spanish market 2012

7/31/2019 Spanish Market 2012

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2012 the santa fe new mexican www.santafenewmexican.com

SpanishMaRKET

arlene cisneros 2012 masters award for lifetime achievement

spanish colonial arts society


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2012 Spanish Market | 3

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4 | 2012 Spanish Market


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S S MarketPubs juy 22, 2012

6 Welcome etterspanih Colonial Art societ staff

9 spanih Market Week

10 spanih Market Week Calendar

12 Volnteer Award

14 bandtand ntertainment

16 Arlene Cinero sena: MaterAward for ifetime Achievement

20 nnovation Within Tradition

22 booth ocator Map / Park and Ride

24 2012 spanih Market Artit it

26 Andrew Garcia: Poter Artit

32 Copper ngraving

34 Collective jo

36 Contemporar ipanic Market

38 Contemporar ipanic MarketPoter Artit: dward Gonzale

42 Contemporar ipanic Marketbooth ocator Map

i

n

s

id

e

Cover photo Luis Snchez Saturno

rlene Cisneros Sena

2012 Masters ward for Lifetime

chievement honoree

Cover design Deborah Villa

Owner Robin Martin

ublisher Ginny Sohn

Editor Rob Dean

EDORL

Creative director Deborah Villa

986-3027, [email protected]

Magazine editor Emily Drabanski

Magazine design Linda Johnson

Copy editor Sandy elson

DVERSG

dvertising director amara and

986-3007

R DERME

Manager Scott Fowler

Dale Deforest, Elspeth ilbert

dvertising layout Rick rtiaga

DVERSG SLES

Kaycee Cantor, 995-3844

Mike Flores, 995-3840

Margaret enkels, 995-3820

Belinda oschar, 995-3844

Cristina verson, 995-3830

Stephanie Green, 995-3820rt rujillo, 995-3820

ationals account manager

Rob ewlin, 505-995-3841

[email protected]

SSEMS

echnology director Michael Campbell

RODCO

Operations director l Waldron

ssistant production director im Cramer

repress manager Dan Gomez

ress manager Larry Quintana

ackaging manager Brian Schultz

DSRBO

Circulation manager Michael Reichard

Distribution coordinator Casey Brewer

WEB

Digital development Geoff Grammer

www.santafenewmexican.com

DDRESS

Office: 202 E. Marcy St.

ours: 8 a.m.-5 p.m., Monday-Friday

dvertising information: 505-986-3082

Delivery: 505-986-3010, 800-873-3372

For copies of this magazine, call 428-7645

or email [email protected].

Spanish Market 2012 5

61st Annual


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The art you see at each booth is created by some of the most talented

Hispanic artists in the country. Stop and talk to the artists, as they

take great pride in sharing their knowledge of the traditional arts. The

heritage represented by the ar t shown at Spanish Market runs deeply

into the fabric of New Mexico culture. Each piece is handmade by an

artist who often learned the art form as it was passed down from one

or more family members. The artists use their talent and skill to create

one-of-a-kind art pieces that you admire at the booth. By supporting

the artists with a purchase, you and your family can enjoy the artwork

for many years. Remember that commissions for a very personal piece

are welcomed by the artists.

The mission of the Spanish Colonial Arts Society extends to the

Museum of Spanish Colonial Art. We invite you to visit the museum

(750 Camino Lejo) on Museum Hill to view the eight exhibitions,

includingNew Deal Art: CCC Furniture and Tinwork, and another display

featuring the art of several current Spanish Market tin artists in the

Spanish Market Artists Gallery.

The society also offers art outreach programs for children in the

local schools and at the museum, as well as art workshops and lectures

for adults. Please join the society at the society tent during Spanish

Market or online at www.spanishcolonial.org so you can enjoy all the

membership benefits.

We especially thank the Archdiocese of Santa Fe for the special Mass

at 8 a.m. Sunday, where the art ists are encouraged to bring a piece of art

for a special blessing from the archbishop. Please join the artists at Mass

and in the procession to the Plaza t hat follows.

Thank you for attending the 2012 Spanish Market and celebrating the

Hispanic artistic legacy of New Mexico with the ar tists, society staff and

more than 300 volunteers. Your support allows t his legacy to continue.

Please plan to join us at the Winter Market on December 1 and 2 at the

Santa Fe Community Convention Center.

DonnaPeDace, Executive Director

Spanish Colonial Arts Society

W E L C M Eto the Spanish Colonial Arts Societys

61st annual traDitionalsPanishMarket,

the oldest and largest juried

Spanish Market in the United States.

Donna Pedace

Executive Director

Maggie Magalnick

Spanish Market DirectorBen Brown

Gift Shop / Admissions

Tannis Eberts


Theresa Gallegos


Robin Farwell Gavin

Museum of Spanish Colonial Art, Curator

Janella Marsh

Membership & PR

Linda Muzio

Education DirectorJann Phillips

Finance & Gift Shop Manager

Ellen Sullivan

Development Grant Writer

Cecelia Wilkinson


Bill Field

Consultant, Special Projects

6 2012 Spanish Market


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Get the inside scoop at SantaFe.com

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E E E E E E

SomEpEoplEwhohadnEvErviSitEd Santa FEbEForEaSkEddonna pEdacE,

ExEcutivE dirEctor oF thE SpaniSh colonial artS SociEty, what ElSE

EE S E E E F SS E. S ES

ablE to promiSE Far, Far morE than thEy had timE For, pEdacE Said.

Spanish Market Week

offers a wide range of activities

By arin mckenna

edace believes many people have that same question, so her staff collaborated with

other organizations to provide visitors with a centralized schedule of Spanish arket

eek activities.

ather than us reinventing the wheel and

filling the week with events that we would put

together, its been a collaboration with other

organizations and nonprofits in town that are

doing things our visitors might be interested in

participating in while theyre here, edace said.

he society did initiate talks with chef John

ollertsen, director of as osas ooking School.

hey want to not only encourage people to stay

longer but also to extend the idea of the Spanish

heritage to include other areas of the culture,

ollertsen said. thought it was a great idea.

eople who come to Spanish arket are well

traveled and come from all corners of the world,

so its nice to be able to entertain them.

ollertsen is offering two special cooking

classes that week, ew exico Favorites and

Spanish nfluence on ew exicos orteo

ookery. he classes will focus on how the

Spanish culture influenced our local ingredients

and cuisine and how local culture influenced

Spanish cuisine, he said.

eyton right allery owner John right

Schaefer will give at least one lecture on

collecting Spanish olonial art in the 21st

century. eyton right is probably among the

top three Spanish colonial art galleries in the

country, edace said.

right Schaefers focus is on placing ew exicos Spanish colonial art in the

context of Spains ew orld empire. his was the farthest outpost, but it was

inextricably intertwined with other parts of the Spanish Empire in the ew orld,

right Schaefer said. here is a lineage and consistency maintained throughout the

empire with notable flavoring and artistic elements of each region.

Schaefer said that museums, scholars and collectors around the world have recently

shown an increased interest in Spanish colonial ew orld art, from which ew

exico is notably absent. hat will change, right Schaefer said. his northern

territory will become an integral part of the study of ew orld Spanish colonial art.

his is our heritage, and it is time it was recognized as a small but significant part of

ew orld Spanish colonial art.

egends Santa Fe presents Mestizo, an exhibit by icholas errera with guest artist

Susan uevara. Mestizo, named for a person of

Spanish and indigenous heritage, explores the

artists own mixed heritage. errera gives a talk

at the gallery ednesday evening.

atina allery hosts an exhibit by

contemporary Spanish jeweler Enric ajoral.

heir feature event is a breakfast reception

and talk about ajoral and the impact of

contemporary Spanish jewelry with co-owner

llison arnett.

ajoral is quite the renaissance designer,

co-owner van arnett said. e does a range

of very interesting things.

arket week offers a feast for music lovers,

as the Santa Fe pera, Santa Fe hamber

usic Festival and Santa Fe esert horale all

have several performances.

esert horale is offering one uniquely

ew exican performance, elebrating the

entenary, which features world premieres

of three commissioned works representing the

states three principal ethnicities.

he program also features ative merican

flutist onald oybal. oybal, of ewa (ueblo)

heritage and Spanish colonial descent, is a six-

time ative merican usic ward nominee.

e performs a choral work by local composer

John uther called Song of Blue Water, a tribute

to the late ewa linguist and storyteller

Esther artinez. he societys own events include an artists luncheon and the market

preview. nd make time to visit the useum of Spanish olonial rt during the week.

ts a wonderful place to start, to learn, and then go out and see the contemporary

artists, edace said.

uncheon with the artists was a big hit when it was introduced last summer and

again at winter market. ou get to know an artist and you have the opportunity to ask

all those questions that we all want to ask but just dont have time for, edace said.

he event also features a brief question-and-answer period with all the artists

present. inwork, copper engraving, pottery, straw appliqu, retablos and weaving are

some of the disciplines represented at this years luncheon.

Chef JhVllertse


Poo Kiy LaKn


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The popular members only market preview generates a spike in renewals

every year. The event provides the best chance to see the artists finest work. Pedace

estimated that 80 to 85 percent of the work shown at the preview is sold by 10 a.m.

Saturday. Memberships can be purchased at the door.

The preview party is really the opportunity to meet with the artists and see the

award-winning pieces before market itself. I think thats where about half the peopledecide, How early am I going to go and get in line? And for what? Pedace said.

Its without a doubt our biggest social function. And I think the artists enjoy it more

than the guests do.

The final day opens with the Spanish Market Mass at the St. Francis Cathedral

Basilica. Artists enter the cathedral carrying artwork to be blessed by Archbishop

Michael Sheehan, who presides over the Mass. The choir is joined by mariachi

musicians for a joyous celebration of the liturgy.

It doesnt matter if the visitors are from Pittsburgh or Las Cruces or

Albuquerque; were just trying to help them understand how much there is to do in

Santa Fe during just that one week, Pedace said. We want more visitors, we want

them to stay longer and, for our artists, we hope they buy and take home a treasure.

Nicholas Herreras #2 Mestizo, hand-carved wood, mixed media, 32" x 17" x 12"

Winte Night: Fiday, Nembe 30

Winte Maket: Satuday, Decembe 1 and Sunday, Decembe 2

Check www.sanishclnial.g in the fall f me details.

P

A

N

I

S

H

M

A

R

K

E

T

T 61S T TrDToN SpNS MrTkicks ff the weekend with its membes-nly peiew paty fm

7 t 9 .m. Fiday (July 27) at the Santa Fe Cmmunity Cnentin Cente,

201 W. Macy Steet . Sanish Clnial ts Sciety membeshis

can be uchased at the d. F membeshi infmatin, call

982-2226, ext. 103. The Snss peiew is at 6 .m. f membes at the

$300 and me leel. Yu must becme a sns in adance.

Sanish Maket atists sell thei wk n the Santa F e plaza fm

8 a.m. t 5 .m. Satuday (July 2 8) and 9:30 a.m. t 5 .m. Sunday (July

29). dmissin is fee.

t 8 a.m. Sunday (July 29), a secial Mass will be celebated at

the Ca thedal Basilica f St. Fancis , fllw ed by a cess in t

the pla za.

S a v e t h e D a t e S f o r W i n t e r M a r k e t

SPAISH MAT W vNTSSunday, July 22

6 .m. Santa Fe Chamber Music Festival

Monday, July 23


TueSday, J uly 24

n Santa Fe Chamber Music Festival

4 .m. Museum of Spanish Colonial Art, talk and tour with curator Robin

Farwell Gavin

8 .m. Santa Fe Desert Chorale, Dancing the Mystery, Loretto Chapel

WedneSday, July 25

10 .m. Las Cosas Kitchen Shoppe, cooking class with chef JohnVollertsen

New Mexico Favorites

n Spanish Colonial Arts Society, Luncheon with the Artists

5:30 .m. Legends Santa Fe, talk with featured artist Nicholas Herrera

8:30 .m. Santa Fe Opera, King Roger

ThurSday, J uly 26

10 .m. Las Cosas Kitchen Shoppe, cooking class with chef JohnVollertsen

Spanish Influence on New Mexicos Norteo Cookery

n & 6 .m. Santa Fe Chamber Music Festival

4:30 .m. PeytonWright Gallery, lecture by John Wright Schaefer, CollectinSpanish Colonial Art in the 21st Century, 989-9888 or peytonwrigh

com (check their website for additional Spanish Market Week even

8 .m. Santa Fe Desert Chorale, From Bach to the Beatles, St. Francis

Cathedral Basilica

Friday, July 27

9:30 .m. Patina Gallery, breakfast reception and lecture by Allison Barnett

on featured artist Enric Majoral, www.patina-gallery.com or 986-34


7 .m. Spanish Market Preview, Santa Fe Community Convention Center

8:30 .m. Santa Fe Opera, Maometto II

SaTurday, July 28

8 .m.-5 .m. 61st Annual Spanish Market on the Plaza

10 .m. Spanish Market Youth Awards

Legends Santa Fe, Hispanic artists group show


8 .m. Santa Fe Desert Chorale, Celebrating the Centenary, New Mexico

History Museum

8:30 .m. Santa Fe Opera, Arabella

Sunday, July 29

8 .m. Spanish Market Mass, St. Francis Cathedral Basilica

9:30 .m.-5 .m. 61st Annual Spanish Market on the Plaza

Legends Santa Fe, Hispanic artists group show


TueSday-Friday

The Screen will show foreign films: www.thescreensf.com

MuSeuM oF SpaniSh Colonial arT

750 Camino Lejo on Museum Hill, 10 a.m.-5 p.m. daily

For information, www.spanishcolonial.org or 982-2226


For deTai lS abouT evenTS, ConTaCT The FolloW i ng

Las Cosas Cooking School www.lascosascooking.com (877) 229-7184

Legends Santa Fe www.legendssantafe.com 983-5639

Santa Fe Chamber Music Festival www.SantaFeChamberMusic.com 982-1890

Santa Fe Desert Chorale www.DesertChorale.org 988-2282

Tickets at 988-1234 or ticketssantafe.org. Concert previews at 7 p.m.

Santa Fe Opera www.santafeopera.org 986-5900

Spanish Colonial Arts Society www.spanishcolonial.org 982-2226

D E T A I L S


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by adele melander-dayton

Even though Lorna Ortiz Calles arrives at the Plaza at 6:30 a.m. to set up during the

weekend of Spanish Market and works through the day until closing, she said that

days spent at market fly by. Ortiz Calles has volunteered with the market since 2000

and last year won the Del Corazn Volunteer of the Year award.

Ortiz Calles is a lifelong Santa Fean and longtime supporter of Spanish Market.

Her children participated in the youth artist divisions, and while Ortiz Calles has

assisted in the general

market, her favorite part

is working with the young

artists and seeing them

develop their skills. All

Youth Market artists are

mentored, Ortiz Calles

explained. The kids bring

a piece theyre working on

and have adult artists in their

category help them and give

them a different perspective

about how to do things.

[The kids] are so involved in

making their pieces and so

anxious to learn from the adults.

In addition to supervising, checking in and assisting the young artists at the

market each year, Ortiz Calles has worked on the education committee and the arts

advocacy committee, which met a few years ago to re-evaluate market guidelines.

Ortiz Calles emphasized that shes there to assist in any way she can. As part of

her work on the education committee, Ortiz Calles helped implement continuing

education classes for adult market artists and worked with the community outreachprogram, which sent market artists into local schools.

As for winning the Del Corazn award, Ortiz Calles said, I was so honored and

so surprised and still so surprised and humbled. Its easy to hear the pride in her

voice when she talks about her years working for the market and the function of the

Museum of Spanish Colonial Art, especially when she spoke about the importance

of continuing art in the Spanish colonial style: I can go to any museum in the world

and I can see what happened, but [other museums] dont have artists that are still a

living part of the museum.

This sense of history extends to the youngest Spanish Market artists, too. My

family came here hundreds of years ago,Ortiz Calles said, and its exciting to see th

kids learning about their culture and doing the same things that were done many years

ago. [The young artists] realize that coming to New Mexico was not an easy thing, but

we did all right, we survived.

A sense of community is perhaps the most important benefit of Ortiz Calles

volunteer ing. The market is a fantastic venue for Santa Fe, she said. When

we go to Spanish Market, its like meeting your family all over again

artistsand customers. It doesnt make a difference whether you grew up here or not;

its a reunion.

The 2012 outstanding volunteer will receive word of the recognition a

the Members-only Preview Party at 7p.m. Friday (July 27) at the Santa Fe

Community Convention Center. Memberships are available by calling

982-2226 before the event.

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14/43

14 2012 Spsh Mket

Performers honor centennial year with dynamic entertainment m ix

hroughout the past century, and even hundreds of years before that, the historic Santa Fe

Plaza has hosted more than its share of diversity, whether it is people of different cultures,

official governments, animals or even technology.

And although this years Traditional Spanish Market links the Plaza and its surrounding

area to a specific genre of Hispanic arts, a lineup of performing artists scheduled to

entertain market attendees is intended to offer a cross-sampling of New Mexican music from

throughout New Mexicos first 100 years as a state to celebrate its centennial year.

We wanted to bring to market an array of performers that span a hundred years, said

Maggie Magalnick, the director of the Traditional Spanish Market. From the ballads of the

past to the contemporary. Thats what we were looking for.

Indeed, the variety of Plaza Bandstand performers represents a wide span of time from

the centuries-old Matachines dance to the distinctly Northern New Mexico sound of Antonia

Apodaca y Trio Jalapeo to the modern smooth-sounding Latin rhythms of Sol Fire, among

many others. The popular Darren y Calor band highlights the two-day music and dance

extravaganza when it performs from 3 to 5 p.m. Saturday.

Of course, the familiar sound of mariachi music will often resonate throughout the Plaza that

weekend as well. A Mariachi Fiesta opens the bandstand performance schedule from 9 to 10 a.m. on

Saturday, and after an 8 a.m., 90-minute Market Mass in the Cathedral Basilica of St. Francis of Assisi,

a mariachi procession will lead churchgoers and others from the cathedral to the Plaza Bandstand.

A lot of the music has come up from different places, especially Mexico, Magalnick said. But all

of the performers are New Mexicans. Amado Abeyta, who along with his brother Buddy founded the

locally popular group Sol Fire, said their father, Chris Abeyta, a musical legend on the local music scene and

founder of the former popular Latin-dance band Lumbre del Sol, heavily influenced their music. The Abeyta

brothers have rearranged many of their fathers songs but were careful to keep the Latin-sounding integrity. Were

honored to do them (Chris songs), and hes honored that we do them.

Theres kind of two different versions out there, Amado said, and its kind of become an anthem for two generations. And sometimes

he said, their father will join them onstage. We grew up backstage at Dads concerts. We didnt grow up in the traditional way fishing, camping or hunting.

Sol Fire, which will take to the Plaza Bandstand on Sunday, July 29, from 1 to 2 p.m., plays regularly at local nightclubs, as well as at the burning of Zozobra, weddings,

celebrate good times,comeon!Th

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brothers have rearranged many o

honored to do them (Chris songs), and

Theres kind of two different versions out there,

ce e rc

private events and at Sadies in Albuquerque. To hear samples of their music, visit

www.solfiremusic.com.

Contrasting the modern-sounding rhythm of the Abeyta brothers will be the

ever-popular Antonia Apodaca y Trio Jalapeo, many of whose folksy Northern

New Mexican tunes were penned by the 88-year-old Apodaca, who learned how

to play the accordion and guitar from her parents and other relatives.

The feisty musician was raised in the Mora County village of Rociada, and

she keeps alive the Northern New Mexico style of music through Spanish polkas;

cunas, or old Spanish songs sung to babies; valses, which are romantic ballads; as

well as some humorous redondos and inditas. The other members of Trio Jalapeo

are Ray Casias and Bernardo Jaramillo.

Magalnick is quick to point out that also sharing the stage with the musical

groups will be many Latin-dance troupes, including colorful ballet

folklrico dancers, flamenco dancers from the Mara Bentez

Institute for Spanish Arts and Los Matachines Alcalde, which

will perform the indigenous dances of the Northern New

Mexico Hispanic and Native American communities.

The tradition of the Matachines dance dates back to Spain

in the late 1400s, when Christians drove the Moors out

of the area. There are many variations of the masked

One of Chris Abeytas most creative and catchy songs, Salsa Chicana, has also become a staple in Sol Fires musical repertoire

although Amado and Buddy rearranged it and incorporated the styles of rhythm & blues, rock n roll and flamenco.

g the stage with the musical

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by arnold vigil


15/43

SATURDAY, JULY 2 8

9-10 a.m. Mariachi Fiesta, Centuries of Old Music From Mexico

10-10:15 a.m Greeting and Proclamation by Mayor David Coss

10:15-11 a.m. Youth Market Awards

11-Noon Antonia Apodaca y Trio Jalapeo, Traditional Folk Music of NewMexico

Noon-1 p.m. Los Matachines de El Rancho, Indigenous Dances ofHispanic and Native American Communities

1-2 p.m. MichaelCombs,19th-&Early20th-CenturyNewMexicoMusic

2-2:30 p.m. La Sociedad Colonial Espaola de Santa Fe, Native NewMexicanDances

3-5 p.m. Darren Cordova y Calor, 20 Years of New Mexican MusicTradition

SUNDAY, JULY 2 9

8-9:30 a.m. Market Mass at theCathedralBasilicaof St.Francis of Assisi

9:30-9:45 a.m. Mariachi Procession from the Cathedral to the PlazaBandstand

9:45-10 a.m. Archbishop Award and Blessing of Market

10-11 a.m. Mariachi Nuevo Sonidos, Music from the State of Jalisco,Mexico

11-Noon Mara Bentez Institute for Spanish Arts-Flamenco NextGeneration, Exciting Flamenco Dancing

Noon-1 p.m. Grupo Sangre de Cristo, Music of the Royal Road ThroughNorthern Mexico and New Mexico

1-2 p.m. SolFire, Merge of Rock With Pop, R&Band LatinInfluences

2-3 p.m. Baile Espaol, Spanish and Mexican Dances

3-4 p.m. Nacha Mendez, Latin World Music

4-5 p.m. Zia, Traditional Music of New Mexico

Whoever happens to be in the vicinity of the Plaza Bandstand from 11 a.m.

t nn Saturda, Jul 28, whether planned r b cincidence, is in fr a

special treat.Thats when the legendary Antonia Apodaca, a giant in the

genre f authentic Nrthern New Mexic music, takes the stage with her

band,Tri Jalape,

The clrful 88-ear-ld sngwriter/musician, wh plas the accrdin

and guitar while she sings mostly in Spanish about her long, illustrious

life in New Mexico, has delighted audiences throughout her manydecades from local dance halls and weddings to the state Roundhouse

t the Smithsnian Flklife Festival and White Huse in Washingtn, D.C.

And the most ardent of Apodacas fans know that she barely escaped

with her life when her lifelng Mra Cunt hme in Rciada caught fire

less than a week before Christmas 2010, while she was cooking eggs,

chicharnes and chile fr breakfast. A gust f wind blew the ht chimne

pipe over and started the roof on fire, and it spread so quickly that

Apodaca could only save her accordion and guitar, which she happened

t place at the dr in preparatin fr a perfrmance later that da.

Its been so sad for me; I dont have no business being there by myself,

an animated Apodaca said of the house where she was born and raised

and where she made a hme with her late husband Maximilian Apdaca

in 1979 after they returned from living in Wyoming. Im not that young.

Im ging int 89. If the rebuild it, the wuld have t pa smebd

t live with me.

Instead, Apdaca mved in with her sn Max in nearb Las Vegas, and

she is now on her own again in that city. She continues to perform and

write songs as long as someone picks her up and drives her to the

gig. Apodaca said she is often asked to what she attributes her long life,

health and upbeat outlook; she cant help but burst into one of her own

lyrics: Chile in the morning, chile in the evening, chile at suppertime.

Chile makes me happ, all the time.

Talking with Apodaca is a delightful experience, as she seamlessly

switches from English to Spanish to song to Spanish to Spanglish

well, you get it. Her cheerful disposition, talent and ease with an

audience make her Saturday performance on the Plaza Bandstand an

event nt t be missed.

By ARNoLD VIIL

dance, but the popular version in New Mexico generally incorporates a theme of

good versus evil and includes characters such as the devil, representing evil, and a

little girl dressed in white or la Malinche, who represents good. Magalnick said

this dance, which will be performed from noon to 1 p.m. Saturday, July 28, will be

done in front of the Plaza Bandstand because of the space needed for the centuries-

old pageant and the number of performers.

Celebrating 20 years of performing music in the New Mexico tradition,

Darren Cordova y Calor will close Saturdays Plaza Bandstand lineup with a

two-hour performance starting at 3 p.m. The popular Cordova, a former Taos

city councilman and now the mayor of Taos, started his Calor band in 1993 and

quickly became a staple of the New Mexico Spanish-music scene, winning multiple

music awards over the years. More information is available online at

www.darrencordovaycalor.com.

Magalnick said the lineup of performance groups was picked by a

committee made up of 10 people from the community, including

Patricio Gonzales of KSWV-AM 810 radio, Traditional Spanish

Market artists and staff members of the Spanish Colonial Arts

Society. All of the musical events on the Plaza are free, as is

the Traditional Spanish Market itself. She joked, however,

Parking is not part of that.

SHES STILL HOT, HOT, HOTAntoniAApodAcA

music awards over the years. M

www.darrencordovaycalo

aga n c sa t

comm ttee ma e

atr c o onz

ar et art

Society. A

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16/43

2012 MaAwa f

LietiMe

AchieveMent

Arlene Cisneros Senas home studio is like a well-lit, Saltillo-tiled jewel box. Crowded but not cluttered

the studio bursts with color, and its hard to take it all in at once. Framed Spanish Market posters lin

one wall, a small shrine occupies a corner, a vivid bouquet of Mexican paper flowers sits on a table and

the painted wood panels of Senas in-progress piece for the Bishop of Gallup lean against the cabinets

Everything in this bright, quiet room, from the childs-eye-level drawings that read Nana to the tray

of paints and pigments, is saturated with the deep hues found in Senas work.

Cisneros Sena herself is at ease in her studio, quick to smile

and perfectly put together, yet unfussy. Shes 2012s recipient

of the Masters Award for Lifetime Achievement, and even a

cursory investigation of her work reveals that the honor is well-deserved. This year marks Cisneros Senas 20th anniversary as

an artist at Spanish Market, though she was a volunteer at the

market for several years prior.

Since beginning her journey as a santera, Cisneros Sena

has been the markets poster artist (in 1994), won first place

at the market twice for her large retablos (in that category)

and received many awards, including the Governors Award

for Excellence in the Arts in 2010. She received the popular

Peoples Choice award at the 2011 winter market and at

Spanish Market in 1998. Cisneros Senas altar screens (reredos)

and retablos can be seen in houses of worship across New

Mexico and Colorado (at the Cathedral Basilica of St. Francis

of Assisi and Shrine of Our Lady of Guadalupe in Santa Fe,

among several other churches). She even has a piece thats partof the Vaticans collection in Rome.

In spite of the many awards that recognize her artistic talent,

Cisneros Sena is very clear about her role. I call myself a

Counting HerBlessingsSanteraArlene Cisneros Senas

faith bringsdivine inspiration

to her work

By AdeLe MeLAnder-dAyton

photos By Luis snchez sAturno

santera; Im not an artist, Cisneros Sena said. I really love

the art form, but for me, it means much more than that. Its

where I was meant to be, its who I am and its how I know God

blessed me.

(Santera is Spanish for a woman who is a maker ofreligious images, primarily saints.)

Cisneros Sena has deep roots in Northern New Mexico. Her

mother was from Costilla and her father was from Questa.

Cisneros Sena was born in San Luis, Colorado, but this was a

fluke: The family was on the way back from a trip to Colorado

and Cisneros Sena arrived a bit early. She was very young

when the family moved to Santa Fe. Cisneros Sena often

describes herself as nun-raised, and she attended St. Annes

(the school previously operated by the parish) through eighth

grade. I remember doing a lot of drawing and showing some

artistic ability and being encouraged by a couple of the nuns,

Cisneros Sena said. She cites the holy cards with pictures and

descriptions of saints that the nuns gave out at school as an

inspiration behind her use of gold leaf. Sometimes [my work]

just has to sparkle back at me, she said.

Family and tradition are central to Cisneros Senas identity

and her work. My dad was always my champion and my first

Arlene Cisneros Sena takes

a break in her studio.



17/43

fan, and he offered me so much encouragement, Cisneros Sena

said. Thats why to this day, to honor him and give him tribute, I

kept my maiden name (Cisneros). Cisneros Sena said it was her

husband, Richard, who, along with her brother, encouraged her tojury into market as an artist. My husband and my brother knew

Id been an artist all my life, she said.

Each year after registering their work at market, Cisneros

Sena and her clan go to the cathedral to bring flowers to Our

Lady in La Conquistadora chapel. Id tell [the children in

my family] that this is the time to thank God for their gift and

their talent, to pray for a good market and, most of all, to give

thanks, Cisneros Sena said. As her children and nephews grew

up, I didnt have to give that speech anymore, Cisneros Sena

said. Her nephew Andrew took over. He explained why we were

here, what were doing. Hopefully someday, Ill do the same with

my grandbabies, she said.

Cisneros Senas retablos feature wide-eyed saints, liberal use

of color and attention to small details. She mixes the pigments,varnishes and gesso using traditional techniques. The first panel

in Cisneros Senas San Jos altar screen at St. Francis Cathedral

Basilica shows an angel visiting Joseph before the birth of Christ.

Josephs head is encircled with a delicate halo of gold leaf, and

the angels scarlet gown stands in relief against dark gray swirls

of clouds building behind her. The scene is solemn yet serene,

both mournful and joyful, and it is this melancholy combinationthat Cisneros Sena masterfully executes in her work.

The pigments and dyes are so rich, I feel as though they

need to tell that story, she said. Im not one to do pale watery

colors; these dyes are staining. Theyre going to stain the gesso;

theyre going to be full color. She explained that early on she

painted in a simpler style. But I felt as though I was holding

back. Every time I began a new piece I wanted to push a bit

more; it was all right to add drapery and accents. Its ornate.

On winning the Masters Award for Lifetime Achievement

after 20 years at Spanish Market, Cisneros Sena said, This

award means a lot; Im tremendously grateful. But I dont do

this to get awards; the art and the tradition mean so much to

me. I want to pass it on, not only to my family but also to young

people who are interested.

In the hallway that leads to Cisneros Senas studio is a framed

pencil drawing that depicts the Good Shepherd among his flock.

The lines are carefully drawn, the sheep simple, yet lifelike.

Thi w lt;

I tly gtfl.

Bt I t thi t gt

w; Te arT and

Te TradITIon mean

so muc To me. I wt

t p it , t ly

t y fily bt l

t yg ppl wh

itt.

Arlene Cisneros Sena paints

some detail into her depiction

of San Francisco de Sales.

The painting is one of a series

of panels that will serve as

an altar screen to be installed

in the private chapel of

Bishop JamesWall in Gallup.



18/43


The sketch was drawn by Cisneros Senas grandfather, whom

she never knew. He was a shepherd and would disappear with

his flocks into the hills and return with drawings, Cisneros

Sena said. The sketch is flanked by two of Cisneros Senas

own drawings of the Good Shepherd with large-eyed male

and female children holding lambs. Like her grandfathers

drawings, the sheep are simply rendered, yet softly alive. These

drawings are a small, personal display, almost an afterthought

in comparison to Cisneros Senas huge, expressive and public

retablos. But there in the hallway, the artistic and cultural links

to Cisneros Senas past are tangible and present.

I really love the art form, but for me, it

means much more than that. Its where

I was meant to be, its who I am and its

how I know God blessed me.

At left, Nuestra Seora del Carmen and below, La Sagrada Familia.Both will be part of the installation in Bishop JamesWalls private chapel in Gallup.


19/43


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20/43


Abreath

offreshair

Although only 22 of Traditional Spanish Markets 250-plus

artists juried into the new Innovations Within Tradition category

last year, it was as though a fresh spring breeze was blowing

through the entire event.

This really does rejuvenate the energy here at market and

not only with the artists. Clients have been coming by the booth,

and theyre just raving about the new work, and that theyre

just seeing such new and energized pieces, said Kevin Burgess

de Chavez. It just freshens market, freshens my excitement in

working. You can only punch so much of the same design. Being

able to do something different is fun.

All artists must jury into a traditional category and produce

only traditional work for their first two years in market. Chavez

is a tinworker. His innovations include mimicking the filigree

work found in precious metals with tin and using brass to create

the look of straw appliqu. Other designs included a tin barbed

wire wreath and flying pig nightlights made of tin.

Chavezs first piece to sell last year was a door-sized mirror

titled Flamenco. I was inspired by the movement of a flamenco

dancer, so it had nice twists and big ruffles, Chavez said.

People noticed it at the preview, and they came in bright and

early before market even opened to lay their claim on it and

waited until 8 to purchase.

Charlie Carrillo said he had seen a tremendous response

to the new category. I think its like going into a room with

fresh flowers: Theres something fresh to see, and its exciting,

Carrillo said. My booth was filled all day Saturday. And people

were looking at all the pickup trucks and cars and having fun.

(His innovative work depicts saints in classic cars and trucks.)

Theyre bright, theyre fun, theyre different.

The only Innovations piece Christine Montao Carey had lef

by Sunday last year was a corn ristra sculpted from tin, and even

that had engendered special orders for the same piece made to

specific dimensions.

It was phenomenal. With this economy, you never know

what to expect, and I ended up fuzzy-brained, because they

kept coming and coming. People were just lined up some of the

time, Montao Carey said. When lines were too long, people

would ask her to hold a piece. Usually they dont come back.

This time, every one of them did.

Something else surprised Montao Carey. Sometimes the

traditionalists will kind of speak out and say, This is destroying

the tradition. And I didnt hear one negative comment.

Everyone seemed to be happy about it and looking forward to

new and innovative and creative pieces in the future.

Weavers Lisa and Irvin Trujillo both submitted one

contemporary piece for judging. Lisas Sum of the Parts won the

Design Award.

My sense of things is that the artists in this category have all

been doing this for a long time, and this is sort of like coming

out of the closet, Lisa said. Weve been doing it, but we

havent been allowed to show it at market. So I think its sort of

a honesty thing that the society is willing to let us show any atall. I think thats a great thing.

The Innovations Within Tradition Award went to Gustavo

Victor Goler for a bulto depictingSan Cristbal(St. Christopher)

riding a surfboard. Although best known as the patron saint of

travelers, San Cristbal, like all saints, is patron of many things,

including surfing.

I dont ever make anything up, so I stay within the traditiona

InnovationsWithin

Traditioncategoryrevitalizes

market

by arin mckenna

So hold onto your hats: That creative wind may be gusting through market like New Mexicos infamous spring winds this year.

Photos

Gen

e

Peach

arhur Lopez won n wrd ls yer forSaint Andrews Big Catch.

Gusvo Vior Goler won heInnovions Wihin trdiions wrdfor his bulo depiingSan Cristbal riding a surfboard.

Kevin

Burgess

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his

innovive

ross.

ouresyphoo



21/43


lines. I never do anything outrageous, Goler said.

I follow correct iconology. Im not making political

commentary, and Im certainly not disrespectful of the

church or the religion in any way. But what I like to do

is research and then focus on a specific patronage that

people arent always aware of. So that makes it fun for

me, and then I have something historical to describe

and talk about with people. I think its a great influencefor the younger generation, too. You get a little better

association.

Goler has been stretching the limits for some time. In

one way this was a relief, because Ive been pushing the

envelope and sneaking things in a little bit. Id think, the

worst case scenario is they ask me to remove it, he said.

But to really express ourselves, we had to go outside of

market and work with a gallery.

Goler works with Blue Rain Gallery, which exhibited

all the innovative pieces Goler was unable to bring

to market. Because of the 30 percent limitation on

innovative work (70 percent had to be traditional), San

Cristbalwas Golers only innovative piece at market.

Arthur Lopez received the other award in the

Innovations category the Boeckman Honorary Award

for New Directions for his bulto titled Saint AndrewsBig Catch. The piece shows the patron saint of fishermen

riding a large fish. The reaction from people has just

been incredible, Lopez said. Everyone thats seen any

of the innovative work will just walk up with a smile

and say, Im glad to see this here or We need to tell

our friends about this. Lopez has also been relying on

galleries to show his more creative pieces.

Last years Lifetime Achievement Award recipient

Ralph Sena was another artist able to show more

innovative pieces. Pieces like this have been part of

my product line for quite a long time, Sena said. It

expands the appeal of the Traditional Spanish Market.

So thats the huge thing for this new direction, that the

Spanish Colonial Arts Society has given us this expanded

boundary.The new work stimulated dialogue. Martha Varoz

Ewing entertained market attendees with her Heavenly Cell,

a straw appliqud cell phone. This requires no monthly

statement, it doesnt have batteries, has a built-in antenna

that will pick up calls anywhere. And it is guaranteed

to have every call answered, she said. Ive had a blast

playing with it. Everyone tells me if their battery dies

theyre coming back to my booth to place a call.

Carlos Santistevan Sr.s most creative piece was a carved

wooden hot rod with a roll bar and flames shooting out the

back. Hang that hot rod on a wall, and it becomes a sacred

heart with the flames on top and the roll bar transformed

into a crown of thorns. By doing nontraditional stuff, if I

see Im burning out on santos, I can move to this so I can

try to keep it fresh, Santistevan said.

Craig Martin Moya was using straw appliqu to createabstract flowers. He sold most of his contemporary pieces

the first day. I think this is more personal. It gives a little

more breathing room, Martin Moya said.

The new category promises even more surprises this

year. So hold onto your hats: That creative wind may

be gusting through market like New Mexicos infamous

spring winds this year.

2012 Innovations Artists

Carlos Barela, unpainted bultos

Kevin Burgess de Chavez, tinwork

Christine Montao Carey, tinwork and retablos

Charles M. Carrillo, retablos

Marie Romero Cash, painted bultos

Matthew Duran, furniture and furnishings

Martha Varoz Ewing, straw appliqu

Ruben M. Gallegos, retablos

Gustavo Victor Goler, retablos

Arthur Lpez, painted bultos

Fred Ray Lpez, tinwork

Diana Moya Lujan, straw appliqu

Larry E. Madrid, ironwork

Justin Gallegos Mayrant, tinwork

Arturo Montao, bone carving

Andrew Montoya, painted bultos

Joe Morales, woodcarving

Craig Martin Moya, straw appliqu

Catherine Robles-Shaw, retablos

Cleo Romero, tinwork

Charlie Sanchez Jr., straw appliqu

Carlos SantistevanSr.,woodcarving andunpainted bultos

Jacobo de la Serna, pottery

Ralph A. Sena, precious metals

Irvin Trujillo, weaving

Lisa Trujillo, weaving

Timothy A. Valdez, straw appliqu

Della Vigil, straw appliqu

Gabriel Vigil, retablos


22/43


Map is not to s

First aid & police

Youth

Market

Volunteer &Information

Booth

Market Volunteer

Booth

Stage

Audience

seating

Buses Museum of Fine Arts

165

Sheridan

Ave.

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Palace Ave.W. Palace Ave.

E. San Francisco St.W. San Francisco St.

E. Palace Ave.FOOD COURT

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WashingtonAve.

Los Maestros -

kids teaching

kids

El Rancho de las

Golondrinas Booth

Spanish Colonial

Arts SocietyMembership

Booth

Spanish

ColonialArts Society

Sales and

Information

SpanishColonialArts Society

Sales andInformation

Restrooms

ATM

2011Traditional Spanish Market2012Traditional Spanish Market

Century

Link

Youth

Market

Booths

UNM Press

Park

and

Ride

City bus and shuttle services will be provided from various locations in Santa Feto the Downtown Transit Center on Sheridan Ave., one block from the Plaza onSaturday (July 28) and Sunday (July 29). Buses run from 8:15 a.m. to 8:10 p.m.Saturday and from 8:30 a.m. to 6:46 p.m. Sunday and depart every 20 minutes.Tickets cost $2 per person for a day pass. ($1 for seniors and handicapped riders.)For a complete schedule and maps, visit www.santafenm.gov/index.aspx?nid=1244. Buses will depart from the following locations:

Santa Fe Place Transit Center, off of Rodeo Road and Cerrillos Road. The bus stopis on the south side of the mall, behind JCPenney and the food court.

South Capitol Station, off of Cordova Road. The bus stop is behind the DOTbuilding and across from the Rail Runner station.

For Rail Runner passengers, complimentary Santa Fe Pick-Up shuttles will runfrom the Railyard to the Transit Center on Sheridan Ave. and to other locationsdowntown, including the Roundhouse/PERA parking lot at Old Santa Fe Trail andPaseo de Peralta. Shuttles run from 7:30 a.m. to 4:30 p.m. in a loop, every twentyminutes on Saturday and Sunday. The shuttle will make drops at other locationsalong the route if its safe to make a stop. Complete information, including a map,may be found at http://www.santafenm.gov/index.aspx?nid=1781.

Special Event Parking will be available near the Plaza for $10 per day at thefollowing locations:

Sandoval lot, entrance on West San Francisco St. across from the Lensic.

Convention Center lot, entrance on Federal Place across from the main post office.

Water Street lot, entrance on Water St., just east of Don Gaspar.


23/43


AdrianA. AragonRetablos

Booth 62

Victor ArchuletaFurniture, Furnishings

Booth 128

JosArmijoPainted Bultos, Retablos,

Gesso Relief

Booth 38

Lawrence BacaPrecious Metals

Booth 106

Carlos BarelaUnpainted Bultos,

InnovationsWithin

Tradition in Unpainted

Bultos

Booth 75

Daniel BarelaUnpainted Bultos

Booth 58

Luis BarelaUnpainted Bultos

Booth 58

Roberto Estevan BarelaUnpainted Bultos

Booth 66

Javier Lorenzo BleaTinwork

Booth 116

Lena BleaStraw Appliqu

Booth 23

Kevin Burgess deChavezTinwork, Innovations

Within Tradition in

Tinwork, Revival Arts:

Ramilletes

Booth 52

Christine Montao

CareyRetablos,Ti nwork,

InnovationsWithin

Tradition inTinwork

and Retablos

Booth 165

Adn CarriagaPainted Bultos, Retablos

Booth 99

Charles M. CarrilloPainted Bultos, Retablos,

Gesso Reliefs, Painted

Reliefs, Innovations

Within Tradition in

Retablos

Booth 161

Debbie B. CarrilloPottery

Booth 160

EstrellitaA. Carrilloy GarciaRetablos, Revival Arts:

Ramilletes, Leatherwork

Booth 160

Marie Romero CashRetablos, Painted

Bultos, Innovations

Within Tradition in

Painted Bultos

Booth 14

Shane CasiasPrecious Metals

Booth 29

Joseph M. ChavezHide Painting,

Copper Engraving

Booth 34

Veronica MontaoCoaleColcha Embroidery,

Precious Metals,

Retablos

Booth 101

Gloria Lpez CrdovaWoodcarving,

Unpainted Bultos

Booth 19

Rafael Lpez CrdovaWoodcarving,

Unpainted Bultos

Booth 20

Rhonda L. CrespinPainted Bultos,

Retablos

Booth 95JD Damron yValdesde MartinezTinwork

Booth 90

Matthew DuranFurniture and

Furnishings, Precious

Metals, Innovations

WithinTradition

in Furniture and

Furnishings

Booth 69

Teresa May DuranRetablos

Booth 46

Belarmino EsquibelRetablos

Booth 21

Charlie EsquibelFurniture and

Furnishings

Booth 37

MarthaVroz EwingStraw Appliqu,

Tinwork, Innovations

WithinTradition in

Straw Appliqu

Booth 104

Cristina HernandezFeldewertTinwork,

Straw Appliqu

Booth 85

Andrea Fresquez-BarosRetablos

Booth 151

Richard Gabriel Jr.Tinwork

Booth 54

John M. GallegosRetablos

Booth 73

Ruben M. GallegosRetablos, Painted

Bultos, Gesso Reliefs,

InnovationsWithin

Tradition in Retablos

Booth 117

Andrew C. GarciaFurniture and

Furnishings

Booth 94

Frank L. GarciaRetablos,Painted Bultos,

Hide Painting

Booth 139

Lorrie I. GarciaPainted Bultos, Retablos

Booth 93

Marissa GarciaRetablos

Booth 33

Mark A. GarciaPainted Bultos, Retablos

Booth 3

Ronald Samuel GarciaPainted Bultos, Retablos,

Painted Reliefs

Booth 45

Susie G. GarciaWeaving

Booth 35

GustavoVictor GolerPainted Bultos, Retablos,

Painted Reliefs,

InnovationsWithin

Traditions in Painted

Bultos

Booth 110

Julia R. GomezColcha Embroidery

Booth 114

Andrew A. GonzalesPainted Bultos

Booth 83

Eric Raymond LuisGonzalesPainted Bultos, Retablos

Booth 82

Amanda C. GriegoRetablos

Booth 57

Michael E. GriegoTinwork

Booth 107

Pat Gurul GriegoStraw Appliqu

Booth 30

EugenioGene GurulTinwork

Booth 63

Monica Sosaya HalfordColcha Embroidery,

Retablos, Altar screens,

Hide Painting

Booth 4

Rita Padilla HaufmannWeaving

Booth 96

Elena Miera HerreraRetablos

Booth 131

Anita Rael HisenbergColcha Embroidery

Booth 107

John JimenezRetablos, Precious

Metals, Furniture

and Furnishings

Booth 8

Donna Sena KeirnsPrecious Metals

Booth 146

Cecilia LeitnerRetablos

Booth 143

Ellen Chavez de LeitnerRetablos

Booth 140

Rose LeitnerRetablos

Booth 143

Patrick E. LeybaFurniture and

Furnishings

Booth 88

JudyVroz LongStraw Appliqu, Tinwork

Booth 108

Arthur LpezPainted Bultos, Painted

Reliefs, Innovations

Within Tradition in

Painted BultosBooth 10

Bo LpezPrecious Metals

Booth 115

Eurgencio LpezWoodcarving,

Unpainted Bultos

Booth 5

FelixA. LpezPainted Bultos,

Straw Appliqu

Booth 15

Fred Ray LpezTinwork, Innovations

Within Tradition in

Tinwork

Booth 132

Joseph A. LpezPainted Bultos,Painted Reliefs

Booth 15

Juan LpezPrecious Metals

Booth 119

Krissa Mara LpezRetablos,

Straw Appliqu

Booth 16

Peter E. LpezPainted Bultos,

Retablos, Gesso Reliefs,

Painted Reliefs

Booth 164

Ramn Jos LpezPainted Bultos, Furniture

and Furnishings,

Retablos, Precious

Metals, Hide Painting,

Copper Engraving

Booth 115

Raymond LpezPainted Bultos, Furniture

and Furnishings,

Retablos

Booth 89

Rosina Lpez de ShortRetablos,

Painted Reliefs

Booth 2

David Nabor LuceroPainted Bultos, Painted

Reliefs, Retablos

Booth 149

Gregory D. LuceroTinwork,

Painted Bultos

Booth 48

JonA. LuceroUnpainted Bultos

Booth 55

Jos A. LuceroPainted Bultos,

Retablos

Booth 127

Jos Floyd LuceroWoodcarving,

Unpainted Bultos

Booth 134

Onofre E. LuceroRetablos

Booth 32

Steven A. LuceroIronwork

Booth 159

Tim LuceroRetablos

Booth 118

Verne L. LuceroTinwork

Booth 26

Diana Moya LujanStraw Appliqu,

InnovationsWithin

Tradition in

Straw Appliqu

Booth 39

Ernie R. LujanPainted Bultos,

Retablos, Gesso

Reliefs, Painted Reliefs

Booth 152

Jerome P. LujanPainted Bultos,Retablos, Gesso Reliefs

Booth 145

Lenise Lujan-MartinezStraw Appliqu

Booth 12

Marie Antoinette LunaRetablos

Booth 49

Jimmy MadridTinwork

Booth 98

Nicolas R. MadridTinwork

Booth 150

Jos U. MaesWoodcarving,

Unpainted Bultos

Booth 121

Bernadette Marquez-LpezStraw Appliqu,

Precious Metals

Booth 10

Byron MartinezUnpainted Bultos

Booth 113

Dominic MartinezPainted Bultos,

Retablos

Booth 78

Jacob MartinezPainted Bultos

Booth 133

Karen MartinezWeaving

Booth 67

RitaV.MartinezPainted Bultos, Tinwork

Booth 86

Timothy J. MartinezWeaving

Booth 31

Yvonne B. MartinezWeaving

Booth 148

Juan D. Martinez Jr.Tinwork,

Painted Bultos

Booth 86

Justin GallegosMayrantTinwork,

InnovationsWithin

Tradition in Tinwork

Booth 144Norma MedinaWeaving

Booth 162

Ed MierFurniture and

Furnishings

Booth 122

Jerry M. MondragnRetablos

Booth 142

Margarito R.MondragnPainted Bultos,

Retablos,

Painted Reliefs

Booth 44

Arturo MontaoRevival Arts: Bone

Carving, Innovations

Within Tradition in

Revival Arts: Bone

CarvingBooth 155

Brigida MontesStraw Appliqu

Booth 17

Andrew MontoyaPainted Bultos,

Retablos, Innovation

Within Tradition in

Painted Bultos

Booth 124

Gilbert J. MontoyaPainted Bultos,

Retablos

Booth 91

James MontoyaRetablos

Booth 28

Corine Mora-FernandezRetablos

Booth 112

Jos MoralesWoodcarving,

Unpainted Bultos,

Innovations

Within Tradition in

Woodcarving

Booth 129

Annette MorfinPottery

Booth 130

Jason R. MossmanFurniture and Furnishin

Booth 103

Craig MoyaStraw Appliqu,

InnovationsWithin

Tradition in

Straw Appliqu

Booth 141

Jean Anaya MoyaRetablos,

Straw Appliqu,

Hide Painting,

Painted Bultos

Booth 141

Erik MuozStraw Appliqu

Booth 64

Arturo Francisco OlivOFSRetablos

Booth 71

Adan Eduardo OrtegPottery

Booth 125

Antonio P. OrtegaWoodcarving,

Unpainted Bultos

Booth 27

Matthew MateoOrtegaUnpainted Bultos

Booth 1

Pete OrtegaWoodcarving,

Unpainted Bultos

Booth 1

Guadalupita OrtizRetablos

Booth 6

Sabinita Lpez OrtizWoodcarving,

Unpainted Bultos

Booth 42

Alcario Carrie OteroPainted Bultos,

Retablos, Gesso Relief

Booth 97

Carlos Jos OteroPainted Bultos,


Painted Reliefs

Booth 79

Nicolas R. OteroRetablos

Booth 111

Rodolfo PargaPainted Bultos

Booth 109

Richard PrudencioFurniture and Furnishin

Booth 60

Lawrence QuintanaFurniture and Furnishin

Booth 126

Carlos A. Rael

Retablos, Painted Bulto

Booth 137

A

R

TIS

T

D

IR

EC

TO

RY

2012 SpaniSh Market


24/43


Sean MartinezBooth #Y109b

Retablos

Mentors:Yvonne and

Dominic Martinez

Vanessa MartinezBooth #Y112b

Woodcarving,

Unpainted Bultos

Mentor: Peter Ortega

Antonio M. Ortega, Jr.Booth #Y115

Woodcarving,

Unpainted Bultos

Mentor: Antonio P.

Ortega Sr.

Joshua OteroBooth #Y111a

Bultos, Retablos, Relief

Carvings

Mentor: Carlos Jos

Otero

Yolanda PrudencioBooth #Y128a

Furniture and

Furnishings and PotteryMentors: Richard

Prudencio andTherese

Tohtsoni-Prudencio

Sefriano PrundencioBooth #Y128b

Furniture and

Furnishings and Pottery

Mentors: Richard

Prudencio andTherese

Tohtsoni-Prudencio

Simona RaelBooth #Y119

Retablos

Mentor: Felicia

Rodriguez

Isabel RodriguezBooth #Y126a

Retablos, Bultos

Mentor: JacobRodriguez

Joaquin RodriguezBooth #Y126b

Retablos, Bultos

Mentor: Jacob

Rodriguez

Sarah Salazar yWeilerBooth #Y127a

Tinwork

Mentor: Kevin Burgess

de Chavez

Patrick J. SnchezBooth #Y125

Retablos

Mentor: Arlene

Cisneros Sena

Marcos Ray SernaBooth #Y121

Painted Bultos,Retablos

Mentors: Alcario Otero

and James Montoya

AndreaTorresBooth #Y116c

Straw Appliqu

Mentor: Diana Moya

Lujan

Daniel L. RaelWoodcarving,

Unpainted Bultos,

Unpainted Relief Panels

Booth 47

Felipe RiveraPrecious Metals,

Retablos, Painted Bultos

Booth 41

Mel RiveraStraw Appliqu

Booth 7

Catherine Robles-ShawRetablos, Painted

Bultos, Innovations

Within Tradition

in Retablos

Booth 84

Bernadette M.RodriguezStraw Appliqu

Booth 51

Felicia RodriguezRetablos

Booth 53Jacob RodriguezPainted Bultos,

Woodcarving, Retablos

Booth 158

MariaVictoria LuceroRodriguezColcha Embroidery

Booth 25

Tomasita RodriguezPainted Bultos,

Unpainted Bultos, Inlaid

Crosses, Bultos en

Nicho

Booth 43

Vicki RodriguezStraw Appliqu

Booth 9

Adam Matthew

RomeroRetablos

Booth 138

Cleo RomeroTinwork, Innovations

Within Tradition

inTinwork

Booth 72

Racheal Roybal-MontoyaPrecious Metals

Booth 163

Jacob SalazarWoodcarving,

Unpainted Bultos

Booth 123

Leonardo GregarioSalazarUnpainted Bultos

Booth 61

Ricardo P. SalazarUnpainted Bultos

Booth 135

Vanessa M. SnchezStraw Appliqu

Booth 87

William Art SnchezPainted Bultos

Booth 136

Charlie Snchez Jr.Straw Appliqu,

InnovationsWithin

Tradition in

Straw Appliqu

Booth 100

Beatrice MaestasSandovalColcha Embroidery,

Weaving

Booth 68

Carlos Santistevan Jr.Hide Painting

Booth 17

Carlos Santistevan Sr.Painted Bultos, Hide

Painting, Altar Screens,

Unpainted Bultos,

Retablos, Woodcarving,

InnovationsWithin

Tradition in

Woodcarving and

Unpainted Bultos,

Revival Arts: Bone

Carving

Booth 23Gregory P. SeguraPrecious Metals

Booth 50

Arlene Cisneros SenaRetablos

Booth 156

Marie SenaRetablos

Booth 154

RalphA. SenaPrecious Metals,

Ironwork, Innovations

Within Tradition in

Precious Metals

Booth 65

Jacobo de la SernaPottery, Innovations

Within Tradition in

Pottery, Retablos

Booth 102

Roxanne Shaw-GalindoRetablos

Booth 80

Geraldine SilvaGesso Reliefs

Booth 120

Miguel StrunkStraw Appliqu

Booth 109

CarolTafoyaStraw Appliqu

Booth 56

JohannaTerrazasWeaving

Booth 24

ThereseTohtsoni-PrudencioPottery

Booth 60

CamillaTrujilloPottery

Booth 13

Irvin L.TrujilloWeaving, Innovations

Within Tradition

in Weaving

Booth 11

Jimmy E. TrujilloStraw Appliqu

Revival Arts: Bone

Carving

Booth 18

Lisa R.TrujilloWeaving, Innovations

Within Tradition in

WeavingBooth 11

LucyTrujilloWeaving

Booth 70

RandyTrujilloFurniture and

FurnishingsBooth 76

Annette GutierrezTurkWeaving,

Colcha Embroidery

Booth 81

Lee J.ValdezWoodcarving

Booth 40

Timothy A.ValdezStraw Appliqu,

InnovationsWithin

Tradition in

Straw Appliqu

Booth 157

JennyValencia-BaezaRevival Arts: Basketry

Booth 74

DellaVigilStraw Appliqu,

InnovationsWithin

Tradition in Straw

Appliqu

Booth 51

DorothyT.VigilFurniture and

Furnishings

Booth 59

Eugene D.VigilWeaving

Booth 77

Gabriel J.VigilRetablos, Innovations

Within Tradition

in Retablos

Booth 105

JennetteVigilWeaving

Booth 147

RoseA. VigilWeaving

Booth 77

SeanWells y DelgadoRetablos

Booth 153

Nina J. ArroyoWood

Colcha EmbroideryBooth 92

JasonYounis y DelgadoTinwork

Booth 153

Frank ZamoraRetablos

Booth 22

Ren ZamoraIronwork, Furniture

and Furnishings

Booth 36

YouthArtistsMacaila ArmijoBooth #Y104a

Retablos

Relief Carvings

Mentor: Jose Armijo

MarissaTeresa ArmijoBooth #Y104b

Retablos

Mentor: Jose Armijo

Emily BacaBooth #Y127b

Precious Metals

Mentor: Lawrence Baca

Rhiannon BarelaBooth #Y118a

Retablos

Mentor: Charles Carrillo

Salvador Carriaga-LambertBooth #Y102

Painted Bultos, Retablos,

Relief Carvings

Mentor: Adn Carriaga

Marissa ChavezBooth #Y108a

Woodcarving


Micaiela CordovaBooth #Y107a

Tinwork

Mentor: Christine

Montao Carey

Delaney DropkinskiBooth #Y107b

Retablos

Mentor: Marissa Garcia

Gabriel Duran,Booth #Y100b

Furniture and

Furnishings,Precious Metals

Mentor: Mathew Duran

Jocelyn FernandezBooth #Y106a

Retablos

Mentor: Corine Mora-

Fernandez

Joelyn FernandezBooth #Y106b

Retablos


Fernandez

Joey Miklo FernandezBooth #Y110a

Retablos


Fernandez

Joliaunna M.FernandezBooth #Y110b

Retablos


Fernandez

Jordan MirandaFernandezBooth #Y110c

Retablos


Fernandez

Matthew P. FloresBooth #Y100a

Straw Appliqu

Mentor: Marcial

Rodriguez

No Garcia-ChavezBooth #Y103

Retablos

Mentor: Monica Sosaya

Halford

Adriana GonzalesBooth #Y117a

Retablos


Liberty GonzalesBooth #Y117b

Retablos


Sydney Halford deSosayaBooth #Y113a

Retablos, Reredos


Halford

Nicholas Halford-SosayaBooth #Y113b

Retablos


Halford

Jerome HerreraBooth #Y118b

Retablos

Mentor: John Gallegos

Benjamin LujanBooth #Y124a


Mentor: Jerome P. Luj an

Joseph LujanBooth #Y124b


Mentor: Jerome P. Luj an

Emma Juliana Lujany DavisBooth #Y116a

Straw Appliqu

Mentor: Diana Moya

Lujan

Madison Simone Lujany DavisBooth #Y116b

Straw Appliqu

Mentor: Diana Moya

Lujan

Justin MartinezBooth #Y120

Retablos

Mentor: Lorrie Garcia

Nathan MartinezBooth #Y109a

Straw Appliqu,

Painted Bultos

Mentors:Yvonne and

Dominic Martinez

Nicole MartinezBooth #Y108b

Straw Appliqu,

Painted Bultos

Mentors:Yvonne and

Dominic Martinez

Rachel MartinezBooth #Y112a

Woodcarving,

Unpainted Bultos


Aubri D.TuranoBooth #Y101

Weaving

Mentor: Maria E.

Vigil

Nicholas TurkBooth #Y122a

Woodcarving

Mentor: Sabinita

Lopez Ortiz

VicenteTurkBooth #Y122b

Woodcarving

Mentor: Sabinita

Lopez Ortiz

Isaiah ValenzuelaBooth #Y105b

Retablos

Mentor: Corine

Mora-Fernandez

MarcosValenzuelaBooth #Y105a

Retablos

Mentor: Corine

Mora-Fernandez

Enrique BonifacioVigilBooth #Y114b

Retablos

Mentor: Cecilia Leitner

MeganVigilBooth #Y129

Weaving

Mentor: Karen V. Martin

Nicolette ElisaVigilBooth #Y114a

Retablos

Mentor: Cecilia Leitner

DaronVigil-ScottBooth #Y123

Straw Appliqu

Mentor: Della Vigil

Dominic Mathew

ZamoraBooth #Y111bRetablos

Mentor: Frank Zamora

artist directory 2012


25/43


Andrew Garcias furniture is made from

solid, imposing ponderosa pine, and his

pieces (tall trasteros, long benches and

elegant side tables) feel ageless. Like the trees

themselves, theyre meant to last for a very

long time. Despite their solidity, Garciaswork is ephemeral and light, too, decorated

with intricate carvings: delicate floral motifs

and tight geometric designs.

The 59-year-old artist, who lives in Ro Luco (near Peasco), has participated in

Spanish Market since 2003. Many of his pieces have won Spanish Market awards.

Garcia created a magnificent trastero (cabinet) last year, which took first place in

traditional furniture at the market. Spanish Colonial Arts Society director Donna

Pedace chose the piece to feature in 2012s Spanish Market poster.

As I toured the convention center and looked at all of the art that had been

submitted for jurying, I kept coming back to his piece, the most phenomenal trastero,

Pedace said of selecting Garcias work. The carving is perfection. You could really see

the work, and it was extraordinary. I think anyone, regardless of personal taste in art

and furniture, can see the talent that went into it.

I get carried away on the carving, Garcia said, laughing. Its like my canvas; I

want to carve on every square inch. I probably overdo it sometimes, but thats what I

love doing. The winning trastero, like much of Garcias work, is at once robust and

delicate. The swirls and floral designs, though precise and measured, manage to look

almost whimsical, and their sheer abundance reveals Garcias propensity for decoration. But because the

trastero is so large, the carvings complement the form rather than overwhelm it.

Garcias wife, Lorrie, is also a Spanish Market artist (she makes retablos and other smaller works), and the

two are retired Peasco schoolteachers.

Carving is when I get to work quietly in my shop, Garcia continued. I meditate or pray. Garcias carving

techniques are largely self-taught: He reads old books about Spanish colonial art and furniture for ideas, and

he likes to experiment, combining different motifs and patterns. One of Garcias daughters, Anna Rose, has

told him that she can see his years as a math teacher in the geometric precision of his designs. Lorrie is an

important influence too Garcia credits her with helping him to branch out into floral patterns and Moorish

motifs. My wife helps me along when Im not sure how to get a certain part done; shell say put this here, or

that should go there, Garcia said. While most of the couples projects arent collaborations in the t echnical

sense, Almost every piece I do she has a hand in.

Garcia has enjoyed woodworking all his life (he even built his own home), but it wasnt until 1995, when

he purchased a portable sawmill, that his furniture making became a serious artistic pursuit. In the mid-90s,

Garcia began taking woodworking classes at the Northern New Mexico College in El Rito on the advice of

his neighbor Daniel Tafoya, who is an instructor at the college. And while carving is his favorite part, Garcia

acknowledges that each phase of furniture production is important. The process involves several steps:

selecting the lumber, milling it, carving, assembly and finishing. The stressful part is wondering whether the

final outcome is going to turn out as I and the customer are hoping, Garcia said. Its a long process from

start to finish; good assembly and finishing are required to get the piece where it needs to be.

Construction of a piece takes one to three months, and larger pieces can take up to four months. I take

pride in the fact that I take my work from tree to final form, Garcia said. He often gets ideas for the next piece

while hes working. Garcia constructs solely from ponderosa pine and, until about two years ago, harvested all

Crving a niChe

P

wk

of his own lumber. Were surrounded by forest up here, close

to Las Trampas, he said. But I got too busy working on pieces

to harvest, and Lorrie didnt like the idea of me cutting 180-

foot timber by myself and hauling it onto my truck. Timber is a

whole other game.

On his work being chosen for the market poster, Garcia said,

It was an awesome feeling, and an honor.... Being a Spanish

Market poster artist is something to be proud of. Im hoping tha

being on the poster will bring more recognition to furniture as

an art form. The caliber of the artwork [at Spanish Market] is

such that I want to try and do my best so my work is worthy of

being shown along with everything else.

by adele m elander-dayton

dp h , G wk

ePemeral and liGt, ,

wh vg: delicate floral motifs

gh g g.


26/43



27/43


booth #29

washington avesanta fe plaza

505-310-0155

www.shanecasiasdesigns.com

Shane

Casias

Teresa May Duran

Booth 46 [email protected] 303/522-6994


28/43


RetablosReredos

MatachinesColcha

MonicaSosaya

HalfordBooth 4

Adrian Anthony Aragon

Booth #62


29/43


Fine Retablos

chimayoretablos.wordpress.comStudio: #815 State Road 76, Chimayo, NM 87

Ellen Chvez

de Leitner

Booth #140

Cecilia Leitner

Booth #143

Rose Leitner

Booth #143

Saint Kateri Tekakwitha by Ellen Chavez de Leitner


30/43



31/43

Lpez, recipient of a National Endowment for

the Arts National Heritage Fellowship and the

Spanish Colonial Arts Societys Masters Award

for Lifetime Achievement, won approval for

the new category. He spent months researching

libraries, museums, antiquity shows, the Internet

and more than 200 books, accumulating 15 large

binders full of information.

Old bibles and books sparked Lpezs interest.

The images were all done with engraving, so

people could not only read but also actually look

at the images that would inspire them, Lpez

said. And there was such high skill, including

calligraphy, so they could print all the imagery.

Lpez has found no evidence to suggest

that Spanish colonial New Mexico had its own

grabadoresengravers (also called abridores)

but the engravers art would definitely have been

present.

Europeans and Spanish colonists relied on

engraving for communication and many common

objects. Grabadores created advertisements,

wedding announcements, treaties, legal documents,

cigar labels and medals. Gravalos were also much in

demand by the Catholic church. Engravers created

marriage and baptismal certificates, prayer books

and incredibly detailed holy cards.

Through illustrated stories and books, grabadores kept people informed about

current events, such as the appearance of Our Lady of Guadalupe in 1531. They

achieved remarkably lifelike portraits, disseminated the latest f ashions and made

instruction manuals for daily activities like winemaking.

It is likely that Spanish settlers carried such items with them to New Mexico,

especially prayer books, images of santos (saints) and playing cards.

Even their currency bore the stamp of the engraver. Many grabadores apprenticed

at Mexico Citys mint, creating copper plates for the molds used to cast coinage. The

engraving process usually involved several specialized artisans. An artist might create the

image, a draftsman would prepare sketches for the engraver and someone else would

print the image. The rare artist who did it all as Lpez and Chavez are doing

could sign the piece as the fecit (artist).

People have to realize that copper engraving is a skilled artisan art, Chavez said.

This was a very specialized field. The Spanish and French engravers who came into

Mexico were really talented, studio-trained artists who were knowledgeable in anatomy,

Gravalos en Cobreartists revive copper engraving

a challenging, endangered art form

perspective, two-dimensional and three-dimensional

design.

Reviving this art form was challenging. Modern

technology can create engravings in minutes

using computerized images and machines. But the

traditional process of sculpting a three-dimensiona

image on a flat piece of copper is complex, with

few practitioners.

Early engravers learned through apprenticeships

so little is written about the process itself.

Lpez was fortunate enough to find a 1761

engraved illustration detailing the process, with

information such as how to sharpen tools, clean ink

from plates and which tools to use for various effects

There are so many steps, not just in the

engraving but even in how to sharpen your

tools, Lpez said. Its a big process. And its an

incredible process.

Its a very tedious process. Its a combination

of artistic talent and technical and mechanical

perfection, Chavez said. Youre using a variety of

tools: burins, chisels with different types of tips, and

they have to be razor sharp at all times. You make

one mistake on your plate, thats it start all over.

Chavez had invested about 50 hours on his first

plate when he made a mistake. Attempts to correct

it only aggravated the problem, and he eventually

abandoned the plate. (Lpez contends that any mistake can be corrected.)

Everythingincluding letteringmust be done in reverse. When youre engraving,

your hand wants to go one way, and you cant do t hatyou have to go the opposite

way, Lpez said. Its completely different, because youre going against the grain. Its

kind of weird in your mind.

Lines, shading, texture and patterns all easily executed with paint or pen and

inkmust be laboriously carved into the copper. Instead of a simple stroke of the

brush to create a shadow, the artist may scratch in a crosshatch pattern. Stippling with a

burin may add texture, and line engravings add depth. The finished plate is inked up and

pressed onto paper.

Chavez uses a trculos, or roller press, for his prints. Roller presses were state-of-the

art in their day. The church brought the first roller press from Europe to Mexico City

in 1538.

Lpez follows in the footsteps of Mexican artisans, improvising with a simpler press.

Mexico Citys eight engraving studios were founded by artists who could not afford

In this age of computerized printing and mass reproduction, it is difficult to envision reproducing

every book by hand or spending weeks engraving a copper plate to replicate an image. Ramn Jos

Lpez and Joseph Chavez the first artists juried into the new copper engraving category have

a deep appreciatio for what that etailed through their ow efforts to revive this edagered art.

b y R I n m c n n

La Divina Pastora, Joseph Chavez

32 2012 Spaish market


32/43


expensive roller presses. The guys that went on their own and started their own printing shop, they

improvised with whatever they had, Lpez said.

Lpez spent a year creatingSantos y Oraciones (Saints and Prayers), a book with 34 engraved prints.

Each plate took approximately two-and-a-half weeks to engrave, after months of experimenting andlearning to do the techniques.

What I was trying to capture in my own work was the simple design of Spanish colonial New

Mexico santos, because theres such a big distinction between the Philippines, Goya, Spain, Guatemala,

Mexico and New Mexico, Lpez said. When you look at the retablos, its kind of simplified, and thats

what I was trying to capture in the presentation of the imagery.

Lpez will show his engravings with artwork from some of the six other categories he is juried into.

Chavez juried into Spanish Market with hide paintings two years ago. He had studied engraving

while pursuing his B.F.A. at New Mexico State University.

I really, really liked it at that time, Chavez said. So when this category opened up, I told them

right away that I wanted to screen for it. I worked about six months on three plates I submitted for

screening.

To prepare, Chavez took a refresher course in engraving at the Rhode Island School of Design, then

began visiting museums to study the Masters. I got to study the 16th- and 17th-century collection

of Spanish, French and Italian prints at the Ringling Museum in Sarasota that are just absolutely

magnificent. You think, how did they ever do this three or four hundred years ago?

The print Chavez will submit for judging has more than 300 hours invested in it. In spite of that,

Chavez plans to create a limited edition of each print, then destroy the plate.

Chavez travels to Spain, Italy and France this fall to study with master engravers.

Visit Lpez and Chavez at Spanish Market to learn more about this intriguing art form.

Photos Arin McKennA

tp lf:

Cristos Crucificado, ram J Lpz

ram J Lpz

Abv, san Francisco de Ass,

ram J Lpz


33/43


Spanish colonial art collectors come to Spanish Market each year because they know they will find one-of-a-

kind and the best-of-the-best at the market, said Maggie Magalnick, market director for the Spanish Colonial

Arts Society, sponsor of the annual market and the Museum of Spanish Colonial Art on Museum Hill.

Its the personal interaction between the artist and visitor, Magalnick said. You take home a part of the

artist with the work. And, no matter what your particular interest in Spanish colonial art, you will find a wide

variety of fine artists who pursue one or several media.Its amazing how the culture speaks through their art in terms of history and beauty. Each piece is an

education and peek into the soul of the artist and his or her culture, she said.

Collectors know that the work is authentic and qualified because of the rigorous jurying process each artist

goes through to enter and stay in market. Besides the artistic capabilities, each artist must be at least one-

quarter Hispanic with direct/family ties to New Mexico or southern Colorado.

The jury process is put together by the artists, Magalnick noted. They set the guidelines and ensure that

the quality is maintained. Its to everyones benefit. Artists do the research, maintain standards and thereby

protect the tradition.

C E C T I EYCoCtors nppnss n t pursutstory y y oCrpotos y rry srC he hea f a saih clial

a clleci, whehe i a mem

a hme, i imlici ad devi faih.

saih Make eflec hee kee

i he bea f he ai wk ad he

kee ee f cllec, ffeig bh he

ai ad he cllec he i

hae hi amazig exeiece.

The home of Reine and Joe Moure showcases their art collection. Our Lady of the Rosary, 2002, a devotional piece by Alcario Otero


34/43


Its not easy,

Magalnick admitted,

but it guarantees collectors that the art they fall in love with is

authentic.

So, what determines a collector? The dictionary definition is simply one who collects. Martha Egan

author, owner of Pachamama gallery and an avid collector of folk art, including Spanish colonial antiques

said it is mor

spanish market 2012

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