Spanish Market 60th Anniversary 2011

8/6/2019 Spanish Market 60th Anniversary 2011

1/43

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


2/43

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


3/43

2011 SPANISH MARKET 3

Destiny AllisonArtist

Businesswoman

Community Activist

Creating Santa Fes most comprehensive events calendar...

Submit your free event listings today.

Photo:BillStenge

l

Santa Fe is my home, my inspiration, my playground...


4/43

4 2011 SPANISH MARKET

A valuable connectionwhen you need us.

Committed to supporting education and culture, Century Bank

has been giving back to our communities for over 120 years

and that will never change.

Call us or visit any of our convenient locations today.

505.995.1200 u centurynetbank.com

Santa Fe u Espaola u Albuquerque u Las Cruces


5/43


6/43

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


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 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


7/43



8/43


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

Ph: 505.983.456 2 | SantaFeGoldworks.com

Featuring

Why rent, when you can

ownan energy-efficien

CentexHome in Santa F

from the 170s?

Learn about owning a new home by calling 866-216-

Thereare2 conveniently locatedCentex

Communities inSanta Fetochoosefrom.

GotoCentex.com/offers fordirections.

Buying a Centex home gives you

A HERS score of70or better

City of Santa FeGreen

Program - Silver

Certification

Tankless hotwater heater

Energy star ratedLow-Ewindows

Lennox 93% efficientEnergy star furnace andair conditioning

Water conservinglandscapingwithautomatic irrigation

Low-flow toilets

LowVOC paint

Watersense certifiedMoenfixtures

Energy usagemonito

High-efficiency ceilininsulation andblown

wall insulation andmuch,muchmore

All of this, a 10 year warranty andprices starting as low as the 170s.

Continuing a policy of constant research and improvement, the PulteGroup reserves the right to chang

plan, specifications or availability without notice or obligation. Please see a sales a

for details. 2011 Centex Homes. All rights reser ved. 7/11/11. PGI Realty: 505-76

7601 Jefferson NE Suite 320,Albuquerque NM 87109


9/43

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


10/43

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


11/43

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


12/43

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 [email protected],984-6199.


13/43

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.


14/43

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.


15/43


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


16/43

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


17/43

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.


18/43

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


19/43


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


20/43

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


21/43

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


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


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


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 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


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


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


Fernandez

Joey Miklo Fernandez

Y110, retablos, CorineFernandez

Jolianna M Fernandez


Fernandez

Jordan Miranda Fernandez


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


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

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


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 VigilY135, weaving, Marie Vigil

Daron Vigil-Scott

Y126, straw appliqu, Della

Vigil

Dominic Zamora

Y108, retablos, Frank

Zamora

2011 Spanish Market Artist Directory


22/43

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

3 4 5 6 7 8 9 10 11

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

28

27

26

29

30

31

32

41

42

40

39

38

37

33

34

68

67

69

70

71

72

73

74

36

35

56

57

55

54

53

52

51

50

49

48

47

46

45

44

43

7 6 7 5

133

132

135

134

137

136

138

140

139

142

141

143

144

1 62 1 61 1 60 1 59 1 58 1 57 1 56 15 5 1 54 1 53 1 52 1 51 1 50 1 49 1 48 1 47

1 25 1 26 1 27 1 28 1 29 1 30 1 311 19 1 20 1 21 1 22

163

Plaza

89 8 8 8 7 86 85 84 83 8 2 81 8 0 7 9 78 77

164

165

166

167

168

169

170

171

172

173

174

106

107

108

109

110

111

112

113

114

115

116 117

102

103

104

105

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


23/43



24/43



25/43

2 6 2 0 1 1 S P AN I S H M ARK E T


26/43



27/43

2 8 2 0 1 1 S P AN I S H M ARK E T


28/43


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 | [email protected]

Bernadette Rodriguez-Caraveo | Oscar Caraveo


29/43

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


30/43

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


31/43

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

Spanish Market 60th Anniversary 2011

Documents

Transcript of Spanish Market 60th Anniversary 2011