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2 0 1 1 t h e s a n t a f e n e w m e x i c a n w w w . s a n t a f e n e w m e x i c a n . c o m
SpaniShmarket
Ralph Sena
2011 Masters Award
for Lifetime AchievementSpanish Colonial Arts Society
60th anniversary
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On the Plaza, Santa Fe
505.983.9241 or 800.648.7358
Emilia CastilloServe Ware and Jewelry
Musica Tradicional Cubana con Roberto
Spanish Market Hours
Friday, July 29th 9:30 AM to 6 PMSaturday, July 30th 8:00 AM to 6 P
Sunday, July 31st 9:30 AM to 6 PM
10 AM to 4 PMJuly 29th, 30th, 31st
Meet the Artist
www.shoppackards.com
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2011 SPANISH MARKET 3
Destiny AllisonArtist
Businesswoman
Community Activist
Creating Santa Fes most comprehensive events calendar...
Submit your free event listings today.
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Santa Fe is my home, my inspiration, my playground...
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4 2011 SPANISH MARKET
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Call us or visit any of our convenient locations today.
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AT THE MUSEUM
The Spanish Colonial Arts Society is responsile
for more than Traditional Spanish Market it a
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 Fel
Edward L. Gonzales, John Kania & Joseph Ferin,
Jan and Kathy Nelson, and Marc & Marleen Oliv
In mid-May, the Treasures Galery was given a ne
look and combined with the World of Art, bringin
out some of the archetypal pieces from the colonia
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 Spanis
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 majo
categories at Spanish Market in 2010 as wel as th
popular Peoples Choice Award and the Masters
Award for Lifetime Achievement. The exhibit wi
be up through the end of November. Alongside an
complementing the Spanish Market Galery is a
smal exhibit of the work of artists who participat
in the early years of market, such as Celso Galego
Emilio and Senaida Romero, and Eliseo and PaulRodruez. These are the artists who held on to t
traditions and kept the art forms alive.
Next up: 5:30-7 p.m. Sept. 9 for members only
10 a.m.-5 p.m. Sept. 10, the next exhibit and Fies
celebration. ReplacingThe Forgotten Cay Wells in
New Mexico Collects series wil be Piate Treasures
Colonial Art of the Ameicas from Piate Collection
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. Tuesday
Sundays from Memorial Day to Labor Day; closedMondays. Admission is $8 for adults; $4 for New
Mexico residents; those under 16 and New Mexica
on Sunday admitted free.
Spanish ColonialArts Society
STAFF
Donna Pedace
Executive Director
Ben Brown
Admissions/Gift Shop
Theresa Gallegos
Admissions/Gift Shop
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
Admissions/Gift Shop
Ellen Sullivan
Development
Bill Field
Special Projects Consultant
Welcome to the 60th anniversary of the TraditionalSpanish 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 ecial treat for
market visitors so be sure to visit their area on the Plaza.
We would like to give a ecial thanks to the Archdiocese of Santa Fe for
theecial Mass at 8 a.m. Sunday, where the artists are encouraged to bringan art piece for a ecial 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
Spanish Colonial Arts Society
Tradition, culture and this year, a new twist
LUIS SNCHEZ SATURNO
Julia Gomez, 2010 Best of Show winner
6 2 0 1 1 S PA N I S H M A R K E T
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2011 SPANISH MARKET 7
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8 2011 SPANISH MARKET
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 Plaza60 E. San Francisco St. | SantaFe, NM 87501
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7601 Jefferson NE Suite 320,Albuquerque NM 87109
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2 0 11 S PA N I S H M A R KE T 9
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.
Magalnicksent 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 STRONGDETAILSThe 60th Annual Traditional SpanishMarket kicks off the weekend with itsmembers-only Preview Party at theSanta Fe Community ConventionCenter, 201 W. Marcy St., from 7-9p.m. Friday (July 29). Membershipsin the Spanish Colonial Art Societycan be purchased at the door thatevening. For membership information,call 982-2226, Ext. 103. At 6 p.m., aSponsor Preview event takes placefor members at $300 and above. Buythose ahead of time.
Spanish Market takes place on theSanta 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 Masswill be celebrated at the CathedralBasilica of St. Francis, followed by aprocession from the basilica to thePlaza. 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
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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 tothe 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 categoryeaks 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 newartists 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 suroundingthe 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 a
take home Traitional Spanish Market of Santa Fe:
History and Artists of 2010, a soft-cover pulicatio
that is intended to celebrate the 75th anniversary
the society and its 60th market.
The ful-color book wil include brief histories
of the Spanish Colonial Arts Society, SpanishMarket 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 arti
photographs, as wel as short biographies of al th
artists who participated in last summers market,
a list of the 2010 award recipients.
This wil be a matter of record; in fact, its the f
such pulished record, and we anticipate its just t
beginning, said Donna Pedace, executive director
the Spanish Colonial Arts Society. Traitional Spa
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 Sunsto
Press, said he was thriled when Pedace contaced
him about doing such a book, noting that sheparticularly wanted a local pulisher to produce i
As a matter of record,it wil be invalualeto
colectors, artists and al who careabouttheart,
culture and history of Northern New Mexico, Sm
said.Plus, this book could educate an entirelynew
pulictoal that thesociety, museumand marketh
to offer.
History to go at this years mar
1 0 2 0 11 S PA N I S H M A R K E T
LUIS SNCHEZ SATURNO
Marie Sena
LUIS SNCHEZ SATURNO
Jean Anaya Moya
LUIS SNCHEZ SA
Christine Montao Carey
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Artists honoroutstanding volunteerBY KAY LOCKRIDGE
Nancy Dimit is the kind of volunteer every nonprofit
organization needs, say the artists, board membersand staff of the Spanish Colonial Arts Society, whichsponsors 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. Weent 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 passionfor 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 forWinter Spanish MarketCant 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 SpanishMarket (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 costfor 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 expec t, this
ornament wil be the first of an annual series during winter
market, she said.
Remaining at winter market is the traditional Mass at theCathedral 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 GUILL EN
Naomi Hernandez Robinson and Michael Robinson buy a frame
from artist Nicolas Madrid at Winter Spanish Market.
Nancy Dimit
Park and Rideto SpanishMarketCity Bus and Shuttle Services wil
be provided from various locations
in Santa Fe to Sheridan Place, alock 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 acrossfrom 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
2 0 1 1 S PA N I S H M A R K E T 1 1
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1 2 2 0 1 1 S P AN I S H M ARK E T
The Corazn is RisingThe next BIG SHOW
after SpanishWinterMarket
New Mexico Spanish ColonArtistsAuctionandMarketatSt. JohnsCollege
February 10-11, 2012Friday Reception&Silent Auction
Saturday Market
For details, call oremailDeborah Spiegelmanat dspiegelman@sjcsf.edu,984-6199.
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2 0 1 1 S P A NI S H M A R K E T 1 3
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 thetradition 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 LasSupe
won the Boeckman Award for New Directions at Winter
Market last year.
Like many of these artists, Arthur Lopez values bothsides of the coin.
Theres just a beautyand a feeling youget from oneof
these traditional pieces. When Im carving a traditional
piece, its a lotmore spiritualand meditative than when Im
carvinga contemporarypiece. Thecontemporary is farmore
expressive, Lopez said.I just enjoy thebalancebetween the
two. I would probalyneverdo 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
Buildingon
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.
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1 4 2 0 11 S PA N I S H M A R KE T
2011 INNOVATION ARTISTSKevin 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
GustavoVictor 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 appliquCatherine 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 andSanto 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 Marketnow.
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 heartand 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 ye ar. 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 herit
Magalnick said. You dont have to break that down i
order to go forward. You must have the basics to buil
wherever youre going. So I just find it refreshing to k
where the beginnings are and then see where they ha
evolved. And Im glad were part of both.
The new Innovation Within Tradition Award
reflects a long tradition of artistic evolution. Artis
have always explored new techniques and materia
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 outpos
with few resources had to be innovative. Straw
apliqu (often caled poor mans gold) is eviden
of that. Many believe that straw was substituted f
gold embelishments in Colonial times. But accord
to Farwel Gavin, the straw apliqu was more lik
an imitation of marquetry, designs created with
inlaid hard woods and shels.
Converging Streas: Art of the Hispanic and
Nati
e Ame
ican Southwest, a previous exhibit atThe 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 material
as evidenced by an explosion of creativity when th
United States army introduced tin cans in the 184
Local metalsmiths quickly adapted tin for decorat
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, creat
by Jos Dolores Lpez, is an example of this. Angl
sponsors encouraged Lpez to try an unpainted
design to please East Coast colectors, who found
traditional painted bultos (three-dimensional ima
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 ecific to
each saint. But religious iconography often reflect
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
always changing.
That change may be accelerated by the new aw
but its trajectory was initiated 400 years ago.
ARIN MCKEN
STILL EVOLVING
COURTESY
Catherine Robles-Shaw innovates by using mother ofpearl in the clothing, a technique called enconchado.
8/6/2019 Spanish Market 60th Anniversary 2011
15/43
2011 SPANISH MARKET 15
tradition
Southwest Spanish Craftsmenproudly 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 Mexico800.443.3448 505.988.1229 southwestspanishcraftsmen.com
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1 6 2 0 11 S PA N I S H M A R K E T
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 honore d 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 ent 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 heritagebut 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 CRAFTRalph Sena forged his path in metal
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2 0 1 1 S PA N I S H M A R K ET 1 7
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 mysteriousalchemy 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 thevilages 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 A buquerque,
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 forSena 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 highlightstones 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 je weler and a metal worker as an artist.
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1 8 2 0 11 S PA N I S H M A R K E T
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.
Mostrecently, Sena has been concentrating on knife making, integratinga sophisticated level of detailintohis ironworkthat canonlycome from his
jewelers sensibility. Delicatelytwisted dager hanlesforged from iron railroad
spikesare polished to a high sheen to apear like silver.One silver-like iron
hanle highlights animageof a sacredheart, while another hanle of compressed
micarta, a resin-infused paper, isas smoothand substantialas ivory. Inone
elegantlade, Sena hasworked layersof steel andmetal into a beautifuly
understated raindroppattern that looks as if it were stamped byhand.
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 Be
l, a jeweler and late patriarch of the familythat 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 a
l meaningful, Sena said this latest honor isparticularly 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 SENABorn
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 Experi ence
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 Montao2006 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
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2011 SPANISH MARKET 19
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 andOther Momentos by Roseta Santiago
New Devotional Sculpture
by Santero, GustavoVictor Goler
Themes Show: New Works in Oil
by Brandon Maldonado
July 29 August 13, 2011 in Santa Fe
Artist Reception: Friday, July 29th from 57 pm
Brandon Maldonado
Gustavo Victor Goler
Roseta Santiago
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2 0 2 0 11 S PA N I S H M A R K E T
Lorrie Aguilar-Sjoberg,Booth 130straw appliqu
Maria Anaya-Rutkowsky
Booth 38retablos
Adrian A. AragonBooth 72retablos
Antonio J. Archuleta,Booth 132furniture and furnishings
Victor ArchuletaBooth 138furniture and furnishings
Jos ArmijoBooth 44painted bultos, retablos,relief carving
Anjelica Mariah BacaBooth 91
straw appliqu
Lawrence BacaBooth 116precious metals
Ray Baca Jr.Booth 91straw appliqu
Javier Lorenzo BleaBooth 35tinwork
Lena (Maria) BleaBooth 23ramilletes, straw appliqu
Kevin Burgess de ChavezBooth 58tinwork, Innovations
Within Traditions, tinwork
Christine Montao CareyBooth 175tinwork, retablos,Innovations WithinTradition, tinwork, retablos
Vicky CarrejoBooth 119straw appliqu
Adn CarriagaBooth 109painted bultos, retablos
Charles M. CarrilloBooth 171painted bultos, retablos,relief carvings, InnovationsWithin Tradition, retablos
Debbie B. CarrilloBooth 170pottery
EstrellitaA. Carrillo-GarciaBooth 170retablos, ramillettes,leatherwork
Marie Romero CashBooth 14retablos, painted bultos,Innovations WithinTradition, painted bultos
Joseph Manuel ChavezBooth 32hide painting
Patricio ChavezBooth 85relief carving
Shawna L. ChavezBooth 85retablos
Veronica Montao CoaleBooth 111colcha, precious metals,retablos
David V. CrdovaBooth 60weaving
Gloria Lpez CrdovaBooth 19woodcarving, unpaintedbultos
James M. CrdovaBooth 173painted bultos, retablos,gesso relief
Lawrence CrdovaBooth 47painted bultos, retablos
Rafael Lpez CrdovaBooth 20woodcarving, unpaintedbultos
Rhonda L. CrespinBooth 105
painted bultos, retablos
Carmelita Laura ValdesDamronBooth 78retablos, tinwork
J.D. Damron y Valdes deMartinezBooth 100tinwork
Matthew DuranBooth 79furniture and furnishings,precious metals,Innovations WithinTradition, furniture andfurnishings
Teresa May Duran
Booth 39retablos
Corina J. EspinosaBooth 65weaving
Belarmino EsquibelBooth 21retablos
Charlie Esquibel
Booth 43furniture and furnishings
Martha Varoz EwingBooth 114straw appliqu, tinwork,Innovations WithinTradition, straw appliqu
Cristina HernandezFeldewertBooth 95tinwork, straw appliqu
Andrea Fresquez-BarosBooth 161retablos
Richard Gabriel Jr.Booth 62tinwork
John M. GallegosBooth 83retablos
Ruben M. GallegosBooth 127painted bultos, retablos,relief carvings, InnovationsWithin Tradition, retablos
Andrew C. GarciaBooth 104furniture and furnishings
Frank L. GarciaBooth 149painted bultos, retablos,hide painting
Lorrie I. GarciaBooth 103
painted bultos, retablos
Marissa GarciaBooth 31retablos
Mark A. GarciaBooth 71painted bultos, retablos
Ron GarciaBooth 51painted bultos, retablos,relief carving
Susie G. GarciaBooth 36weaving
Gustavo Victor GolerBooth 120
painted bultos, retablos,relief carving, InnovationsWithin Tradition, paintedbultos
Julia R. GomezBooth 124colcha embroidery
Eric Raymond LuisGonzalesBooth 92painted bultos
Amanda GriegoBooth 64retablos
Michael E. GriegoBooth 117tinwork
Rob Antonio GuillenBooth 156relief carving
Isidro Eugenio GeneGurulBooth 68tinwork
Monica Sosaya HalfordBooth 4colcha embroidery, altarscreens, retablos
Rita Padilla HaufmannBooth 106weaving
Elena Miera HerreraBooth 141retablos
Anita Rael HisenbergBooth 117colcha embroidery
John JimenezBooth 8retablos, precious metals
Donna Sena KeirnsBooth 33precious metals
Cecilia Leitner
Booth 150retablos
Ellen Chavez de LeitnerBooth 150retablos
Genevieve Leitnerboth 153retablos
Rose LeitnerBooth 153retablos
Patrick LeybaBooth 30furniture and furnishings
Joseph LobatoBooth 70straw appliqu
Judy Varoz LongBooth 118straw appliqu
Arthur LpezBooth 10painted bultos, reliefcarving, InnovationsWithin Traditions, painted
bultos
Bo LpezBooth 125precious metals
Eurgencio LpezBooth 5woodcarving, unpaintedbultos
Felix A. LpezBooth 15painted bultos, strawappliqu
Fred Ray LpezBooth 142tinwork, InnovationsWithin Traditions, tinwork
Joseph A. L
pezBooth 15painted bultos, reliefcarving
Juan LpezBooth 129precious metals
Krissa Mara LpezBooth 16retablos, straw appliqu
Peter E. LpezBooth 174painted bultos, retablos,relief carving
Jos Lpez RamnBooth 125bultos, furniture and
furnishings, preciousmetals, hide painting,copper engravings
Rosina Lpez de ShortBooth 2relief carving, retablos
David Nabor LuceroBooth 159painted bultos, retablos
Frankie Nazario LuceroBooth 77retablos, bultos, reliefcarving
Gregory D. LuceroBooth 27, tinwork
Jon LuceroBooth 63
unpainted bultos
Jos A. LuceroBooth 137painted bultos, retablos
Jos Floyd LuceroBooth 144woodcarving, unpaintedbultos
Steven A. LuceroBooth 169ironwork
Tim LuceroBooth 128retablos
Verne L. Lucero,Booth 26tinwork
Diana Moya LujanBooth 45straw appliqu, InnovationsWithin Tradition, strawappliqu
Ernie R. LujanBooth 162painted bultos, retablos,
relief carvingJerome P. LujanBooth 155painted bultos, retablos
Lenise Lujan-MartinezBooth 12straw appliqu
Marie Antoinette LunaBooth 55retablos
Larry E. MadridBooth 52ironwork, InnovationsWithin Tradition, ironwork
Nicols MadridBooth 160tinwork
Jos U. MaesBooth 131woodcarving, unpaintedbultos
Bernadette Marquez-LpezBooth 10straw appliqu, preciousmetals
Byron MartinezBooth 123unpainted bultos
Dominic MartinezBooth 88painted bultos
Jacob Martinez
Booth 143painted bultos
Juan D. Martinez Jr.Booth 96painted bultos, tinwork
Peter L. MartinezBooth 102weaving
Rita V. MartinezBooth 96painted bultos, tinw
Timothy J. Martine
Booth 37weaving
Yvonne MartinezBooth 88straw appliqu
Yvonne B. MartineBooth 158weaving
Justin Gallegos MaBooth 87tinwork
Norma MedinaBooth 172weaving
Edward MierBooth 99furniture and furnis
Luis MojicaBooth 163precious metals
Jerry M. MondragBooth 152retablos
Margarito R. MondBooth 50painted bultos retarelief carving
Arturo Tudy MonBooth 167bone carving InnovWithin Tradition, bcarving
Andrew Montoya
Booth 134painted bultos, reta
Gilbert J. MontoyaBooth 101painted bultos, reta
James MontoyaBooth 34retablos
Corine Mora-FernBooth 122retablos
Joe MoralesBooth 139woodcarving. unpabultos, InnovationsTradition, woodcar
Annette MorfinBooth 140pottery
Jason R. MossmanBooth 113furniture and furnis
2011 Spanish Market Artist Directory
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2 0 1 1 S PA N I S H M A R K E T 2 1
Craig Martin Moya
Booth 151
straw appliqu, Innovations
Within Tradition, straw
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 bultosPeter Ortega
Booth 1
unpainted bultos,
woodcarving
Guadalupita Ortiz
Booth 6
retablos
Sabinita Lopez Ortiz
Booth 48
unpainted bultos,
woodcarving
Alcario Carrie Otero
Booth 107
painted bultos, retablos,
relief carving
Carlos Jos Otero
Booth 89painted bultos, retablos,
relief carving
Nicolas R. Otero
Booth 121
retablos
Carlos Pacheco
Booth 67
retablos
Rodolfo Parga
Booth 29
painted bultos
Federico Prudencio
Booth 154
furniture and furnishings
Richard Prudencio
Booth 74furniture and furnishings
Lawrence Quintana
Booth 136
furniture and furnishings
Carlos A. Rael
Booth 147
retablos, painted bultos
Daniel L. Rael
Booth 53
relief carving, woodcarving,
unpaintedbultos
Felipe RiveraBooth 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 RodriguezBooth 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 148retablos
Cleo Romero
Booth 82
tinwork
Fred Romero
Booth 126
furniture and furnishings
Rachael Roybal-Montoya
Booth 73
precious metals
Cleo Salazar
Booth 56
weaving
Leonardo Gregorio Salazar
Booth 3
unpainted bultos
Ricardo P. Salazar
Booth 145
woodcarving, unpainted
bultos
Rosalie Salazar
Booth 41
painted bultos
Tomas Salazar y Weiler
Booth 54
straw appliqu
Charlie Sanchez Jr.
Booth 110straw appliqu, Innovations
Within Tradition, straw
appliqu
Vanessa M. Sanchez
Booth 97
straw appliqu
William Art Sanchez
Booth 146
painted bultos
Chris Sandoval
Booth 98
furniture and furnishings
Carlos Santistevan Jr.
Booth 22
hide painting
Carlos Santistevan Sr.
Booth 23painted 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 metalsJacobo 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 TrujilloBooth 80
weaving
Randy Trujillo
Booth 66
furniture and furnishings
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 84basketry
Della Vigil
Booth 57
straw appliqu, Innovations
Within Tradition, straw
appliqu
Esther L. Vigil
Booth 17
colcha embroidery
Eugene David Vigil
Booth 86, weaving
Gabriel J. Vigil
Booth 115
retablos
Jennette Vigil
Booth 157weaving
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 ChaveY106, 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, paintedbultos, Lawrence Cordova
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
Y115, retablos, Corine
Fernandez
Joey Miklo Fernandez
Y110, retablos, CorineFernandez
Jolianna M Fernandez
Y110, retablos, Corine
Fernandez
Jordan Miranda Fernandez
Y110, retablos, Corine
Fernandez
Matthew P. Flores
Y100, straw appliqu,
Marcial Rodriguez
Adriana Gonzales
Y116, retablos, CharlieCarrillo
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
Y107, retablos, John
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
Y119, straw appliqu,
Diana Moya Lujan
Nathan Martinez
Y123, straw appliqu,
Yvonne Martinez
Nicole Martinez
Y123, straw appliqu,
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
bultos, Lawrence Cordova
Yolanda Prudencio
Y132, woodcarving and
pottery, Richard Prudencio
and Therese Tohtsoni
Sefriano Prudencio
Y132, woodcarving and
pottery, Richard Prudencio
and Therese Tohtsoni
Simona RaelY121, 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
Y122, straw appliqu,
Jimmy Trujillo
Andrea Lee Torres
Y119, straw appliqu,
Diana Moya Lujan
Aubri M. Turano
Y134, weaving, Maria E.
Vigil
Adam Montao Ulm
Y100, retablos, Christine
Montao Carey
Christina Lourdes Valdez
Y133, retablos, John
Gallegos
Marcos Valenzuela
Y114, retablos, Corine
Fernandez
Isaiah Valenzuela
Y114, retablos, Corine
Fernandez
Enrique Bonifacio Vigil
Y118, retablos, Cecilia
Leitner
Nicolette Elisa Vigil
Y118, retablos, Cecilia
Leitner
Megan VigilY135, weaving, Marie Vigil
Daron Vigil-Scott
Y126, straw appliqu, Della
Vigil
Dominic Zamora
Y108, retablos, Frank
Zamora
2011 Spanish Market Artist Directory
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2 2 2 0 1 1 S PA NI S H MA RK ET 2 0 1 1 S PA NI S H M A
6 0 T H A N N I V E R S A R Y
Map is not to sc
First aid & police
storage
YouthMarket
Volunteers
Stage
Audience
seating
Buses Museum of Fine Arts
175
Sheridan
Ave.
21
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5 8 59 6 0 6 1 6 2 63 64 6 5 6 6
12 13 14 15 16 17 18 19 20 21 22 23
Palace of the Governors
La Fonda
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1 25 1 26 1 27 1 28 1 29 1 30 1 311 19 1 20 1 21 1 22
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Plaza
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101
Lincoln
Ave.
San Francisco St.
OldSantaFeTrail
Palace Ave.W. Palace Ave.
E. San Francisco St.
E. Palace Ave.FOOD COURT
2 4 2 5
146 145
118 123 124
96 9 5 94 93 92 91 90
100
99
9 8 9 7
WashingtonAve.
Los Maestros
Spanish
Colonial
Arts SocietySales and
Information
Spanish Colonial Arts Society
Membership Booth
UNM Press
Spanish
Colonial
Arts Society
Sales and
Information
Restrooms
ATM
2011Traditional Spanish Market
Colddrinks
Colddrinks
2011Traditional 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, curatorand archivist for the Archdiocese of Santa Fe,offers free Laymans Lecture About the Saints atSantuario de Guadalupe, 100 S. Guadalupe St.
FRIDAY (July 29)Noon. The Spanish Table, 109 N. GuadalupeSt., will host a Spanish sausage sampling, with alecture on how to make and cure Spanish-stylesausages by Robert Fettig. Flamenco guitaristJoaquin Gallegos will entertain.
6-7p.m. Sponsors-onlyPreviewparty ($300orabove),at theSanta FeCommunityConventionCenter,102W.MarcySt.Call982-2226ext103topurchasebeforemarket.
7-9p.m. Preview for Spanish Colonial ArtsSociety members, Santa Fe CommunityConvention Center. Memberships start at $40.982-2226, ext 103
SATURDAY ( July 30)8a.m.-5 p.m. Traditional Spanish Market takesplace on the Santa Fe Plaza. Free
10-11a.m.,Greeting and Proclamation, MayorCoss. Youth Art Awards, Plaza Community Stage
11a.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
2-3p.m. Maria Benitez-Instutute For SpanishArts, Plaza Community Stage
3-4 p.m. Nacha Mendez, Plaza Community Stage
SUNDAY (July 31)8a.m.A special Market Mass will be celebratedat 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 Markettakes place on the Santa Fe Plaza.
9:30-11a.m. Procession from the basilica,Archbishops Blessing and Mariachi Paisano deValle, Plaza Community Stage
11a.m.-noon.Ballet en Fuego Dance Company,Street
Noon-2 p.m., Isaiah Martinez, New MexicanMarimba Band, Street
2-3p.m. Chuy Martinez y Oti Ruiz, PlazaCommunity Stage
3-4 p.m. Los Hermanos Martinez, PlazaCommunity Stage
UNM PRESSSATURDAY ( July 30)
11a.m. Carla Aragn, Dance of the Eggshells/
TRADITIONAL
SPANISHMARKETEVENTS
Baile de los Cascarones
Noon. Robin Farwell Gavin, Converging Streams
1p.m.Amy Crdova, First Tortilla, Juan and the Jackalope, Juan theBear, Santero's Miracle
2p.m. Tony Mares, Astonishing Light
3p.m. Nasario Garca, Bolitas de Oro, Naked Rainbow, TiemposLejanos
SUNDAY (July 31)11a.m.Ana Baca and Noel Chilton, Tas Tamales; Baca, Mama FelasGirls
Noon. Robin Farwell Gavin, Converging Streams
1p.m. TBA
2 p.m.Demetria Martnez and Rosalee Montoya-Read,Grandpas MagicTortilla
Contemporary
HispanicMarket
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2011 SPANISH MARKET 25
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2 6 2 0 1 1 S P AN I S H M ARK E T
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2011 SPANISH MARKET 29
Fine RetablosA Family of Artists
chimayoretablos.wordpress.comStudio: #815 State Road 76, Chimayo, NM 87522
Ellen Chvezde Leitner Booth #150
Genevieve LeitnerBooth #153
Cecilia LeitnerBooth #150
Rose LeitnerBooth #153
HANDFABRICATED WEARABLE ART
Visit us at Contemporary Hispanic Marketas we celebrate 21 years in the market! Booth #57
Studio in Albuquerque by appointment505.890.3337 | milagrosymas@comcast.net
Bernadette Rodriguez-Caraveo | Oscar Caraveo
8/6/2019 Spanish Market 60th Anniversary 2011
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3 0 2 0 1 1 S P A NI S H M A R K E T
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, whichecializes 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 heightof 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
Lopezent 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 METALJewelry graces market poste fo the first time
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2 0 1 1 S P A NI S H M A R K E T 3 1
(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. Bytroule 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 worksome 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 canrecreate any piece using this recipe.
Before Lopez starts a new piece
hesends 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. Atother times his inspiration is more direct. He pointed at a pair of ear ings 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. Inever 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 87501505.983.9241 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
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3 2 2 0 1 1 S P A NI S H M A R K E T
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 id ea. 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 theashes
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 end 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 familyends time together
working on the pottery. Her 4-year-old grandson, Lar y
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 apotter when I grew up, Trujilo said. I knew, in here, that
my ancesors made pot tery. 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 r
for meals, back on the kitchen tale. Thats how I lea
Trujilo said. It was realy enriching and totaly engr
and it was totaly a transference of knowledge into th
the w