Spanish Market 2011 - Interactive

2 0 1 1 t h e s a n ta f e n e w me x i c a n www. s a n ta f e n e wme x i c a n .
c o m
SpaniSh
market
Ralph Sena
2011 Masters Award
for Lifetime Achievement
Spanish Colonial Arts Society
60th anniversary
On the Plaza, Santa Fe
505.983.9241 or 800.648.7358
Emilia Castillo
Serve Ware and Jewelry
Musica Tradicional Cubana con Roberto Veliz
Spanish Market Hours
Friday, July 29th 9:30 AM to 6 PM
Saturday, July 30th 8:00 AM to 6 PM
Sunday, July 31st 9:30 AM to 6 PM
10 AM to 4 PM
July 29th, 30th, 31st
Meet the Artist
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Castillo_IFC_SpanishMarket.indd 1 6/30/11 2:19 PM
2011 SPANI SH MARKET 3
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4 2011 SPANI SH MARKET
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Santa Fe u Espaola u Albuquerque u Las Cruces
INSIDE
6 Welcome to Traditional Spanish Market
9 For 60 years, Spanish Market preserves culture.
11 Park and Ride to Spanish Market
13 Innovation within Traditions shakes things up.
16 Ralph Sena: Artist, mentor, innovator
20 Meet the adult and youth market artists.
22 Where to find everything: booths, food and more
22 Complete Spanish Market schedule
30 Juan Lopez brings jewelry to the forefront.
32 All that glitters isnt gold its micaceous pottery.
34 The people choose their favorites.
36 Contemporary Hispanic Market celebrates 25 years.
37 Poster artist paints with passion.
38 Meet the contemporary artists.
38 Book tells the story of contemporary market.
Cover photo of Ralph Sena, the 2011 Masters
Award for Lifetime Achiement honoree. Taken in
his Bosque studio by Luis Snchez Saturno
Cover design
Deborah Vila
Editor and pulisher
Robin Martin
Associate pulisher
Ginny Sohn
Managing editor
Rob Dean
EDITORIAL
Magazine editor Inez Russel
986-3093, irussel@sfnewmexican.com
Magazine art director Deborah Vila
986-3027, dvila@sfnewmexican.com
Director of photography Clyde Mueler
ADVERTISING
Advertising director
Tamara Hand, 986-3007
Advertising layout
Christine Huffman
DESIGNERS
Elseth Hibert, Scott Fowler, Dale Deforest,
Bil Jacobi, Enrique Fiueredo
RETAIL ADVERTISING SALES
Michael Brendel, 995-3825
Gary Brouse, 995-3861
Cristina Iverson, 995-3830
Alex J. Martinez, 995-3841
Jan Montoya, 995-3838
Art Trujilo, 995-3820
Rick Wiegers, 995-3840
ONLINE SALES MANAGER
Jim Keyes, 995-3819
Belinda Hoschar, 995-3844
RAIL RUNNER XPRESS ADVERTISING
SALES/COMMERCIAL PRINT SALES
Rob Newlin, 505-670-1315
SYSTEMS TECHNOLOGY DIRECTOR
Michael Campbel
PRODUCTION
Operations director Al Waldron
Assistant production director Tim Cramer
Prepress manager Dan Gomez
Press manager Lary Quintana
Packaging manager Brian Schultz
COMMERCIAL PRINT SALES
printsales@sfnewmexican.com
WEB
Digital development and projects manager
Henry M. Lopez
www.santafenewmexican.com
ADDRESS
Office: 202 E. Marcy St.
Hours: 8 a.m.-5 p.m. Monday-Friday
Advertising information: 505-986-3082
Delivery: 505-984-0363, 800-873-3372
For copies, please cal Regie Perez, 428-7645, or
email rperez@sfnewmexican.com
SPANISH
MARKET
60THANNIVERSARY
PUBLISHED JULY 24, 2011
A painted bulto by Gilbert J. Montoya
LUIS SNCHEZ SATURNO
AT THE MUSEUM
The Spanish Colonial Arts Society is responsile
for more than Traditional Spanish Market it also
runs the Museum of Spanish Colonial Art.
Right now at the museum:
Recent Acquisitions exhibition featuring
a generous gift of Mexican colonial art from
Ralph Tingle. Selections from this major gift are
accompanied by equaly exquisite items from
Elizabeth Alred, Michael Cavendish, Richard Felger,
Edward L. Gonzales, John Kania & Joseph Ferin,
Jan and Kathy Nelson, and Marc & Marleen Olivi.
In mid-May, the Treasures Galery was given a new
look and combined with the World of Art, bringing
out some of the archetypal pieces from the colonial
Americas that show the connection between New
Mexico, Spain, and other Spanish colonies.
The Spanish Market Galery opened on June
10, celebrating the extraordinary artists of Spanish
Market, artists who have dedicated their time
and their talent to preserving the traditional arts
of New Mexico. This inauural exhibit includes
artwork by artists who won first place in the major
categories at Spanish Market in 2010 as wel as the
popular Peoples Choice Award and the Masters
Award for Lifetime Achievement. The exhibit wil
be up through the end of November. Alongside and
complementing the Spanish Market Galery is a
smal exhibit of the work of artists who participated
in the early years of market, such as Celso Galegos,
Emilio and Senaida Romero, and Eliseo and Paula
Rodruez. These are the artists who held on to the
traditions and kept the art forms alive.
Next up: 5:30-7 p.m. Sept. 9 for members only and
10 a.m.-5 p.m. Sept. 10, the next exhibit and Fiesa
celebration. Replacing The Forgotten Cay Wells in the
New Mexico Collects series wil be Piate Treasures:
Colonial Art of the Ameicas from Piate Collections.
This exhibition wil showcase some rarely seen
important pieces that are right here in Santa Fe.
DETAILS
MUSEUM OF SPANISH COLONIAL ART
Museum Hill, 750 Camino Lejo
982-2226, www.spanishcolonial.org
The museum is open from 10 a.m.-5 p.m. Tuesdays-
Sundays from Memorial Day to Labor Day; closed
Mondays. Admission is $8 for adults; $4 for New
Mexico residents; those under 16 and New Mexicans
on Sunday admitted free.
Spanish Colonial
Arts Society
STAFF
Donna Pedace
Executive Director
Ben Brown
Admissions/Gift Shop
Theresa Gallegos
Tommy Garcia
Facility Maintenance/Facility
Robin Farwell Gavin
Museum of Spanish Colonial Art Curator
Maggie Magalnick
Director, Spanish Market
Janella Marsh
Membership & PR
Linda Muzio
Education/Docents
Linda Off
Development Director
Jann Phillips
Bookkeeping
Jean Ross
Ellen Sullivan
Development
Bill Field
Special Projects Consultant
Welcome to the 60th anniversary of the Traditional
Spanish Market, the oldest and largest juried Spanish
Market in the United States.
The more than 250 artists represented in this market are the stewards of
traditionals that stretch back over 400 years. They are vitaly important
in keeping alive the Hispanic heritage and culture of New Mexico. The
art you see at each artist s
booth is made by hand and
is the culmination of their
history, faith, talent, and
skil. Each piece is a one-
of-a-kind that should be
treasured by the colector
who purchases it. We hope
that you wil greet and tak
to the artists you see today,
ask them about their work,
and how they came to
participate in the market.
This year, in adition to
the traditional art usualy
found at market, some
of the artists have juried
into a new art category,
Innovations within
Tradition. The artists
who juried into this category are stil using the traditional methods and
materials but they are interpreting the iconography in a new way. This
work wil be exhibited in several of the booths, and we hope that al our
visitors wil be excited about this new category.
One of the most unique things about our market is that the artists
themselves have developed the artistic uidelines for each art category.
The uidelines are administered by a standards committee made up of
artists, galery owners, museum curators, private colectors, and other
knowledgeale experts in the Spanish Colonial field.
For 86 years The Spanish Colonial Arts Society has fulfiled our mission
of preserving, promoting, and educating the pulic about Spanish colonial
art. Another major program of the society is the Museum of Spanish
Colonial Art, which offers several exhibits that focus on both historical and
modern day Hispanic art. Please visit the museum while you are in town. It
is located at 750 Camino Lejo, on Museum Hil.
Our art outreach programs reaches thousands of children and adults
each year, helping to further the interest in, and knowledge of, the
traditional art forms. Our Youth Market has more than 50 young people
participating this summer, and their work is always a secial treat for
market visitors so be sure to visit their area on the Plaza.
We would like to give a secial thanks to the Archdiocese of Santa Fe for
the secial Mass at 8 a.m. Sunday, where the artists are encouraged to bring
an art piece for a secial lessing from Archbishop Michael J. Sheehan.
We hope that you enjoy your time at the Spanish Market and we invite
you to return for our Winter Spanish Market on Dec. 3-4 at the Santa Fe
Community Convention Center.
Donna Pedace, Executive Director
Tradition, culture and this year, a new twist
LUIS SNCHEZ SATURNO
Julia Gomez, 2010 Best of Show winner
David Griego and staff invite
you to commemorate the
artists of Spanish Market at
their plaza location. Enjoy
light refreshments for the
weekend of July 30 - July 31.
Established 1972
On the Plaza
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BY KAY LOCKRIDGE
Reaching the age of 60 often means showing down, taking a deep breath and perhaps reordering priorities.
For the 60th annual Spanish Market this weekend, this year marks a new beginning, with innovative new
categories, events and acivities.
The excitement this year is palpale, said Donna Pedace, executive director of the Spanish Colonial Arts Society, which sponsors the
annual market. The Museum of Spanish Colonial Art on Museum Hil also is a component of the society. Our Spanish Market is the
oldest and largest juried show of Spanish Colonial art in the United States. Its getting biger and better al the time.
While the mission of the society is to colect, preserve and exhibit the Spanish Colonial art of New Mexico, as wel as to educate the
general pulic about its related cultures, the actual market has another component. The Spanish Markets mission is to promote both the
art and living artists of Northern New Mexico and southern Colorado, said the new market director, Magie Magalnick.
Magalnick sent 12 years at St. Johns Colege in Santa Fe coordinating the coleges annual Spanish Market, which involved a show much
like the societys market on a much smaler basis, Magalnick notes and an auction of Spanish Colonial art in the coleges colection.
I got to know many of the artists who participate in the Santa Fe market and both feel at home in the society and anxious to accept a
biger chalenge, Magalnick said. After growing up on the East Coast, she attended Ohio State University and worked in both Columbus
60 YEARS STRONG
DETAILS
The 60th Annual Traditional Spanish
Market kicks off the weekend with its
members-only Preview Party at the
Santa Fe Community Convention
Center, 201 W. Marcy St., from 7-9
p.m. Friday (July 29). Memberships
in the Spanish Colonial Art Society
can be purchased at the door that
evening. For membership information,
call 982-2226, Ext. 103. At 6 p.m., a
Sponsor Preview event takes place
for members at $300 and above. Buy
those ahead of time.
Spanish Market takes place on the
Santa Fe Plaza from 8 a.m.-5 p.m.
Saturday (July 30) and 9:30 a.m.-
4 p.m. Sunday (July 31). Free
At 8 a.m. Sunday, a special Mass
will be celebrated at the Cathedral
Basilica of St. Francis, followed by a
procession from the basilica to the
Plaza. The public is invited.
LUIS SNCHEZ SATURNO
Spanish Market artist Ramn Jos Lpez, discusses the detail work on his piece.
Traditional market shakes it up for anniversary
and Cincinnati, Ohio, before coming to Santa Fe.
I came on board last fal and worked on the winter
market, but this is my first big market, Magalnick said
enthusiasticaly. Between the wonderful volunteers and
artists and under Donnas leadership, its a realy positive
experience.
Although the Spanish Colonial Arts Society was founded
86 years ago, in 1925, and the first Spanish Market was
held in 1926, it was not until 1951 that the market became
an annual showcase of traditional art by Hispano artists
of Northern New Mexico and southern Colorado. Those
boundaries, in fact, are maintained today for admission to
the market.
Through the years, new categories of artwork were aded
to the Spanish Colonial patrimony of bultos and retalos.
These included such crafts as colcha embroidery, weaving,
pottery, straw apliqu, tinwork and decorative furniture
making.
This year, a category, Innovations Within Tradition,
wil offer a present-day look at the saints, Pedace said.
This category alows the artist to push the envelope of the
artistic traditions and iconography inherent to the culture
heritage of New Mexico.
This new category seaks to what is hapening today
while taking pride in the rich traditions that have been
passed down for more than 400 years, Pedace aded, noting
that the winter market has encouraged a similar category,
Contemporary Expressions, for the past five years.
Wel-known santero Charlie Carilo, who both tightened
requirements for santeros by his insistence on hand-ground
pigments some years ago but also advocates contemporary
iconography, has said he expects Innovations Within
Tradition to open the floodgates of art admitted into the
market.
Another award-winning artist, Arlene Cisneros
Sena, disagrees. She points out that the basic criteria
are maintained as to locale (Northern New Mexico
and southern Colorado), Spanish cultural heritage and
traditional techniques and materials. Plus, anyone aplying
for the new category must have been in the market for at
least two years.
Many artists, including myself, have been and are
doing innovative work within the uidelines and screening
criteria, Sena said. My retalo style has progressed over
the years; if you looked at my work 20 years ago compared
to today, you would see that Im a perfect example of this
progression. So, Im personaly not interesed in the new
category.
The market is changing in other ways, with 17 new
artists admitted this year, plus four who are re-entering
the market after at least several years absence. These latter
artists are santeros Eric Raymond Luis Gonzales and David
Nabor Lucero, santera Felicia Rodriuez and furniture and
furnishings maker Chris Sandoval.
Pedace and Magalnick also have instituted new events
and acivities surounding the market, including a
luncheon, lecture and food-related events at Spanish Tale.
During market, visitors wil have plenty of choices of
food from 14 food booths within a Food Court on West
Palace Avenue in front of the New Mexico Museum of
Art, as wel as two beverage booths and two food carts on
the Plaza. Tales wil be provided for dining within the
Food Court area.
Entertainment wil be provided throughout the market,
both on the Plaza bandstand and in the streets surounding
the market.
With 189 artists (aproximately 20 more than last
year) and 179 booths on and around the Plaza and, for the
first time, extending east on San Francisco street past La
Fonda Hotel toward the Cathedral Basilica of St. Francis of
Assisi, visitors to the 60th annual Spanish Market wil find
that they need and want to attend both days, Pedace and
Magalnick said. There wil be dancing in the streets, as is
traditional at markets.
This year, colectors, art enthusiasts and market
attendees wil have the oportunity to purchase and
take home Traitional Spanish Market of Santa Fe:
History and Artists of 2010, a soft-cover pulication
that is intended to celebrate the 75th anniversary of
the society and its 60th market.
The ful-color book wil include brief histories
of the Spanish Colonial Arts Society, Spanish
Market and the Museum of Spanish Colonial Art
on Museum Hil. (The market and museum are
components of the society.) In adition, it wil
feature more than 200 historical, artwork and artists
photographs, as wel as short biographies of al the
artists who participated in last summers market, plus
a list of the 2010 award recipients.
This wil be a matter of record; in fact, its the first
such pulished record, and we anticipate its just the
beginning, said Donna Pedace, executive director of
the Spanish Colonial Arts Society. Traitional Spanish
Market of Santa Fe is pulished by Sunstone Press
and wil be availale during the market and in the
museum gift shop. Jim Smith, president of Sunstone
Press, said he was thriled when Pedace contaced
him about doing such a book, noting that she
particularly wanted a local pulisher to produce it.
As a matter of record, it wil be invaluale to
colectors, artists and al who care about the art,
culture and history of Northern NewMexico, Smith
said. Plus, this book could educate an entirely new
pulic to al that the society, museumand market have
to offer.
History to go at this years market
LUIS SNCHEZ SATURNO
Marie Sena
LUIS SNCHEZ SATURNO
Jean Anaya Moya
LUIS SNCHEZ SATURNO
Christine Montao Carey
Artists honor
outstanding volunteer
BY KAY LOCKRIDGE
Nancy Dimit is the kind of volunteer every nonprofit
organization needs, say the artists, board members
and staff of the Spanish Colonial Arts Society, which
sponsors the annual Traditional Spanish Market,
now celebrating its 60th anniversary.
In recognition of her many efforts on behalf of the society and
market, Dimit was presented the third annual Del Corazon award
by the artists of the 2010 market. The 2011 recipient, who is
unaware of his or
her selection, wil
be announced at
the members-Only
Preview Party
Friday (July 29)
night at the Santa
Fe Community
Convention
Center.
Santero
Arthur Lopez,
now co-chair
of the Societys
Artists Liaison
Committee,
sugesed the
award and its name
from the heart
four years ago.
Lopez designed
the award, a
bronze heart with
a redish patina,
attached to a new base created for each years award.
Each piece is unique (because of the base), and the heart is truly
a flaming heart, said santera Arlene Cisneros Sena, board member
for the Spanish Colonial Arts Society. This award is our chance to
give back to the many volunteers who make the market work every
year. Nancy is a true artists advocate, and the award gave us the
oportunity to pulicly thank her for al her efforts on behalf of the
market over the years.
Dimit has been involved with the society, the Museum of Spanish
Colonial Art and the market since the early 1990s.
I first became aware of the society through Spanish Market,
Dimit said. Ive been a history buff since chilhood and first
discovered Santa Fe when I visited the Palace of the Governors
with my grandmother in the 40s. We sent most summers in the
Pecos Valey, and I fel in love with New Mexico, its history and
culture, then.
The society and its museum and market have been my passion
for a long time, and I have been pleased to serve on the board
of directors and as chair of various committees over the years,
including the Building Oversight Committee that helped create the
new museum in a home designed by John Gaw Meem, Dimit said.
She curently is a member of the board, chair of the Standards and
Colections committees and judging coordinator. She has been a
docent at both the museum and at the Palace of the Governors.
Changes ahead for
Winter Spanish Market
Cant get enough of Traditional Spanish Market? Join artists,
volunteers and staff of the sponsoring Spanish Colonial Arts
Society and look forward to the 23rd annual Winter Spanish
Market (Dec. 3-4).
Look for several changes surounding the market this
winter, including moving the societys annual gala from the
night before the market to a yet-to-be-determined date in
March 2012. Aditionaly, a Christmas Home Tour of four or
five exquisite homes decorated for the holidays and featuring
various art colections
is scheduled for
Saturday (Dec. 3),
with shuttles from
and to the Santa
Fe Community
Convention Center,
site of the market.
While the shuttle
wil increase the cost
for the Home Tour,
we believe providing transportation is important because
of potential weather and parking prolems, said Society
Executive Director Donna Pedace.
Then, on Sunday (Dec. 4), the market wil close early by
3 p.m. at the latest and visitors wil be invited to traditional
Christmas teas at the St. Francis Hotel just off the Plaza. There
wil be two seatings. Aditional venues may be used, depending
on the demand.
During the market itself, participating artists wil be
encouraged to compete in an ornament contest a first for
the winter market. Pedace said the winning ornament would
be reproduced and availale for sale. We hope, and expect, this
ornament wil be the first of an annual series during winter
market, she said.
Remaining at winter market is the traditional Mass at the
Cathedral Basilica of St. Francis of Assisi on Sunday morning,
as wel as the finest traditional and modern expression art
created and sold by award-winning artists.
For more information about Winter Spanish Market, watch
the societys Web site: www.spanishcolonial.org.
KAY LOCKRIDGE
SAVE THE DATE
Winter Spanish Market takes
place Dec. 3-4 at the Santa
Fe Community Convention
Center.
NATALIE GUILLEN
Naomi Hernandez Robinson and Michael Robinson buy a frame
from artist Nicolas Madrid at Winter Spanish Market.
Nancy Dimit
Park and Ride
to Spanish
Market
City Bus and Shuttle Services wil
be provided from various locations
in Santa Fe to Sheridan Place, a
lock off the Plaza, on Saturday
(July 30) and Sunday (July 31).
Buses wil run every 20 minutes at
a cost of $2 per person for a round-
trip day pass (a $1 charge per
day for seniors and handicaped
riders).
Buses wil depart from the
folowing locations:
Santa Fe Place off of Rodeo Road
or Cerilos Road, bus stop at the
South Mal behind JC Penny and
the Food Court
South Capital off of Cordova
Road, bus stop behind the DOT
Building across from the Rail
Runner station on Penn Ave.
For Rail Runner passengers,
Santa Fe Pick-Up complimentary
shuttles wil operate from the
Railyard to Sheridan Place and the
Perea Parking Lot /Lamy Building
off of Paeso de Peralta and Old
Santa Fe Trail, every 20 minutes on
Saturday Only!
Special Event Parking for $10 per
day wil also be availale at the
folowing City Parking facilities.
Sandoval Lot with entrances on
West San Francisco Street across
from the Lensic Theater
Convention Center Parking with
its entrance off of Federal Place
across from the main Post Office
Water Street Lot entered off
of Water Street just East of Don
Gaspar
The Corazn is Rising
The next BIGSHOW
after Spanish Winter Market.
NewMexico SpanishColonial
Artists Auctionand Market
at St. Johns College
February 10-11, 2012
Friday Reception&
Silent Auction
Saturday Market
For details, call or email
Deborah Spiegelman at dspiegelman@sjcsf.edu, 984-6199.
BY ARIN MCKENNA
Expect the unexpected at Traditional Spanish
Market this year, such as straw apliqud egs
nestled among Diana Moya Lujans apliqu
crosses. Or a Charlie Carilo retalo of San
Pasqual in a vintage pickup truck with
a sign on the door reading, San Pasquals
Catering. This burst of creativity is a response
to a new Innovation Within Tradition
category.
I think we have al felt that the market needs to have a little
bit of freshness to it, said Magie Magalnick, director of
Spanish Market.
A precursor of the new category, caled Contemporary
Expressions, was introduced at Winter Spanish Market in
2005. Any market artist could show more innovative work
within the category they juried into. What we did for
Contemporary Expressions was pretty open, and maybe too
open, Magalnick said. After the 2011 Winter Market, only
artists juried into the Innovations category wil be ale to
show more contemporary work.
Pioneers in the new category look forward to changes
ahead but dont want to see Spanish Markets stringent
standards undermined.
Market has to continue to be traditional for the
tradition to survive, but it also has to be ale to open up
its doors to grow with innovation, said Carilo, Lifetime
Achievement award-winner and curent chair of the
Artist Liaison Committee. Its a doule-sided coin. The
most important side of that coin is you cant know what
innovation is unless you know what tradition is. Tradition is
the foundation for everything you do.
Christine Montao Carey also is ading whimsy to her
retalos. In one, San Pasqual, patron saint of cooks, cals
God on a cel phone to ask what he should do with a holy
tortila with an image of Christ on it.
Montao Carey has also juried into the new category
with three-dimensional tinwork. Her The Las Supe
won the Boeckman Award for New Directions at Winter
Market last year.
Like many of these artists, Arthur Lopez values both
sides of the coin.
Theres just a beauty and a feeling you get fromone of
these traditional pieces. When Imcarving a traditional
piece, its a lot more spiritual and meditative than when Im
carving a contemporary piece. The contemporary is far more
expressive, Lopez said. I just enjoy the balance between the
two. I would probaly never do one over the other.
One of the advantages Lopez sees to contemporary work
is its ability to reach a wider audience, including children. A
piece he did several years ago, caled Holy Rollers, portrayed
Jesus and the 12 disciples as hipies in a VW bus. This
was the first piece that my son kept looking at and wanting
to know the stories. So it turned out to be quite a teaching
tool, Lopez said.
Lopezs bultos include St. Ambrose, the patron saint of
beekeepers, riding a bee and El Nio Santiago (The Child
Santiago), which portrays a young St. James riding a rocking
horse and dreaming of his role to come.
Diana Moya Lujan brings a new twist to two traditions:
straw apliqu and cascarones, or egshels. The cascarones
have been done in New Mexico probaly since colonial
Building
on
tradition
Innovation category
offers chance to explore
JANE PHILLIPS
Arthur Lopez works on a St. Ambrose, the patron of bees and beekeepers, for Innovation Within Traditions.
2011 INNOVATION ARTISTS
Kevin Burgess de Chavez, tinwork
Christine Montao Carey, tinwork and retablos
Charles M. Carrillo, retablos
Marie Romero Cash, painted bultos
Matthew Duran, furniture and furnishings
Martha Varoz Ewing, straw appliqu
Ruben M. Gallegos, retablos
Gustavo Victor Goler, painted bultos
Arthur Lpez, painted bultos
Fred Ray Lpez, tinwork
Diana Moya Lujan, straw appliqu
Larry E. Madrid, ironwork
Arturo Montao, bone carving
Joe Morales, woodcarving
Craig Martin Moya, straw appliqu
Catherine Robles-Shaw, retablos
Charlie Sanchez Jr., straw appliqu
Carlos Santistevan Sr., woodcarving,
unpainted bultos
Ralph A. Sena, precious metals
Irvin Trujillo, weaving
Lisa Trujillo, weaving
Della Vigil, straw appliqu
times. So its a tradition within a tradition, Moya Lujan
said. An eg she donated for the Winter Market auction
brought $600. Moya Lujan uses goose egs for narative
designs, such as one with the Santuario de Chimayo and
Santo Nio de Atocha. She also transforms chicken egs
into miniature nichos with minute retalos inside.
Artists need to continue to grow, Moya Lujan said. I am
having so much fun doing this. I have so many ideas, I hope
I get them al done.
Retalo artist Catherine Roles-Shaw juried in with
a technique caled enconchado, in which she adorns her
saints clothing with mother-of-pearl.
For Roles-Shaw, enconchado connects her to her
ancesors. This technique was praciced in the Estado de
Mexico where my ancesors were recruited by Oate in
1598, Roles-Shaw said. I have tried to get my enconchado
technique in Spanish Market since 2009 but was denied
due to their past uidelines, as it was a historic tradition
in Mexico and the Old World. It is so great that they are
alowing these traditional techniques in the Spanish Market
now.
I remain a devout Spanish colonial artist, she said,
but there stil remains a huge field of work previously not
alowed by the Spanish Colonial Arts Society that wil build
on our traditions.
One restriction disalows muertes skeletons
with the exception of Doa Sebastiana, New Mexicos
personification of Death. Although muertes are rapily
becoming an integral part of New Mexican culture, they are
a Mexican tradition.
Ruben Galegos may be the artist most affected by this
restriction. His retalos of skeletons engaging in everyday
Northern New Mexico acivities have been a favorite at
Winter Market and have raised large sums at the auction.
To me, using the skeletons is a way of honoring my
ancesors, honoring my culture. It comes from the heart
and from that rich Northern New Mexico culture that is so
much a part of me. It is a way to tel a story that is fun and
enjoyale, Galegos said.
The uidelines for Innovations Within Traditions are
strictly reulated. Artists can only show traditional work
for their first two years at market. They must also jury into
the Innovations category, and the innovative work can be
no more than 30 percent of their inventory.
One thing thats very important to understand is that
the uidelines are the artists, and whatever restrictions are
placed, they place on themselves, Magalnick said.
The new category is stil evolving. A lot of the
parameters have not been set. The artists in particular did
not want to make it too rigid, Magalnick said. She stressed
that Traditional Spanish Market was not competing with
Contemporary Hispanic Market.
This new category wil alow for pushing the envelope.
However, it keeps us within our niche, because we are
traditional, and the materials are traditional. It just pushes
the envelope a bit, Magalnick said. The iconography can
be a little more playful, certain materials can be a bit more
expansive. But it stil wil have the flavor of the traditional.
Twenty-two artists juried in this year. Magalnick expects
that number to doule next year. I think what traditional
market is doing is keeping the culture alive, its elevating
it. Its quality work, its handmade work, its the heritage,
Magalnick said. You dont have to break that down in
order to go forward. You must have the basics to build
wherever youre going. So I just find it refreshing to know
where the beginnings are and then see where they have
evolved. And Im glad were part of both.
The new Innovation Within Tradition Award
reflects a long tradition of artistic evolution. Artists
have always explored new techniques and materials,
borowed from other cultures and incorporated
contemporary images.
Innovation has always been a part of the
traditional arts, and in fact, I see change as part
of tradition, said curator Robin Farwel Gavin.
Change is how you keep traditions alive. If
traditions cant adapt through the centuries then
they are lost.
Spanish colonists living in an isolated outpost
with few resources had to be innovative. Straw
apliqu (often caled poor mans gold) is evidence
of that. Many believe that straw was substituted for
gold embelishments in Colonial times. But according
to Farwel Gavin, the straw apliqu was more likely
an imitation of marquetry, designs created with
inlaid hard woods and shels.
Converging Streas: Art of the Hispanic and
Natie Ameican Southwest, a previous exhibit at
The Museum of Spanish Colonial Art ilustrated
how Spanish settlers and American Indian people
exchanged cultural traditions. Spanish colonial
artists learned to make hand-coiled pottery, paint
on hides and use local mineral pigments. The also
incorporated Pueloan images into their art work.
Artists were also quick to explore new materials,
as evidenced by an explosion of creativity when the
United States army introduced tin cans in the 1840s.
Local metalsmiths quickly adapted tin for decorative
use, recreating designs found in colonial silver,
another scarce commodity.
Artists must often adapt to market forces. The
now-famous Cordova style of chip-carving, created
by Jos Dolores Lpez, is an example of this. Anglo
sponsors encouraged Lpez to try an unpainted
design to please East Coast colectors, who found
traditional painted bultos (three-dimensional images
of saints) too garish. Cordova also responded to
market demand by creating household items like
Lazy Susans, record cabinets and screen doors.
Religious images have changed far less, Farwel
Gavin noted, because iconography is so secific to
each saint. But religious iconography often reflects
cultural change. The devotion to the Santo Nino
de Atocha did not become popular until the 19th
century and then it took New Mexico by storm,
Farwel Gavin said. And now we have the Blessed
Kateri Tekakwitha and San Juan Diego. So things are
always changing.
That change may be accelerated by the new award,
but its trajectory was initiated 400 years ago.
ARIN MCKENNA
STILL EVOLVING
COURTESY
Catherine Robles-Shaw innovates by using mother of
pearl in the clothing, a technique called enconchado.
tradition
Southwest Spanish Craftsmen
proudly continues the 400 year legacy
of furniture building in Santa Fe.
Learn more at our website: southwestspanishcraftsmen.com
Est. 1927
217 Galisteo Street Santa Fe, New Mexico
800.443.3448 505.988.1229 southwestspanishcraftsmen.com
STORY BY CARMELLA PADILLA
PHOTOS BY LUIS SNCHEZ SATURNO
In a downtown Santa Fe coffeehouse in late May, 68-year-old
Ralph Sena reaches back through time and memory to recal
his life as a metalsmith.
Its always been there, he said. My attracion to metal, to creativity and
beautiful things, has been with me al my life.
Its a life for which Sena is being honored at this years Traditional Spanish
Market with the Spanish Colonial Arts Societys Masters Award for Lifetime
Achievement. The prestigious award is given each year to an artist who has
more than 15 years in the market, is an award-winner with work in private
and pulic colections, has promoted Spanish colonial art as both an artist and
teacher, and who has raised awareness of an art form regionaly and nationaly.
Sena has exceled in every benchmark of achievement. He has sent a
total of 21 years as a jeweler exhibiting in the market categories of precious
metals, and more recently, ironwork. He has shared his craftsmanship and
his enthusiasm for metalsmithing with esalished market artists as wel as
student artists who have eventualy forged their own path into the market.
His meticulous workmanship and elegant designs at once cal attention to the
history of traditional Spanish colonial silverwork, filigree and ironwork styles
and raise the bar on their creative potential. And he continualy pushes his
creativity into unknown teritory and greater heights.
The selection of Ralph is a fitting recognition of not only his artistic
excelence, but of his role of many years as a teacher and mentor, said
Museum of Spanish Colonial Art curator Robin Farwel Gavin. Ralph has
experimented with al forms of silverwork, from the difficult and delicate
process of filigree to the production of large holowware pieces and altar
ornaments. His more recent seue into lacksmithing as a decorative art
form further ilustrates his mastery of the medium of metal and his deep
understanding of the properties and techniques involved in manipulating the
material. By combining his knowledge of the history of colonial metalwork
with a personal aesthetic, Ralph creates pieces that reflect this artistic heritage
but are modern in design.
Clad in classic Wesern duds and a broad-brimmed cowboy hat, the soft-
spoken Sena looks more like a rancher than a man who shapes metal into
delicate wire filigree, gem-studed womens jewelry and gracefuly wrought
iron knives. But as he considers his creative journey, an emotional and deep-
seated passion emerges, sugesting that his artistry is more than just show craft
that he brings out at Spanish Market its soul craft.
It is an honor, and very humling, Sena said of the award. Ive never
considered myself to be important to the market. I just felt that I was doing
Ralph Sena pulls a railroad spike out of the fire at his home workshop. He is being honored as the 2011 recipient of the Masters Award for Lifetime Achievement. Its
an honor and very humbling, Ive never considered myself to be important to market.
SOUL CRAFT
Ralph Sena forged his path in metal
what I was suposed to be doing folowing my love for my art.
Achievement in art is one thing, but love for art is quite another. For Sena, the love
goes beyond Spanish Market and back to his boyhood fascination with the mysterious
alchemy of metal and flame. He has folowed this love throughout New Mexico, from the
smal vilage of Alameda, north of Abuquerque to Bosque, south of Belen, where he lives
today. Senas love of metalwork is melded into some of the most significant memories of his
lifetime, memories set in sterling grades of silver, gold and iron.

Sena looks out the coffeehouse window onto downtown Santa Fe and smiles. Having gone
to high school here, its hard not to feel like this is home, he said. A 1960 graduate of St.
Michaels High School, Sena lived in Santa Fe from seventh grade through graduation. At
16, he made his first piece of silver jewelry, hand-hammering a ring for his girlfriend from a
silver quarter with a spoon and a nail. I couldnt miss for a quarter, he said.
This first attempt at silversmithing was actualy the culmination of many years of Senas
insatiale, instinctive curiosity about the art form. His father, Ralph Sr., farmed a family
land grant in Alameda on the east bank of the Rio Grande, and every summer and fal,
father and son traveled to neighboring puelos and Navajo lands to sel surplus produce.
While his father did business from the back of his 1953 Chevy pickup, Sena wandered the
vilages in search of Native silversmiths, weavers, painters and potters at work on their age-
old crafts. The creativity, the skil, the finished product: it amazed and fascinated me, it
just puled me in, he recaled.
Each time he returned to his fathers truck, he knew he was in for a surprise in the form
of a new piece of jewelry that his father had acquired for his mother. Dad traded for pion
or sheep, and he always traded for a piece of jewelry for my mother, he said. Dad treasured
that jewelry. The jewelry was it.
From second to sixth grade, as a student at St. Marys Catholic School in Abuquerque,
Sena made after-school visits to Maisels on Central Avenue on historic Route 66. Then,
as today, the landmark wholesaler of Indian jewelry and crafts featured Native jewelers at
work. Sena observed them for an hour each day before waking to his grandmothers house.
He was such a store reular that the owners woried if he didnt show up.
With his familys move to Santa Fe, Sena entered seventh grade at St. Mikes, then located
downtown. He quickly soaked in the citys diverse artistic influences, discovering some of
its finest silversmiths. The Old Santa Fe Trading Post on San Francisco Street, with its huge
displays of Native jewelry and jewelry-making materials, was a favorite after-school stop for
Sena as he waked each day to meet his mother at her Bureau of Land Management office
in the Federal Building. Another favorite was Andy Riveras jewelry shop across from La
Fonda. Rivera, who took first place in silverwork at the 1965 Spanish Market, was perhaps
best known for his classic shadow-box designs, though he also worked in filigree.
But it was in a tiny shop on Don Gaspar Street that Sena disovered the mother lode
of silversmithing. The shop belonged to Adolfo Ortiz, who made silver and gold filigree
jewelry for Spitz Jewelry and Gift Shop, which had been a mainstay on the south side of the
Plaza since 1881. Ortizs steady hand and intricate designs kept Sena captivated outside his
window each day. He had a very primitive torch and a pipette that he would low through
to ad more oxygen and strengthen the flame, Sena recaled. Thats when I realy started
paying attention to the flame, sauter and flux of the process. It was mesmermizing, and
when it got cold, hed invite me in. He didnt teach me, he just let me watch.
Nearly 30 years would pass before Sena focused his own hand on filigree. But Senas
early exposure to the complex Spanish colonial art form, which first developed as a
thriving industry in New Mexico in the early 19th century, expanded his awareness
of silversmithing beyond Native designs and styles. Sena left Santa Fe after graduation
for Abuquerque, marying his high school sweetheart, Diana Roybal, and entering the
University of New Mexico. He commuted to a job at the Bureau of Indian Affairs in Santa
Fe while working on his degree.
In his spare time, Sena also worked on his own silver-and-turquoise jewelry in a style he
describes as clean and Nordic-like with a feel of Nambeware. Ironicaly, he said, My best
customers were Native American, many of whom commissioned him to make manta pins,
dancing bels, squash lossoms and other items for Indian ceremonials. In the early 1970s,
his silverwork was good enough to gain him entry to Spanish Market, where he showed
mostly rings, bracelets, crosses and other pendants in this early style.
Having just been revived in 1965 after a 30-year hiatus, Sena recaled the market was so
smal that the organizers didnt even stop traffic on the Plaza. Senas early market years
were successful, but with a growing family of three daughters and the demands of work,
school and building a home, something had to give. Although silverwork remained what
Sena caled a profitale recreation, he left the seriousness of Spanish Market for later.

Sena retired in 1987 after 26 years working for the federal Bureau of Indian Affairs, Bureau
of Outdoor Recreation and Bureau of Land Management. As destiny would have it, it
was at the BLM that he met Teresa Ortiz, the daughter of Adolfo Ortiz, whose work had
inspired Sena in junior high. Ortiz graciously shared her fathers jewelry with Sena, who
was stil mesmerized by his filigree work. He decided to try his hand again, refocusing his
attention on the magic of twisting and soldering metal wire into complex designs.
By 1994, Sena was divorced and had recently moved to Bosque. After seven years of
diligent work and study in museum colections, he screened back into Spanish Market that
year with a pair of silver filigree earings, a silver thimle and a set of silver spurs. Since
then, Sena has honed his metal artistry into a unique style that, while rooted in traditional
materials and techniques, meets contemporary tastes in elegance and beauty. His command
of filigree is now highly refined and original, while other silver and gold designs highlight
stones ranging from turquoise to pearls, coral, lapis and glass. Senas work is sophisticated,
wearale and always unique; redundancy is not part of his oeuvre.
Im a little more free-spirited, more contemporary in nature. I find strict repetitiveness
confining, he said. I like to keep chalenging myself, keep pushing and learning and
improving my skils.
Indeed, Sena has channeled those personal qualities into a professional mantra
that continualy moves him into new realms of creativity. His exploration of liturgical
holowware has resulted in the creation of monstrances that are now in use in churches
in New Mexico and Texas. A secial gem-studed liturgical chalice commissioned by the
Sena finishes work on a knife; at right, the finished product. He has been fascinated by metal since his boyhood, becoming both a jeweler and a metal worker as an artist.
bishop of Las Cruces also travels among the churches in that diocese.
This year at Spanish Market, Sena wil exhibit a portion of his jewelry in
the new Innovations in Tradition category, which organizers say is intended
to chalenge artists to use traditional materials and iconography in a modern
way. Look for new jewelry designs and combinations of materials from Sena
alongside his more traditional works in silver and gold. Ironwork wil also
be taking a more prominent place in Senas booth, a market category that he
screened into about a decade ago. He first learned lacksmithing 15 years
ago under the instruction of Phil Martinez of Los Padilas and later studied
with Frank Turley and Ren Zamora. A pair of iron spurs Sena made the first
year he showed in the category were purchased for the Spanish Colonial Arts
Society colection. He has since exhibited such items as iron utensils, comals,
crosses, trivets and fireplace tools.
Most recently, Sena has been concentrating on knife making, integrating
a sophisticated level of detail into his ironwork that can only come fromhis
jewelers sensibility. Delicately twisted dager hanles forged fromiron railroad
spikes are polished to a high sheen to apear like silver. One silver-like iron
hanle highlights an image of a sacred heart, while another hanle of compressed
micarta, a resin-infused paper, is as smooth and substantial as ivory. In one
elegant lade, Sena has worked layers of steel and metal into a beautifuly
understated raindrop pattern that looks as if it were stamped by hand.
Just as he was intuitively drawn to silverwork, Sena took to lacksmithing as
a natural. He recals how one day on the farm in Alameda, his father sudenly
became emotional while working on an antique ditcher. His father explained
that the piece was forged by Senas great-grandfather, Tomas Sena, whom he
said was the last ful-time lacksmith in the Sena family. It was news to Sena at
the time, but for the artist today, it is the last piece of the puzzle that explains
his lifelong attracion to metal.

Its the bigest thing thats hapened to me this year, Sena said. Im so proud.
Sena is no longer taking about the lifetime achievement award, but about
the fact that his eldest daughter, Donna Sena Keirns, wil exhibit jewelry at
Spanish Market for the first time this year. Keirns, of Loveland, Colo., has been
making jewelry for nearly a decade, mostly pracicing the craft on her own, and
occasionaly, coming to her father for tips and advice. As a father, Sena said his
inclination is to praise every piece his daughter creates. But as a professional
jeweler and experienced market artist, he has at times risked hurting her
feelings to emphasize that she show her best work.
Il tel her if the work is weak, because I want her to be proud of herself and
her product, he said. The best thing I can teach her is that she has got to be as
good as, or preferaly better, than any artist at Spanish Market.
Senas tough-love teaching strategy is also proven with a long list of students
he has taken under his wing who are now in Spanish Market. Among them
are jewelers Felipe Rivera, Veronica Montano Coale, Kaitlin Gonzales and
Matthew Duran, as wel as lacksmith Lary Madrid. When you share with
another artist, its good for the teacher as wel as the student, he said, echoing
one of his own mentors, Saul Bel, a jeweler and late patriarch of the family
that owns Abuquerques Rio Grande Jewelers Suply. Its also good for the
craft. Your designs are your own, but the craft should be shared.
According to museum curator Gavin, Senas commitment as a teacher and
mentor is just as important as his commitment to his craft. This is a critical
decision as a pracicing traditional artist, for tradition doesnt just hapen it
has to be passed on, Gavin said. It is through this interacion of mentor and
student that al asects of the traditional arts the intelectual, the spiritual,
the artistic, and the technical are caried forward, sustaining communities
and preserving that which would have been lost.
For his part, other than occasional courses offered by the New Mexico
Metalsmith Association, Sena is largely self-taught, a process he describes as
learning by observation and lots of mistakes. Over time, that process has
earned him numerous Spanish Market awards for precious metals, ironwork
and artistic colaboration, as wel as a place in private and pulic colections in
New Mexico and nationwide.
While the accolades are al meaningful, Sena said this latest honor is
particularly so because his close friend, the late Spanish Market tinsmith
Bonifacio Sandoval, also received the award. To me, he was exemplary. Hes
the one who personifies this award, Sena said. To be associated with people of
his level of importance in the market is huge.
Like Sandoval, Sena intends to push himself in his craft and his culture
beyond this award and through his lifetime. Our culture is not just ordering
off a menu, and its not just being good at my craft, he said. I cant just show
up twice a year to market. I am acive in my culture and wil continue working
and teaching. I have a ful plate and, because of that, a wonderful life.
RALPH SENA
Born
Albuquerque, 1942
Education
St. Marys Catholic School, Albuquerque
Graduated St. Michaels High School, 1960, Santa Fe
Graduated University of New Mexico, 1974, Bachelor of University Studies
Work Experience
Bureau of Land Management, Surveyor, 1960 to 1963
Bureau of Indian Affairs, Engineering Technician, 1963 to 1975
Bureau of Outdoor Recreation, Outdoor Recreation Planner, 1975 to 1977
Bureau of Land Management, Environmental Specialist and Land Use Planner,
1977 to 1987
Spanish Market
Precious Metals, Ironwork, Innovation Within Tradition
1971-1974
1994-to present
Spanish Market Notable Awards
2002 First Place: Revival Arts
2004 Peoples Choice Award with Arturo Montao
Poster Award with Arturo Montao
2006 Honorable Mention: Revival Arts
2007 Honorable Mention: Precious Metals
2008 Artist Collaboration Award with Julia Gomez
2009 First Place: Precious Metals
2011 Masters Award for Lifetime Achievement
Sena was honored last May at the San Francisco Street Bar and Grill for his
selection as the winner of the Masters Award for Lifetime Achievement
130 Lincoln Avenue, Suite C, Santa Fe, NM 87501
505.954.9902 | www.blueraingallery.com
3 artists, 3 shows,
1 evening
Momento: Deconstructed Still Lifes and
Other Momentos by Roseta Santiago
New Devotional Sculpture
by Santero, GustavoVictor Goler
Themes Show: New Works in Oil
by Brandon Maldonado
July 29August 13, 2011 in Santa Fe
Artist Reception: Friday, July 29th from 57 pm
Brandon Maldonado
Gustavo Victor Goler
Roseta Santiago
Lorrie Aguilar-Sjoberg,
Booth 130
straw appliqu
Maria Anaya-Rutkowsky
Booth 38
retablos
Adrian A. Aragon
Booth 72
retablos
Antonio J. Archuleta,
Booth 132
furniture and furnishings
Victor Archuleta
Booth 138
Jos Armijo
Booth 44
painted bultos, retablos,
relief carving
Anjelica Mariah Baca
Booth 91
straw appliqu
Lawrence Baca
Booth 116
precious metals
Ray Baca Jr.
Booth 91
straw appliqu
Javier Lorenzo Blea
Booth 35
tinwork
Lena (Maria) Blea
Booth 23
ramilletes, straw appliqu
Kevin Burgess de Chavez
Booth 58
tinwork, Innovations
Within Traditions, tinwork
Christine Montao Carey
Booth 175
tinwork, retablos,
Innovations Within
Tradition, tinwork, retablos
Vicky Carrejo
Booth 119
straw appliqu
Adn Carriaga
Booth 109
painted bultos, retablos
Charles M. Carrillo
Booth 171
relief carvings, Innovations
Within Tradition, retablos
Debbie B. Carrillo
Booth 170
pottery
Estrellita A. Carrillo-Garcia
Booth 170
retablos, ramillettes,
leatherwork
Marie Romero Cash
Booth 14
retablos, painted bultos,
Innovations Within
Tradition, painted bultos
Joseph Manuel Chavez
Booth 32
hide painting
Patricio Chavez
Booth 85
relief carving
Shawna L. Chavez
Booth 85
retablos
Veronica Montao Coale
Booth 111
colcha, precious metals,
retablos
David V. Crdova
Booth 60
weaving
Gloria Lpez Crdova
Booth 19
woodcarving, unpainted
bultos
James M. Crdova
Booth 173
gesso relief
Lawrence Crdova
Booth 47
Rafael Lpez Crdova
Booth 20
bultos
Rhonda L. Crespin
Booth 105
Carmelita Laura Valdes
Damron
Booth 78
retablos, tinwork
J.D. Damron y Valdes de
Martinez
Booth 100
tinwork
Matthew Duran
Booth 79
furniture and furnishings,
precious metals,
Innovations Within
Tradition, furniture and
furnishings
Teresa May Duran
Booth 39
retablos
Corina J. Espinosa
Booth 65
weaving
Belarmino Esquibel
Booth 21
retablos
Charlie Esquibel
Booth 43
Martha Varoz Ewing
Booth 114
straw appliqu, tinwork,
Innovations Within
Tradition, straw appliqu
Cristina Hernandez
Feldewert
Booth 95
tinwork, straw appliqu
Andrea Fresquez-Baros
Booth 161
retablos
Richard Gabriel Jr.
Booth 62
tinwork
John M. Gallegos
Booth 83
retablos
Ruben M. Gallegos
Booth 127
relief carvings, Innovations
Within Tradition, retablos
Andrew C. Garcia
Booth 104
Frank L. Garcia
Booth 149
hide painting
Lorrie I. Garcia
Booth 103
Marissa Garcia
Booth 31
retablos
Mark A. Garcia
Booth 71
Ron Garcia
Booth 51
relief carving
Susie G. Garcia
Booth 36
weaving
Gustavo Victor Goler
Booth 120
relief carving, Innovations
Within Tradition, painted
bultos
Julia R. Gomez
Booth 124
colcha embroidery
Eric Raymond Luis
Gonzales
Booth 92
painted bultos
Amanda Griego
Booth 64
retablos
Michael E. Griego
Booth 117
tinwork
Rob Antonio Guillen
Booth 156
relief carving
Isidro Eugenio Gene
Gurul
Booth 68
tinwork
Monica Sosaya Halford
Booth 4
colcha embroidery, altar
screens, retablos
Rita Padilla Haufmann
Booth 106
weaving
Elena Miera Herrera
Booth 141
retablos
Anita Rael Hisenberg
Booth 117
colcha embroidery
John Jimenez
Booth 8
retablos, precious metals
Donna Sena Keirns
Booth 33
precious metals
Cecilia Leitner
Booth 150
retablos
Ellen Chavez de Leitner
Booth 150
retablos
Genevieve Leitner
both 153
retablos
Rose Leitner
Booth 153
retablos
Patrick Leyba
Booth 30
Joseph Lobato
Booth 70
straw appliqu
Judy Varoz Long
Booth 118
straw appliqu
Arthur Lpez
Booth 10
painted bultos, relief
carving, Innovations
Within Traditions, painted
bultos
Bo Lpez
Booth 125
precious metals
Eurgencio Lpez
Booth 5
bultos
Felix A. Lpez
Booth 15
painted bultos, straw
appliqu
Fred Ray Lpez
Booth 142
tinwork, Innovations
Within Traditions, tinwork
Joseph A. Lpez
Booth 15
painted bultos, relief
carving
Juan Lpez
Booth 129
precious metals
Krissa Mara Lpez
Booth 16
retablos, straw appliqu
Peter E. Lpez
Booth 174
relief carving
Jos Lpez Ramn
Booth 125
bultos, furniture and
furnishings, precious
metals, hide painting,
copper engravings
Rosina Lpez de Short
Booth 2
relief carving, retablos
David Nabor Lucero
Booth 159
Frankie Nazario Lucero
Booth 77
retablos, bultos, relief
carving
Gregory D. Lucero
Booth 27, tinwork
Jon Lucero
Booth 63
unpainted bultos
Jos A. Lucero
Booth 137
Jos Floyd Lucero
Booth 144
bultos
Steven A. Lucero
Booth 169
ironwork
Tim Lucero
Booth 128
retablos
Verne L. Lucero,
Booth 26
tinwork
Diana Moya Lujan
Booth 45
straw appliqu, Innovations
Within Tradition, straw
appliqu
Ernie R. Lujan
Booth 162
relief carving
Jerome P. Lujan
Booth 155
Lenise Lujan-Martinez
Booth 12
straw appliqu
Marie Antoinette Luna
Booth 55
retablos
Larry E. Madrid
Booth 52
ironwork, Innovations
Within Tradition, ironwork
Nicols Madrid
Booth 160
tinwork
Jos U. Maes
Booth 131
bultos
Bernadette Marquez-
Lpez
Booth 10
straw appliqu, precious
metals
Byron Martinez
Booth 123
unpainted bultos
Dominic Martinez
Booth 88
painted bultos
Jacob Martinez
Booth 143
painted bultos
Juan D. Martinez Jr.
Booth 96
painted bultos, tinwork
Peter L. Martinez
Booth 102
weaving
Rita V. Martinez
Booth 96
painted bultos, tinwork
Timothy J. Martinez
Booth 37
weaving
Yvonne Martinez
Booth 88
straw appliqu
Yvonne B. Martinez
Booth 158
weaving
Justin Gallegos Mayrant
Booth 87
tinwork
Norma Medina
Booth 172
weaving
Edward Mier
Booth 99
Luis Mojica
Booth 163
precious metals
Jerry M. Mondragn
Booth 152
retablos
Margarito R. Mondragn
Booth 50
painted bultos retablos,
relief carving
Arturo Tudy Montao
Booth 167
bone carving Innovations
Within Tradition, bone
carving
Andrew Montoya
Booth 134
Gilbert J. Montoya
Booth 101
James Montoya
Booth 34
retablos
Corine Mora-Fernandez
Booth 122
retablos
Joe Morales
Booth 139
woodcarving. unpainted
bultos, Innovations Within
Tradition, woodcarving
Annette Morfin
Booth 140
pottery
Jason R. Mossman
Booth 113
2011 Spanish Market Artist Directory
Craig Martin Moya
Booth 151
appliqu
Jean Anaya Moya
Booth 151
retablos, hide painting,
straw appliqu
Arturo-Francisco Olivas
Booth 81
retablos
Adan Eduardo Ortega
Booth 135
pottery
Antonio P. Ortega
Booth 28
unpainted bultos,
woodcarving
Matthew Mateo Ortega
Booth 69
unpainted bultos
Peter Ortega
Booth 1
unpainted bultos,
woodcarving
Guadalupita Ortiz
Booth 6
retablos
Sabinita Lopez Ortiz
Booth 48
unpainted bultos,
woodcarving
Alcario Carrie Otero
Booth 107
relief carving
Carlos Jos Otero
Booth 89
relief carving
Nicolas R. Otero
Booth 121
retablos
Carlos Pacheco
Booth 67
retablos
Rodolfo Parga
Booth 29
painted bultos
Federico Prudencio
Booth 154
Richard Prudencio
Booth 74
Lawrence Quintana
Booth 136
Carlos A. Rael
Booth 147
retablos, painted bultos
Daniel L. Rael
Booth 53
relief carving, woodcarving,
unpainted bultos
Felipe Rivera
Booth 40
precious metals
Mel Rivera
Booth 7
straw appliqu
Catherine Robles-Shaw
Booth 94
retablos, bultos,
Innovations Within
Tradition, retablos
Bernadette M. Rodriguez
Booth 61
straw appliqu
Felicia Rodriguez
Booth 59
retablos
Jacob Rodriguez
Booth 168
painted bultos,
woodcarving, painted
relief, retablos
Tomasita Rodriguez
Booth 49
painted bultos, wood
carving, inlaid crosses,
nichos, unpainted bultos
Vicki Rodriguez
Booth 9
straw appliqu
Victoria Lucero Rodriguez
Booth 25
colcha embroidery
Adam Matthew Romero
Booth 148
retablos
Cleo Romero
Booth 82
tinwork
Fred Romero
Booth 126
Rachael Roybal-Montoya
Booth 73
precious metals
Cleo Salazar
Booth 56
weaving
Leonardo Gregorio Salazar
Booth 3
unpainted bultos
Ricardo P. Salazar
Booth 145
bultos
Rosalie Salazar
Booth 41
painted bultos
Tomas Salazar y Weiler
Booth 54
straw appliqu
Charlie Sanchez Jr.
Booth 110
appliqu
Vanessa M. Sanchez
Booth 97
straw appliqu
William Art Sanchez
Booth 146
painted bultos
Chris Sandoval
Booth 98
Carlos Santistevan Jr.
Booth 22
hide painting
Carlos Santistevan Sr.
Booth 23
painted bultos, hide
painting, altar screens,
woodcarving, Innovations
Within Tradition,
woodcarving and
unpainted bultos
Gregory P. Segura
Booth 133
precious metals
Arlene Cisneros Sena
Booth 166
retablos
Ralph A. Sena
Booth 75
precious metals, ironwork,
Innovations Within
Tradition, precious metals
Jacobo de la Serna
Booth 112
painted bultos, pottery
Roxanne Shaw-Galindo
Booth 90
retablos
Johanna Terrazas
Booth 24
weaving
Therese Tohtsoni-
Prudencio
Booth 74
pottery
Camilla Trujillo
Booth 13
pottery
Irvin Trujillo
Booth 11
weaving, Innovations
Within Tradition, weaving
Jimmy E. Trujillo
Booth 18
straw appliqu
Lisa Trujillo
Booth 11
weaving, Innovations
Within Tradition, weaving
Lucy Trujillo
Booth 80
weaving
Randy Trujillo
Booth 66
Annette Gutierrez Turk
Booth 93
weaving, colcha
embroidery
Lee J. Valdez
Booth 46
woodcarving
Timothy A. Valdez
Booth 165
straw appliqu
Jenny Valencia-Baeza
Booth 84
basketry
Della Vigil
Booth 57
appliqu
Esther L. Vigil
Booth 17
colcha embroidery
Eugene David Vigil
Booth 86, weaving
Gabriel J. Vigil
Booth 115
retablos
Jennette Vigil
Booth 157
weaving
Marie E. Vigil
Booth 76
weaving
Rose A. Vigil
Booth 86
weaving
Sean Wells y Delgado
Booth 164
retablos
Nina J. Arroyo Wood
Booth 108
colcha embroidery
Jason Younis y Delgado
Booth 164
tinwork
Frank Zamora
Booth 22, retablos
Ren Zamora
Booth 42
ironwork
Youth artists
Macaila P. Armijo
Y104, retablos, mentored
by Jos Armijo
Marissa Armijo
Y104, retablos, Jos
Armijo
Antonia Barela
Y120, relief panels, Richard
P. Salazar
Jessica Barela
Y120, relief panels Daniel
Rael
Jeremy Boudreau
Y102, retablos, Ellen
Chavez de Leitner
Jonah Boudreau
Y102, retablos, Ellen
Chavez de Leitner
Marissa Chave
Y106, woodcarving, Peter
Ortega
Nathaniel Chavez
Y109, straw appliqu, Della
Vigil
Amanda Cisneros
Y130, retablos, Arlene
Cisneros Sena
Micaiela Cordova
Y111, tinwork, Christine
Montao Carey
Janira Cordova
Y112, retablos, painted
bultos, Lawrence Cordova
Nicholas Cordova
Y112, retablos, painted
Lindsay Belinda Damron
Y101, retablos, tinwork,
J.D. Damron y Valdes de
Martinez and Carmelita
Valdez
Kyle FastWolf
Y113, retablos, Lorrie
Garcia
Jocelyn Fernandez
Y115, retablos, Corine
Fernandez
Joelyn Fernandez
Fernandez
Joey Miklo Fernandez
Fernandez
Jolianna M Fernandez
Fernandez
Jordan Miranda Fernandez
Fernandez
Matthew P. Flores
Y100, straw appliqu,
Marcial Rodriguez
Adriana Gonzales
Y116, retablos, Charlie
Carrillo
Liberty Gonzales
Y116, retablos, Charlie
Carrillo
Sydney Halford de Sosaya
Y105, retablos, Monica
Sosaya Halford
Nicholas Halford de
Sosaya
Y105, retablos, Monica
Sosaya Halford
Jerome Herrera
Y117, retablos, John
Gallegos
Bernardo Jaramillo III
Jimenez
Benjamin Lujan
Y127, retablos, gesso relief,
Jerome P. Lujan
Joseph Y. Lujan
Y127, retablos, gesso relief,
Jerome P. Lujan
Madison Simone Lujan y
Davis
Diana Moya Lujan
Nathan Martinez
Yvonne Martinez
Nicole Martinez
Yvonne Martinez
Justin Martinez
Y124, retablos, Lorrie
Garcia
Vanessa Martinez, Y106,
woodvcarving, Peter
Ortega
Ariana Montez
Y103, retablos, Juanito
Jimenez
Antonio Ortega Jr.
Y107, woodcarving,
Antonio P. Ortega Sr.
Joshua Otero
Y108, bultos/retablos,
Carlos Jos Otero
Wesley Elias Pacheco,
Y125, retablos and painted
Yolanda Prudencio
Y132, woodcarving and
pottery, Richard Prudencio
and Therese Tohtsoni
Sefriano Prudencio
Y132, woodcarving and
pottery, Richard Prudencio
and Therese Tohtsoni
Simona Rael
Y121, retablos, Felicia
Rodriguez
Isabel Rodriguez
Y128, retablos and bultos,
Jacob Rodriguez
Joaquin Rodriguez
Y128, retablos and bultos,
Jacob Rodriguez
Phoebe Salazar y Weiler
Y131, tinwork, Kevin
Burgess de Chavez
Sarah Salazar y Weiler
Y131, tinwork, Kevin
Burgess de Chavez
Patrick J. Snchez
Y129, retablos, Arlene
Cisneros Sena
Marcos Ray Serna, Y126,
painted bultos and retablos
Dominic Martinez and
James Montoya
Miguel Strunk
Jimmy Trujillo
Andrea Lee Torres
Diana Moya Lujan
Aubri M. Turano
Y134, weaving, Maria E.
Vigil
Adam Montao Ulm
Y100, retablos, Christine
Montao Carey
Christina Lourdes Valdez
Gallegos
Marcos Valenzuela
Fernandez
Isaiah Valenzuela
Fernandez
Enrique Bonifacio Vigil
Y118, retablos, Cecilia
Leitner
Nicolette Elisa Vigil
Y118, retablos, Cecilia
Leitner
Megan Vigil
Y135, weaving, Marie Vigil
Daron Vigil-Scott
Y126, straw appliqu, Della
Vigil
Dominic Zamora
Y108, retablos, Frank
Zamora
2011 Spanish Market Artist Directory
22 2011 SPANI SH MARKET 2011 SPANI SH MARKET 23
6 0 T H A N N I V E R S A R Y
Map is not to scale
First aid & police
storage
Youth
Market
Volunteers
Stage
Audience
seating
Buses Museum of Fine Arts
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Palace Ave. W. Palace Ave.
E. San Francisco St.
E. Palace Ave. FOOD COURT
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Los Maestros
Spanish
Colonial
Arts Society
Sales and
Information
Membership Booth
UNM Press
Spanish
Colonial
Arts Society
Sales and
Information
Restrooms
ATM
2011
Traditional Spanish Market
Cold
drinks
Cold
drinks
2011
Traditional Spanish Market
Youth
Market
Booths (55)
WEDNESDAY ( July 27)
Noon. Luncheon With the Artists, Inn and Spa
at Loretto, 211 Old Santa Fe Trail. Sold out.
THURSDAY ( July 28)
5:30 p.m. Lecture, Marina Ochoa, curator
and archivist for the Archdiocese of Santa Fe,
offers free Laymans Lecture About the Saints at
Santuario de Guadalupe, 100 S. Guadalupe St.
FRIDAY ( July 29)
Noon. The Spanish Table, 109 N. Guadalupe
St., will host a Spanish sausage sampling, with a
lecture on how to make and cure Spanish-style
sausages by Robert Fettig. Flamenco guitarist
Joaquin Gallegos will entertain.
6-7 p.m. Sponsors-only Preview party ($300 or
above), at the Santa Fe Community Convention
Center, 102 W. Marcy St. Call 982-2226 ext 103 to
purchase before market.
7-9 p.m. Preview for Spanish Colonial Arts
Society members, Santa Fe Community
Convention Center. Memberships start at $40.
982-2226, ext 103
SATURDAY ( July 30)
8 a.m.-5 p.m. Traditional Spanish Market takes
place on the Santa Fe Plaza. Free
10-11 a.m., Greeting and Proclamation, Mayor
Coss. Youth Art Awards, Plaza Community Stage
11 a.m.-noon, Manzanares with Max and the
Latin Daddys, Plaza Community Stage
Noon-2 p.m. Puppet Revenge, Street
Noon. The Spanish Table, 109 N. Guadalupe St.,
Paella-making demonstration. Free
2-3 p.m. Maria Benitez-Instutute For Spanish
Arts, Plaza Community Stage
3-4 p.m. Nacha Mendez, Plaza Community Stage
SUNDAY ( July 31)
8 a.m. A special Market Mass will be celebrated
at the Cathedral Basilica of St. Francis of Assisi,
with the blessing of market art and artists.
9:30 a.m.-4 p.m. Traditional Spanish Market
takes place on the Santa Fe Plaza.
9:30-11 a.m. Procession from the basilica,
Archbishops Blessing and Mariachi Paisano de
Valle, Plaza Community Stage
11 a.m.-noon. Ballet en Fuego Dance Company,
Street
Noon-2 p.m., Isaiah Martinez, New Mexican
Marimba Band, Street
2-3 p.m. Chuy Martinez y Oti Ruiz, Plaza
Community Stage
3-4 p.m. Los Hermanos Martinez, Plaza
Community Stage
UNM PRESS
SATURDAY ( July 30)
11 a.m. Carla Aragn, Dance of the Eggshells/
TRADITIONAL
SPANISHMARKET EVENTS
Baile de los Cascarones
Noon. Robin Farwell Gavin, Converging Streams
1 p.m. Amy Crdova, First Tortilla, Juan and the Jackalope, Juan the
Bear, Santero's Miracle
2 p.m. Tony Mares, Astonishing Light
3 p.m. Nasario Garca, Bolitas de Oro, Naked Rainbow, Tiempos
Lejanos
SUNDAY ( July 31)
11 a.m. Ana Baca and Noel Chilton, Tas Tamales; Baca, Mama Felas
Girls
Noon. Robin Farwell Gavin, Converging Streams
1 p.m. TBA
2 p.m. Demetria Martnez and Rosalee Montoya-Read, Grandpas Magic
Tortilla
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Fine Retablos
A Family of Artists
chimayoretablos.wordpress.com
Studio: #815 State Road 76, Chimayo, NM 87522
Ellen Chvez
de Leitner Booth #150
Genevieve Leitner
Booth #153
Cecilia Leitner
Booth #150
Rose Leitner
Booth #153

HANDFABRICATED WEARABLE ART
Visit us at Contemporary Hispanic Market
as we celebrate 21 years in the market! Booth #57
Studio in Albuquerque by appointment
505.890.3337 | milagrosymas@comcast.net
Bernadette Rodriguez-Caraveo | Oscar Caraveo
BY ARIN MCKENNA
Juan Lopez the first Traditional Spanish Market poster artist chosen from the
precious metals category cannot remember what possessed him to make a belt with
conchos of New Mexicos historic churches. He had dabled in jewelry when he was in
his 20s, but I made a few pieces, and that was that.
But when an idea strikes him, Lopez acts on it. He photographed many churches, found other photos in
books, then recreated those images in silver some 13 years ago, at age 50. That concho belt launched a new
career for Lopez.
A mutual friend insisted that Lopez show the belt to Paul Rhetts, who with his wife Barbe Awalt owns
LPD Press, which secializes in books on Spanish colonial art. Rhetts said when saw the belt, I went nuts,
because after a couple of questions, Juan disclosed that it was the first thing hed ever done. Hed never shown it
anywhere, hed never taken his art work anywhere.
The belt that Juan showed me was certainly not the work of a beginner, Rhetts said. I assumed, from what
I was looking at, that it was not necessarily the work of a master, meaning somebody whos gotten to the height
of their ability. He was definitely on a growing curve up. And I knew that if that was the quality that he was
doing at that point, give him a couple years of experience and his work would be absolutely exquisite.
Rhetts urged Lopez to jury into either Traditional Spanish Market or Contemporary Hispanic Market.
Lopez decided on traditional market, although he did not know what traditional metalwork was. Through the
Spanish Colonial Arts Society, he learned that the precious metals category included either religious objects or
traditional filigree jewelry.
The jewelry interesed Lopez, but he had no idea what filigree was or how it was made. He was not aware
of other artists pracicing the art. He found books with photographs but no descriptions of technique. So
Lopez sent countless hours studying the Spanish colonial colection at the Museum of International Fok Art
LUIS SNCHEZ SATURNO
Juan Lopez, Spanish Market poster artist, signs a poster for Jos Floyd Lucero, right, at the San Francisco Street Bar and Grill during an event for the Spanish
Colonial Arts Society.
PRECIOUS METAL
Jewelry graces market poste fo the first time
(where the colection was housed at that time) and began a process of trial and eror.
Lopez experimented with various techniques and tools sometimes even creating his
own tools until he was satisfied with his work. Although he juried into market his first
year in 1999, Lopez did not get the results he wanted for four or five years. The switch to
making jewelry alowed Lopez to leave behind his work laying concrete in construction.
When asked what motivated him to keep going, Lopez replied, Curiosity has a lot to
do with it. Youre curious to see if you can do this, to see if you can make this work. It gets
you in troule, too. It realy does. A lot. By troule Lopez means al the silver he had to
scrap after failed experiments and jokes that if the cost of silver were as high then as it is
today, he would have decided he couldnt afford this art.
Curiosity may land Lopez in troule, but that curiosity along with his wilingness to
make mistakes and risk failure are earmarks of creativity, and creativity is evident in
Lopezs delicate designs. His creations also display perfect grace and symmetry, although he
is quick to assert that the workmanship is not perfect despite having to put his glasses
on to point out the minute imperfections.
When people say, this is realy nice, I say, this is stil pracice. Pracice, pracice,
pracice, Lopez said. Every day you pracice. I fiure when Im about 106, I might have it
down. Might. But until then its just pracice.
Rhetts would disagree with that assessment. He caled Lopezs work some of the finest
filigree work that has been done since the Spanish Colonial period.
Lopezs meticulous methods account for the precision in his designs. He traces each
piece of jewelry and records the gauge and length of each piece of wire. He notches his
neele-nose pliers and notes which notch he used for each bend in the wire. With this
method which Lopez cals a recipe he can be sure that every curve and every scrol
in a complex piece like the poster
award winner is precise, and he can
recreate any piece using this recipe.
Before Lopez starts a new piece
he sends hours twisting wire then
pounding it flat to produce the
serated edge that is an earmark of
filigree work. (Hours of trial and
eror went into finding the best
method for even this technique.)
This process hardens the metal,
which is then be heated and
immersed in water to soften it.
Sometimes Il just sit there and
twist wire. People wil say, what are
you doing? Just sitting here twisting
wire. What are you doing tomorow? Twisting wire. What did you do last week? Twisted
wire, Lopez said. Most of the time, Lopez starts a piece and just sees where it goes. At
other times his inspiration is more direct. He pointed at a pair of earings and said, I cal
this my cloud design, because coming back from a show I looked up at the clouds, and I
thought, I can do that in filigree. I saw that design and I saw filigree. I just started filing in
the space with wire instead of clouds.
He questions whether his creations are truly original. Theyre my designs, but think
about this: filigree was started by the Phoenicians over 4,000 years ago. Its an old art form.
So everything that you see in the jewelry has been done for thousands of years. Youre not
doing anything new, Lopez said. So I dont know if theres anything totaly original. Youre
just taking that technique and changing it or putting it where your eye wants it to go. Were
just moving those little wires around.
It is doubtful, however, that early artists ever envisioned filigree taken to the extremes
that Lopez takes it. He has even explored three-dimensional shapes, using filigree to create
a monstrance, a Vokswagen bug and miniature dinette sets.Lopez stil seems amazed at
the recognition his work has received. Im proud of every award Ive ever gotten, because
I never thought Id be doing something where you get awards, Lopez said. And for a
museum to buy a piece for its colection I stil get goose bumps just thinking about it. I
never thought my pieces would be in a museum.
Lopez is not one to rest on his laurels. When he learned he had been named this years
poster artist, he started thinking about how he could surpass himself. I couldnt just do
jewelry. If you get an award like this youve got to go out there someplace. You cant just
be doing the same. So Lopez taught himself to carve antler, which he plans to incorporate
into his filigree pieces. With that need to expand his boundaries, Lopez is unlikely to
become an artist who keeps recreating work that made them famous. As Lopez continues
to explore new ideas, techniques and materials, he may very wel keep colectors intriued
until he is 106. 61 Old Santa Fe Trail Santa Fe, NM 87501
505.983.9241 www.shoppackards.com
PLEASE JOIN US FOR A PREvIEw
OF thE LAtESt IPPOLItA cOLLEctION
At OUR ExcLUSIvE tRUNk ShOw EvENt.
FRIDAY, JULY 29 & SAtURDAY, JULY 30
10 AM tO 5 PM
On the Plaza
BY ARIN MCKENNA
Hispanic pottery is, quite literaly, rising out
of the ashes, as potters create traditional ware
and breathe new life into an art so long gone
that many doubted it ever existed.
Back in 1994, Debie Carilo and Camila Trujilo were
the first two potters accepted into Traditional Spanish
Market. This only hapened after Debies husband Charlie
presented 14 years of dissertation research to the Spanish
Colonial Arts Society, documenting the existence of
Hispanic pottery traditions in New Mexico.
Pottery making was not Debies idea. I was not
interesed in pottery, never even thought about it, never
even played with dirt when I was little. I was the princess,
she said.
Out
of the
ashes
POTTERY REVIVAL BREATHES
LIFE INTO HISTORIC ART
Although her ancesors made pottery, she had no desire
to cary on a tradition, either. I live for today only, because
the past is the past, today is today, tomorow I dont know
what is, Debie said.
For Charlie, however, preserving tradition was the
main motivation. I wanted our family not to lose that
tradition, he said. Because her grandmother taked so
much about cooking in micaceous pots. And Debie has her
grandmothers pot. What a legacy, to be ale to continue
that tradition. And the truth is, damn, do beans taste good
in micaceous pots.
It was Charlie who aranged for Debie unbeknownst
to her to send three days studying with Felipe Ortega,
the man who almost singlehandely revived the Hispanic
pottery tradition. It took me a good five to seven years
before I was actualy comfortale doing it, and not having
to cry over things like exploding pots. Charlies proding
kept her going. I was the ox and he was the San Ysidro, and
he kept hitting me on my heels to move, to do it, Debie
said. It was either just do it to shut him up or sit here and
listen to him cry.
Debies focus, like that of her ancesors, is to make
utilitarian pots. She wants people who buy her pots to use
them.
Their children, Estrelita Carilo-Garcia and Ron, have
both learned the art, and the family sends time together
working on the pottery. Her 4-year-old grandson, Lary
Angel Garcia, made his first pinch pots last summer. And
so the tradition is caried on.
For Camila Trujilo pottery making was something she
had to do.
When I was eight, I realy believed I was going to be a
potter when I grew up, Trujilo said. I knew, in here, that
my ancesors made pottery. I didnt know who, I didnt
know how, I didnt know why. It was a destiny, I uess.
Trujilos friendship with Nora Naranjo, a member of one
of Santa Clara Puelos preeminent pottery families, led her
to a 10-year aprenticeship with Noras mother, Rose, and
her daughters. That was 35 years ago.
I realy got to see pottery from the inside. I got to see
it on the kitchen tale, off the kitchen tale to make room
for meals, back on the kitchen tale. Thats how I learned,
Trujilo said. It was realy enriching and totaly engrossing
and it was totaly a transference of knowledge into the body,
the way food is digesed and becomes part of the body.
Being one of the first two potters at market was
chalenging. It was kind of like being the infantry. Because
time and again, people would wak up to my tale and say,
Why are you here? This is not Spanish. This is Indian.
Trujilo would patiently explain that there is a Spanish
colonial pottery tradition. And a lot of people just would
not believe it. A lot of people would just look at me and
wak away. And then, little by little, hanging in there, and
just diging in, we al became better educated. It hapened.
Like Trujilo, pottery fascinated Jacobo de la Serna since
chilhood.
I would find rain pudles after the water evaporated
and left behind a thin slury of fine clay, he said. I would
use this to make smal pinch pots and sometimes I would
fire them in a coffee can or smal campfire.
When de la Sernas great aunt revealed that his Navajo
great-grandmother, Luna Galegos, had made micaceous
pottery, and gave him Galegos last surviving piece, he
sought out his friend, Felipe Ortega.
Ortega handed de la Serna a piece of clay and said,
Make something. Lets see if youve got it. De la Sernas
piece turned out so wel, that it was hard for Ortega to
believe that his experience consisted of making chilhood
pinch pots. Wel, you must be channeling your great-
grandmother, because Ive never seen anybody just pick up
clay and do this, Ortega said.
How do you explain such a natural, spontaneous
hapening to people? I just kind of realized that this was
my vocation. And the rest of it is history, de la Serna said.
De la Serna makes traditional utilitarian pottery, and
has also recreated micaceous wine vats from sherds found
at Casa Colorada, a Spanish land grant near Socoro. But
de la Serna realy enjoys using traditional techniques to
create contemporary sculptural vessels. These pieces have
found their way into places such as Grounds for Sculpture
COURTESY JACOBO DE LA SERNA
Jacobo de la Serna
COURTESY ADAN ORTEGA
Adan Ortegas pots during a firing.
in Hamilton, N.J., and the Cooper-Hewitt National Design
Museum in New York City.
Another potter came to his art inspired by an ancesor.
Adan Eduardo Ortega grew up Spanish, but his mother
would tel him stories of his Apache grandmother, who
was also a potter. Ortegas interest in pottery developed
watching his wife and in-laws members of a distinuished
family of Puelo potters make pottery. He eventualy
began making Santa Clara-style pottery, and later studied
micaceous pottery with Felipe Ortega. He became the third
potter to enter market in 1995.
Ortega distinuishes himself by making lids and braided
hanles for his pots, and fluting the edges al chalenging
accomplishments. He has made very large pieces and
utilitarian ware like teapots (which early Hispanic potters
also made), large serving bowls and planters. Thats the
good thing about micaceous: you can virtualy make
anything, Ortega said.
One goal of most potters is that most utilitarian of
objects the bean pot.
Annette Morfin used to admire her grandmothers bean
pot, which she believes was made by her great-grandmother.
Morfin learned pottery through Regalos de Abiqui, a
women-run business that was dedicated to reviving and
strengthening traditional arts as an economic development
tool. There, Morfin studied with both Debie Carilo and
Felipe Ortega, and was thriled that the first pot they made
was like her grandmothers. So I got interesed in making
them. I wanted to learn, and so I did, Morfin said.
But it was not easy.
When I started, oh, my gosh, it was hard work. My pots
would come out al crooked and Id have to cut them up
and start al over again. I thought, my ancesors realy had a
hard time, Morfin said.
Nine years later, shes the only one of her Regalos group
making pottery. I uess God up there was teling me to do
it, Morfin said. I went in as an inventory clerk and I came
out as a potter.
Felipe Ortega: the man behind pottery revival
BY ARIN MCKENNA
Charlie Carilos dissertation documented the existence of Spanish colonial Hispano pottery, opening the door for
pottery at Traditional Spanish Market. But the revival of the art itself can be largely attributed to Felipe Ortega.
He is maybe the most unrecognized individual who has revived a
tradition in New Mexico. There is probaly a whole generation of
new potters that dont even have a clue that if it wasnt for Felipe
Ortega, there wouldnt be a pottery revival, Carilo said. Hes gone
unheralded, and somebody needs to toot his horn. It was because of
his determination and his wilingness to share that tradition with
other artists that people like Debie learned to do pottery.
Ortega, who is of Spanish and Jicarila Apache descent, had one
motivation to learn pottery: he wanted a good pot of beans. Ortega
rebeled against beans cooked in a pressure cooker when he was 13
years old, and went searching for the bean pots that everyone swore
cooked beans so wel.
His grandmother had bean pots, but was not about to lend one to a
13-year-old boy. She told him he would have to find his own. Ortega
had just graduated high school 1969 when his search led him to
Jesusita Martnez. Martnez, also part Jicarila Apache, was 90 years
old, and lind. She was no longer making pottery, but she agreed to
teach Ortega.
The beans Ortega cooked in his new bean pots lived up to
their reputation. Then his aunt wanted one for her yourt. The
grandmother who had refused to lend him a pot wanted one for her
lentils. Someone else wanted one for coffee. Al swore by the flavor
of those foods cooked in clay pots. Before Ortega knew it, he was a
potter, something he had never planned on. When I started doing
this, it was not that I wanted fame. I just love cooking in clay. Cooking in clay is just incredile. Ortega was refused
entry into Spanish Market in 1979 because he was told Hispanic people never made pottery. Ortega never
aplied to market again, even after the category was accepted. But he continues to teach others this art.
I was gifted this whole tradition. And what is going to hapen to it when I die? I could be very possessive of it.
I could say, I cant teach you. But my teacher was wiling to teach me. Graciously. Why cant I do the same thing?
Ortega said.
Even though he is not at market, his legacy is there in his students and their students. Every time one of my students
sels a piece of pottery, Im elated, Ortega said. I am overjoyed when someone wins a prize. Im like a dad whose
children are growing up and having their own life.
COURTESY CAMILLA TRUJILLO
The Valencia Red on White is an example of the of the soup
plates being created by the Spanish colonial people who lived
south of Albuquerque around 1650.
PHOTOS KITTY LEAKEN
Felipe Ortega demonstrates his technique with micaceous clay at Cafe Pasquals upstairs gallery, where his work is for sale.
BY ARIN MCKENNA
Vikki Tejada, former board member and president of the Spanish
Colonial Arts Society, clearly remembers her inspiration for a Peoples
Choice Award. In 1997, I was waking through the preview people
linger around their favorite pieces, and I overheard someone say, This
would have been my choice for Best of Show. That resonated with me,
and I thought, Wel, why cant we vote? We should be ale to vote. The
patrons should be ale to choose their favorite.
Tejada sugesed to her brother, Raymond Bal, that they sponsor a Peoples Choice award
through their family-owned business, El Potrero Trading Post in Chimay. Bal agreed, and
the society board aproved the new award, I think its been a favorite ever since. Ive seen
people waking around with their precious little vote slips, so I know people realy get into
voting, Tejada said.
Balots are handed out at the members-only Preview Party the Friday night before
market. The first year, Tejada and three volunteers hecticaly counted votes in a back room,
so they could announce the award by the end of the evening. Now votes are counted after
the event or the folowing morning.
The down side to counting votes
later is that the winner is announced at
Saturdays award ceremony and does not
to make it into the newspaper with the
list of other award-winners. Sponsors Bal
and Tejada often have to wait a couple
days to find out who has won, and many
who do not attend the members preview
are unaware there is such an award.
In the Peoples Choice 13-year history,
the first award-winner a five-foot tal,
altar screen triptych by Arlene Cisneros
Sena is stil one of Tejadas favorites.
For Cisneros Sena, the award was more
than a tremendous honor. It was a
different message.
The altar screen hadnt won
any other awards, but it was quite a
chalenge for me to do, Cisneros Sena
said. But at the preview your peers, the
community and patrons had the oportunity to vote. It was a different set of judges, and it
meant so much more.
Cisneros Sena values judges awards, but said the Peoples Choice holds a secial place.
The awards at any art show are given by experts in their field who know the works, so
when you get an award you get it for al the right reasons. Awards are wonderful, Cisneros
Sena said. But I think my piece touched something in people. Its a different criteria, more
personal. It says so much more when you hear the personal views behind it. And to be the
first one to receive this award its a very strong feeling, a very heartfelt feeling. In my view,
its one of the more important awards at market.
Recipients of the Peoples Choice award read like a Whos Who of Spanish Market artists:
names like Charlie Carilo, Martha Varoz Ewing and Kathleen Sais Lerner. Al have won
numerous awards at market.
Ramn Jos Lpez has received the award four times. Its a great honor. A lot of the
voting is by your peers that are attending the grand opening, and their families. So theyre
very knowledgeale about the arts in general, and theyre artists themselves. It means that
much more to me. It means a lot more, Lopez said.
Lpez feels one award-winner a piece caled Un Tesoro is one of his greatest
accomplishments. It is a large book with pages of velum made from goat skin and buffalo
hide. Lpez prepared the velum, did the caligraphy and iluminated the prayers and images
of saints with 24-karat gold leaf. It took him six years to gather materials and learn how to
recreate the techniques.
Lpez may be most proud of Un Tesoro, but a life-sized carousel that garnered his first
Peoples Choice award in 2001 provokes the fondest memories. Master straw apliqu artist
Eliseo Rodriuez (who passed away in 2009 at the age of 93) was the first person to ride
the carousel during the Preview Party. It was so cute, I wish Id have had my video camera.
He rode up there, just smiling on it, Lpez said. After the preview, he enlisted the help of a
dozen or so strong men to push the carousel down to the Plaza, where 600 children rode it
during the weekend. It was just magical, that first year, Lpez said.
Last years award went to a bulto caled Musica del Cielo: Santa Cecilia Canta (Heaens
Music: St. Cecilias Song). The piece celebrates musicians (St. Cecilia is the patron saint of
musicians) and the 400th anniversary of Santa Fe. St. Cecilia who is flanked by two
mariachis is obviously not singing high ecclesiastical music but something closer to the
hearts of New Mexicans. The artist, Lorie Garcia, also received the award in 2003.
STANDING OUT
Artists love receiing Peoples Choice awad
PEOPLES CHOICE
AWARD WINNERS
1998 Arlene Cisneros Sena
1999 Charlie Carilo
2000 Gustavo Victor Goler
2001 Ramn Jos Lpez
2002 Ramn Jos Lpez
2003 Lorie Garcia
2004 Arturo Montano, Ralph Sena
2005 Martha Varoz Ewing
2006 Charlie Carilo
2007 Kathleen Sais Lerner
2008 Ramn Jos Lpez
2009 Ramn Jos Lpez
2010 Lorie Garcia
COURTESY PHOTO
Former Spanish Market Director Bud Redding rides the buffalo on Ramn Jos Lpezs
carousel, which won the Peoples Choice award in 2001.
BY TODD BAILEY
There was a time when noted Contemporary Hispanic
Market artist Edward Gonzales was looked at as an outsider
with radical thinking.
Thirty years later, Gonzales ideals about contemporary Hispanic art are
shared with more than 170 area artists. And as this group as grown, it has
become a family of artists. Best of al, contemporary Hispanic art has found a
niche in the Northern New Mexico art community.
It has not only grown in size, but in stature, Gonzales said.
Gonzales is one of the founding members of the Contemporary Hispanic
Market, which celebrates its 25th year this weekend on Lincoln Avenue. As
contemporary market continues to grow
and proser, its artists stil find themselves
educating the pulic about their brand of
Hispanic art.
Many people who come to the
Spanish Market think it is done by one
organization, but its not, said Ramona
Vigil-Eastwood, Contemporary Hispanic
Market board president. Actualy,
there are two organizations sharing the
downtown area. The traditional artists
have the area around the Plaza and we
have Lincoln Avenue.
A breath of fresh air
The contrast between the Contemporary
Hispanic Market and Traditional Hispanic
Market starts at the core values of each.
We pride ourselves on being open to al forms of artistic expression,
Gonzales said. It is a family-oriented show, so we do have some parameters.
But we are very open-minded to the use of materials and innovation. Other
shows are very strict and have limitations to what is done and how it is done.
You could look at our art as a breath of fresh air and a resect to the creative
effort.
While the traditional markets board has some members who arent artists,
al of the contemporary markets board members are artists.
We are one big family, Gonzales said.
That family-environment mentality is seen at the markets opening event,
the Preview and Awards night Friday (July 29) at the Santa Fe Community
Convention Center. It is open to anyone who wants to attend.
I love preview night, said 2010 First-Time Exhibitor Award winner, painter
Victoria de Almeida. Her award was sponsored by Vigil-Eastwood when it was
determined that two award winners were needed sculptor Mario Vargas
also won the award last year. Everyone puts their best foot forward. I love
being around other Hispanic artists. I love the whole event.
As a first-time entrant, de Almeida remembered her market experience as
becoming a part of a family.
When you get accepted to the market, you instantly feel like you are part
of something secial, de Almeida said. Getting in there is such validation.
You gain a reputation when you tel someone that you got accepted into the
Contemporary Hispanic Market.
Quality over quantity
That means there are 50 artists who arent coming back, said Vigil-Eastwood.
We could continue to grow our market, but we believe that would water
down the quality of our product. And that is the last thing we want to do.
To keep that quality a constant, board members stay in touch with their
fans. If there are rumlings that the quality is sliping, a surprise jury on the
entire market takes place.
If you dont continue to create the quality of work that got you into the
Contemporary Hispanic Market, youl find yourself visiting the market
instead of participating in it, said artist Rob Rael, who knows too wel how
difficult gaining admission to the market is.
As the son of painter Judy Ortiz, one of the most resected contemporary
Hispanic artists in the area, Rael sent most of his life around contemporary
Hispanic art.
And yet he was denied admission in 1998 and 1999.
My work wasnt good enough then. Its as simple as that, Rael said. It
didnt discourage me. I put my creative juices into the work and in 2004, I
finaly got in.
Rael said he enjoys the aded chalenge of a jury. It pushes him to create
better work. That effort paid off in 2006 and 2010, when he his artwork was
displayed on that years Contemporary Hispanic Market poster. The poster
A FRESH TAKE
Conteporary market: 25 years and going strong
Darlene McElroy, Best of Show 2010
Citrus Muse, 24 x 24 mixed media
DETAILS
The Contemporary Hispanic Market
kicks off with Preview/Awards night
from 5:30-8 p.m. Friday (July 29) at
the Santa Fe Community Convention
Center. The event is free. The market
itself takes place Saturday and Sunday
(July 30-31) along Lincoln Avenue
near the Santa Fe Plaza. Market
runs 8 a.m-5 p.m. Saturday and 9
a.m.-5 p.m. Sunday. Admission is
free. More information at www.
contemporaryhispanicmarket.com.
serves as the key advertising tool for the
market.
Spreading its wings
For the first 23 years of the Contemporary
Spanish Market, a group of nonprofit
organizations sponsored the event. One of
Vigil-Eastwoods goals as board president was
for the market to become its own nonprofit
organization. After months of work, that goal
was realized in 2009.
Our independence as artists is important
to us, Gonzales said. But to finaly be
independent as an organization, that
acknowledgement goes to Ramona. She
worked hard that year to make the market
independent. That was huge for us.
Now, the market is a fuly independent entity
and its board has control of its budget. Vigil-
Eastwood said this alows the artists to keep
more of the money earned within the market,
making it more financialy stale.
I believe we are the only artist-run
organization that sponsors a show on the Plaza,
Gonzales said. The others have organizations
with fuly paid staff workers. We work on a
volunteer basis and are more flexile and ale
to do more for the artists. Because thats what
family does.
At the museum
Want to see more of the work by
Contemporary Hispanic Market artists?
Both Rob Rael and Vicente Teles
are part of a three-person show at the
National Hispanic Cultural Center that
wil run through next year. Also is in the
show is Jocelyn Lorena Salaz.
This Place Where I'm From: 3 Emerging NM
Artists, at the National Hispanic Cultural
Cente, features the artwork of three
artists who are moving tradition into
transition. It examines how old ventures
into new, maintaining its roots while
sprouting new limbs and was developed
by an emerging curator, Jadira Gurul.
Find out more about the National
Hispanic Cultural Center, in
Abuquerque, www.nhccnm.org/.
BY TODD BAILEY
From the moment a paint brush was placed
in his hand, Arturo Cisneros knew he
wanted to paint.
Its a passion of mine, Cisneros said through a
translator. I have to be painting.
He joked that when he and his wife divorced, she kept
the house and he got his Abuquerque studio. It was in
this studio that he created an acrylic painting that would
become the poster winner for the 2011 Contemporary
Hispanic Market.
The acrylic painting features the variety of people
from different cultures who visit the Contemporary
Hispanic Market on an annual basis, each wearing
unique jewelry, al based on the people Cisneros has seen
over the years.
I am so honored to have won this, said Cisneros, 65.
This market has always been known for its excelent
artwork. I am very proud to be a part of the market
this year. I chose this artwork because it is the 25th
anniversary of the market and I thought that this type of
painting was my best chance of winning.
In reality, Cisneros was a winner in 1994, when he,
his then-wife, son and mother, were part of a group of
political refugees who arived in the United States from
Cuba. They sent four hours in Miami before flying to
Abuquerque. Ten years later, Cisneros was naturalized
as a U.S. citizen.
I have only been back to Cuba once, Cisneros said.
That was when I went to scatter my mothers ashes
after she died in 1997.
Cisneros was born in the puelo of Mayre, in Cuba, a
town that he says is similar to Abuquerque.
The two towns have mountains and similar
environments, Cisneros said. There are several things
in Abuquerque that remind me of Mayre.
Another similarity between the two communities
is the popularity of Cisneros artwork. He said he
had a strong folowing in Cuba and some of his work
continues to be shown in a Havana hospital (he worked
in healthcare for 20 years in Cuba; over 17 years the
United States he worked at the community colege in
Abuquerque until a recent retirement). Now, Cisneros
can paint ful-time. His work can be seen in several
Abuquerque galeries. Its also been at the Expo New
Mexico Fine Arts Galery, the International Museum of
Art in El Paso and the Colection Arts exhibition in the
United State Congress.
Now that his artwork wil represent this years
Contemporary Hispanic Market on every poster,
invitation and advertisement, his folowing wil continue
to grow.
It is a very prestigious honor to have your work
recognized as the poster winner for the market, said
Contemporary Hispanic artist Rob Rael, who won the
honor in 2006 and 2010. The honor comes with a lot
of (notice). Arturo has been with the market for three
years and has already created a folowing for himself,
which is great for him.
Cisneros and his family were situated in Abuquerque
when they came to the United States. The town may
seem similar to his chilhood home, but it is Santa Fe
that grabs onto his artistic heart.
Santa Fe is a great place for an artist, Cisneros said.
It is the capital of art in the United States. You see so
many excelent works of art here. And that same quality
of work is what I expect to see at this years market.
25th Annual
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JULY 3 & 31, 211
PASSION FOR PAINTING
Cuban artist wins spot on 25th anniversary poster
Eumaira Quintero Feinstein - Pastels 73
Nikki Bustos - Photography 72
Sharon & Adam Candelario - Metal Work 71
Patricia A. Baca - Watercolor Paintings 70 134
Ric Sarracino - Acrylic Paintings 69 133 Moises Salcedo - Acrylic Paintings
David EM Garcia - Metal Work 68 132 Billy Gallegos - Metal Work
Michael Trujillo - Furniture 67 131 Joelle Baca Mevi - Jewelry
130 Joe Santiago - Mixed Media
Pamela Pereyra - Jewelry 66 129 Debora Duran-Geiger - Ceramic Tiles
Tomas Vigil - Acrylic/Spray Paint Paintings 65
Alfonso Sias - Ceramics 64 128 Leah Henriquez Ready - Beaded Jewelry
Victoria de Almeida - Acrylic on Canvas 63 127 Benny Montoya - Photography
Pablo Tello - Oil Paintings 62 126 Richard Trujillo - Acrylic Paintings
Herman Madrid - Metal Work 61 125 Deborah & Bernardo Armijo - Handmade Clothing
Albert MB Trujillo - Custom Knives & Sheaths 60 124 Gigi Mitchell - Jewelry
Joseph Galvan - Furniture 59 123 Carolyn Flores - Acrylic Paintings
Sandra Duran Wilson - Mixed Media Collage 58
122 Dona Calles - Metal Work
Bernadette & Oscar Caraveo - jewelry 57 121 Claudia Chavez - Beaded Jewelry
Josie Mohr - Paper Cut Art 56 120 Dolores M. Aragon - Pastel Paintings
Susana Erling - Sculpture 55 119 Joshua Felix Ybarra - Oil Paintings
Francisco Sanabria - Oil Paintings 54 118 Roger D. Martinez - Photography
Steve Malavolta - Handcut Wood Puzzles 53 117 Billy Kavanaugh - Bronze Sculpture
Mark Nunez West - Ceramic Tiles 52 116 John de Jesus - Woodworking
Alfred Jitsudo Ancheta - Printmaking, Hand pulled 51 115 Humberto Flores - Jewelry
Carol C. Sanchez - Mezzotint Printmaking/Mixed Media 50 114 Eloise M. Estrada - Mixed Media
Rita Valdez - Oil Paintings 49 113 Patrick & LuAnn Baca - Fused Glass Jewelry
Darlene Olivia McElroy - Mixed Media 48 112 Goldie Garcia - Mixed Media Shrines
111 Carolee J. Friday - Traditional Photography
Contemporary Hispanic Market Art & Information Booth 46 110 Damian Velasquez - Furniture
Gilberto Romero - Bronze Sculpture 45
Teresa Gutierrez - Woodworking 44
Philip Lovato - Fused Glass Jewelry & Plaques 43
Mark Jimenez - Jewelry 42
Gilberto Olivas - Clay Pottery 41
UNDERGROUND
Matthew Gonzales - Bronze Sculpture/Drawings 40
PARKING LOT
R. Diane Martinez - Pottery 39
Jason Fresquez Life - Woodworking 38
109 Margo L. Rael-Nimon - Glass Art
Josephine Brionez de Flores - Mixed Media Masks 37
108 Joseph Mark Chavez - Chainsaw Sculpture
Ron Rodriguez - Wood Carvings 36
Yavanne C. Jaramillo - Furniture/Metal Work 35
107 Vilis Shipman - Micaceous Pottery
106 Mario Vargas - Sculpture
Raymond Sandoval - Paper Mache Sculpture 34
105 Michael Veloy Vigil - Acrylic Paintings & Printmaking
H. Cordova - Pit Fired Sculpture 33
104 Robert Romero - Sculpture
Adrian Martinez - Wood Inlay Sculpture 32
Debra Montoya - Mixed Media Mosiacs 31
103 Guilloume - Sculpture & Oil Paintings
Javier Benites - Mixed Media Sculpture 30 102 Joseph G. Cordova - Custom Knives
Jacob Tarazon-Matteson - M/M Collage & Printmaking 29 101 Louella Vigil - Micaceous Clay
Jason Salazar - Woodworking, Carvings 28 100
Kenneth M. Chavez - Mixed Media
John F. Perea - Metal Art 27 99
Maria Serrot - Ceramics
Gary Hartzog - Mixed Media Tattoo Ink Drawings 26 98
David Trujillo - Sculpture
Graciela Mestas - Glass Art 25 97
Juan Suarez - Oil/Acrylic Paintings
96
Anthony Ontiveros - Furniture
Miller Lopez - Oil on Linen 24
Marion Martinez - Mixed Tech. Jewelry, Sculpture, Wall Art 23
Anthony Fernandez - Oil on Canvas 22
95 Ralph E. Roybal - Bronze Sculpture
Rosalina Oviedo Black - Acrylic Painting, Handpainted Silk 21
94 Scott Garcia - Paintings & Sculpture
Pamela Enriquez-Courts - Metallic Acrylic Paintings 20
93 Arturo Cisneros - Oil/Acrylic Paintings
Catalina Delgado-Trunk - Papel Picado 19
92 Richard Guzman - Oil on Linen
Eduardo Reyes - Sculpture 18
91 Roberto Salazar - Oil Paintings
90 Diane Romero Mattern - Textile Art
Clarence Medina - Oil Paintings 17 89 Cynthia Cook - Mixed Media
Christopher Martinez - Photography 16 88 Eloy L. Hernandez - Metal Work
Damien M. Gonzales - Oil Paintings 15 87 David M. Gallegos - Textile Fiber
David Vega Chavez - Watercolor Paintings 14 86 Charles A. Garcia - Photography
Melecio Fresquez - M/M Painting & Woodworking 13 85 Vicente Telles - Mixed Media Paintings on Metal
James Roybal - Bronze Sculpture/Pastels/Oil Paintings 12 84 Roxanne Lopez Martinez - Photography
AnaMaria Samaniego - Print Making 11 83 Keith Garcia - Metal Work
Michelle Ferran - Watercolor Paintings 10
Mike Vargas - Mixed Media Oil on Paper 9 82 Manuel A. Fernandez (Neo) - Oil Paintings
Edwin Rivera - Mixed Media 8 81 William A. Gonzales - Printmaking
Michelle Tapia - Jewelry 7 80 Elisa Wood - M/M Photography & Digital Photography
Victoria Rodriguez - Mixed Media Paintings 6 79 Vincent Ortega - Mixed Media/Mosiacs
Julian Romero - Mixed Media 5 78 Jorge Fernandez - Pointillist Drawings
Steven Martinez - Furniture 4 77 Jerry Montoya - Mixed Media Art
Richard Sandoval - Watercolor Paintings & Sculpture 3 76 Bertha Medina - Gourd Art
Ramona Vigil-Eastwood - Handcrafted Jewelry 2 75 Judy Ortiz - Oil on Linen & Monotype Prints
Edward Gonzales - Paintings/Printmaking/Drawings 1 74 Robb Rael - Gouache Paintings
THE PLAZA
2011 Contemporary Hispanic Market
Restrooms
FEDERAL PLACE
MARCY STREET
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PALACE AVENUE
Charles Michael Salazar - Photography
Book celebrates
Contemporary Hispanic Market
Twenty five years is an achievement worth
celebrating. As board president of the Contemporary
Hispanic Market, Ramona
Vigil-Eastwood knew she
wanted to make the 2011
Contemporary Hispanic
Market secial. After
al, the artists would be
celebrating 25 years.
As one of New Mexicos
top authors and
pulishers of Hispanic
art and culture, Barbe
Awalt knew this
as wel and wasnt
about to let the oportunity slip through her
fingers.
So we got to thinking about a way we could
celebrate this years market, Awalt said. Ramona
and I started taking last year about some things and
I came up with the idea for honoring the artists who
have participated in the market. She loved the idea.
Scheduled for its release at the markets preview and
awards night Friday (July 29), Conteporary Hispanic
Market: 25 Years, wil be a colaboration of biographies
on the artists, a show of some of their work and a story
about the markets 25-year history.
The plan was to send out the information packets
to the artists, Awalt said. We were hoping to get
around 30 artists. We got 90. It is amazing.
Awalt said part of the fun with pulishing the book
is discovering new things about the artists through
their biographies.
Some of these people are on their second and third
careers, Awalt said. I have been floored by the level
of education some of these artists have attained. Some
have doctorial and master degrees. Some of them are
veterans and educators. Some have won prestigious art
awards.
The biographies describe the background of the
artists, everything from their origins to how they
became artists.
This has given me a great deal of resect to some
of these artists, Awalt said. They have gone through
so much. Some have fought incredile ods to make it
here.
Awalt may have been surprised by the number of
artist responses she received, but Vigil-Eastwood knew
the book would be a popular item at this years market.
The artists are ecstatic and thriled about the book,
Vigil-Eastwood said. Its going to be a sectacular
book. I am so thankful to Barbe. This is a great thing
that they are doing for the market.
After the markets board of directors gave its
aproval, Awalt contaced one of the markets
founding members, Santa Fe artist Edward Gonzales.
We asked him to write about the history of the
market, Awalt said. He is the only person that has
been in a leadership role with the market during its
25 years. Without him, the Contemporary Hispanic
Market would have never hapened.
TODD BAILEY
LANB is proud to sponsor the 60th Traditional Spanish Market.
Join the festivities July 30 & 31 on the Santa Fe Plaza.
Phone: 662-5171 Los Alamos: 1200 Trinity Dr. I 77 Rover Blvd. Santa Fe: 301 Griffin St. I 2009 Galisteo St. I 3674 Cerrillos Rd.
lanb.com
Member FDIC
Celebrating centuries of talent.
Bo Lpez Jeweler Booth
#
125 Miller Lpez ClassiCal oil Painter C.h.M. Booth
#
24
Ramn Jos Lpez Booth
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125 santeRo/JeweLeR
3233 paseo DeL monte, santa Fe, nm 87501 505.988.4976
Crei en Amor
Lpez Love Good Hands Gallery
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Spanish Market 2011 - Interactive

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Spanish Market 2011 - Interactive

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