is oneof the high points in prehistoric native art. TheMimbres, a group that lived along the southernborder of Arizona were taught by the Anasazi tomake pottery and soon these students exceededthe artistry of their teachers. Mimbres pottery isone of the most sophisticated and exquisite bodiesof work in the world history of the medium, drawinginside bowls on curved lines and yet achievingthe illusion of a flat plane.

Little is known of the Mimbres people whosedisappearance remains a mystery, but theirceramics remained safe, buried with their owners.The deceased were buried seated upright in theirgraves (usually dug into the floor of their home)with a bowl, possibly their favorite, placed overtheir face. A small hole was punched out of thecenter of the bowl, to act as a portal through whichthe spirit could escape the body and travel to thehereafter. Ever since the discovery of the work inthe 19th century, the power of these vesselswith their starkly graphic imagery, reductive buteloquent, remains an inspiration for artists acrossthe world.

Romero, a comic book fan, prefers stylizedarchetypes when it comes to form, simplifiedrepresentations of traditional pots, and the half-sphere bowl. His bowls, rather than being coiled,are slab molded on a plaster form with an evenwall, free of any marks from the hand excepton the rim where he adds a few coils and leaveshis finger marks. The sharp, squared off, flatrim is not part of the Indian pottery vocabulary,but adds to his contemporary stylization of theform. The shape was selected not just for itsneo-Native look, its perfect geometry and sleek

line, but also for practical reasons. It offers thelargest expanse for an interior canvas. While hehand builds pots as well, form does not exciteRomero in the same way as surface. Often whenhe needs more complex forms, Romero wouldhave another potter make the pot, most oftenNathan Begaye, and only do the painting, butnow he is makes vessel forms himself.

A gifted draftsman and illustrator, his paintedpanels have the graphic power of 1930’swoodblock prints with their angular and heroicstylization. Deep shadows often convey anundertow of threat or anxiety. They have thepersuasive directness of propaganda art of the30s, particularly that of the socialists and tradeunions. This format allowed exploration of a terrainhe knows well – the Native in Anglo society (andvice versa) on all levels from ethnicity, politics,and gender issues to religion and economics.

In many ways his work relates more to thatof the black artist Kara Walker who also dealswith the politics and history of race and gender,than it does to other native artists. She uses atechnique, popular amongst Victorian women,of cutting out silhouettes from black paper andfixing them against a white ground. Just as withRomero’s illustrations, her dramatic telegraphicimages deal with everything from slavery andlynching to randy couplings. Both Walker andRomero use a decorative arts format to deliverfine art content, traversing the path of racialidentity.

Romero’s work covers a wide spectrum. Someof his pots seem little more than visual gags,such as the bowl with a Mimbres-style golfer,or another larger bowl with Indians building aMesoamerican burial mound, a sacred structure,out of massive cell phones, ubiquitous devicesin the Southwest. Yet neither joke is as harmlessin its humor as it seems at first glance. Golf,for instance, is a controversial matter amongstNatives, considered by many to be a ludicroususe of both land and water. Chongo in theWhite House is a simple but effective cartoonshowing Romero seated at the desk in the OvalOffice. It raises a chuckle but speaks volumesabout Native politics, history, power, prejudice,and for the moment, the sadness of impossibility.

The term “Chongo” applies to native men whowear their hair with the traditional bun. SomeIndians are disturbed by the term as it means ratin Spanish. But it is no doubt this very ambivalence

that attracts Romero, using it as an alter ego andsigning his work “Chongo Made” and describinghimself and his brother Mateo, a successfulpainter, as the “Chongo Brothers,” laid-backNative superheroes appearing at the center ofthe action in many of his artworks.

Romero’s sardonic use of the cartoon isperfectly illustrated in a group of eight stylishblack and silver bowls in which he illustratesthe classic cartoon advertisement that, whenintroduced in 1928, made a wealthy man ofthe champion bodybuilder, Charles Atlas. Theconcept was the brainchild of adman CharlesRoman (who also coined the term “DynamicTension” for Atlas’s exercising technique) andit featured a headline, “The Insult that Madea Man out of Mac.” In seven cartoon panelsRoman told the tale of a skinny 90 poundweakling having sand kicked in his face on thebeach by a bully who also takes away Grace,Mac’s girlfriend. Seven days later Mac returnsa new man, socks the bully on the jaw andreclaims Grace. This ad ran unchanged for over50 years, feeding one of the most profitabledirect mail businesses in America.

More than just commerce, this scenario was aformative part of adolescent culture for generations.Even this writer at the tender age of 11 dutifullyclipped this coupon and sent it in to learn moreabout the offer and how to stand up to schoolyardbullies. What made the offer work was that it didnot play on vanity by guaranteeing bigger musclesor a more beautiful body. Rather it offered to endthe humiliation, emasculation and impotence ofbeing tyrannized, whether by an individual or agroup. It offered strength, masculinity and safety.It spoke to men and boys who felt marginalized.

This macho beach encounter is now solidly partof American folklore. President Bush Sr. invokedthe “sand-in-the-face” metaphor when he wentto War against Iraq. It has been resurrectedcountless times by the comic press, most recentlyby Marvel, Bongo and National Lampoon. Butfor Romero, its meaning is deeper than most, withthe kicked sand coming from both sides of hiscultural inheritance.

Romero, who suffered a great deal of childhoodharassment (even today Native Americans are themost tormented group in America’s schools) clearlyidentified with these ads. Later, in an effort togain some control in his life, Romero becamea martial arts student at a Santa Fe gym. He

18

B.

C.

B.

Installation view:

Free Spirit: The New

Native American Potter

Stedelijk Museum

’s-Hertogenbosch,

Netherlands, 2006

C.

Lynching, c. 2004

earthenware, 5 x 11

collection of Museum

of Fine Arts, Houston

D.

Love Glove, c. 2005

earthenware, 5.5 x 11

All photography by

Peer van der Kruis,

Vier/a studio, Heeze NL

gave up this activity when he found that it wasbeginning to pump his testosterone level to adangerously aggressive high.

Other subjects are romantic, gentle and drawfrom his day-to-day biography. In Girl Waiting,he has made a piece about the anxiety of agirl waiting for her lover. Roxanne Swentzell(Romero’s partner for a number of years) saysthis piece is about the life of his girlfriends duringhis wild years as they wait (and wait) “for acollect call.” On another two bowls he gatherscourage to propose to Roxanne and in yetanother he daydreams about her.

Romero’s erotic works, another aspect of hisoeuvre, mix explicit raunchiness with dazzlingelegance. “I like to push the sexual button inmy work,” says Romero, “I like the men to haveoverstated musculature and obscenely bulgingcrotches.” But it also speaks to AIDS activismin the Indian community.

Romero’s subject matter can shift abruptly fromhumor in one piece to horror in another as whenhe explores early history between the natives andthe Europeans. Lynching is a riveting, brooding andatmospheric pot. Its panel depicts a malevolent

priest covering the mouth of a native woman,silencing her protest while, in the background,the body of a Chongo, possibly her husband orlover, hangs from a noose. In this small artworkRomero encapsulates much of the cruel history,self-righteous paternalism and violence of themissionaries, first the Spanish and then theAnglos with their determination to destroy theNative way of life. It is difficult to look at thisbowl without it sending a shiver of complicitguilt down one’s spine.

The genius of his art, however, is that it is neithershrill, nor patently angry, it moves between thesardonic and the outrageously comic. One onlyhas to look at the large vessel Earth Pigs toappreciate his non-confrontational approachto serious subject matter.

It is increasingly apparent that tying Romero tooclosely to Indian art is an error. Yes, it is at thecore of his subject matter but I would argue thatRomero is a Pop artist before he is an Indianartist. That is not just the viewpoint of thiswriter. In 2001 the Foundation Cartier pour l’artContemporain in Paris had the foresight toinclude both Romero and his fellow Chochitaartist, Virgil Ortiz, in their survey exhibition ofneo-Pop, Un Art Populaire. For some it mayseem a stretch to place the mild-manneredRomero with his modestly sized bowls in thecontext of Roy Lichtenstein, Andy Warhol andClaes Oldenburg. But this has been his milieufor years. A small print he made 15 years agoentitled, Wow Chongo, shows a woman tellingthe viewer in a speech bubble, “Wow Chongothis print is a masterpiece! Soon you’ll haveall of Santa Fe clamoring for your work!”

Romero was also one of five artists featured inthe groundbreaking Free Spirit: The New NativeAmerican Potter, at the Stedelijk Museum‘s-Hertogenbosch, The Netherlands in 2006 thatexhibited the work of native ceramists who wereworking outside the traditional boundaries of thistradition. In December he will be in a two-personexhibition with Christine McHorse at James KellyContemporary. In addition the Ceramic ArtsFoundation is currently organizing a national touringretrospective exhibition of his work for 2012.He also will be featured in a major exhibition oncontemporary ceramics at the Museum of FineArts, Houston in that year. Clearly this is a careerthat cannot be contained within the city limits ofSanta Fe.

Garth Clark is a dealer and award winning authorand historian of modern ceramics with over 50books to his name. His book on Lucio Fontana’sceramics will be published soon together with twoanthologies Homage to R. Mutt: Writing and MarcelDuchamp’s Fountain and its Aftermath and TheCeramics Reader. He and his partner, Mark DelVecchio, who for nearly three decades ran the GarthClark Gallery in Los Angeles and New York beforemoving to Santa Fe, will be receiving the Service tothe Arts Award from Anderson Ranch in Aspen.

Published in conjunction with Clark + Del Vecchio’spresentation at SOFA WEST: Santa Fe. Clark, DelVecchio and Wes Cowan will present the first majorinternational auction series in the United Statesdedicated to modern and contemporary ceramics atSOFA CHICAGO 2010. For more information visitwww.cowans.com.

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The Fire Burns OnPilchuck Glass School

A.

Stanislav Libensky and Jaroslava Brychtová,Klaus Moje, Kiki Smith, Judy Chicago, BertilVallien, William Morris, Joyce Scott, ThermanStatom, Dan Dailey, Howard Ben Tré, LinoTagliapietra, and Ann Hamilton. These are justa few of the distinguished artists who havemade a unique journey to the Pacific Northwest.Transported to another place, traveling alongthe winding gravel road that meanders throughdense forests to the campus of Pilchuck GlassSchool – a 54-acre property on a former treefarm in the foothills of Washington State’sCascade Mountains, a one hour drive north ofSeattle. Here rolling hillside meadows overlookfertile lowland farms out to the waters of thePuget Sound glimmering in the distance. Pathscushioned by moss and pine needles lead fromthe bright sunlight of open meadows into thecool shade of towering Douglas Firs. Theirjourneys follow in the footsteps of a group ofartists who, in the summer of 1971, gathered inthe Northwest and begin to make Dale Chihuly’sdream of a glass school in Washington Statecome true.

What began in June 1971 as a one-time summerglassblowing workshop has grown into the world’smost comprehensive center for glass art education.Thanks to the vision of founders Dale Chihuly, JohnHauberg, and Anne Gould Hauberg, along withthe enthusiasm and dedication of all who havecome to the campus since, Pilchuck now hostsmore than 500 students and artists each summerand is guided by a 41-member Board of Trustees.Although much has changed since the 1970s, theoriginal core values of the school endure: toinspire creativity, transform individuals and buildcommunity.

In the early days artists and students workedwith makeshift equipment and inferior-qualityglass, happy to be making things up as theywent along. Experimentation and explorationset the tone for – and are now the hallmarks of –Pilchuck Glass School. This small but enthusiasticcommunity knew little of traditional techniques.Through trial and error they invented new formsand glass-working methods, and through this thestudio glass movement evolved. Over time, the

European master glass artists and designersvisited the growing campus and introducedtraditional materials and techniques – Muranesecane making and Czech kiln casting amongothers – were eagerly assimilated. Before longthere emerged a potent combination of OldWorld craftsmanship, New World individualartistic expression and highly effective teamworkthat has come to characterize Pilchuck all theseyears later.

As the artistic program developed, so did thefacilities. What started as a camp evolved into acampus. Pilchuck’s master plan has a quintes-sential Northwest feel, and the layout of the campussupports that special sense of community that isa large part of the school. The location, the climateand the rustic environment are ideal for creatingart with glass and are integral to the spirit ofPilchuck. In this remote corner of WashingtonState, people from all corners of the globe meet,techniques evolve and ideas form.

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A. Sparks fly during an evening event

B. Artists use the campus in so many ways

C. Artists working in the Hot Shop

D. The Pilchuck Hot Sop

E. Artists enjoying a moment

F. Close-up of artists working

C.

B.

D.

E.

F.

Summer Educational Program

Pilchuck’s philosophy of education flows fromDale Chihuly’s original idea of “artists teachingartists.” After nearly 40 years, this concept stillholds true. We believe that people everywherethrive on creativity and that everyone can learnto cultivate their artistic talents, at any stageof life and at any point in their development asan artist. As such we aim to provide a learningexperience that is unrivaled in its intensity, qualityof instruction and concentration of artistic talent.

Our summer educational program consists offive consecutive sessions that run from Maythrough August. Within each session we offer fiveconcurrent courses that are designed for a rangeof skill levels and that draw upon all manner oftechniques and methods of working with glassas an artistic medium. Every year the summerprogram features a fresh roster of instructors andartists in residence to ensure that we continuallypush the boundaries of what is possible withglass. Each course is different but all are meantto foster explorative learning and artistic growth.

Some courses concentrate on the mastery offundamental techniques using traditional skillsand standard materials, while others exploremore contemporary artistic concepts and/orthe latest technologies. Pilchuck students haveaccess to creative resources – instructors, artistsin residence, teaching and artists’ assistants,gaffers, campus staff and fellow students. Theexperience of living in an immersive artist com-munity for several weeks at a time, and whatthat does for the creative spirit, is invaluable.Students sign up to study with one artist, butthe full effect of being on campus – learning,working, sharing meals with all the instructors,artistic staff and artists in residence – isimmeasurably profound.

In order to serve a broad range of abilities andskill levels, Pilchuck courses vary in terms ofdifficulty. Some are appropriate for those with noprior glassblowing experience or formal art educa-tion, while others require previous coursework intwo- or three-dimensional art or particular glassworking skills. The goal of all Pilchuck workshopsis experimentation, not production; participantsare encouraged to go home with a notebook fullof ideas rather than a suitcase full of glass.

The secluded campus, the natural beauty ofthe surroundings and the elimination of mostdaily distractions provide ideal conditions forparticipants to develop an intense focus. Theseven main studios – the hot shop, hot-casting

shop, kiln shop, cold shop, print shop, flat shopand a glass/wood/metals shop for multi-mediaworks – are open for long hours so that artistsmay continue to work individually before andafter classes. Artist presentations are held eachevening after dinner. Critiques, readings, panels,demonstrations, and discussions with artists inresidence and visiting artists are also scheduled.

Everyone arrives at Pilchuck with ideas, energy,and creative potential. When participants leave,it is almost always with a new perspective.

2010 Summer Program

The 2010 summer program features coursesthat are typical for Pilchuck in their widelydivergent themes. Each session is characterizedby collaboration and great potential for inter-disciplinary cross-over in a wide assortment oftechniques and media. This year’s curriculum isbased on the talents, insights and experiencesof instructors that hail from all corners of theglobe, including Australia, the Czech Republic,Germany, Iceland, Italy, Japan, Korea and the US.

Among the highlights of the 2010 courseofferings are classes that explore ways thatneon can be powered with solar energy andother contemporary illumination possibilities;a rediscovery of pâte de verre with two self-taught masters; flameworking with furnaceglass; and the use of digital technology andvideo to investigate glass working phenomena.

The 2010 summer program also featuresconcentrations in painting and drawing, cold andhot surface exploration and sculpting, and manyof the innovative construction and assemblymethods used in contemporary glass forming,canework, goblet making, installation, hot castingfor sculpture, flameworking, painting with enamels,and stained glass. Kiln forming is offered in everysession for different experience levels, and featuresa range of techniques and sculptural applications.

Pilchuck’s Artist in Residency Program

The Artist in Residence program has beenimmensely important to Pilchuck’s developmentas an arts education center. Artists in Residencecome to Pilchuck by invitation and act as catalystswho invigorate and challenge the content of eachsummer course as they discover and exploit thepotential of glass. Accomplished in art forms out-side of glass, the artists in residence are some ofthe most respected national and internationalartists working today. By including visual artists

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working across a broad spectrum of media,Pilchuck’s residencies increase the number anddiversity of professional artists using glass. 22artists will complete residencies as part of thesummer program in 2010.

Each Artist in Residence is provided with anindividual studio, a full-time assistant, andaccess to experienced staff and fabricators.Participating artists have diverse backgroundsand aesthetics. Not only do they offer newchallenges to the traditions of glass making,but their Pilchuck experience invariably results inthe creation of a broad range of innovative newworks during and after the residencies. The listof invitees to this program reads as a veritableWho’s Who of contemporary art, including LyndaBenglis, Maya Lin, Italo Scanga, Jim Dine, FredWilson, Joe Feddersen, Deborah Butterfield,Wendy Ramshaw, and Isabel and Ruben Toledo.In total, some 300 artists have participated inthis long established program.

Off Season Residencies

Outside of the summer sessions, Pilchuckalso offers residencies to emerging artists andprofessional artists, as well as a collaborativegroup residency called the John H. HaubergFellowship.

The Emerging Artist in Residence programserves promising younger artists who have hadsome previous experience working with glass.Six artists are selected from applicants world-wide. They receive a $1,000 stipend, lodgingand access to studios for two months each fall.Participants are highly self-motivated and eagerfor the chance to focus on their work and toexchange ideas with each other. “EAiRs” usetheir residencies to create a body of work or topursue new projects or methods, often pushingthe envelope of glass through experimentationor with mixed-media combinations that includewood, bronze, photography, X-rays, paper,twine, concrete and found materials. Pilchuckpartners with Seattle’s Friesen Gallery to presentan exhibition of works by each year’s emergingartists in residence. Many younger artists recentlyintroduced to collectors at SOFA have participatedin this valued residency – Ethan Stern, Sean Albert,Sean O’Neill, April Surgent – to name only a few.

The Professional Artist in Residence program,while being the most flexible in regards to lengthof time in the spring or fall, is the only residencyin which artists are entirely responsible for theirown project expenses. Experienced, professionalartists are selected to reside on campus and touse certain portions of the school’s facilitiesfor their independent projects. A recent “PAiR”is the internationally recognized landscapearchitect Andy Cao, based in Los Angeles, whois completing a public art commission for theBow Lake Transfer Station near Seattle.

The John H. Hauberg Fellowship, establishedin 2000 in honor of Pilchuck’s co-founder, thelate John H. Hauberg, offers a rare opportunityfor collaboration among a group of as manyas six established professional artists. For 12days each spring, Hauberg Fellows work bothindividually and collaboratively to create artthat responds to Pilchuck’s natural environmentand/or utilizes the school’s glassmaking facilities.Visual artists in all media as well as writers,poets, art critics, and curators are encouragedto submit proposals with a collaborative conceptor theme. The intent is to focus on projects andideas that will inspire creative endeavors longafter the fellowship ends. Past collaborationshave focused on a variety of topics includingpainting on glass, Native American aesthetics andconcerns, and issues about place and architecture.

In addition to the wide range and diverse contentof Pilchuck’s programs and residencies, individualdiversity is essential to the Pilchuck experience.Instructors, students and staff members varybroadly in terms of age, background, skill level,aesthetics, cultural heritage and artistic traditions;each contributes in a unique way to the cultureand learning environment of the school.

The Spirit of Pilchuck

Artists often refer to “the spirit of Pilchuck”when describing the sense of community theyexperience on campus. Collaboration is anintegral part of the learning process at Pilchuck;as it advances contemporary glass art and canchange lives. Instructors frequently co-teachworkshops or assist each other with demonstra-tions. Working in teams or side-by-side in thestudios, students often realize work they neverknew they were even contemplating.

Exchanges with colleagues can lead to strongerwork or entirely new directions. A deep sense ofcommunity develops as well as creative andpersonal relationships that last for years, decades,or lifetimes. Even during the most frustrating

moments of the creative process, working in thecollaborative campus atmosphere is simplymore fun.

The collaborative aspect of glass working alsohas a ripple effect when participants return totheir schools, jobs and studios after being atPilchuck. Newly acquired artistic concepts,refined techniques, and enhanced knowledgeare further shared with colleagues, students,co-workers and friends. Teachers often attendPilchuck’s summer programs to pursue their ownartistic development, refresh their perspective andgather current information to offer their students.Students, particularly those from countries withnewly emerging glass art scenes, often becometeachers themselves when they return home anddemonstrate what they have learned to instructorsand peers.

Beyond the roaring furnaces and quiet forestsof its campus setting, Pilchuck Glass Schoolreaches out to collaborate with museums,galleries, art collectors and other educationalinstitutions to improve worldwide access toand appreciation of contemporary glass art.With its many partners, the school orchestratesexhibitions, presents demonstrations and lectures,arranges art tours, and offers numerous scholar-ships. On several occasions throughout theyear, Pilchuck invites members of the publicto tour its serene campus, watch glass makingdemonstrations and meet and talk to many ofits outstanding artists. Each fall, the schoolorganizes its major public event in Seattle, thePilchuck Art Auction, which offers the best incontemporary glass art, showcasing close to300 works of art by internationally renownedmasters as well as outstanding new talents. Sogreat is the “spirit of Pilchuck” that artists fromnear and far generously donate work to be soldfor the benefit of the school – the school that hascontinued to mean so much to artists throughthe generations, and that inspires creativity,transforms individuals, and builds community.

Published in conjunction with the SOFA WEST:Santa Fe screening of Legacy: The PilchuckFounders’ Totem Pole, Thursday, July 8 at 2:30 pm.For more information on Pilchuck Glass School,visit www.pilchuck.com.

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G. Class discussion

H. An artist at work

I. Taking a moment on the steps of the Cold Shop

J. A class discussion on one of Pilchuck’s many rolling hills

K. Detail of a work in progress

L. A different view of the Studio Building

G.

I.

J.

L.

My Favorite Tools Are My Hands:Feral Metal in a Tame LandBy Dr. Bruce Bernstein and Gabe Gomez

A.

Cody Sanderson, Kenneth Johnson, RobinWaynee and Pat Pruitt are the new faces ofSouthwest jewelry. Their work is informed withmodern sensibilities and strong individualism,while simultaneously being a continuum ofthe art inspired by the vast cultural and naturallandscapes of the American Southwest. Eachof the artists approaches their work in decisiveways, creating an unsurpassed beauty that isworldly and timeless. The jewelry they createis a dynamic representation of the dialoguebetween art and adornment.

Jewelry is an idiom; a colloquial term utteredendlessly by those artists who undertake thecreation of this art form. And like language itself,jewelry hints at the personality of the speakeras much as the meaning behind the words, orin the case of these four artists, a reinvention ofhow we speak and what we know about Nativeart and Native peoples. As an art piece, jewelryis capable of navigating through the broad circlesof art collecting, exhibitions and unfortunatecompartmentalization. As adornment, jewelryis declarative – a restless pronouncement ofindividual style. More importantly, it is artistry:an aesthetic vision met with the technical skillsto realize raw materials into objects.

Art, to state it simply, is the result of the keenestobservers in our societies working to harnesstheir vision. Similarly, jewelers have managedto capture the essence and complexity of theSouthwest, relying heavily on silver and turquoiseas the base materials of their work. Lamentably,this has resulted in a deluge of imitators; fromcraftspeople to assembly lines in Asia, SouthwesternJewelry has reached a halting and screechingend. Ironically, the ubiquity of foreign made“Southwest Jewelry” has stifled the growth of theart form by flooding the market with substandard,uninspired and markedly fake wares upon anunsuspecting public. So here in the Fertile Crescentwe call the Southwest – are jewelers who haveonce again taken up the mantle to work beyondcategorizations and a corrosive tourist market.

The Southwestern Association for Indian Arts(SWAIA) is an 89-year-old Native arts advocacyorganization that is best known for planningand building the annual Santa Fe Indian Market.With over a thousand artists it is not difficult fornovices and art connoisseurs to become lost inthe vast variety of tribal styles, formal art trainingand individual ability represented at Indian Market.SWAIA’s collaborative venture with SOFA is anopportunity to put forward some of the very bestexamples of the Native art world. Our primaryobjective is to introduce four supremely talentedpeople. We believe their work is aestheticallystunning and emancipating.

As the four jewelers sat down together to discussSOFA WEST there was not only a generationalcamaraderie, but also a commonality of theircutting-edge work. Certainly as Native peoplethey are deeply connected to their own world-view and set of community ethics in addition toAmerican values and culture. Their reliance ontheir own history is not unlike any other artist,and like other artists they also find inspirationfrom the contemporary world. This may seem triteand unnecessary to mention, but still necessaryto say as it reminds us that these are not yourstereotypical Hollywood Indians. To referencescholar and curator Paul Chaat Smith’s 2009book, Everything You Know About Indians is Wrong.

Robin Waynee thought she would be woodworker.To support herself, she got a job in a jewelrystore. There she met her future husband andwas fascinated by various metals and jewelrytechniques. Only a few short years later, herjewelry is capturing the world’s attention. She

designs each piece on paper, working out theintricate details and nuance of construction.Pat Pruitt studied engineering. It was a goodvocation for someone who rebuilds cars andloves heavy construction. His work with stainlesssteel jewelry began through his background inmanufacturing body art and piercing jewelry.Kenneth is the consummate jeweler; cautiousand meticulous, each piece is exquisitely craftedwith hundreds of hammer blows creating patternand depth in metal that defy logic. His relianceon old culture patterns surprises many, as hisdesigns look as fresh and new today as whenthey were created 500 years ago. Cody is thejack-of-all-trades; he traveled the country as ajewelry salesman before he decided that it wastime for him to make his own. His strong designsense is historic on one hand, but exotic andmodern on the other.

A.

Kenneth Johnson

Spunspider Cuff Bracelet,

sterling silver, black

diamonds, hand-stamped,

engraved, bead set diamonds,

2 x 3 x 3

B.

Robin Waynee

Bracelet, handmade sulphurized

sterling silver and 18K with

7-12mm Tahitian pearls,

.95 ctw natural yellow sapphires

1 x 7

C.

Cody Sanderson

Bracelet, red branch Mediterranean

coral, sterling silver, 4.5 x 5

D.

Pat Pruitt

Bracelets, 6AL4V titanium

3 x 2.5 x 0.75

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B.

C.

D.

This generation of jewelers is open with information,which makes sitting down with the four of themso entertaining. If someone wants to know how tomake something they are welcome in the studioto observe. But the four of them also know thatthe experience and ability they each possess isnot something that can be shared. Interestingly,they all agree that their best learning tool is trial anderror. Another jeweler can analyze and measure totheir heart’s content, but they will not be able toduplicate the hand and eye coordination andaesthetic abilities of these four. They also knowthat imitation is a form of flattery; so if someone“borrows” their designs or techniques it has a happyending, “if someone picks up something I do, itforces me to grow,” the artists uniformly quipped.

When we think of jewelry we most often thinkof metal that is bent, hammered and shapeddespite its will into elegant shapes and colorsthat evoke everything from the wilds of natureto unapologetic sex appeal. Metal has long beenour companion. The first human cultures thatlearned to use it turned it into adornment asquickly as tools. Of course adorning our bodiesis older than the use of metal – whether wood,bone, feather, vegetable dyes, flora. Metal,however, is undying and poignantly malleable.

Here in the Southwest, turquoise was mined.Seashells and copper bells were quarried andshipped from tremendous distances. Famousancient cities like Chaco were relatively emptyof people but filled with the riches of jewelry thatmarked the extravagance of the privileged. Morerecently, images of the Southwest are shadedby silver, turquoise, and the romanticized lonelysilversmith sitting under a cottonwood treeworking with primitive tools. These smithswere no more primitive or disconnected fromthe world than we are with our Blackberries oriPhones. The American Industrial Revolutiongave rise to many things and one of them wasthe wide availability of sophisticated tools andan expanding market for American visionarydesign. These first smiths encapsulated thevast landscapes of the Southwest. Their workis iconic and enduring.

Like their forbearers, new generations of jewelersare stretching out and presenting an expandingreflection of the unique land and people of theAmerican Southwest. As modernity has drawnthe nation together with communications andtransportation, this vision remains at the center ofwho we are and long-to-be as American people.While their work is as Southwest as cholla cactus,it is also as American as a New York skyscraper.Jewelers use tools as basic as the hammer andas sophisticated as computer design software.

Working trade shows, networks, and the Internet,they find nano-technology transforming their studiosinto scientific laboratories where internationaldeliveries are commonplace. They live here inSanta Fe and in outlining communities. Their bondis the metal and learning to twist and shape it intoexpanding ideas. One artist tests ideas in copper,another tests them on paper, both are meticulousand methodical and leave nothing to chance.

Perhaps one steadfast trademark of Southwesternjewelry is its inventiveness. Jewelers might buildtheir pieces around a beautiful stone, drawinginspiration from its matrix of spidering lines.Another jeweler is struck by his children’s toysand creates a line of precious metal Barrel-of-Monkey pendants. Jewelers might also findancient symbols and revitalize them. Jewelryinventiveness can be hard-fought too; hours spentwith pencil and paper might provide a precisedrawing, but can a jeweler shape and connectmetal beyond its will?

The inventiveness sometimes begins with thejeweler’s tools. Southwest jewelers’ roots includeblacksmithing, so there are a variety of placesand ways that tools are found and made. Theybuy tools to help themselves grow, to help intaming the metal and reaching for new abilities.When asked about their favorite and mostindispensible tool, the results were eye opening.One described a hammer purchased at aflea market and another an elaborate piece ofmachinery that even ten years ago would not befound in a jeweler’s studio. Robin spoke aboutthe irreplaceable binary microscope she uses.“How else can I set stones?” she asks us. Thetool allows her to work on the fine scale shedemands of herself. She quickly adds that her“eyeball doesn’t always make it – I really likemy dividers, calipers, and paper too.” Cody getsmisty when talking about his first hammer thathe still uses each day; “As long as I have thehammer it is a reminder of where I began aswell as a security blanket.”

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Robin Waynee

Pendant, handmade sulphurized

sterling silver with a 12.7mm

Tahitian pearl, 1.00ct spinel,

.40ctw VS1 diamonds

1.5 x 3

F.

Pat Pruitt

Untitled, 316L stainless steel

3 x 3 x 0.625

G.

Cody Sanderson

Cube, sterling, 18k gold, 3.5 x 3

H.

Kenneth Johnson

Lightning Bear Claw Necklace,

palladium 950, d-vs brilliant

round diamonds, CAD modeled,

lost wax cast, hand-engraved,

bead set stones; high polished,

20 inches long

E.

“My favorite tools are my hands,” Pat says,“without them I couldn’t sketch or do anything.My hands allow me to do many things and notbe dependent on any one thing…despite andbeyond the tools two hands gives you thecapacity to make things.”

Many people believe once-upon-a-time therewas a simplicity and primitivism to Southwesternjewelry making. But this is an era that neverwas. In the past century jewelers wandered intorailroad machine shops and found the hard steelthey needed to make repoussé and die sets. Theyabsorbed the landscape for its meanings andtranslated its patterns and shapes into their work.The group agrees that their respective studiosare not a jeweler’s shop, but more like a machinistshop. All of them have the evidence of trial anderror sitting everywhere; Robin is meticulous, hertools carefully lined up. Cody uses copper tostamp out designs; Ken uses silver to prototypedesigns; Pat’s precise movements and abilitiesneed no testing. Robin says “it’s not easy to comeup with a design…designing is the most challengingpart of jewelry making. Sometimes it takes weeksfor a design to come together, other times thingsjust happen.”

There is an intimacy to making jewelry that isfueled by raw inspiration. Hours in close contactwith a piece, hunched over the bench seeingnothing else for days except a singular goldenshape. Despite the planned execution and carefulplanning involved, there is still the mystery andwonder in the creative process. “The excitementis that we don’t know what we are going to make.”says Cody.

It is the difference between an instinct andpractical skill that separates these jewelers.There is much to be discovered amid thejewelers’ bench or worktable. The metal literallyspeaks; practiced hands help push and pullthings into shape. Cody says, “The metal has awill which is why the finished piece is a windowinto my memory. When I see a piece I made, itis like visiting an old friend.” Intimacy is forgedin the process of making. Consider for a momentthat even as non-jewelers we can look at a pieceand identify its maker. This isn’t like looking atsomeone’s child and marveling at how they havegrown, but rather this is metal, moved andmodeled, small and intricate. One needs tostare deeply at the piece to notice its curvatureand lines and know who made it. Put that pieceof jewelry on your skin and watch it become apart of you. While you are looking in the mirror,you are becoming part of the jeweler’s narrative.As Cody continues, the piece is “a window tomy memory, and when I see it, it is like seeinga friend.”

Looking more carefully at southwest jewelryyou will notice that it is not just regional. Eventhe most typical Indian jewelry has its origins inthe Iberian Peninsula; its Moorish roots evidentin the double armed Naja and pomegranateshaped squash blossoms. These designscame from the saddles and horse tack of theSpanish conquerors. And silver? Silver canbe mined in the United States, but the firstsilver used by Southwest jewelers came fromminted American or Mexican coins. Inspirationthroughout the twentieth century relied onfashion; from the square art deco motifs ofthe silver and turquoise jewelry of the 1930s;to the worldwide influences of exotic naturalstones in the 1980s. Cody suggests, “things arenever original,” commenting on where he findsinspiration, he continues, “each piece has asentimental value and reminds you where youwere at a specific time.” Pat lengthens thethought, “to hang on to a piece is to mark time.”

The rawness of living at 7000 feet next to massivemountains, violent summer rainstorms and skiesso large they call them enchanting: Indigenouscultures don’t tame this essence but momentarilyharness it in order to turn it over and examineit more carefully, to have a brief moment wheretime stops and we begin to understand our placein the universe. A piece of handmade jewelryfrom the American Southwest is a small sliceof this infinity captured by the artist. Clearly,jewelry is more than adornment; it has incalculabletethers to its maker’s roots, community andsoul. The four jewelers sell their own work andtherefore know that buying jewelry is emotional.Principally, the artists make their jewelry as if itwas just for them, and never meant to be sold.But jewelry is transformative, and has the powerto change what we know about the world assoon as we put it on.

Dr. Bruce Bernstein, executive director, SouthwesternAssociation of Indian Art (SWAIA) and Santa FeIndian Market

Gabe Gomez, director, director of external relations,Southwestern Association of Indian Art (SWAIA)

Published in conjunction with SWAIA’s presentationat SOFA WEST: Santa Fe. For more information onSWAIA, visit www.swaia.org.

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Exhibitor Information

hibitors

Jim Rose, Household Quilt Cupboardsteel, natural rust patina, found color panels, 42 x 27 x 18

30

Ann Nathan Gallery212 West Superior StreetChicago, IL 60654voice 312.664.6622fax 312.664.9392nathangall@aol.comannnathangallery.com

Contemporary figurative and realist painting, sculpture, and artist-made furniture by established and emerging artistsStaff: Ann Nathan, owner/director; Victor Armendariz, assistant director; Jan Pieter Fokkens, preparator; Julie Oimoen

Exhibiting:Pavel AmrominMary BorgmanGordon ChandlerCristina CordovaMichael GrossPeter HayesChris HillJesus Curia PerezJim RoseJohn TuccilloJerilyn Virden

Michael Gross, Round Table (Got Gout)ceramic, carved wooden legs, 19 x 47

31

Les Naminga, Pulse, 2009acrylic on natural clay, 5 x 8 x 8

photo: Blue Rain Gallery

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Blue Rain Contemporary130 Lincoln AvenueSuite CSanta Fe, NM 87501voice 505.954.9902fax 505.954.9904info@blueraingallery.comblueraingallery.com

Staff: Leroy Garcia, owner; Denise Marie Rose, vice president of development;Peter Stoessel, executive director

Exhibiting:Les NaminghaMaria Samora

Maria Samora, Untitled, 201018k gold, top white diamond

photo: Kevin Rebholtz Photography

33

Gary Weisman, Primary Tangent, 2009bronze, 18 x 12 x 10

34

Brandon Michael Fine Art202 Canyon RoadSanta Fe, NM 87501voice 505.795.7427brandonmichaelfineart@gmail.combrandonmichaelfineart.com

Traditional, representational fine art by internationally established artistsStaff: Brandon Michael, creative director; Adam Ashcroft, arts administrator

Exhibiting:Darrell DavisGiuseppe PalumboRoseta SantiagoSusan SchultzGary Weisman

Roseta Santiago, New Moon, 2010oil, 66 x 36

35

Agneta Hobin, En Face, 2008mica, steel, 79 x 9 inches each

36

Mary Merkel-Hess, In Chephren’s Temple, 2010reed, paper, paint, 31 x 18 x 18 each

browngrotta artsBy AppointmentWilton, CTvoice 203.834.0623fax 203.762.5981art@browngrotta.combrowngrotta.com

Focusing on art textiles and fiber sculpture for more than 22 yearsStaff: Rhonda Brown and Tom Grotta, co-curators; Roberta Condos, associate

Exhibiting:Adela AkersDona AndersonJeanine AndersonJane BalsgaardJo BarkerDorothy Gill BarnesCaroline BartlettDail BehennahNancy Moore BessMarian BijlengaSara BrennanJan BuckmanPat CampbellGali Cnaani-ShermanLia CookChris DruryLizzie FareyCeca GeorgievaMary GilesLinda GreenFrançoise GrossenNorie HatekayamaAne HenricksenMaggie HentonHelena HernmarckMarion HildebrandtAgneta HobinKazue HonmaKate HuntMatsumi IwasakiKiyomi IwataRitzi JacobiKristin JónsdóttirChristine JoyVirginia Kaiser

Glen KaufmanRuth KaufmannTamiko KawataAnda KlancicLewis KnaussMasakazu KobayashiNaomi KobayashiNancy KoenigsbergYasuhisa KohyamaIrina KolesnikovaMarkku KosonenLilla KulkaKyoko KumaiLawrence LaBiancaGyöngy LakySue LawtyJennifer Falck LinssenÅse LjonesAstrid LøvaasDawn MacNuttRuth MalinowskiDani MartiMary Merkel-HessNorma MinkowitzJudy MulfordKeiji NioMia OlssonSimone PheulpinValerie PragnellEd RossbachScott RothsteinMarietteRousseau-Vermette

Axel RussmeyerDebra Sachs

Heidrun SchimmelToshio SekijiHisako SekijimaKay SekimachiSylvia SeventyYoung-ok ShinHiroyuki ShindoKaryl SissonBritt SmelværJin-Sook SoGrethe SørensonEthel SteinKari StiansenAleksandra StoyanovNoriko TakamiyaChiyoko TanakaHideho TanakaTsuruko TanikawaBlair TateLenore TawneyJun TomitaDeborah ValomaClaude VermetteUlla-Maija VikmanKristen WagleWendy WahlLena McGrath WelkerKatherine WestphalMerja WinqvistChang YeonsoonJiro YonezawaMasako YoshidaCarolina Yrarrazaval

37

Klaus Moje, Borders 3, 2010kilnformed glass, 22.75 x 15.25 x 1

photo: R. Little

38

Bullseye Gallery300 NW 13th AvenuePortland, OR 97209voice 503.227.0222fax 503.227.0008gallery@bullseyeglass.combullseyegallery.com

Contemporary art made with glassStaff: Lani McGregor, director, Bullseye Gallery; Jamie Truppi, assistant director, Bullseye Gallery;

Dan Schwoerer, CEO, Bullseye Glass Co.; Kate Elliott, director, Bullseye Resource Center, Santa Fe

Exhibiting:Mel GeorgeSteve KleinRichard MarquisKlaus MojeYoko Yagi

Richard Marquis, Duck Toy Pistol, 2008fused and carved silhouette murrine, found object, patinaed steel, 3.75 x 8.75 x 3.5

photo: R. Marquis

39

Reiko Ishiyama, Brooches, 2010silver

photo: David Katz

40

Charon Kransen ArtsBy Appointment Only817 West End Avenue, Suite 11CNew York, NY 10025voice 212.627.5073fax 212.663.9026charon@charonkransenarts.comcharonkransenarts.com

Innovative contemporary jewelry from around the worldStaff: Adam Brown; Lisa Granovsky; Charon Kransen

Exhibiting:Efharis AlepedisAlidra Andre de la PorteRalph BakkerLiv BlavarpJulie BlyfieldSophie BoudubanFlorian BuddebergAnton CepkaYu Chun ChenMoon ChoonsunLina ChristensenGiovanni CorvajaSimon CottrellRamon Cuyas PuigJaclyn DavidsonAnnemie De CorteSaskia DeteringDaniel Di CaprioBabette von DohnanyiSina EmrichAnna FrohnWillemijn de GreefBirgit HagmannSophie HanagarthMirjam HillerMarian HoskingReiko IshiyamaHilde JanichAndrea JanosikMette JensenEun Yeong JeongMeghann Jones

Lisa JuenJunwon JungYeonmi KangMasumi KataokaMartin KaufmannUlla KaufmannJimin KimChristiane KoehneYael KrakowskiGail LeavittDongchun LeeFelieke van der LeestNicole LehmannKathrine LindmanNel LinssenSusanna LoewSim LuttinPeter MachataStefano MarchettiVicki MasonSharon MasseyLeslie MatthewsChristine MatthiasWendy McAllisterTimothy McMahonSonia MorelMelanie NuetzelCarla NuisAngela O’KellyDaniela OsterriederBarbara PaganinYoung Bin Park

Liana PattihisNatalya PinchukJo PondSarah ReadZoe RobertsonAnthony RousselJackie RyanLucy SarneelIsabell SchauppMarjorie SchickClaude SchmitzDebbie SheezelRoos van SoestElena SpanoBarbara StutmanJanna SyvanojaSalima ThakkerSilke TrekelFabrizio TridentiCatherine TrumanChang-Ting TsaiMyung UrsoFlora VagiChristel Van Der LaanKarin WagnerJulia WalterCaroline WeissFrancis WillemstijnJasmin WinterSusanna WolbersAnnamaria Zanella

Yael Krakowski, Pendant, 2010wool, oliver new jade, glass beads, magnets

41

Christine Nofchissey McHorse, Untitled, 2010terra cotta, 27.5 x 14 x 13photo: Mark Del Vecchio

42

Clark+Del VecchioMailing address:223 North Guadalupe, #274Santa Fe, NM 87501voice 917.318.0768mark@clarkdel.comclarkdel.com

Modern and contemporary ceramic artStaff: Garth Clark; Mark Del Vecchio; Annabeth Marks; Matt King

Exhibiting:Lidya BuzioRick DillinghamJeff IrwinChristine Nofchissey McHorseVirgil OrtizJohn PagliaroAdelaide PaulLucie RieDiego RomeroKurt WeiserBeatrice Wood

Diego Romero, Siege of Santa Fe, 2009terra cotta, 7.25 x 16

photo: Mark Del Vecchio

43

Laura de Santillana, Light Violet Bodhi, 2008blown glass, silvered, 22.5 x 16.5 x 16.5

photo: Richard Barger

44

David Richard Contemporary130 Lincoln AvenueSuite DSanta Fe, NM 87501voice 505.983.9555fax 505.983.1284info@davidrichardcontemporary.comdavidrichardcontemporary.com

Contemporary art in a variety of media by international artistsStaff: David Eichholtz and Richard Barger, directors

Exhibiting:Philip BaldwinBen EdolsKathy ElliottMonica GuggisbergRae MahaffeyScott MalbaurnRichard RothLaura de SantillanaBen SewellHarue ShimomotoToots Zynsky

Toots Zynsky, Buongrado, 2010fused and thermo-formed glass threads, 7.5 x 15.25 x 9

photo: Toots Zynsky

45

Joël Urruty, Red Chair #2, 2009mahogany, milk paint, concrete, 61 x 10 x 10

photo: Tim Barnwell

46

del Mano Gallery2001 Westwood BoulevardLos Angeles, CA 90025voice 310.441.2001gallery@delmano.comdelmano.com

Contemporary sculpture in wood, fiber, metal, ceramic and glassStaff: Ray Leier; Jan Peters; Kirsten Muenster; Kate Killinger; Amanda Bowen

Exhibiting:Amber AguirreMichael BauermeisterChristian BurchardMarilyn CampbellRobert CutlerDavid EllsworthHarvey FeinJ. Paul FennellDonald FrithDavid HuangWilliam HunterBud LatvenRon LayportAlain MaillandBert MarshGuy MichaelsMatt MoulthropPhilip MoulthropPascal OudetGordon PembridgeDavid PetersMichael PetersonGeorge PetersonBinh PhoHarry PollittJoey RichardsonEric SerritellaJoël UrrutyHans WeissflogJakob WeissflogMolly Winton

Ron Layport, Colors Dancing, 2010ash, pigment, 12.5 x 9.75

photo: Mark May

47

Michael Lucero, Totem with Cat, 1993ceramic with glazes, 85 inches high

48

Donna Schneier Fine ArtsBy Appointment115 Spoonbill RoadManalapan, FL 33462voice 518.441.2884dnnaschneier@mhcable.com

Modern masters in ceramics, glass, fiber, metal and woodStaff: Donna Schneier; Leonard Goldberg; Jesse Sadia

Exhibiting:Rudy AutioWendell CastleDale ChihulyPhilip CorneliusRick DillinghamRuth DuckworthKen FergusonViola FreyDavid GilhoolyWilliam HarperAnn KrausHarvey LittletonMichael LuceroKlaus MojeWilliam MorrisGeorge OhrMary ShafferRichard ShawLino TagliapietraToshiko TakaezuAkio TakamoriBertil VallienPeter VoulkosBetty Woodman

Peter Voulkos, Untitled, 1982stoneware, 22 inches diameter

49

Jenny Pohlman and Sabrina Knowles, Wings of Change, 2010off-hand sculpted and blown glass, metals, beads, 72 x 96 x 9

photo: Russell Johnson

50

Duane Reed Gallery4729 McPherson AvenueSt. Louis, MO 63108voice 314.361.4100fax 314.361.4102info@duanereedgallery.comduanereedgallery.com

Contemporary painting, sculpture, glass, ceramics and fiber by internationally recognized artistsStaff: Duane Reed; Merrill Strauss; Glenn Scrivner

Exhibiting:Jane Birdsall-LanderCassandria BlackmoreMary GilesJamie HarrisKreg KallenbergerMargaret KeelanSabrina KnowlesJiyong LeeBeverly MayeriJenny PohlmanSun Smith-ForetVerushka Vagen

Mary Giles, Multiplicity, 2010copper, iron, paint, 37 x 60

51

Lars Calmar, Babyface, 2010ceramic, 20 inches high

52

Galleri Bruno DahlStockflethsvej 12Ebeltoft 8400Denmarkvoice 45.86.259.594info@brunodahl.dkbrunodahl.dk

Contemporary fine artStaff: Bruno Dahl, owner

Exhibiting:Lars CalmarNed CantrellBjörn EkegrenKeld Moseholm

Keld Moseholm, Untitled, 2009bronze, 27 inches high

53

Howard Ben Tré, The Lightness of Being, 2010cast glass, 104 x 9 x 9

54

Habatat Galleries4400 Fernlee AvenueRoyal Oak, MI 48073voice 248.554.0590fax 248.554.0594info@habatat.comhabatat.com

Glass that pushes the boundaries of artStaff: Ferdinand Hampson; Kathy Hampson; Corey Hampson; John Lawson; Aaron Schey;

Debbie Clason; Ricky Kuelen; Rob Bambrough; Rob Schimel; Barak Fite

Exhibiting:Howard Ben TréMartin BlankEmily BrockDaniel ClaymanDeanna ClaytonKeith ClaytonKéKé CribbsCharlie MinerMarlene RoseDavide SalvadoreMary ShafferMargit Toth

Charlie Miner, Tarpon Splash, 2009cast glass, 20 x 27 x 6

55

Lino Tagliapietra, Nubia, 2007glass, 20.5 x 11.75 x 7.75

56

Holsten GalleriesSanta Fe, NMvoice 505.992.0270kenn@holstengalleries.comholstengalleries.com

Contemporary glass sculptureStaff: Kenn Holsten, private art dealer and consultant

Exhibiting:Lino Tagliapietra

Lino Tagliapietra, Seattle Sunset, 2008glass, 20.25 x 11 x 6

57

Carol Shinn, Chimney Rock, 2010freestyle machine embroidery, 16.5 x 43.5

photo: Randy Shinn

58

Jane Sauer Gallery652 Canyon RoadSanta Fe, NM 87501voice 505.995.8513fax 505.995.8507jsauer@jsauergallery.comjsauergallery.com

Innovative and exceptional work by nationally and internationally known artistsStaff: Jane Sauer, owner/director; Jorden Nye, gallery director;

Richard Boyle, communication director; Angela Pennock, registrar

Exhibiting:Adam AaronsonLatchezar BoyadjievRoberto CardinaleGeoffrey GormanJan HopkinsTom MorinGugger PetterLesley RichmondRandall RosenthalNancy ScheinmanCarol ShinnPaul StankardIrina Zaytceva

Paul Stankard, Cloistered Column with Floral Earth Clump, Figures and Golden Orb, 2010glass, 6.75 x 3.5 x 3.25

59

Akiyama Yo, Wheel thrown rectangular sculpture with blade-like top, 1995unglazed stoneware with iron filings, 12 x 13 x 7.5

photo: Richard Goodbody

60

Joan B. Mirviss Ltd.39 East 78th Street4th floorNew York, NY 10075voice 212.799.4021fax 212.721.5148info@mirviss.commirviss.com

Fine modern and contemporary Japanese ceramicsStaff: Joan B. Mirviss, president; Nami Dunham, gallery director

Exhibiting:Akiyama YoFujioka ShuheiFukumoto FukuHarada ShurokuKaneta MasanaoKato YasukageKoie RyojiMatsui KoseiMihara KenMorino Hiroaki TaimeiOgata KamioOgawa MachikoSakiyama TakayukiSakurai YasukoSuzuki GoroSuzuki OsamuTsuji SeimeiTsujimura ShiroTsukamoto SeijiroWada MorihiroYoshikawa Masamichi

Suzuki Goro, Set of 15 unique sake flasks in oribe glaze, c. 1995glazed stoneware, 3.25 x 2.75 each

photo: Richard Goodbody

61

Blake, Virgin Mary, 2007bronze, 37 x 14 x 14

photo: Phil Hall

62

Kehrig Fine Art803-601 Spadina Crescent EastSaskatoon, SK S7N 2M4Canadavoice 306.292.9648randall@kehrigfineart.cakehrigfineart.ca

Private placement of investment grade paintings and sculptureStaff: Randall Kehrig, managing director; Cindy Kehrig, administrator

Exhibiting:Blake

Blake, The Lovers, 1997bronze, 39 x 20 x 15

photo: Phil Hall

63

Kellogg Johnson, Antikythyra Amphora III, 2007ceramic, bronze, 41 x 14 x 14

photo: Kellogg Johnson

64

Linda Durham Contemporary Art1807 Second Street, #107Santa Fe, NM 87505voice 505.466.6600fax 505.466.6699info@lindadurham.comlindadurham.com

New Mexico-based contemporary artists

Exhibiting:Martin Cary HorowitzKellogg JohnsonStacey NeffDana NewmannErika Wanenmacher

Martin Cary Horowitz, Glass Pillows 3 x 4, 200923k gold left on hand-blown glass, 28 x 22 x 3

photo: Linda Durham Contemporary Art

65

Jan Huling, Kewpo Libre, 2010glass beads, mixed media, 16.5 x 9 x 4.5

66

Lyons Wier Gallery175 Seventh Avenue at 20th StreetNew York, NY 10011voice 212.242.6220gallery@lyonswiergallery.comlyonswiergallery.com

Contemporary realismStaff: Michael Lyons Wier; Deanne Shashoua, director; Hans Wolf, Art Bazaar director

Exhibiting:Jan Huling

Jan Huling, Buddha’s Urn, 2010glass beads, mixed media, 14 x 6.4 x 7

67

Tim Shockley, Loose Ties Series-Trussst, 2010lost wax bronze casting of neck tie and ostrich egg with patina finish, bronze base, 18.5 x 10 x 10

68

Maria Elena Kravetz GallerySan Jeronimo 448Cordoba X5000AGJArgentinavoice 54.351.422.1290mek@mariaelenakravetzgallery.commariaelenakravetzgallery.com

Different contemporary art with an emphasis in Latin American expressionsStaff: Maria Elena Kravetz, director; Raul Nisman

Exhibiting:Lina Amariglio WeissKarina Del SavioElizabeth GavottiMarina GazullaAna MazzoniMaria MorenoCarolina RojasTim Shockley

Lina Amariglio Weiss, Grace in Space Necklace/Brooch, 201018k gold, Rudraksha beads, variable dimensions

69

Alex & Lee / Lee Brooks and Greg Franke, Bird Profiles Assemblage Necklace, 2009chalcedony rosette, fossil ammonites, botryoidal hematite, glass eyes, plume agate,

shell, flattened tin can, quartz, opal, pearls, cord, ribbon, silver, 11.5photo: Hap Sakwa

70

Oliver & Espig Jewelers1108 State StreetSanta Barbara, CA 93101voice 805.962.8111fax 805.962.7458oliverandespig@cox.netoliverandespig.com

Museum quality gems from the mines of the world set by award winning jewelersStaff: Marcia Ribeiro; Marilia Ribeiro; Tielle Larson; Frank Cuykendall; Naomi Firestone

Exhibiting:Karen ArthurLee BrooksIngerid EkelandGlenn EspigJudith EvansGreg FrankeMichael GoodLucy M. HarveyJosh HelmichSusan HelmichClaudia KretchmerSteven KretchmerNancy LinkinBernd MunsteinerTom MunsteinerGeorge SawyerKonstantino SioulasKestist UrbatisRobert WanderPhillip YoungmanPhilip Zahm

Steven Kretchmer, Astra Necklaceplatinum, 20k yellow gold with 24k fine gold inlay and three

tension-set princess-cut diamonds with four formulas inlayed into the front

71

Bahram Shabahang, Riverbed, 2010fiber, 168 x 120

72

Orley Shabahang241 East 58th StreetNew York, NY 10022voice 212.421.5800fax 212.421.5888newyork@orleyshabahang.comorleyshabahang.com

326 Peruvian AvenuePalm Beach, FL 33480voice 561.655.3371fax 561.655.0037palmbeach@orleyshabahang.com

223 East Silver Spring DriveWhitefish Bay, WI 53217voice 414.332.2486fax 414.332.9121whitefishbay@orleyshabahang.com

By Appointment5841 Wing Lake RoadBloomfield Hills, MI 48301voice 586.996.5800

Contemporary Persian carpetsStaff: Geoffrey Orley; Bahram Shabahang

Exhibiting:Bahram Shabahang

Bahram Shabahang, Cliffside Sunset, 2009fiber, 96 x 122

73

Dan Dailey, Birds with Sapphires, 200922 x 26 x 12.5 each

74

Scott Jacobson Gallery114 East 57th StreetNew York, NY 10022voice 212.872.1616fax 212.872.1617info@scottjacobsongallery.comscottjacobsongallery.com

Representing established artists in contemporary glass sculpture and studio art furnitureStaff: Scott Jacobson; Eric Troolin

Exhibiting:Garry Knox BennettYves BoucardJosé ChardietScott ChaselingKéKé CribbsDan DaileyDavid HuchthausenRichard JolleyKreg KallenbergerLinda MacNeilSeth RandalTommy SimpsonJay StangerMichael TaylorMary Van ClineSteven WeinbergAnn Wolff

Richard Jolley, Elemental #1, 2008glass, 17 x 15 x 12

75

Leigh Taylor Mickelson, Lure (Kernel), 2010porcelain, 58 x 12 x 12

76

Sherrie Gallerie694 North High StreetColumbus, OH 43215voice 614.221.8580fax 614.221.8550sherrie@sherriegallerie.comsherriegallerie.com

Contemporary ceramic sculpture, fine art and art jewelryStaff: Sherrie Hawk, owner; Steve Louis

Exhibiting:Joe BovaDuncan McClellanSharon MeyerLeigh Taylor MickelsonKeith SchneiderRuss Vogt

Sharon Meyer, Sleeping Antler, 2009natural carved coral, sleeping beauty turquoise, 18k, diamonds, 20 inches overall length

photo: Sharon Meyer

77

Kenneth Johnson, Lightning Bear Claw Necklace, 2010palladium 950, D-VS diamonds, 7 x 5 x .75

78

SWAIA@SOFA: Contemporary Metal141 East PalaceSanta Fe, NM 87504voice 505.983.5220fax 505.983.7647ggomez@swaia.orgswaia.org

Four metalsmiths present contemporary artwork at SOFA in conjunction with SWAIAStaff: Bruce Bernstein, PhD, SWAIA executive director; Gabe Gomez, director of external relations

Exhibiting:Kenneth JohnsonPat PruittCody SandersonRobin Waynee

Pat Pruitt, Untitled, 2009316 stainless steel, 5 x 5 x 1

79

Kajiwara Koho, Starlight, 1996madake, rattan, hobichiku, 15.5 x 9

photo: Gary Mankus

80

TAI Gallery1601 B Paseo de PeraltaSanta Fe, NM 87501voice 505.984.1387gallery@textilearts.comtaigallery.com

Contemporary Japanese photography, bamboo baskets and sculpture; rare and beautiful textilesStaff: Rob Coffland; Everett Cole

Exhibiting:Abe Motoshi/KirakuFujinuma NoboruFujitsuka ShoseiHatakeyama SeidoHayakawa Shokosai VHonda SyoryuHonjo NaokiHonma HideakiIsohi SetsukoKajiwara AyaKajiwara KohoKatsushiro SohoKibe SeihoMonden KogyokuMonden YuichiMorigami JinNagakura KenichiOki ToshieTanabe Chikuunsai IIITanabe MitsukoTanabe Takeo/Shochiku IIITorii IppoUeda YoshihikoYako HodoYamaguchi Ryuun

Morigami Jin, Dream II, 2009madake, 16 x 18

photo: Gary Mankus

81

Rick Beck, Turquoise Standing Figure, 2009glass, 72 x 20 x 15

photo: David Ramsey

82

Thomas R. Riley Galleries28699 Chagrin BoulevardCleveland, OH 44122voice 216.765.1711fax 216.765.1311trr@rileygalleries.comrileygalleries.com

Timeless forms evocative of intellectual and emotional responsesStaff: Thomas R. Riley and Cynthia Riley, owners; Cheri Discenzo, director

Exhibiting:Rick BeckPawel BorowskiStaniJan BorowskiEoin BreadonJason ChakravartyMatthew CurtisCarole FrèveCherry GoldblattTim HardingMark Yale HarrisLucy LyonJohn MillerJanis MiltenbergerMarc PetrovicBinh PhoDoug RandallDavid ReekieSally RogersHarriet SchwarzrockLisa SmithStephanie TrenchardJennifer Violette

Binh Pho, Between Worlds (Cerise), 2010glass, 16 x 9 x 9

83

Timothy Coleman, Key to My HeartJapanese ash, imbuya, 39 x 23 x 15

84

William Zimmer GalleryPO Box 263Mendocino, CA 95460voice 707.937.5121wzg@mcn.orgwilliamzimmergallery.com

Superior studio arts with an emphasis on furniture and metalStaff: William Zimmer and Lynette Zimmer, owners

Exhibiting:Bennett BeanTimothy ColemanDavid CrawfordJohn DoddDavid EbnerRebecca GouldsonTom HuckerTai LakeHiroki MorinoueBrian NewellElizabeth RandKent TownsendJeff WiseSusan Wise

Bennett Bean, Master #1585 Triple on Basepit-fired, painted and gilded earthenware, 6.25 x 13.25 x 6.25

85

Jeff Wise, Zoetrope #1, 2009J. Glode Wise gold plate over bronze, 32 x 12 x 12

86

Jeff and Susan Wise, Desert Vessel #2, 201018 and 22k gold, carved turquoise, faceted tourmaline, 2.5 x 2

87

William Zimmer Gallery

Exh

Index of Exhibitors

hibitors

128

AAnn Nathan Gallery212 West Superior StreetChicago, IL 60654312.664.6622fax 312.664.9392nathangall@aol.comannnathangallery.com

BBlue Rain Contemporary130 Lincoln AvenueSuite CSanta Fe, NM 87501505.954.9902fax 505.954.9904info@blueraingallery.comblueraingallery.com

Brandon Michael Fine Art202 Canyon RoadSanta Fe, NM 87501505.795.7427brandonmichaelfineart@gmail.combrandonmichaelfineart.com

browngrotta artsBy AppointmentWilton, CT203.834.0623fax 203.762.5981art@browngrotta.combrowngrotta.com

Bullseye Gallery300 NW 13th AvenuePortland, OR 97209503.227.0222fax 503.227.0008gallery@bullseyeglass.combullseyegallery.com

CCharon Kransen ArtsBy Appointment Only817 West End AvenueSuite 11CNew York, NY 10025212.627.5073fax 212.663.9026charon@charonkransenarts.comcharonkransenarts.com

Clark+Del VecchioMailing address:223 North Guadalupe, #274Santa Fe, NM 87501917.318.0768mark@clarkdel.comclarkdel.com

DDavid Richard Contemporary130 Lincoln AvenueSuite DSanta Fe, NM 87501505.983.9555fax 505.983.1284info@davidrichardcontemporary.com

davidrichardcontemporary.com

del Mano Gallery2001 Westwood BoulevardLos Angeles, CA 90025310.441.2001gallery@delmano.comdelmano.com

Donna Schneier Fine ArtsBy Appointment115 Spoonbill RoadManalapan, FL 33462518.441.2884dnnaschneier@mhcable.com

Duane Reed Gallery4729 McPherson AvenueSt. Louis, MO 63108314.361.4100fax 314.361.4102info@duanereedgallery.comduanereedgallery.com

GGalleri Bruno DahlStockflethsvej 12Ebeltoft 8400Denmark45.86.259.594info@brunodahl.dkbrunodahl.dk

HHabatat Galleries4400 Fernlee AvenueRoyal Oak, MI 48073248.554.0590fax 248.554.0594info@habatat.comhabatat.com

Holsten GalleriesKenn HolstenPrivate Art Dealer & ConsultantSanta Fe, NM505.992.0270kenn@holstengalleries.comholstengalleries.com

JJane Sauer Gallery652 Canyon RoadSanta Fe, NM 87501505.995.8513fax 505.995.8507jsauer@jsauergallery.comjsauergallery.com

Joan B. Mirviss Ltd.39 East 78th Street4th floorNew York, NY 10075212.799.4021fax 212.721.5148info@mirviss.commirviss.com

KKehrig Fine Art803-601 Spadina Crescent EastSaskatoon, SK S7N 2M4Canada306.292.9648randall@kehrigfineart.cakehrigfineart.ca

129

LLinda DurhamContemporary Art1807 Second Street, #107Santa Fe, NM 87505505.466.6600fax 505.466.6699info@lindadurham.comlindadurham.com

Lyons Wier Gallery175 Seventh Avenueat 20th StreetNew York, NY 10011212.242.6220gallery@lyonswiergallery.comlyonswiergallery.com

MMaria Elena Kravetz GallerySan Jeronimo 448Cordoba X5000AGJArgentina54.351.422.1290mek@mariaelenakravetzgallery.com

mariaelenakravetzgallery.com

OOliver & Espig Jewelers1108 State StreetSanta Barbara, CA 93101805.962.8111fax 805.962.7458oliverandespig@cox.netoliverandespig.com

Orley Shabahang241 East 58th StreetNew York, NY 10022212.421.5800fax 212.421.5888newyork@orleyshabahang.comorleyshabahang.com

326 Peruvian AvenuePalm Beach, FL 33480561.655.3371fax 561.655.0037palmbeach@orleyshabahang.com

223 East Silver Spring DriveWhitefish Bay, WI 53217414.332.2486fax 414.332.9121whitefishbay@orleyshabahang.com

By Appointment5841 Wing Lake RoadBloomfield Hills, MI 48301586.996.5800

SScott Jacobson Gallery114 East 57th StreetNew York, NY 10022212.872.1616fax 212.872.1617info@scottjacobsongallery.comscottjacobsongallery.com

Sherrie Gallerie694 North High StreetColumbus, OH 43215614.221.8580fax 614.221.8550sherrie@sherriegallerie.comsherriegallerie.com

SWAIA@SOFA:Contemporary Metal141 East PalaceSanta Fe, NM 87504505.983.5220fax 505.983.7647ggomez@swaia.orgswaia.org

TTAI Gallery1601 B Paseo de PeraltaSanta Fe, NM 87501505.984.1387gallery@textilearts.comtaigallery.com

Thomas R. Riley Galleries28699 Chagrin BoulevardCleveland, OH 44122216.765.1711fax 216.765.1311trr@rileygalleries.comrileygalleries.com

WWilliam Zimmer GalleryPO Box 263Mendocino, CA 95460707.937.5121wzg@mcn.orgwilliamzimmergallery.com

A

Index of Artists

Artists

132

AAaronson, AdamJane Sauer Gallery

Abe, Motoshi/KirakuTAI Gallery

Aguirre, Amberdel Mano Gallery

Akers, Adelabrowngrotta arts

Akiyama, YoJoan B. Mirviss Ltd.

Alepedis, EfharisCharon Kransen Arts

Amariglio Weiss, LinaMaria Elena Kravetz Gallery

Amromin, PavelAnn Nathan Gallery

Anderson, Donabrowngrotta arts

Anderson, Jeaninebrowngrotta arts

Andre de la Porte, AlidraCharon Kransen Arts

Arthur, KarenOliver & Espig Jewelers

Autio, RudyDonna Schneier Fine Arts

BBakker, RalphCharon Kransen Arts

Baldwin, PhilipDavid Richard Contemporary

Balsgaard, Janebrowngrotta arts

Barker, Jobrowngrotta arts

Barnes, Dorothy Gillbrowngrotta arts

Bartels, RikeCharon Kransen Arts

Bartlett, Carolinebrowngrotta arts

Bartley, RoseanneCharon Kransen Arts

Bauer, CarolaCharon Kransen Arts

Bauer, ElaCharon Kransen Arts

Bauermeister, Michaeldel Mano Gallery

Bean, BennettWilliam Zimmer Gallery

Beck, RickThomas R. Riley Galleries

Becker, MichaelCharon Kransen Arts

Behennah, Dailbrowngrotta arts

Ben Tré, HowardHabatat Galleries

Bennett, Garry KnoxScott Jacobson Gallery

Bess, Nancy Moorebrowngrotta arts

Bezold, BrigitteCharon Kransen Arts

Bijlenga, Marianbrowngrotta arts

Birdsall-Lander, JaneDuane Reed Gallery

Blackmore, CassandriaDuane Reed Gallery

BlakeKehrig Fine Art

Blank, MartinHabatat Galleries

Blavarp, LivCharon Kransen Arts

Blyfield, JulieCharon Kransen Arts

Boieri, DanielaCharon Kransen Arts

Borgman, MaryAnn Nathan Gallery

Borowski, PawelThomas R. Riley Galleries

Borowski, StaniJanThomas R. Riley Galleries

Boucard, YvesScott Jacobson Gallery

Bouduban, SophieCharon Kransen Arts

Bova, JoeSherrie Gallerie

Boyadjiev, LatchezarJane Sauer Gallery

Braeuer, AntjeCharon Kransen Arts

Breadon, EoinThomas R. Riley Galleries

Brennan, Sarabrowngrotta arts

Brock, EmilyHabatat Galleries

Brooks, LeeOliver & Espig Jewelers

Buckman, Janbrowngrotta arts

Buddeberg, FlorianCharon Kransen Arts

Burchard, Christiandel Mano Gallery

Buzio, LidyaClark+Del Vecchio

CCalmar, LarsGalleri Bruno Dahl

Campbell, Marilyndel Mano Gallery

Campbell, Patbrowngrotta arts

Cantrell, NedGalleri Bruno Dahl

Cardinale, RobertoJane Sauer Gallery

Carney, ShannonCharon Kransen Arts

Castle, WendellDonna Schneier Fine Arts

Cepka, AntonCharon Kransen Arts

Chakravarty, JasonThomas R. Riley Galleries

Chandler, GordonAnn Nathan Gallery

Chardiet, JoséScott Jacobson Gallery

Chaseling, ScottScott Jacobson Gallery

Chen, Yu ChunCharon Kransen Arts

Chihuly, DaleDonna Schneier Fine Arts

Choonsun, MoonCharon Kransen Arts

Christensen, LinaCharon Kransen Arts

Clayman, DanielHabatat Galleries

Clayton, DeannaHabatat Galleries

Clayton, KeithHabatat Galleries

133

Cnaani-Sherman, Galibrowngrotta arts

Coleman, TimothyWilliam Zimmer Gallery

Cook, Liabrowngrotta arts

Cordova, CristinaAnn Nathan Gallery

Cornelius, PhilipDonna Schneier Fine Arts

Corvaja, GiovanniCharon Kransen Arts

Cottrell, SimonCharon Kransen Arts

Crawford, DavidWilliam Zimmer Gallery

Cribbs, KéKéHabatat GalleriesScott Jacobson Gallery

Curtis, MatthewThomas R. Riley Galleries

Cutler, Robertdel Mano Gallery

Cuyas, Ramon PuigCharon Kransen Arts

DDailey, DanScott Jacobson Gallery

Davidson, JaclynCharon Kransen Arts

Davis, DarrellBrandon Michael Fine Art

De Corte, AnnemieCharon Kransen Arts

Del Savio, KarinaMaria Elena Kravetz Gallery

Detering, SaskiaCharon Kransen Arts

Di Caprio, DanielCharon Kransen Arts

Dillingham, RickClark+Del VecchioDonna Schneier Fine Arts

Dodd, JohnWilliam Zimmer Gallery

Dohnanyi, Babette vonCharon Kransen Arts

Drury, Chrisbrowngrotta arts

Duckworth, RuthDonna Schneier Fine Arts

EEbner, DavidWilliam Zimmer Gallery

Edols, BenDavid Richard Contemporary

Ekegren, BjörnGalleri Bruno Dahl

Ekeland, IngeridOliver & Espig Jewelers

Elliott, KathyDavid Richard Contemporary

Ellsworth, Daviddel Mano Gallery

Emrich, SinaCharon Kransen Arts

Espig, GlennOliver & Espig Jewelers

Evans, JudithOliver & Espig Jewelers

FFalkesgaard, LinaCharon Kransen Arts

Farey, Lizziebrowngrotta arts

Faye-Chauhan, MaureenCharon Kransen Arts

Fein, Harveydel Mano Gallery

Fennell, J. Pauldel Mano Gallery

Ferguson, KenDonna Schneier Fine Arts

Frank, PeterCharon Kransen Arts

Franke, GregOliver & Espig Jewelers

Frejd, MartinaCharon Kransen Arts

Frève, CaroleThomas R. Riley Galleries

Frey, ViolaDonna Schneier Fine Arts

Frith, Donalddel Mano Gallery

Frohn, AnnaCharon Kransen Arts

Fujinuma, NoboruTAI Gallery

Fujioka, ShuheiJoan B. Mirviss Ltd.

Fujitsuka, ShoseiTAI Gallery

Fukumoto, FukuJoan B. Mirviss Ltd.

GGavotti, ElizabethMaria Elena Kravetz Gallery

Gazulla, MarinaMaria Elena Kravetz Gallery

Geese, ClaudiaCharon Kransen Arts

George, MelBullseye Gallery

Georgieva, Cecabrowngrotta arts

Giles, Marybrowngrotta artsDuane Reed Gallery

Gilhooly, DavidDonna Schneier Fine Arts

Goldblatt, CherryThomas R. Riley Galleries

Good, MichaelOliver & Espig Jewelers

Gori, DaniellaCharon Kransen Arts

Gorman, GeoffreyJane Sauer Gallery

Gouldson, RebeccaWilliam Zimmer Gallery

Greef, Willemijn deCharon Kransen Arts

Green, Lindabrowngrotta arts

Gross, MichaelAnn Nathan Gallery

Grossen, Françoisebrowngrotta arts

Guggisberg, MonicaDavid Richard Contemporary

HHagmann, BirgitCharon Kransen Arts

Hanagarth, SophieCharon Kransen Arts

Harada, ShurokuJoan B. Mirviss Ltd.

Harding, TimThomas R. Riley Galleries

134

Harper, WilliamDonna Schneier Fine Arts

Harris, JamieDuane Reed Gallery

Harris, Mark YaleThomas R. Riley Galleries

Harvey, Lucy M.Oliver & Espig Jewelers

Hatakeyama, SeidoTAI Gallery

Hatekayama, Noriebrowngrotta arts

Hayakawa, Shokosai VTAI Gallery

Hayes, PeterAnn Nathan Gallery

Heindl, AnnaCharon Kransen Arts

Helmich, JoshOliver & Espig Jewelers

Helmich, SusanOliver & Espig Jewelers

Henricksen, Anebrowngrotta arts

Henton, Maggiebrowngrotta arts

Hernmarck, Helenabrowngrotta arts

Hildebrandt, Marionbrowngrotta arts

Hill, ChrisAnn Nathan Gallery

Hiller, MirjamCharon Kransen Arts

Hinz, LeonoreCharon Kransen Arts

Hobin, Agnetabrowngrotta arts

Honda, SyoryuTAI Gallery

Honjo, NaokiTAI Gallery

Honma, HideakiTAI Gallery

Honma, Kazuebrowngrotta arts

Hopkins, JanJane Sauer Gallery

Horowitz, Martin CaryLinda DurhamContemporary Art

Hosking, MarianCharon Kransen Arts

Huang, Daviddel Mano Gallery

Huchthausen, DavidScott Jacobson Gallery

Hucker, TomWilliam Zimmer Gallery

Hughes, LindaCharon Kransen Arts

Huling, JanLyons Wier Gallery

Hunt, Katebrowngrotta arts

Hunter, Williamdel Mano Gallery

IIrwin, JeffClark+Del Vecchio

Ishida, MeiriCharon Kransen Arts

Ishiyama, ReikoCharon Kransen Arts

Isohi, SetsukoTAI Gallery

Iwasaki, Matsumibrowngrotta arts

Iwata, HirokiCharon Kransen Arts

Iwata, Kiyomibrowngrotta arts

JJacobi, Ritzibrowngrotta arts

Janich, HildeCharon Kransen Arts

Janosik, AndreaCharon Kransen Arts

Jensen, MetteCharon Kransen Arts

Jeong, Eun YeongCharon Kransen Arts

Johnson, KelloggLinda DurhamContemporary Art

Johnson, KennethSWAIA@SOFA:Contemporary Metal

Jolley, RichardScott Jacobson Gallery

Jones, MeghannCharon Kransen Arts

Jónsdóttir, Kristinbrowngrotta arts

Joolingen, Machteld vanCharon Kransen Arts

Joy, Christinebrowngrotta arts

Juen, LisaCharon Kransen Arts

Juenger, IkeCharon Kransen Arts

Jung, JunwonCharon Kransen Arts

KKaiser, Virginiabrowngrotta arts

Kajiwara, AyaTAI Gallery

Kajiwara, KohoTAI Gallery

Kallenberger, KregDuane Reed GalleryScott Jacobson Gallery

Kaneta, MasanaoJoan B. Mirviss Ltd.

Kang, YeonmiCharon Kransen Arts

Kataoka, MasumiCharon Kransen Arts

Kato, YasukageJoan B. Mirviss Ltd.

Katsushiro, SohoTAI Gallery

Kaube, SusanneCharon Kransen Arts

Kaufman, Glenbrowngrotta arts

Kaufmann, MartinCharon Kransen Arts

Kaufmann, Ruthbrowngrotta arts

Kaufmann, UllaCharon Kransen Arts

Kawata, Tamikobrowngrotta arts

Keelan, MargaretDuane Reed Gallery

Kibe, SeihoTAI Gallery

Kicinski, Jennifer HowardCharon Kransen Arts

Kilkus, JeremyCharon Kransen Arts

135

Kim, Jeong YoonCharon Kransen Arts

Kim, JiminCharon Kransen Arts

Kim, Seung-HeeCharon Kransen Arts

Kim, Sun KyoungCharon Kransen Arts

Klancic, Andabrowngrotta arts

Klein, SteveBullseye Gallery

Knauss, Lewisbrowngrotta arts

Knowles, SabrinaDuane Reed Gallery

Kobayashi, Masakazubrowngrotta arts

Kobayashi, Naomibrowngrotta arts

Koehne, ChristianeCharon Kransen Arts

Koenigsberg, Nancybrowngrotta arts

Kohyama, Yasuhisabrowngrotta arts

Koie, RyojiJoan B. Mirviss Ltd.

Kolesnikova, Irinabrowngrotta arts

Kosonen, Markkubrowngrotta arts

Krakowski, YaelCharon Kransen Arts

Kraus, AnnDonna Schneier Fine Arts

Kretchmer, ClaudiaOliver & Espig Jewelers

Kretchmer, StevenOliver & Espig Jewelers

Kulka, Lillabrowngrotta arts

Kumai, Kyokobrowngrotta arts

LLaBianca, Lawrencebrowngrotta arts

Lach, ElfrunCharon Kransen Arts

Lake, TaiWilliam Zimmer Gallery

Laky, Gyöngybrowngrotta arts

Latven, Buddel Mano Gallery

Lawty, Suebrowngrotta arts

Layport, Rondel Mano Gallery

Leavitt, GailCharon Kransen Arts

Lee, DongchunCharon Kransen Arts

Lee, JiyongDuane Reed Gallery

Leest, Felieke van derCharon Kransen Arts

Lehmann, NicoleCharon Kransen Arts

Lindman, KathrineCharon Kransen Arts

Linkin, NancyOliver & Espig Jewelers

Linssen, Jennifer Falckbrowngrotta arts

Linssen, NelCharon Kransen Arts

Littleton, HarveyDonna Schneier Fine Arts

Ljones, Åsebrowngrotta arts

Loew, SusannaCharon Kransen Arts

Løvaas, Astridbrowngrotta arts

Lucero, MichaelDonna Schneier Fine Arts

Luttin, SimCharon Kransen Arts

Lyon, LucyThomas R. Riley Galleries

MMachata, PeterCharon Kransen Arts

MacNeil, LindaScott Jacobson Gallery

MacNutt, Dawnbrowngrotta arts

Mahaffey, RaeDavid Richard Contemporary

Mailland, Alaindel Mano Gallery

Malbaurn, ScottDavid Richard Contemporary

Malinowski, Ruthbrowngrotta arts

Marchetti, StefanoCharon Kransen Arts

Marquis, RichardBullseye Gallery

Marsh, Bertdel Mano Gallery

Marti, Danibrowngrotta arts

Mason, VickiCharon Kransen Arts

Massey, SharonCharon Kransen Arts

Matsui, KoseiJoan B. Mirviss Ltd.

Matthews, LeslieCharon Kransen Arts

136

Matthias, ChristineCharon Kransen Arts

Mayeri, BeverlyDuane Reed Gallery

Mazzoni, AnaMaria Elena Kravetz Gallery

McAllister, WendyCharon Kransen Arts

McClellan, DuncanSherrie Gallerie

McHorse, ChristineNofchisseyClark+Del Vecchio

McKnight, RachelCharon Kransen Arts

McMahon, TimothyCharon Kransen Arts

Merkel-Hess, Marybrowngrotta arts

Meyer, SharonSherrie Gallerie

Michaels, Guydel Mano Gallery

Mickelson, Leigh TaylorSherrie Gallerie

Mihara, KenJoan B. Mirviss Ltd.

Miller, JohnThomas R. Riley Galleries

Miltenberger, JanisThomas R. Riley Galleries

Miner, CharlieHabatat Galleries

Minkowitz, Normabrowngrotta arts

Moje, KlausBullseye GalleryDonna Schneier Fine Arts

Monden, KogyokuTAI Gallery

Monden, YuichiTAI Gallery

Morel, SoniaCharon Kransen Arts

Moreno, MariaMaria Elena Kravetz Gallery

Morigami, JinTAI Gallery

Morin, TomJane Sauer Gallery

Morino Hiroaki, TaimeiJoan B. Mirviss Ltd.

Morinoue, HirokiWilliam Zimmer Gallery

Morris, WilliamDonna Schneier Fine Arts

Moseholm, KeldGalleri Bruno Dahl

Moulthrop, Mattdel Mano Gallery

Moulthrop, Philipdel Mano Gallery

Mulford, Judybrowngrotta arts

Munsteiner, BerndOliver & Espig Jewelers

Munsteiner, TomOliver & Espig Jewelers

NNagakura, KenichiTAI Gallery

Namingha, LesBlue Rain Contemporary

Neff, StaceyLinda DurhamContemporary Art

Newell, BrianWilliam Zimmer Gallery

Newmann, DanaLinda DurhamContemporary Art

Nio, Keijibrowngrotta arts

Nuetzel, MelanieCharon Kransen Arts

Nuis, CarlaCharon Kransen Arts

OOgata, KamioJoan B. Mirviss Ltd.

Ogawa, MachikoJoan B. Mirviss Ltd.

Ohr, GeorgeDonna Schneier Fine Arts

O’Kelly, AngelaCharon Kransen Arts

Oki, ToshieTAI Gallery

Olsson, Miabrowngrotta arts

Ortiz, VirgilClark+Del Vecchio

Osterrieder, DanielaCharon Kransen Arts

Oudet, Pascaldel Mano Gallery

PPaganin, BarbaraCharon Kransen Arts

Pagliaro, JohnClark+Del Vecchio

Palumbo, GiuseppeBrandon Michael Fine Art

Park, Young BinCharon Kransen Arts

Pattihis, LianaCharon Kransen Arts

Paul, AdelaideClark+Del Vecchio

Pembridge, Gordondel Mano Gallery

Perez, Jesus CuriaAnn Nathan Gallery

Peters, Daviddel Mano Gallery

Peterson, Georgedel Mano Gallery

Peterson, Michaeldel Mano Gallery

Petrovic, MarcThomas R. Riley Galleries

Petter, GuggerJane Sauer Gallery

Pheulpin, Simonebrowngrotta arts

Pho, Binhdel Mano GalleryThomas R. Riley Galleries

Pinchuk, NatalyaCharon Kransen Arts

Pohlman, JennyDuane Reed Gallery

Pollitt, Harrydel Mano Gallery

Pond, JoCharon Kransen Arts

Pragnell, Valeriebrowngrotta arts

Pruitt, PatSWAIA@SOFA:Contemporary Metal

RRand, ElizabethWilliam Zimmer Gallery

Randal, SethScott Jacobson Gallery

137

Randall, DougThomas R. Riley Galleries

Read, SarahCharon Kransen Arts

Reekie, DavidThomas R. Riley Galleries

Richardson, Joeydel Mano Gallery

Richmond, LesleyJane Sauer Gallery

Rie, LucieClark+Del Vecchio

Robertson, ZoeCharon Kransen Arts

Rogers, SallyThomas R. Riley Galleries

Rojas, CarolinaMaria Elena Kravetz Gallery

Romero, DiegoClark+Del Vecchio

Rose, JimAnn Nathan Gallery

Rose, MarleneHabatat Galleries

Rosenthal, RandallJane Sauer Gallery

Rossbach, Edbrowngrotta arts

Roth, RichardDavid Richard Contemporary

Rothstein, Scottbrowngrotta arts

Rousseau-Vermette,Mariettebrowngrotta arts

Roussel, AnthonyCharon Kransen Arts

Russmeyer, Axelbrowngrotta arts

Ryan, JackieCharon Kransen Arts

SSachs, Debrabrowngrotta arts

Sakiyama, TakayukiJoan B. Mirviss Ltd.

Sakurai, YasukoJoan B. Mirviss Ltd.

Salvadore, DavideHabatat Galleries

Samora, MariaBlue Rain Contemporary

Sanderson, CodySWAIA@SOFA:Contemporary Metal

Santiago, RosetaBrandon Michael Fine Art

Santillana, Laura deDavid Richard Contemporary

Sarneel, LucyCharon Kransen Arts

Sawyer, GeorgeOliver & Espig Jewelers

Schaupp, IsabellCharon Kransen Arts

Scheinman, NancyJane Sauer Gallery

Schick, MarjorieCharon Kransen Arts

Schimmel, Heidrunbrowngrotta arts

Schmitz, ClaudeCharon Kransen Arts

Schneider, KeithSherrie Gallerie

Schuerenkaemper,FrederikeCharon Kransen Arts

Schultz, SusanBrandon Michael Fine Art

Schwarzrock, HarrietThomas R. Riley Galleries

Sekiji, Toshiobrowngrotta arts

Sekijima, Hisakobrowngrotta arts

Sekimachi, Kaybrowngrotta arts

Serritella, Ericdel Mano Gallery

Seufert, KarinCharon Kransen Arts

Seventy, Sylviabrowngrotta arts

Sewell, BenDavid Richard Contemporary

Shabahang, BahramOrley Shabahang

Shaffer, MaryDonna Schneier Fine ArtsHabatat Galleries

Shaw, RichardDonna Schneier Fine Arts

Sheezel, DebbieCharon Kransen Arts

Shimomoto, HarueDavid Richard Contemporary

Shin, Young-okbrowngrotta arts

Shindo, Hiroyukibrowngrotta arts

Shinn, CarolJane Sauer Gallery

Shockley, TimMaria Elena Kravetz Gallery

Sieber Fuchs, VerenaCharon Kransen Arts

Simpson, TommyScott Jacobson Gallery

Sioulas, KonstantinoOliver & Espig Jewelers

Sisson, Karylbrowngrotta arts

Smelvær, Brittbrowngrotta arts

Smith, LisaThomas R. Riley Galleries

Smith-Foret, SunDuane Reed Gallery

So, Jin-Sookbrowngrotta arts

Soest, Roos vanCharon Kransen Arts

Sørenson, Grethebrowngrotta arts

Spano, ElenaCharon Kransen Arts

Stanger, JayScott Jacobson Gallery

Stankard, PaulJane Sauer Gallery

Stein, Ethelbrowngrotta arts

Stiansen, Karibrowngrotta arts

Stoyanov, Aleksandrabrowngrotta arts

Stutman, BarbaraCharon Kransen Arts

Sumiya, YukiCharon Kransen Arts

Suzuki, GoroJoan B. Mirviss Ltd.

Suzuki, OsamuJoan B. Mirviss Ltd.

Syvanoja, JannaCharon Kransen Arts

TTagliapietra, LinoDonna Schneier Fine ArtsHolsten Galleries

138

Takaezu, ToshikoDonna Schneier Fine Arts

Takamiya, Norikobrowngrotta arts

Takamori, AkioDonna Schneier Fine Arts

Tanabe, Chikuunsai IIITAI Gallery

Tanabe, MitsukoTAI Gallery

Tanabe, Takeo/Shochiku IIITAI Gallery

Tanaka, Chiyokobrowngrotta arts

Tanaka, Hidehobrowngrotta arts

Tanikawa, Tsurukobrowngrotta arts

Tate, Blairbrowngrotta arts

Tawney, Lenorebrowngrotta arts

Taylor, MichaelScott Jacobson Gallery

Thakker, SalimaCharon Kransen Arts

Thompson, JoanneCharon Kransen Arts

Tomasi, HenrietteCharon Kransen Arts

Tomita, Junbrowngrotta arts

Torii, IppoTAI Gallery

Toth, MargitHabatat Galleries

Townsend, KentWilliam Zimmer Gallery

Trekel, SilkeCharon Kransen Arts

Trenchard, StephanieThomas R. Riley Galleries

Tridenti, FabrizioCharon Kransen Arts

Truman, CatherineCharon Kransen Arts

Tsai, Chang-TingCharon Kransen Arts

Tsuji, SeimeiJoan B. Mirviss Ltd.

Tsujimura, ShiroJoan B. Mirviss Ltd.

Tsukamoto, SeijiroJoan B. Mirviss Ltd.

Tuccillo, JohnAnn Nathan Gallery

UUeda, YoshihikoTAI Gallery

Urbatis, KestistOliver & Espig Jewelers

Urruty, Joëldel Mano Gallery

Urso, MyungCharon Kransen Arts

VVagen, VerushkaDuane Reed Gallery

Vagi, FloraCharon Kransen Arts

Vallien, BertilDonna Schneier Fine Arts

Valoma, Deborahbrowngrotta arts

Van Cline, MaryScott Jacobson Gallery

Van Der Laan, ChristelCharon Kransen Arts

Veers, LilliCharon Kransen Arts

Vermandere, PeterCharon Kransen Arts

Vermette, Claudebrowngrotta arts

Vikman, Ulla-Maijabrowngrotta arts

Violette, JenniferThomas R. Riley Galleries

Virden, JerilynAnn Nathan Gallery

Vogt, RussSherrie Gallerie

Voulkos, PeterDonna Schneier Fine Arts

WWada, MorihiroJoan B. Mirviss Ltd.

Wagle, Kristenbrowngrotta arts

Wagner, KarinCharon Kransen Arts

Wahl, Wendybrowngrotta arts

Walter, JuliaCharon Kransen Arts

Wander, RobertOliver & Espig Jewelers

Wanenmacher, ErikaLinda DurhamContemporary Art

Watanuki, YasunoriCharon Kransen Arts

Waynee, RobinSWAIA@SOFA:Contemporary Metal

Weinberg, StevenScott Jacobson Gallery

Weiser, KurtClark+Del Vecchio

Weisman, GaryBrandon Michael Fine Art

Weiss, CarolineCharon Kransen Arts

Weissflog, Hansdel Mano Gallery

Weissflog, Jakobdel Mano Gallery

Welker, Lena McGrathbrowngrotta arts

Westphal, Katherinebrowngrotta arts

Willemstijn, FrancisCharon Kransen Arts

Winqvist, Merjabrowngrotta arts

Winter, JasminCharon Kransen Arts

Winton, Mollydel Mano Gallery

Wise, JeffWilliam Zimmer Gallery

Wise, SusanWilliam Zimmer Gallery

Wolbers, SusannaCharon Kransen Arts

Wolff, AnnScott Jacobson Gallery

Woo, Jin-SoonCharon Kransen Arts

Wood, BeatriceClark+Del Vecchio

Woodman, BettyDonna Schneier Fine Arts

139

YYagi, YokoBullseye Gallery

Yako, HodoTAI Gallery

Yamaguchi, RyuunTAI Gallery

Yeonsoon, Changbrowngrotta arts

Yi, Jung-GyuCharon Kransen Arts

Yonezawa, Jirobrowngrotta arts

Yoshida, Masakobrowngrotta arts

Yoshikawa, MasamichiJoan B. Mirviss Ltd.

Youngman, PhillipOliver & Espig Jewelers

Yrarrazaval, Carolinabrowngrotta arts

ZZahm, PhilipOliver & Espig Jewelers

Zanella, AnnamariaCharon Kransen Arts

Zaytceva, IrinaJane Sauer Gallery

Zynsky, TootsDavid Richard Contemporary

The Art Fair Company, Inc.Producer of SOFA WEST: Santa Fe 20104401 North Ravenswood, Suite 301Chicago, IL 60640voice 773.506.8860fax 773.345.0774www.sofaexpo.com

Michael FranksChief Executive OfficerThe Art Fair Company, Inc.

Mark LymanPresidentThe Art Fair Company, Inc.Founder/Director, SOFA Fairs

Anne MeszkoJulie OimoenKate JordanGreg WorthingtonBarbara Smythe-JonesPatrick SedaMichael MacigewskiBridget TrostAaron AndersonStephanie HatzivassiliouGinger PiotterHeidi HribernikErinn M. CoxDonald BromaginJoe PonegalekDonna Davies

Library of Congress – in Publication Data

SOFA WEST: Santa Fe 2010Sculpture Objects & Functional Art Fair

ISBN 0-9789206-6-X2009913077

Published in 2010 by The Art Fair Company, Inc., Chicago, I l l inois

Graphic Design by Design-360º Incorporated, Chicago, I l l inois

Printed by Unique Active, Chicago, I l l inois

SOFA CHICAGONovember 5-7, 2010Navy PierOpening Night Preview Thursday, November 4

SOFA WEST: SANTA FEAugust 4-7, 2011Santa Fe Convention CenterOpening Night Preview Wednesday, August 3

SOFA NEW YORKApril 15-18, 2011Park Avenue ArmoryOpening Night Preview Thursday, April 14

SOFA

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2010