In a Town Steeped in History, It's Hard to Stop Anywhere That Doesn't Have A
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INSIDE Santa Fe • Taos • Painters of Canyons and Deserts • Art of the Horse
INSIDE Santa Fe • Taos • Painters of Canyons and Deserts • Art of the Horse MAY 2019 141 Cover WAC141.indd 1 3/28/19 1:01 PM L ETTER FROM THE EDITOR MAY 2019 Monthly Preservation PUBLISHER Vincent W. Miller n the past three months I have participated in and listened to about EDITORIAL fi ve panels on Western art. One of the concerns that comes up every EDITOR Joshua Rose time is if successive generations will appreciate, and collect, Western [email protected] Iart as much as we do? This is a valid concern but I believe there are things MANAGING EDITOR Rochelle Belsito [email protected] we can do now to secure this art we love well into the future. DEPUTY EDITOR Michael Clawson I think concern should always be followed by action. And what are [email protected] these actions? I’ve been thinking about this a lot lately and I think the ASSISTANT EDITOR Alyssa M. Tidwell fi rst thing we can do is fi gure out ways to preserve the historical aspect of ASSOCIATE EDITOR Taylor Transtrum Western art. For example, last year the Couse-Sharp Historic Site in Taos, SANTA FE EDITOR John O’Hern New Mexico, purchased an old gallery space next door to them and they Francis Smith CONTRIBUTING PHOTOGRAPHER are currently raising money to turn it into a research center for all the EDITORIAL INTERN Maia Gelvin Taos Society of Artists. When I found out about this project, I immediately ADVERTISING (866) 619-0841 reached out to their director, Davison Koenig, and joined the development SENIOR ACCOUNT EXECUTIVE Lisa Redwine [email protected] committee because this is a history we need to have preserved. -
Fall 2007 PAST Newsletter
Calendar of Events PAST Heritage Board of Directors June 15th through November 4th, 2007 100 Years at the Williams House: Ralph Britton, President Look How Things Have Changed! Kelly Hicks, Vice President P A S T Museum of American Heritage Jinny Henke, Secretary 351 Homer Avenue, Palo Alto Grace Hinton, Treasurer For more information call (650) 321-1004 N E W S L E T T E R or visit their website at www.moah.org Betty Britton Terry Rice Natalie Loukianoff Scott Smithwick Volume 21 - Number 2 Fall 2007 Sunday, December 9th, 2007 Janet Peacock Steve Staiger Annual PAST Holiday House Tour Come Join us at our 20th Annual HELP WANTED: Webmaster HOLIDAY HOUSE TOUR PAST is looking for someone to take over the management of our Website. We need someone familiar with Charles Sumner Homes of Palo Alto basic HTML and CSS. The current webmaster will be available for consultation. If you are interested, please contact PAST President, Ralph Britton by email at [email protected] December 9th - 1 to 4pm As you know, PAST organizes a house tour every December where our membership can spend an afternoon learning about the history Palo Alto Stanford Heritage o f t h e c i t y ’ s P.O. Box 308 neighborhoods, housing Palo Alto, CA 94302 stock, builders, and (650) 299-8878 a r c h i t e c t s t h r o u g h www.pastheritage.org exploring some of the charming homes in our PAST Heritage is a nonprofit organization area. In this year’s tour advocating the preservation of the historic our subject is Charles architecture, neighborhoods, and character of the greater Palo Alto Stanford area through Sumner, a local architect informed citizen involvement and education. -
Print a Copy of Historic Taos, a Walking Tour of 22 Taos Landmarks
Welcome visitors and Taoseños! You are invited to explore the diversity of this region, through a self-guided tour. The two-hundred year old Taos Plaza, and the streets that radiate from it like spokes, form the National Historic District of Taos. It contains a number of national and state landmarks which are Historic testimonials to the rich and complex cultural history of T aos. The T aos Valley has been a major trade and travel route since human presence was first felt in the area. Archeological evidence suggests that people have been using and moving through the Taos Valley for, at least, the past 9,000 years. The ancestors of the Pueblo people, commonly known as the Anasazi, were the first permanent inhabitants of the Valley. Room blocks and pit houses in the Taos area testify to their presence since 900 AD. Around 1200 AD, they aggregat- ed into small above ground structures of 50-100 rooms. Many believe the Taos Pueblo was constructed around 1450 as a multi-story TAOS complex. However, archeologists predominantly place the date of construction of Taos Pueblo in the 14th century on or about 1350. Unfortunately , there is no known recorded date. In any case, the Pueblo Indians depended upon nature for their survival, and therefore treated nature as an organizing and spiritual element in their lives. At the time of the arrival of the Europeans, all of Taos Valley was in the domain of Taos Pueblo Indians. In 1540, Francisco de Coronado, a Spanish conquistador and explorer, was authorized to explor e the area by the king of Spain. -
General Vertical Files Anderson Reading Room Center for Southwest Research Zimmerman Library
“A” – biographical Abiquiu, NM GUIDE TO THE GENERAL VERTICAL FILES ANDERSON READING ROOM CENTER FOR SOUTHWEST RESEARCH ZIMMERMAN LIBRARY (See UNM Archives Vertical Files http://rmoa.unm.edu/docviewer.php?docId=nmuunmverticalfiles.xml) FOLDER HEADINGS “A” – biographical Alpha folders contain clippings about various misc. individuals, artists, writers, etc, whose names begin with “A.” Alpha folders exist for most letters of the alphabet. Abbey, Edward – author Abeita, Jim – artist – Navajo Abell, Bertha M. – first Anglo born near Albuquerque Abeyta / Abeita – biographical information of people with this surname Abeyta, Tony – painter - Navajo Abiquiu, NM – General – Catholic – Christ in the Desert Monastery – Dam and Reservoir Abo Pass - history. See also Salinas National Monument Abousleman – biographical information of people with this surname Afghanistan War – NM – See also Iraq War Abousleman – biographical information of people with this surname Abrams, Jonathan – art collector Abreu, Margaret Silva – author: Hispanic, folklore, foods Abruzzo, Ben – balloonist. See also Ballooning, Albuquerque Balloon Fiesta Acequias – ditches (canoas, ground wáter, surface wáter, puming, water rights (See also Land Grants; Rio Grande Valley; Water; and Santa Fe - Acequia Madre) Acequias – Albuquerque, map 2005-2006 – ditch system in city Acequias – Colorado (San Luis) Ackerman, Mae N. – Masonic leader Acoma Pueblo - Sky City. See also Indian gaming. See also Pueblos – General; and Onate, Juan de Acuff, Mark – newspaper editor – NM Independent and -
Join Us for a Gathering of the Guilds the Colorado Arts and Crafts Society Artisans’ Guild Forum: a Presentation of the Best in Regional Craftsmanship
SUNDAY APRIL 30, 2017 THE BOETTCHER MANSION ON LOOKOUT MOUNTAIN, GOLDEN, COLORADO VOLUME 19, NO. 1 SPRING 2017 10 A.M. TO 4 P.M. JOIN US FOR A GATHERING OF THE GUILDS THE COLORADO ARTS AND CRAFTS SOCIETY ARTISANS’ GUILD FORUM: A PRESENTATION OF THE BEST IN REGIONAL CRAFTSMANSHIP Every April, the Colorado Arts and Crafts Society brings local Bring your entire family up to the artisans together under one roof to celebrate art and craft be- Boettcher Mansion on top of Lookout ing created by hand and heart. This year we’ll feature experts Mountain on Sunday, April 30th to in art, ceramics & pottery, fi ber, glass, jewelry & metalsmith- experience craftmanship in its most ing, knife making, leather, metal, textiles, weaving, wood, and authentic form. Whether you choose distilling. to “learn the trade” from a favorite artisan -- or just listen and observe -- you will have a chance to meet and learn from a variety of talented folks. You will also have the opportunity to buy handcrafted works directly from their creator. A variety of information, presenta- tions, demonstrations and workshops will be offered throughout the day, in- cluding appraisals from Robert Rust. Just bring in your antique treasure, and for $10 per item, you can learn more about your collection. CACS and participating guild mem- bers attend free of charge; general admission $5. At lunch time, sand- wiches, salads and drinks will be available for purchase. 1. A night with the Shadow Catcher By Julie Leidel There are some moments in life where time stops moving forward and something starts to stir from a place of con- nection deep inside. -
Rick Dillingham Collection
Rick Dillingham Collection New Mexico Museum of Art Library and Archives Introduction Rick Dillingham [hereinafter RD], whose full name was James Richard. Dillingham II, was born in Illinois in 1952. His college education during the years 1968 - 1976 secured him a Bachelor of Arts Degree at the University of New Mexico (1974) and a Master’s Degree from Claremont Graduate School, Scripps College, at Claremont, California (1976). His principal work as an artist was in the field of ceramics where he achieved international primacy . Representative pieces of his work are held in the Victoria Albert Museum in London, the National Museum of Ceramic Art in Baltimore, Maryland, the Smithsonian Institution, and the New Mexico Museum of Art in Santa Fe. He was best known, for his "broken pottery" technique involving the deliberate destruction of pottery made by him, the decoration and coloring of the shards, and their reconstruction when his artistic applications were completed. Scope and Content Note Part One presents scrapbooks, correspondence, announcements, catalogs, correspondence and other "paper records" and memorabilia. Part Two presents an enormous collection of photographs, 35mm slides, transparencies, postcards, and related material. Additional material is stored in the Collections Department of the New Mexico Museum of Art, and is accessible upon request. The Photography Archives of the Palace of the Governors in Santa Fe contain even more material. Juliet Myers' name appears throughout the Collection. She was the curator for and agent of RD, and frequently spoke in his name. RD suffered from AIDS during the latter part of his life, a malady referred to time and again in correspondence sent to him. -
The Salon of Mabel Dodge
DIVISION OF THE HUMANITIES AND SOCIAL SCIENCES CALIFORNIA INSTITUTE OF TECHNOLOGY PASADENA, CALIFORNIA 91125 THE SALON OF MABEL DODGE Robert A. Rosenstone To be published in Peter Quennell, ed., Salon (London: Weidenfeld and Nicolson, 1980). HUMANITIES WORKING PAPER 24 January 1979 THE SALON OF ~WillEL DODGE Robert A. Rosenstone Mabel Dodge's salon ••• burst upon New York like a rocket. Margaret Sanger It was the only successful salon I have ever seen in America. Lincoln Steffens Many famous salons have been established by women of wit or beauty; Mabel's was the only one ever established by pure will power. And it was no second-rate salon; everybody in the ferment of ideas could be found there. Max Eastman 2 It is indeed the happy woman who has no history, for by happy we mean the loving and beloved, and by history we designate all those relatable occurences on earth caused by the human energies seeking other outlets than the biological one. • . That I have so many pages to write signifies, solely, that I was unlucky in love. Most of the pages are about what I did instead •. Mabel Dodge 1 Mabel Dodge was rich and attractive and more than a little lucky. For two years -- from 1912 to 1914 -- she played hostess to the most famous and no doubt the most interesting salon in American history. This success was no accident, but the result of a subtle interplay between her individual needs and ambitions and the historical moment. It was a very special period in the cultural life of the United States, one when expatriate Irish painter John Butler Yeats cocked an ear and heard "the fiddles • tuning as it were allover America. -
The Founders of the Woodstock Artists Association a Portfolio
The Founders of the Woodstock Artists Association A Portfolio Woodstock Artists Association Gallery, c. 1920s. Courtesy W.A.A. Archives. Photo: Stowall Studio. Carl Eric Lindin (1869-1942), In the Ojai, 1916. Oil on Board, 73/4 x 93/4. From the Collection of the Woodstock Library Association, gift of Judy Lund and Theodore Wassmer. Photo: Benson Caswell. Henry Lee McFee (1886- 1953), Glass Jar with Summer Squash, 1919. Oil on Canvas, 24 x 20. Woodstock Artists Association Permanent Collection, gift of Susan Braun. Photo: John Kleinhans. Andrew Dasburg (1827-1979), Adobe Village, c. 1926. Oil on Canvas, 19 ~ x 23 ~ . Private Collection. Photo: Benson Caswell. John F. Carlson (1875-1945), Autumn in the Hills, 1927. Oil on Canvas, 30 x 60. 'Geenwich Art Gallery, Greenwich, Connecticut. Photo: John Kleinhans. Frank Swift Chase (1886-1958), Catskills at Woodstock, c. 1928. Oil on Canvas, 22 ~ x 28. Morgan Anderson Consulting, N.Y.C. Photo: Benson Caswell. The Founders of the Woodstock Artists Association Tom Wolf The Woodstock Artists Association has been showing the work of artists from the Woodstock area for eighty years. At its inception, many people helped in the work involved: creating a corporation, erecting a building, and develop ing an exhibition program. But traditionally five painters are given credit for the actual founding of the organization: John Carlson, Frank Swift Chase, Andrew Dasburg, Carl Eric Lindin, and Henry Lee McFee. The practice of singling out these five from all who participated reflects their extensive activity on behalf of the project, and it descends from the writer Richard Le Gallienne. -
Five Museums | the Taos News
5/15/2020 Five Museums | The Taos News (/) Search … ADVANCED SEARCH (/SEARCH.HTML) GALLERY GUIDE Five Museums (/uploads/original/20200406-150431-Davison.jpg) Davison Koenig, the Couse-Sharp Historic Site executive director and curator COURTESY https://www.taosnews.com/stories/taos-society-of-artists-couse-sharp-historic-taos-art-museum-harwood-millicent-rogers-lunder-research-center-blumenschein,63198? 1/4 5/15/2020 Five Museums | The Taos News Posted Thursday, April 16, 2020 1:29 pm By Dena Miller To some it may seem inexplicable why Taos--a tiny town nestled in New Mexico’s high mountain desert-- became the vortex for an American art movement of such national and international significance over the course of a century. But to Davison Koenig, the Couse-Sharp Historic Site executive director and curator, it’s perfectly understandable. “The arrival of those who would come to be known as the Taos Society of Artists was a perfect storm of circumstances, the timing of which coincided with a burgeoning interest in the American Southwest,” he said. “They didn’t just visit here; they settled here. And so they became a colony with a common and concerted vision, which was to share with the rest of the world an authentic depiction of Native culture and the American Southwest landscape.” Today, the site--owned and operated by The Couse Foundation and including the homes and studios of founding artists E. Irving Couse and J. H. Sharp--is a fascinating step back into time, but is poised to become the future’s singular research center dedicated to Taos as one of the most important art colonies in the country’s history. -
Modernism in the Southwest
Modernism in the Southwest Submitted by Dawn Sarah Cohen Department of Art In partial fuifiHment of the requirements for the Degree of Master of Fine Arts Colorado State University Fort Collins, Colorado Spring 2000 1 Modernism in the Southwest " Miles upon miles of level stretches covered with sage brush, with here and there a drop of a few hundred feet that would be a canyon, Hills and Mountains of every color ... A sunset seems to embrace the Earth Big sun heat Big storm Big everything ... " 1 In the 1900's, a group of New York City Modernists made a move to create art in the southwest region of North America. This took place almost simultaneously with the Armory Show in New York in 1913. Well·*known academic artists from different schools in New York were drawn to the relatively unexplored exotic territory. Their paintings bridged the gap between landscape painting and Modernism. These artists presented a 1 John Marin. John Marin, ed. Cleve Gray. (New York: Holt, Rinehardt and Winston, 1974), p. 161. 2 unique view of the landscape and culture of the Southwest. This paper will explore four artists and their responses to the Southwest landscape. In New York City during the 1910s and 1920s, many painters were concerned with the social context of city life and political issues. The role of these artists had been to explore urban culture through the style of genre paintings. Modernist painting, which included Individualism, Cubism, Futurism, Expressionism, and Impressionism was also emerging at this time. Modernist groups were headed by two main schools of art, Alfred Stieglitz's group, and Robert Henri of the Ashcan School. -
28 August, 2000
OWINGS-DEWEY FINE ART A GALLERY FOR TH AND TH CENTURY AMERICAN ART CONSULTATION| SALES| APPRAISAL KENNETH MILLER ADAMS (b. 1897 Topeka, Kansas – d. 1966 Albuquerque, New Mexico) Kenneth M. Adams, the last and youngest member elected to the Taos Society of Artists before it was dissolved in 1927, came to New Mexico three years earlier. Adams first heard of the art colony at Taos while studying painting under Andrew Dasburg at the Art Students League in Woodstock, New York. Dasburg, with whom he studied during the summers of 1919 and 1920 was perhaps the greatest influence on Adams’ style and development. It was Dasburg who introduced him to Cézanne and the inventions made by Picasso and the Cubists. A Kansan by birth, Adams was trained initially by George M. Stone, A Topeka artist. Later he attended the Art Institute of Chicago and the Art Students League in New York. In 1921, he went to Europe for a two-year stay. He spent several months painting landscapes in the south of France. Some of these early scenes, no longer stretched or framed, were found in the Adams estate after his death. They had a muted color scheme, which he eventually abandoned in New Mexico, but there was a blocked-out sense of form in them that was a harbinger of his later development. These landscapes were exhibited in Kansas and Missouri after his return to the States in 1923. A year later, Adams followed Dasburg to Taos. Adams struck out against the prevailing popular taste of his time when he was yet a young man. -
Why So Many Artists Have Been Drawn to New Mexico
C r e at i v i t y W h y S o M a n y Ar t i s t s H a v e Be e n D r a w n t o Ne w Mexico For generations, artists from Georgia O'Keeffe to Ken Price havefollowed New Mexico’s magnetic pull, finding inspiration in the highdesert’s expansive vistas, quietude, and respite from social and market pressures. Alexxa Gotthardt May 17, 2019 5:57 pm Georgia O’Keeffe had an unexpected train detour to thank for her first encounter with New Mexico. Little did she know, it was the land that would free her—both artistically and emotionally. Several months after photographergallerist Alfred Stieglitz presented O’Keeffe’s first New York solo show, in April 1917, the 29yearold painter embarked on a trip across the American West with her youngest sister, Claudia. While they’d planned to head straight from Texas to Colorado, their train detoured to Santa Fe. New Mexico’s vast, mercurial skies and incandescent light mesmerized the artist. “I’m out here in New Mexico—going somewhere—I’m not positive where—but it’s great,” she gushed in a letter to Stieglitz, dated August 15th. “Not like anything I ever saw before.” Portrait of Georgia O’Keeffe in Abiquiu, New Portrait of Bruce Nauman in New Mexico by Mexico, 1974. Photo by Joe Munroe/Hulton Francois Le Diascorn/GammaRapho via Getty Archive/Getty Images. Images. “There is so much more space between the ground and sky out here it is tremendous,” she continued.