Portfolio 08 3

design & marketing
Jesse Caverly designer

2006-2008 Jesse Caverly designer
Focus Magazine, layout & design, 2008
Peter Burega: Pictures of His Floating World

adjustment, when he discovered that he wasn’t going to be the per-
former he’d envisioned. A pianist until age 18, he hit a wall and his
BY DEVON JACKSON musical aspirations were over; his way of breaking through that wall
was to take on multiple majors at McGill University and then con-
tinue on to getting a degree in law in California.
Three years into being a lawyer, Burega was miserable. So he
transitioned. After a hiatus on the Big Island of Hawaii, he came
back to California and shifted himself and his career into the film
industry. Working on commercials, first in production and then
directing, Burega recalls that “I thought I’d find my creative voice in
entertainment. But instead I was frustrated with all of the layers of
creative management and none of the freedom I’d hoped.”
However, throughout his entire life Burega had always
been painting. In 1998 a Los Angeles designer friend admired his
work and asked him for paintings to install in his showroom,
Burega happily obliged. That was destiny and the beginning of
finding his creative voice for life. From the exposure he gained in
his friend’s atelier, he was approached by a small gallery and of-
fered a one-person show. He immediately quit his career in TV
and started painting full-time. Says Burega, “I was petrified, but I
never looked back.” After 8 years in Los Angeles trying to figure

what to do with his life, he felt that he had now found his calling.
“I’ve never had any fear of changing careers.” Part of that fearless-
ness stems from the death of Burega’s dad, a former economist and
entrepreneur, who died 20 years ago in his 50s. Since that suddenly
unexpected passing of his father, Burega, the oldest of three boys,
developed a live-life-to-the-fullest point of view.
Having been a full-time painter now for over 10 years, Burega be-
gan to create work on masonite panels, then canvas and paper. After
a few years, he progressed to birch board. He mixed in wax with his
oils and applied it all to his surfaces largely with brushes and knives.
“I used to have the notion that I had to be a ‘painterly’ painter—my
work used to be open and ethereal, lots of brush strokes and I was
Peter Burega’s powerful paintings are deep studies in color and geometry. They are beauti- painting very abstract landscapes,” says Burega. “Now my work’s gone
ful, but a beauty with a bruise here, a scratch there, a scrape, a cut, a depth, a luminosity, an through a progression in the past few years. I’ve started investigating
intensity, a look not only into the way Burega’s brain views the world but at how he processes the forms of geometry. There are still elements of the landscapes but
light, color, space, line, lines, the very big, the very small, and how all that and more relates— there’s a definite exploration of the grid and of color fields.” He now
or doesn’t relate—to each other and everything else. “I get off on the idea of putting across paints only with trowels and knives, almost burnishing and polish-
two totally different ways of thinking, painting big and small at the same time,” says Burega. ing his surfaces.
“I’m breaking down elements but bringing them back together in a cohesive way. That’s the
way my brain processes it,” explains the artist Opposite page: Virgin Gorda #, oil on panel, "× ";; This page,
Possessed of an admittedly “percussive” brain, Burega also admits to having had a rather above: Virgin Gorda #, oil on panel, "× "; Below: Virgin
“weird learning curve” as an artist. Born in Montreal, Canada in 1965, Burega, from the age Gorda #, oil on panel, "× "
of five, seemed destined to become a pianist. He never really acknowledged any other gifts
aside from those he expressed musically, so it was something of a shock, if not at the least an
22 FOCUS SANTA FE August /September 2008 FOCUS SANTA FE August /September 2008 23
and simply started doing what feels right for a particular piece. I can obsess on a three inch passage
of a six-foot board or tackle a painting as a whole and approach it within a “macro” perspective.
It’s because I let it all hang out that my work and process have this freedom of thought.”
Approaching each painting as a kind of geometrical equation to be solved or played with,
Burega now constructs an asymmetrical grid on which to begin painting. This grid, which he
embraced at around the same time he gave up wax, is as important to him now as his subject
matter. Whatever landscape still remains often serves simply as a departure point. “I’m certainly
He began the journey of exploring glazing still affected by geography and places. I’m still painting what I see out there, like the way the light
—layering his birch boards with lots of semi- plays off a leaf, but it’s not just an image I’m after anymore but my thought process in access-
transparent glaze. “There’s only so much you can ing that information,” he says. “I often don’t see the big picture of what I’m looking at. I’ll look
do with wax,” explains Burega, who went wax-less at specific details.
at the suggestion of an artist friend. “Wax is un- “The grid is really important because it allows me to do that—to do this micro-macro thing,
forgiving when you are exploring prior layering. to change my point of perspective, to shift back and forth between the two,” he continues. “Some-
It didn’t allow me to explore backwards and it times I’m shifting perspective on a giant scale and sometimes it is more subtle.”
refused to let me reveal my under painting.” Last summer, while spending time in the dense, wet climes of the British Virgin Islands,
Glazing isn’t hardly as limiting to the art-
ist as wax. “I paint with a ton of glaze, so I can
work backwards now in creation,” says Burega.
“But I have to stay in the painting—I have to keep
my surface malleable so that I can continue to
reveal former layers as well add more.” And the
best way for Burega to stay in the painting has
been in how he now works on his underpainting.
“I still have a lot of color and light information
that seep through from below the surface, so my
work has developed a luminescence,” he points
out. “Subconsciously, you know there’s still stuff
going on behind the box (the frame and the grid
are now equally important), and subconsciously
I know what’s back there. I experience a lot of dis-
covery in the removal process. These days I’m as The former is why he requires tools like his trusty trowel; the latter would Burega’s work underwent a dramatic change in palette and light, which also affected the
much about removal as application.” require a brush. But Burega doesn’t use brushes anymore, or any other tradi- rest of his painting. “It tends to be a more golden light we experience here in Santa Fe, it’s a
By which he means, he’ll sometimes scrape tional artist’s tools. “I’m Mr. Home Depot on a certain level,” he says with a mirage-like light, it plays tricks on you,” says Burega. “Down on the islands, though, the light
away as many as 50 layers of paint (or under- laugh. “I paint only with scrapers and trowels. Whether I am painting small or flickers totally differently. It’s a denser bluer atmosphere and it infuses everything with a cer-
painting paint) to get what he’s after; as opposed big, I work with the same tools. At the end of the day my process is very physi- tain lushness that has affected and changed my perceptions.”
to layering it on 50 times to get at what he wants. cal and I’m covered in cuts from using my tools,” say the painter. Hoping to give people a peek into how it is he sees the world, and how he thinks—and
Having not taken a formal class, a workshop, or spent any time in art how he processes what he sees—Burega has left behind the world of beauty and gone
school, Burega has consciously avoided subjecting himself to any kind of artis- inside his head. “I still have a pleasing palette but that’s not what drives me,” says Burega.
tic influence. Burega has not eschewed an academic approach to his work. He “My work is much more thoughtful. I used to be purely visceral but now I’m more focused
can sound like the headiest of hard theory art-school artists when he really gets on the psychology of my work and that’s more like me. I’m very right brain left-brain: I am
going about his technique, or his approach. His discovery and exploration of simultaneously very organized and chaotic – completely able to let go and not live with any
what he calls “the grid,” how the “graphic elements were framing” for him, the plans. That juxtaposition is what my paintings are all about.”
way “the grid gave me so much to hang onto cerebrally,” and how “although you Opposite page: Virgin Gorda #, oil on panel, "× "; This page: Indian Canyons #,
still get a sense of a horizon line in my work, I continually try to exorcise that oil on panel, "× ";
line from my life because it’s easy and I don’t want to do easy anymore.”
“Some people’s artistic schooling can really hamper their progress—pre- Peter Burega’s work can be seen at Meyer East Gallery, 225 Canyon Road. (505)983-1657.
conceptions run rampant,” suggests Burega. “I have let go of all pre-conceptions www.meyereastgallery.com
Georgia o’keeffe museum, Youth Guide for the

Natural Affinities exhibit, layout & design, 2008
Youth Guide
Georgia O’Keeffe and Ansel Adams:

Natural Affinities
RANCHOS DE TAOS CHURCH AN ARTIST FRIENDSHIP
I have used these The Ranchos de Taos Church is one of the most beautiful buildings left in the Two of the best known and loved American artists of the twentieth century met
>
things to say what isUnited States by the early Spaniards. Most artists who spend any time in Taos in Taos, New Mexico, in 1929, almost eighty years ago.
to me the wideness have to paint it, I suppose, just as they have to paint a self-portrait. I had to
and wonder of the
paint it—the back of it several times, the front once. I finally painted a part of the
Continued in
world as I live in it. Georgia O’Keeffe was born on a farm in Wisconsin and later moved with her
back thinking that with the piece of the back I said all I needed to say about the family to Virginia. When she was a little girl, her mother read stories to her
Georgia O’Keeffechurch. . . . And I long ago came to the conclusion that even if I could put down
about the adventurous cowboys and Native Americans who lived in the West.
accurately the thing that I saw and enjoyed, it would not give the observer the O’Keeffe studied in Chicago and New York and, in 1912, she took a job teaching
kind of feeling it gave me. I had to create an equivalent for what I felt about what Connect
in Amarillo, and later in 1916, in Canyon, Texas. On her way back the dots
to Texas fromon the cities where Georgia O’Keeffe and Ansel Adams each Georgia O’Keeffe and Ansel Adams always got together when he visited New
I was looking at—not copy it. I was quite pleased with the painted fragment of livedShe
a trip to Colorado in 1917 she stopped in Santa Fe, New Mexico. andloved
worked. York. O’Keeffe’s husband, Alfred Stieglitz, was an important photographer and
the Ranchos Church. what she saw and wanted to return. She started to spend summers in North- he owned a gallery. He invited Adams to have an exhibition of photographs
Georgia O’Keeffe ern New Mexico in 1929 and eventually moved to New Mexico from her home in New York City. Adams and Stieglitz wrote each other many letters. Alfred
in New York City. Stieglitz was an older artist and an inspiration to Ansel Adams.
Georgia O’Keeffe said that she “had to paint” this church. Ansel Adams also
felt a need to photograph the church. Ansel Adams was born in San Francisco, California. He first went camping I have planned to write you ever since my return to San Francisco. I wanted to
with his family in Yosemite National Park when he was fourteen. He returned tell you a little of what my talks with you have meant to me. . . . I trust you will
Georgia O’Keeffe, Alfred Stieglitz
Is there a place, a person, or something you need to draw, paint, or there most summers to work and take photographs. Adams met his wife, believe me when I say that my meetings with you touched and clarified many
photograph? Virginia Best, in Yosemite, where she was living with her family. Adams met -ÕÊ*À>ÀiÊ7ÊU New York NY deep elements within me. It has been a great experience to know you. I wonder
U
Art is both love and O’Keeffe when he came to New Mexico in 1929, with the writer Mary Austin,
V>}ÊÊU New York NY if you can ever know what the showing of my work has done for my whole
San Francisco CA direction in life?
friendship, and under- to take photographs for a book called Taos Pueblo. ThroughoutU theUÊ9ÃiÌiÊ

years,
standing of the desire to Make a note or sketch here of what you want to do and try to follow through 7>ÃLÕÀ}Ê6ÊU
Adams and O’Keeffe shared a similar interest in finding “subjects” for art in from an Ansel Adams letter to Alfred Stieglitz
give. It is not charity which with your idea.
nature, as well as exploring, in their artwork, a belief that beauty was an Taos NM
is the giving of things, it is U
important aspect of art-making. Taos NM
U Amarillo TX UÊ
ÕÕL>Ê-
more than kindness, which U Canyon TX

is the giving of self. It is Georgia O’Keeffe, Ranchos
Church No. , , oil on
both the taking and giving Georgia O’Keeffe,
canvas, ⁄ × inches.
of beauty, the turning out Taos Pueblo,
to the light the inner folds /, oil on
of the awareness of the canvas, ×
spirit. It is art—something inches.
said about something felt.
Ansel Adams
Ansel Adams, Nancy Newhall
"/ \Ê>Ã>Ê>`Ê>Ü>ÊÌÊÌÊÃV>i
What is art to you?

May – September , Ansel Adams, We have finally decided on the subject of the Portfolio. It will beMark the places
the Taos Pueblo.on the map where you have lived, visited, or want to see.
Saint Francis Church, A Council meeting was held, and the next morning I was granted permission to
Ranchos de Taos, photograph the Pueblo. It is a stunning thing—great pile of adobe five stories high
New Mexico, c. , with the Taos peaks rising a tremendous way behind. And the Indians are really
gelatin silver print,
majestic. . . . I have every hope of creating something really fine.
www.okeeffemuseum.org ⁄ × ⁄ inches.
Ansel Adams
Alfred Stieglitz, Self-Portrait, , × inches.
2 | Georgia O’Keeffe and Ansel Adams: Natural Affinities | May 23 – September 7, 2008 Georgia O’Keeffe and Ansel Adams: Natural Affinities | May 23 – September 7, 2008 | 3
ve.” The fun and funky

ceptional musicians with Truth and Beauty: Contemporary art has always had its devout as well as its
detractors. Once upon a time the use of mixed media
Contemplating
takes place on Saturday was eschewed by traditionalists as less than fine art. But
today contemporary art is holding its own in top art mar-
of the ARTfeast Guide, kets and is even touted by financial advisors as a means
eil the introduction of
h will be available as Contemporary of adding diversity to one's portfolio. Whatever your aim
when approaching contemporary art, you are sure to find
Art
The project came about something that assuages your particular penchant for
chools for the last sev- truth or beauty, and sometimes both.
the designs which were
ired. According to Mc- BY CLAUDIA JOSEPH
iting themes developed
Often contemporary art is maligned for Recently LewAllen exhibited the

acting as a vehicle for social change; others preparatory materials for The Din-
praise it as an opportunity to express politi- ner Party. This meant that many of
cal, religious and social views and create a the preliminary sketches, test plates
dialog for transformation. When viewing and weaving samples that Chicago
art that falls into the "difficult" or "pro- relied upon in summoning the final
vocative" category, the spectator often has project could be viewed, appreciated
a visceral response, clearly mapping out and even acquired by collectors. To
their position on a given piece of art and own a piece of this great monument
its content. This is not typically the kind to the women's movement was an
of art that finds its way to gallery walls or a astounding opportunity and a rare
seasoned art collector's portfolio. But for ability to take home a piece of his-
those who are brave enough to purchase tory. Such a bridge is important in
works that stand for truth, whether the art- Santa Fe since many exhibits of sig-
ist's expression thereof or truths shared by nificant new works debut in large
collector and artist alike, a certain social dis- urban areas. The Dinner Party in
tinction is conferred for such fearlessness. particular reflects the artist's truth
expressed to the masses and its con-
Judy Chicago, Grand Snake Arm 2, 2007, etching, tent eventually became part of the
cold work and gold leaf on cast glass, fabric of our collective psyche.
24" × 24" × 21", multi-stage Seeing even a small part of such a
carving by Dobbins Studio project allows people to experience
and appreciate how art can have a
Generally speaking, many gallery owners and representatives agree that Santa Fe's art market, ranked third nationally major impact on society.
behind New York and Los Angeles, is somewhat conservative. It should be no surprise that the City Different does not fol-
o fire several sets of plates low global or national trends, but considering the open-mindedness we pride ourselves on as a city, you'd think we could When the kernel of the contemporary art movement was germinating Judy Chicago, test plate from The
of anywhere from six to generate a bit more excitement for avant garde contemporary art. Perhaps we are still rooted in traditional art of the west in the 1960's and 1970's minority and oppressed artists in particu- Dinner Party – Hatshepsut Test Plate
t Master paintings as mon- and we need a bit more time for our eyes to adjust. But don't let this lead you to believe that Santa Fe's contemporary art lar found a new medium for expression — one that was progressive #3, 1975-1978, china paint on por-
modernistic modes. market is not strong; this sector of the art market has grown the most in recent years, and shows no signs of slowing down. without the limitations sometimes imposed by traditional art. The celain, " diameter × "
We can expect great things from the Railyard development evolving as a new Mecca to contemporary art. And there use of art as social commentary flourished. Along came artist Judy height, × 28.5" × 28.5"
ants with a fun and enlighten- are many in the local art community who are toeing the line for the rest of us, until we catch up. Chicago, who for the past forty years has been committed to creating × 10.5 installed
or a full list of events and more art to further social change, tackling a vast array of ambitious content
www.artfeast.com. Judy Chicago, installation view of The Dinner Party, 1974-1979, photo by Donald Woodman in as many mediums. She has shown us The Dinner Party in which
abstract paintings and sculptures were assembled to host a spiritual
FOCUS SANTA FE January/March 2008 27 last supper for thirty-nine of history's most accomplished women,
who were not recognized in male-dominant histories. Then she em- In speaking with Linda Durham of Linda Durham Contemporary Art in Santa Fe I was struck by
barked upon The Holocaust Project: From Darkness Into Light, which her commitment to pushing contemporary art forward while honoring an artist's individual vi-
examined power and powerlessness. These are not lighthearted pieces sion. Currently featuring the work of Erika Wanenmacher, Linda Durham's latest exhibit is sure
that translate easily into galleries or homes. But Chicago and LewAl- to test the viewer's limits and take collectors and spectators out of their comfort zone. Greeted
len Contemporary found a way to marry the exhibit of large scale by an enormous wood carving encased in snakeskin shed by a local snake, you are aware that
installation art with the personal experience of a gallery. Wanenmacher's perspective is challenging the mind to widen its interpretation of what we con-
sider art. Turn the corner and you'll find Wanenmacher expressing her range in use of medium
Judy Chicago, test plate from The Dinner Party – Theodora Test Plate #7, with a life-sized sculptural self portrait, her nakedness (tattoos, exposed breasts and all) fash-
1975-1978, china paint on porcelain, 14” dia., 1.5” deep 18.5” x 18.5” x ioned using the underside of coyote skin, complete with prosthetic eyeballs. It is not easy to look
10.5” installed.tif"diameter × "height, × 18.5" × 18.5" × 10.5, at; in fact it is difficult to be with. And whether you find it beautiful or not, there is no doubt that
installed Wanenmacher has created something important to her, with considerable skill, and is devoted to
her vision, rather than considering first what will hang nicely over someone's couch.
Kathleen Kinkopf, Simpatico, mixed media/acrylic on canvas, " × "
28 FOCUS SANTA FE January/March 2008 FOCUS SANTA FE January/March 2008 29

When I pressed Durham about the economic Selecting art without social or political content, Joyce
realities of owning an art gallery and the diffi- Robins Gallery has a varied and interesting selec-
culty she may face selling some of these pieces, tion of contemporary artists' work gracing its walls
she is stalwart. "I have had this gallery for thirty on Galisteo Street. Joyce Robins acknowledges the
years and I always tell people, 'I have been importance of pushing the envelope in contem-
through thin and thin,' but my commitment is porary art, whether it be to further development
so deep." Rather than seeking out artists and of mediums and art forms or to voice controver-
work that will fit into the market, Durham finds sial commentary, but sees public art institutions as
what she likes and cultivates a market for it. the more appropriate setting for the latter. Robins
This is not to say that Linda Durham is opposed reasons, "SITE Santa Fe and the Center for Contem-
to or shuns beauty in the art she promotes — porary Arts are great, but we can't do what they do,"
quite the contrary. If something is well thought on the premise that often galleries simply do not
out, comes from an original place and happens have the capacity to house large installation exhibits
to be beautiful, so be it. Relying on the truism which should reach a wide audience.
that the notion of truth is broad and the notion
of beauty is even broader, Durham observes Erika Wehenmacher, Coyote’s Suit to Disguise Himself
"beauty used to be taboo, but if it is what you as Me (detail), vintage coyote coats, latex, thread, A good example of the positive effects of allowing such artistic
respond to, there is value in that." 20" × 20" × 80" freedom is the divergent work of artist Kathleen Kinkopf. Known
for her surrealist portrayals of people and objects, Kinkopf recently
Kathleen Kinopf, Yakueda Dream, mixed stepped out of her box to demonstrate her quiet reverence for earth,
media/acrylic on canvas, "72" × 56" sky and animals. Robins shows the vastly different works side by
side and chuckles when loyal Kinkopf collectors walk right by her
new work, completely unaware of its origins. Robins says "eventu-
ally their eye adjusts to the new style and they can appreciate ONG
that the quality offered by the artist remains
the same with a new twist." SANT
Erika Wehenmacher, Shining Path, wood, shed python Fri, Fe

Linda Durham attributes her ability to divine skin, silver, paint, strontium aluminate pigment, Flowe
interesting art to working only with artists 76" × 36" × 10" An ex
whom she knows and considers smart, who anti-e
are devoted to studio life. She realizes the gende
importance of working with local artists so with t
that she can foster relationships between peo- icon o
ple in the community who are involved in art. Corita
This allows her to use the gallery as a vehicle group
for communication between herself, the artists ists su
and the collectors for a richer experience. Erika
New M
Erika Wehenmacher, Stealth Mask to Steal Even if an artist isn't using contemporary On th
Back Holidays for the Pagans, popcorn As for Robins, whose choices lean towards beauty, she likes to cul- art as a medium for politically or socially (505)4
and cookie tins, fabric embroidery, tivate forward momentum in the artists she represents by allowing charged content, there is always growth
31" × 22" × 5.5" them to use their range and explore. This can be intimidating to an in technique and mediums. Certainly the Sun, F
artist with a well-established clientele who has developed a signature digital age and technology have opened Golde
look, but Robins sees it as an opportunity. "In order for them to func- up new horizons to artists, so change is al- Puebl
tion well as an artist they must be able to paint what they love and ways afoot. Contemporary art is constantly At the
break away from the norm by taking a departure." She continues, "I pushing its limits, both in the gallery missio
often find that this freedom opens the artist up to attracting new and institutional settings. It is only once the W
collectors and the existing ones eventually come around too." enough time has passed that we can reflect to crea
to discern trends on a macro level, leading for the
30 FOCUS SANTA FE January/March 2008 FOCUS SANTA FE January/March 2008 31 to the new labeling of a period or move- Nation
ment. For now we can revel in the vast painti
array of choices we have to encounter and and gl
acquire so many different types of art, in so bition
many different mediums right in our own of Pab
backyard - some truthful, some beautiful Museu
and some, thankfully, offering both. 710 C
(505)4
Sun, M
Needl
This e
This p
juliag
32 FOCUS SANTA FE January/March 2008

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Between finished fine-art bronze from the sculptor’s clay

model. By the age of 18, Pearson completed his
first bronze, which quickly found a buyer at the
Earth and Shidoni Gallery. By age 21, Pearson was repre-

sented by galleries in Santa Fe, Dallas, Scottsdale,
Sky: and Colorado Springs. Recruited in 1982 by

Art Foundry, also in Santa Fe, Pearson
Heaven
quickly rose to the positions of Direc-
tor and Master Sculptor. In his ten years
there, he collaborated and sculpted on
Here and projects from inception through installation

with sculptors Allan Houser, Bruce Nauman,
Now Ron Cooper, Luis Jimenez, and Fritz Scholder. A

year after Allan Houser died, Pearson helped de-
sign and build a foundry for that sculptor’s
David Pearson infuses estate, and spent the next three years finishing
in sculptural terms of that huge, mysterious, and
out Houser’s remaining editions.
layers of ethereal meaning into Numbers are important in Pearson’s wonderful complex of human emotions.
the solid permanence of bronze. bronzes, for several reasons. His first edition was Whether maquette—up to 12” high, mid-
limited to 15, and Pearson has kept his editions scale—up to 30” high, or life-size, Pearson’s
BY WOLFGANG MABRY at that size ever since, a gesture considerate bronzes epitomize the highest ideals of crafts-
of collectors who value rarity in conjunc- manship, artistry, and universality of meaning.
tion with beauty and meaning. The little white Pearson completes between eight and
Being born on the autumnal equinox might have some- birds Pearson often includes for aesthetic and twelve new works per year, always with
thing to do with the balance in the sculptures and in the symbolic reasons appear in groupings suggest- the goal of connecting with people
life of David Pearson. Both have finely tuned equilibrium, ing the kind of symbolic significance religions through sculpture. He does this visually,
and there are measures of serendipity and carefully con- and cosmologies around the globe have attached emotionally, intellectually, and spiritually,
sidered intention in both. Where any soul alights is up to to numbers. Pearson’s figures are tall, slender, making his sculptures attractive to institu-
chance, and for Pearson, growing up in the optimism of the and graceful. Their elongation suggests a reach- tional and private collectors. Municipalities,
sixties and seventies, under the legendarily blue skies of New ing heavenward, even as the solidity and weight of banks, hospitals, and museums have long been
Mexico turns out to be just one of many such fortuitous acci- bronze subjects them to the laws of gravity. Graceful Pearson collectors. In 2002, his Unique Bronze
dents. Pearson recalls an easygoing youth, in which he was not women, angels, couples, birds, branches, and leaves Bird was acquired for the White House Christmas
just allowed, but actually encouraged to find and follow his are favored subjects in Pearson’s work. Tree. Just this year, the New Mexico Governor’s
passion. He found and followed a passion for art that came Pearson gives residence to multi-layered cur- Mansion acquired Une Danse de Reve, a 52” high
fully out of dormancy when his family moved to Santa Fe. rents of meaning in each aspect of every bronze. bronze ballerina standing with her hands clasped
Paintings, sculptures, galleries, art books, and the people be- Viewers can identify from many points of view with behind her back. The sculptor strikes the perfect
hind these treasures fascinated and inspired him. the serene intuition and the sense of ascension that balance between suggestion and articulation in
By the age of 16, Pearson landed his job at Shidoni pool and rise within and around his sculptures. Di- her pose, degree of abstraction, and expressions
Foundry, which had just been established four years earlier urnal and seasonal cycles affect all of life, and Pearson in face and gesture. Pearson lets every viewer
by Dorothy and Tommy Hicks, parents of another life-long calls these things to mind in sculptures with titles like complete his sculptures on every viewing, con-
friend, Scott Hicks. His formal art education took place on Dawn, Midnight, Gentle Nature, Evening Calm, Rain, sidering each viewer’s own particular set of
the job, as he began by divesting bronzes from their ceramic Autumn’s Eve, and Meeting at Midday. Pearson’s genuine emotional, aesthetic, and psychological mindsets
molds. Within a year Pearson was promoted to metal chaser. respect for spiritual quests in every religion and culture as important as his own.
During his six year apprenticeship at Shidoni, Pearson mas- finds expression in titles like Heavenly, Angelic Being, Le His first limited editions took about ten years
tered each of the 32 essential steps in producing a Jeune Saint, Nitya, Little Swami, and to sell out. Today, his editions are often sold out
Kyrie. Love is a subject with highest within a year of release. Many go into collections of
This page: Heartfelt, (front and back), relevance in every life, and Pearson’s repeat buyers, who have found earlier works to be
bronze, " h, ed. 15; Opposite page: Sum- Kiss, Sweet Hearts, Caress, Dream- sources of comfort, inspiration and sheer aesthetic
mer Breeze, (front), bronze, " h, ed. 15. wish, and Secrets speak eloquently euphoria. Pearson derives creative energy from nature
in his sacred environment, and it infuses his work with
8 FOCUS SANTA FE August /September 2007 FOCUS SANTA FE August /September 2007 9 an indescribable energy of a similarly soothing, tranquil-
ity-inducing quality. Anchored in the earth, reaching for
the sky, Pearson’s bronzes remind us that Heaven can be
a state of mind, achievable right here, right now.
This page: Summer Breeze, (back), bronze, " h, ed. 15; Op-
posite page: Midnight, (front and side), bronze, " h, ed. 15.
David Pearson’s sculpture can be seen at Patricia Carlisle Fine

Art, Canyon Road, Santa Fe, New Mexico, . Gallery
hours: : a.m. – : p.m. Monday – Sat-
urday; : noon – : p.m. Sunday.
() -, () -. Fax
() -. Website: www.carlislefa.
com; e-mail: fineart@carlislefa.com
10 FOCUS SANTA FE August /September 2007

selections from the self-apparent series,

illustration and collage, 2008
shoot for
the moon,
skewer thy
neighbor
Wot?
Wot? Wot?

Continued in >
The Pottery of Les Namingha: Award winning artist Les Namingha’s work marries traditional and
progressive elements to create unique and innovative pottery. A Hopi
instructed him that it is not only about the physical molding of the
pottery, but also about the message, and that if the artist is in a good
and spiritual place, the work will take on its own evolution. “One of
The Evolution of a Legacy

potter, Namingha is a descendant of Nampeyo of Hano and acquired
his practical training from his aunt, artist Dextra Quotskuyva, whose the things we learned was how to treat and respect the clay,” Nam-
name is synonymous with Hopi pottery making. In recent years he ingha said. Because, as it was explained to him, the clay itself has an
has distinguished himself as a ground breaking and brilliant artist in element of spirituality that drives and guides the creation of each
His work reflects a combination of raw talent and artistic lineage his own right. piece. What she shared with him was more than a means to earn a liv-
Namingha’s mother is a member of the Zuni Pueblo and his ing, but a treasured gift. He has taken the lessons to heart.
father is Tewa/Hopi. He spent much of his childhood on the Zuni Namingha’s work is at once traditional and contemporary. He
BY: ERIN KINNARD THOMPSON
Pueblo but received his elementary and high school education in utilizes many of the conventional methods of pottery making as
Utah. He went on to study design at Brigham Young Univer- passed down through generations, though his work could
sity but it wasn’t until after college that he truly started on also be considered very progressive. He describes his ab-
his path to carry on the family legacy. stract style as “veering more toward contemporary”
To say that Namingha was trained by one of the though it is clear that he cherishes the lessons of the
greatest potters of modern times isn’t an exagger- past. He still uses the traditional clay materials,
ation. When Namingha was in his early 20s, but fires his pots using an electric kiln and
Quotskuyva invited him, as well as sev- applies acrylic paints. He has also
eral of his cousins, to the reservation used a technique reminiscent of
in Arizona to commence their his aunt’s work, the shard, or
practical education. The first motif method. With this
few days were spent obser- technique the artist ap-
ving her in the creative plies shard pieces to
process but it wasn’t long the pottery to create
before he began imitat- intricate designs.
ing what he witnessed. Today Nam-
As a result he gained ingha and his wife
invaluable hands have four children
on experience, with and they reside
Quotskuyva provid- in Santa Fe with
ing pointers along the their two young-
way. She passed along est. Though he is
the tools to create the best known for his
pieces and equally as ceramics, he has
important, to respect an insatiable ap-
and appreciate the craft. petite for exploring
She took painstaking many different art
measures to encourage forms. His pottery
his talent. With pot- often incorporates
tery making in his blood, both Zuni and Hopi
Quotskuyva required that influences, with the
her young protégé’ review foundation of much
the family designs, includ- of his work based in
ing the well documented his spirituality. “Each
works of Nampeyo.
With Quotskuyva as his Opposite page: Heal-
mentor, he learned not only ing Hand, natural clay with
the traditions and techniques but acrylic paint, "h × "d; This
the importance of one’s state of mind page: In Looking Outside, natural
when shaping and creating the works. She clay with acrylic paint, "h × "d
esign Week, Santa Fe’s seven-day conference from October 11-17 at the Santa Fe Indian answer segments with the keynote speaker and the panelists,” Woodspring says. “Since
School, is focused on increasing awareness of design and its role in society. The event is design is totally visual, we’ll have work by our panelists projected on screens so audi-
particularly exciting, says its director Naomi Woodspring, because the topic of design is ence members can see exactly what they do.”
discussed from different angles by a diverse group of professionals. Among the invited guest panelists and keynote speakers coming from outside
Design Week “We have speakers representing a wide range of disciplines,” Woodspring explains.
“Most of them have never met each other before. We expect the conversations to be very
New Mexico are Aaron Draplin, who is a snow board designer and graffiti artist;
Lorrie Vogel, the general manager for Nike’s Considered team who is responsible for
Santa Fe stimulating.”
At the heart of Design Week is the Design Matters Conference, which features four
half-day sessions with keynote speakers and panelists. La Buena Vida, the Good Life
introducing sustainable products and business models; Leslie Speer, assistant profes-
sor in the industrial design program at San Jose State University and director at the
London-based design firm Bolton Associates; Martha Skinner, assistant professor at
2007 explores the history of design and the innovative work created by Santa Feans. Passion
is Possible: Believe addresses the question that many creative people ask themselves: is
Clemson University School of Architecture; and Sicangu Lakota director/producer
Carol Burns.
it possible to turn what you love doing into a design profession? The idea that workers, Many talented Santa Feans are members of panel discussions. Dawn Winters-
BY EMILY VAN CLEVE
consumers and producers are all part of the design process is the subject of Design Revo- Rizika is the designer and manufacturer of the Kid’s Console, a car console/organizer
lution: Creative Minds in Conversation. The final session, Design for Good, talks about specifically designed for children strapped in child safety seats. She is also the owner
how design is driving solutions to some of the world’s most pressing problems. of Baby Azul, Inc., which is the small Santa Fe company that is bringing this product starting his own company. Local artists participating on panels include Santero Arthur
Each session begins with a 30-40 minute keynote speech and is followed by a moder- to market. A native of Santa Fe, Eric Griego has more than 12 years’ worth of expe- Lopez and tattoo artist Dawn Purnell.
ated panel discussion. “We’re inviting audience members to participate in question and rience in graphic design and advertising. He worked for Cisneros Design prior to A fashion show highlighting cutting edge contemporary/regional indigenous de-
signs kicks off Design Week on Thursday night, October 11. Work from the collection of
Argentinean fashion designer Carola Besasso of Dam Boutique in Buenos Aires lights up
the runway. Immediately following the fashion show is a trunk show with jewelry and
Both pages: Keep Adding, Silo, spray paint on accessories created by Besasso and other designers.
concrete, a work in progress, sizes vary; This
Although the fashion show costs $45, the Design Matters Conference and other
page, inset: Andrew Campo, Gravel-Stars-
weekend happenings, including the Business Expo, Design Exhibition and Community
Euphoria, photograph; Opposite page, inset:
Design Dialog Events, are free. There’s even a fringe festival where community members
Dawn Purnell, tattoo artist, from the
can host their own workshops, performances or exhibitions and post them on Design
"Passion is Possible" panel.
Week’s website. A series of interior design events with a panel discussion, luncheon and
tour cost $60.
Some local businesses, such as Victoria Price Art & Design at 550 South Guadalupe
Street, are hosting side-by-side events. Price’s gallery is showcasing furniture by designer
Peter Danko, whose work is exhibited in a number of prestigious museums such as the
Museum of Modern Art in New York and the Smithsonian Institution.
“Peter’s furniture is made with wood that has been harvested and produced in envi-
ronmentally-sensitive ways,” says gallery director Hollis Walker. “Some of the chairs have
web seats and backs made out of left over seat belts from the automotive industry. They’re
very strong and durable as well as aesthetically beautiful.”
Walker hopes that Danko is able to make a special trip to Santa Fe during Design
Week and give a talk about his work at the gallery.
A complete schedule of Design Week Santa Fe events, as well as bios of all participating
panelists and keynote speakers, is posted on the website www.designweeksantafe.com.
This page, inset: Arthur Lopez, San Francisco

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

2006-2008 Jesse Caverly designer 2006-2008 Jesse Caverly designer
Georgia o’keeffe museum, city bus side-panal ad, 2007 Sessions, CONCRETE MAGAZINE, BLOC STAR ENTERTAINMENT,
Sacramento News & Review, Illustrated newspaper cover, 2003 & ALWAYZ BEAUTÉFUL spa and salon, logo design, 2005–2008
G=C¸@35=<</ @cR]ZT]/\OgO¸a
:=D3B67A0==9 0ZSaa;SCZbW[O
Learn more: www.okeeffemuseum.org
FREE
Imagine
What if Sacramento were in
Baghdad’s position? A 2,000-pound
bomb could do terrifying things to magazine
the Capitol and its neighborhood.
See Essay, page 10.
3<B3@B/7<;3<B
Sacramento’s music
scene has evolved
from garage rock to
alt-pop, and though
the names have changed,
one constant is Valley
legend David Houston.
by Jackson Griffith page 16
Sacramento’s News & Entertainment Weekly Volume 14, No. 52 Thursday, March 27, 2003
jesse remixtdesign@gmail.com
caverly 916-821-3117
2006 to present Design and layout for Focus Santa Fe magazine and Edible Santa Fe magazine.
Between these two periodicals I have learned the value of simple, clean design
and have had ample oppurtunity to create cutting-edge work. The best of my
portfolio to date.
2004 to present Designer and production artist for M. Motley design, a small firm based in
Santa Fe, New Mexico. Largely a tele�commuting job, I have both designed
and worked as a production artist on several catalogs, posters, and books for
the firm. Here I have gained a profound understanding of design theory and
the instinct to know when to break the rules.
2006-2007 Worked for Action Learning Systems as a production artist. I had to turn over a
large amount of work under short deadlines. I developed an attention to detail
and a skill for properly building documents into the most user�friendly and
efficient template possible.
2004 Lead graphic designer for the feature film ‘Her Minor Thing,’ filmed in
Sacramento. I designed most of the badges, press passes, posters and magazines
that were used in the film. I also worked in the set design department. It was an
intense, high�maintenance project that I thrived in.
2004 Graphic designer for the design department of Prima Games, a video
game publishing company in Roseville, California. I created e�guides, a
down�loadable PDF version of their gaming titles. This required working in
Illustrator, Photoshop, Quark, & Acrobat. What was to be a 3 week contract
became 3 months, as Prima was so happy with my work.
1990 Graduated from the Sacramento Waldorf High School. This is an alternative,
arts�based school that encouraged my interest in design and writing. Graduates
of the Waldorf schools tend to do well in the field of the arts.
EXPERIENCE Highly proficient in the following software: Indesign, Photoshop,

Illustrator, Quark, and Acrobat. I am a quick study with new programs
and enjoy learning new software. I have experience with a variety of media
and styles of illustration, from pen and ink to brush, watercolor, graphite,
color pencils, and more. I also have experience in writing copy and content.
“ When people say, ‘It’s all been done,’ I disagree. Design is, for me, the art of the remix.
When you place the right elements together and create something new but that also
fits into the whole...that’s the moment I look for.
Georgia o’keeffe museum, Youth Guide for the

Natural Affinities exhibit, layout & design, 2008
> Continued from

When O’Keeffe lived at Ghost Ranch, New Mexico, she painted the landscape CAMPING IN YOSEMITE
right outside the door to her home.
In 1938 Ansel Adams organized a camping trip for several of his friends and he
Find the Ghost Ranch paintings. wanted Georgia O’Keeffe to join them. He wrote in a letter:
What do you know about Ghost Ranch from these pictures? How is it similar And of course if O’Keeffe comes the party will be extraordinary—never was
and how is it different from Yosemite? there such a collection of all personalities in the Sierra all at once! Please don’t
think that I mean that the party would only be extraordinary if O’Keeffe
were along—but there is something about the lady that is dynamic, to say the
Georgia O’Keeffe, least. . . . You can assure O’Keeffe that we will take her to the most beautiful
Black Mesa Land- parts of the mountains, that we will do everything we can do to make things
scape, NM/Out “fluent” for her. During the stay overs the photographers will go beserk—why
Back at Marie’s II,
, oil on canvas, not O’Keeffe? Impress on O’Keeffe she will see things she has never seen before,
× inches. and see them under conditions that are rare. This is really important. There is
no human element in the High Sierra—nothing like New Mexico. But there is
an extraordinary and sculptural beauty that is unexcelled anywhere in
the world. . . .
The camping trip started on September 11th. Georgia O’Keeffe, Ansel Adams,
art collector David McAlpin III, along with Godfrey and Helen Rockefeller
spent ten days in the high country together. They were accompanied by four-
teen pack mules and four back country experts who guided, set up camp, and
cooked, so the others could hike, take photographs, and be in awe. Ansel Adams, Fog near TONE AND COLOR: The Zone System of Ansel Adams
Cascade Pass, Northern
Cascades, Washington,
Georgia O’Keeffe,
I met O’Keeffe at Merced and drove her to Yosemite. Tuesday. She likes our , gelatin silver print, One of Adams’s greatest contributions to photography was the creation of The
Black Hills with country, and immediately began picking out white barns, golden hills, oak trees. ⁄ × ⁄ inches. Zone System. It is a complete method of exposing, developing, printing, and
Cedar, , As we climbed through the mountains the scene rapidly changed and as we even viewing photographs based on careful pre-visualization of the subject.
oil on canvas, entered Yosemite she was practically raving—“Well, really, this is too wonderful!!” Pre-visualization means viewing the subject as it would appear in a final print
× inches. She says very little but she looks, and once in a while something is said that before making the exposure, and then gearing the exposing, developing, and
sums everything up in a crystal, inevitable clarity. printing processes toward reproducing the pre-visualized tones.
Ansel Adams
In black-and-white photography, color is translated into black, white, and
various shades of gray. The Zone System uses a gray scale representing ten
Ansel Adams, Detail, Juniper Wood,
Sierra Nevada, , gelatin silver print,
possible zones or tonal values, ranging from the darkest possible black to
⁄ × ⁄ inches. the brightest possible white that can be reproduced in a print. The zones are
numbered, beginning with zero and then in Roman numerals I through X. The
higher the number, the lighter the tone (in the print) and the greater the density
In 1937 Ansel Adams visited Georgia O’Keeffe at Ghost Ranch, New Mexico, (in the negative).
with their friend, David McAlpin III. Here’s what Adams said about New Mexico: ELEMENTS IN THE
Choose one of Adams’s photographs, then look at the scale represented here.
It is all very beautiful and magical here—a quality which cannot be described.
EXHIBITION: Trees
You have to live it and breathe it, let the sun bake it into you. The skies and land Can you find the following areas in the picture?
In the summer of 1937, Georgia
are so enormous, and the detail so precise and exquisite that wherever you are
you are isolated in a glowing world between the macro and the micro, where
O’Keeffe and Ansel Adams TONE AND COLOR: Georgia O’Keeffe’s Paint Swatches WHEN ARTISTS ARE TRUE TO THEIR WORK
traveled together. Adams took THEY CAN AFFECT THE WORLD
everything is sidewise under you and over you and clocks stopped long ago.
a photograph of O’Keeffe sitting Color was very important to Georgia O’Keeffe. She visualized the exact colors
in her car, painting. She called or tones she wanted to use in her paintings. She would mix the colors and By the 1970s both Georgia O’Keeffe and Ansel Adams were important figures in
Can you tell which photograph(s) Ansel Adams made at Ghost Ranch? her painting Gerald’s Tree—a record them on a small piece of paper much like the paint samples you can get American art. Although it was never their goal, their work had also become a
friend named Gerald Heard had in a store. On the back she would write the recipe for creating the colors, for voice for larger social movements. Through their commitment to their art they
visited her at Ghost Ranch that I II III IV V VI VII VIII IX X example, two parts green, one part white, one part yellow. changed people’s values.
summer along with the writer
Aldous Huxley. The tree was a
Zone III (the darkest shadow area with full detail) Using these recipes, she mixed her colors before she started to paint, in order O’Keeffe became an example to millions of women who were embracing the
dead cedar. Gerald had danced
Zone V (middle gray) to make the exact matches of the colors. feminist movement. She never doubted that she could make great art regard-
around it and left his foot prints.
8 | Georgia O’Keeffe and Ansel Adams: Natural Affinities | May 23 – September 7, 2008 Georgia O’Keeffe and Ansel Adams: Natural Affinities | May 23 – September 7, 2008 | 9 Zone VII (the brightest highlight area with full textured detail) less of her gender. She didn’t allow herself to be limited by the ideas and
The next time you are painting, try making a color swatch by mixing the beliefs of other people.
There are many pictures of trees colors. Write down what you did, then see if you can make the same color by
and tree trunks in this exhibi- Photographic Terms
following your own color recipe.
tion. Both Adams and O’Keeffe Georgia O’Keeffe, The Black Iris, ,
used trees as their subjects to Georgia O’Keeffe, Gerald’s Tree I, , oil on canvas,
Exposure—The act of letting the light fall on the light-sensitive film. oil on canvas, × inches.
express their feelings about life. × ⁄ inches.
Develop—Using a chemical solution to change the invisible image produced Adams’s photography and love of
Looking at these tree pictures, what do you see? How are they alike and how during exposure into a visible one. nature helped to call attention to
are they different? Some tree trunks make interesting shapes, some have the importance of conservation.
interesting textures. Find examples of tree shapes and textures you like. Tell The environmental movement—
Tones—The lightness or darkness of a particular area in a photo. A highlight is
a story about one or two of these trees. which preserved and protected
a light tone and a shadow is a dark tone.
wilderness areas, created
Adams wrote a letter to his friend Cedric Wright and said that he, Cedric, was a National Parks, and taught people
Redwood tree, but sometimes he sounded like a cactus when he complained! Density—The relative amount of silver present in various areas of film or to be aware of America’s natural
paper after development, which causes the darkness of a photographic print. resources—owed so much to
What is the difference between a Redwood tree and a cactus? If you were Adams’s influence and life-long
another part of nature, what would you be? efforts. He worked for the Sierra
Club and lobbied on behalf of the
environment. The Ansel Adams
Wilderness located in the Sierra
Nevada mountain range in Cali-
fornia is named in his honor.
Ansel Adams, Dogwood Blossoms,

printed , gelatin silver print,
⁄×⁄ inches.t
Great artists leave a legacy—

something that is handed down to
the next generation. What would
you like your legacy to be?
> Continued from
individual piece has a spiritual message that is the result of things I hand of a higher power, as well as a hand that is healing.” again Namingha utilizes traditional designs in harmony with more Namingha wants collectors and viewers of his art to under-
have experienced in my daily life,” Namingha explains. His current works reflect his exposure to more modern influ- contemporary and bold patterns. stand the unifying nature of it. “I hope they see my work as a
A good example of this is a ceramic piece entitled Healing ences and abstract art. Through continuing education he has been Namingha’s work is represented by the Blue Rain Gallery in bridge between my culture and their own, whatever that might
Hand. It is a vessel created with the shard design and includes the exposed to a variety of different philosophies as it relates to art. Santa Fe, and will be featured along with other contemporary Native be.” He goes on to explain he believes there is much commonal-
impression of a hand. The inspiration for the piece was the inter- Recent classes at the Institute of American Indian Arts have piqued American artists during the week of August 20 – 23, as a precursor ity amongst us, not just as spiritual beings, but in that we can find
nal struggle he was experiencing after injuring his thumb on his left his interest in “activist art” some of which utilizes text as part of to Indian Market. Gallery Executive Director Peter Stoessel describes pleasure and love in that which is aesthetically pleasing. Through
hand, which was most likely fractured. Though the physical pain the illustration. Namingha has incorporated the application in Namingha’s contributions as complex and cutting edge. “Les Nam- his exquisite art he is not only bridging that gap, but carrying on
was very real, Namingha’s primary concern was whether the injury some of his latest pieces, including Numbers, a pot with intricate ingha masterfully combines innovation with refinement in his the family legacy with distinction.
would hinder his ability as an artist. During those months of recov- designs encapsulating a series of numerics connected together by meticulously painted ceramic pieces. By using Hopi, Zuni, and Ana- Opposite page: Cuts, natural clay with acrylic paint, "h × "w ×
ery, he made peace with his difficult circumstances through spiritual intersecting lines. sazi motifs in conjunction with his unique designs and forms, he "d; This page: Numbers, natural clay with acrylic paint, "h × "w
meditation. With the receipt of blessings and the offering of prayer, Also within the realm of his abstract works, Cuts offers the creates spectacular pottery with each piece having its own identity,”
he honored what he describes as his Creator and he conceptualized viewer a snapshot into Namingha’s creative perspective. Through stated Stoessel. During a reception on August 22, Namingha’s pieces Les Namingha’s work can be viewed at Blue Rain Gallery, located at 130
that through the impression of the hand. In Namingha’s own words, the application of metallic paints the pottery bears a surface design will be offered for purchase through a lottery process because of Lincoln Avenue in Santa Fe, (505)954-9902 or on the web at
the outline of his hand on the ceramic represents “both the healing revealing layers of depth through large jagged slits or cuts. Once the high demand for his work. www.blueraingallery.com.
Gallery Shows:
Mark Sublette Medicine Man Gallery
602A Canyon Road
Opening reception: 2 to 4 p.m., August 22
For more information: (505)820-7451
Blue Rain Gallery

130 Lincoln Avenue
Openings:
5 p.m., August 20
5 p.m., August 21
8 a.m., August 22
5 p.m., August 22
Artist demonstrations: 11 a.m.- 4 p.m.,
calendar august /september

/september
August 22 and August 23 Valdes Art Workshops, Marquez Place MUSIC, CONCERT & Indian, Camino Lejo, Santa Fe Desert Chorale
For more information: (505)954-9902 --, www.valdesartworkshops.com THEATRE PERFORMANCES on Museum Hill The Lensic, West San Francisco St
www.wheelwright.org --, www.desertchorale.org
River Trading Post Santa Fe
/september
Mon, Aug 25–29 AUGUST
610B Canyon Road Pat San Soucie Tue, Aug 26, 7:30pm
Opening reception: 6 to 9 p.m., August 21 Watercolor/ Mixed Media. SANTA FE & SURROUNDING AREA Sat, Aug 2, 5, 9, 13, 8:30pm Mon, Aug 18, 22, 8pm Live Rhubarb Tour
For more information: (505)982-2805 Valdes Art Workshops, Marquez Place The Marriage of Figaro Garrison Keillor and A Prairie Home Compan-
august
--, www.valdesartworkshops.com by Wolfgang Amadeus Mozart ion visit the Santa Fe Opera with Suzy Bogguss.
Niman Fine Art Fri, Aug 1, 2, 8pm New Production! Last performed in SF in . The Santa Fe Opera, Santa Fe Opera, Tesuque
125 Lincoln Avenue TAOS & NORTHERN NEW MEXICO The Symphony in Summer: A Conductor Kenneth Montgomery. Debut perfor- --, www.santafeopera.org
august
Opening reception: 5 to 7 p.m., August 22 Beethoven Marathon mances by Luca Pisaroni, Figaro and Elizabeth
For more information: (505)988-5091 Mon, Aug 4–8 Two evening performances recreat- Watts, Susanna. TAOS & NORTHERN NEW MEXICO
calendar
Sherrie McGraw: The Still-life Figure ing parts of Beethoven’s ‘’marathon’’ The Santa Fe Opera, Santa Fe Opera, Tesuque
Morning Star Gallery Oil painting workshop through Aug . concert. Featuring pianist Adam Neiman --, www.santafeopera.org Sat, Aug 2, 8pm, Sun, Aug 3, 7:30pm
calendar
513 Canyon Road Fechin Art Workshops / Donner Ranch and the Santa Fe Symphony Chorus. 46th Summer Chamber Music Festival
Opening reception: 6 to 8 p.m, August 16 DH Lawrence Ranch Rd Conducted by Steven Smith. Lensic Mon, Aug 4, 11, 19, 8:30pm, Sat, Aug 23, 8pm Young Artists Concert. Free admission.
For more information: (505)982-8187 --, www.fechin.com Performing Arts Center, West San Falstaff by Giuseppe Verdi Taos School of Music
Francisco Street Last performed in SF in . American debut of Hotel St Bernard - Taos Ski Valley
Manitou Galleries Mon, Aug 11–17, 9–5pm --, www.sf-symphony.org conductor Paolo Arrivabeni. --, www.taosschoolofmusic.com
123 West Palace Avenue 8th Annual Sax Stonecarving Workshops The Santa Fe Opera, Santa Fe Opera, Tesuque
Preview Party: 5 p.m. to 8 p.m., August 21 Session - East Meets West - with Guest Instruc- --, www.santafeopera.org Sun, Aug 3, 7:30pm
Opening reception: 5 to 8 p.m., August 22 tor Joseph Kincannon and Guest Artist Kazutaka Fri, Aug 1, 7, 15, 8:30pm & Aug 20, 8pm 46th Summer Chamber Music Festival
Artists in attendance from 8 a.m. to 8 p.m., Uchida. Through /. Presented by Rift Gallery Radamisto by George Frideric Handel Wed, Aug 6, 14, 8:30pm Thu, Aug 21, 8pm Young Artists Concert, for the benefit of SOMOS.
August 23 and August 24, / Southwest Stoneworks. Rift Gallery, High- First performance by The Santa Fe Opera. Con- Billy Budd by Benjamin Britten Taos School of Music
8 a.m. to 5 p.m. way in Rinconada. -- ductor Harry Bicket, Director David Alden First performance by The Santa Fe Opera. Con- SMU - Fort Burgwin, NM Highway
For more information: 800-283-0440 www.riftgallery.com The Santa Fe Opera, Santa Fe Opera, Tesuque ductor Edo de Waart --, www.taosschoolofmusic.com
-- The Santa Fe Opera, Santa Fe Opera, Tesuque
Opposite page: Arapaho Tobacco Bag ca. 1860, "× ", Morn- ART WORKSHOPS, CLASSES, Mon, Aug 4–15 , 9:30–4:30pm Mon, Aug 11–15 www.santafeopera.org -- EVENTS & OPENINGS
ing Star Gallery; This page, top to bottom: Paint Horses, Joe LECTURES & DEMOS Long Pose Portrait Drawing David Leffel: The Still-life & Figure www.santafeopera.org
Oreland, Colorado alabaster, " × " × Medicine Man Gal- and Painting Workshop Oil painting workshop. Sat, Aug 2, 4pm & 7pm SEPTEMBER
leryArlo Namingha, Sandhills, " × " × bronze, wood. AUGUST Dan Thompson workshop. Fechin Art Workshops / Donner Ranch Broadway Theater Dance Fri, Aug 8, 12, 8:30pm
Ed. 9, 2007, Niman Fine Art; Ed Noisecat, Sun Eagle, "dia × Andreeva Portrait Academy, W San Francisco DH Lawrence Ranch Rd Workshop Performance Adriana Mater by Kaija Saariaho SANTA FE & SURROUNDING AREA
"h on stand cast glass, Manitou Galleries. SANTA FE & SURROUNDING AREA St - STE --, www.fechin.com Talented young performers present scenes from American Premiere. American Debut of con-
-- award-winning Broadway musicals. National ductor Ernest Martinez Izquierdo. Director Fri, Sep 5, 5–7pm
FOCUS SANTA FE August /September 2008 29 Mon, Aug 4–Aug 8, 9:30–4:30pm www.AndreevaPortraitAcademy.com Thu, Aug 14 Dance Institute of NM, Alto Street Peter Sellars. Earl B. Lewis: Fluid Narrative
Creating a Timeless Oil Portrait Exhibition Walk Through with Charles Strong. -- The Santa Fe Opera, Santa Fe Opera, Tesuque A solo exhibition of figures and interiors. His
Margaret Baumgaertner workshop. In conjunction with current exhibition, Discov- www.ndi-nm.org --, www.santafeopera.org new figurative paintings are poignant reminders
Andreeva Portrait Academy, W San Francisco Mon, Aug 18–22, 9:30–4:30pm ery Series I. Call for time. of the wonderfully simple moments that make
St – STE . -- Figure Painting Harwood Museum of Art, Ledoux Street Fri, Aug 8 , 7pm up each of our lives. By acknowledging dignity
www.AndreevaPortraitAcademy.com Juliette Aristides workshop. --, www.harwoodmuseum.org Sat, Aug 2, 3, 9, 10, 16, 17, 7pm Ralph Vaughan Williams—A Retrospective and humanity in his subjects, he ‘’feels much like
Andreeva Portrait Academy, W San Storytelling with Joe Hayes With the Santa Fe Symphony Orchestra a documenter of our times.’’
Mon, Aug 4–8 Francisco St - STE Santa Fe’s premier storyteller returns to Santa Fe Desert Chorale Deloney Newkirk Galleries, Canyon Road
Craig Srebnik. Portrait in Oil. Valdes Art Work- --, www.AndreevaPortrait- Mon, Aug 18–22, share his tales of Southwest lore, Native Cathedral Basilica of St. Francis, Cathedral Pl --
shops, Marquez Place Academy.com Gregg Kreutz: The Still-life and Figure American myth, and Spanish legends. -- www.DeloneyNewkirk.com
--, www.valdesartworkshops.com Oil painting workshop. A must-see event for audiences of all www.desertchorale.org
Fechin Art Workshops / Donner Ranch ages. Held outside by the main entrance Sat, Sep 6, 4–7pm
This page: Shoshone Dress, c. 1860, Cour- Mon, Aug 18–22 DH Lawrence Ranch Rd of the Wheelwright. Be sure to bring Sun, Aug 10 , 4pm Art Walk to the Madrid Galleries
tesy of H. Malcolm Grimmer, Santa Fe, NM John Poon --, www.fechin.com comfortable seating. Ralph Vaughan Williams — A Retrospective First Saturday of each month throughout
– Whitehawk Antique Show Plein Air Oil. Wheelwright Museum of the American With the Santa Fe Symphony Orchestra Madrid on the Turquiose Trail. Plan to spend
temple design, e-blasts and print collateral production work, 2008
B ROA DWAY
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Electrifying ,.',-GI<J<EKJ
U Theatre’s
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I Love a Piano October 3, 2008
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“A formidable combination of grace, November 8, 2008 8 PM
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Coming Into Consciousness:

Santa Fe Building Green
inspection, with requirements growing stricter commensurate with
increased square footage. The ultimate goal of the code is to achieve
carbon-neutral buildings over time. According to the City, “The ben-
efit of having a projected HERS rating early in the process is that it
BY CLAUDIA JOSEPH
can identify simple changes in the building design or specifications
that can reduce a home’s energy requirements and save the home-
owner money over time.”
The movement towards standardized energy efficiency in
homes is spurred on by the American Institute of Architects and
First Mother Nature tossed us a pebble, then a rock, then the U.S. Congress of Mayors who have adopted the challenge of
what has felt like a brick to the head — climate change is achieving zero carbon emissions from new buildings by the year
upon us and it can no longer be ignored. In the quest to 2030. The City of Santa Fe joined the cause by resolving to enact
embody an environmentally sustainable lifestyle many of us policies and programs for sustainable building practices which
contemplate how we can change our own practices to be- meet or beat the Kyoto Treaty protocol. To that end, Santa Fe’s
come part of the solution rather than contributing to the Green Building Code has been composed to “highlight ways in
problem. The more one learns about the fragility of our which a home builder can effectively weave environmental con-
planet and the many astounding examples of peril that cur- cerns holistically into a new home … and strives to give equal A national trend observed by architects in 2007 was an increase in the use of
rently exist the more one begins to feel like most of our weight to the practices of mainstream home building methods as renewable materials, especially in floor and countertop applications, demonstrat-
conventional systems are broken. With so many areas in well as the historic, environmentally conscious building methods, ing an increase in environmental awareness in building nationwide. However,
need of transformation to facilitate global impact, deciding and other innovative practices being used in Northern New Mex- there are different levels of commitment when it comes to choosing sustainable
where to begin can feel daunting. But we all have the power home elements. While bamboo flooring is preferable to some conventional mate-
to make personal choices about our homes and how we live well as creating workable, efficient systems for roof water rials, one should also consider the use of fossil fuels needed to transport bamboo
collection, gray water and human waste, recycling, com- from far flung regions, like Asia. Some homes contain earthen floors, for exam-
posting and solar power. ple, making use of regionally resourced clay, sand and straw that is troweled and
Paula Baker-Laporte considers the Santa Fe Green sealed with natural oils, giving the effect of walking on leather. Laporte also sug-
Building Code a good start on the road to community, state gests that a stone slab may be viewed as more desirable than a renewable paper
and nationwide
ico,” such as adobe earth blocks, strawsustainable buildingearth
bale, rammed practices. The code is based material countertop if the slab is going to last 200 years and can later be
in them to change our community and our world for the better. and other materials designed
unique totoSanta
introduce
Fe. green building principals and tech- used for another function.
Given that buildings are responsible for approximately forty per- The benefits of niques to conventional
building a green home construction, but naturally Laporte
are numerous, While a wide variety of options exist for environmentally conscious materi-
cent of energy use in most countries, many cities across the United States wishes
from lower operational anditmaintenance
would go a bitcosts,
further.
to She reminds us “indigenous
increased als and methods, Laporte emphasizes that humans are the greatest resource we can
are working towards meaningful laws that will help reduce greenhouse peoples
durability and comfort. throughout
Often people theare world, and North
concerned with Americans until rely upon when trying to achieve sustainability. “We can change our buildings, but
gas emissions or carbon footprint produced by new development — and very recent
increased costs associated withhistory, have green,
building always built sustainable structures
but con- how we choose to live in them is where real progress occurs. The bigger goal is to
Santa Fe is no exception. There is a Green Building Code slated for consid- in responseintoEnergy
structing a LEED (Leadership their climates, primarily with the materials
and Environmental change our consciousness.”
eration by the City of Santa Fe which will require new residential buildings at hand.”
Design) certified building canSobeshe appreciates
done with an that the code
average in- recognizes nat-
to meet stricter energy efficiency standards. The ordinance will utilize a ural building
crease of only two percent and the
in up front materials
costs and techniques employed
and sometimes Opposite page, top: Nevada City EcoNest, photograph by JT Heater; Bottom:
Home Energy Rating System (HERS) to measure energy consumption even below standardinmarket
New Mexico for centuries.
construction “The
costs. In heart of green building
addition EcoNest yoga/meditation room, photograph by Laurie Dickson. This page,
with an initial goal of reduction by approximately thirty percent over requires
to cost savings gleaned over building
the life ofregionally
a building,appropriate
there arestructures, utiliz- top: EcoNest living room, photograph by Laurie Dickson; Bottom: EcoNest
existing home building and design systems. some wonderful tax breaks that can be enjoyed on both the entry path and structure, photograph by Robert Laporte.
Since January of this year builders of new homes in the City of state and federal levels for building green. Currently LEED
Santa Fe have had to conduct a HERS rating before a certificate of will be assigned equal incentives and rewards in the future.certified buildings earn more credit, but it is the hope that
occupancy will be issued, but no mandatory rating level has yet been One Santa Fe business that has been creating envi- energy saving methods that address local climate issues, such
set. However, considerable rebates have been offered for homes achiev- ronmentally conscious homes since 1994 is The EcoNest as harnessing solar or photo-voltaic power in New Mexico,
ing a rating of 85 or less as an energy efficiency incentive. The proposed Company, which builds what it calls “living sanctuaries of ing what is available locally — the Santa Fe Green
Green Building Code will require a minimum HERS rating of 70 to pass clay, straw and timber.” The Tesuque based company, founded Opposite page: EcoNest living and dining rooms; This Building Code addresses that without penalizing
by architect Paula Baker-Laporte and her husband, builder page: Japanese inspired EcoNest entry and niche. Photo- traditional methods.” a
Robert Laporte, creates habitats that reflect sustainabil- graphs by Laurie Dickson. Laporte is grateful that Santa Fe, and New
ity, health and beauty. EcoNest homes are hand crafted and Mexico in particular, has an unbroken tradition
designed to incorporate natural building techniques with of building with earth and existing resources
34 FOCUS SANTA FE August /September 2008 natural, non-toxic finishes throughout. The clay/straw walls FOCUS SANTA FE August /September 2008 35 since this allows New Mexicans to use traditional
of each home are built during a four day workshop, giving sustainable materials and methods to achieve
homeowners an opportunity to create some sweat equity and “green” status. It is hoped that this will make the
affording them the pride that comes with hands-on partici- transition to widespread sustainable building in
pation in the construction of their home. our state much smoother and perhaps provide a
Sustainability defines the concept behind EcoNest as it greater likelihood of success in meeting energy
constructs structures built to last for centuries. The company efficiency goals.
considers EcoNest owners to be “building stewards passing on
a handcrafted heirloom that will serve many generations to fol-
low.” These homes are designed to work in harmony with their
natural surroundings, mindful of existing site conditions as
Stephen Day’s evocative landscape Landscapes are Day’s first love, although the well-trained painter Each adobe structure has its own personality, which Day says is a Even when the thermometer dips below freezing, Day packs
has devoted hundreds of hours to drawing and painting the figure. He result of how it was built. “Most adobes started with just one room,” up his panels and oil paints and travels to canyons, ridge tops and
paintings exude mood and feeling feels a special kinship to Western scenes and to the special mountain he explains. “Over the course of the years, other rooms were added to mountain valleys to find expansive vistas and intimate, contempla-
valleys that meander through New Mexico. Recently, Day and his wife accommodate growing families. No two adobes have exactly the same tive settings. His passion for snowy scenes equals his love for sunsets.
BY EMILY VAN CLEVE Cheri moved from the suburbs of Denver to a rural area outside Taos. shape. They all have stories to tell.” “Snow is as big a challenge to paint as sunsets, because snow reflects
The couple purchased an old adobe home several years ago and im- At the top of his list of favorite adobes is the Catholic Church the sunlight around it,” he says. Day also enjoys painting arroyos that
Sunsets are a defining part of the Southwestern landscape for oil mediately began a series of renovations. Although everything was not in Canoncito, which was erected in 1869 and is located a few miles gently wind through the pinõn and sage-covered landscape. “Around
painter Stephen Day. He savors the way light filters through early completely finished when they moved, they were thrilled to become southeast of Santa Fe in Apache Canyon. Day has painted the church each corner is an interesting view,” he adds. “In the winter, snow on
evening clouds and illuminates the area’s vast skyscapes with a broad residents of the Land of Enchantment. in every season and from every possible angle. “I love that church so the north facing banks of the arroyos inspires many paintings.”
range of subtle and dynamic colors. “I paint what I see, and even after “I have been up and down all the back roads in New Mexico,” much that I often ask myself if there is another angle I can get,” he Occasionally, the small studies created out in the field find their
all these years, it is still a challenge to capture what nature gives you,” Day says. “I’ve painted scenes around Socorro and Magdalena and as says. “There probably is.” way to gallery walls. Often, they become the basis of a larger work
he explains. far west as Grants, Gallup and Zuni. My favorite area is Tierra Ama- which better conveys the image that first caught his eye.
rilla. There are a lot of old adobes in that area that haven’t been fixed
up. I like to paint traditional adobe buildings within the landscape.”
This page: Across the Wide Horizon, oil, "× "
“I use photos for reference, but I have to get the sense of the light During his teen years Day was an avid sports fan and played “It met once a week, every Thursday,” he recalls. “We drew and Although Day loves to travel and paint the landscape in other
through field studies,” he says. “Painting on location is very important on basketball, football and baseball teams. After graduating from painted still life and models in the studio and went out to paint on parts of the country, he is always thrilled to return to the Southwest.
even though pigment can’t exactly capture the colors and contrast high school, he attended Fort Lewis College in Durango and South- location. It was an unbelievable experience. I couldn’t have asked for Inspiration for new work is right outside his front door. His northern
found directly in nature.” ern Methodist University in Dallas. It was during the time that he and anything better.” New Mexico home has stunning views of the Sangre de Cristo Moun-
Day’s extraordinary connection with the landscape was nurtured Cheri lived in Casper, Wyoming that art became the focal point of his Day’s paintings have been included in "Representing the West" tains. “I see incredible sunsets every evening,” he says.
during his early childhood, which was spent in Santa Fe. He recalls professional life. Invitational Show at the Sangre de Cristo Arts Center in Pueblo,
12 FOCUS SANTA FE April / May 2008 playing outdoors on Canyon Road and feeling awed by the majestic Day took a number
FOCUS of art classes
SANTA at /Casper
FE April College
May 2008 13 before the Colorado and in Artists of the West Invitational Show in Colorado Stephen Day’s paintings are represented by Peterson-Cody Gallery,
mountains that surrounded him. When his father made the decision couple moved to the Denver area to be close to a large city. He studied Springs. The Colorado Rockies baseball team purchased three paint- LLC, West Palace Ave., Santa Fe, New Mexico, . Hours: :
to go to school to become a Methodist minister, the family moved at the Art Students League, while Cheri worked at Lockheed Martin as ing for their Coors Field Pinnacle Room. a.m. – p.m. daily. Phone: () -; www.PetersonCodyGal-
to Texas. a computer programmer. Through connections with the Denver art lery.com; E-mail: PetersonCodyGallery@yahoo.com.
community, he heard about a painting group in Loveland formed by
internationally-known artist Richard Schmid. Day became a member
and stayed with the group for five years.
This page: Adobe Fall, oil, "× "; Opposite page: Winter Eve-
ning, oil, "× "
14 FOCUS SANTA FE April / May 2008 FOCUS SANTA FE April / May 2008 15
Georgia o’keeffe museum, newspaper ad, 2007 Georgia o’keeffe museum, brochures, 2007
1 0 T H A N N I V E R S A R Y P R O G R A M S
Non Profit Org
Permit No. 49
U.S. Postage
Lubbock, TX
F R I D AY AUGUST 24 6 PM
10TH ANNIVERS ARY CELEBRATI ONS
PAI D
O’Keeffe’s Country: A Dinner at the Artist’s
Abiquiu House
In recognition of the Georgia O’Keeffe Museum’s contributions to
Events &
JOIN
the artistic and economic life of its community, the State of New
Rights Society (ARS), New York

Corporation,
of the Georgia O’Keeffe Museum
Mexico Department of Tourism; Kappa Delta
Plaza Hotel; The Kerr Foundation;
Thaw Charitable Trust; Henry Luce
from The Burnett Foundation. Additional
Enjoy an elegant summer evening on the grounds of O’Keeffe’s
by Tony Vaccaro, and the education

in part by a generous grant from The
Mexico and the City of Santa Fe Council passed resolutions declar-
private home and studio in Abiquiu, New Mexico. Space is lim-
EVENTS & PROGRAMS

ing 2007 “The Year of O’Keeffe.” Throughout 2007, the Museum
ited. Call 505.946.1033 for information and reservations.
A Celebration of Rudolfo Anaya’s Bless Me, Ultima
will honor women of distinction and celebrate the Museum’s
Programs
of Arts, Gift of funds from the Regis

achievements in its first decade.
AUGUST 25 11 AM
www.okeeffemuseum.org
S AT U R D AY
S AT U R D AY J U LY 7 10 AM–5 PM Women of Distinction Lecture:
An O’K Day Community Celebration The Honorable RUTH BADER GINSBURG
and by public subscription, 80.28. © 2006 Georgia O’Keeffe Museum/Artists

JUNE THROUGH
donor; the Georgia O’Keeffe Museum’s National Council; and members

Interiors & Design; Sotheby’s; Hotel Santa Fe; the Hilton Santa Fe Historic
The Plaza and the Georgia O’Keeffe Museum will be buzzing all Associate Justice of the United States Supreme Court, Ruth Bader
Endowment for the Arts; Los Alamos National Laboratory Foundation;

for this exhibition and for Georgia O’Keeffe, Illuminated: Photographs
Norton Museum of Art, West Palm Beach Florida, and was made possible
as Ginsburg will participate in a question and answer session
with
day with free food, hands-on art-making, music, and merriment,
Anniversary events are made possible in part through a generous grant

SEPTEMBER 2OO7 New Mexico celebrates the Museum’s 10th Anniversary in grand Roberta Cooper Ramo, the first woman to be elected president
of
Mexico Arts (a division of the Department of Cultural Affairs); New

style. And, on this day only, admission to the Museum is free. the American Bar Association. Our Women of Distinction Lecture
canvas, 48 × 30 inches (121.9 × 76.2 cm) The Minneapolis Institute

US
Series honors accomplished women in all fields of endeavor as
Dance on the Plaza to Latin jazz performed by Manzanares, part of 2007: The Year of O’Keeffe.
funk by Sister Mary and the Bad Habits, or the Trillium Marimba
217 Johnson Street • Santa Fe, New Mexico 87501 • 505.946.1000 •

The Lensic, Santa Fe’s Performing Arts Center $15. Members.
$10.
Ensemble. Watch Maria Benitez’s Next Generation, or perform-
ers from the National Dance Institute and Mexican Folk Dancing Tickets: 505.988.1234 or www.ticketssantafe.org
presented by Aspen Santa Fe Ballet School. In the Museum’s
Courtyard you can hear traditional flute music from Native Sounds S AT U R D AY AUGUST 25 6–11 PM
and French accordion by Dadou. Fun for all ages. 10th Anniversary Celebration: A Festive Dinner
Dance Honoring Anne and John Marion
This event is chaired by Mayor David Coss and Carol Rose.
Illustration by John Sherfﬁus Join us for a light-hearted evening celebrating the Georgia
The Santa Fe Plaza and the Georgia O’Keeffe Museum
O’Keeffe Museum’s first decade and honoring its founders, Anne
GEORGIA O'KEEFFE, ABSTRACTION WHITE ROSE,1
9 2 7 . O I L O N C A N VA S . 3 6 × 3 0 . G I F T
and John Marion. The event begins with a live auction offering
Foundation; City of Santa Fe Occupancy Advisory Board; an anonymous

Burnett Foundation and by Mrs. Shelby Cullom Davis. Additional funding
7 PM
FOR
AUGUST 23
Foundation; Charles Evans Hughes Foundation; Santa Fe Place; Western

I A O ' K E E F F E F O U N D AT I O N . © 2 0 0 6
T H U R S D AY
National
unique travel opportunities, works of art, elegant jewelry and other
O F T H E B U R N E T T F O U N D AT I O N A N D T H E G E O R G
PRESENTED BY THE GEORGIA O’KEEFFE MUSEUM AND
Georgia O'Keeffe: Circling Around Abstraction was organized by the

IETY (ARS), NEW YORK
GEORGIA O’KEEFFE MUSEUM/ARTISTS RIGHTS SOC
the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax; New
O’Keeffe: Speaking with Friends and Lovers
and public programs of the Georgia O’Keeffe Museum and its 10th
Mr. And Mrs. John Driscoll, the Beim Foundation, the Larsen Fund,
THE PUEBLO DE ABIQUIU LIBRARY & CULTURAL CENTER one-of-a-kind items. Dinner, dancing and entertainment by The
A Reading of O’Keeffe’s Letters JOAN ALLEN Pink Flamingos follow the auction, continuing the festivities into the
Foundation;
th (2),
A special thanks to the following 10 Anniversary sponsors: Anonymous
ALL PROGRAMS ARE FREE City of Santa Fe evening.
C O V E R : Georgia O'Keeffe, City Night, 1926, Oil on

Mercedes and Sid Bass, Bessemer Trust, Century Bank, Christie’s,
COMMUNITY KICK-OFF EVENTS Arts Commission and the 1% Lodgers’ Tax, City of Santa Fe Occupancy
Tax Advisory
Renowned actress Joan Allen (The Crucible, The Contender,
Hotel and
Pleasantville, Nixon, The Ice Storm, The Bourne Supremacy) will Georgia O’Keeffe Museum, 123 Grant Street. Call 505.946.1033
Annenberg
Board, Coca-Cola Bottling of Santa Fe, Daniels Insurance, Inc., Eldorado
take the stage of The Lensic to perform excerpts from Georgia for information and reservations.
Fe, Hinkle,
Spa, Patricia Friedman, Lynn Friess, Grimmer Roche, Hilton of Santa
SUNDAY O C T O B E R 1 4 3PM WITH TRIO JALAPENO Hensley, Shanor & Martin, Susan and Larry Hirsch, Hotel Santa
Fe, Charles Evans
O’Keeffe’s prolific correspondence, including letters exchanged
DE ANTONIA APODACA R.V. Kuhns AUGUST 26 8 PM
The
with Alfred Stieglitz, as well as friends and acquaintances.
Bank,
Hughes Memorial Foundation, Inn of the Anasazi, JP Morgan Private S U N D AY
Fe Resort and Spa,
and Associates, Inc., La Fonda on the Plaza, La Posada of Santa Allen, a Tony Award winner and three-time Academy Award
from
Northern New Mexico College Nick Salazar New Mexico 10th Anniversary Finale:
Los Alamos National Bank, Anne and John Marion, Mish New York, nominee, is famous for her ability to inhabit her roles complete- Diana Krall, Grammy Award-winning
received
Center for the Arts – Espanola Department of Tourism, O’Neil Printing, Owings-Dewey Fine Art,
Barbara Palmer,
ly. She will use her talents to illuminate O’Keeffe’s personality,
Louisa Sarofim, Paul Schorr III, Donna and Marvin Schwartz, Sotheby’s,
Southwest
keen sense of humor, and passion for her work. Allen will be Jazz Vocalist
SUNDAY O C T O B E R 2 1 4PM WITH CIPRIANO VIGIL
T HE
been
Airlines, Lissa and Cyril Wagner, Jr., Robert G. Weiss Family Foundation joined by other professional actors to be announced.
Diana Krall and her quartet perform standards and new works
has
Cutting Hall, Northern New Mexico College – El Rito
This year-long series of events owes much to the hard work and
dedication of the 10th
The Lensic, Santa Fe’s Performing Arts Center Tickets:
$15–50 ($5 under the stars at the Santa Fe Opera. This concert is a benefit
support
culminating the Georgia O’Keeffe Museum’s 10th Anniversary.
Chair; Michael
Anniversary Committee: First Lady Barbara Richardson, Honorary
One of New Mexico’s best loved books, Bless Me, Ultima comes to life discount for Museum members). Available at the Lensic box office,
Concert-goers have the opportunity to purchase limited prime seats
Gala Chair; Mayor
Burns, Lionsgate Co-Founder, Honorary Chair; Nedra Matteucci,
with a theatrical reading from the novel by Teatro del Alma. Delight or by calling 505.988.1234
including preferred parking and a pre-concert reception at the
Ellen Bradbury,
David Coss and Carol Rose, An O’K Day Chairs; and Susan Berk,
MAY 25 – SEPTEMBER 29, 2OO7

in a performance of canciones tradicionales and learn about The Big
Photographs by Tony Vaccaro

Sandy Durrie, Jane
Julee Brooke, Jill Cooper Udall, Anita De Domenico, Sande Deitch, Governor’s mansion.
Permit No. 49Circling Around Abstraction

Read/Bless Me, Ultima programs happening in your community in the Egan, Kelly Egolf, Patrice Emrie, Sara Jo Fischer, Brenda French,
Richard Gaddes,
GEORGIA O'KEEFFE :
GEORGIA O'KEEFFE,
S. King, Karen A. G. Loud,
days to come. Bruce Galpert, Jill Gray-Momaday, Leslie Hoeflich, Sarah
Available at the Santa Fe Opera Box Office. Tickets: $15–$250.
ILLUMINATED :
Marilyn Mason, Marsha Mason,
Marilyn Macbeth, Tom Maguire, Sharon Maloof,
Robarts, Carol Call 1.800.280.4654 or 505.986.5900.
Michael Odza, John O’Laughlin, Lucy Peterson, Janey Potts, Sarah
Susan Wells,
Following events at the Pueblo de Abiquiu Library, (505)685-4884 Robertson-Lopez, Jodi Stumbo, Margarita Waxman, Patti Webster,
Rebecca Wurzburger, and the OK Day Commitee members.
TUESDAY O C T O B E R 2 3
BIG
Official 10th Anniversary Printing Sponsor: O’Neil Printing.
The Golden Carp and Other Magical Stories by Rudolfo Anaya
JO I N U S
L E C T U R E S
Georgia O’Keeffe
For more information on “2007 The Year of O’Keeffe,” contact the
A N D M U S I C
After School Program 3:30–4:30PM: Enjoy storyteller Paulette Atencio’s
Non Profit Org

Museum at 505.946.1039 or visit www.okeeffemuseum.org.
U.S. Postage
presentation of stories from one of New Mexico’s best loved books!
Lubbock, TX
PAI D
For Ultima Even the Plants Had Spirits 6:30PM
A conversation with Lydia and Chriselda Dominguez, curanderas from LECTURES

MUSIC EVENTS
Abiquiu pueblo. Hear about the beliefs that healers like Ultima, an
Mexico, and the High Museum of Art

its American Masterpieces pro-
Up Fund of the Santa Fe Community
Harris Foundation, the City of Santa
the William Randolph Hearst Foundation,
Endowment for the Arts in partnership
and El Museo Cultural de Santa Fe.
Chicago, Julien Levy Collection; Gift of Jean Levy and

Events &
T H U R S D AY N O V E M B E R 2 9 7 P M
unforgettable character in Rudolfo Anaya’s Bless Me, Ultima, practiced.
EVENTS & PROGRAMS

T H U R S D AY N O V E M B E R 1 5 7 P M
The Modernist Spirit: Women Photographers
Time Shards Music Series: Aki Takahashi
THURSDAY O C T O B E R 2 5 3:30PM and the Stieglitz Circle
Performs Works by Morton Feldman
R E A D!
Programs
• www.okeeffemuseum.org
Illustrate A Story!
SUSAN EHRENS The Time Shards Music Series,
After School Program 3:30PM - Join Leland Chapin, a skilled artist and
founded by composer Barbara
illustrator to learn how to draw stories taken from literature. We will use Anne Brigman created pictorial equivalents of her innermost feel- Monk Feldman, will be revived
a generous grant from the National Endowment for the Arts through
Rudolfo Anaya’s Bless Me, Ultima as an example. ings as she celebrated wilderness, sexual freedom, and the human with an all Morton Feldman
SEPTEMBER
with additional support from the New Mexico Humanities Council

Foundation, the Kerr Foundation, The William H. and Mattie Wattis
programming was received from Aperture West, the Just Woke
body. Ehrens looks at Brigman’s work and her contributions to the concert featuring pianist Aki
O’Keeffe Museum. The Big Read is an initiative of the National

co-organized by the Georgia O’Keeffe Museum in Santa Fe, New
Book Discussion 6:30PM development of photography, her relation to women working in the Takahashi. Triadic Memories
Mexico Arts (a Division of the Department of Cultural Affairs),

The public is invited to join in a lively discussion of Bless Me, Ultima THROUGH field, and especially, her relationship to Alfred Stieglitz. Drawing (1981) and the later work
from unpublished writings and visual materials, Ehrens also discusses Palais de Mari (1986) will be
ca. 1910), gelatin silver print, 24.8. × 19.7 cm. The Art Institute of
DECEMBER Imogen Cunningham, who sought advice and support from Stieglitz. performed. A close associate of
The Georgia O’Keeffe Museum thanks the William Randolph Hearst Foundation, Cunningham’s photographs were influenced by Gertrude Käsebier New York painters of the 1950s,
217 Johnson Street • Santa Fe, New Mexico 87501 505.946.1000

JP Morgan Chase, NM Arts, a Division of the Office of Cultural Affairs, the City and Brigman, whose work she encountered in Stieglitz’s seminal
These events are part of The Big Read, an initiative of the National Endowment for the Arts of Santa Fe Arts Commission, the New Mexico Humanities Council, El Museo 2OO7 publication, Camera Work. Ehrens, an independent curator and arts
Feldman’s delicate interaction of
tones and silence is, according
in partnership with the Institute of Museum and Library Services and Arts Midwest. Designed Cultural de Santa Fe, and the Pueblo de Abiquiu Library. writer, is a respected authority on pictorialist and modernist photog- to Wilfrid Mellers, “of exquisite
to restore reading to the center of American culture, The Big Read provides citizens with Pueblo de Abiquiu Library October Book of the Month: Bless Me, Ultima by raphy as well as women photographers of the West. She has curat- musicality; and it certainly pres-
the opportunity to read and discuss an important piece of American literature. The Georgia Rudolfo Anaya ed photography exhibitions for the American Federation of the Arts, ents the American obsession with
the Art Institute of Chicago, Friends of Photography, et al., and is emptiness completely absolved
O’Keeffe Museum selected Rudolfo Anaya’s novel, Bless Me, Ultima, as the focus for The
•
Copies of the book are available in English and Spanish at the Library. author of A Poetic Vision: The Photographs of Anne Brigman (1995). from fear.” Takahashi resides
Big Read activities. For more information on these programs contact 505.946.1007, or You are going to LOVE this book! For program information contact the Pueblo de in Tokyo, Japan, and is highly
of Chicago.
christina@okeeffemuseum.org, or go to www.neabigread.org/communitycalendar. Abiquiu Library at 505.685.4884, or email: christina@okeeffemuseum.org St. Francis Auditorium, New Mexico Museum of Art, 107 regarded internationally for her
W.
Palace Avenue, Santa Fe. Lecture co-sponsored by Aperture
West. dedication to interpreting the
$5. Members, free. Reservations suggested: 505.946.1039 work of 20th-century composers.
in Atlanta, Georgia. This exhibition is made possible in part through
the Estate of Julien Levy (1988.157.11); reproduction © The Art Institute

gram and by The Burnett Foundation. Additional support for related
the JP Morgan Chase Foundation, and the members of the Georgia

with the Institute of Museum and Library Services and Arts Midwest
Fe 1% Lodger’s Tax, New Mexico Department of Tourism, New
Foundation, the Kaiserman/ Robinson Family, the Kappa Delta
Georgia O’Keeffe and the Women of the Stieglitz Circle was
St. Francis Auditorium, New Mexico Museum of Art, 107
W E D N E S D AY D E C E M B E R 5 7 P M W.
Palace Avenue. $12. Members, $10. Reservations suggested:
A Research Center Scholar Lecture 505.946.1039
C O V E R : Anne Brigman, The Breeze, 1918 (negative,

Mentoring a Movement: F. Holland Day, Alfred
Stieglitz, and the Development of American F R I D AY D E C E M B E R 7 5 – 8 P M
Art Photography Holiday Concert Performed by
Santa Fe New Music
ELIZABETH BISCHOF
Join us for the Museum’s annual concert in the galleries offered
as a gift to the community. The performance features 20th-century
The story of F. Holland Day and Alfred Stieglitz is reconsidered to
compositions, including Peter Garland’s Matachin Dances. Santa
understand the development of pictorial photography in 20th-century
Fe New Music promotes the music of our time and delivers to
America. This talk re-examines leadership of the art photography
audiences the experience of music as a living art form. One of
movement at the turn of the century by focusing on the relationship
America’s foremost proponents of New Music, John Kennedy,
between Day and Stieglitz as well as the relationships they fostered
founder and director of SFNM, has forged a diverse musical career
with other prominent photographers of the era, including Gertrude
through work as a composer, conductor, performer, and educator.
Käsebier, Clarence White, Frederick H. Evans, Frank Eugene, and
Edward Steichen, among others. A close examination of such rela-
Georgia O’Keeffe Museum, 217 Johnson Street. Thirty-minute
tionships reveals that while Day befriended and mentored individual
performances begin at 5:00, 5:45, 6:30, and 7:15 pm. Free.
GEORGIA O'KEEFFE
photographers, Stieglitz mentored a movement. Bischof explores

JANUARY 13, 2OO8
and the Women of
the Stieglitz Circle
the ramifications in the development of American Modernism with

SEPTEMBER 21–
regard to styles of mentoring: the personal, communal, and col-

F R I D AY S O C T O B E R 5 A N D N O V E M B E R 2 5 – 8 P M
laborative approach of Day versus the competitive individualism Music with O’Keeffe
fostered by Stieglitz’s emphasis on “the movement.” Bischof is an
Assistant Professor of History at the University of Southern Maine, O C T O B E R : R O B E R T O C A P O O C H I , S PA N I S H G U I TA
R
Portland/Gorham.
N O V E M B E R : WAY N E W E S L E Y, G U I TA R
Georgia O’Keeffe Museum Education Annex, 123 Grant
JO I N U S
Avenue. Alfresco Performance Series and wine bar in the Museum
$5. Members, free. Reservations suggested: 505.946.1039
Courtyard. Sponsored by El Corazon de Santa Fe. Free.

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Non Profit Org

Rights Society (ARS), New York

by Tony Vaccaro, and the education

EVENTS & PROGRAMS

will honor women of distinction and celebrate the Museum’s

of Arts, Gift of funds from the Regis

and by public subscription, 80.28. © 2006 Georgia O’Keeffe Museum/Artists

donor; the Georgia O’Keeffe Museum’s National Council; and members

Endowment for the Arts; Los Alamos National Laboratory Foundation;

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Ansel Adams, Dogwood Blossoms,

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