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South by Southwest

This summer, Santa Fe beckons collectors of virtually every kind of art, from ancient American to international contemporary.

Robert Koch, Three Spheres, 2018

Robert Koch, Three Spheres, 2018, mild steel, 32 in. diameter each

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There’s no place like Santa Fe, N.M. It’s been a haven for artists and art lovers for a century, and it shows no signs of slowing down. In summer, the Santa Fe scene fills with gallery shows, museum exhibitions, and events that draw tens of thousands of visitors. Here’s an overview of what 2018 will bring.

In addition to being a major art market (the third largest in the U.S., in fact), Santa Fe boasts a museum scene of great depth and vitality. Kicking off the summer exhibition season, “GenNext: Future So Bright” opened on May 5 at the Museum of Spanish Colonial Art (750 Camino Lejo) and continues through November 25. It features 50 works by 20 contemporary artists who have found fresh ways to explore historic art forms. Several of the artists have appeared at past editions of the Traditional Spanish Market, which is run by the Spanish Colonial Arts Society, operator of the museum. Works on view include Patrick McGrath Muñiz’s Holy Combo I, which depicts Christopher Columbus and the Burger King, both shirtless and feasting on fast food.

This summer, the Georgia O’Keeffe Museum (217 Johnson St.) will be mounting the latest exhibition in its “Contemporary Voices” series, “The Black Place: Georgia O’Keeffe and Michael Namingha” (on view through October 28.) Namingha was born into a local artistic family with Hopi and Tewa ancestry and earned a graduate degree from Parsons School of Design in New York. The show examines how the two artists each explored the Black Place, a rugged, forbidding spot about three hours west of Santa Fe. O’Keeffe, who visited the area about a dozen times between 1936 and 1949, had to camp overnight in order to have enough time to capture the Mars-like, nearly colorless landscape. In 2017, Namingha had an easier time getting to the Black Place, which remains pretty much as it was in O’Keeffe’s day, but he had to pass multiple natural gas and oil extraction outposts along the way. Instead of a paintbrush, he brought a drone camera and transformed his images by printing them onto metallic sheets, mounting them on Plexiglas, and shaping and polishing them.

The museum is proud to display a new O’Keeffe acquisition, a 1931 oil on wood painting titled Kachina. The artist made the image of a katsina (kachina) doll relatively early in what would become a long relationship with New Mexico. When she painted it, white people had little awareness of the religious significance that the Hopi and Pueblo communities placed on katsinam. While the Georgia O’Keeffe Museum presents Kachina as an O’Keeffe painting, and while the doll it depicts appears to have been created for the tourist trade and not as a sacred object, the institution is taking care with its presentation. “It does demonstrate her interest and curiosity about the region. We’re walking a line in understanding the object as a Georgia O’Keeffe and portraying objects that are culturally sensitive,” says Cody Hartley, Senior Director of Collections and Interpretation. The work will likely stay on view until October, at least.

On May 29, the O’Keeffe Museum hired Ariel Plotek as its new Curator of Fine Art. Most recently, Plotek was Curator of Modern and Contemporary Art at the San Diego Museum of Art. Also in May, the museum debuted its new Welcome Center in Abiquiú, N.M., about a four-minute bus ride from the artist’s home and studio. The 4,000-square-foot facility offers a retail store, a video room for screening movies about O’Keeffe, a classroom that seats 28, and a reading area. The center will be open seven days a week, even when the O’Keeffe home and studio is not. “We thought Georgia O’Keeffe deserved better, and Abiquiú deserved better,” says Hartley. “The facility welcomes folks to the museum, and it even welcomes people who might be passing through and want to know more.”

The multifaceted arts institution SITE Santa Fe (1606 Paseo de Peralta) starts its summer with “Michael Rakowitz: Ongoing” (through August 18). The show, mounted in SITElab 10, comprises five works, but several of them contain multiple individual pieces. Among the most striking is The Invisible Enemy Should Not Exist, a project that began in 2007. For the Invisible Enemy project, Rakowitz, an Iraqi-American artist, creates full-scale replicas of objects and artifacts that were once part of the Iraqi National Museum. After the U.S. invasion of 2003, more than 7,000 pieces left the museum. Some were stolen, some were destroyed, and some were lost. With the help of assistants, Rakowitz creates the replicas from recyclable materials that include Arabic newspapers and regional food packages. He’s finished 850 to date; about 30 will appear at SITE Santa Fe. Rakowitz gives The Invisible Enemy Should Not Exist’s dates as “2007–Ongoing” in recognition of the fact that he will probably go to his grave without refashioning everything that was lost. Also on view is May the Obdurate Foe Not Stay in Good Health, a similar ongoing project that he started in 2016 that reconstructs objects looted or destroyed in the current Syrian civil war.

“SITElines.2018: Casa tomada,” the institution’s biennial, debuts on August 3 and continues through January 6, 2019. It takes its inspiration in part from Casa tomada, a 1946 short story by Argentine writer Julio Cortázar, in which a pair of siblings are gradually but decisively ousted from their ancestral home by a mysterious force. (The name of the story translates as “house taken over.”) Irene Hofmann, Phillips director and chief curator at SITE Santa Fe, explains that the Cortázar tale “has the feeling of a horror story but serves as a broader metaphor for many of the ideas curators address in the exhibition—ownership of history, ownership of land, ownership of culture… it’s turning into a timely show, with many complexities in it.” One of the more literal takes on the theme comes from two Venezuela-born artists, Ángela Bonadies and Juan José Olavarría. Their photographic project La Torre de David (David’s Tower) captures scenes of squatters in Caracas, Venezuela, who have commandeered an unfinished high-rise tower that was intended to be a bank. “SITElines.2018: Casa tomada” is co-curated by José Luis Blondet, curator of special projects at LACMA; Candice Hopkins, an independent curator based in Albuquerque; and Ruba Katrib, a curator at MoMA PS1 in New York.

“Frederick Hammersley: To Paint Without Thinking” is on view at the New Mexico Museum of Art (107 West Palace Ave.) through September 9. It’s an ironically-named show in that it provides ample evidence that Hammersley, who lived in New Mexico for more than four decades, thought a great deal before he picked up his brush. Hammersley would first plot his artistic compositions in notebooks, “working out postage stamp-size geometric abstract patterns, moving the color around until he got something he liked,” says James Glisson, a creator of the Hammersley show. The late artist also recorded an astonishing amount of information about his process in his “painting books,” from the date that he stretched a canvas to the date he applied the finishing touches. “There was a real interest on his part with channeling and shaping his creative process with rules,” says Glisson. “What this exhibit does is pair paintings with sketchbooks deposited at the Getty Research Institute.”

Included in the exhibition are nine computer drawings that Hammersley did in the late 1960s. Glisson cannot definitively say that Hammersley was the first digital artist, but he was certainly one of the first. It was a lot more difficult to do digital art then (Hammersley had to use punch cards), and his artistic choices were severely limited. He could make a few basic shapes, and use all the letters of the alphabet and some punctuation, and that’s all. “Within these constraints, I think Hammersley was able to create some beautiful images,” Glisson says. Also on view at the New Mexico Museum of Art is “Patrick Nagatani: Invented Realities” (through September 9). Nagatani, who died last year, was a proponent of what is called the directorial style of photography, which acknowledges the artificial aspect of photographs.

The Center for Contemporary Arts (1050 Old Pecos Trail), which calls itself “an arts and culture hub for northern New Mexico’s diverse communities,” opened “Ricardo Mazal: A 15 Year Survey” on June 15, and it will remain on view through September 23. The Mexican abstract painter and multimedia artist tackles big ideas—life, death, transformation, and the natural world. The first work that visitors encounter on entering the exhibition is Bhutan Abstracto (Bhutan Abstractions), a work comprising paintings, photographs, and a video installation that draws inspiration from the prayer flags of Bhutan. Visitors can write down prayers and dreams on iPads and watch them become part of the show. Another series of abstract works from 2016, Noche Transfigurada (Night Transfigured), is based on photographs of branches taken at night. Having used the color violet in his work for the first time with that series, Mazal was moved to launch another series that showcases and explores the hue. He will debut five large-scale new Violeta (Violet) works in the CCA show.

As always, the gallery scene in Santa Fe will be very lively and diverse this summer. The exhibition “Beginnings II,” which opened on May 11 and continues through August 10 at OTA Contemporary (located at 203 Canyon Road), started on the internet, in a way. Kiyomi Baird, the gallery’s founder and an artist herself, came across sculptor Robert Koch (pronounced Cook) online. “He hadn’t sent a submission. I searched the web. I wanted something that works well with my work,” she says. “It just resonated with me when I saw it. It was really fitting.”

“Beginnings II” pairs about 30 of Baird’s canvases, monotypes, and digital works with a dozen of Koch’s steel and bronze sculptures. The show occupies a significant portion of the gallery’s 3,000 square feet of internal space and spills into its outdoor sculpture court. Koch’s spheres play nicely off Baird’s pieces, which celebrate the circle and its symbolism. “In this show, I try to work with peace and calm—the opposite of what’s going on in the world today,” Baird says.

On May 26, a retrospective of work by sculptor Dan Ostermiller, an artist on the roster of Nedra Matteucci Galleries, opened at the Santa Fe Botanical Garden (SFBG). “Gardens Gone Wild!” which continues through May 11, 2019, features more than 20 of Ostermiller’s bronzes arranged across two and a half acres. Nine months in the making, it builds on shows staged in Kansas City, Mo., in 2014 and Omaha, Neb., in 2015, and contains sculptures created between 1988 and 2016. Dustin Belyeu of Matteucci Galleries and Clayton Bass of SFBG co-curated the show. “The process was fairly easy and pieces really just fell into place,” Belyeu says. One placement that he is particularly happy with is American Gold, a 12-foot bronze from 1988 that depicts a soaring eagle. “It’s placed at a high point in the back of the garden,” he says. “It looks like it is flying right out of the Sangre de Cristo mountains.”

At its gallery location at 1075 Paseo de Peralta, Nedra Matteucci presents “The Art of Walt Gonske: A Retrospective” (through July 21). It’s the gallery’s third one-man show for the painter, 76, who selected the works from his personal collection. The exhibition spans four decades and includes the 2012 oil-on-linen Samovar with Roses. “This painting, a classic floral still life infused with Walt’s unique awareness and expression of color and form, is painted with a keenly developed eye for composition and the skilled technique of experience that is still exploring,” Belyeu says. “It’s a classic that still bursts with creativity.”

Gallery FRITZ (540 South Guadalupe St.), a new, 5,000-square-foot gallery in the Railyard district, started its season on June 8 with a group show simply titled “Grand Opening” (through July 6). It will feature more than 100 works by 15 artists, working in media that range from steel to acrylic paint to felted wool. Participants include Karen Hampton, an African-American textile artist, mixed media artist John Yoyogi Fortes, and gouache painter Jordan West. The show also features Gary Goldberg, who created a series of works that transforms photographs of architecture in Oaxaca City, Mexico, into textiles, and it showcases watercolorist Victoria Carlson, who has created depictions of quirky real people and real landmarks in images that look plausible, but which never happened.

Gallery 901 (555 Canyon Road) hosts “Celebration of the Season,” a show of around a dozen works by Debbie Gold, from June 8–11. Gallery owner Sherry Ikeda is a friend of Gold’s and a collector of her paintings. “She’s constantly evolving,” she says. “I’ve been able to watch her shift. These [the canvases in the show] have a softer quality than earlier works, which had heavier impasto.” A major goal of “Celebration of the Season” is raising funds for ARTsmart, a 25-year-old nonprofit that provides visual arts programs, art supplies, and scholarships to more than 9,000 students annually in northern New Mexico. A percentage of all sales will go to the organization.

“Color Them Wonderful” will take place from October 19–November 9, and will showcase 8 to 10 pieces by R. John Ichter, who works in pastels and acrylics and likes to concoct images of imaginary forests. “There’s a mystical, whimsical feeling in his art,” says Ikeda. “Not abstract, and not realism. It’s in a dream kind of state.” “Moving Into Stillness,” which will have the same dates as “Color Them Wonderful,” will focus on artist Cynthia Reid. Horizons have captured her interest of late. The show will contain 8 to 10 of her oils on canvas. A former oncologist, Reid retired from medicine to return to painting, a pursuit she first took up as a child. Ikeda is also planning a to-be-named October show of roughly 15 oils on canvas by Spanish painter Giner Bueno, an artist in his 80s who depicts scenes of everyday life in Valencia, Spain.

Among the exhibitions at Gerald Peters Gallery (1005 Paseo de Peralta) this summer is “Cross Currents: Peregrine O’Gormley, Penelope Gottlieb, James Prosek” (June 15–July 14). Why put these three artists together? Director of Naturalism Maria Hajic explains, “All deal with the natural world, coming from different angles.” Each artist is contributing six works. Prosek is offering Sockeye Salmon, a piece that will delight his longtime fans. “He’s a darling among fly fishermen. In that community, he’s kind of like a god,” says Hajic.

Charlotte Jackson Fine Art (554 S. Guadalupe St.) bounds into summer with “Color Bites: A Group Exhibition,” which runs from June 29–July 29. It features 15 artists and between 20 and 25 works, all in primary colors. Joining the show as a guest artist is Peter Sarkisian, whose Registered Driver Flat Series: RED 1963 Ford Pick-Up, Large Version (2009) resembles an old-fashioned red pickup truck. “When you walk up to the piece, you see someone driving the truck, and it’s Peter,” Charlotte Jackson says, explaining that a video of Sarkisian is mounted inside the truck’s passenger side window so that he appears to be driving. “On the wall, it’s fabulous. I borrowed it for an art fair in February and crowds were standing in front of it.”

Jackson will follow “Color “ with “Heiner Thiel and Michael Post: The Colorful Side of Things,” which will take place from August 3–September 3. The gallerist has paired the two German artists, who tend to sculpt colorful shapes in metal, three times in the past. “I put them together because they’re best friends,” she says, adding, “we always sell their shows out.” She anticipates showing 30 works in all, with equal numbers from each artist. At the very end of the summer the gallery will present “John Beech: Outside the Drift” (September 7–October 7). Among the 20 works on view will be a so-called “floor piece” sculpture dubbed Utile #5, which is mounted on casters and stands more than 100 inches tall. Jackson says Beech’s floor pieces “are very irreverent, not meticulously painted and made.”

Through July 22, TAI Modern (1601 Paseo de Peralta) is presenting “Three Generations of Wada Waichisai,” which unites 16 bamboo works by the Japanese father, son, and grandson, whose careers spanned the 19th and 20th centuries in Osaka, where modern bamboo art sprang into being. “Wada Waichisai I is known, but appreciated for having students who founded substantial lineages of their own,” says Margo Thoma, director of the gallery. “The second and third were well-regarded in their time but are almost forgotten about today. We wanted to shine a light on their work.”

The gallery has also planned shows for two contemporary Japanese bamboo artists. “Honma Hideaki” will be held from July 27–August 25, and “Morigami Jin” takes place from August 31 through September 23. “Honma Hideaki” is the gallery’s first solo show with the artist, whom it has represented since the early 2000s. “It’s an important show for him. He wanted to have it to mark 30 years as an artist,” Thoma says, adding that Flowing Pattern, a large sculpture from 2016, is “immediately recognizable as a Honma Hideaki work. He uses a certain type of bamboo that grows on the island where he is from. Many of the shapes in his work seem to reference the ocean in some way.”

Morigami Jin weaves his mesmerizing bamboo works entirely freehand, with no help from computers. “His works tend to have a light, almost airy quality,” Thoma says. “No armatures are used. With Galaxy II [a 2014 sculpture in the exhibition], he probably started with the cylinder in the center and formed the shape around that.”

Around July 18 —the local holiday known as Raymond Jonson Day—Addison Rowe Gallery (229 E. Marcy St.) will open “Raymond Jonson & Ed Garman: Abstraction in the Southwest” (through August 31). It will contain about 30 works, primarily from Jonson and Garman, but a few from their compatriots, as well. While the two men overlapped at the University of New Mexico in the 1930s, Jonson as a teacher and Garman as a student, they were always peers. Both artists remained interested in abstraction throughout their careers. As gallerist Matthew Rowe explains it, “There are a lot more patterns and repetitions in Garman’s work. Jonson is more asymmetrical. His lines cut across the canvas in unexpected ways.” Rowe hopes that the show will clarify and distinguish the contributions of Garman, who sometimes found himself in Jonson’s shadow. “They’re two guys standing next to each other rather than leaning on each other,” he says. “This exhibition gives us the opportunity to really show the contrasts, visually showing the difference between the artists and what was unique about them.”

“Refined Design, Aesthetics, and Details in Plains Art” opens at Morning Star Gallery (513 Canyon Road) on August 8 and continues through September 3. It represents a departure of sorts for the gallery. Instead of focusing on a group of similar objects or pieces from a specific tribal community or time period, “Refined Design” revels in the beauty and the details of each piece. It features about 35 objects created by unknown craftswomen from Plains tribes between 1850 and 1880. “Often, when I look at an object and present an object to a client, or we discuss an object, we talk about the little details that make a big difference,” says Henry Monahan, director of the gallery. “The small details are what I focus on when I look at something. Why not share that with everybody else?”

The show includes an Upper Missouri matching knife case and belt pouch set from the 1860s that boasts two different types of quillwork—plaited and wrapped—which Monahan says represents “a lot of work, and a lot of painstaking work at that” and is among the best he’s ever seen of its type. It also has a circa-1870 Lakota toiletry bag, used to carry a mirror, which is beaded with a striking four-color checkerboard design. “This is one of my favorite pieces of beadwork of all time,” Monahan says. “It’s like contemporary art, in a way. The powerful graphic of the bag is mesmerizing.”

And it contains several Southern Plains strike-a-light bags, or bags that would have held devices that are the ancestors of the Zippo lighter. Every Plains woman would have worn one on a belt around her waist. Decorated with buttons, tin cones, beading, and fringe, the strike-a-light bags, which date from circa 1875–80, become even more interesting when you realize that women made them for themselves or other women to wear, and not to provide status symbols for their husbands. “There’s a lot of pride in the manufacture of these things,” Monahan says. “They wouldn’t want a sloppy article. They’d want it to look good.”

Monroe Gallery (112 Don Gaspar Avenue) has a 50-print retrospective of the work of the late photographer Bill Eppridge up through September 16. Eppridge captured some of the most gripping events of the 20th century, including the Beatles’ 1964 arrival in New York City and the presidential campaign of Senator Robert F. Kennedy, which he covered for Life magazine. It was Eppridge who took the June 1968 photograph of the fatally wounded Kennedy lying on the floor of the Ambassador Hotel’s kitchen as a busboy, Juan Romero, cradles the candidate’s head. Kennedy was the last politician Eppridge chose to cover. “I could never find another Bobby,” he explained. Eppridge died in 2013 at the age of 75.

The 2018 edition of Art Santa Fe takes place from July 12–15 at the Santa Fe Community Convention Center (201 W. Marcy St.). At least 50 exhibitors will participate, including Contemporary Art Projects (CAP) of Miami, Fla., which will showcase the work of Ricardo Cárdenas. The Mexican artist left a career as a construction engineer for art, but not completely; he makes building materials his medium, and he made some of his more recent works from the rubble of earthquakes that hit his country. “When we first saw his work three years ago at Art Santa Fe, CAP had just picked him up at that point. He’s really developed since then,” says Linda Mariano, managing director of marketing for the Redwood Media Group, which stages Art Santa Fe. “He was at Red Dot Miami in December and all his works sold out. He’s definitely in demand.”

Mia Feroleto and New Observations Magazine of Manhattan will make their Art Santa Fe debut with a display centered around industrial hemp art, and it promises to be memorable. One of the artists who has confirmed that he will conduct demonstrations, Terrence Boyd, creates embroidered hemp paper works with a bow and arrow. “He threads a specially constructed arrow, fires it at the stretched material, and brings it back again and again,” Mariano says. “I’ve not heard of anybody who does anything quite like this. You could call it, at least, innovative.”

Other galleries that will appear include Sammoun Fine Art of Quebec, Canada, which will show post-Impressionist canvases by Samir Sammoun, and Gallery Edel of Osaka, Japan, which will offer works by the legendary Japanese contemporary artist Yayoi Kusama. New for 2018 is the [SOLO] Project, a selection of 18 independent exhibitors chosen by the show’s internal curation team.

The 15th annual edition of the International Folk Art Market is scheduled for July 13–15 at Museum Hill in Santa Fe. Billing itself as the world’s largest folk art festival, it will feature more than 160 masters from more than 50 countries. Among them will be Porfirio Gutiérrez, an expert weaver from Mexico who favors natural dyes and sustainably sourced materials. Last year, dyestuffs from his family were added to the Forbes Pigment Collection at Harvard Art Museums in Cambridge, Mass.

Another great Santa Fe summer tradition, the Traditional Spanish Market, returns to Santa Fe Plaza on July 28–29. About 250 woodcarvers, potters, weavers, jewelry- and furniture-makers, tinworkers, ironworkers, and other masters from New Mexico and southern Colorado will participate. On July 27, El Museo Cultural de Santa Fe (555 Camino de la Familia) will host the Market Preview, where the award-winning artwork for 2018 will be revealed. Market artists will also attend the preview. This year marks the 67th edition of the event.

The Objects of Art Santa Fe show takes place at El Museo Cultural de Santa Fe (555 Camino de la Familia) from August 10–12, with a gala benefiting New Mexico PBS on August 9. More than 70 exhibitors will appear, as well as two special exhibitions, one devoted to George and Mira Nakashima and the other to Maynard Dixon.

“An Exhibition of George and Mira Nakashima Furniture” will feature 25 to 30 works, about half by Mira and half by her late father, George. All will be for sale, according to Objects of Art Santa Fe show co-producer John Morris. Furnishings on display will include an extraordinary Tsuitate sofa, which has a backboard made from a plank of Oregon maple root. Mira, who took over the Nakashima studio following George’s death in 1990, designed the sofa in 2013. She explains that tsuitate is a Japanese word that translates to “standing piece” and denotes something used to divide a space within a Japanese home.

“Maynard Dixon’s New Mexico Centennial” takes place 100 years after the artist’s work was first shown in the state. It will feature at least 75 pieces, some of which will be for sale. Works include The Palominos, a magnificent 1941 study for the last mural Dixon ever did, which is in a post office in greater Los Angeles. “We put together two great artists who never actually met each other, but who are very similar,” says Morris. “George and Mira’s furniture and Maynard’s paintings will go very well together. They’ll fit amazingly.”

Shortly after Objects of Art Santa Fe finishes, the 2018 edition of the Antique American Indian Art Show will open in the same venue, El Museo Cultural de Santa Fe. The opening gala, set for August 14, also benefits New Mexico PBS, and the show itself is scheduled for August 15–17. More than 65 dealers and galleries specializing in art and artifacts by Native Americans will appear at the five-year-old show.

Its special exhibition, “Germantown Weaving: First Modern Art—1870–1900, contains about 20 exceptional Navajo textiles, all of which are for sale. Co-producer Kim Martindale says he has been assembling the display for about 10 years. Germantown weavings represent a happy collaboration between east and west. Around 1870, trading posts offered the best Navajo weavers dyed yarn imported from America’s East Coast. The material provided the weavers with a broad new color palette, and they seized it with the excitement of a child given a huge new box of crayons—except they had the talent and the discipline to make the most of it. “It was an explosion of self-expression by the Navajo weavers,” Martindale says. “All of a sudden, they had every color in the rainbow.”

The weavers, all of whom were women, integrated new colors into traditional patterns and invented other geometric patterns that caught the eye and held it. “This is the time period when the Impressionists were painting. They were not playing with geometry the same way, with colors the same way,” Martindale says. “When the Navajo got these colorful yarns, they started doing all this stuff. It’s incredible what they were making in 1870.” The white consumers who bought the textiles may not have held them in the same regard as the art of the day, but it’s clear that they realized they were special. “I very rarely see pictures of early Germantown weavings on the floor. They’re usually used as wall hangings,” Martindale says. “They had a certain status from the very beginning.”

On August 11, the Santa Fe Art Auction will conduct an online-only sale on its Bidsquare platform. The online auctions, which began last year, focus on lots with estimates of $10,000 and under and are themed. The August auction, which closes on August 26, is devoted to Western decorative arts and objects. It will contain at least 150 lots of furnishings, textiles, works on paper, paintings, and pottery, including Cochiti Pueblo Storyteller with 11 Children, a circa-1973 ceramic figurine by the late Helen Cordero and estimated at $5,000–7,000.

The annual live Santa Fe Art Auction will be held November 10 at 1011 Paseo de Peralta. Among the 250-or-so lots is Taos Maiden, an oil on board by E. Martin Hennings, estimated at $80,000–120,000. The auction marks its public debut; Hennings painted it as a wedding gift for his daughter, and it has remained in the family ever since. The auction will also include paintings by Clark Hulings, Richard Schmid, and Henry C. Balink, as well as a stone sculpture by Allan Houser.

The 97th annual Santa Fe Summer Indian Market, presented by the Southwestern Association for Indian Arts, will be held August 18–19 in and around Santa Fe Plaza. Almost a thousand North American native artists will appear, and roughly 120,000 visitors are expected. The artists include Hubert Candelario, a San Felipe Pueblo member who makes modern-looking ceramic works; Michael Two Bulls, an Oglala Sioux printmaker who comes from a large family of artists; and Kwani Povi Winder, a Santa Clara Pueblo member who paints plein air landscapes and images of Native American people. The event will be proceeded by a Best of Show ceremony and luncheon, along with a preview of award-winning art, on August 17 at the Santa Fe Community Convention Center (201 E. Marcy St.).

By Sheila Gibson Stoodley

Author: Art & Antiques Magazine | Publish Date: July 2018

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