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 BY DEVON JACKSON

Peter Burega’s powerful paintings are deep studies in color and geometry. They are beautiful, but a beauty with a bruise here, a scratch there, a scrape, a cut, a depth, a luminosity, an intensity, a look not only into the way Burega’s brain views the world but at how he processes light, color, space, line, lines, the very big, the very small, and how all that and more relates— or doesn’t relate—to each other and everything else. “I get off on the idea of putting across two totally different ways of thinking, painting big and small at the same time,” says Burega. “I’m breaking down elements but bringing them back together in a cohesive way. That’s the way my brain processes it,” explains the artist Possessed of an admittedly “percussive” brain, Burega also admits to having had a rather “weird learning curve” as an artist. Born in Montreal, Canada in 1965, Burega, from the age of five, seemed destined to become a pianist. He never really acknowledged any other gifts aside from those he expressed musically, so it was something of a shock, if not at the least an 22

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adjustment, when he discovered that he wasn’t going to be the performer he’d envisioned. A pianist until age 18, he hit a wall and his musical aspirations were over; his way of breaking through that wall was to take on multiple majors at McGill University and then continue 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 offered 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 fearlessness 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 began to create work on masonite panels, then canvas and paper. After a few years, he progressed to birch board. He mixed in wax with his oils and applied it all to his surfaces largely with brushes and knives. “I used to have the notion that I had to be a ‘painterly’ painter—my work used to be open and ethereal, lots of brush strokes and I was painting very abstract landscapes,” says Burega. “Now my work’s gone through a progression in the past few years. I’ve started investigating the forms of geometry. There are still elements of the landscapes but there’s a definite exploration of the grid and of color fields.” He now paints only with trowels and knives, almost burnishing and polishing his surfaces. Opposite page: Virgin Gorda #, oil on panel, "× ";; This page, above: Virgin Gorda #, oil on panel, "× "; Below: Virgin Gorda #, oil on panel, "× "

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2006-2008

Jesse Caverly

designer

Focus Magazine, layout & design, 2008

He began the journey of exploring glazing —layering his birch boards with lots of semitransparent glaze. “There’s only so much you can do with wax,” explains Burega, who went wax-less at the suggestion of an artist friend. “Wax is unforgiving when you are exploring prior layering. It didn’t allow me to explore backwards and it refused to let me reveal my under painting.” Glazing isn’t hardly as limiting to the artist 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 discovery in the removal process. These days I’m as much about removal as application.” By which he means, he’ll sometimes scrape away as many as 50 layers of paint (or underpainting paint) to get what he’s after; as opposed to layering it on 50 times to get at what he wants.

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and simply started doing what feels right for a particular piece. I can obsess on a three inch passage of a six-foot board or tackle a painting as a whole and approach it within a “macro” perspective. It’s because I let it all hang out that my work and process have this freedom of thought.” Approaching each painting as a kind of geometrical equation to be solved or played with, Burega now constructs an asymmetrical grid on which to begin painting. This grid, which he embraced at around the same time he gave up wax, is as important to him now as his subject matter. Whatever landscape still remains often serves simply as a departure point. “I’m certainly still affected by geography and places. I’m still painting what I see out there, like the way the light plays off a leaf, but it’s not just an image I’m after anymore but my thought process in accessing that information,” he says. “I often don’t see the big picture of what I’m looking at. I’ll look at specific details. “The grid is really important because it allows me to do that—to do this micro-macro thing, to change my point of perspective, to shift back and forth between the two,” he continues. “Sometimes I’m shifting perspective on a giant scale and sometimes it is more subtle.” Last summer, while spending time in the dense, wet climes of the British Virgin Islands,

The former is why he requires tools like his trusty trowel; the latter would require a brush. But Burega doesn’t use brushes anymore, or any other traditional artist’s tools. “I’m Mr. Home Depot on a certain level,” he says with a laugh. “I paint only with scrapers and trowels. Whether I am painting small or big, I work with the same tools. At the end of the day my process is very physical and I’m covered in cuts from using my tools,” say the painter. Having not taken a formal class, a workshop, or spent any time in art school, Burega has consciously avoided subjecting himself to any kind of artistic influence. Burega has not eschewed an academic approach to his work. He can sound like the headiest of hard theory art-school artists when he really gets going about his technique, or his approach. His discovery and exploration of what he calls “the grid,” how the “graphic elements were framing” for him, the way “the grid gave me so much to hang onto cerebrally,” and how “although you still get a sense of a horizon line in my work, I continually try to exorcise that line from my life because it’s easy and I don’t want to do easy anymore.” “Some people’s artistic schooling can really hamper their progress—preconceptions run rampant,” suggests Burega. “I have let go of all pre-conceptions

Burega’s work underwent a dramatic change in palette and light, which also affected the rest of his painting. “It tends to be a more golden light we experience here in Santa Fe, it’s a mirage-like light, it plays tricks on you,” says Burega. “Down on the islands, though, the light flickers totally differently. It’s a denser bluer atmosphere and it infuses everything with a certain lushness that has affected and changed my perceptions.” Hoping to give people a peek into how it is he sees the world, and how he thinks—and how he processes what he sees—Burega has left behind the world of beauty and gone inside his head. “I still have a pleasing palette but that’s not what drives me,” says Burega. “My work is much more thoughtful. I used to be purely visceral but now I’m more focused on the psychology of my work and that’s more like me. I’m very right brain left-brain: I am simultaneously very organized and chaotic – completely able to let go and not live with any plans. That juxtaposition is what my paintings are all about.” Opposite page: Virgin Gorda #, oil on panel, "× "; This page: Indian Canyons #, oil on panel, "× "; Peter Burega’s work can be seen at Meyer East Gallery, 225 Canyon Road. (505)983-1657. www.meyereastgallery.com

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Jesse Caverly

2006-2008

designer

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 things to say what isUnited States by the early Spaniards. Most artists who spend any time in Taos 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 world as I live in it.

back thinking that with the piece of the back I said all I needed to say about the Georgia O’Keeffechurch. . . . And I long ago came to the conclusion that even if I could put down accurately the thing that I saw and enjoyed, it would not give the observer the kind of feeling it gave me. I had to create an equivalent for what I felt about what I was looking at—not copy it. I was quite pleased with the painted fragment of the Ranchos Church.

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

Art is both love and friendship, and understanding of the desire to give. It is not charity which is the giving of things, it is more than kindness, which is the giving of self. It is both the taking and giving of beauty, the turning out to the light the inner folds of the awareness of the spirit. It is art—something said about something felt.

Is there a place, a person, or something you need to draw, paint, or photograph? Make a note or sketch here of what you want to do and try to follow through with your idea. Georgia O’Keeffe, Ranchos Church No. , , oil on canvas,  ⁄ ×  inches.

Two of the best known and loved American artists of the twentieth century met in Taos, New Mexico, in 1929, almost eighty years ago. Georgia O’Keeffe was born on a farm in Wisconsin and later moved with her family to Virginia. When she was a little girl, her mother read stories to her about the adventurous cowboys and Native Americans who lived in the West. O’Keeffe studied in Chicago and New York and, in 1912, she took a job teaching Connect the dots in Amarillo, and later in 1916, in Canyon, Texas. On her way back to Texas fromon the cities where Georgia O’Keeffe and Ansel Adams each livedShe andloved worked. a trip to Colorado in 1917 she stopped in Santa Fe, New Mexico. what she saw and wanted to return. She started to spend summers in Northern New Mexico in 1929 and eventually moved to New Mexico from her home in New York City. Ansel Adams was born in San Francisco, California. He first went camping with his family in Yosemite National Park when he was fourteen. He returned there most summers to work and take photographs. Adams met his wife, Virginia Best, in Yosemite, where she was living with her family. Adams met O’Keeffe when he came to New Mexico in 1929, with the writer Mary Austin, San Francisco CA to take photographs for a book called Taos Pueblo. ThroughoutU theUÊ9œÃi“ˆÌiÊ
years, Adams and O’Keeffe shared a similar interest in finding “subjects” for art in nature, as well as exploring, in their artwork, a belief that beauty was an important aspect of art-making.

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Continued in Georgia O’Keeffe and Ansel Adams always got together when he visited New York. O’Keeffe’s husband, Alfred Stieglitz, was an important photographer and he owned a gallery. He invited Adams to have an exhibition of photographs in New York City. Adams and Stieglitz wrote each other many letters. Alfred Stieglitz was an older artist and an inspiration to Ansel Adams. I have planned to write you ever since my return to San Francisco. I wanted to tell you a little of what my talks with you have meant to me. . . . I trust you will believe me when I say that my meetings with you touched and clarified many deep elements within me. It has been a great experience to know you. I wonder if you can ever know what the showing of my work has done for my whole direction in life? from an Ansel Adams letter to Alfred Stieglitz

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Georgia O’Keeffe, Taos Pueblo, /, oil on canvas,  ×  inches.

Ansel Adams Ansel Adams, Nancy Newhall "/ \Ê
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What is art to you? May  – September , 

www.okeeffemuseum.org

Ansel Adams, Saint Francis Church, Ranchos de Taos, New Mexico, c. , gelatin silver print,   ⁄ ×  ⁄ inches.

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

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

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

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

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2006-2008

Jesse Caverly

designer

Focus Magazine, layout & design, 2007

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Truth and Beauty: Contemplating Contemporary Art

Contemporary art has always had its devout as well as its detractors. Once upon a time the use of mixed media was eschewed by traditionalists as less than fine art. But today contemporary art is holding its own in top art markets and is even touted by financial advisors as a means of adding diversity to one's portfolio. Whatever your aim when approaching contemporary art, you are sure to find something that assuages your particular penchant for truth or beauty, and sometimes both.

BY CLAUDIA JOSEPH

Often contemporary art is maligned for acting as a vehicle for social change; others praise it as an opportunity to express political, religious and social views and create a dialog for transformation. When viewing art that falls into the "difficult" or "provocative" category, the spectator often has a visceral response, clearly mapping out their position on a given piece of art and its content. This is not typically the kind of art that finds its way to gallery walls or a seasoned art collector's portfolio. But for those who are brave enough to purchase works that stand for truth, whether the artist's expression thereof or truths shared by collector and artist alike, a certain social distinction is conferred for such fearlessness. Judy Chicago, Grand Snake Arm 2, 2007, etching, cold work and gold leaf on cast glass,

24" × 24" × 21", multi-stage carving by Dobbins Studio

Generally speaking, many gallery owners and representatives agree that Santa Fe's art market, ranked third nationally behind New York and Los Angeles, is somewhat conservative. It should be no surprise that the City Different does not follow global or national trends, but considering the open-mindedness we pride ourselves on as a city, you'd think we could generate a bit more excitement for avant garde contemporary art. Perhaps we are still rooted in traditional art of the west and we need a bit more time for our eyes to adjust. But don't let this lead you to believe that Santa Fe's contemporary art market is not strong; this sector of the art market has grown the most in recent years, and shows no signs of slowing down. We can expect great things from the Railyard development evolving as a new Mecca to contemporary art. And there are many in the local art community who are toeing the line for the rest of us, until we catch up.

When the kernel of the contemporary art movement was germinating in the 1960's and 1970's minority and oppressed artists in particular found a new medium for expression — one that was progressive without the limitations sometimes imposed by traditional art. The use of art as social commentary flourished. Along came artist Judy Chicago, who for the past forty years has been committed to creating art to further social change, tackling a vast array of ambitious content in as many mediums. She has shown us The Dinner Party in which abstract paintings and sculptures were assembled to host a spiritual last supper for thirty-nine of history's most accomplished women, who were not recognized in male-dominant histories. Then she embarked upon The Holocaust Project: From Darkness Into Light, which examined power and powerlessness. These are not lighthearted pieces that translate easily into galleries or homes. But Chicago and LewAllen Contemporary found a way to marry the exhibit of large scale installation art with the personal experience of a gallery.

or a full list of events and more

www.artfeast.com.

Recently LewAllen exhibited the preparatory materials for The Dinner Party. This meant that many of the preliminary sketches, test plates and weaving samples that Chicago relied upon in summoning the final project could be viewed, appreciated and even acquired by collectors. To own a piece of this great monument to the women's movement was an astounding opportunity and a rare ability to take home a piece of history. Such a bridge is important in Santa Fe since many exhibits of significant new works debut in large urban areas. The Dinner Party in particular reflects the artist's truth expressed to the masses and its content eventually became part of the fabric of our collective psyche. Seeing even a small part of such a project allows people to experience and appreciate how art can have a major impact on society.

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

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

1975-1978, china paint on porcelain, 14” dia., 1.5” deep 18.5” x 18.5” x 10.5” installed.tif"diameter ×  "height, × 18.5" × 18.5" × 10.5,

installed

Judy Chicago, test plate from The Dinner Party – Hatshepsut Test Plate #3, 1975-1978, china paint on porcelain,  " diameter ×  " height, × 28.5" × 28.5" × 10.5 installed

In speaking with Linda Durham of Linda Durham Contemporary Art in Santa Fe I was struck by her commitment to pushing contemporary art forward while honoring an artist's individual vision. Currently featuring the work of Erika Wanenmacher, Linda Durham's latest exhibit is sure to test the viewer's limits and take collectors and spectators out of their comfort zone. Greeted by an enormous wood carving encased in snakeskin shed by a local snake, you are aware that Wanenmacher's perspective is challenging the mind to widen its interpretation of what we consider art. Turn the corner and you'll find Wanenmacher expressing her range in use of medium with a life-sized sculptural self portrait, her nakedness (tattoos, exposed breasts and all) fashioned using the underside of coyote skin, complete with prosthetic eyeballs. It is not easy to look at; in fact it is difficult to be with. And whether you find it beautiful or not, there is no doubt that Wanenmacher has created something important to her, with considerable skill, and is devoted to her vision, rather than considering first what will hang nicely over someone's couch. Kathleen Kinkopf, Simpatico, mixed media/acrylic on canvas, " × "

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2006-2008

Jesse Caverly

designer

Focus Magazine, layout & design, 2007

Selecting art without social or political content, Joyce Robins Gallery has a varied and interesting selection of contemporary artists' work gracing its walls on Galisteo Street. Joyce Robins acknowledges the importance of pushing the envelope in contemporary art, whether it be to further development of mediums and art forms or to voice controversial commentary, but sees public art institutions as the more appropriate setting for the latter. Robins reasons, "SITE Santa Fe and the Center for Contemporary Arts are great, but we can't do what they do," on the premise that often galleries simply do not have the capacity to house large installation exhibits which should reach a wide audience.

When I pressed Durham about the economic realities of owning an art gallery and the difficulty she may face selling some of these pieces, she is stalwart. "I have had this gallery for thirty years and I always tell people, 'I have been through thin and thin,' but my commitment is so deep." Rather than seeking out artists and work that will fit into the market, Durham finds what she likes and cultivates a market for it. This is not to say that Linda Durham is opposed to or shuns beauty in the art she promotes — quite the contrary. If something is well thought out, comes from an original place and happens to be beautiful, so be it. Relying on the truism that the notion of truth is broad and the notion of beauty is even broader, Durham observes "beauty used to be taboo, but if it is what you respond to, there is value in that."

Erika Wehenmacher, Coyote’s Suit to Disguise Himself

A good example of the positive effects of allowing such artistic freedom is the divergent work of artist Kathleen Kinkopf. Known for her surrealist portrayals of people and objects, Kinkopf recently stepped out of her box to demonstrate her quiet reverence for earth, sky and animals. Robins shows the vastly different works side by side and chuckles when loyal Kinkopf collectors walk right by her new work, completely unaware of its origins. Robins says "eventually their eye adjusts to the new style and they can appreciate that the quality offered by the artist remains the same with a new twist."

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

20" × 20" × 80"

Kathleen Kinopf, Yakueda Dream, mixed media/acrylic on canvas, "72" × 56"

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Linda Durham attributes her ability to divine interesting art to working only with artists whom she knows and considers smart, who are devoted to studio life. She realizes the importance of working with local artists so that she can foster relationships between people in the community who are involved in art. This allows her to use the gallery as a vehicle for communication between herself, the artists and the collectors for a richer experience.

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Even if an artist isn't using contemporary art as a medium for politically or socially charged content, there is always growth in technique and mediums. Certainly the digital age and technology have opened up new horizons to artists, so change is always afoot. Contemporary art is constantly pushing its limits, both in the gallery and institutional settings. It is only once enough time has passed that we can reflect to discern trends on a macro level, leading to the new labeling of a period or movement. For now we can revel in the vast array of choices we have to encounter and acquire so many different types of art, in so many different mediums right in our own backyard - some truthful, some beautiful and some, thankfully, offering both.

Erika Wehenmacher, Stealth Mask to Steal Back Holidays for the Pagans, popcorn and cookie tins, fabric embroidery,

31" × 22" × 5.5"

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As for Robins, whose choices lean towards beauty, she likes to cultivate forward momentum in the artists she represents by allowing them to use their range and explore. This can be intimidating to an artist with a well-established clientele who has developed a signature look, but Robins sees it as an opportunity. "In order for them to function well as an artist they must be able to paint what they love and break away from the norm by taking a departure." She continues, "I often find that this freedom opens the artist up to attracting new collectors and the existing ones eventually come around too." FOCUS SANTA FE

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FOCUS SANTA FE

January/March 2008

2006-2008

Jesse Caverly

designer

ricoh, layout & design for PROJECT TEMPLE, 2008

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2006-2008

Jesse Caverly

designer

Focus Magazine, layout & design, 2007

Between Earth and Sky: Heaven Here and Now David Pearson infuses layers of ethereal meaning into the solid permanence of bronze. BY WOLFGANG MABRY

Being born on the autumnal equinox might have something to do with the balance in the sculptures and in the life of David Pearson. Both have finely tuned equilibrium, and there are measures of serendipity and carefully considered intention in both. Where any soul alights is up to chance, and for Pearson, growing up in the optimism of the sixties and seventies, under the legendarily blue skies of New Mexico turns out to be just one of many such fortuitous accidents. Pearson recalls an easygoing youth, in which he was not just allowed, but actually encouraged to find and follow his passion. He found and followed a passion for art that came fully out of dormancy when his family moved to Santa Fe. Paintings, sculptures, galleries, art books, and the people behind these treasures fascinated and inspired him. By the age of 16, Pearson landed his job at Shidoni Foundry, which had just been established four years earlier by Dorothy and Tommy Hicks, parents of another life-long friend, Scott Hicks. His formal art education took place on the job, as he began by divesting bronzes from their ceramic molds. Within a year Pearson was promoted to metal chaser. During his six year apprenticeship at Shidoni, Pearson mastered each of the 32 essential steps in producing a This page: Heartfelt, (front and back), bronze, " h, ed. 15; Opposite page: Summer Breeze, (front), bronze, " h, ed. 15. 8

FOCUS SANTA FE

August /September 2007

finished fine-art bronze from the sculptor’s clay model. By the age of 18, Pearson completed his first bronze, which quickly found a buyer at the Shidoni Gallery. By age 21, Pearson was represented by galleries in Santa Fe, Dallas, Scottsdale, and Colorado Springs. Recruited in 1982 by Art Foundry, also in Santa Fe, Pearson quickly rose to the positions of Director and Master Sculptor. In his ten years there, he collaborated and sculpted on projects from inception through installation with sculptors Allan Houser, Bruce Nauman, Ron Cooper, Luis Jimenez, and Fritz Scholder. A year after Allan Houser died, Pearson helped design and build a foundry for that sculptor’s estate, and spent the next three years finishing out Houser’s remaining editions. Numbers are important in Pearson’s bronzes, for several reasons. His first edition was limited to 15, and Pearson has kept his editions at that size ever since, a gesture considerate of collectors who value rarity in conjunction with beauty and meaning. The little white birds Pearson often includes for aesthetic and symbolic reasons appear in groupings suggesting the kind of symbolic significance religions and cosmologies around the globe have attached to numbers. Pearson’s figures are tall, slender, and graceful. Their elongation suggests a reaching heavenward, even as the solidity and weight of bronze subjects them to the laws of gravity. Graceful women, angels, couples, birds, branches, and leaves are favored subjects in Pearson’s work. Pearson gives residence to multi-layered currents of meaning in each aspect of every bronze. Viewers can identify from many points of view with the serene intuition and the sense of ascension that pool and rise within and around his sculptures. Diurnal and seasonal cycles affect all of life, and Pearson calls these things to mind in sculptures with titles like Dawn, Midnight, Gentle Nature, Evening Calm, Rain, Autumn’s Eve, and Meeting at Midday. Pearson’s genuine respect for spiritual quests in every religion and culture finds expression in titles like Heavenly, Angelic Being, Le Jeune Saint, Nitya, Little Swami, and Kyrie. Love is a subject with highest relevance in every life, and Pearson’s Kiss, Sweet Hearts, Caress, Dreamwish, and Secrets speak eloquently FOCUS SANTA FE

August /September 2007

in sculptural terms of that huge, mysterious, and wonderful complex of human emotions. Whether maquette—up to 12” high, midscale—up to 30” high, or life-size, Pearson’s bronzes epitomize the highest ideals of craftsmanship, artistry, and universality of meaning. Pearson completes between eight and twelve new works per year, always with the goal of connecting with people through sculpture. He does this visually, emotionally, intellectually, and spiritually, making his sculptures attractive to institutional and private collectors. Municipalities, banks, hospitals, and museums have long been Pearson collectors. In 2002, his Unique Bronze Bird was acquired for the White House Christmas Tree. Just this year, the New Mexico Governor’s Mansion acquired Une Danse de Reve, a 52” high bronze ballerina standing with her hands clasped behind her back. The sculptor strikes the perfect balance between suggestion and articulation in her pose, degree of abstraction, and expressions in face and gesture. Pearson lets every viewer complete his sculptures on every viewing, considering each viewer’s own particular set of emotional, aesthetic, and psychological mindsets as important as his own. His first limited editions took about ten years to sell out. Today, his editions are often sold out within a year of release. Many go into collections of repeat buyers, who have found earlier works to be sources of comfort, inspiration and sheer aesthetic euphoria. Pearson derives creative energy from nature in his sacred environment, and it infuses his work with an indescribable energy of a similarly soothing, tranquility-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.

9

This page: Summer Breeze, (back), bronze, " h, ed. 15; Opposite 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 – Saturday; : noon – : p.m. Sunday. () -, () -. Fax () -. Website: www.carlislefa. com; e-mail: [email protected] 10

FOCUS SANTA FE

August /September 2007

2006-2008

Jesse Caverly

designer

selections from the self-apparent series, illustration and collage, 2008

shoot for the moon, skewer thy neighbor

Wot? Wot?

Wot?

2006-2008

Jesse Caverly

designer

Focus Magazine, layout & design, 2008

>

Continued in

The Pottery of Les Namingha: The Evolution of a Legacy His work reflects a combination of raw talent and artistic lineage BY: ERIN KINNARD THOMPSON

18

FOCUS SANTA FE

August /September 2008

Award winning artist Les Namingha’s work marries traditional and progressive elements to create unique and innovative pottery. A Hopi potter, Namingha is a descendant of Nampeyo of Hano and acquired his practical training from his aunt, artist Dextra Quotskuyva, whose name is synonymous with Hopi pottery making. In recent years he has distinguished himself as a ground breaking and brilliant artist in his own right. Namingha’s mother is a member of the Zuni Pueblo and his father is Tewa/Hopi. He spent much of his childhood on the Zuni Pueblo but received his elementary and high school education in Utah. He went on to study design at Brigham Young University but it wasn’t until after college that he truly started on his path to carry on the family legacy. To say that Namingha was trained by one of the greatest potters of modern times isn’t an exaggeration. When Namingha was in his early 20s, Quotskuyva invited him, as well as several of his cousins, to the reservation in Arizona to commence their practical education. The first few days were spent observing her in the creative process but it wasn’t long before he began imitating what he witnessed. As a result he gained invaluable hands on experience, with Quotskuyva providing pointers along the way. She passed along the tools to create the pieces and equally as important, to respect and appreciate the craft. She took painstaking measures to encourage his talent. With pottery making in his blood, Quotskuyva required that her young protégé’ review the family designs, including the well documented works of Nampeyo. With Quotskuyva as his mentor, he learned not only the traditions and techniques but the importance of one’s state of mind when shaping and creating the works. She

instructed him that it is not only about the physical molding of the pottery, but also about the message, and that if the artist is in a good and spiritual place, the work will take on its own evolution. “One of the things we learned was how to treat and respect the clay,” Namingha said. Because, as it was explained to him, the clay itself has an element of spirituality that drives and guides the creation of each piece. What she shared with him was more than a means to earn a living, but a treasured gift. He has taken the lessons to heart. Namingha’s work is at once traditional and contemporary. He utilizes many of the conventional methods of pottery making as passed down through generations, though his work could also be considered very progressive. He describes his abstract style as “veering more toward contemporary” though it is clear that he cherishes the lessons of the past. He still uses the traditional clay materials, but fires his pots using an electric kiln and applies acrylic paints. He has also used a technique reminiscent of his aunt’s work, the shard, or motif method. With this technique the artist applies shard pieces to the pottery to create intricate designs. Today Namingha and his wife have four children and they reside in Santa Fe with their two youngest. Though he is best known for his ceramics, he has an insatiable appetite for exploring many different art forms. His pottery often incorporates both Zuni and Hopi influences, with the foundation of much of his work based in his spirituality. “Each Opposite page: Healing Hand, natural clay with acrylic paint,  "h × "d; This page: In Looking Outside, natural clay with acrylic paint, "h × "d FOCUS SANTA FE

August /September 2008

19

2006-2008

Jesse Caverly

designer

Focus Magazine, layout & design, 2007

Design Week Santa Fe 2007 BY EMILY VAN CLEVE

esign Week, Santa Fe’s seven-day conference from October 11-17 at the Santa Fe Indian School, is focused on increasing awareness of design and its role in society. The event is particularly exciting, says its director Naomi Woodspring, because the topic of design is discussed from different angles by a diverse group of professionals. “We have speakers representing a wide range of disciplines,” Woodspring explains. “Most of them have never met each other before. We expect the conversations to be very stimulating.” At the heart of Design Week is the Design Matters Conference, which features four half-day sessions with keynote speakers and panelists. La Buena Vida, the Good Life explores the history of design and the innovative work created by Santa Feans. Passion is Possible: Believe addresses the question that many creative people ask themselves: is it possible to turn what you love doing into a design profession? The idea that workers, consumers and producers are all part of the design process is the subject of Design Revolution: Creative Minds in Conversation. The final session, Design for Good, talks about how design is driving solutions to some of the world’s most pressing problems. Each session begins with a 30-40 minute keynote speech and is followed by a moderated panel discussion. “We’re inviting audience members to participate in question and

answer segments with the keynote speaker and the panelists,” Woodspring says. “Since design is totally visual, we’ll have work by our panelists projected on screens so audience members can see exactly what they do.” Among the invited guest panelists and keynote speakers coming from outside New Mexico are Aaron Draplin, who is a snow board designer and graffiti artist; Lorrie Vogel, the general manager for Nike’s Considered team who is responsible for introducing sustainable products and business models; Leslie Speer, assistant professor in the industrial design program at San Jose State University and director at the London-based design firm Bolton Associates; Martha Skinner, assistant professor at Clemson University School of Architecture; and Sicangu Lakota director/producer Carol Burns. Many talented Santa Feans are members of panel discussions. Dawn WintersRizika is the designer and manufacturer of the Kid’s Console, a car console/organizer specifically designed for children strapped in child safety seats. She is also the owner of Baby Azul, Inc., which is the small Santa Fe company that is bringing this product to market. A native of Santa Fe, Eric Griego has more than 12 years’ worth of experience in graphic design and advertising. He worked for Cisneros Design prior to

starting his own company. Local artists participating on panels include Santero Arthur Lopez and tattoo artist Dawn Purnell. A fashion show highlighting cutting edge contemporary/regional indigenous designs kicks off Design Week on Thursday night, October 11. Work from the collection of Argentinean fashion designer Carola Besasso of Dam Boutique in Buenos Aires lights up the runway. Immediately following the fashion show is a trunk show with jewelry and accessories created by Besasso and other designers. Although the fashion show costs $45, the Design Matters Conference and other weekend happenings, including the Business Expo, Design Exhibition and Community Design Dialog Events, are free. There’s even a fringe festival where community members can host their own workshops, performances or exhibitions and post them on Design Week’s website. A series of interior design events with a panel discussion, luncheon and tour cost $60. Some local businesses, such as Victoria Price Art & Design at 550 South Guadalupe Street, are hosting side-by-side events. Price’s gallery is showcasing furniture by designer Peter Danko, whose work is exhibited in a number of prestigious museums such as the Museum of Modern Art in New York and the Smithsonian Institution. “Peter’s furniture is made with wood that has been harvested and produced in environmentally-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.

Both pages: Keep Adding, Silo, spray paint on concrete, a work in progress, sizes vary; This page, inset: Andrew Campo, Gravel-StarsEuphoria, photograph; Opposite page, inset: Dawn Purnell, tattoo artist, from the "Passion is Possible" panel.

This page, inset: Arthur Lopez, San Francisco 32

FOCUS SANTA FE

October/December 2007

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October/December 2007

33

34

FOCUS SANTA FE

October/December 2007

2006-2008

Jesse Caverly

designer

2006-2008

Georgia o’keeffe museum, city bus side-panal ad, 2007 Sacramento News & Review, Illustrated newspaper cover, 2003

G=C¸@35=<
Jesse Caverly

designer

Sessions, CONCRETE MAGAZINE, BLOC STAR ENTERTAINMENT, ´FUL spa and salon, logo design, 2005–2008 & ALWAYZ BEAUTE

@cR]ZT]/\OgO¸a 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 the Capitol and its neighborhood.

magazine

See Essay, page 10.

3
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 caverly

[email protected] 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.

2006-2008

Jesse Caverly

designer

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 right outside the door to her home.

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

Find the Ghost Ranch paintings. What do you know about Ghost Ranch from these pictures? How is it similar and how is it different from Yosemite? Georgia O’Keeffe, Black Mesa Landscape, NM/Out Back at Marie’s II, , oil on canvas,   ×   inches.

And of course if O’Keeffe comes the party will be extraordinary—never was there such a collection of all personalities in the Sierra all at once! Please don’t think that I mean that the party would only be extraordinary if O’Keeffe were along—but there is something about the lady that is dynamic, to say the least. . . . You can assure O’Keeffe that we will take her to the most beautiful parts of the mountains, that we will do everything we can do to make things “fluent” for her. During the stay overs the photographers will go beserk—why not O’Keeffe? Impress on O’Keeffe she will see things she has never seen before, and see them under conditions that are rare. This is really important. There is no human element in the High Sierra—nothing like New Mexico. But there is an extraordinary and sculptural beauty that is unexcelled anywhere in the world. . . . The camping trip started on September 11th. Georgia O’Keeffe, Ansel Adams, art collector David McAlpin III, along with Godfrey and Helen Rockefeller spent ten days in the high country together. They were accompanied by fourteen 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.

Georgia O’Keeffe, Black Hills with Cedar, , oil on canvas, × inches.

Ansel Adams, Fog near Cascade Pass, Northern Cascades, Washington, , gelatin silver print,  ⁄ ×  ⁄ inches.

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

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

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 possible zones or tonal values, ranging from the darkest possible black to the brightest possible white that can be reproduced in a print. The zones are numbered, beginning with zero and then in Roman numerals I through X. The higher the number, the lighter the tone (in the print) and the greater the density (in the negative).

Ansel Adams, Detail, Juniper Wood, Sierra Nevada, , gelatin silver print,   ⁄ ×  ⁄ inches.

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

ELEMENTS IN THE EXHIBITION: Trees

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

Can you find the following areas in the picture?

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

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

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

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

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

I

III

IV

V

VI

VII

VIII

IX

X

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

Georgia O’Keeffe and Ansel Adams: Natural Affinities | May 23 – September 7, 2008 | 9

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

II

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

Looking at these tree pictures, what do you see? How are they alike and how are they different? Some tree trunks make interesting shapes, some have interesting textures. Find examples of tree shapes and textures you like. Tell a story about one or two of these trees. Adams wrote a letter to his friend Cedric Wright and said that he, Cedric, was a Redwood tree, but sometimes he sounded like a cactus when he complained!

Color was very important to Georgia O’Keeffe. She visualized the exact colors or tones she wanted to use in her paintings. She would mix the colors and record them on a small piece of paper much like the paint samples you can get in a store. On the back she would write the recipe for creating the colors, for example, two parts green, one part white, one part yellow. Using these recipes, she mixed her colors before she started to paint, in order to make the exact matches of the colors. The next time you are painting, try making a color swatch by mixing the colors. Write down what you did, then see if you can make the same color by following your own color recipe.

Exposure—The act of letting the light fall on the light-sensitive film. Develop—Using a chemical solution to change the invisible image produced during exposure into a visible one.

By the 1970s both Georgia O’Keeffe and Ansel Adams were important figures in American art. Although it was never their goal, their work had also become a voice for larger social movements. Through their commitment to their art they changed people’s values. O’Keeffe became an example to millions of women who were embracing the feminist movement. She never doubted that she could make great art regardless of her gender. She didn’t allow herself to be limited by the ideas and beliefs of other people. Georgia O’Keeffe, The Black Iris, , oil on canvas,  ×  inches.

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

Tones—The lightness or darkness of a particular area in a photo. A highlight is a light tone and a shadow is a dark tone. Density—The relative amount of silver present in various areas of film or paper after development, which causes the darkness of a photographic print.

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

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

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

Georgia O’Keeffe and Ansel Adams: Natural Affinities | May 23 – September 7, 2008 | 13 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?

14 | 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 | 15

Jesse Caverly

2006-2008

designer

Focus Magazine, layout & design, 2008

> Continued from

individual piece has a spiritual message that is the result of things I have experienced in my daily life,” Namingha explains. A good example of this is a ceramic piece entitled Healing Hand. It is a vessel created with the shard design and includes the impression of a hand. The inspiration for the piece was the internal struggle he was experiencing after injuring his thumb on his left hand, which was most likely fractured. Though the physical pain was very real, Namingha’s primary concern was whether the injury would hinder his ability as an artist. During those months of recovery, he made peace with his difficult circumstances through spiritual meditation. With the receipt of blessings and the offering of prayer, he honored what he describes as his Creator and he conceptualized that through the impression of the hand. In Namingha’s own words, the outline of his hand on the ceramic represents “both the healing 20

FOCUS SANTA FE

August /September 2008

hand of a higher power, as well as a hand that is healing.” His current works reflect his exposure to more modern influences and abstract art. Through continuing education he has been exposed to a variety of different philosophies as it relates to art. Recent classes at the Institute of American Indian Arts have piqued his interest in “activist art” some of which utilizes text as part of the illustration. Namingha has incorporated the application in some of his latest pieces, including Numbers, a pot with intricate designs encapsulating a series of numerics connected together by intersecting lines. Also within the realm of his abstract works, Cuts offers the viewer a snapshot into Namingha’s creative perspective. Through the application of metallic paints the pottery bears a surface design revealing layers of depth through large jagged slits or cuts. Once

again Namingha utilizes traditional designs in harmony with more contemporary and bold patterns. Namingha’s work is represented by the Blue Rain Gallery in Santa Fe, and will be featured along with other contemporary Native American artists during the week of August 20 – 23, as a precursor to Indian Market. Gallery Executive Director Peter Stoessel describes Namingha’s contributions as complex and cutting edge. “Les Namingha masterfully combines innovation with refinement in his meticulously painted ceramic pieces. By using Hopi, Zuni, and Anasazi motifs in conjunction with his unique designs and forms, he creates spectacular pottery with each piece having its own identity,” stated Stoessel. During a reception on August 22, Namingha’s pieces will be offered for purchase through a lottery process because of the high demand for his work.

Namingha wants collectors and viewers of his art to understand the unifying nature of it. “I hope they see my work as a bridge between my culture and their own, whatever that might be.” He goes on to explain he believes there is much commonality amongst us, not just as spiritual beings, but in that we can find pleasure and love in that which is aesthetically pleasing. Through his exquisite art he is not only bridging that gap, but carrying on the family legacy with distinction. Opposite page: Cuts, natural clay with acrylic paint,  "h ×  "w × "d; This page: Numbers, natural clay with acrylic paint, "h ×  "w Les Namingha’s work can be viewed at Blue Rain Gallery, located at 130 Lincoln Avenue in Santa Fe, (505)954-9902 or on the web at www.blueraingallery.com. FOCUS SANTA FE

August /September 2008

21

2006-2008

Jesse Caverly

designer

Focus Magazine, layout & design, 2008

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

calendar calendar august august /september /september

River Trading Post Santa Fe 610B Canyon Road Opening reception: 6 to 9 p.m., August 21 For more information: (505)982-2805

Niman Fine Art 125 Lincoln Avenue Opening reception: 5 to 7 p.m., August 22 For more information: (505)988-5091

Morning Star Gallery 513 Canyon Road Opening reception: 6 to 8 p.m, August 16 For more information: (505)982-8187

Manitou Galleries

Valdes Art Workshops,  Marquez Place

MUSIC, CONCERT &

Indian,  Camino Lejo,

Santa Fe Desert Chorale

--, www.valdesartworkshops.com

THEATRE PERFORMANCES

on Museum Hill

The Lensic,  West San Francisco St

www.wheelwright.org

--, www.desertchorale.org

Mon, Aug 25–29

AUGUST Tue, Aug 26, 7:30pm

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

Live Rhubarb Tour

Valdes Art Workshops,  Marquez Place

The Marriage of Figaro

Garrison Keillor and A Prairie Home Compan-

--, www.valdesartworkshops.com

by Wolfgang Amadeus Mozart

ion visit the Santa Fe Opera with Suzy Bogguss.

Fri, Aug 1, 2, 8pm

New Production! Last performed in SF in .

The Santa Fe Opera, Santa Fe Opera, Tesuque

The Symphony in Summer: A

Conductor Kenneth Montgomery. Debut perfor-

--, www.santafeopera.org

Beethoven Marathon

mances by Luca Pisaroni, Figaro and Elizabeth

Mon, Aug 4–8

Two evening performances recreat-

Watts, Susanna.

Sherrie McGraw: The Still-life Figure

ing parts of Beethoven’s ‘’marathon’’

The Santa Fe Opera, Santa Fe Opera, Tesuque

Oil painting workshop through Aug .

concert. Featuring pianist Adam Neiman

--, www.santafeopera.org

Fechin Art Workshops / Donner Ranch

and the Santa Fe Symphony Chorus.

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.

--, 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

--, www.sf-symphony.org

conductor Paolo Arrivabeni.

--, www.taosschoolofmusic.com

Watercolor/ Mixed Media.

TAOS & NORTHERN NEW MEXICO

Mon, Aug 11–17, 9–5pm

SANTA FE & SURROUNDING AREA

8th Annual Sax Stonecarving Workshops

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

--, www.santafeopera.org

29

46th Summer Chamber Music Festival

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

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.

/ Southwest Stoneworks. Rift Gallery,  High-

First performance by The Santa Fe Opera. Con-

Billy Budd by Benjamin Britten

Taos School of Music

way  in Rinconada. --

ductor Harry Bicket, Director David Alden

First performance by The Santa Fe Opera. Con-

SMU - Fort Burgwin,  NM Highway 

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

www.santafeopera.org

--

Mon, Aug 4–15 , 9:30–4:30pm

Mon, Aug 11–15

Long Pose Portrait Drawing

David Leffel: The Still-life & Figure

and Painting Workshop

Oil painting workshop.

Sat, Aug 2, 4pm & 7pm

Dan Thompson workshop.

Fechin Art Workshops / Donner Ranch

Broadway Theater Dance

Fri, Aug 8, 12, 8:30pm

Andreeva Portrait Academy,  W San Francisco

DH Lawrence Ranch Rd

Workshop Performance

Adriana Mater by Kaija Saariaho

St - STE 

--, www.fechin.com

Talented young performers present scenes from

American Premiere. American Debut of con-

EVENTS & OPENINGS

www.santafeopera.org SEPTEMBER SANTA FE & SURROUNDING AREA

award-winning Broadway musicals. National

ductor Ernest Martinez Izquierdo. Director

Fri, Sep 5, 5–7pm

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

-- August /September 2008

Sun, Aug 3, 7:30pm

tor Joseph Kincannon and Guest Artist Kazutaka

LECTURES & DEMOS

SANTA FE & SURROUNDING AREA FOCUS SANTA FE

46th Summer Chamber Music Festival

ART WORKSHOPS, CLASSES,

AUGUST

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

The Santa Fe Opera, Santa Fe Opera, Tesuque

Session  - East Meets West - with Guest Instruc-

Opposite page: Arapaho Tobacco Bag ca. 1860, "× ", Morning Star Gallery; This page, top to bottom: Paint Horses, Joe Oreland, Colorado alabaster, " × " ×  Medicine Man GalleryArlo Namingha, Sandhills, " ×  " ×   bronze, wood. Ed. 9, 2007, Niman Fine Art; Ed Noisecat, Sun Eagle,  "dia ×  "h on stand cast glass, Manitou Galleries.

TAOS & NORTHERN NEW MEXICO

Mon, Aug 4–Aug 8, 9:30–4:30pm

www.AndreevaPortraitAcademy.com

Andreeva Portrait Academy,  W San Francisco

Mon, Aug 18–22, 9:30–4:30pm

ery Series I. Call for time.

St – STE . --

Figure Painting

Harwood Museum of Art,  Ledoux Street

www.AndreevaPortraitAcademy.com

Juliette Aristides workshop.

--, www.harwoodmuseum.org

of the wonderfully simple moments that make Fri, Aug 8 , 7pm

up each of our lives. By acknowledging dignity

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

Oil painting workshop.

A must-see event for audiences of all

www.desertchorale.org

--, www.valdesartworkshops.com

This page: Shoshone Dress, c. 1860, Courtesy of H. Malcolm Grimmer, Santa Fe, NM – Whitehawk Antique Show 54

FOCUS SANTA FE

August /September 2008

Sat, Sep 6, 4–7pm

Fechin Art Workshops / Donner Ranch

ages. Held outside by the main entrance

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

John Poon

--, www.fechin.com

comfortable seating.

Ralph Vaughan Williams — A Retrospective

First Saturday of each month throughout

Wheelwright Museum of the American

With the Santa Fe Symphony Orchestra

Madrid on the Turquiose Trail. Plan to spend

Plein Air Oil.

FOCUS SANTA FE

August /September 2008

55

calendar august /september

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., August 22 and August 23 For more information: (505)954-9902

2006-2008

Jesse Caverly

designer

,.',-GI<J<EKJ

U Theatre’s Sound of the Ocean

,.',-GI<J<EKJ DA N C E

Electrifying

B ROA DWAY

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

November 8, 2008 8 PM

Bebe Neuwirth Stories with Piano

Everlasting Irving Berlin’s I Love a Piano

October 3, 2008 8 PM

November 30, 2008 7 PM

–The Los Angeles Times

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

October 26, 2008 1 PM and 4 PM “The best known zoologist in the world.” —Larry King

CH ILDREN

Uplifting

Jungle Jack Hanna

“Striking 12 uses convention for kindling and leaves us all basking in the glow of the hippest holiday show in recent memory. Striking 12 is too hot to miss.”

Soweto Gospel Choir

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

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

October 9, 2008 8 PM

Best of MOMIX November 1, 2008 8 PM “Like animated sculpture.” —Financial Times

“Resplendent in a rainbow of robes and patterned textiles . . . the South African songs were both spirited and spectacular.” —New York Times Order tickets online: www.sunsetcenter.org 831.620.2048 SUNSET CENTER San Carlos Street at Ninth Avenue Carmel-by-the-Sea

,.',-GI<J<EKJ

Bebe Neuwirth Stories with Piano October 3, 2008 8 PM

U Theatre’s Sound of the Ocean “A formidable combination of grace, ferocity, intelligence and beauty.” —San Francisco Chronicle Soweto Gospel Choir October 9, 2008 8 PM

“Resplendent in a rainbow of robes and patterned textiles . . . the South African songs were both spirited and spectacular.” —New York Times Order tickets online: www.sunsetcenter.org 831.620.2048 SUNSET CENTER San Carlos Street at Ninth Avenue Carmel-by-the-Sea

2 0 0 8 -2009 S eas on Great performances at a great value. Single tickets available or subscribe now. Series packages include: BROADWAY DANCE INTERNATIONAL LEGENDS OF MUSIC CHILDREN FAMILY Reserve now www.sunsetcenter.org 831. 620 . 2048

Come early, meet friends, enjoy pre-show refreshments and festivities. Ample free parking available.

–The San Jose Mercury News

November 8, 2008 8 PM “A great and complex beauty. . . .” —The New York Times

Voted Best Concert Venue on the Monterey Peninsula Order tickets online: www.sunsetcenter.org 831.620.2048 SUNSET CENTER San Carlos Street at Ninth Avenue Carmel-by-the-Sea

FAMI LY

“Its passage across 70 years of national identity forms an overview through which 64 Berlin songs supply narrative. It proves a masterstroke.”

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

LEG ENDS

–The New York Times

INTE R N ATI ON A L

“There is a great and complex beauty to the intricate meshes of precisely articulated rhythms.”

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

2006-2008

Jesse Caverly

designer

Focus Magazine, layout & design, 2008

Coming Into Consciousness: Santa Fe Building Green BY CLAUDIA JOSEPH

First Mother Nature tossed us a pebble, then a rock, then what has felt like a brick to the head — climate change is upon us and it can no longer be ignored. In the quest to embody an environmentally sustainable lifestyle many of us contemplate how we can change our own practices to become part of the solution rather than contributing to the problem. The more one learns about the fragility of our planet and the many astounding examples of peril that currently exist the more one begins to feel like most of our conventional systems are broken. With so many areas in need of transformation to facilitate global impact, deciding where to begin can feel daunting. But we all have the power to make personal choices about our homes and how we live

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 benefit of having a projected HERS rating early in the process is that it can identify simple changes in the building design or specifications that can reduce a home’s energy requirements and save the homeowner money over time.” The movement towards standardized energy efficiency in homes is spurred on by the American Institute of Architects and the U.S. Congress of Mayors who have adopted the challenge of achieving zero carbon emissions from new buildings by the year 2030. The City of Santa Fe joined the cause by resolving to enact policies and programs for sustainable building practices which meet or beat the Kyoto Treaty protocol. To that end, Santa Fe’s Green Building Code has been composed to “highlight ways in which a home builder can effectively weave environmental concerns holistically into a new home … and strives to give equal weight to the practices of mainstream home building methods as well as the historic, environmentally conscious building methods, and other innovative practices being used in Northern New Mexwell as creating workable, efficient systems for roof water collection, gray water and human waste, recycling, composting and solar power. Paula Baker-Laporte considers the Santa Fe Green Building Code a good start on the road to community, state and nationwide sustainable buildingearth practices. The code is ico,” such as adobe earth blocks, straw bale, rammed introduce and other materials designed unique totoSanta Fe. green building principals and techto conventional construction, but naturally Laporte The benefits of niques building a green home are numerous, wishes would go a bitcosts, further. reminds us “indigenous from lower operational anditmaintenance to She increased peoples throughout and North durability and comfort. Often people the are world, concerned with Americans until very recent have green, always built sustainable structures increased costs associated withhistory, building but conin responseintoEnergy their climates, primarily with the materials structing a LEED (Leadership and Environmental at hand.” appreciates the code Design) certified building canSo beshe done with an that average in- recognizes natural building and the materials and techniques employed crease of only two percent in up front costs and sometimes New Mexico for centuries. “The heart of green building even below standardinmarket construction costs. In addition requires appropriate to cost savings gleaned over building the life ofregionally a building, there arestructures, utiliz-

in them to change our community and our world for the better. Given that buildings are responsible for approximately forty percent of energy use in most countries, many cities across the United States are working towards meaningful laws that will help reduce greenhouse gas emissions or carbon footprint produced by new development — and Santa Fe is no exception. There is a Green Building Code slated for consideration by the City of Santa Fe which will require new residential buildings to meet stricter energy efficiency standards. The ordinance will utilize a Home Energy Rating System (HERS) to measure energy consumption with an initial goal of reduction by approximately thirty percent over existing home building and design systems. Since January of this year builders of new homes in the City of Santa Fe have had to conduct a HERS rating before a certificate of occupancy will be issued, but no mandatory rating level has yet been set. However, considerable rebates have been offered for homes achieving a rating of 85 or less as an energy efficiency incentive. The proposed Green Building Code will require a minimum HERS rating of 70 to pass

34

FOCUS SANTA FE

A national trend observed by architects in 2007 was an increase in the use of renewable materials, especially in floor and countertop applications, demonstrating an increase in environmental awareness in building nationwide. However, there are different levels of commitment when it comes to choosing sustainable home elements. While bamboo flooring is preferable to some conventional materials, one should also consider the use of fossil fuels needed to transport bamboo from far flung regions, like Asia. Some homes contain earthen floors, for example, making use of regionally resourced clay, sand and straw that is troweled and sealed with natural oils, giving the effect of walking on leather. Laporte also suggests that a stone slab may be viewed as more desirable than a renewable paper based material countertop if the slab is going to last 200 years and can later be used for another function. While a wide variety of options exist for environmentally conscious materials and methods, Laporte emphasizes that humans are the greatest resource we can rely upon when trying to achieve sustainability. “We can change our buildings, but how we choose to live in them is where real progress occurs. The bigger goal is to change our consciousness.”

some wonderful tax breaks that can be enjoyed on both the state and federal levels for building green. Currently LEED will be assigned equal incentives and rewards in the future. certified buildings earn more credit, but it is the hope that One Santa Fe business that has been creating envienergy saving methods that address local climate issues, such ronmentally conscious homes since 1994 is The EcoNest as harnessing solar or photo-voltaic power in New Mexico, Company, which builds what it calls “living sanctuaries of clay, straw and timber.” The Tesuque based company, founded Opposite page: EcoNest living and dining rooms; This by architect Paula Baker-Laporte and her husband, builder page: Japanese inspired EcoNest entry and niche. PhotoRobert Laporte, creates habitats that reflect sustainabilgraphs by Laurie Dickson. ity, health and beauty. EcoNest homes are hand crafted and designed to incorporate natural building techniques with natural, non-toxic finishes throughout. The clay/straw walls FOCUS SANTA FE August /September 2008 of each home are built during a four day workshop, giving homeowners an opportunity to create some sweat equity and affording them the pride that comes with hands-on participation in the construction of their home. Sustainability defines the concept behind EcoNest as it constructs structures built to last for centuries. The company considers EcoNest owners to be “building stewards passing on a handcrafted heirloom that will serve many generations to follow.” These homes are designed to work in harmony with their natural surroundings, mindful of existing site conditions as

August /September 2008

36

FOCUS SANTA FE

August /September 2008

35

Opposite page, top: Nevada City EcoNest, photograph by JT Heater; Bottom: EcoNest yoga/meditation room, photograph by Laurie Dickson. This page, top: EcoNest living room, photograph by Laurie Dickson; Bottom: EcoNest entry path and structure, photograph by Robert Laporte.

ing what is available locally — the Santa Fe Green Building Code addresses that without penalizing traditional methods.” a Laporte is grateful that Santa Fe, and New Mexico in particular, has an unbroken tradition of building with earth and existing resources since this allows New Mexicans to use traditional sustainable materials and methods to achieve “green” status. It is hoped that this will make the transition to widespread sustainable building in our state much smoother and perhaps provide a greater likelihood of success in meeting energy efficiency goals.

FOCUS SANTA FE

August /September 2008

37

2006-2008

Jesse Caverly

designer

Focus Magazine, layout & design, 2008

Stephen Day’s evocative landscape paintings exude mood and feeling BY EMILY VAN CLEVE

Sunsets are a defining part of the Southwestern landscape for oil painter Stephen Day. He savors the way light filters through early evening clouds and illuminates the area’s vast skyscapes with a broad range of subtle and dynamic colors. “I paint what I see, and even after all these years, it is still a challenge to capture what nature gives you,” he explains.

Landscapes are Day’s first love, although the well-trained painter has devoted hundreds of hours to drawing and painting the figure. He feels a special kinship to Western scenes and to the special mountain valleys that meander through New Mexico. Recently, Day and his wife Cheri moved from the suburbs of Denver to a rural area outside Taos. The couple purchased an old adobe home several years ago and immediately began a series of renovations. Although everything was not completely finished when they moved, they were thrilled to become residents of the Land of Enchantment. “I have been up and down all the back roads in New Mexico,” Day says. “I’ve painted scenes around Socorro and Magdalena and as far west as Grants, Gallup and Zuni. My favorite area is Tierra Amarilla. There are a lot of old adobes in that area that haven’t been fixed up. I like to paint traditional adobe buildings within the landscape.”

Each adobe structure has its own personality, which Day says is a result of how it was built. “Most adobes started with just one room,” he explains. “Over the course of the years, other rooms were added to accommodate growing families. No two adobes have exactly the same shape. They all have stories to tell.” At the top of his list of favorite adobes is the Catholic Church in Canoncito, which was erected in 1869 and is located a few miles southeast of Santa Fe in Apache Canyon. Day has painted the church in every season and from every possible angle. “I love that church so much that I often ask myself if there is another angle I can get,” he says. “There probably is.”

Even when the thermometer dips below freezing, Day packs up his panels and oil paints and travels to canyons, ridge tops and mountain valleys to find expansive vistas and intimate, contemplative settings. His passion for snowy scenes equals his love for sunsets. “Snow is as big a challenge to paint as sunsets, because snow reflects the sunlight around it,” he says. Day also enjoys painting arroyos that gently wind through the pinõn and sage-covered landscape. “Around each corner is an interesting view,” he adds. “In the winter, snow on the north facing banks of the arroyos inspires many paintings.” Occasionally, the small studies created out in the field find their way to gallery walls. Often, they become the basis of a larger work which better conveys the image that first caught his eye.

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

12

FOCUS SANTA FE

April / May 2008

“I use photos for reference, but I have to get the sense of the light through field studies,” he says. “Painting on location is very important even though pigment can’t exactly capture the colors and contrast found directly in nature.” Day’s extraordinary connection with the landscape was nurtured during his early childhood, which was spent in Santa Fe. He recalls playing outdoors on Canyon Road and feeling awed by the majestic mountains that surrounded him. When his father made the decision to go to school to become a Methodist minister, the family moved to Texas.

During his teen years Day was an avid sports fan and played on basketball, football and baseball teams. After graduating from high school, he attended Fort Lewis College in Durango and Southern Methodist University in Dallas. It was during the time that he and Cheri lived in Casper, Wyoming that art became the focal point of his professional life. Day took a number art classes at /Casper College FOCUS of SANTA FE April May 2008 13 before the couple moved to the Denver area to be close to a large city. He studied at the Art Students League, while Cheri worked at Lockheed Martin as a computer programmer. Through connections with the Denver art community, he heard about a painting group in Loveland formed by internationally-known artist Richard Schmid. Day became a member and stayed with the group for five years.

“It met once a week, every Thursday,” he recalls. “We drew and painted still life and models in the studio and went out to paint on location. It was an unbelievable experience. I couldn’t have asked for anything better.” Day’s paintings have been included in "Representing the West" Invitational Show at the Sangre de Cristo Arts Center in Pueblo, Colorado and in Artists of the West Invitational Show in Colorado Springs. The Colorado Rockies baseball team purchased three painting for their Coors Field Pinnacle Room.

Although Day loves to travel and paint the landscape in other parts of the country, he is always thrilled to return to the Southwest. Inspiration for new work is right outside his front door. His northern New Mexico home has stunning views of the Sangre de Cristo Mountains. “I see incredible sunsets every evening,” he says. Stephen Day’s paintings are represented by Peterson-Cody Gallery, LLC,  West Palace Ave., Santa Fe, New Mexico, . Hours: : a.m. –  p.m. daily. Phone: () -; www.PetersonCodyGallery.com; E-mail: [email protected].

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

14

FOCUS SANTA FE

April / May 2008

FOCUS SANTA FE

April / May 2008

15

2006-2008

Jesse Caverly

designer Georgia o’keeffe museum, brochures, 2007

1 0 T H

Following events at the Pueblo de Abiquiu Library, (505)685-4884 TUESDAY O C T O B E R 2 3 The Golden Carp and Other Magical Stories by Rudolfo Anaya

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

Official 10th Anniversary Printing Sponsor: O’Neil Printing. Georgia O’Keeffe For more information on “2007 The Year of O’Keeffe,” contact the Museum at 505.946.1039 or visit www.okeeffemuseum.org.

THURSDAY O C T O B E R 2 5 3:30PM Illustrate A Story!

After School Program 3:30PM - Join Leland Chapin, a skilled artist and illustrator to learn how to draw stories taken from literature. We will use Rudolfo Anaya’s Bless Me, Ultima as an example. Book Discussion 6:30PM The public is invited to join in a lively discussion of Bless Me, Ultima The Georgia O’Keeffe Museum thanks the William Randolph Hearst Foundation, JP Morgan Chase, NM Arts, a Division of the Office of Cultural Affairs, the City of Santa Fe Arts Commission, the New Mexico Humanities Council, El Museo Cultural de Santa Fe, and the Pueblo de Abiquiu Library. Pueblo de Abiquiu Library October Book of the Month: Bless Me, Ultima by Rudolfo Anaya Copies of the book are available in English and Spanish at the Library. You are going to LOVE this book! For program information contact the Pueblo de Abiquiu Library at 505.685.4884, or email: [email protected]

Corporation,

217 Johnson Street • Santa Fe, New Mexico 87501 505.946.1000 • • www.okeeffemuseum.org

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

Georgia O’Keeffe and the Women of the Stieglitz Circle was co-organized by the Georgia O’Keeffe Museum in Santa Fe, New Mexico, and the High Museum of Art in Atlanta, Georgia. This exhibition is made possible in part through a generous grant from the National Endowment for the Arts through its American Masterpieces program and by The Burnett Foundation. Additional support for related programming was received from Aperture West, the Just Woke Up Fund of the Santa Fe Community Foundation, the Kaiserman/ Robinson Family, the Kappa Delta Foundation, the Kerr Foundation, The William H. and Mattie Wattis Harris Foundation, the City of Santa Fe 1% Lodger’s Tax, New Mexico Department of Tourism, New Mexico Arts (a Division of the Department of Cultural Affairs), the William Randolph Hearst Foundation, the JP Morgan Chase Foundation, and the members of the Georgia O’Keeffe Museum. The Big Read is an initiative of the National Endowment for the Arts in partnership with the Institute of Museum and Library Services and Arts Midwest with additional support from the New Mexico Humanities Council and El Museo Cultural de Santa Fe. C O V E R : Anne Brigman, The Breeze, 1918 (negative, ca. 1910), gelatin silver print, 24.8. × 19.7 cm. The Art Institute of Chicago, Julien Levy Collection; Gift of Jean Levy and the Estate of Julien Levy (1988.157.11); reproduction © The Art Institute of Chicago.

For Ultima Even the Plants Had Spirits 6:30PM

of Arts, Gift of funds from the Regis canvas, 48 × 30 inches (121.9 × 76.2 cm) The Minneapolis Institute C O V E R : Georgia O'Keeffe, City Night, 1926, Oil on Rights Society (ARS), New York and by public subscription, 80.28. © 2006 Georgia O’Keeffe Museum/Artists

SEPTEMBER 2OO7

F R I D AY

S AT U R D AY

J U LY 7

S AT U R D AY

11 AM

AUGUST 25

Women of Distinction Lecture: The Honorable RUTH BADER GINSBURG

10 AM–5 PM

The Plaza and the Georgia O’Keeffe Museum will be buzzing all as day with free food, hands-on art-making, music, and merriment, New Mexico celebrates the Museum’s 10th Anniversary in grand style. And, on this day only, admission to the Museum is free.

Associate Justice of the United States Supreme Court, Ruth Bader with Ginsburg will participate in a question and answer session of Roberta Cooper Ramo, the first woman to be elected president the American Bar Association. Our Women of Distinction Lecture Series honors accomplished women in all fields of endeavor as O’Keeffe. of Year part of 2007: The $10. The Lensic, Santa Fe’s Performing Arts Center $15. Members. Tickets: 505.988.1234 or www.ticketssantafe.org

S AT U R D AY

6–11 PM

AUGUST 25

10th Anniversary Celebration: A Festive Dinner Dance Honoring Anne and John Marion

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

Join us for a light-hearted evening celebrating the Georgia O’Keeffe Museum’s first decade and honoring its founders, Anne and John Marion. The event begins with a live auction offering unique travel opportunities, works of art, elegant jewelry and other one-of-a-kind items. Dinner, dancing and entertainment by The Pink Flamingos follow the auction, continuing the festivities into the evening.

The Santa Fe Plaza and the Georgia O’Keeffe Museum

AUGUST 23

6 PM

Enjoy an elegant summer evening on the grounds of O’Keeffe’s private home and studio in Abiquiu, New Mexico. Space is limited. Call 505.946.1033 for information and reservations.

An O’K Day Community Celebration

T H U R S D AY

AUGUST 24

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

In recognition of the Georgia O’Keeffe Museum’s contributions to the artistic and economic life of its community, the State of New Mexico and the City of Santa Fe Council passed resolutions declaring 2007 “The Year of O’Keeffe.” Throughout 2007, the Museum will honor women of distinction and celebrate the Museum’s achievements in its first decade.

Dance on the Plaza to Latin jazz performed by Manzanares, funk by Sister Mary and the Bad Habits, or the Trillium Marimba Ensemble. Watch Maria Benitez’s Next Generation, or performers from the National Dance Institute and Mexican Folk Dancing presented by Aspen Santa Fe Ballet School. In the Museum’s Courtyard you can hear traditional flute music from Native Sounds and French accordion by Dadou. Fun for all ages.

7 PM

O’Keeffe: Speaking with Friends and Lovers A Reading of O’Keeffe’s Letters JOAN ALLEN

Mr. And Mrs. John Driscoll, the Beim Foundation, the Larsen Fund,

dedication of the 10th This year-long series of events owes much to the hard work and Chair; Michael Anniversary Committee: First Lady Barbara Richardson, Honorary Gala Chair; Mayor Burns, Lionsgate Co-Founder, Honorary Chair; Nedra Matteucci, Ellen Bradbury, David Coss and Carol Rose, An O’K Day Chairs; and Susan Berk, Sandy Durrie, Jane Julee Brooke, Jill Cooper Udall, Anita De Domenico, Sande Deitch, Richard Gaddes, Egan, Kelly Egolf, Patrice Emrie, Sara Jo Fischer, Brenda French, A. G. Loud, Karen King, S. Sarah Hoeflich, Leslie Bruce Galpert, Jill Gray-Momaday, Mason, Marsha Mason, Marilyn Marilyn Macbeth, Tom Maguire, Sharon Maloof, Robarts, Carol Michael Odza, John O’Laughlin, Lucy Peterson, Janey Potts, Sarah Susan Wells, Robertson-Lopez, Jodi Stumbo, Margarita Waxman, Patti Webster, Rebecca Wurzburger, and the OK Day Commitee members.

JUNE THROUGH

Renowned actress Joan Allen (The Crucible, The Contender, Pleasantville, Nixon, The Ice Storm, The Bourne Supremacy) will take the stage of The Lensic to perform excerpts from Georgia O’Keeffe’s prolific correspondence, including letters exchanged with Alfred Stieglitz, as well as friends and acquaintances. Allen, a Tony Award winner and three-time Academy Award nominee, is famous for her ability to inhabit her roles completely. She will use her talents to illuminate O’Keeffe’s personality, keen sense of humor, and passion for her work. Allen will be joined by other professional actors to be announced.

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

for information and reservations.

S U N D AY

AUGUST 26

8 PM

10th Anniversary Finale: Diana Krall, Grammy Award-winning Jazz Vocalist Diana Krall and her quartet perform standards and new works under the stars at the Santa Fe Opera. This concert is a benefit culminating the Georgia O’Keeffe Museum’s 10th Anniversary. Concert-goers have the opportunity to purchase limited prime seats including preferred parking and a pre-concert reception at the Governor’s mansion.

$15–50 ($5 The Lensic, Santa Fe’s Performing Arts Center Tickets: discount for Museum members). Available at the Lensic box office, or by calling 505.988.1234

MAY 25 – SEPTEMBER 29, 2OO7

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

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

in part by a generous grant from The Norton Museum of Art, West Palm Beach Florida, and was made possible Georgia O'Keeffe: Circling Around Abstraction was organized by the by Tony Vaccaro, and the education for this exhibition and for Georgia O’Keeffe, Illuminated: Photographs Burnett Foundation and by Mrs. Shelby Cullom Davis. Additional funding from The Burnett Foundation. Additional Anniversary events are made possible in part through a generous grant and public programs of the Georgia O’Keeffe Museum and its 10th Thaw Charitable Trust; Henry Luce Endowment for the Arts; Los Alamos National Laboratory Foundation; National Foundation; Annenberg The from received been has support Plaza Hotel; The Kerr Foundation; Interiors & Design; Sotheby’s; Hotel Santa Fe; the Hilton Santa Fe Historic Foundation; Charles Evans Hughes Foundation; Santa Fe Place; Western Mexico Department of Tourism; Kappa Delta Mexico Arts (a division of the Department of Cultural Affairs); New the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax; New of the Georgia O’Keeffe Museum donor; the Georgia O’Keeffe Museum’s National Council; and members Foundation; City of Santa Fe Occupancy Advisory Board; an anonymous

SUNDAY O C T O B E R 2 1 4PM WITH CIPRIANO VIGIL Cutting Hall, Northern New Mexico College – El Rito

GEORGIA O'KEEFFE, ILLUMINATED : Photographs by Tony Vaccaro

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

www.okeeffemuseum.org 217 Johnson Street • Santa Fe, New Mexico 87501 • 505.946.1000 •

SUNDAY O C T O B E R 1 4 3PM WITH TRIO JALAPENO DE ANTONIA APODACA

th (2), A special thanks to the following 10 Anniversary sponsors: Anonymous City of Santa Fe Mercedes and Sid Bass, Bessemer Trust, Century Bank, Christie’s, Tax Advisory Arts Commission and the 1% Lodgers’ Tax, City of Santa Fe Occupancy Hotel and Eldorado Inc., Insurance, Daniels Fe, Santa of Bottling Coca-Cola Board, Fe, Hinkle, Spa, Patricia Friedman, Lynn Friess, Grimmer Roche, Hilton of Santa Fe, Charles Evans Hensley, Shanor & Martin, Susan and Larry Hirsch, Hotel Santa R.V. Kuhns Bank, Hughes Memorial Foundation, Inn of the Anasazi, JP Morgan Private Fe Resort and Spa, and Associates, Inc., La Fonda on the Plaza, La Posada of Santa New Mexico Los Alamos National Bank, Anne and John Marion, Mish New York, Barbara Palmer, Department of Tourism, O’Neil Printing, Owings-Dewey Fine Art, Southwest Louisa Sarofim, Paul Schorr III, Donna and Marvin Schwartz, Sotheby’s,

Events & Programs

P R O G R A M S

A N N I V E R S A R Y

10TH ANNIVERS ARY CELEBRATI ONS

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

Call 1.800.280.4654 or 505.986.5900.

JO I N U S

L E C T U R E S

A N D

LECTURES

Events & Programs SEPTEMBER THROUGH DECEMBER 2OO7

T H U R S D AY N O V E M B E R 2 9 7 P M

The Modernist Spirit: Women Photographers and the Stieglitz Circle

M U S I C

MUSIC EVENTS T H U R S D AY N O V E M B E R 1 5 7 P M

Time Shards Music Series: Aki Takahashi Performs Works by Morton Feldman

SUSAN EHRENS

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

Anne Brigman created pictorial equivalents of her innermost feelings as she celebrated wilderness, sexual freedom, and the human body. Ehrens looks at Brigman’s work and her contributions to the development of photography, her relation to women working in the field, and especially, her relationship to Alfred Stieglitz. Drawing from unpublished writings and visual materials, Ehrens also discusses Imogen Cunningham, who sought advice and support from Stieglitz. Cunningham’s photographs were influenced by Gertrude Käsebier and Brigman, whose work she encountered in Stieglitz’s seminal publication, Camera Work. Ehrens, an independent curator and arts writer, is a respected authority on pictorialist and modernist photography as well as women photographers of the West. She has curated photography exhibitions for the American Federation of the Arts, the Art Institute of Chicago, Friends of Photography, et al., and is author of A Poetic Vision: The Photographs of Anne Brigman (1995). St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Avenue, Santa Fe. Lecture co-sponsored by Aperture West. $5. Members, free. Reservations suggested: 505.946.1039

W E D N E S D AY D E C E M B E R 5 7 P M

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

SEPTEMBER 21– JANUARY 13, 2OO8

ALL PROGRAMS ARE FREE COMMUNITY KICK-OFF EVENTS

9 2 7 . O I L O N C A N VA S . 3 6 × 3 0 . G I F T GEORGIA O'KEEFFE, ABSTRACTION WHITE ROSE,1 I A O ' K E E F F E F O U N D AT I O N . © 2 0 0 6 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 IETY (ARS), NEW YORK GEORGIA O’KEEFFE MUSEUM/ARTISTS RIGHTS SOC

Non Profit Org U.S. Postage PAI D Lubbock, TX GEORGIA O'KEEFFE : Permit No. 49Circling Around Abstraction

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

GEORGIA O'KEEFFE and the Women of the Stieglitz Circle

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

Illustration by John Sherffius

EVENTS & PROGRAMS

A Celebration of Rudolfo Anaya’s Bless Me, Ultima

JOIN US FOR T HE BIG R E A D!

EVENTS & PROGRAMS

Non Profit Org U.S. Postage PAI D Lubbock, TX Permit No. 49

Georgia o’keeffe museum, newspaper ad, 2007

JO I N U S

Georgia O’Keeffe Museum Education Annex, 123 Grant Avenue.

$5. Members, free. Reservations suggested: 505.946.1039

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

505.946.1039

F R I D AY D E C E M B E R 7 5 – 8 P M

Holiday Concert Performed by Santa Fe New Music Join us for the Museum’s annual concert in the galleries offered as a gift to the community. The performance features 20th-century compositions, including Peter Garland’s Matachin Dances. Santa Fe New Music promotes the music of our time and delivers to audiences the experience of music as a living art form. One of America’s foremost proponents of New Music, John Kennedy, founder and director of SFNM, has forged a diverse musical career through work as a composer, conductor, performer, and educator. Georgia O’Keeffe Museum, 217 Johnson Street. Thirty-minute performances begin at 5:00, 5:45, 6:30, and 7:15 pm. Free.

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

Music with O’Keeffe

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 N O V E M B E R : WAY N E W E S L E Y, G U I TA R Alfresco Performance Series and wine bar in the Museum Courtyard. Sponsored by El Corazon de Santa Fe. Free.