tag:blogger.com,1999:blog-22663487504097880082024-03-14T05:34:54.354-06:00Mabel Dodge Luhan and the Remarkable Women of TaosWith Mabel Dodge Luhan as a focal point, we will profile her and other remarkable women in her circle and time; delve into stories of women who arrived before Mabel, like Francisca Quijosa who received a Spanish land grant in Taos in 1715; introduce contemporary women of Taos; inform blog visitors about happenings at the Mabel Dodge Luhan House and throughout the Taos community that link with issues congruent with Mabel’s life, ideas, and activities.lizhttp://www.blogger.com/profile/04640519051616776710noreply@blogger.comBlogger45125tag:blogger.com,1999:blog-2266348750409788008.post-26173173497833328162012-12-31T20:15:00.000-07:002012-12-31T20:15:02.442-07:00New Year's Eve: "Winter in Taos" -- illustrating Mabel's book as the 2012 Remarkable Women of Taos year-long celebration ends<div class="separator" style="clear: both; text-align: center;">
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<i>It was the Year of Remarkable Women...Not only have there been important women now and throughout history but this community would not exist without the people who did a whole lot more than keep the home fires burning.</i> -- Rick Romancito*</div>
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Tears flowed as I read these and other leading paragraphs by Rick Romancito, Editor of Tempo, the arts and entertainment magazine of <i>The Taos News</i>. His commentary nailed the intent behind the Town of Taos' creative community traveler education theme, the Remarkable Women of Taos: to honor women from all walks of life across centuries and cultures. As he observed in his cover article "2012: The Year in Pictures,"* an initial list of women in the arts, business, health and outdoors grew to include "All women here. Every woman who worked hard to keep their kids in school, who made sure there was food on the table and who kept businesses, organizations and committees together became worthy of recognition."</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicucWtRCj2MuabxJ2jB7qAeLZKd8XINo7hcaRl2eaIIuyj4t-c13CpRtFu8sFNCwKyyDSltsqF2HSFhcocgu4L0yngz6hCOnJLj8Fe3QdnhfkI1Dux8CE4LLG6Ts1M5mqAYmgoywHf3tE/s1600/MDLH-LogCabin%2526RWTbanner.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicucWtRCj2MuabxJ2jB7qAeLZKd8XINo7hcaRl2eaIIuyj4t-c13CpRtFu8sFNCwKyyDSltsqF2HSFhcocgu4L0yngz6hCOnJLj8Fe3QdnhfkI1Dux8CE4LLG6Ts1M5mqAYmgoywHf3tE/s400/MDLH-LogCabin%2526RWTbanner.jpg" width="400" /></a></div>
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Just today, the day this year-long celebration draws to a close, Janet Webb and I--the last two women still standing around the Town of Taos' Remarkable Women of Taos--finalized the final profiles for what will become an e-book. At the beginning of December we looked at the 230 some profiles on women on the <a href="http://taos.org/women" target="_blank">Remarkable Women website </a>and at the year's list of exhibitions, events and honorings. We considered the variety and breadth of women and men in the community who poured hours of research, writing, event and exhibition organization time into the project. Janet and I agreed that such an effort deserved to be captured for all time. As our archeologist friend Michael Burney put it "What a marvelous piece of anthropology. Imagine someone reading this100 years from now."</div>
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As I prepared to write this, my final blog piece of 2012, I tried counting up the number of women recognized in our community this year. Various authors wrote profiles on over 150 women. Adding in the women honored by <i>The Taos News</i>, Holy Cross Hospital and other entities, and through various events and exhibitions, the final count has to be at least 450. It's a rough count. That may seem like a lot of remarkable women, but believe me, it's only the tip of the iceberg. And to think it all started with this blog "Mabel Dodge Luhan and the Remarkable Women of Taos." But that's another story--one I will tell you next year, next month. </div>
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With the "longest single curatorial project of Taos" behind me, and with another lovely snow, my thoughts turned inward. The last Remarkable Women of Taos project that Mabel Dodge Luhan House staffers proposed was a New Year's Eve reading of Mabel's book<i> Edge of Taos Desert.</i> <a href="http://taos.org/women/ali-macgraw" target="_blank">Ali McGraw</a> gave a dramatic reading from the book at the Harwood Museum of Taos last year. (It's a book she likes giving to friends.) Although the New Year's Eve event didn't happen, the thought of it brought me back to my favorite book of Mabel's, <i>Winter in Taos</i>. I thought it would be fun to illustrate some lines she wrote about winter, a perfect way to wrap up 2012.</div>
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The following lines are from <i>Winter in Taos</i>. Photographer and staffer Noreen Perrin** provided fresh photos of the Mabel Dodge Luhan House in today's snowstorm...I took the rest.</div>
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The air, in the cold morning light, is full of a softer flood than flakes of snow…</div>
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There would be a new layer of snow over the land before many hours had passed…</blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0vV2OBAVFdppYPAG81-zCCx205xxYOihSgTODB2hDlSl37ATC4BmDQlaxQYOf0BtqrSS67HAOttbBbWCPSr0El-qXrxR73qPbKpH-LG3_4O-FTxxVfd_Ls3V0jkeMAvA9cdCOacxa5GI/s1600/SnowBlowingSideways.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0vV2OBAVFdppYPAG81-zCCx205xxYOihSgTODB2hDlSl37ATC4BmDQlaxQYOf0BtqrSS67HAOttbBbWCPSr0El-qXrxR73qPbKpH-LG3_4O-FTxxVfd_Ls3V0jkeMAvA9cdCOacxa5GI/s320/SnowBlowingSideways.jpg" width="320" /></a></div>
Now the air is full of white flakes, blowing easily sideways, not cold...</blockquote>
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Close all the doors and live by the fire, and enjoy...</blockquote>
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Give up to winter and the sights and the sounds of the seasons...</blockquote>
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Together with Mabel and the owners and staff of the Mabel Dodge Luhan House, I wish you all a HAPPY NEW YEAR!<br />
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Adios for now,<br />
Liz<br />
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* Rick Romancito quotes taken from his article "2012: The Year in Pictures" featured in "Tempo", <i>The Taos News</i>, December 27, 2012-January 2, 2013, page 21.<br />
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** My gratitude to Noreen Perrin for the photos of the Mabel Dodge Luhan Hous log cabin and exteriour wall (photo #1), the ramada (photo #3) and facing the entrance (photo #6). All ©2012 Noreen Perrin.<!--[if gte mso 9]><xml>
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<div class="blogger-post-footer">Blog etiquette: This blog will be conducted with a commitment to civil and constructive conversation that allows for personal expression: a place where participants “agree to disagree agreeably.” In this spirit, the Mabel Dodge Luhan and the Remarkable Women of Taos blogsite will adhere to a "Civility Enforced" standard and uphold the Blogger Content Policy as set forth in Blogger.com’s site: http://www.blogger.com/content.g</div>lizhttp://www.blogger.com/profile/04640519051616776710noreply@blogger.com0tag:blogger.com,1999:blog-2266348750409788008.post-47366254640978691032012-12-02T08:01:00.002-07:002012-12-05T09:46:37.398-07:00Mabel, Contemporary Taos Women Writers, Good Reads<div class="separator" style="clear: both; text-align: center;">
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<i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">On the long, scarred table under the west window at the left of the front door, always open day and night out on the
lawn portal, there were a couple of rows of books, one in front of the other,
the new books that will presently be shifted out to the book room. Such a
mixture, too! The last mystery story, the last scientific premise, the last
mystical doctrine, the last hard-boiled novel, and all the new books friends
have <span style="mso-bidi-font-style: normal;">sent</span> this year with tender
inscriptions in them. </span></i><br />
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;"></span><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"><span style="mso-tab-count: 1;"> </span><i></i></span> </div>
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<span style="font-family: inherit;">Mabel loved books. She read voraciously and widely. This description from her volume <i>Winter in Taos</i> shows the importance books played in her life. Considering she wrote hers in the 1930s, it's a tribute to her that <i>Edge of Taos Desert</i>, <i>Lorenzo in Taos</i> and <i>Winter in Taos</i> are still in print. So is <i>Intimate Memories</i>, a selection of Mabel's memoirs edited by Lois Rudnick.</span></div>
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<span style="font-family: inherit;"><br /></span></div>
<div class="separator" style="clear: both; text-align: left;">
<span style="font-family: inherit;">I enjoy reading Mabel's works. She gives voice to each era of her life through vivid description of the people, places and times. I love the descriptions of Taos which make me long to travel back to Mabel's time. It made me wonder if her books would have garnered literary prizes. She certainly won notice in her day.</span></div>
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<span style="font-family: inherit;"><br /></span></div>
<div class="separator" style="clear: both; text-align: left;">
<span style="font-family: inherit;"><span style="font-size: small;">Book honors have been on my mind. At <span style="font-size: small;">t</span></span><span style="font-size: small;">his year's </span>Remarkable Women of Words Festival, I discovered that several participants received recent awards. So let me introduce five of our Taos prize-winning writers.</span></div>
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<br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDA1cDUAxRo0qRH9ZLqOTeY8LXnHveaQMFj6CNZaKJHPU9yxhFGMPuCiKN9X2MCrHjmxgQoXuojr6rnsmUXHe8KyH8qglC0QNuewJfd_qajqcWjCc82Qn2uEyJa5xkVbyzu5FrbrnzPKc/s1600/V-Golos-author-picLoRes.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDA1cDUAxRo0qRH9ZLqOTeY8LXnHveaQMFj6CNZaKJHPU9yxhFGMPuCiKN9X2MCrHjmxgQoXuojr6rnsmUXHe8KyH8qglC0QNuewJfd_qajqcWjCc82Qn2uEyJa5xkVbyzu5FrbrnzPKc/s320/V-Golos-author-picLoRes.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Veronica Golos. Photo by Lenny Foster.<b><br /></b></td></tr>
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<span style="font-family: Georgia,"Times New Roman",serif; font-size: small;"><a href="http://taos.org/women/profiles-artists?/item/128/Veronica-Golos-Poet-and-Author" target="_blank">Veronica Golos</a> is the author of <i>Vocabulary of Silence</i> (Red Hen Press,
2011), winner of the 2011 New Mexico Book Award. Veronica also<span style="font-size: small;"> wrote </span><i>A Bell Buried Deep</i>,
co<span style="font-family: "Calibri","sans-serif";">-</span>winner of the Nicholas Roerich Poetry Prize (Story Line Press).
Her work has been widely published and anthologized nationally and internationally. Veronica was awarded residencies at the Wurlitzer
Foundation and a Creative Woman Fellowship by A Room of Her Own, among
others. </span><span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;">Her book, <i>A Bell Buried Deep</i>, was
adapted for stage in New York’s Theatre Row, and at Claremont Theological
Seminary in California. <span style="color: black;">Veronica has</span>
lectured on “How to Teach Poetry to Young Children” at Hunter College, the
Teacher’s College of Columbia University and at Colorado State University. She’s
been the poet-in-residence at Sacred Heart Academy in Connecticut, and at the
former Yaxche School in Taos.Veronica is co-editor of the newly launched <i><a href="http://www.taosjournalofpoetry.com/" target="_blank">Taos Journal of<span style="font-size: small;"><span style="color: black;"> </span></span>Poetry & Art</a>,</i> and the Acquisitions Editor for <i>3:A Taos Press.</i> A lifelong activist for social
justice, humanitarian and peace causes, Veronica uses her poetry not only to
interpret and question but “to challenge and act.” </span></span></div>
<span style="font-size: small;"></span></div>
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<div class="MsoNoSpacing">
<span style="font-size: small;"><i><span style="font-family: Georgia,"Times New Roman",serif;">Vocabulary of
Silence</span></i><span style="font-family: "Calibri","sans-serif";"><span style="font-family: Georgia,"Times New Roman",serif;">
is an exploration of war and its witnessing-from-afar. “Golos takes the fragments, the bits and pieces
that reach us from the battlefield, and weaves them with a morality and a
sorrow,” states writer and journalist Barbara Nimri Aziz. Poems from <i>Vocabulary of Silence</i> have been translated into Arabic and Spanish</span>.</span></span></div>
<br />
<div class="separator" style="clear: both; text-align: left;">
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1C40v1CKMH8yKhJmuG2CCc0dBZMT_JUs9RjD2sM8iXyByZU5kry2d4mG8Z6GjRzPtO28ERC3pguPZGD-RbDKU_hbp9Pgv7vI2y0dA4fabnnPJKTNzvSr3f_bjj7uSqEeM0VO6bdGKHGU/s1600/CoverVocabularySilenceLgr.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1C40v1CKMH8yKhJmuG2CCc0dBZMT_JUs9RjD2sM8iXyByZU5kry2d4mG8Z6GjRzPtO28ERC3pguPZGD-RbDKU_hbp9Pgv7vI2y0dA4fabnnPJKTNzvSr3f_bjj7uSqEeM0VO6bdGKHGU/s320/CoverVocabularySilenceLgr.jpg" width="214" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cover image, sculpture by Conrad Cooper*</td></tr>
</tbody></table>
<br />
<blockquote class="tr_bq">
<b><span style="font-family: Arial,Helvetica,sans-serif;">Warrior</span></b><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif;">My past washes back, a low tide,</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">a haunting song.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif;">Like the zing of the arrow</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">sound has a shape.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif;">Flesh. There will be war.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">Witness. Stand on the field</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif;">as the ones who are already dead</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">need you to. Stare. Never let go.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif;">One can not measure</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">death. I know--</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif;">I am the one who cuts--broken</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">as the edge of your cup.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif;">See--the bow I have become, the bones, the arrow--</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif;">man, but not a man. </span></blockquote>
Poem from <i>Vocabulary of Silence</i> courtesy of Veronica Golos<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2_zsabtOTQQZpIuxoixmHy0ZgFzuRKNjitMe2HxemztCRTIJlaX3bQXvJ3cBoo6MOemDGbMfKLq4Q0fujLOutFw20u7SKNG9TiUWTcOmEqOho7luXSlG4Ng-_THKvcMS3yekN-oJ3TMw/s1600/BonnieLeeBlackLoRes.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2_zsabtOTQQZpIuxoixmHy0ZgFzuRKNjitMe2HxemztCRTIJlaX3bQXvJ3cBoo6MOemDGbMfKLq4Q0fujLOutFw20u7SKNG9TiUWTcOmEqOho7luXSlG4Ng-_THKvcMS3yekN-oJ3TMw/s400/BonnieLeeBlackLoRes.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bonnie Lee Black. Photo by Lenny Foster.</td></tr>
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</xml><![endif]--><span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;">In March 2012 <a href="http://taos.org/women/community-profiles?/item/182/Bonnie-Lee-Black-Writer-Editor-Educator-Artisan" target="_blank">Bonnie Lee Black</a> received a “Best in the World”
award from Gourmand International in Paris, France, for <a href="http://bonnieleeblack.com/" target="_blank"><i>How to Cook a Crocodile: A Memoir with Recipes</i></a>. Bonnie has been
a professional writer and editor for nearly 30 years and an educator in the
U.S. and overseas for over 15 years. Her <i>Somewhere Child</i> (Viking Press, NY, 1981), a memoir that chronicles Bonnie's <span style="color: #333333; display: inline ! important; float: none; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><span class="Apple-converted-space"> </span>journey to Rhodesia (now Zimbabwe), Africa, <span style="font-size: small;">center<span style="font-size: small;">s on </span></span>reclaim<span style="font-size: small;">ing</span> her abducted child. <span style="font-size: small;">Bonnie's book </span></span>was instrumental in
the creation of the National Center for Missing and Exploited Children. It still appears on reading lists of organizations designed to help parents
of abducted children. <span style="color: #333333; display: inline ! important; float: none; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><span class="Apple-converted-space"> </span></span>Bonnie's essays have appeared in a number of published
anthologies and literary journals, including (most recently) <i>Alimentum</i>, <i>Persimmon Tree,</i> and <i>Under the
Sun</i>. <span style="color: #333333; display: inline ! important; float: none; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">She is also the editor of the newly published SOMOS (<a href="http://somostaos.org/" target="_blank">Society of the Muse of the Southwest</a>) fundraising cookbook,<span class="Apple-converted-space"> </span></span><i style="background-color: transparent; border: 0px none; color: #333333; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; margin: 0px; orphans: 2; outline: 0px none; padding: 0px; text-align: start; text-indent: 0px; text-transform: none; vertical-align: baseline; white-space: normal; widows: 2; word-spacing: 0px;">Storied Recipes</i><span style="color: #333333; display: inline ! important; float: none; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><span class="Apple-converted-space"> </span>(2012).</span> Bonnie<b> </b>currently teaches in both the English and Culinary
Arts departments at the University of New Mexico<b>, </b>Taos. </span></span></div>
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"><i>Synopsis of</i> How to Cook a Crocodile: <i>Casting caution to the wind at the age of fifty,
New York caterer and food writer Bonnie Lee Black decided to close her catering
business and join the Peace Corps.
Posted to the tiny town of Lastoursville in the thickly rainforested
interior of Gabon, Central Africa, Bonnie taught health, nutrition, and
cooking, in French, primarily to local African women and children. In the two years she served in Gabon, Bonnie
developed her own healthy recipe for a purposeful life, made in equal measures
of good food, safe shelter, meaningful work, and unexpected love. Like M.F.K. Fisher’s classic World War II-era
book, </i>How to Cook a Wolf,<i> Bonnie’s
true stories comprise a lively, literary, present-day survival guide.</i></span></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR0wosj3H7MF_Wt_-0ervcIZDVHPWVWVWe4oJGFWHxY57VeyWAsnBTBPrpmHeqW0PisFbQErsNj4uH01oOuNHLVXVa06p91pf3PYMaOjKuyOKXp8ktAtdBqdzY72kJsgMmLQ0ngazpQAM/s1600/LisaGoettLoRes+Photo_1002.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR0wosj3H7MF_Wt_-0ervcIZDVHPWVWVWe4oJGFWHxY57VeyWAsnBTBPrpmHeqW0PisFbQErsNj4uH01oOuNHLVXVa06p91pf3PYMaOjKuyOKXp8ktAtdBqdzY72kJsgMmLQ0ngazpQAM/s400/LisaGoettLoRes+Photo_1002.jpg" width="273" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lise Goett. Photo by Judith Bishop.</td></tr>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><span style="color: black;">Lise Goett is the
2012 winner of the <a href="http://www.poetrysociety.org/psa/awards/annual/winners/2012/award_4/" target="_blank">Robert H. Winner Memorial Award in Poetry</a> from the Poetry
Society of America for her manuscript, <i>Leprosarium</i>. Her other
awards include <i>The Paris</i> <i>Review </i>Discovery Award, The Pen
Southwest Book Award in Poetry, and The Barnard New Women Poets Prize for her
first poetry collection, <i>Waiting for the Paraclete</i>, as well as
postgraduate fellowships from The Milton Center and the Creative Writing
Institute at the University of Wisconsin-Madison. Lise<span style="font-size: small;"><b> </b>has </span>taught Creative Writing at </span>New York University and the University of New Mexico,
Taos<span style="font-size: small;">, </span></span></span><span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><span style="color: black;"><span style="font-size: small;">a</span>mong other institutions</span></span></span></span>. She was awarded residencies at the Julia
and David White Artists’ Colony, Cuidad Colón, Costa Rica and the Wurlitzer
Foundation in Taos. Lise won the Academy
of American Poets Prize at Columbia University and was a Visiting Artist at the
American Academy in Rome.<span style="font-size: small;"> </span>Her poetry has appeared in numerous journals,
including the <i>Paris Review</i>, <i>Ploughshares</i>, and the <i>Antioch Review</i></span></span>. </div>
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<br />
<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;">Poet <span style="line-height: 115%;">Carolyn Forché reviewed Lise's first poetry collection:</span></span></span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: 11pt; line-height: 115%;"></span></span><br />
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<![endif]--><span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"><i><span style="line-height: 115%;">This exemplary first collection is the lyric record of
a contemplative spirit's going-forth, of her soul's discernment, the experience
of personal and intimate communion, erotic passion and divine mystery,
corporeal hunger and 'naught else but yearning' for the mysterium tremendum.
There is a radiance about these poems, and a supplicant's willingness to lay
bare the desire enshrined in her very selfhood. For this poet, music is the
soul's correlative, the sheath that allows the journey to be borne.</span></i></span></span><br />
<br />
<blockquote class="tr_bq">
<div class="separator" style="clear: both; text-align: center;">
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<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">Labyrinth</span></b></div>
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<br /></div>
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<br /></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">an
archipelago numbed.</span> </blockquote>
<br />
<br />
copyright <i>The Paris Review</i>, 2001
<br />
<br />
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<blockquote class="tr_bq">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"></span></blockquote>
<span style="font-family: Georgia,"Times New Roman",serif;">Poem from<i> </i><span style="font-size: small;"><span style="color: black;"><i>Waiting for the Paraclete</i></span></span> courtesy of Lise Goet</span>t<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij0ZB_NhbrUI0Hq5DB5epOvnpGamBrR9Ej8cs0nnQwOTvMruKQOD-e96ElQ4PHSaltjvj0fDijBb_r-XIMbRERVmCre0GxjFbH6UWIJrOH71zwmdcYPkxB3QZuFubj-nvus3dkpMDq1f8/s1600/SummerWood-MiriamBerkleyFoto.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij0ZB_NhbrUI0Hq5DB5epOvnpGamBrR9Ej8cs0nnQwOTvMruKQOD-e96ElQ4PHSaltjvj0fDijBb_r-XIMbRERVmCre0GxjFbH6UWIJrOH71zwmdcYPkxB3QZuFubj-nvus3dkpMDq1f8/s400/SummerWood-MiriamBerkleyFoto.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Times New Roman","serif";">Summer Wood. Photo by Miriam Berkley</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">Author of two novels, <i>Arroyo</i> (Chronicle Books) and <i>Raising Wrecker </i>(Bloomsbury), <a href="http://www.summerwoodwrites.com/">Summer Wood's</a> non-fiction work has appeared in National Geographic Traveler and other venues. In 2007 she was awarded the $50,000 Literary Gift of Freedom from A Room of Her Own Foundation. During her award period, Summer worked on <i>Raising Wrecker</i>, published in 2011. Her book received the 2012 WILLA Award for Contemporary Fiction from <a href="http://www.womenwritingthewest.org/willaCurrentFinalists.html" target="_blank">Women Writing the West</a>. Summer considers it an honor to join the distinguished list of previous awardees, including Annie Proulx, Pam Houston and Debra Magpie Earling. <i>Raising Wrecker</i>—newly released in paperback—reaped other recognition: a Book-of-the-Month Club selection, a BookBrowse Editors’ Choice, and a UK Booksellers’ Choice. Summer teaches writing to adults at the University of New Mexico’s Taos Summer Writers’ Conference. She currently serves as Executive Editor at Voices from the American Land. </span><br />
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<![endif]--><span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;">After
unexpectedly foster-parenting four young siblings, Summer Wood tried to imagine
a place where kids like these would find the love and the family they deserved.
For her, that world is realized through a boy named Wrecker, the central
character in her second novel. </span></span><br />
<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"></span></span><br />
<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"></span></span><br />
<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;">One-sentence
synopsis: <i>Set amid the giant trees of
Northern California’s magical Lost Coast, </i>Raising Wrecker<i> </i><i>is
a rich and rollicking novel for anyone who has ever raised a son, or loved
someone else’s.</i> Pam Houston, author of <i>Cowboys Are My Weakness</i>, deemed Summer's novel "a love song to well-intentioned, wholly dedicated, and deeply
flawed motherhood. It's a big-hearted, big-loving compassionate book.”</span></span><br />
<br />
<span style="font-size: small;"><br /></span>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuCc5myWXv9G8JUAbh0_Ngwprzvey3ZeWyGLgnShSGEJu_G7bXM3GeDhW2y2Hel8oHBGGncQnYKwyAGDZvrn60zTW8lTc0FY2JCw4jSok0M61HDmZbnhTtcCJXDsfBEpsDVwX0f1AY2fg/s1600/Sawnie+Morris+Lo+Res.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="333" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuCc5myWXv9G8JUAbh0_Ngwprzvey3ZeWyGLgnShSGEJu_G7bXM3GeDhW2y2Hel8oHBGGncQnYKwyAGDZvrn60zTW8lTc0FY2JCw4jSok0M61HDmZbnhTtcCJXDsfBEpsDVwX0f1AY2fg/s400/Sawnie+Morris+Lo+Res.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sawnie Morris. Photo by Brian Shields.</td></tr>
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"><a href="http://www.poetrysociety.org/psa/awards/annual/winners/2010/award_10/" target="_blank">Sawnie Morris </a>won the <i>2010 Poetry Society of America’s George
Bogin Memorial Award </i>"for a selection of four or five poems that use language in an original way to reflect the encounter of the ordinary and extraordinary and to take a stand against oppression in any of its forms." In 2007 she was co-winner of the <i>New
Mexico Book Award</i> for the chapbook <i>The
Sound a Raven Makes. </i>Her poems have appeared in <i>Denver Quarterly, drunkenboat.com, The Journal, Women’s Review of Books
</i>and other magazines. Her prose on poetry has
appeared in <i>The Kenyon Review,</i> <i>Contemporary Literary Criticism,</i>
and <i>Boston Review.<b> </b></i>She teaches poetry and literature workshops
privately and at the University of New Mexico, Taos. She is the
co-founder and current Assistant to the Director of <i>Amigos Bravos:</i> <i>Because
Water Matters</i>, a non profit advocacy organization for New Mexico’s rivers
and waterways, established in 1988. </span></span></div>
<span style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: white; color: black; display: inline !important; float: none; font-family: Arial, sans-serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 15px; orphans: 2; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><br /></span></div>
<br />
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><i>About</i> The Sounds a Raven Makes</span><span style="font-size: small;">: <i>Sawnie Morris of Taos, Michelle Holland of Chimayó, and
Catherine Ferguson of Galisteo are three poets of rural northern New Mexico who
share a deep language of landscape and grounded life. These women have given to
their communities and paid some mighty poetic dues. This book came out of
patience and time, but its pages are a necessary bliss.</i></span></span><br />
<br />
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<b><span style="font-family: Arial,Helvetica,sans-serif;">The Watery Sound a Raven Makes </span></b></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The soul picks and threads </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">on a day bright with cloudlessness,</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">wind, and a cottonwood </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">trailing its fingers in feathery currents </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">void of water or rain, though a sally of ravens </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">caresses the air. Obsidian wings </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">flapping their skirts. Round dance in blue, </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">sky-filled quadrille. Inversion. Ellipsis: </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">trapeze without wire, without net. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Euclidian tip of a hat. Birds</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">entranced by tutelary gossip. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Mail box. Billboard. Garbage bin. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Their cackle and caw is rain </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">in the mind of the desert. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Uneven chatter of droplets. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Gardens thirsty and shy. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Large black birds </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">of middle-morning, circle. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Rock. Fence. Dirt. Wind. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Anguish of drought. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Passion of rain.</span></div>
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Poem from <i>The Sound a Raven Makes</i> courtesy of Sawnie Morris.<br />
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<span style="font-family: inherit;">These women contribute to the literary and educational landscape of Taos--and the wider world. And to my reading pleasure. I don't know about you, but I'm always looking for a "thumping good read." In the rush of the holiday season, I hope you'll find "oasis time" for reading over a fragrant cup of coffee or tea. I invite you to put these Taos women writers on your book lists. I rate them all as good reads.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Adios for now,</span><br />
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Lucida Calligraphy"; font-size: 16.0pt;">Liz</span></b> <br />
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*Sculptor Conrad Cooper lives in Taos.<br />
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<span style="font-size: small;"><span style="font-family: inherit;">Cover image of <i>The Sound a Raven Makes</i> courtesy of Tres Chicas Books, New Mexico. This book is nearly out of print. One of the editors, <a href="http://www.joanlogghe.com/" target="_blank">Joan Logghe</a>, informed me it can be ordered from Tres Chicas or from<a href="http://www.spdbooks.org/Search/Default.aspx?PublisherName=Tres%20Chicas%20Books" target="_blank"> Small Press Distribution</a> in Berkeley.The Tres Chicas--Joan Logghe, Miriam Sagan, Renee Gregoria--have recently published a compiliation of their poems titled <i>Love & Death: Greatest Hits</i>. Another winner of a New Mexico Book Award, this also constitutes a good read. </span></span></div>
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<a href="http://www.blogger.com/blogger.g?blogID=2266348750409788008" name="_GoBack"></a><i style="mso-bidi-font-style: normal;"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"></span></i></div>
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<div class="blogger-post-footer">Blog etiquette: This blog will be conducted with a commitment to civil and constructive conversation that allows for personal expression: a place where participants “agree to disagree agreeably.” In this spirit, the Mabel Dodge Luhan and the Remarkable Women of Taos blogsite will adhere to a "Civility Enforced" standard and uphold the Blogger Content Policy as set forth in Blogger.com’s site: http://www.blogger.com/content.g</div>lizhttp://www.blogger.com/profile/04640519051616776710noreply@blogger.com2tag:blogger.com,1999:blog-2266348750409788008.post-87674040533285970502012-11-19T19:51:00.000-07:002012-11-21T08:03:49.152-07:00Rebecca James, Part Two: Taos<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzt5-eO5-phqbiZQoPihYS1_yVUhpMWkpgcStU4l_PVpHcQxs_cvUZUNKm3r8KcmjdZy4O-Tuhyphenhyphenjv-PMtym4a3k3CfjEOYaESLApqF93LaKpD71t9wON7Fj4BhfZJKayXwlZ8rzo6mbDw/s1600/Rebecca+Salsbury+James,+n.d.+Coll+THM+Lo+Res.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzt5-eO5-phqbiZQoPihYS1_yVUhpMWkpgcStU4l_PVpHcQxs_cvUZUNKm3r8KcmjdZy4O-Tuhyphenhyphenjv-PMtym4a3k3CfjEOYaESLApqF93LaKpD71t9wON7Fj4BhfZJKayXwlZ8rzo6mbDw/s320/Rebecca+Salsbury+James,+n.d.+Coll+THM+Lo+Res.jpg" width="234" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rebecca James. Photo courtesy of the Taos Historic Museums.</td></tr>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Back in Taos in 1933, Becky (as she now called herself) started a new life. She renewed friendships with Spud Johnson, Dorothy Brett, and Frieda Lawrence, among others. She also reconnected with entrepreneur Bill James. He had first noticed Becky while porch sitting in front of his latest business venture, the Kit Carson Trading Company. They discovered a mutual Buffalo Bill connection: Bill James’ father had known Judge Beck who was Nate Salsbury’s guardian. This was but one of many commonalities shared by Becky and Bill. They married in 1937. The gregarious Bill introduced his new bride to members of the Sunshine Club. Becky joined in the group’s poker parties. On occasion poker club members wore costumes—she dressed as a nun—and they regularly imbibed in Taos Lightning, the local bootleg whiskey. As Spud Johnson later noted, Becky began to act and talk tougher (he compared her rough language to that of a stevedore’s), “simply out of delight in finding herself ‘free’.” </span><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Becky </span><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">became a Taos character. Her appearance was both striking and unmistakable: platinum hair tucked under a </span><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">wide-brimmed black Stetson, jeans with an open shirt (often topped by a flowing black cape), black cowboy boots—all set off by her classic profile. A marked change from the sedate Victorian-influenced dresses of earlier years.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">The Great Taos Poker Society. Courtesy of Taos Historic Museums.</td></tr>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Devoted to Bill, the love of her life, Becky supported his enterprises. When he entered politics in 1938, first as a councilman, then as a gubernatorial candidate, she penned articles and editorials for Taos and Santa Fe papers. When he founded the New Mexico Aberdeen-Angus Cattlemen’s Association, Becky served as the organization’s secretary. She also sold the resulting dairy products to townsfolk. </span></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">All the while, Becky continued to receive recognition for her landscapes, still lifes and genre subjects. The Denver Art Museum showed 31 of her glass paintings in 1933. Two other solo exhibitions followed at Santa Fe’s Museum of New Mexico in 1934 and a second showing at Stieglitz’s An American Place in 1936. A reviewer for her 1939 exhibition at the Colorado Springs Fine Arts Center commented on the unique quality of Becky’s style which was at once modern, abstract and full of symbolism. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_Aioz1MpavvLQKM2K9F79PgG52nXP8umGoOYZKHyfcL5f22w9D8qh309pIpOgTDx484sRpYNa2HysbODlJeiUCTb23Du8GHNfJKhhuBTsplsu4MW6TYNajG5XorOADkrUTEW47QHFbBY/s1600/Rebecca+Salsbury+James+-White+Roses+at+Twilight,1941-oil+on+glass+20+x+16photo+courtesy+THM+lo+res.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_Aioz1MpavvLQKM2K9F79PgG52nXP8umGoOYZKHyfcL5f22w9D8qh309pIpOgTDx484sRpYNa2HysbODlJeiUCTb23Du8GHNfJKhhuBTsplsu4MW6TYNajG5XorOADkrUTEW47QHFbBY/s320/Rebecca+Salsbury+James+-White+Roses+at+Twilight,1941-oil+on+glass+20+x+16photo+courtesy+THM+lo+res.jpg" width="250" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rebecca James <i>White Roses at Twilight</i> (1941)*</td></tr>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">In accordance with the Colorado Springs reviewer, Mabel Dodge Luhan gave a good overview of Becky’s work in <i style="mso-bidi-font-style: normal;">Taos and Its Artists</i>:</span></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">The paintings on glass by Rebecca James, that are occasionally to be seen here in exhibitions, are perhaps the most exquisite productions of any Taos artist. Flowers—sometimes only a single flower—fruit, still-lifes composed of objects found in the valley, an ancient cross, an old Santo, are reproduced with a most poignant sensitivity to color and meaning.</span></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">When the modernist Rio Grande Painters group invited Becky to exhibit with them, she discovered a new medium. She also made a new friend, E. Boyd. Becky found in E. (as her close friends referred to her) a fellow aficionado of Spanish Colonial art. E. Boyd became the Museum’s first curator of Spanish Colonial Arts. Her seminal book, <i style="mso-bidi-font-style: normal;">Popular Arts of Spanish New Mexico</i>, and her research laid the foundation for all future scholars in this field. No doubt E. based the book on her notable collection of 1200 objects. Through her Becky would have probably seen museum-quality examples of colcha embroidery.</span></div>
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<div class="MsoNoSpacing" style="tab-stops: -4.5in -319.5pt 0in;">
<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Colchas captured Becky’s artistic interest. She took lessons from her Taos neighbor, <a href="http://taos.org/women/profiles-legends?/item/83/Jesusita-Acosta-Perrault" target="_blank">Jesusita Perrault</a>, who had earlier taught the special stitch to adults and schoolchildren. An authority on Spanish Colonial embroidery, Jesusita had a fine collection of authentic colcha patterns. She had stitched her own indelible bird, animal and flower designs. At first mastery of the tiny stitch baffled and defied Becky. However, when she finally gained competence, she put the same love for the places and things that she portrayed in her paintings into her embroideries. By the early 1950s Becky’s colcha pieces had attracted the attention of museum curators. In 1952 E. Boyd installed 100 of her friend’s </span><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">original embroideries in a solo exhibition at the Palace of the Governors. That same year Becky’s friend and fellow artist, Dorothy Benrimo, arranged the show at the Harwood Foundation in Taos. In an article in <i style="mso-bidi-font-style: normal;">El Palacio</i> magazine that year, Frieda Lawrence commented on seeing Becky’s colchas: “I got a vivid impression of Rebecca herself—the artist….You could feel how much of herself she had put into her work.” Further, through “her own genius” Becky had successfully mixed Spanish Colonial and European iconography. The result was “enchanting.”</span><br />
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<tr><td class="tr-caption" style="text-align: center;">"For Dorothy" Courtesy of the Millicent Rogers Museum</td></tr>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Becky herself spoke to the artistry of colcha embroidery:</span></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">This versatile stitch, for me, has provided a creative means to make a statement with stitches. The living world around one—the skies, the land, the people, grasses, trees—can be imbued with immediate life in a way never achieved by the mere decoration of a doilie, a pillowtop, a skirt.</span></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Her colchas came to national attention. In 1963 editors of <i style="mso-bidi-font-style: normal;">Women’s Day</i> magazine visited Santa Fe for the first time. At the Museum of International Folk Art they viewed the “Embroideries by Rebecca James” exhibition. Delighted by the beauty of these colcha paintings, they asked Becky to write up their history, materials and stitching method. Her article appeared in the magazine’s April 1964 issue. In it Becky likened painting to embroidery. Whether with a paintbrush or with needle and thread, “both the painter and the hand-stitcher start with equally simple, ordinary tools—and for both the responsibility is the same—to create something that lives, speaks and gives delight.”</span><br />
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<tr><td class="tr-caption" style="text-align: center;">Holy Child of Atocha. 1963.024 Courtesy of the Museum of Spanish Colonial Art**<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"></span><!--[if gte mso 9]><xml>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">After a 20-year hiatus, three prestigious institutions hosted solo exhibitions of Becky’s work. In 1951 her glass paintings were invited to San Francisco’s Palace of the Legion of Honor and to the Santa Barbara Museum of Art. The renowned San Francisco art critic Alfred Frankenstein praised her work: “Mrs. James paints her people very naively, but with infinite pathos, sympathy and love.” He deemed the show,“one of the year’s most poignant.” In 1954 the Martha Jackson Gallery gave Becky her third New York exhibition.</span></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Of Becky’s creative work, her writing is less known. She had typed up some of Mabel’s memoirs in the 1930s and compiled artists’ biographies for Mabel’s <i style="mso-bidi-font-style: normal;">Taos and Its Artists</i>, so she had a good idea of the work that went into a book. Since so much had been written about artists and writers, Becky elected to write biographies on living men and women, people she knew well. Most interested in frontier types, preferably connected with gambling, cattle wrangling or bootlegging, several such characters appeared in the 1953 publication </span><i style="mso-bidi-font-style: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Allow Me to Present 18 Ladies and Gentlemen, 1885-1939</span></i><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">. Among the people she portrayed were Bill James, Jesusita Perrault, gamblers Doughbelly Price and Curly Murray (who fled the Texas Rangers on a trumped up murder charge), and Gerson Gusdorf (who introduced such ”firsts” to Taos as the first sewer line, Western Union, the telephone). Different as they all were, these men and women had one thing in common. As Becky put it: “neither mud nor snow nor sleet nor wind nor lack of public utilities could invade their love for Taos.”</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifo_L6GmWuyz19xsGr_3TYAPu6fdRzC-5yhgpcbpQMKdqphboRkeuOevRSfkCFwlZnddTU98PX3-shsdbZvtFnC7bOh7OUfr8tvBv8aaNltqZw62Ikkc0jrIZRjAvIbBRzcB4WGdvCZq4/s1600/AllowMeToPresentInsideCoverRSSLoRes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifo_L6GmWuyz19xsGr_3TYAPu6fdRzC-5yhgpcbpQMKdqphboRkeuOevRSfkCFwlZnddTU98PX3-shsdbZvtFnC7bOh7OUfr8tvBv8aaNltqZw62Ikkc0jrIZRjAvIbBRzcB4WGdvCZq4/s320/AllowMeToPresentInsideCoverRSSLoRes.jpg" width="234" /></a></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Becky’s world came to an end when Bill died of a heart attack in June1967. Becky lost the will to live. She already suffered from rheumatoid arthritis, which compounded her pain. A year later, following a last showing of her colchas at the Millicent Rogers Museum, she took her own life.</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Rebecca James life work is preserved through her art, her writing and her scrapbooks. Taken together these informed the most comprehensive treatment of Rebecca James to date: "In the Shadow of the Sun : the Life and Art of Rebecca Salsbury James" (Ph.D.dissertation) by Suzan Campbell. And now, Debra Simon and Judy Sokolow are in the homestretch for their documentary, BECK.</span></span><br />
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Wishing you all a Happy Thanksgiving.</span><br />
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Adios for now,</span><br />
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<![endif]--><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">To
find out more or lend your support to the "BECK" Documentary, please
contact Debra at <a href="mailto:Rahriemon@aol.com">Rahriemon@aol.com</a> for
further information.<br />
Donations to Ra~Rie~Mon Productions in support of this film are tax
deductible. </span><br />
<span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><br /></span>
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">* </span>Rebecca James <i>White Roses at Twilight</i> Courtesy of the Taos Historic Museums.</span><br />
<span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">** Photo of Rebecca James colcha embroidery, <i>Holy Child of Atocha</i>, courtesy of the Museum of Spanish Colonial Art, Collections of the Spanish Colonial Arts Society.</span></div>
<div class="blogger-post-footer">Blog etiquette: This blog will be conducted with a commitment to civil and constructive conversation that allows for personal expression: a place where participants “agree to disagree agreeably.” In this spirit, the Mabel Dodge Luhan and the Remarkable Women of Taos blogsite will adhere to a "Civility Enforced" standard and uphold the Blogger Content Policy as set forth in Blogger.com’s site: http://www.blogger.com/content.g</div>lizhttp://www.blogger.com/profile/04640519051616776710noreply@blogger.com1tag:blogger.com,1999:blog-2266348750409788008.post-34008950909459178502012-11-06T08:24:00.001-07:002012-11-18T10:34:29.257-07:00Introducing Rebecca Salsbury Strand James: Part One, the New York Years<!--[if gte mso 9]><xml>
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</xml><![endif]--><span style="font-family: Arial,Helvetica,sans-serif;">In spring 2010,
to augment the Harwood Museum of Art’s exhibition <i><a href="http://www.youtube.com/watch?v=nObVJLzRaH8" target="_blank"><i style="mso-bidi-font-style: normal;">Rebecca Salsbury James: Paintings and Colchas</i></a>, </i>curator <a href="http://taos.org/women/profiles-artists?/item/103/Jina-Brenneman-Curator-at-Harwood-Museum-of-Art" target="_blank">Jina Brenneman</a> asked me to lecture on Rebecca’s contemporaries. I
decided to feature 6 male and 6 female artists from New York and New
Mexico—places where Rebecca lived and which provided her creative inspiration. Representative of New York were modernists from Alfred Stieglitz’s circle: Marsden
Hartley, John Marin, Paul Strand and Georgia O’Keeffe (who all stayed with Mabel
in Taos) and from New Mexico: Mabel, Frieda Lawrence, Dorothy Brett, Barbara Latham and
Dorothy Benrimo, who were part of the Taos art scene.</span><br />
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<div class="MsoNoSpacing">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="color: black;">While perusing the Rebecca James scrapbooks, I met two
documentarian/film producers Debra M. Simon and Judy Sokolow who were delving
into Taos museums, libraries and archives for material on Rebecca James. Their
interest grew out of Judy’s discovery of a photo in her family album. Looking
at the woman standing next to Georgia O’Keeffe, she thought “My God…she looks a
lot like my grandmother in her youth."</span></span></div>
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<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhawDN3_wgniugviwsyMYtr6pv_tIzUydBbRGwRfuJlzo1YaorJmztN4eQxp0C1wBPCE0XiRDCrWRBJoYwlznN_HbIwQBzUhK1w5uTqeVk9cJK-cwe2qovuYpunrf625m-IESIKQpfEXQQ/s1600/RSJ%2526GO%2527K-CadyWellsRSJscrapbook.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhawDN3_wgniugviwsyMYtr6pv_tIzUydBbRGwRfuJlzo1YaorJmztN4eQxp0C1wBPCE0XiRDCrWRBJoYwlznN_HbIwQBzUhK1w5uTqeVk9cJK-cwe2qovuYpunrf625m-IESIKQpfEXQQ/s320/RSJ%2526GO%2527K-CadyWellsRSJscrapbook.jpg" width="302" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Courtesy of the Taos Historic Museums</td></tr>
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<div class="MsoNoSpacing">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="color: black;">The woman turned out to be Rebecca Salsbury, Judy's second
cousin. After years of research Judy thought the story might be film worthy.
She contacted her friend and fellow documentarian Debra Simon for her opinion.
Filmmaker Debra replied "This story goes beyond the paint!"</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="color: black;">Since our meeting in April 2010, Debra and Judy have been
researching the archives on Rebecca Salsbury Strand James as well as those of
Georgia O’Keeffe, Paul Strand and Alfred Stieglitz. They have amassed enough
material for a ten-minute promotional video on Beck which they hope to use to
raise funds for a 90 minute documentary feature titled “Beck -an intimate
portrait of the passionate life and extraordinary art of an American Original.”<br style="mso-special-character: line-break;" />
<br style="mso-special-character: line-break;" />
</span></span></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial,Helvetica,sans-serif;">Ever since I posted
on <a href="http://mabeldodgeluhan.blogspot.com/2011_06_01_archive.html" target="_blank">Georgia O’Keeffe</a>, I’ve been
longing to relate Rebecca James’ story. She’s not so well known, so the piece grew
too long. What follows is Part One: Rebecca’s New York years. </span></div>
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</div>
<br />
<blockquote class="tr_bq">
<i>Rebecca Salsbury James broke the barriers between High Art and Popular Culture and in doing so she created a modernist vision that was literally decades ahead of where the rest of American Modernist Art really was in its thinking.</i><br />
-- Joe Traugott, Curator of 20th Century Art, New Mexico Museum of Art*</blockquote>
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</div>
<div class="MsoNoSpacing">
<span style="font-family: Georgia,"Times New Roman",serif;">You could say
that Rebecca Salsbury cut her baby teeth on show business. Her impresario
father Nate Salsbury worked as principal owner and manager of Buffalo Bill’s Wild
West show. The extravaganza happened to be in London in 1891 when Rebecca was
born. Young Rebecca had a real-life connection to mythic figures like sharpshooter Annie Oakley, Lakota chief and holy man Sitting Bull, and Buffalo Bill.</span></div>
<div class="MsoNoSpacing">
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: Georgia,"Times New Roman",serif;">Like her father, Rebecca had an adventurous spirit. It was nearly quelled by her proper Victorian mother. Following Nate Salsbury's untimely death in 1902, Rebecca endured the "dreary existance" of Rachel Salsbury's home. Summers spent in the family's oceanfront villa on the Jersey Shore afforded Rebecca some freedom. An athletic young woman, she enjoyed swimming in the ocean and being outdoors.</span><br />
<br />
<span style="font-family: Georgia,"Times New Roman",serif;">School provided a similar respite. Rebecca attended New York's Ethical Cultural School (ECS). Highly innovative for its time, the broad-based curriculum integrated academics with "manual arts" including creative writing, arts and crafts, and drama as well as nature study and field trips. Evidently this education suited Rebecca. She decided on the teaching career at the new ECS Normal School. Grounded in psychology, art design and modeling, and the history of education, Rebecca graduated as Valedictorian in 1915. She taught kindergarten at ECS for one year, then at its experimental Open Air School. Held on the building's roof, the bad air quality made her sick. She quit teaching and offered private classes. When these didn't pan out, Rebecca trained as a secretary. Using her typing and shorthand skills, she launched a new career transcribing medical records.</span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEideePFFrgDUCM9dgCKcC45FJLMlutzsIQ07bw15XT2_cFWFYj4Utea34Phc5MS_cGWdeCATS59FYd9xorWPfPvKMolXgBDvRrByNXUKOGAOA2dY6JnfA_FXf0rtEK8Qb0er8TmHEsK6P4/s1600/StiegFotoSignifArt&CamWrkLoRes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEideePFFrgDUCM9dgCKcC45FJLMlutzsIQ07bw15XT2_cFWFYj4Utea34Phc5MS_cGWdeCATS59FYd9xorWPfPvKMolXgBDvRrByNXUKOGAOA2dY6JnfA_FXf0rtEK8Qb0er8TmHEsK6P4/s320/StiegFotoSignifArt&CamWrkLoRes.jpg" width="232" /></a></div>
<br />
<span style="font-family: Georgia,"Times New Roman",serif;">In 1919 Rebecca met Paul Strand at an exhibition of his photographs. He had studied photography in high school at ECS under the famed Lewis Hine. On a field trip in 1907, the school's camera club visited an exhibition of Photo-Secessionist photographers including Edward Steichen and Gertrude Käsebier at Alfred Stieglitz's 291 gallery. That day Paul Strand decided to become a photographer. Stieglitz later became his mentor and champion. With Stieglitz, Edward Weston and Paul helped define early American modernist photography, elevating it to a fine art.</span><br />
<br />
<span style="font-family: Georgia,"Times New Roman",serif;">When Rebecca met Paul, he was already gaining recognition for his signature direct, sharp, and emotional style of "straight" photography. Rebecca part probably saw Paul's realistic cityscapes and portraits of New York types– red-nosed Irish washerwomen, aging Europeans –photographs that identified the city's impoverished population. He had just begun to explore nature as the subject, so Rebecca would've enjoyed his imagery of leaves and grasses. What impressed or more, however, was the man himself. The feeling was mutual. The two fell in love.</span><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5KMnUQfpYPCq1Sm7sLsuoLZo_ooAadevpNRwx965VhyphenhyphenoXsRIOCDVtrri3nxVmU6C2_rjowlgl9lkZe1SJYp5sIl5vyLRXlJQvEhX8QJL0FG8MNvDeMYP7OLj11OI-uU6vAtlCBCqFLN8/s1600/paul-strande28094new-york-1917LoRes.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5KMnUQfpYPCq1Sm7sLsuoLZo_ooAadevpNRwx965VhyphenhyphenoXsRIOCDVtrri3nxVmU6C2_rjowlgl9lkZe1SJYp5sIl5vyLRXlJQvEhX8QJL0FG8MNvDeMYP7OLj11OI-uU6vAtlCBCqFLN8/s320/paul-strande28094new-york-1917LoRes.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif;">Paul Strand, <i style="mso-bidi-font-style: normal;">New York</i>, published in <i>Camera Work</i> 1917,
no. 49/50 photogravure</span></td></tr>
</tbody></table>
<br />
<span style="font-family: Georgia,"Times New Roman",serif;">Paul took Beck (as she was called in New York) to meet Stieglitz in 1921. The encounter with the art dealer and photographer changed her life. Beck left her mother's "gold and brocade parlor," married Paul Strand in 1922, and met Stieglitz's wife Georgia O'Keeffe. Beck and Paul grew close to the couple. The friendship sustained Beck during Paul's long absences while he pursued his new interest in film. She vacationed with the couple, sometimes without Paul, at this Stieglitz compound at Lake George, New York.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
<span style="font-family: Georgia,"Times New Roman",serif;">The Stieglitz circle of artists stimulated Beck. Photography tempted her, but drawing and painting spoke to her. Self-taught, she worked at home on still lifes. Her models were vegetables. While at Lake George she made art with Stieglitz and Georgia. Equipped with an Eastman Graflex that Paul had given her, Beck explored photography and poetry. Stieglitz remarked on her talent as an "embarrassment of riches." Yet painting remained her preferred medium.</span></div>
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</div>
<div class="MsoNoSpacing">
<br />
<span style="font-family: Georgia,"Times New Roman",serif;">In 1926, when an anticipated trip to Europe fell through, the Strands decided to travel west. Six years earlier Beck had visited her father's ranch in Montana. The vast spaces had thrilled her and she longed for Paul to see the country. While in the Denver area, they made a pilgrimage to visit Buffalo Bill's grave and a small museum run by Johnny Baker, close friend and unofficial foster son to Buffalo Bill. In the state's national parks, Paul found new subject matter. He photographed "tangled roots and blasted tree trunks." At Mesa Verde he documented the Cliff dwellings while Beck painted watercolors.</span></div>
<br />
<div class="MsoNoSpacing">
<span style="font-family: Georgia,"Times New Roman",serif;">The Strands
rendezvoused with friends in Santa Fe. At the Museum of Art they saw Marsden
Hartley’s <i style="mso-bidi-font-style: normal;">El Santo</i>, painted in 1919 during
his stay with Mabel Dodge in Taos. Disenchanted with The City Different, Paul
and Beck explored Frijoles Canyon at Bandelier National Monument, then motored
on to Taos. They found bedbug-infested rooms at an old hotel. Two days later the
couple met Mabel for lunch, and she invited them to stay with her. The
landscape spoke to both Strands. Paul wrote Stieglitz “Gosh, I wish Marin could
come out—and Georgia too would do extraordinary things.”</span><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBn7I5PQtyPmoUMPk5DfPGpVUVsKpxE3hVlQVDISQAU5bam8kS73qEQ0UqfoL-erManRaVJ2RC6Y4kkhgbMxt5s5BUyOOVaxdrBzea0EUi80z38xIOOgxB2rEVM0WEeFbnLCMXsUP1ZP4/s1600/FotoO'K&RSSSntoDoming1929LoRes.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBn7I5PQtyPmoUMPk5DfPGpVUVsKpxE3hVlQVDISQAU5bam8kS73qEQ0UqfoL-erManRaVJ2RC6Y4kkhgbMxt5s5BUyOOVaxdrBzea0EUi80z38xIOOgxB2rEVM0WEeFbnLCMXsUP1ZP4/s320/FotoO'K&RSSSntoDoming1929LoRes.jpg" width="221" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rebecca Strand and Georgia O'Keeffe at Santo Domingo Pueblo</td></tr>
</tbody></table>
</div>
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<br />
<span style="font-family: Georgia,"Times New Roman",serif;">Paul’s
prophesy came true. Georgia would do extraordinary things in New Mexico. The
area would become her (and Beck’s) lifetime muse. In 1929, driven by exhaustion
and difficulties in their marriages, Georgia and Beck headed west to Santa Fe.
Shortly after their arrival, they went to a nearby Indian dance. There they
chanced upon Dorothy Brett and Mabel Dodge Luhan. Two days later Georgia and
Beck had living and studio space at Los Gallos (Mabel’s compound). Freed from
New York’s social constrictions, they shed staid black dresses for more informal
wear (Beck was the first to don trousers). They had many adventures. Beck gave
Georgia driving lessons in Mabel’s Ford. The two accompanied Mabel’s husband
Tony Lujan to Indian dances, and, escorted by him, ventured as far away as Mesa
Verde National Park. They hobnobbed with John Marin and Mabel’s other guests. </span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Georgia,"Times New Roman",serif;">The two women
also found time to paint. Working alongside Georgia was daunting, but Beck
relaxed when O’Keeffe said her artistic world was “a powerful one and a
beautiful one.” By mid-summer Beck had completed 12 paintings. Conveying this
to Paul, she added: “All that is not much for six weeks of work but I feel that
every hour given to enjoyment and fun is legitimate as it results in excellent
health and relaxation.”</span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Georgia,"Times New Roman",serif;">Georgia and Beck</span> returned to Taos </span><span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Georgia,"Times New Roman",serif;">the following
summer </span>with Paul, and John Marin and his
family. Paul reported to Stieglitz: “The summer has been a grand one so far… a
summer of much work. Beck has done some ten nice glass paintings and I, God
knows how many photographs.” In 1931 the Strands returned for another summer at
Mabel’s. Paul wrote Stieglitz that he had never seen Beck so concentrated
before, adding that she “Just sticks to her job…and the things she has done
show it.” </span></div>
<div class="MsoNoSpacing">
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR1Ikz4kJRsc58DO5og_h-Wz3E3EVh_z-fwHLEI_mJ_vTqdT1RmGmp0X0qWf1J4jDgyPjGkOSvlsaL3JHiEntUKGeQC2fIb9gdYB8yFj_WwY_u533vapj-wTKUYVWDDg0ODRbQMee5yDE/s1600/Song+Without+Words+%2528for+Bill%2529+c.+1946+collection+Harwood+Museum+of+Art.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR1Ikz4kJRsc58DO5og_h-Wz3E3EVh_z-fwHLEI_mJ_vTqdT1RmGmp0X0qWf1J4jDgyPjGkOSvlsaL3JHiEntUKGeQC2fIb9gdYB8yFj_WwY_u533vapj-wTKUYVWDDg0ODRbQMee5yDE/s320/Song+Without+Words+%2528for+Bill%2529+c.+1946+collection+Harwood+Museum+of+Art.jpg" width="258" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Song without Words</i> (1929), oil reverse on glass. Collection the Harwood Museum of Art.**</td></tr>
</tbody></table>
</div>
<div class="MsoNoSpacing">
<br />
<span style="font-family: Georgia,"Times New Roman",serif;">Beck’s
diligence paid off. In spring 1932 Stieglitz featured her paintings on glass
with Paul’s new photographs at his An American Place gallery. Years earlier, adopting George's use of a piece of glass as a palette, Beck sought new possibilities. She began to explore the old folk art tradition of reverse oil painting on glass. This painting technique originated in Italy <span style="color: #333333;">in the 14th and 15th centuries, and spread
throughout Europe to America. Albuquerque blogger <a href="http://liveclay.wordpress.com/2010/05/30/taos-arroyo-seco-the-search-for-rebecca-james/" target="_blank">Laura Bruzzese</a> summarizes it
well:</span></span></div>
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</div>
<div class="MsoNoSpacing">
<i><span style="font-family: Arial,Helvetica,sans-serif;"></span></i><br />
<blockquote>
<i><span style="font-family: Arial,Helvetica,sans-serif;"></span></i><i><span style="font-family: Arial,Helvetica,sans-serif;">Reverse glass paintings recorded both religious and historical imagery. The technique, which involves constructing a painting in reverse (i.e., highlights that would be painted last are painted first, and words are painted backwards so they will read correctly when viewed from the front) was favored because glass provided a surface for the painting as well as protecting it after it was finished.</span></i></blockquote>
<br />
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: #333333;">Wassily Kandinsky celebrated Russian folk paintings with his images on glass. the great modernist painter and art theorist, well known to the Stieglitz circle, place these paintings on par with his better-known abstracts. The challenge of this technique appealed to Beck. When herfriend Marsden Hartley heard of her attempts to paint reverse oil on glass, he cautioned her. His own endeavors with the technique had "nearly killed him."</span></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Georgia,"Times New Roman",serif;">In 1928 </span>Georgia had recommended Beck’s pastels and drawings
to Opportunity Gallery for emerging artists. This was the first public showing of her art. Wanting to be judged on her own
merit (not as Paul Strand’s wife), Beck exhibited under her own name. Her work
drew the attention of renowned New York art critic Henry McBride. His review
was succinct: “Rebecca Salsbury’s work makes one want to see more.” On the 1932
exhibition at An American Place, a reviewer commented that her paintings were
"freshly felt and painted with a refreshing naivete and precision."</span><br />
<br />
<span style="font-family: Georgia,"Times New Roman",serif;">The Strands spent a final New Mexico summer together in 1932, this time in Ranchos de Taos away from the "sheer discomfort" of Mabel's houses. The following year they divorced and Beck moved permanently to Taos.</span><br />
<br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;">With that I'll leave you hanging, but not for too long. You'll have the Taos chapter of Becky's (as she was called in Taos) life next week.<br /> </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">* Quote from the ten-minute promotional video on Beck (<a href="http://www.youtube.com/watch?v=oyNK04uBJE4&feature=youtu.be">link to the two-minute teaser)</a>. Courtesy of Debra Simon and Judy Sokolov.</span></div>
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<br />
<span style="font-family: Arial,Helvetica,sans-serif;">**Rebecca's painting measures 30 x 25 inches. Courtesy of the <a href="http://harwoodmuseum.org/">Harwood Museum of Art</a>. <br /> </span></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial,Helvetica,sans-serif;">For more information on Rebecca Salsbury James, see <a href="http://www.aperture.org/shop/books/southwest#.UJkno2_A8uw">Paul Strand Southwest </a>and "In the Shadow of the Sun: the Life and Art of Rebecca Salsbury James" by Suzan Campbell, Ph. D. thesis, University of New Mexico, 2002.</span><br />
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<div class="blogger-post-footer">Blog etiquette: This blog will be conducted with a commitment to civil and constructive conversation that allows for personal expression: a place where participants “agree to disagree agreeably.” In this spirit, the Mabel Dodge Luhan and the Remarkable Women of Taos blogsite will adhere to a "Civility Enforced" standard and uphold the Blogger Content Policy as set forth in Blogger.com’s site: http://www.blogger.com/content.g</div>lizhttp://www.blogger.com/profile/04640519051616776710noreply@blogger.com0tag:blogger.com,1999:blog-2266348750409788008.post-39097033119308759272012-10-26T04:50:00.000-06:002012-10-26T05:04:00.726-06:00Why Mabel was remarkable: guest essay by Dr. Lois P. Rudnick<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjukgz19MYrT-qtO8rynhwC2_wfKO8LQaTCYdHco80mOEpb6GWw1EUqeafh9yD8MrIMgp6pu7erAsNjIiLkBUMKRkYn4JJ8FiQ_5CbGMLRdKcK_EsVAAG4OLeydtqDnFI4bdo4bUGwAOAc/s1600/1-MDLCoverCropInOwnWords.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjukgz19MYrT-qtO8rynhwC2_wfKO8LQaTCYdHco80mOEpb6GWw1EUqeafh9yD8MrIMgp6pu7erAsNjIiLkBUMKRkYn4JJ8FiQ_5CbGMLRdKcK_EsVAAG4OLeydtqDnFI4bdo4bUGwAOAc/s200/1-MDLCoverCropInOwnWords.jpg" width="178" /></a></div>
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</div>
<span style="font-family: "Georgia","serif"; font-size: 12.0pt;">A
year ago I wrote the first of the <a href="http://taos.org/women" target="_blank">Remarkable Women of Taos</a> profiles on <a href="http://taos.org/women/profiles-legends?/item/78/Mabel-Dodge-Luhan" target="_blank">Mabel</a>
and on <a href="http://taos.org/women/ali-macgraw" target="_blank">Ali McGraw</a>. To create a thread that ran through the profiles, our core
team devised a list of questions that each interviewee answered. One of them
was congruent with the questions that sparked this blog, namely “Why are there
so many remarkable women in Taos?” Through some of the responses over this past
year, the answers are coming into focus.</span><br />
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<br /></div>
<div class="NoSpacing">
<span style="font-family: "Georgia","serif"; font-size: 12.0pt;">Other
questions asked who was influential in the women’s lives, what was important to
them, and what were their favorites Taos sites and sights. Another question
became the impetus for this blog piece. Pondering the question, paraphrased
here “</span><span style="font-family: "Georgia","serif"; font-size: 12.0pt; mso-bidi-font-family: Arial;">What is it about Taos that draws and sustains
adventurous and/or creative women? And what about Taos makes them want to
overcome obstacles?” led me to ask Lois Rudnick, Mabel’s biographer, to pen her
thoughts on Mabel: “Why was she a remarkable women?” and “What were the
obstacles that hindered her becoming one; and what characteristics enabled her
to become one?”</span></div>
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<br /></div>
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<span style="font-family: "Georgia","serif"; font-size: 12.0pt; mso-bidi-font-family: Arial;">I’d like to add that Lois, </span><span style="font-family: "Georgia","serif"; font-size: 12.0pt;">Professor Emerita of
American Studies at the University of Massachusetts Boston, edited <i>Cady Wells and Southwestern Modernism</i> (Museum of New Mexico Press, 2009) which, through her frank and probing analysis as a cultural historian, brought renewed attention to this mid-20th century American artist, a significant New Mexican modernist, collector, and patron. As guest blogger, she conveys the same objectivity in answering my questions about what made Mabel remarkable.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6x_yHVFOlxEBFktBzaKvmdddj6qOzEVmFMs-Y41kR1mWzE91qFkKV0hx-7otSTLQUojsU0Vv-NzsCpshGoVaTLao-F8jKgGMp4OA4MRwULwt7niB9peq88jt8V4GB3dzTrIcgnG8AUiA/s1600/11-MDLWinterInTaosFrontisLoRes.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6x_yHVFOlxEBFktBzaKvmdddj6qOzEVmFMs-Y41kR1mWzE91qFkKV0hx-7otSTLQUojsU0Vv-NzsCpshGoVaTLao-F8jKgGMp4OA4MRwULwt7niB9peq88jt8V4GB3dzTrIcgnG8AUiA/s640/11-MDLWinterInTaosFrontisLoRes.jpg" width="316" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mabel Dodge Luhan (1879-1962)</td></tr>
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<span style="font-family: "Georgia","serif"; font-size: 12.0pt;"> </span><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12pt;">Mabel
Ganson Evans Dodge Sterne Luhan was born into an upper-class Victorian family
in 1879, in Gilded Age Buffalo, New York. Her parents, Charles and Sara Ganson,
had a loveless marriage and provided no affection for their only child.<span style="mso-spacerun: yes;"> </span>Mabel remembers licking the Mother Goose
wallpaper in her nursery, as a young child, in order to receive emotional
comfort. She escaped from her over-stuffed, rigid, lifeless home by marrying John
Evans, when she was 21, a young man from her social set. He died in a hunting
accident shortly after she gave birth to her first and only child, John Evans. Before
his death, Mabel had begun an affair with one of the most prominent doctors in
Buffalo, an affair that lasted close to 4 years, created a great scandal (he
was married), and eventuated in her first of several suicide attempts. To save
her life, her mother sent her, a nursemaid, and her child to Europe. On board
ship, Mabel met Edwin Dodge, who would soon become her second husband, on the
promise that he would provide her with a life of beauty. He bought a Medicean
villa for them in Florence, Italy, where they lived from 1905 to 1912.<br />
<br />
During this period Mabel began her “career” as a salon hostess, bringing to her
home some of Europe’s most famous poets, musicians, and actresses. One of her
most difficult impediments—and, ironically, a powerful enabler of her
creativity--was her manic-depression. She suffered severe depressions, often
marked by suicide attempts.<span style="mso-spacerun: yes;"> </span>But during
her manic phases she came up with some of her most creative ideas; for example,
her dream of re-creating the Renaissance. In Florence, she began her first of
what would become several utopian worlds where she hoped to find and create a
world in which she could be “at home.”</span></span></div>
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<br /></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12pt;"><span style="mso-spacerun: yes;"> </span>When Mabel moved to New York City in 1912, she
left the European past, and became involved in many radical and avant-garde
causes. She took an apartment on the edge of Greenwich Village, where she began
a famous salon that hosted women’s rights and birth control activists, labor
and union organizers, psychoanalysts, modern artists, and social reformers.<br />
<br />
After World War I broke out, she moved “back to nature” in Croton-on-Hudson,
where she met and married her third husband, Maurice Sterne, a
postimpressionist painter. They married in August 1917, and Mabel sent him to
Santa Fe for “their” honeymoon. He wrote her in November the letter that would
transform the rest of her life: asking her to come to New Mexico and “save” the
Indians and make their art and culture her life’s work. Mabel arrived in
December, left almost immediately for Taos, rented apartments there, fell in
love with a Taos Pueblo Indian, whom she took as a lover and married in 1923. </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12pt;">Tony
Lujan was to become her “bridge between cultures,” as she adopted her final
utopian plan: to build a community where the world’s great artists, activists,
and writers would come to celebrate Pueblo Indian culture and teach the western
world how to live in accordance with what she believed were their norms of
peace and integrated spiritual, artistic, and communal lives. She didn’t meet
her utopian goals, but she did bring some of the greatest artists and reformers
of her time to Taos, where they were inspired to create work that often
revitalized their personal and professional lives, among them D. H. Lawrence,
Leopold Stokowski, Willa Cather, Georgia O’Keeffe, Ansel Adams, and John
Collier. <br />
<br />
Notorious for being manipulative, bossy, and for intervening in her friends
lives, Mabel was also a generous philanthropist (she donated the building that
became the town’s first hospital), and a supportive friend to many.<span style="mso-spacerun: yes;"> </span>She created an environment that enabled her
work as a cultural catalyst, celebrator of, and writer about the beauties of
the northern New Mexico landscape and Pueblo arts and culture. There is no
doubt she romanticized the Indians, but she also respected them for values of
which they themselves are proud as being vital to their culture.</span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjEigVv8xyzmlBW9SyP9F1KATH0PQDr6lQ0amxf43AmaBP8HLTorjsXZpP7q4N059yDonEDXnlDY-LYPGLb7tjGZhIjyIXPY7Y09eK3T3RPCvxFS921m9gMKHX1ZPzREC1BN560dNIiIA/s1600/1-RWT-taosOrgTitlePageMDL&TonyLoRes.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjEigVv8xyzmlBW9SyP9F1KATH0PQDr6lQ0amxf43AmaBP8HLTorjsXZpP7q4N059yDonEDXnlDY-LYPGLb7tjGZhIjyIXPY7Y09eK3T3RPCvxFS921m9gMKHX1ZPzREC1BN560dNIiIA/s1600/1-RWT-taosOrgTitlePageMDL&TonyLoRes.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mabel and Tony*</td></tr>
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<span style="font-family: "Georgia","serif"; font-size: 12.0pt;"> </span></div>
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<span style="font-family: "Georgia","serif"; font-size: 12.0pt; mso-bidi-font-family: Arial;">Thank you, Lois. You amaze me with the way you are
able to encapsulate Mabel's life, her struggles and achievements, in so few words. </span><br />
<br />
<span style="font-family: "Georgia","serif"; font-size: 12.0pt; mso-bidi-font-family: Arial;">I hope you, Dear Readers, have enjoyed this overview. For me it shows Mabel's humanity, her frailties and triumphs--and just how complex we humans are as embodied in this remarkable woman's life.</span></div>
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<span style="font-family: "Georgia","serif"; font-size: 12.0pt; mso-bidi-font-family: Arial;"><br /></span></div>
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<span style="font-family: "Georgia","serif"; font-size: 12.0pt; mso-bidi-font-family: Arial;">Adios for now,</span></div>
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<span style="font-family: "Georgia","serif"; font-size: 12.0pt; mso-bidi-font-family: Arial;"></span><br />
<span style="font-family: "Georgia","serif"; font-size: 12.0pt; mso-bidi-font-family: Arial;"><span style="font-size: large;">Liz</span></span></div>
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<span style="font-family: "Georgia","serif"; font-size: 12.0pt; mso-bidi-font-family: Arial;"></span></div>
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<span style="font-family: "Georgia","serif"; font-size: x-small;"><br /></span></div>
<div class="NoSpacing">
<span style="font-family: "Georgia","serif"; font-size: x-small;">*Photo permission Town of Taos, Remarkable Women of Taos, 2012.</span></div>
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<br /><div class="blogger-post-footer">Blog etiquette: This blog will be conducted with a commitment to civil and constructive conversation that allows for personal expression: a place where participants “agree to disagree agreeably.” In this spirit, the Mabel Dodge Luhan and the Remarkable Women of Taos blogsite will adhere to a "Civility Enforced" standard and uphold the Blogger Content Policy as set forth in Blogger.com’s site: http://www.blogger.com/content.g</div>lizhttp://www.blogger.com/profile/04640519051616776710noreply@blogger.com0tag:blogger.com,1999:blog-2266348750409788008.post-49814255020347723302012-09-30T22:08:00.000-06:002012-09-30T22:16:03.516-06:00Autumn in Mabel's Words, and a Prune Pie Recipe from Taos Pueblo<br />
<span style="font-family: Georgia,"Times New Roman",serif;">Yellow highlights Taos Valley: the aspen in the mountains make marble cake swirls among the evergreens, the cottonwoods will soon be turning at the Mabel Dodge Luhan House. As our Indian summer draws to a close, most of the harvest is in. Cold nights now upon us and I worry about my 19 tomato plants. </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmrLp9wsXYHYNcGZ8YwlZ0S2_zuEZp__ncbGmzQwhnmONd-a7MyCiRa7QHG0FAXGww1amYj3rzzT5zYLZ-i0Dy8J2wFrTY8dmQi1lWgFigEh2biwVxnfRVCfkvXo3XZeOKQVKiIVTM6rc/s1600/1-TomatoesGolden.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmrLp9wsXYHYNcGZ8YwlZ0S2_zuEZp__ncbGmzQwhnmONd-a7MyCiRa7QHG0FAXGww1amYj3rzzT5zYLZ-i0Dy8J2wFrTY8dmQi1lWgFigEh2biwVxnfRVCfkvXo3XZeOKQVKiIVTM6rc/s640/1-TomatoesGolden.jpg" width="480" /></a></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">They are producing robustly, but not quite soon enough. I cover them at night and so far, no frost has taken them. From my window the Early Girls ripening look like red Christmas balls amidst wreaths of green.</span><br />
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<tr><td style="text-align: center;"><span style="font-family: Georgia,"Times New Roman",serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZueO5KjIgCh_eSGjOdhHJwnqd7SoHNsiclT2mPjtUCothLTVwuyEqCjBk29RFE_9mxoOYpdpE5KXx17k9FpOTWoJBD0YBInDc5Zn0hapO6nyxH7VLIW4OaifSuqGshjQeRl9BqvX_gHw/s1600/1-TomatoesEarlyGirl.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZueO5KjIgCh_eSGjOdhHJwnqd7SoHNsiclT2mPjtUCothLTVwuyEqCjBk29RFE_9mxoOYpdpE5KXx17k9FpOTWoJBD0YBInDc5Zn0hapO6nyxH7VLIW4OaifSuqGshjQeRl9BqvX_gHw/s400/1-TomatoesEarlyGirl.jpg" width="300" /></a></span></td></tr>
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<span style="font-family: Georgia,"Times New Roman",serif;">The sunflowers that surround our house took a hit in last week's light frost. Many of the leaves have turned black, but one brave sunflower caught my eye today. It has just started to set seed, as you can see, and already birds are flocking to our organic feeders. </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMBd4ddm9RT3Ysd-TV7vnmGM87A_Ruc1e8vHLoBWzKMErdNgHhbzHozlTP1pQHVk1BITqE2CtD6RGKsAnfHrftz8mROUGAa_lZnofaelgHjb0WFoIibaCUqnEXvurlhRlUD_mzVLeAjTQ/s1600/1-SunflowerClouds&Sky.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMBd4ddm9RT3Ysd-TV7vnmGM87A_Ruc1e8vHLoBWzKMErdNgHhbzHozlTP1pQHVk1BITqE2CtD6RGKsAnfHrftz8mROUGAa_lZnofaelgHjb0WFoIibaCUqnEXvurlhRlUD_mzVLeAjTQ/s640/1-SunflowerClouds&Sky.jpg" width="640" /></a></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">Today I picked up Mabel's book, <i>Winter in Taos</i>, to look for what she grew in her garden and what she wrote about autumn. I thought it would be fun to illustrate her words with photos to give you a sense of this fall's splendor in Taos.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipidea9z7ctzm_k1n184JHDbeNSOYxA1kTJcDydsA0sfJqlAH4E0EoHvP6bfzx-Nt4Ko1Pq6_XaYPrvpTvE5YirpWP7LtO2XeLDMTg2FiJV_r52YEv4qoK5rW86xRFKjP5pGREwE8ACxw/s1600/1-SunflowerGold&Purple.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipidea9z7ctzm_k1n184JHDbeNSOYxA1kTJcDydsA0sfJqlAH4E0EoHvP6bfzx-Nt4Ko1Pq6_XaYPrvpTvE5YirpWP7LtO2XeLDMTg2FiJV_r52YEv4qoK5rW86xRFKjP5pGREwE8ACxw/s400/1-SunflowerGold&Purple.jpg" width="298" /></a></span></div>
<blockquote class="tr_bq">
<span style="font-family: Georgia,"Times New Roman",serif;">The desert behind the house turns yellow with fall flowers, and in dry years there are big clumps of purple asters growing wild everywhere. The autumn colors here are purple and yellow and there seems to be more of an overflow of blooming and burgeoning than at any other season, like a last fling of life before the sleepy winter months.</span></blockquote>
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<span style="font-family: Georgia,"Times New Roman",serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL1uxRnuA_CQnotnVcKM8QwNEfiWgozJaLYb4lDnftch0ZlY4dOz6w8Yk009gx1QOtkoeVKjOGD9R1LrbRd1jAdQj9TDR9Z6dIyK9jyZ6pbVXGhPtWXTg6Bf0enqnRVFlhIHK9vAe7qkk/s1600/1-Hops&TaosMtn.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL1uxRnuA_CQnotnVcKM8QwNEfiWgozJaLYb4lDnftch0ZlY4dOz6w8Yk009gx1QOtkoeVKjOGD9R1LrbRd1jAdQj9TDR9Z6dIyK9jyZ6pbVXGhPtWXTg6Bf0enqnRVFlhIHK9vAe7qkk/s640/1-Hops&TaosMtn.jpg" width="640" /></a></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">The sunshine seems yellower, and it blazes down in a full, walloping
kind of heat that is intense because of the cold edge already in the
air. </span></blockquote>
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<span style="font-family: Georgia,"Times New Roman",serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6bcpUXJYo6yGK6HGa-GJnB4s43HzIvzyMBBMmMW85vcum7LY_q9f05t1cS0srpupp_fzWzYtiQ-DxRjht_4rvqZqF7a91xq0B-s7OJsncekEbE34t_gSPZ0sF_hrXhsi9TMGSqIt91Z0/s1600/1-Apples&Adobe.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6bcpUXJYo6yGK6HGa-GJnB4s43HzIvzyMBBMmMW85vcum7LY_q9f05t1cS0srpupp_fzWzYtiQ-DxRjht_4rvqZqF7a91xq0B-s7OJsncekEbE34t_gSPZ0sF_hrXhsi9TMGSqIt91Z0/s320/1-Apples&Adobe.jpg" width="320" /></a></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">In all the orchards now the fruit is falling on the ground and there is a magnificent abundance in the red and white apples. We cannot take care of so much fruit and I let the Indians come and take it away, and Max and Jose gather what they need for their families. Little boys come asking for apples and we give them what they can carry in their sacks</span></blockquote>
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<span style="font-family: Georgia,"Times New Roman",serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAR2QiCnGFOxVNWRWE-2QlnWXt-YJcScnvvf4KN8N3ofMnbl1mGWBCtKtNqep1oEozRbQW1HiUYNOlfkl9_1rKKbOfu3f4-NDzKHw5fRAwVP5jCYRYiKd35Tt5A166PGHBPfqAX84ZdmU/s1600/1-GoldenLeavesAdobeWall.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAR2QiCnGFOxVNWRWE-2QlnWXt-YJcScnvvf4KN8N3ofMnbl1mGWBCtKtNqep1oEozRbQW1HiUYNOlfkl9_1rKKbOfu3f4-NDzKHw5fRAwVP5jCYRYiKd35Tt5A166PGHBPfqAX84ZdmU/s640/1-GoldenLeavesAdobeWall.jpg" width="640" /></a></span></div>
<span style="font-family: Georgia,"Times New Roman",serif;"></span>
<br />
<blockquote class="tr_bq">
<span style="font-family: Georgia,"Times New Roman",serif;">We watch the trees change color rapidly now, and riding to the Pueblo we snatch the wild plums off the bushes as we pass.They are warm and juicy and have a sharply sweet taste.</span></blockquote>
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
<span style="font-family: Georgia,"Times New Roman",serif;">Today was San Geronimo Day, the biggest feast day celebration at Taos
Pueblo. This is a time when visitors find prune pies , traditionally
made from wild plums, for sale in the shops there. These are probably my
favorite cookies, and I thought you might enjoy having the recipe that
our fabulous baker, Pamela Martinez from Taos Pueblo, contributed to <i>Mabel's Kitchen: Favorite Recipes from the Mabel Dodge Luhan House</i>.</span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;">Prune Pie</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br />2 - 9 inch pie crusts</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">1 bag pitted prunes</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">1 cup granulated sugar</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">1 tsp cinnamon</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">1 tsp nutmeg</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif;">Preheat
the oven to 350. Boil the prunes in water for 10 minutes. Drain well.
Mash the sugar, cinnamon and nutmeg together with the boiled prunes
until thoroughly mixed. Spread the mixture on a prepared pie crust
rolled to fit a 9 inch by 13 inch low-sided baking tray. Allow the edge
of the crust to climb over the sides of the tray. Roll out the second
crust and cover the prune filling, crimping the edges to the bottom
crust. Bake at 350 for 1/2 hour or until golden.</span><br />
<br />
<span style="font-family: Georgia,"Times New Roman",serif;">Synchronicity at work in Taos. On the fall bounty theme, a harvest moon rose tonight over the foothills. </span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Georgia,"Times New Roman",serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRtn0zwLjdaP07wf7_P8yfEgeYZwCXE8aPs_CcIoh4EC-U1StkZ1kr57P9JgiTwPoPhNGstHPtk2-GvpOsNLXQX1Ubv-bRKXpkesiMm-OWNp_gO37uRmmoeD4qIDITJZBpxOkbF3TNyhU/s1600/1-HarvestMoon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRtn0zwLjdaP07wf7_P8yfEgeYZwCXE8aPs_CcIoh4EC-U1StkZ1kr57P9JgiTwPoPhNGstHPtk2-GvpOsNLXQX1Ubv-bRKXpkesiMm-OWNp_gO37uRmmoeD4qIDITJZBpxOkbF3TNyhU/s400/1-HarvestMoon.jpg" width="400" /></a></span></div>
<span style="font-family: Georgia,"Times New Roman",serif;"></span><br />
<div style="text-align: center;">
<blockquote class="tr_bq">
<span style="font-family: Georgia,"Times New Roman",serif;">Listen to the night and the lovely sounds that break its quiet.</span></blockquote>
</div>
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
<span style="font-family: Georgia,"Times New Roman",serif;">With that, I wish you and the moon "Good Night."</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
<span style="font-family: Georgia,"Times New Roman",serif;">Adios for now,</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">Liz</span><br />
<br />
<br />
<br />
<br /><div class="blogger-post-footer">Blog etiquette: This blog will be conducted with a commitment to civil and constructive conversation that allows for personal expression: a place where participants “agree to disagree agreeably.” In this spirit, the Mabel Dodge Luhan and the Remarkable Women of Taos blogsite will adhere to a "Civility Enforced" standard and uphold the Blogger Content Policy as set forth in Blogger.com’s site: http://www.blogger.com/content.g</div>lizhttp://www.blogger.com/profile/04640519051616776710noreply@blogger.com3tag:blogger.com,1999:blog-2266348750409788008.post-58323290151173303442012-09-06T16:25:00.001-06:002012-09-06T16:25:52.609-06:00Mabel Dodge Luhan, Millicent Rogers and Early Women Art Patrons of Northern New Mexico<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNoSpacing" style="font-family: Georgia,"Times New Roman",serif;">
<span style="font-size: 10.0pt;">Summer, where did you go?
Reflecting on the big summer events in Santa Fe—<a href="http://www.folkartmarket.org/coming/international-folk-arts-week/%20%20" target="_blank">International Folk Art Market</a>, <a href="http://www.santafe.com/calendar/event/61st-annual-traditional-spanish-market" target="_blank">TraditionalSpanish Market</a>, and <a href="http://swaia.org/Indian_Market/Indian_Market_2012_Dates_and_FAQs/index.html" target="_blank">Indian Market</a>—I thought of the 20<sup>th</sup>-century
women who brought recognition to artists in these focus areas. I’ve become
fascinated with women in northern New Mexico who founded cultural institutions.
Lois Rudnick shares my interest and I hope you will, too. In the Summer 2012
issue of the Museum of New Mexico’s magazine, <i style="mso-bidi-font-style: normal;">El Palacio</i>, she mentioned several women who played a key role in
promoting Hispanic and Indian arts and artists. </span></div>
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<tr><td class="tr-caption" style="text-align: center;">Mabel Dodge Luhan, courtesy of the Mabel Dodge Luhan House</td></tr>
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<span style="font-size: 10.0pt;">I’d known about the activities
of the following women in Santa Fe: Author and activist Mary Austin, (who visited
Mabel in 1919 and with Mabel’s encouragement moved to New Mexico) helped
establish Santa Fe’s Spanish Colonial Arts Society in 1925; poet Alice Corbin
Henderson played a key role in the creation of the New Mexican Association for
Indian Affairs (1922) and the Indian Arts Fund (1925); and Mary Wheelwright, in
collaboration with Navajo medicine man and silversmith Hostiin Klah, created
the Museum of Navajo Ceremonial Art (now the <a href="http://www.wheelwright.org/about.html" target="_blank">Wheelwright Museum of Indian Art</a>)
in 1937.</span></div>
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<span style="font-size: 10.0pt;">Lois provided context for
two women I didn’t know much about, who were only names until now. Leonora Muse
Curtin,opened a native market in 1932 that supported 350 Hispano artisans throughout
the Depression years. Later, together with her husband Y. A. Paloheimo, a
Finnish consul interested in his country’s open-air museums, the couple turned
their home in La Cienega into <a href="http://golondrinas.org/" target="_blank">El Rancho de las Golondrinas</a>, the first
living-history museum dedicated to the Hispanic culture. Margretta Dietrich,
one of the first patrons to support Pueblo Indian women artists, served as
President of the New Mexico Association of Indian Affairs from 1932 to 1953 and
assisted with the inception of today’s Indian Market.</span></div>
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<span style="font-size: small;">“A city of ladies” (to
coin Mary Austin’s phrase) also led the way in arts and patronage in Taos.
After her husband Burt died in 1922, “Elizabeth” <a href="http://taos.org/women/profiles-legends?/item/70/Lucy-Harwood" target="_blank">Lucy Case Harwood</a> created the
Harwood Foundation, which eventually became today’s <a href="http://www.harwoodmuseum.org/" target="_blank">Harwood Museum of Art</a> under the
auspices of the University of New Mexico. Helene Wurlitzer established the Wurlitzer
Foundation in 1954, one of the nation’s oldest artist-in-residence programs. Helen
Greene Blumenschein dedicated the <a href="http://www.taoshistoricmuseums.org/el-blumenschein-home/" target="_blank">Blumenschein Home and Museum</a>, her artist
family’s home and furnishings, to the community of Taos in 1962. Eya Fechin
preserved the home and studio built by her father, artist Nikolai Fechin, </span><span style="font-size: small;"><span style="background: none repeat scroll 0% 0% white; color: black;">between 1927 and 1933, until 2002 when the complex evolved
into the <a href="http://www.taosartmuseum.org/" target="_blank">Taos Art Museum</a>.</span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXYyo72dEfYeqgTV6v5WYzJ2VzZjvHeH1Pm3iVt6Kzs6aWSls9l7_j5PxSM4-QSZsj1j_yi9GJ1NVVkOYQkPxM7qzm9cRljBWsI48ljIOQrN3Rw3-S6TbfScGfmVJKGpdJgohokUKwKwY/s1600/MDL-SantosSm.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXYyo72dEfYeqgTV6v5WYzJ2VzZjvHeH1Pm3iVt6Kzs6aWSls9l7_j5PxSM4-QSZsj1j_yi9GJ1NVVkOYQkPxM7qzm9cRljBWsI48ljIOQrN3Rw3-S6TbfScGfmVJKGpdJgohokUKwKwY/s320/MDL-SantosSm.jpg" width="203" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Some of Mabel's santos</td></tr>
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<span style="font-size: 10.0pt;">Where does <a href="http://taos.org/women/profiles-legends?/item/78/Mabel-Dodge-Luhan" target="_blank">Mabel </a>come in?
She started collecting New Mexican <i style="mso-bidi-font-style: normal;">santos
</i>(religious images) soon after her arrival in December 1917. Two years later,
when Mabel sent her collection to be shown at a New York gallery, she became
one of the first patrons to promote these objects as art forms. She further publicized
this art form in 1925 with an article titled “The Santos of New Mexico” in <i style="mso-bidi-font-style: normal;">The Arts</i>, a nationally known magazine. Some
time after 1947 Mabel gifted her collection of santos (saints) by renowned <i style="mso-bidi-font-style: normal;">santeros</i> (saint makers) like Jose Rafael
Aragon and Molleno who worked in northern New Mexico in the 1800s, to the
Harwood Museum of Art. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNpbV_CsasoUvDNhcrMpa5GdekcHzm39hwd3bt_kiK-a7du55sZVmruVdy7eYBzB2wE3c-NPrk8FpyfwrQp4VisbOndTvUz5UZkSOisG5kxCYBWcAHl7kEpYSnL4HU8s7udPzGMNReKpA/s1600/SantosAragonHolyFamilySm.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNpbV_CsasoUvDNhcrMpa5GdekcHzm39hwd3bt_kiK-a7du55sZVmruVdy7eYBzB2wE3c-NPrk8FpyfwrQp4VisbOndTvUz5UZkSOisG5kxCYBWcAHl7kEpYSnL4HU8s7udPzGMNReKpA/s320/SantosAragonHolyFamilySm.jpg" width="237" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>La Santisma Familia </i>(The Holy Family), circa 1850 by Jose Rafael Aragon. Courtesy The Harwood Museum of Art</td></tr>
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<span style="font-size: 10.0pt;">Hispanic and Indian arts
got another boost from Millicent Rogers starting in 1947 when she began
collecting jewelry from Navajo reservations and from the pueblos along the Rio
Grande. She soon added Navajo, Rio Grande and Hispanic textiles, Pueblo pottery
as well as basketry from various Southwest tribes to her collection. </span><br />
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitf0exWXY07_uBv3ifMk8p7RQ1U-bjPWjTbC3OvX6tcRDu6_qu52ZmdypOTxq1uspLk_XP3knja-28-xin3zBv_nbz0xttJeOM3pMJW62dhvjK45yx09BaLXQy2Qo3mQAiIectbOqOxjo/s1600/MR-photoWhiteBlouseSm.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitf0exWXY07_uBv3ifMk8p7RQ1U-bjPWjTbC3OvX6tcRDu6_qu52ZmdypOTxq1uspLk_XP3knja-28-xin3zBv_nbz0xttJeOM3pMJW62dhvjK45yx09BaLXQy2Qo3mQAiIectbOqOxjo/s320/MR-photoWhiteBlouseSm.jpg" width="277" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Millicent Rogers. Courtesy of Millicent Rogers Museum</td></tr>
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<span style="font-size: 10.0pt;">A trend
setter in the world of fashion, Millicent brought national attention to the
arts of the Southwest in the late 1940s and early 1950s. Following Millicent’s
death in 1953, her sons created the <a href="http://www.millicentrogers.org/" target="_blank">Millicent Rogers Museum </a>with the her
Southwest collection as the formative base. The museum opened 1956 and is today
an important resource for the study of southwestern art and design.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Navajo Third Phase Chief's Blanket. Courtesy of Millicent Rogers Museum</td></tr>
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<span style="font-size: 10.0pt;">I remembered a phrase from
the book and theater piece <i style="mso-bidi-font-style: normal;"><a href="http://www.ticketssantafe.org/tsf/event_calendar/detail/745/" target="_blank">Po’Pay Speaks</a>,</i>
based on the Ohkay Owingeh (San Juan Pueblo) Indian who hid from Spanish
authorities at Taos Pueblo for two years before leading the Pueblo Revolt of
1680. The passage mentions how Mabel Dodge and other white people “helped keep
things alive until we [Indian people] found our voice.” In their support of the
native arts of New Mexico, Mabel, Millicent and their contemporaries undoubtedly
laid the groundwork for today’s Indian and Hispanic artists. I think they would
be pleased.</span></div>
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<span style="font-size: 10.0pt;">Adios for now,</span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Lucida Calligraphy"; font-size: 16.0pt;">Liz</span></b></div>
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<div class="blogger-post-footer">Blog etiquette: This blog will be conducted with a commitment to civil and constructive conversation that allows for personal expression: a place where participants “agree to disagree agreeably.” In this spirit, the Mabel Dodge Luhan and the Remarkable Women of Taos blogsite will adhere to a "Civility Enforced" standard and uphold the Blogger Content Policy as set forth in Blogger.com’s site: http://www.blogger.com/content.g</div>lizhttp://www.blogger.com/profile/04640519051616776710noreply@blogger.com1tag:blogger.com,1999:blog-2266348750409788008.post-72627979177574972852012-08-01T08:33:00.000-06:002012-09-12T19:28:46.780-06:00Salons: Mabel Dodge Luhan and Two Remarkable Women of Taos<br />
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<tr><td class="tr-caption" style="text-align: center;">Photo of Mabel and her son John in the Gran Salone, Villa Curonia*</td></tr>
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<span style="font-family: Georgia; font-size: 11pt;">My obsession with words and their meanings coupled with reading in Mabel Dodge Luhan’s <i>European Experiences</i> (one of her memoirs) and a Remarkable Women of Taos event on July 28<sup>th</sup> sent me to the dictionary for the definition of “salon”.</span><br />
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<span style="font-family: Georgia; font-size: 11pt;">I noted how listing number 2 – “a fashionable assemblage of notables held by custom in the home of a prominent person” – readily applied to Mabel who presided over one of the most famous salons in American history at 23 Fifth Avenue in New York. From 1913 to 1916 she hosted pre-World War I "movers and shakers" who supported avant-garde ideas in the arts, politics and society. Revolutionary at the time, salon topics ranged from the ideas of Freud to the virtues of free love to anarchistic and socialist views of working-class struggles.</span></div>
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<span style="font-family: Georgia; font-size: 11pt;">Mabel explained the popularity of her Evenings and her raison d’etre for holding her salon:</span></div>
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<i><span style="font-family: Georgia; font-size: 11pt;">There were so many people with things to say, and so few places to say them in. There seemed to be no centralization in New York, no meeting place for free exchange of ideas and talk. So many interesting people only meeting each other in print! So I thought I would try to get people together a little and see if it wouldn’t increase understanding if they would all talk among themselves and say what they thought. And I think it did…some who had been enemies for years in the hateful half-truth of newspaper columns came more and more to understand one another as they aired their views together in the open.</span></i></div>
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<span style="font-family: Georgia; font-size: 11pt;">Prior to her salon in New York, Mabel spent a dozen years living in Italy. In <i>European Experiences</i> she documented her first evening in Florence as she gazed down at the Arno River from the <i>salone </i>or suite of rooms in the hotel, a palace once owned by an old Florentine family. Searching for a home, she and her then husband Edwin Dodge found the Villa Curonia in Arcetri a region in the hills to the south of the city center. Perched on a “high special hill of its own,” the imposing structure resembled the “imperial villa” below it, built at the same time and owned by “grand dukes.”</span><br />
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<span style="font-family: Georgia; font-size: 11pt;">In her book Mabel describes Villa Curonia’s North Salon, a wide, 50-foot long room, and the <i>Gran’ Salone</i> built at the west end measuring 90 feet in length. Artist Jacques Blanche used the larger salon as the setting for Mabel’s solo portrait as well as a painting of her and her son John. Looking at the room’s splendid antique furniture and damask wall coverings delineated as backdrop in Blanche’s canvas, the first listing for salon – “spacious and elegant apartment or living room” – applies in this case.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Portrait of Mabel and John by Jacques Blanche</td></tr>
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<span style="font-family: Georgia; font-size: 11pt;">In these and other rooms, Mabel hosted as her dinner guests luminaries like the world-renowned Italian actress Eleanora Duse, art connoisseur and critic Bernard Berenson, concert pianist Arthur Rubenstein, writer and Paris salon hostess Gertrude Stein and her brother Leo Stein, collector and one of the first prophets of Modernist art. One can imagine the lively conversations that occurred around the long, narrow dinner table on the terrace. I believe that the atmosphere Mabel created in her Italian villa served as the impetus for her salon in New York, and later, in a different form, in Taos.</span></div>
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<span style="font-family: Georgia; font-size: 11pt;">The tradition of the salon lives on, though the living rooms have changed. That’s another topic for another time. However, I believe that you’ll be interested to know that the art of conversation prompted a salon-style gathering in Taos this past weekend. </span></div>
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<span style="font-family: Georgia; font-size: 11pt;">As part of the Remarkable Women of Taos, Lily’s in the Garden of San Jose hosted Taos locals Gail Russell and Dana Micucci. Tea and light refreshments accompanied the sharing of ideas, inquiries and insights with these two fascinating women. Allow me to introduce them and share what salon attendees and I learned about them.</span><br />
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<tr><td class="tr-caption" style="text-align: center;">Gail Russell</td></tr>
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<span style="font-family: Georgia; font-size: 11pt;">Resident in Taos for the past 33 years, photo artist Gail Russell's images capture the Southwest's essence of light and spirit of place. As a child Gail was always painting, drawing and making prints. Supported by her parents (Gail's mother, a sculptor, studied at the Art Institute of Chicago), Gail pursued a career in fine arts. While studying at the Pratt Institute in New York City she arrived at an artistic crossroads. She could either buy an expensive etching press or pick up the camera that her employer and mentor fashion photographer Richard Davis gave her. Gail chose the camera as her predominant means of visual expression. Her interest in Native American spirituality and her photography skills soon combined to guide her on her life path. In 1972 she was requested to document a gathering of spiritual leaders from many tribes who had come to New York to speak in support of native sovereignty. Gail won the respect of several of the elder delegates. Three years later as a trusted friend she participated in the "Longest Walk" and photographed the stretch she covered on foot from Baltimore to Washington, D.C. for <i>Newsweek</i>. Gail continued to photograph and work with various Indian tribes.</span><br />
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<span style="font-family: Georgia; font-size: 11pt;">In 1987 her involvement with Indian people took another turn. While traveling in the Black Hills in North Dakota, Gail experienced the horrific February snowstorm that shut down part of the state and struck the Pine Ridge Indian Reservation particularly hard. In the aftermath, when three Lakota Sioux elders were found frozen to death in their cabins, Lakota elder Nellie Red Owl asked Gail to do something. An idea of Nellie's led to the two women founding the Adopt-a-Grandparent Program that helped elders in need on the Pine Ridge Reservation as well as some Taos Pueblo elders.</span><br />
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<span style="font-family: Georgia; font-size: 11pt;">Gail operated the program for 17 years out of a tiny office inArroyo Hondo, where she and several employees over the years, including Jason Immanuel, Guida Liecester, Mary Hambrock and Steven Martinez. Gail stepped down from the Adopt-a-Grandparent Program in 2001 to pursue photography full time. Her body of work testifies to her long-time interest in temples and antiquities, inspirational images, the human form as well as the Southwest and American Indian life based on years spent among Sioux, Taos Pueblo and other Indian people.</span><br />
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<span style="font-family: Georgia; font-size: 11pt;">Throughout the afternoon, Gail showed examples of her work. The photo titled <i>Night Song</i> struck a deep chord within me. Recalling Taos Society of Artists member Joseph Sharp's paintings of similar scenes in Montana over a hundred years ago, it thrilled me to discover the continuity of traditional culture translated into contemporary times. I discovered that <i>Night So</i>ng was a particular favorite of Gail's. When I asked her about the photo, she put her feelings to words:</span><br />
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<span style="font-family: Georgia; font-size: 11pt;">The Drum was the Heart Beat</span><br />
<span style="font-family: Georgia; font-size: 11pt;">carrying the singers all through the night,</span><br />
<span style="font-family: Georgia; font-size: 11pt;">Prayers traveling up to the Heavens</span><br />
<span style="font-family: Georgia; font-size: 11pt;">With the smoke from the Sacred Fire,</span><br />
<span style="font-family: Georgia; font-size: 11pt;">Awaiting the Morning Star....</span></blockquote>
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<span style="font-family: Georgia; font-size: 11pt;">Regarding her photos, it is Gail's hope that her work "might remind the viewer of a higher thought, a place filled with light, or perhaps a memory that touches the heart."</span><br />
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<tr><td class="tr-caption" style="text-align: center;">Dana Micucci</td></tr>
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<span style="font-family: Georgia; font-size: 11pt;">A more recent arrival, journalist and author Dana Micucci divides her time between Taos and New York City. Her fascination with the written word began in childhood. After receiving a BA and an MA in English Literature, Dana fulfilled her long-held dream of living as a Bohemian writer in a garrett of her own on the Left Bank of Paris.</span><br />
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<span style="font-family: Georgia; font-size: 11pt;">Upon her return from Paris she began her career as a freelance journalist in New York City, with a stint working as senior publicist for the international art auction house Christie's. Over the past twenty-five years her articles and essays on topics of culture, art, design, travel, and spiritual and socials issues have appeared in such newspapers and magazines as <i>The New York Times</i>, <i>Chicago Tribune</i>, <i>Architectural Digest</i>, and <i>Art & Antiques</i>. Noted figures Dana has interviewed in the course of her career -- among them architect Richard Meier, choreographer Twyla Tharp, writers Toni Morrison and Doris Lessing, and artists Louise Bourgeois and Kiki Smith -- constitute a contemporary roster of movers and shakers.</span><br />
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<span style="font-family: Georgia; font-size: 11pt;">A passion for fiction landed Dana in Columbia University's Creative Writing Program, where she was a senior fellow. She published poetry in literary journals, and her experience in Paris and interest in cultural history led to the publication of <i>Artists in Residence</i>, a guide to the homes and studios of eight 19th-century artists in and around the City of Light. She is also the author of two other books on art and collecting. </span><br />
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<span style="font-family: Georgia; font-size: 11pt;">Art-related travel stories took Dana throughout the world and brought her to many of the world's sacred and exotic lands to study and write about their cultural and spiritual traditions. Chronicles of seven sacred journeys spanning fourteen years of her life inform Dana's most recent book,<i> Sojourns of the Soul: One Woman's Journey around the World and into Her Truth</i> (Quest Books, 2011). Transpersonal psychologist and three-time recipient of the American Psychological Association Award for Journalism Gay Luce deemed Dana's book "An easy read, elegantly written, this is the gripping story of a woman's profound transformation, with travel as a spiritual teacher. It is a vivid experience, both well researched and inspiring."</span><br />
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<span style="font-family: Georgia; font-size: 11pt;">Trained in a variety of healing modalities, Dana employs these skills and her written work to foster cultural and spiritual understanding. As she says, "Now more than ever, current world crises demand that we develop a deeper understanding of diverse cultures, and therefore ourselves.”</span><br />
<br />
<span style="font-family: Georgia; font-size: 11pt;">Just today while hunting through the stacks at the Santa Fe Public Library, a book leaped off the shelf into my hands. I’ve spent the better part of the afternoon riveted to its pages, and as synchronicity would have it, this passage provides the perfect ending to this post on salons. It’s from the introduction to <i>The Joy of Conversation: The Complete Guide to Salons</i> (Utne Reader Books, 1998), the paragraph where author Jaida N’ha Sandra states:</span><br />
<br />
<blockquote class="tr_bq">
<i><span style="font-family: Georgia; font-size: 11pt;">Salons are gatherings where people talk “big talk,” talk meant to be listened to and perhaps passionately acted upon. Salons are incubators where ideas are conceived, gestated, and hatched, sometimes in a matter of minutes or hours. Salons are the frontiers of social and cultural change. Salons are the concert halls where conversation is presented in virtuoso style.</span></i></blockquote>
<br />
<span style="font-family: Georgia; font-size: 11pt;">In these times of sound bites and Tweets it seems like the authentic face-to-face conversation of a salon could help people find meaning in their lives, come to trust their individual voices, and develop the ability to evaluate the mind-boggling amount of information that comes over the internet. No doubt that the salon can play just as integral a social and cultural role now as it did in Mabel’s day.</span><br />
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<span style="font-family: Georgia; font-size: 11pt;">Adios for now,</span><br />
<br />
<b><span style="font-family: "Script MT Bold"; font-size: 14pt;">Liz</span></b><br />
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* Artist Jacques Blanche photographed Mabel and John in preparation for his painting of them. The images are taken from Mabel's book European Experiences published by Harcourt, Brace & Co., 1935.</div>
<div class="blogger-post-footer">Blog etiquette: This blog will be conducted with a commitment to civil and constructive conversation that allows for personal expression: a place where participants “agree to disagree agreeably.” In this spirit, the Mabel Dodge Luhan and the Remarkable Women of Taos blogsite will adhere to a "Civility Enforced" standard and uphold the Blogger Content Policy as set forth in Blogger.com’s site: http://www.blogger.com/content.g</div>lizhttp://www.blogger.com/profile/04640519051616776710noreply@blogger.com1tag:blogger.com,1999:blog-2266348750409788008.post-75717592812365415292012-07-15T13:05:00.001-06:002012-07-15T13:26:28.488-06:00Mabel Dodge Luhan and Three Women from "Taos and Its Artists"<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib2FFwMEPOKSqfKv263cM2_SLd_zsUg4T9fsexHEsPRSPN_lec_Dt1jkNB9W6jRcv3cteUXVqwZ5IWdYcWUwaRq2ENjQCLVaWVIL0Xf-gcDJlU06yTmtwG-iiVvX-YSGdox6QIZ9gn8MY/s1600/DavisWmB4Equinox1997.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib2FFwMEPOKSqfKv263cM2_SLd_zsUg4T9fsexHEsPRSPN_lec_Dt1jkNB9W6jRcv3cteUXVqwZ5IWdYcWUwaRq2ENjQCLVaWVIL0Xf-gcDJlU06yTmtwG-iiVvX-YSGdox6QIZ9gn8MY/s400/DavisWmB4Equinox1997.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Just Before the Equinox</i> (1997) by William Davis*</td></tr>
</tbody></table>
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<span style="font-size: 10pt;"><i>This is the provocative landscape that stirs the
emotions. Tender and strong, sometimes darkening dramatically, the half-circle
of mountains surrounds the somnolent desert and embraces the oasis that is
named Taos, a name whose origin remains unknown</i>. -- Mabel Dodge Luhan in <i>Taos and Its Artists</i></span></div>
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<span style="font-family: "Georgia","serif";">So opens Mabel Dodge Luhan’s
book <i style="mso-bidi-font-style: normal;">Taos and Its Artists.</i> I have
referenced this volume in earlier postings (see “Mabel Dodge Luhan and Early
Women Artists of Taos” 4/29/12 and “Mabel Dodge Luhan and D. H. Lawrence:
Writing and the Muse” 12/5/11). In this year of the Remarkable Women of Taos,
numerous exhibitions at museums and galleries have featured or will be
featuring different aspects of women’s art. I return to this first book written
about Taos artists to open the way for other women artists—past and present—who
you’ll meet over the remaining six months of our town’s 2012 celebration.</span><br />
<br />
<span style="font-family: "Georgia","serif";">Mabel quotes art critic Leo
Stein (brother of fellow salon queen and writer Gertrude Stein) on his take on
Taos: “</span><span style="font-family: "Georgia","serif";">It is the only place that I have ever seen, where Nature is as aesthetic
as Art; the only landscape that can compete with the great painters.”</span><span style="font-family: "Georgia","serif";"></span><br />
<br />
<span style="font-family: "Georgia","serif";">Various aspects of Taos—the
landscape, community life, folklore—provided women artists mentioned in <i style="mso-bidi-font-style: normal;">Taos and Its Artists</i> with inspiration. I’ll
let Mabel tell you about three of them:</span><br />
<br />
<span style="font-family: "Georgia","serif";"><b>Rebecca James </b></span><br />
<span style="font-family: "Georgia","serif";"></span><br />
<blockquote class="tr_bq">
<i><span style="font-family: "Georgia","serif";">The
paintings on glass by Rebecca James, that are occasionally to be seen here in
exhibitions, are perhaps the most exquisite productions of any Taos artist.
Flowers – sometimes only a single flower – fruit, still-lifes composed of
objects found in the Valley, an ancient cross, and old santos</span></i><span style="font-family: "Georgia","serif";"> [saints]</span><i><span style="font-family: "Georgia","serif";"> are reproduced with the most poignant sensitivity
to color and meaning.</span></i></blockquote>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw5a6Ag9FPhy83id0jRzxhf-J4VAbUf0y5c9p9jD1RwPcVTYFjW_S7RnyITfyNNgNamCxsFYq2hUuFO4QqF8xc4gGuc4twGvMBHTClpbBcZon7D_-6Rx7-VDV-0vzqdnLiqNP9fsuVH08/s1600/JamesWalkingWomanTaos1946.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw5a6Ag9FPhy83id0jRzxhf-J4VAbUf0y5c9p9jD1RwPcVTYFjW_S7RnyITfyNNgNamCxsFYq2hUuFO4QqF8xc4gGuc4twGvMBHTClpbBcZon7D_-6Rx7-VDV-0vzqdnLiqNP9fsuVH08/s400/JamesWalkingWomanTaos1946.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Walking Woman, Taos, </i>1946. Courtesy of the Harwood Museum of Art</td></tr>
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<b><span style="font-family: "Georgia","serif";"> </span><span style="font-family: "Georgia","serif";"> </span></b><br />
<b><span style="font-family: "Georgia","serif";">Barbara
Latham</span></b><br />
<br />
<blockquote class="tr_bq">
<span style="font-family: "Georgia","serif";"></span><i><span style="font-family: "Georgia","serif";">Barbara
Latham does exquisite and observant watercolors of the country about her. From
her porch on the brink of the ledge overlooking Talpa Valley, she re-creates
the wonderful pastoral life of fields and farm with the checkered patchwork of
the crops, the farmer plowing his field, the grazing sheep, and all the
sunlight and scene of happy outdoor life. Her canvases are delicate and
exquisite in color and directly joyous.</span></i></blockquote>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA6Tgvc6XEvhfUbrfC1u5uZjCh3RYt_pcceizBB376bwpbX6BFFw47qEYB79vaH6cCdG9wQu8hyEIRxpWsA6ewNA5yOoQf4euuIYSss0WAzDyJXzgMRBIzUBo0awhyteT6QucZnYVdzFI/s1600/LathamDecorationDay.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="323" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA6Tgvc6XEvhfUbrfC1u5uZjCh3RYt_pcceizBB376bwpbX6BFFw47qEYB79vaH6cCdG9wQu8hyEIRxpWsA6ewNA5yOoQf4euuIYSss0WAzDyJXzgMRBIzUBo0awhyteT6QucZnYVdzFI/s400/LathamDecorationDay.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Decoration Day</i>, no date. Courtesy of the Harwood Museum of Art</td></tr>
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<br />
<span style="font-family: "Georgia","serif";"><b>Gisella Loeffler</b><i><br /></i></span><br />
<blockquote class="tr_bq">
<i><span style="font-family: "Georgia","serif";">Gisella
Loeffler! How people are attracted to your funny little painted children and
sunny, reassuring life you surround them with! This is a real folklore you give
us. Everyone is allured and amused by the life of these robust infants with
roses and birds hearts all about them.</span><span style="font-family: "Georgia","serif";"></span></i><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXaQZptiVn3Cw9eiu5Yoi2g-UK3zuEED9Rd_ZEuUImOuYOXkkEGWQzfmUGHt7BMJjxTaZo5HfuRG06Z-bDWxj56sxYN9G3kb2ODPRGJi1R1fb48gIpkBhO8-8CmIwLfRKjf6VaCKF3D2o/s1600/LoefflerXmasMadonChild%2526Angels_1148.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXaQZptiVn3Cw9eiu5Yoi2g-UK3zuEED9Rd_ZEuUImOuYOXkkEGWQzfmUGHt7BMJjxTaZo5HfuRG06Z-bDWxj56sxYN9G3kb2ODPRGJi1R1fb48gIpkBhO8-8CmIwLfRKjf6VaCKF3D2o/s400/LoefflerXmasMadonChild%2526Angels_1148.jpg" width="330" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Gisella Loeffler Christmas card. Courtesy of the Harwood Museum of Art</td></tr>
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<span style="font-family: "Georgia","serif"; font-size: 12pt;">Of
the three artists mentioned here, <a href="http://taos.org/women/profiles-legends?/item/110/Barbara-Latham" target="_blank">Barbara Latham’s profile</a> is featured on the
Town of Taos Remarkable Women website. In Spring 2010 the Harwood Museum of Art organized an exhibition on Rebecca James, who first came to Taos as Mabel’s
guest in 1926 with her photographer husband Paul Strand, and returned 3 years
later with Georgia O’Keeffe. Becky is overdue for a posting of her own (forthcoming). Gisella is part of an exhibition featuring six women that just
opened at the Harwood last week. I’ll be covering that and other exhibitions
that opened or are scheduled to open this month. Stay tuned.</span></div>
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<span style="font-family: "Georgia","serif"; font-size: 12pt;">Adios
for now,</span></div>
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<span style="font-family: "Lucida Calligraphy"; font-size: 14pt;">Liz</span></div>
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<span style="font-family: "Georgia","serif"; font-size: 12pt;">Photo courtesy of <a href="http://taosphotographs.com/index.php?act=viewCat&catId=4" target="_blank">William Davis</a></span><cite></cite></div>
<br />
<br />
<cite></cite><span style="font-family: "Georgia","serif"; font-size: 12pt;">Visit the Harwood Museum of Art for <a href="http://www.harwoodmuseum.org/exhibitions" target="_blank">current exhibitions</a>. </span><br />
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<span style="font-family: "Georgia","serif"; font-size: 12pt;"> </span></div>
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<br /></div><div class="blogger-post-footer">Blog etiquette: This blog will be conducted with a commitment to civil and constructive conversation that allows for personal expression: a place where participants “agree to disagree agreeably.” In this spirit, the Mabel Dodge Luhan and the Remarkable Women of Taos blogsite will adhere to a "Civility Enforced" standard and uphold the Blogger Content Policy as set forth in Blogger.com’s site: http://www.blogger.com/content.g</div>lizhttp://www.blogger.com/profile/04640519051616776710noreply@blogger.com0tag:blogger.com,1999:blog-2266348750409788008.post-39583883713642291262012-06-25T12:35:00.000-06:002012-07-15T11:57:56.233-06:00Summer Reading and Mabel Dodge Luhan<br />
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Ah, summer! The time to gather with family and friends for outdoor barbecues or picnics, cooling off in
lakes, streams or swimming pools, sitting outside enjoying garden offerings…AND picking up good books to enjoy at
the beach or while lying in a hammock. </div>
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This is the season when summer reading lists appear in
droves on the web. Familiar with the <i>New York Times</i> recommendations, I sleuthed
out lesser known sources. I found the <a href="http://www.pbs.org/weta/washingtonweek/content/summer-2012-reading-list" target="_blank">“Summer's Best Reads”</a> assembled by Gwen Ifill and PBS “Washington Week” panelists--among them "the smartest reporters in
Washington, D.C."--especially intriguing. Their recommended reading ranges
from fiction to politics, history to
biography: selections intended to provide something of interest to a variety of readers.</div>
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The diversity of
genres echoes a reading list inspired by this year’s Remarkable Women of Taos
campaign, compiled by Mya Coursey. In honor of New Mexico’s centennial she
chose books written or edited by women between 1912 and 2012. All of the books
reference Taos or places in northern New Mexico within an easy day trip
(omitting Santa Fe). Mya arranged the titles under seven headings: <b><span style="font-weight: normal;">The Pueblos; The Wild West; Historically Hispanic; Luhan’s Salon; Other Writers; </span></b><i>De
Poesía</i><b> </b><b><span style="font-weight: normal;">(Poetry); The Artists; Fiber Arts Tradition; Day Trips to Taos Neighbors;
and Mostly Mysteries. </span></b>As soon as she had 100 authors (and 150
titles) Mya printed her bibliography titled <i style="mso-bidi-font-style: normal;">Storytellers:Women
Writing Taos</i>. She also contributed it to the <a href="http://taos.org/women/books-by-women" target="_blank">Town of Taos Remarkable Women website</a>.</div>
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<span style="font-family: Georgia,"Times New Roman",serif;">This
past week I reviewed Mya’s list. I offer you a sampling of books featuring Mabel Dodge Luhan.</span><span style="font-family: Georgia,"Times New Roman",serif;"> Under the “Luhan’s Salon” category, I noticed that Mya listed books by Mabel as well as biographical treatments of Mabel by Lois Rudnick: </span><i style="font-family: Georgia,"Times New Roman",serif;">Mabel Dodge Luhan: New Woman, New Worlds</i><span style="font-family: Georgia,"Times New Roman",serif;">
and </span><i style="font-family: Georgia,"Times New Roman",serif;">Utopian Vistas: The Mabel Dodge Luhan
House and the American Counter Culture</i><span style="font-family: Georgia,"Times New Roman",serif;">. </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">Perusing the other titles, I
realized anew Mabel’s reach as a subject. Some of these on Mya’s list include <i style="mso-bidi-font-style: normal;">Santa Fe and Taos: The Writer’s Era,
1916-1941</i> by Marta Weigle (highlights writers drawn to Taos by Mabel), <i style="mso-bidi-font-style: normal;">Taos: A Memory </i>by Miriam Hapgood DeWitt
(coming of age memoir includes the summer the author spent as Mabel’s
houseguest and commentary on artists and writers the author met there), and <i style="mso-bidi-font-style: normal;">From Greenwich Village to Taos: Primitivism
and Place at Mabel Dodge Luhan’s House</i> by Flannery Burke (another view of
Mabel’s house and its visitors as well as various perceptions of her patronage).
</span>
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Other ties to
Mabel surfaced in Mya’s “Suggested Survey” (Appendix 1) of ten books. Willa
Cather spent weeks of two summers as Mabel’s guest left alone to write. Through
Tony Lujan, Mabel’s husband who acted as driver and guide, Cather gleaned stories
and discovered the landscape in the Taos environs. The author based her Indian character
Eusabio on Tony in her book <i style="mso-bidi-font-style: normal;">Death Comes
for the Archbishop</i>. Claire Morrill, a legendary bookstore owner in Taos,
included Mabel in the chapter “Three Women of Taos” in <i style="mso-bidi-font-style: normal;">A Taos Mosaic: Portrait of a New Mexico Village</i>. </div>
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Thus far I had read
or delved into all of the Mabel-related books Mya listed, so it was a
surprise to find one totally unknown to me. I had never heard of Frances Crane
whose first mystery <i style="mso-bidi-font-style: normal;">The Turquoise Shop</i>
(1941) was inspired by an actual event in Taos, where the author was then
living. One of the characters, Mona Brandon, was loosely based on Mabel. Frances
Crane went on to write 25 more volumes featuring protagonists Pat and Jean Abbott, deemed
“one of the most popular husband-and-wife sleuthing teams in detective fiction”. One other mystery, <i style="mso-bidi-font-style: normal;">The Amethyst
Spectacles</i> (1944), was also set in Taos.</div>
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Mya Coursey's list has inspired me in many ways. It introduced me to new books and prompted my rediscovery of ones I consider old friends. I've got a fresh pile of books on my nightstand and others entered on my "read next" list.</div>
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I encourage you to mine Mya's list for the wealth of writing by women connected to Taos and New Mexico. Oh, and let me know what you're reading this summer. I'm always looking for a "thumping good read."</div>
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Adios for now,</div>
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<span style="font-family: "Lucida Calligraphy"; font-size: 14pt;">Liz</span></div>
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Cover image of "Storytellers: Women Writing Taos" courtesy of Mya Coursey; covers of <i style="font-family: Georgia,"Times New Roman",serif;">Utopian Vistas</i><span style="font-family: Georgia,"Times New Roman",serif;"> and </span><i>A Taos Mosaic</i> courtesy of the University of New Mexico Press, Albuquerque.</div><div class="blogger-post-footer">Blog etiquette: This blog will be conducted with a commitment to civil and constructive conversation that allows for personal expression: a place where participants “agree to disagree agreeably.” In this spirit, the Mabel Dodge Luhan and the Remarkable Women of Taos blogsite will adhere to a "Civility Enforced" standard and uphold the Blogger Content Policy as set forth in Blogger.com’s site: http://www.blogger.com/content.g</div>lizhttp://www.blogger.com/profile/04640519051616776710noreply@blogger.com1tag:blogger.com,1999:blog-2266348750409788008.post-1326636627301265412012-05-18T13:01:00.000-06:002012-05-18T13:01:21.465-06:00Mabel Dodge Luhan and Taos 5th Graders’ Remarkable Women<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: 11pt; line-height: 115%;">Before
I wrote my first post in August 2010, Karen Young, the owners of the Mabel
Dodge Luhan House and I agreed that in addition to Remarkable Women celebrity
we would like to feature women from everyday life—women that we wouldn’t know
about who played an important role within the fabric of the Taos community.
What better way, I thought, than through the eyes of children. Months later an
amazing collaboration began which resulted 43 portraits by 5<sup>th</sup> graders
from Enos Garcia Elementary School. The portrait of Mabel Dodge below is one of
them.</span></div>
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For various reasons, I chose 5<sup>th</sup> grade, 7<sup>th</sup>
grade and high school students as my target groups. I soon learned that <a href="http://taos.org/women/profiles-artists?/item/145/Tanya-Ocaas-Vigil-Aztec-Dancer-Gallery-Director" target="_blank">Tanya Ocañas Vigil</a> and her husband Michael had
curated art shows created by pupils from municipal and private elementary
schools and home-school children for the past fifteen years. I knew Tanya as
the <i style="mso-bidi-font-style: normal;">capitana</i> or leader of <i style="mso-bidi-font-style: normal;">Izcalli In Nanantzin Danza Azteca</i>, her group
of dancers based in Taos. I would discover that she also curated art shows for
professional artists with her husband at their Gallery Elena.</div>
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<tr><td class="tr-caption" style="text-align: center;">Photo by Rick Romancito*</td></tr>
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What I didn’t know was that Tanya had created the
Visiting Artists Program for elementary grades in the Taos Municipal Schools. She
hired local professionals to teach their area of expertise. This not only
allowed school children to have contact with working artists and experience
various artistic media (including jewelry, puppet making, Spanish Colonial <i style="mso-bidi-font-style: normal;">colcha </i>embroidery, Taos Pueblo micaceous
clay pottery, fused glass, flamenco dancing and writing in addition to the more
traditional drawing and painting), the program also created a kind of
apprenticeship. The quality of work inspired the Millicent Rogers Museum to
showcase the creative talents of elementary school-age children starting in
2006.</div>
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When we met last spring to explore the possibilities of
having 5<sup>th</sup> graders portray the remarkable women in their lives,
Tanya invited one of her visiting artists, artist <a href="http://taos.org/women/profiles-artists?/item/33/Amy-Cordova-Painter-Author-Educator" target="_blank">Amy Cordova,</a> to brainstorm
with us. Amy had dreamed of becoming a book illustrator, a career that opened
up after two decades of exhibiting her highly regarded paintings in galleries
and museums. She now has over fifteen children’s books in print. Besides
creating two of her own, she has illustrated stories for other writers
including Rudolfo Anaya and Enrique Madrid, two of New Mexico’s most celebrated
authors and folklorists. </div>
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<tr><td class="tr-caption" style="text-align: center;">Photo by Patti Traynor**</td></tr>
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Assigned to two 5<sup>th</sup> grade classes, Amy
prepared them to paint portraits of and write about remarkable women in their
lives. To introduce the Remarkable Women of Taos project, Amy quoted me: “Women
have long been known as the backbone of the community. The REMARKABLE WOMEN OF
TAOS PROJECT is meant to celebrate and recognize outstanding women – past and
present- in our community who are worthy of notice.” Amy then gave the children
the overall goal of their artistic endeavor:</div>
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Taos has a history of many creative, remarkable women
from all cultural backgrounds, who have stood out in the history of our
community. Today, there are many wonderful women who continue to make Taos a
special place. Do you know a special woman who helps make Taos a special place?
She could be a member of your own family, a neighbor, a friend, teacher, or
someone you may have heard about who lives in or near Taos. Is there a famous
woman of Taos from our past who seems “remarkable” to you?</div>
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Additionally Amy defined remarkable and provided the 5<sup>th</sup>graders with examples of some of the community’s well-known women including
<a href="http://taos.org/women/profiles-legends?/item/78/Mabel-Dodge-Luhan" target="_blank">Mabel Dodge Luhan</a>, <a href="http://taos.org/women/profiles-legends?/item/66/Millicent-Rogers" target="_blank">Millicent Rogers</a>,Pop Chalee, <a href="http://taos.org/women/profiles-legends?/item/76/Eva-Mirabal-Eah-Ha-Wa" target="_blank">Eva Mirabal</a>, <a href="http://taos.org/women/profiles-legends?/item/74/Josefa-Carson-and-Ignacia-Bentv" target="_blank">Josefa JaramilloCarson,</a> and <a href="http://taos.org/women/profiles-caregivers?/item/50/Corina-Aurora-Santistevan-Educator-and-Historian" target="_blank">Corina Santistevan</a>. From there each of the two classes set to work on their
remarkable women.</div>
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Amy’s own painting and skill as a portraitist helped
guide the children. She emailed me when they started work in January. A month
later she showed me four portraits that the youngsters had created. Not only
had they painted vibrant, adept likenesses of women important to them, the
students had penned several lines, incorporating another notion Amy introduced:
the idea of simile and metaphor. The resulting
work became a kind of painting-poem. I’ve included six examples for you to
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Amy arranged the portraits by class and affixed them to a
long, black banner. They became part of the Visiting Artists Program’s “Anything
is Possible” exhibition at the Millicent Rogers which opened this past April. </div>
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On Saturday May 12<sup>th</sup>, photo reproductions of
Priscilla Romo’s and Darlene Archuleta’s 5<sup>th</sup> grade classes were
featured at the Stables Gallery as part of ¡CELEBRANDO! which celebrated the
arts of Taos elementary and secondary schools and women in Arts Education.</div>
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Among the Remarkable Women honored last Saturday were Visiting
Artist Amy Cordova and the two 5<sup>th</sup> grade teachers she worked with:
Darlene Archuleta and Priscilla Romo.</div>
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The Stables Gallery show ended on Monday, May 14<sup>th</sup>,
just in time to for the teachers to give their 5<sup>th</sup> graders their
Remarkable Women portraits to take home for the summer. Now only memories and a
few photographs remain.</div>
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<span style="font-size: 11pt; line-height: 115%;">And a few thank you notes. One of them I’ll share with
you: my gratitude to Tanya Vigil and Amy Cordova for making my “Remarkable Women
Through Our Children’s Eyes” dream come true. They and the women art educators
we honored are working hard to build future generations of artists. Through
them the Taos art colony that Mabel wrote about in her book, Taos and Its
Artists (1947), will continue to thrive.</span> </div>
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Adios
for now,</div>
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Liz</div>
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<i><span style="font-style: normal;">*Photo of Tanya Vigil by Rick Romancito from
an article that appeared in the Taos News in October 2011. © 2011 The <a href="http://taosnews.com/" target="_blank"><i>Taos News </i></a>and Rick
Romancito</span></i><i style="mso-bidi-font-style: normal;"></i></div>
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<i><span style="font-style: normal;">*Photo of</span></i><i> </i>Amy Cordova by
Pattie Traynor</div>
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<br /></div><div class="blogger-post-footer">Blog etiquette: This blog will be conducted with a commitment to civil and constructive conversation that allows for personal expression: a place where participants “agree to disagree agreeably.” In this spirit, the Mabel Dodge Luhan and the Remarkable Women of Taos blogsite will adhere to a "Civility Enforced" standard and uphold the Blogger Content Policy as set forth in Blogger.com’s site: http://www.blogger.com/content.g</div>lizhttp://www.blogger.com/profile/04640519051616776710noreply@blogger.com0tag:blogger.com,1999:blog-2266348750409788008.post-76234267893184786042012-04-29T16:26:00.000-06:002012-04-29T16:26:18.213-06:00Mabel Dodge Luhan and Early Women Artists of Taos, part one<div class="separator" style="clear: both; text-align: center;">
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Throughout the 2012 year of the Remarkable Women in Taos, the Museum
Association of Taos is featuring exhibitions on women artists drawn from their
collections. This is the first of a series covering these exhibitions and introducing you, dear readers, to the breadth and depth of women's contributions to the creative arts of Taos.</div>
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In her book <i>Taos and Its Artists</i>
(1947), Mabel Dodge Luhan listed 20 female artists. Although I knew
their names, I
had never seen photos of some of them or examples of their work. The exhibition "Out of
the Background: Women Artists of Early Taos" (now up at the E. L.
Blumenschein Home and Museum) changed that. Several of
these featured artists were married to Taos Society of Artists members and some trained as artists. Of the early arrivals in the
first two decades of the 20th century, once resident in Taos, many of
these artists sublimated their
careers to care for husbands and family. Up until the 1930s most Taos
households didn't have electricity, running water, phones, indoor bathrooms and
other modern conveniences of cities these women had left in order to live in this remote landscape. </div>
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To give
you an overview of the earliest women artists, I have selected two
artists Mabel mentioned in her book--Mary Greene Blumenschein and Mrs. Frank Cheetham--and four artists she did not mention: Lucy
Harwood, <a href="http://taos.org/women/profiles-legends?/item/117/Virginia-Walker-Couse" target="_blank">Virginia Couse</a>, Mary Ufer and <a href="http://taos.org/women/profiles-legends?/item/69/Helen-Martin" target="_blank">Helen Martin</a>--who are included in "Out
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In the first pages of <i>Taos and Its Artists</i>, Mabel mentions 32 male artists, including pioneers
Ernest Blumenschein and Bert Phillips and modernists Andrew Dasburg and
Emil Bisttram. After introducing many of them, Mabel wrote:<br />
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There
is an attractive group of women artists in Taos, cosmopolitan,
industrious, and sociable. It is amazing that some of these women,
accustomed as they are to the life of cities both here and in Europe, to
the glamour of Spain, the artless natural charm of Bavaria, the
brilliant salons of Paris, are content to struggle with the daily
inconveniences of Taos life.</blockquote>
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Indeed
Mary Blumenschein's initial period in Taos lasted less than 2 weeks. In 1913, coaxed to try living in the remote village by her husband, Ernest, she bravely agreed. When she and 4-year-old Helen arrived in 1913, the family stayed in
rented rooms in the Wengert boarding house. Having no fresh dairy milk available for their sickly daughter, no electricity,
and no house to make a home, when a diptheria outbreak
threatened days later, Mary "threw down the gauntlet," packed up Helen and their luggage, and returned to the civilized world of New York and the sanctuary of the Greene family home in
Brooklyn.<br />
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<tr><td class="tr-caption" style="text-align: center;">Mary Greene Blumenschein in New York studio, ca. 1918</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<span style="font-family: inherit;">Of course, my early interest in Ernest Blumenschein,
founding member of the Taos Society of Artists, led me to research and write
about the woman who became his wife, Mary Shepard Greene (1869-1958). I
discovered that by the time Blumenschein met Mary in 1904, she was already an
acclaimed artist. In 1900 and again in 1902, she won medals in the prestigious
Paris Salon, the second American woman ever to be so honored: the first was
impressionist painter Mary Cassatt. After her marriage to Ernest Blumenschein
in June 1905, Mary also took on illustrating commissions for both books and
magazines. Mary became a celebrated illustrator in New York for popular
magazines like </span><i style="font-family: inherit;">Town and Country,</i><span style="font-family: inherit;"> </span><i style="font-family: inherit;">The American Magazine</i><span style="font-family: inherit;">, </span><i style="font-family: inherit;">Ladies Home Journal</i><span style="font-family: inherit;">, </span><i style="font-family: inherit;">Good
Housekeeping</i><span style="font-family: inherit;"> and </span><i style="font-family: inherit;">Collier’s</i><span style="font-family: inherit;">. (Mabel noted Mary's illustrations in many books.) Her illustration career ended in 1919 when the
Blumenscheins moved to Taos.</span></div>
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<span style="font-size: small;">There Mary devoted most of
her time to providing a beautiful and comfortable home--an important expression of
her personal aesthetic and design sensibilities--<span style="line-height: 115%;">for
her husband and
daughter. Her art took a back seat to the needs and desires of her
family and to entertaining guests. In
1922, Mary began to design and fabricate her own line of jewelry, a
craft she
maintained through the remainder of her life. Mary's jewelry was
exhibited as part of her husband's solo show at New York's Grand Central
Art Galleries in 1927. Mary's silver work was later exhibited at the
International Folk Art Museum and the Museum of Fine Arts in Santa Fe.</span></span><span style="font-size: small;"><span style="line-height: 115%;"> </span></span></div>
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<span style="font-size: small;"><span style="line-height: 115%;">Mary also painted occasionally. Her <i>Husking Corn</i> (1939) received a favorable review in the <i>New York Herald Tribune</i>
when the painting was exhibited a year later at the National Academy of Design. In
March 1940 art critic Royal Cortissoz wrote: “There is the exhilaration
of the open air in the
‘Husking Time’ of Mary G. Blumenschein.” </span><span style="line-height: 115%;">In the 1940s Mary produced color pencil drawings based on the story of the Arabian
Nights for a prospective book, which due to paper shortages during World War
II, was never published. </span></span></div>
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<tr style="font-family: Times,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><i>Portrait of Lucy Case Harwood </i>(ca. 1890) </span><br />
<span style="font-size: x-small;">Courtesy the Harwood Museum of Art</span></td></tr>
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<span style="font-size: small; line-height: 115%;">While
the Blumenscheins were in Paris, they met Burt and Lucy Harwood. (In fact, Ernest Blumenschein told the
Harwoods about Taos.) Both Burritt Harwood and Elizabeth "Lucy" Case
(1867-1938) were
born in Charles City, Iowa. In her youth, the adventurous Lucy had
traveled
with her lawyer father to Mexico, where the two explored the country on
their own, without guides. She graduated from Vassar at a time
when few young women went to college. This background and a love of the
arts made Lucy a perfect wife for photographer and painter Burt
Harwood. </span></div>
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<span style="font-size: small; line-height: 115%;">Following several year's study at the Academie Julian in Paris beginning in 1885, Burt relocated in Minneapolis where he painted portraits and </span><span style="font-size: small; line-height: 115%;">operated his own art school</span><span style="font-size: small; line-height: 115%;">.
Lucy was one of his students. Burt married her in 1896 and the
couple honeymooned in Paris. At home in France, they lived in Paris and Brittany for 20 years. During this time Lucy studied with<span style="font-family: inherit; font-size: small;"> James McNeill Whistler, </span>and she and Burt spent
summers painting in Brittany. During World War I the Harwoods maintained
a hospital in France for the war wounded until the United States declared war on
Germany. <br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Church at Chimayo</i> (UR) by Lucy, Photo of Harwood home by Burt Harwood.</td></tr>
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<span style="font-size: small; line-height: 115%;">In
1916 the Harwoods arrived in Taos and bought property from Captain
Simpson. They added on rooms to the home they dubbed "El Pueblito"
because it was built in the style of Taos Pueblo. The Harwood's home was
the first in Taos to have electricity and the largest one of this type until Mabel built "El Gallo" in 1922, the
same year that Burt Harwood died. </span></div>
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<span style="font-size: small; line-height: 115%;">Early on Lucy had operated the town's first
lending library out of the Harwood home. The year after Burt's death,
with the help of Taos Society of Artists members Bert Phillips and Victor Higgins and other friends, she incorporated the Harwood Foundation, meant to
"establish and maintain...a public library, a museum and other
educational agencies." Lucy gifted Burt's large collection of
photographs as well as the couple's paintings. Other donations from community--including books and a collection of santos from Mabel,
paintings and sculpture by Taos artists, wood sculpture by Patrocino
Barela and Hispanic folk art and textiles--</span><span style="font-size: small; line-height: 115%;">added to the Harwood's seed collection</span><span style="font-size: small; line-height: 115%;">. Lucy bequeathed the Harwood
Foundation to the University of New Mexico in 1935 and lived on the
property until her death three years later.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Virginia Couse in her Taos home</td></tr>
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Raised on a ranch in Klikitat County, Washington,
Virginia Walker (1860-1929) wished to become an illustrator. Toward that end
she started art studies in 1882 at the Philadelphia School of Design, and
furthered her training at the National Academy of Design three years later.
Attracted like countless other aspiring art students, she sailed for Paris in
1887. She studied in this art mecca for the next three years, first at the
Academy Colorossi, then at the Academie Julian. During her first week in Paris,
Virginia met fellow American art student, Eanger Irving Couse. Immediately
attracted to each other, the two married in Paris in 1889.</div>
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<tr><td class="tr-caption" style="text-align: center;"><i>The Portal </i>by Virginia Couse</td></tr>
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<span style="font-size: small;">Although her husband encouraged his wife's artistic pursuits, eye trouble forced Virginia to give up her dream of becoming an illustrator. Like other American women of her time, she instead devoted her talent to creating an artistic home environment.</span><br />
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<span style="font-size: small;">Encouraged to come to Taos by Ernest Blumenschein (Irving Couse became a founding member of the Taos Society of Artists), when the Couses bought a house and property on Kit Carson Road in 1909, Virginia gave in to her passion for gardening. She leveled and terraced the land around their home, built rock walls, designed flower beds and garden paths, and installed stone seats to enjoy the garden and the surrounding view.</span></div>
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<tr align="center"><td class="tr-caption">Gardens at the Couse House, Virginia Couse's legacy</td></tr>
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When friends and visitors arrived to see paintings in Couse's studio, they also took time to stroll through the gardens that many newspaper articles had lauded. Virginia's was the first such flower
garden in Taos, and she shared seeds and plants with all newcomers to
town. Because of this, her creation became known as the “the Mother Garden” of Taos.
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<tr><td class="tr-caption" style="text-align: center;">Mary Monrad Frederikson</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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Born in
Copenhagen, Denmark, Mary Monrad Frederikson (1869-1947) studied art at the Academie Julian in Paris and took classes with <span style="font-size: 12pt; line-height: 115%;">James McNeill Whistler</span>. Later, while attending classes
at the J. Francis Smith Academy, a Chicago division of the Academy Julian,
Mary met Walter Ufer who would become her husband and a member of the Taos Society of Artists. Once married to Ufer, Mary supported him and encouraged him to leave illustration and take up portrait painting. Through this endeavor, Chicago Mayor Carter Harrison noticed Ufer's work, and encouraged him to go to Taos to paint. Harrison become Ufer's patron, and the Ufers subsequently moved to Taos.</div>
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<tr><td class="tr-caption" style="text-align: center;"><i>Alice in Big Chair</i> by Mary Ufer</td></tr>
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<span style="font-size: small;">After settling in
Taos, Mary continued to paint but Walter’s alcoholism, increasingly poor
health, debts and the low demand for his paintings put a strain on their marriage.
To help with finances, Mary delivered lantern-slide lectures on artists both at the Art Institute of Chicago and on a traveling lecture circuit. When Walter Ufer died of appendicitis in 1936, Mary's life became more difficult. For a while she was employed as an artist under New Mexico's Works Progress Administration. Then she was disqualified from the WPA program because she was over 65 years old. After moving to New York, Mary eventually secured work with that state's WPA program. Money from Social Security augmented her meager income until her death in 1947.
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<tr><td class="tr-caption" style="text-align: center;">Edith Evelyn Higgins Cheetham</td></tr>
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<span style="font-size: small;">Edith Evelyn Higgins (1870-1955) was b</span><span style="font-size: small;">orn on the family farm in Cook County, Illinois (near present-day O'Hare Airport), </span><span style="font-size: small;">then moved with her family to Kansas while still a young girl. There she met and married lawyer Frank Cheetham. In 1911 the Cheethams and their two sons relocated to Taos where he established a law practice. Part of the social scene, Edith mingled with members of the Taos Society of Artists and their wives. Although she never had formal art training, she showed her paintings alongside other New Mexico artists at the Harwood Foundation in Taos and at the Museum of Fine Arts (now the New Mexico Museum of Art) in Santa Fe. Like Rebecca James (to be covered in part two), she also made paintings using <i>colcha</i> embroidery techniques introduced to Taos in the Spanish Colonial era. (Mabel praised Mrs. Frank Cheetham "who makes the best cakes in the Taos Valley" for her small intimate scenes of "this neighborhood.")</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Kit Carson Home (colcha embroidery)</td></tr>
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Adjunct to her
painting, Edith pursued interests in doll making. By the 1940s she had
abandoned painting and devoted space and energy to the "little doll
factory" in her home. This served her well as she was able to support
herself through doll-making in the years after her husband's death in
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<tr><td class="tr-caption" style="text-align: center;">Helen Campbell Martin</td></tr>
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<span style="font-size: small;">The artistic talent Helen Campbell (1888-1957) brought to Taos when she married Dr. T. P. "Doc" Martin in 1917 centered on music. Doc, known as a 'horse and buggy doctor', had established his practice decades earlier and had hosted the formative meeting of the Taos Society of Artists in 1915. He was a civic-minded and well respected man in the community. Helen was already an accomplished violinist, but within months shifted her interest to the visual arts after exposure to other artists' work in the growing Taos colony. Her interest in fabric design blossomed after she learned the rudiments of the Oriental art of batik from Santa Fe artist Olive Rush. </span></div>
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<tr><td class="tr-caption" style="text-align: center;">Untitled Batik wall hanging</td></tr>
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<span style="font-size: small;">Helen soon developed her own colors and treatment that she used in signature scarves, shawls, dresses and wall hangings. Women from high society in cities like New York, Paris and London clamored after Helen's dinner gowns, tea dresses and chiffon wraps. Her batik business flourished from 1920 until 1935 when her husband died. Helen inherited several buildings and called in outstanding debts (Doc seldom sent out bills) for labor to build up and open the Martin Hotel in 1936. From that time until her death in 1957, Helen put her energies into building what is now The Taos Inn, a landmark known as "the living room of Taos" that still extends the hospitality originally offered by Helen and Doc Martin. </span></div>
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Besides their photos, work, and stories, some of these women artists have left institutions as part of their legacy. They include the <a href="http://taoshistoricmuseums.org/el-blumenschein-home/" target="_blank">Blumenschein Home and Museum</a>, the <a href="http://harwoodmuseum.org/" target="_blank">Harwood Museum of Ar</a>t, the <a href="http://www.cousefoundation.org/" target="_blank">Eanger Irving Couse Home and Joseph Henry Sharp Studio</a>, and the <a href="http://taosinn.com/" target="_blank">Taos Inn</a>.<br />
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I hope you enjoyed meeting these early women artists AND if you're in town, please check out this exhibition. It's a MUST SEE, up until May 15th. If you don't make it, click on the Blumenschein Home and Museum link above, and you can take a brief virtual tour of "Out of the Background."</div>
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This begins to address "Who are the remarkable women of Taos?" Next I'll be in the kitchen with Mabel and the Remarkable Women Chefs of Taos, with Part Two of "Out of the Background" to follow after that.</div>
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<br />Adios for now,</div>
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Thank you to Anita McDaniel, curator, Taos Historic Museums for photo and text assistance (and an insightful, interesting exhibition of the early women artists of Taos), and to Nancy Delpero, marketing and public relations at the Taos Historic Museums for the virtual video tour of the "Out of the Background" exhibition. Photos and images presented here are part of the exhibition.<br />
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<span style="font-size: 10.5pt;"></span><div class="blogger-post-footer">Blog etiquette: This blog will be conducted with a commitment to civil and constructive conversation that allows for personal expression: a place where participants “agree to disagree agreeably.” In this spirit, the Mabel Dodge Luhan and the Remarkable Women of Taos blogsite will adhere to a "Civility Enforced" standard and uphold the Blogger Content Policy as set forth in Blogger.com’s site: http://www.blogger.com/content.g</div>lizhttp://www.blogger.com/profile/04640519051616776710noreply@blogger.com0tag:blogger.com,1999:blog-2266348750409788008.post-63024262852288403422012-04-07T13:31:00.002-06:002012-04-07T13:39:43.576-06:002012 Remarkable Women of Taos year-long celebration launch -- Mabel Dodge Luhan makes the newsIn mid-March the banners went up, announcing this year's 2012 Remarkable Women of Taos year-long celebration.<br />
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<tr><td class="tr-caption" style="text-align: center;">Taos Mountain sets off the new banners</td></tr>
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And the news hit the press on a national scale.On March 14th Associated Press newswoman Susan Montoya Bryan's article, "Taos Embarks on Yearlong Celebration," appeared in the <i>New York Times</i>.Mabel loomed large in Susan's piece. Not only was Mabel credited with helping create a community where artists could thrive, by bringing writers Willa Cather and D.H. Lawrence, artists Georgia O'Keeffe and John Marin, and photographer Ansel Adams (among others) to Taos, she created an intellectual component. Speaking to this, <a href="http://taos.org/women/profiles-artists?/item/103/Jina-Brenneman-Curator-at-Harwood-Museum-of-Art" target="_blank">Jina Brenneman</a>, curator at the Harwood Museum of Art, said "We're seeing residuals of that today."<br />
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I've since discovered the range of newspapers that carried the article From the more local Santa Fe's <i>New Mexican</i>, the story spread to California's Bay Area News Group. In Texas it ran in Fort Worth's <i>Star-Telegram</i> and in the <i>Houston Chronicle</i>, and in Connecticut's <a href="http://www.stamfordadvocate.com/news/article/Taos-embarks-on-yearlong-celebration-of-women-3406456.php" target="_blank"><i>Stamford Advocate</i></a>, where you can see a variety of Taos photos including one of Millicent Rogers that provides a peek at one of the displays now on view at the Millicent Rogers Museum. Over the past weeks other gallery and museum exhibitions have opened that showcase women artists of Taos, both past and present. In future postings I will be sending you snapshots of these shows.<br />
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For now, however, I'd like to introduce the<a href="http://taosnews.nm.newsmemory.com/special.php?pSetup=taosnews_special_rw" target="_blank"> Remarkable Women of Taos special section</a> published by <i>The Taos New</i>s on March 22nd (now available on-line for your reading pleasure). In his introduction, Special Sections editor Andy Jones muses on such questions as "What is it about Taos that has allowed women to thrive for so long?" He speculates that it might have something to do with the area's relative isolation. In my own description of the Remarkable Women of Taos project, I state that women have long formed the backbone of this community. It interested me that Andy Jones' thoughts echoed my own: "If women weren't allowed to be creative and productive members of society, the fabric of the community would collapse." <br />
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<tr><td class="tr-caption" style="text-align: center;">John Dunn Shopkeepers: 28 women and 4 exceptional men. Photo: Gail Russell, <span style="color: black; font-family: "Georgia","serif"; font-size: 7.5pt; line-height: 115%;">© 2012</span></td></tr>
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Business is one of the categories on the <a href="http://taos.org/women" target="_blank">Town of Taos' remarkable women website</a>. And since I wrote a profile on <a href="http://taos.org/women/profiles-businesswomen?/item/116/Polly-Raye-Entrepreneur" target="_blank">enterpreneur Polly Raye</a>, I remembered her saying there was a high percentage of women-owned businesses in Taos. I phoned Polly earlier this week to garner her thoughts on this. Since she owns the John Dunn shops near Taos Plaza, I asked her how many of the 20 businesses were women-run. Polly replied that 16 were run by women and 4 by men. That sampling yields the equation of women owning and running of 4 in 5 or 80% of Taos businesses. That matches Andy Jones' statement about the long history of the Taos community's strong and inspiring business women: "In modern-day Taos the business world is nearly dominated by women."<br />
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As in so many other aspects, there's a thread that returns to Mabel, a woman who inspired Georgia O'Keeffe to create a full-blown life of her own. I find this fascinating.<br />
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Just recently I revisited an email from <a href="http://www.blogger.com/">Canadian poet Kate Braid</a> who responded to an e-blast I sent out in August 2010. In the e-blast I announced the intention of creating "The Year of Remarkable Women" and, with the help of many talented women and men, this has become a reality. After the successful March 22nd official media launch, I look at my own contributions to this year-long celebration.<br />
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As your blog host, I agreed to provide context and substance to the year's marketing campaign by helping generate exhibitions and events that currently run through December 8, 2012. Additionally, I researched and wrote nearly 40 profiles on remarkable historic and contemporary women (see above -- Town of Taos' remarkable women website and Taos News special sections links), and solicited nearly the same amount from our talented pool of local writers. The long hours reduced the frequency of postings on this blog. However, I'm back and over the next weeks, you, dear readers, will reap the benefits of this work. And to think it all started with Mabel and this blog. <br />
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Adios for now,<br />
<b><span style="font-family: "Viner Hand ITC"; font-size: 14pt; line-height: 115%;">Liz</span></b><br />
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P.S. Kate Braid and Lois Rudnick, Mabel's biographer, are headlining the Mabel Dodge Luhan House's workshop<a href="http://www.mabeldodgeluhan.com/pages/remarkable_women.html" target="_blank"> "Meetings with Remarkable Women"</a> scheduled for June 1-3, 2012. There is still some room in this workshop. Go to the link for details.<br />
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*Photo courtesy of Polly Raye. Photo by Gail Russell, <span style="color: black; font-family: "Georgia","serif"; font-size: 7.5pt; line-height: 115%;">© </span>2012.<div class="blogger-post-footer">Blog etiquette: This blog will be conducted with a commitment to civil and constructive conversation that allows for personal expression: a place where participants “agree to disagree agreeably.” In this spirit, the Mabel Dodge Luhan and the Remarkable Women of Taos blogsite will adhere to a "Civility Enforced" standard and uphold the Blogger Content Policy as set forth in Blogger.com’s site: http://www.blogger.com/content.g</div>lizhttp://www.blogger.com/profile/04640519051616776710noreply@blogger.com1tag:blogger.com,1999:blog-2266348750409788008.post-34320196101103938982012-03-07T10:30:00.002-07:002012-03-15T12:00:34.005-06:00Mabel Dodge Luhan and the Inaugural Remarkable Women of Taos Immersion weekend<div class="MsoNormal"><div class="separator" style="clear: both; text-align: left;">In the synchronistic way of Taos, Remarkable Women events conjoined to create the inaugural immersion weekend showcase on the weekend of February 24th and 25th. For me, this weekend came as the culmination of months of long hours researching, writing and soliciting profiles of some of <a href="http://taos.org/women" target="_blank">Taos's remarkable women</a> and helping assemble a roster of Remarkable Women of Taos events (currently running through December 8, 2012).</div><div class="separator" style="clear: both; text-align: center;"><br />
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One event grew out of a historic woman profile I was commissioned to write. If you've been following this blog, a historic scenic marker paying tribute to Mabel, Frieda Lawrence and Dorothy Brett provided the context for <a href="http://mabeldodgeluhan.blogspot.com/2010/08/mabel-dodge-luhan-and-remarkable-women.html" target="_blank">my first posting</a>. The search for this marker led me to another one that featured Taos Pueblo potter Virginia T. Romero. To find out more about her life, this past winter I met with her children and their families to interview them. As none of these women's scenic markers had ever been dedicated (there is a 3rd one in Taos), we decided to bring them to public attention with a roadside dedication.<br />
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From attending the 2010 ribbon-cutting for the Peggy Pond Church/Marjorie Bell Chambers marker in Los Alamos, I learned about the New Mexico Women's Historic Marker Initiative and met some of its co-founders and members. Established in 2005 by members of the New Mexico Women's Forum, the initiative recognizes women's contributions to New Mexico on the state's Official Scenic Historic Markers. To date, the initiative (funded by the 2006 state legislature) has placed 64 historic markers throughout the state to ensure that "women's diverse histories will be remembered and told, and will inspire and provide a guide for future generations."<br />
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After settling on the date of February 25th with the Romero family, Mabel Dodge Luhan House staffer Karen Young and I helped with preparations for the roadside dedication of the Virginia T. Romero marker. As it turned out the date fell on the same day as the 90th anniversary celebration, "Who's Been Sleeping at Mabel's? Three Generations of Utopian Visions at the Mabel Dodge Luhan House." The timing coincided with exhibitions on women artists at three Taos museums that had opened weeks prior. And to top it off, on Friday, February 24th, to honor of the Remarkable Women of Taos and the 90th anniversary of the Mabel Dodge Luhan House, Las Taose<span style="font-family: "Times New Roman","serif"; font-size: 11pt;">ñ</span>as--"daughters, grandmothers, mothers and crones encompassing five decades of life"--hosted an evening of poetry and music that provided the entree into Saturday's full roster of events. We had the makings of the Inaugural Remarkable Women of Taos Immersion weekend, to officially launch the project--and it became the cover story in the <i>Taos News</i>' Tempo Magazine.<br />
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<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt;">Virginia T. Romero Photo © Stephen Trimble*</span></div></td></tr>
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Here's what happened as writer Ariana Kramer told it:<br />
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<blockquote class="tr_bq"><div class="separator" style="clear: both; text-align: left;"> <i>The remarkable women of Taos. Many have been noticed, but few have been noted down for posterity. That is about to change, and salon-hostess Mabel Dodge Luhan appears to be the responsible party.</i></div><div class="separator" style="clear: both; text-align: left;"><i> It all started when the women who currently run the Mabel Dodge Luhan House, now a retreat center, asked writer Elizabeth Cunningham to start a blog featuring Luhan and other "Remarkable Women of Taos."</i></div><div class="separator" style="clear: both; text-align: left;"><i> The project soon spiraled outward and the Town of Taos picked up the idea for its 2012 tourism theme. This weekend kicks off a year of activities celebrating the many women who have contributed to Taos' past and present. The effort aims to provide further insight into the contributions and qualities of those often remarked upon women like Luhan and her cohorts. It also hopes to share their limelight with the many influential Taose<span style="font-family: "Times New Roman","serif"; font-size: 11pt;">ñ</span>as who have pursued their passions unnoticed and unremarked upon</i>.**</div></blockquote><br />
<div class="separator" style="clear: both; text-align: left;">Adriana's story, "Unsung Heroines: Poetry, music, art and conversation celebrates the powerful women of Taos" led with a quote from Virginia T. Romero: </div><div class="separator" style="clear: both; text-align: left;"><br />
</div><blockquote class="tr_bq"><div class="separator" style="clear: both; text-align: left;"><i>Nobody taught me how to make pottery. My mother made pots. I used to cook and do housework, but I saw her make them. I never thought I would touch the clay. Then one day my husband and my father went for clay. My father gave me a bag of clay and told me, “Daughter this will give you all you need—food, clothing and money.” And, you know, he was right</i>. – Virginia T. Romero, 1989</div></blockquote><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-hD4AAENR6DeofO_bhbPkMikrDgw1RsHG5bW4Ku4CUu_YE6g9WSkjAWvYmWSprumAxPFKrfT02nrZz9Sbup0DBeinvLj5ZgmLskBGOJ2zjJbIkeB6F47RzSUSnRB-zIS_oOoP7DsfIJM/s1600/VTRomeroMarkerCrpLoRes.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-hD4AAENR6DeofO_bhbPkMikrDgw1RsHG5bW4Ku4CUu_YE6g9WSkjAWvYmWSprumAxPFKrfT02nrZz9Sbup0DBeinvLj5ZgmLskBGOJ2zjJbIkeB6F47RzSUSnRB-zIS_oOoP7DsfIJM/s320/VTRomeroMarkerCrpLoRes.jpg" width="196" /></a></div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">And the Virginia T. Romero roadside marker dedication headlined the weekend events. At 11 a.m. on February 25th dignitaries from Taos Pueblo, the Town of Taos, the State of New Mexico and the family of Virginia T. Romero, visitors and the greater community turned out for the roadside dedication of the women's historic marker honoring <a href="http://taos.org/women/profiles-legends?/item/87/Virginia-T-Romero" target="_blank">Taos Pueblo potter Virginia T. Romero</a> (1896-1998). The festivities, emceed by Virginia's great-grandson Clyde Romero Jr., opened with an song by the Taos Pueblo Drum group.</div><div class="separator" style="clear: both; text-align: left;"><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt;">Taos Pueblo Drum Group Photo © Rick Romancito ***</span></td></tr>
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</div><div class="separator" style="clear: both; text-align: left;">Among the speakers were Taos Pueblo Governor Laureano B. Romero (far left below) who expressed pride on behalf of tribal members for the recognition this beloved grandmother received from the State of New Mexico.War Chief Ben Sandoval recalled that the multi-talented Virginia T. Romero made the traditional white wedding boots for his wife.</div><div class="separator" style="clear: both; text-align: left;"><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt;">Robin Collier recording comments of Clyde Romero Sr.</span></td></tr>
</tbody></table><div class="separator" style="clear: both; text-align: left;"> </div><div class="separator" style="clear: both; text-align: left;">The sons of Virginia T. Romero, Paul Romero and Clyde Romero Sr., told about their mother, a woman who was deeply connected and committed to the traditional lifeways of Taos Pueblo. A busy mother of 10 children, Virginia took time out from household chores and making pottery to bring lunch to the men who worked the fields of the corn, wheat and oats that helped sustain the family.</div><div class="separator" style="clear: both; text-align: left;"><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt;"> Examples of Virginia T. Romero's pottery</span></td></tr>
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</div><div class="separator" style="clear: both; text-align: left;">Family members recalled how Virginia's fame as a potter brought her worldwide recognition. Today her works are in the collections of the Los Angeles County Museum and the Southwest Museum of the American Indian (now part of the Autry National Center in Los Angeles), the School of American Research and the Museum of Indian Arts and Culture in Santa Fe, and the Millicent Rogers Museum in Taos.</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">New Mexico Cultural Affairs Secretary Veronica Gonzales addressed women's contribution to the state's history, part of "what makes us unique." Next Beverly Duran, co-founder of the Women's Historic Marker Initiative, stated the importance of honoring the unsung women of New Mexico and how their stories might inspire young women to follow their example and a similar path.</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsjdZV3mJ6YBDzTuV_tqMTrnvgRZB4YQg_EcvKuujY2Di4pndDTYozTsLVJk6wVHqqOPOtQFTn0qQmiyeSpf1E3iMEkGqfbRF57dIOB_wC9sdHg4myuYUkofRUcl0CpkNlEUaxpVUxt0A/s1600/VT-Romero+HonoredBevDuranRickRomancito.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsjdZV3mJ6YBDzTuV_tqMTrnvgRZB4YQg_EcvKuujY2Di4pndDTYozTsLVJk6wVHqqOPOtQFTn0qQmiyeSpf1E3iMEkGqfbRF57dIOB_wC9sdHg4myuYUkofRUcl0CpkNlEUaxpVUxt0A/s400/VT-Romero+HonoredBevDuranRickRomancito.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: left;"><br />
</div>The ceremony closed with an old beloved round dance song from the Taos Drum Group, one that Virginia T. Romero might have danced to. Afterwards Paul Romero invited Beverly Duran and six other representatives of the marker initiative to pose with him and some of Virginia's other children in front of the marker they had helped create.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQHFuWcCUZqD_9Oy96_83Obh2nSibJAgJYNP5_irwQl7rP8vAA1XeR4hWvQH7s5Ln_KkuGUN6d-4BQXtkS6rEDmWXKMN8UuCkbfxEbPCOFJy8tTegqXl5-gtB56QBAvUmKT-Wv2O02teo/s1600/VTRomeroFamily&NMWomensForum&Marker.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQHFuWcCUZqD_9Oy96_83Obh2nSibJAgJYNP5_irwQl7rP8vAA1XeR4hWvQH7s5Ln_KkuGUN6d-4BQXtkS6rEDmWXKMN8UuCkbfxEbPCOFJy8tTegqXl5-gtB56QBAvUmKT-Wv2O02teo/s320/VTRomeroFamily&NMWomensForum&Marker.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Virginia T. Romero's children and members of the NM Women's Forum****</td></tr>
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</div><div class="separator" style="clear: both; text-align: left;">Then Virginia T. Romero's remaining children stepped up and took their places for a photograph. I quickly captured the moment because the Romeros had to leave within minutes. They and their relatives were hosting a traditional Taos Pueblo feast for all dignitaries and the community present at the honoring.</div><div class="separator" style="clear: both; text-align: left;"><br />
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<tr><td class="tr-caption" style="text-align: center;">L-R: Celestino, Jimmy, Paul, Tony, Catherine and Clyde Sr.</td></tr>
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</div><div class="separator" style="clear: both; text-align: left;">Days later, Nancy Bartlitt (New Mexico Women's Forum member from Los Alamos) wrote me saying how honored she was to be invited to the dedication of the Historic Marker for Virginia T. Romero and how the event brought happiness to many lives. Nancy concluded her note: "It was fun to be in the open sky, huge mountains as the comforting backdrop, and see the faces of the family and Pueblo tribal members beaming with great pride."</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">I echo Nancy's sentiment. It gave me deep satisfaction to headline the weekend (and the year's events to follow) with the honoring of such a deserving remarkable woman from Taos Pueblo. I believe this would have pleased Mabel equally as much.</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">Stay tuned. I'll be introducing the remarkable women I've met and written about as well as keeping you posted on exhibitions and events (including our <a href="http://www.mabeldodgeluhan.com/pages/remarkable_women.html" target="_blank">"Meetings with Remarkable Women" workshop</a>) created around them.</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">Adios for now,</div><div class="separator" style="clear: both; text-align: left;">Liz</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">I would like to thank Rick Romancito, Ariana Kramer,<i>The Taos News</i>, Beverly Duran and Nancy Bartlitt for their contributions to this posting.</div><br />
<div class="MsoNoSpacing">* Published in <i>Talking with the Clay: The Art of Pueblo Pottery in the 21st Century </i>by Stephen Trimble, revised edition. Copyright 2007 by School for Advanced Research, Santa Fe, New Mexico.” <span class="apple-style-span">Photo © 2012 Stephen Trimble / <a href="http://www.stephentrimble.net/">www.stephentrimble.net</a></span></div><div class="MsoNoSpacing"><span class="apple-style-span"> ** from "Unsung Heroines" by Ariana Kramer. Tempo Magazine/<i>The Taos News</i>, February 23-29, 2012:24-25.</span><br />
<span class="apple-style-span">*** Caption reads: "Little Kiana Bozzuto attends the roadside marker dedication honoring Taos Pueblo micaceous pottery-maker </span>Virginia T. Romero, Saturday (Feb. 25) Photo courtesy of Rick Romancito, appeared in <span class="apple-style-span">Tempo/<i>The Taos News</i>' March 1-7, 2012 edition: 38.</span><br />
<span class="apple-style-span">****</span><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Left to right: Jimmy Romero, Paul Romero, Rhonda Faught, Barbara Beasley Murphy, Bev Duran, Paula Tackett, Catherine Romero, Nancy Bartlit, Betty Downes. Present but not pictured New Mexico Women's Forum member Karen Durkovich. </span><span class="apple-style-span"> </span> </div><div class="blogger-post-footer">Blog etiquette: This blog will be conducted with a commitment to civil and constructive conversation that allows for personal expression: a place where participants “agree to disagree agreeably.” In this spirit, the Mabel Dodge Luhan and the Remarkable Women of Taos blogsite will adhere to a "Civility Enforced" standard and uphold the Blogger Content Policy as set forth in Blogger.com’s site: http://www.blogger.com/content.g</div>lizhttp://www.blogger.com/profile/04640519051616776710noreply@blogger.com1tag:blogger.com,1999:blog-2266348750409788008.post-77110665424694182002012-01-14T11:29:00.026-07:002012-01-14T11:52:44.632-07:00News Flash: Launch of the 2012 Year of the Remarkable Women of Taos<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicZ-LrNLb34_Ywcnkrf5pxUW-ibRHJhJ1WmpYW9rK61jcCtvrMi-H0exH3Hsaqq8-a_4PSwGZ_QJevx-nXovRmfR8K3G1r4PSRWwz_Pw-TsxsRLVJgEEt_U5kSuw21VoE5ehvJVsyWwx8/s1600/RWTlogoOnly-TaosNewsLoRes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="162" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicZ-LrNLb34_Ywcnkrf5pxUW-ibRHJhJ1WmpYW9rK61jcCtvrMi-H0exH3Hsaqq8-a_4PSwGZ_QJevx-nXovRmfR8K3G1r4PSRWwz_Pw-TsxsRLVJgEEt_U5kSuw21VoE5ehvJVsyWwx8/s320/RWTlogoOnly-TaosNewsLoRes.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div>It's official! The 2012 Town of Taos Remarkable Women of Taos media launch made a big splash in this week's <i>Taos News</i>. Covering up and overlapping the paper was a big cover page/fold out announcing this year's theme--tied to New Mexico's Centennial of Statehood.<br />
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So what does the Remarkable Woman of Taos encompass? Earlier, Cathy Ann Connelly, Director of Public Affairs and Tourism for the Town of Taos, explained:<br />
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<blockquote class="tr_bq">Each year, the Town puts together a traveler education media theme for Taos’ creative community to pinpoint the traveler who will appreciate what we offer, educate them about Taos, and attract them to visit the area that year. This year, in conjunction with the state’s centennial, we are celebrating our remarkable women and underscoring why they were drawn to Taos’ unique and wonderful attributes.</blockquote><br />
My part in this? I helped lay the groundwork by identifying, researching and writing about remarkable women, helping conduct planning meetings, and creating or assisting with the creation of events. Mabel's biographer Lois Rudnick, Karen Young (my "guidian" angel at the Mabel Dodge Luhan House) and I have two Remarkable Women of Taos events already on the books: the 90th anniversary of the Mabel Dodge Luhan House (building completion in 1922) in February, and our workshop <a href="http://www.mabeldodgeluhan.com/pages/remarkable_women.html">"Meetings with Remarkable Women" </a>scheduled for June 1 through 3, 2012. (*See note below my signature.)<br />
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You may be interested to know that the Town of Taos hired me to write 30 profiles on historic and contemporary women. The photos above represent 4 of those women: at the top weaver and Weaving Southwest gallery owner Teresa Loveless (and her grandmother, the famous weaver Rachel Brown); top left Mabel pictured with her husband Tony; bottom left Adriana Blake third-generation family member and owner/operator of Taos Ski Valley; and on the right fashion designer Patricia Michaels from Taos Pueblo.<br />
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This wonderful work has occupied my thoughts and time (average 10 hours a day, 6 days a week) since last May. The effort took me away from this blog--but rest assured, I'm back with a Cecil B. DeMille cast of characters. You'll meet them on the blog. With so many women to tell you about, I'll be posting about 3 times a month. In the meantime, to read what I've written on historic and contemporary women, visit the new <a href="http://taos.org/women">Town of Taos remarkable women website</a><br />
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Stay tuned! <br />
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Adios for now,<br />
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<div class="MsoNormal"><span style="font-family: "Lucida Handwriting"; font-size: 14pt; line-height: 115%;">Liz</span></div><br />
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<div class="MsoNoSpacing">* Space is limited: workshop can accommodate 60; Mabel Dodge Luhan House has 19 rooms available for double or single occupancy.<span style="font-size: 14pt;"></span></div></div><br />
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</blockquote><div class="blogger-post-footer">Blog etiquette: This blog will be conducted with a commitment to civil and constructive conversation that allows for personal expression: a place where participants “agree to disagree agreeably.” In this spirit, the Mabel Dodge Luhan and the Remarkable Women of Taos blogsite will adhere to a "Civility Enforced" standard and uphold the Blogger Content Policy as set forth in Blogger.com’s site: http://www.blogger.com/content.g</div>lizhttp://www.blogger.com/profile/04640519051616776710noreply@blogger.com0tag:blogger.com,1999:blog-2266348750409788008.post-59278008183815000542012-01-05T10:21:00.000-07:002012-01-05T10:21:00.329-07:00Mabel Dodge Luhan: Preview of the Year of the Remarkable Women of Taos<div class="MsoNoSpacing">Happy New Year! This is the year of the Dragon, I’m told. It is also the year of the Remarkable Women of Taos, and it all started with this blog. But that’s another story…</div><div class="MsoNoSpacing"><br />
</div><div class="MsoNoSpacing">On Friday at noon on January 6<sup>th</sup> the State of New Mexico’s inaugural event officially launches 100 years of statehood. I found this interesting because in Taos two events – one on the 5<sup>th</sup>, the other on the 7<sup>th</sup> – launch for me (in an unofficial way) the yearlong Centennial celebration of the Remarkable Women in Taos. As a preview to the women who will be featured and honored, I thought you might enjoy meeting the remarkable women featured in today’s and Saturday’s happenings.</div><div class="MsoNoSpacing"><br />
</div><div class="MsoNoSpacing">Tonight SOMOS (the Society of the Muse of the Southwest) will host poetry readings Harwood Museum of Art that enhance the exhibition “The Legacy of Black Mountain College.” Mabel would have loved this! Black Mountain College echoed her 1912-1915 salon through gathering movers and shakers in a forum for the exchange of innovative ideas. Like Mabel’s salon the experimental, interdisciplinary Black Mountain College served as an incubator for the American avant garde. The institution had quite an impact: as an important precursor, it provided a prototype for many alternative colleges that exist today. From 1933 to 1956 the college attracted faculty and lecturers like Buckminster Fuller, Merce Cunningham, John Cage, Josef Albers, Robert Creeley, Charles Olson, Willem and Elaine de Kooning, and Albert Einstein. Some of the students later became America’s leading designers, poets and artists, among them painters Robert Rauschenberg and Cy Twombly.</div><div class="MsoNoSpacing"><br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-mB7gzNF7_Vk/TwXVvZ35pXI/AAAAAAAAAYY/niKAzJO9YXk/s1600/CynthiaHomire_0801LoRes.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://1.bp.blogspot.com/-mB7gzNF7_Vk/TwXVvZ35pXI/AAAAAAAAAYY/niKAzJO9YXk/s320/CynthiaHomire_0801LoRes.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by Kathleen Brennan, <span style="font-family: inherit; font-size: 11pt; line-height: 115%;">©</span> 2012<span style="font-family: "Calibri","sans-serif"; font-size: 11pt; line-height: 115%;"></span></td></tr>
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</div><div class="MsoNoSpacing">Some Black Mountains students visited and/or settled in New Mexico. Of them two women who live in Taos will be honored tonight: <b style="mso-bidi-font-weight: normal;">Cynthia Homire</b> and <b style="mso-bidi-font-weight: normal;">Barbara Harmon</b>. Potter, poet and artist who attended Black Mountain College from 1950-54, Cynthia Homire’s most influential teachers were Charles Olson, Robert Creeley and Karen Karnes. She has lived and worked in Northern New Mexico since 1964, first as a potter in Santa Fe, then as a poet in Taos. What Cynthia had to say about her experience at the college gives a taste of what life was like there for her as a young woman: </div><div class="MsoNoSpacing"><br />
</div><blockquote class="tr_bq"><div class="MsoNoSpacing">Yes, I have rubbed shoulders with the pantheon, a few bellies, too. Washed the floor Merce Cunningham danced on, then went leaping through his class. Jitterbugged with Rauschenberg, pointed out morels to John Cage, was instructed by Olson in long night classes to write from my roots, dirt and all, but take time out to dig up a few Mayans in Mexico. Shared steak with William Carlos Williams (he said "I know you"). Cooked a Chinese meal for Eliot Porter and David Brower (before David took to chewing each bite thirty times before swallowing). Breakfast with Brautigan. All these things happen if you are there for them and maybe you make pots for 30 years and then maybe you write poetry. </div></blockquote><br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-JwY0imsBADU/TwXV6ciKj7I/AAAAAAAAAYk/TB9o42nFV9g/s1600/BarbaraHarmon_6727LoRes.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://3.bp.blogspot.com/-JwY0imsBADU/TwXV6ciKj7I/AAAAAAAAAYk/TB9o42nFV9g/s320/BarbaraHarmon_6727LoRes.jpg" width="257" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by Kathleen Brennan, <span style="font-family: inherit; font-size: 11pt; line-height: 115%;">©</span> 2012</td></tr>
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</div><div class="MsoNoSpacing">Barbara Sayre Harmon grew up in a sophisticated artist family – her father was the noted California landscape painter Fred Grayson Sayre. Barbara Sayre first came to Taos in 1946 to study with Emil Bisttram at the Bisttram School of Art. She arrived with her future husband, Cliff Harmon. The couple studied art three summers with Bisttram, and afterwards spent time at Black Mountain College (1949-1950). Barbara and Cliff worked in other places, then returned to Taos in the 1960s. Influenced by their experience at Black Mountain, as one of their projects the Harmons built the first solar home in Taos, anticipating the leadership others in Taos would take in solar resource development. By then both had developed new painting series. Previously Barbara did artistic bookbinding. Back in Taos she turned to painting still lifes and imaginative subjects drawn from fairy tales. At an early age Arthur Rackham’s watercolor illustrations in <i style="mso-bidi-font-style: normal;">The Wind in the Willows</i> inspired Barbara. She began to explore the art of classical fantasy English watercolor. Now, in her mystical, dreamlike images, she tries to bring about a sense of peace and contemplation in the viewer. Barbara also writes poems that are as whimsical as her paintings. </div><div class="MsoNoSpacing"><br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-1aDGv_e_vZc/TwXWs2evHvI/AAAAAAAAAYw/zFJPyCKPkUw/s1600/Peggy+Pond+ChurchLoRes.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://2.bp.blogspot.com/-1aDGv_e_vZc/TwXWs2evHvI/AAAAAAAAAYw/zFJPyCKPkUw/s320/Peggy+Pond+ChurchLoRes.jpg" width="217" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo Los Alamos Historical Sciety, <span style="font-family: inherit; font-size: 11pt; line-height: 115%;">©</span> 2012</td></tr>
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</div><div class="MsoNoSpacing">On Saturday, January 7, Sharon Snyder will give a presentation for the Taos County historical Society based on her recently released biography on <b style="mso-bidi-font-weight: normal;">Peggy Pond Church</b> titled <i style="mso-bidi-font-style: normal;">At Home on the Slopes of Mountains</i>. Peggy Pond Church, who lived in Taos from 1946 to 1956 (her brother Ashley Pond was Mabel Dodge Luhan’s doctor in Taos) has been called the First Lady of New Mexican Poetry, "a significant American voice." Sharon Snyder’s biography tells Peggy’s story, tracing her life through a great flood, through canyons and ruins, trails and tall pines on the Pajarito Plateau (the landscape surrounding present-day Los Alamos), and the loss of her home to the Manhattan Project of World War II. Born in 1903 on a ranch in the Territory of New Mexico, Peggy lived in Pajarito Canyon and at the Los Alamos Ranch School before being uprooted during the war to live the second half of her life in Taos, Berkeley, and Santa Fe. Although her poetry has many inspirations and sensitive observations of land and people, she once described it by saying, "It's the land that wants to be said." Church’s journey is revealed also in her books of poetry and prose. She wrote eight volumes of poetry during her life, and many poems are still being published in anthologies on women, nature, and the American West. Her memoir of Edith Warner,<i style="mso-bidi-font-style: normal;"> The House at Otowi Bridge</i> has become a Southwest classic. In 1984 Peggy received the Governor's Award for Excellence and Achievement in the Arts and was also named a Living Treasure of Santa Fe. She died in 1986.</div><div class="MsoNoSpacing"><br />
</div><div class="MsoNoSpacing">On January 13<sup>th</sup> the Town of Taos plans to launch its media campaign for The Remarkable Women of Taos. I will post an overview of the year around that time and relate my experiences as I interviewed contemporary women and researched their historic counterparts.<br />
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Stay tuned. </div><div class="MsoNoSpacing"><br />
</div><div class="MsoNoSpacing">Adios for now,</div><div class="MsoNoSpacing">Liz</div><div class="MsoNoSpacing"><br />
</div><div class="MsoNoSpacing">P. S. As part of the year's Remarkable Women of Taos events, The Mabel Dodge Luhan House has planned a workshop, "<a href="http://www.mabeldodgeluhan.com/pages/remarkable_women.html">Meetings with Remarkable Women</a>."</div><div class="MsoNoSpacing"><br />
</div><div class="MsoNoSpacing"><br />
</div><div class="MsoNoSpacing"><span style="color: black;">Thank you to photographer and filmmaker Kathleen Brennan for providing photos of Cynthia Homire and Barbara Harmon. Kathleen interviewed them for and featured them in her new documentary film<i> Vast Spaces, Unique Vistas: The Artists of Black Mountain College and the New Mexico Connection</i>, which airs tonight as part of this evening's poetry reading at the Harwood.</span><span style="color: black;"></span><span style="color: black;"></span></div><div class="MsoNoSpacing"><br />
</div><div class="MsoNoSpacing"><span style="color: black; font-size: 10.5pt;">Fellow writer and <i style="mso-bidi-font-style: normal;">compadre</i> Sharon Snyder provided the photo of Peggy Pond Church. Thanks, Sharon.</span></div><div class="MsoNoSpacing"><br />
</div><div class="MsoNoSpacing">Appreciation to Jan Smith and Dori Vinella of SOMOS for providing informative material on Cynthia Homire and Barbara Harmon.</div><div class="blogger-post-footer">Blog etiquette: This blog will be conducted with a commitment to civil and constructive conversation that allows for personal expression: a place where participants “agree to disagree agreeably.” In this spirit, the Mabel Dodge Luhan and the Remarkable Women of Taos blogsite will adhere to a "Civility Enforced" standard and uphold the Blogger Content Policy as set forth in Blogger.com’s site: http://www.blogger.com/content.g</div>lizhttp://www.blogger.com/profile/04640519051616776710noreply@blogger.com1tag:blogger.com,1999:blog-2266348750409788008.post-9320269036546665902011-12-31T18:59:00.009-07:002011-12-31T19:16:13.983-07:00New Year's Eve 2011: Bonfires and Mabel Dodge Luhan on Winter in Taos<div class="MsoNoSpacing">The holiday season in Taos opened with a snowstorm that reminded me of Mabel’s writing in her book, <i style="mso-bidi-font-style: normal;">Winter in Taos</i>.</div><div class="MsoNoSpacing"><br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-lJajnquW4ew/Tv-6hrktHgI/AAAAAAAAAXQ/tIExpO7Stmg/s1600/SnowDesMontesGPaponetti12-11LoRes.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="http://1.bp.blogspot.com/-lJajnquW4ew/Tv-6hrktHgI/AAAAAAAAAXQ/tIExpO7Stmg/s400/SnowDesMontesGPaponetti12-11LoRes.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNoSpacing">Photo by Giovanna Paponetti, ©2011</div><div class="MsoNoSpacing"><br />
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</div><div class="MsoNoSpacing"></div><div class="MsoNoSpacing">The passage began with Mabel thinking how high the snow would be piled at the Lawrence ranch. She wrote “How cold and deserted it must be up there, with Frieda away for the winter.” Mabel reflected on how in the winter the days brought less activity:</div><div class="MsoNoSpacing"><br />
</div><blockquote class="tr_bq"><div class="MsoNoSpacing"><span style="font-family: "Arial","sans-serif"; font-size: 10pt;">We stay in the house more, and the changing light in the room, falling first on one portion of it, then on another as the day passes quietly, has a kind of experience in it, a feeling of deep living that we miss in the freedom of movement that comes when the frost is out of the ground.</span></div></blockquote><div class="MsoNoSpacing"><br />
</div><div class="MsoNoSpacing">Every winter Mabel had to learn anew to sink into the season instead of resisting the cold, snow and dark. Submitting to the reality of winter brought a certain kind of peace. Indoors in winter, Mabel wrote letters. She also pulled out her bag of wools and her needles and sat by the window perfectly content to knit and ponder and remember. In this pastime, she found another kind of quiet, a kind of even rhythm that was "somehow a very satisfactory activity like a dance or like the slow, sure motion of the constant star." In winter as sometimes in summer, Mabel always burned piñon in every corner fireplace. Before lighting the fires, she ritually lit cedar that acted as incense:</div><div class="MsoNoSpacing"><br />
</div><blockquote class="tr_bq" style="font-family: "Trebuchet MS",sans-serif;"><div class="MsoNoSpacing">The silent house was perfumed with the dry cedar that is burned in it every morning; a small branch is lighted and blown out, and the smoke permeates the rooms and makes a most clean and peaceful smell.</div></blockquote><div class="MsoNoSpacing"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-TmMOMFN4WnQ/Tv-6vstiYjI/AAAAAAAAAXc/uG3lqzn5Mt4/s1600/Solstice2011.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-TmMOMFN4WnQ/Tv-6vstiYjI/AAAAAAAAAXc/uG3lqzn5Mt4/s320/Solstice2011.jpg" width="240" /></a></div><div align="center" class="MsoNoSpacing" style="text-align: center;"><br />
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</div><div class="MsoNoSpacing">Like Mabel, we keep fires burning in our wood stove during the coldest days of winter. Now, at the time of the last holidays before the new year dawns, however, I think of bonfires. We had one on the Solstice. This past August our youngest son, Pierre, came to visit. His mission on this trip was to help his dad build a fire pit. We inaugurated the fire pit at the Solstice with a household full of Taoseños and their families and friends. Long after our guests left, Skip and I stood outside and enjoyed watching the flames dance in the cold night air. </div><div class="MsoNoSpacing"><br />
</div><div class="MsoNoSpacing">Our bonfire seemed substantial, but it was miniscule compared to the Christmas Eve bonfires at Taos Pueblo. For days before Christmas Eve, men from the various families trek into the forest. They seek out dead trees with plenty of pine pitch. Once cut and brought down to the huge plaza between the North and South houses, men and boys stack the wood like Lincoln logs to form squares. </div><div class="MsoNoSpacing"><br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-aO0Uz_Aym5s/Tv-64hSp02I/AAAAAAAAAXo/jo-zN8zOeTU/s1600/XmasRicksPuebloWoodJSBLoRes.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="212" src="http://3.bp.blogspot.com/-aO0Uz_Aym5s/Tv-64hSp02I/AAAAAAAAAXo/jo-zN8zOeTU/s320/XmasRicksPuebloWoodJSBLoRes.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNoSpacing">Photo by Judith S. Bronner, © 1990</div></td></tr>
</tbody></table>Each family with a traditional house at Taos Pueblo constructs ricks near their property. These can range from one foot high piles to towers three stories high.<br />
<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="MsoNoSpacing"><br />
</div><div class="MsoNoSpacing">At sundown, just before the Christmas Eve mass at Taos Pueblo’s San Geronimo church ends, the men and boys of the families or Pueblo officials set fire to the ricks. Bonfires burn all over the plaza and light the procession and the people who attend this special celebratory evening at Taos Pueblo. </div><div class="MsoNoSpacing"><br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-ksGA3KZx-VA/Tv-7myssJdI/AAAAAAAAAYA/SaXsjDmcawQ/s1600/XmasEveFiresPuebPlazaJSBLoRes.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="273" src="http://1.bp.blogspot.com/-ksGA3KZx-VA/Tv-7myssJdI/AAAAAAAAAYA/SaXsjDmcawQ/s400/XmasEveFiresPuebPlazaJSBLoRes.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNoSpacing">Photo by Judith S. Bronner, © 1990</div></td></tr>
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</div><div class="MsoNoSpacing"></div><div class="MsoNoSpacing">On New Year’s Eve, fireworks not bonfires, will light the night sky of Taos. May the light of peace shine on you all tonight.</div><div class="MsoNoSpacing"><br />
</div><div class="MsoNoSpacing">Wishing you a Happy New Year!</div><div class="MsoNoSpacing"><br />
</div><div class="MsoNoSpacing">Adios for now,</div><div class="MsoNoSpacing">Liz<br />
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My gratitude to friends Giovanna Paponetti and Judith Bronner for supplying me with photos that illuminated this post. </div><div class="blogger-post-footer">Blog etiquette: This blog will be conducted with a commitment to civil and constructive conversation that allows for personal expression: a place where participants “agree to disagree agreeably.” In this spirit, the Mabel Dodge Luhan and the Remarkable Women of Taos blogsite will adhere to a "Civility Enforced" standard and uphold the Blogger Content Policy as set forth in Blogger.com’s site: http://www.blogger.com/content.g</div>lizhttp://www.blogger.com/profile/04640519051616776710noreply@blogger.com0tag:blogger.com,1999:blog-2266348750409788008.post-48104390388470838602011-12-05T11:14:00.012-07:002011-12-08T08:26:05.974-07:00Mabel Dodge Luhan and D. H. Lawrence: Writing and the Muse<div class="MsoNoSpacing"><i>In a large studio in Paris, hung with paintings by Renoir, Matisse and Picasso, Gertrude Stein is doing with words what Picasso is doing with paint. She is impelling language to induce new states of consciousness, and in doing so language becomes with her a creative art rather than a mirror of history</i>. – Mabel Dodge, <i>Arts and Decoration</i>, March 1913</div><div class="MsoNoSpacing"><br />
</div><div class="MsoNoSpacing"><i>Out of sheer rage I’ve begun my book on Thomas Hardy. It will be about anything but Thomas Hardy I am afraid—queer stuff—but not bad</i>. – D. H. Lawrence, quoted in <i>Out of Sheer Rage [Wrestling with D. H. Lawrence]</i> by Geoff Dyer</div> <br />
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My desire to investigate Mabel's writing career and my participation earlier this year in two Taos-based events, both centered on D. H. Lawrence, inspired this post. On June 11th Katherine Toy Miller spoke on "Spiritual Connections: Georgia O'Keeffe and D. H. Lawrence" as part of the <a href="http://www.friendsofdhlawrence.org/2011tour_photos.html">Taos Public Library summer lecture series</a>, which included a tour of the <a href="http://www.friendsofdhlawrence.org/outline.html">D. H. Lawrence Ranch</a>.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8h0ZAwU_gF5E2tX8sU2goGXRxA0QPQindDmebzmTVTQibSqoTxLv-NJBQP9t1BP_q1Lhpq2WdRgnM-9C8IT06hh2neA6Jkamg6ygcTYRInLvMcyo-WO8FOfDJwMiNuTeKbHE5hCA_LVs/s1600/DHLRanchHouse.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8h0ZAwU_gF5E2tX8sU2goGXRxA0QPQindDmebzmTVTQibSqoTxLv-NJBQP9t1BP_q1Lhpq2WdRgnM-9C8IT06hh2neA6Jkamg6ygcTYRInLvMcyo-WO8FOfDJwMiNuTeKbHE5hCA_LVs/s320/DHLRanchHouse.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">Lawrence home on the ranch. Photo: Linda Lambert, © 2011</div></td></tr>
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In her talk Kathy addressed the spiritual and personal connections shared by the artist and the writer. Both found inspiration in nature, which drew them to depict the same locations in Taos. For example, when Lawrence first arrived in Taos in 1922 he visited, then wrote about Taos Pueblo; seven years later O'Keeffe depicted the same subject. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPIHmOutbnXAAYENJ6UWqtGZeltE2IJtMbroItceRz1BXCN8xxXI0_Sf1BXoUE8GIE7alPmxYbJ_AowbWt0n6n5D0KKRtc5EFqln3_nhlMzWlfc-ul8FMTS6bd1tfvvdi6k8VeoJoA09E/s1600/LawrenceTree4.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPIHmOutbnXAAYENJ6UWqtGZeltE2IJtMbroItceRz1BXCN8xxXI0_Sf1BXoUE8GIE7alPmxYbJ_AowbWt0n6n5D0KKRtc5EFqln3_nhlMzWlfc-ul8FMTS6bd1tfvvdi6k8VeoJoA09E/s1600/LawrenceTree4.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lawrence / O'Keeffe tree. Photo: Linda Lambert, © 2011</td></tr>
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One morning, on his second visit to Taos in 1924, Lawrence woke at the ranch (deeded to Frieda by Mabel in exchange for the original autograph manuscript of <i>Sons and Lovers</i>) to see the trunk of a big pine tree that rose up like a guardian spirit. He included the tree in <i>St. Mawr </i>(1925), the novella he wrote during his five-month stay. O'Keeffe later memorialized the same tree on the D. H. Lawrence Ranch with a painting originally titled "Pine Tree with Stars at Brett's in New Mexico" and now known as <i>The Lawrence Tree</i> (1929).<br />
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Although Lawrence and O'Keeffe never crossed paths, they had the "Tony" guest house in common. And through Mabel, both were led to or discovered places they portrayed in word and paint.<br />
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<div class="MsoNoSpacing">This fall I had the pleasure of meeting and spending some time with radio producer Steven Rajam and author Geoff Dyer as they prepared for a BBC program on D.H. Lawrence in New Mexico. It was Steven’s first time in northern New Mexico, and over twenty years since Geoff first landed in our region. After Geoff’s first visit to Taos in the mid 1990s—part of his mission to retrace Lawrence’s footsteps by visiting all the places the author lived and wrote—he penned <i style="mso-bidi-font-style: normal;">Out of Sheer Rage [Wrestling with D. H. Lawrence]</i> (1996), a volume Steve Martin called the “funniest book I have ever read.” As Steven Rajam explained to me, Geoff wrote not a book about Lawrence but a book about writing around Lawrence--filled with the kind of procrastination, rationalization and writer’s block that besets most authors.</div><div class="MsoNoSpacing"><br />
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<tr><td class="tr-caption" style="text-align: center;">Bill Haller, Steven and Geoff, Dorothy Brett's cabin*. Photo by Linda Lambert, © 2011</td></tr>
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Since then I’ve thought about Lawrence and the writing he did in New Mexico, which Geoff considers his best work. For months I’ve also been pondering Mabel’s writing. In recent research conducted for the profiles I’ve been assigned to write for the Remarkable Women of Taos media campaign, I found a reference to Mabel as a gifted writer. Moved to investigate this part of her life, I delved into various sources and discovered a career for which she has received little recognition. As part of my exploration I also looked at the published and unpublished manuscripts of both authors to see how their work might have connected. My studies revealed a deeper, longer relationship around writing between Lawrence and Mabel than I had imagined. Here’s what I found out.</div><div class="MsoNoSpacing"><br />
</div><div class="MsoNoSpacing">By 1912, Lawrence's novel Th<i>e White Peacock</i> (1911) had launched him as a writer. Likewise "Portrait of Mabel Dodge at the Villa Curonia" by Gertrude Stein established Mabel Dodge, who had returned to New York from her villa in Florence, among New York's avant garde. Until her departure for New Mexico in 1917, Mabel wrote for such leading modernist literary and art magazines as <i>The Dial</i> and Alfred Stieglitz's <i>Camera Work</i>, the leftist journal <i>The International</i>, and <i>The Masses</i>. For a brief time Mabel worked as a syndicated columnist for the <i>New York Journal</i>. She doled out advice on topics ranging from making quilts to setting up lending libraries for paintings. Her columns, which also conveyed her understanding of subjects of interest to her like Freudian psychology and the mind cure, appeared on the editorial pages of newspapers with some of the largest circulations in the U. S. Through her writing connections and her evenings surrounded by leading edge movers and shakers at 23 5th Avenue, Mabel became cognizant of D. H. Lawrence's modernist prose and poems, like <i>Sons and Lovers</i> (1912) and <i>Love Poems and Others</i> (1913).<br />
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</div><div class="MsoNoSpacing"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLx-feEtfANka-fLgeXQvM9XHLqmmkhBA_gbSqkU5jKhs2KuiHiCp2-biXfR_WVzXM5N3FL9eYXlIuEO1aoXGQPv6qToB0QnSOftwVaJ0qNZyANaQlMZ1PtGSu2XPwwVJDGlPqXZezpIY/s1600/DHLSea%2526Sardinia.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLx-feEtfANka-fLgeXQvM9XHLqmmkhBA_gbSqkU5jKhs2KuiHiCp2-biXfR_WVzXM5N3FL9eYXlIuEO1aoXGQPv6qToB0QnSOftwVaJ0qNZyANaQlMZ1PtGSu2XPwwVJDGlPqXZezpIY/s320/DHLSea%2526Sardinia.jpg" width="189" /></a></div><br />
</div><div class="MsoNoSpacing">After her move to Taos, Mabel read aother Lawrence work, <i>Sea and Sardinia</i> (1921),<i> </i>where he conveyed "the feel and touch and smell of places so that their reality and their essence are open to one, and one can step right into them."** Further, Lawrence's travel book made her think:<br />
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<blockquote class="tr_bq">Here is the only one who can really see this Taos country and the Indians, and who can describe it so that it is as much alive between the covers of a book as it is in reality.</blockquote><br />
Mabel wrote Lawrence after reading <i>Sea and Sardinia</i>. She told him about Taos and the Pueblo Indians, about Tony Lujan and herself, and relayed how much she wanted him "to come and know the country before it became exploited and spoiled." Lawrence responded from Taormina, Sicily on November 5, 1921 saying that he and the q-b [queen bee, Frieda] would like to come to Taos. Mabel hastened to complete Tony's house for the Lawrences, who finally arrived in Taos on September 11, 1922, D. H.'s 37th birthday. A week later in a letter to S. S. Koteliansky, the writer described Mabel as a rich American woman who lent him and Frieda a "new and very charming <i>adobe</i> house which she built for us: because she wants me to <i>write</i> this country up."***<br />
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Writing up the country up happened within days of Lawrence's arrival. After attending a 5-day Apache ceremony near Dulce (NM) with Mabel and Tony, he penned "Indians and an Englishman," his first New Mexico essay. The piece disappointed Mabel: he hadn't captured the essence of the Indians the way she wanted him to portray them. So it thrilled her when one evening Lawrence asked her to collaborate on a book.<br />
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<blockquote class="tr_bq">He said he wanted to write an American novel that would express the life, the spirit, of America, and he wanted to write it around me--my life from the time I left New York to come out to New Mexico. To take <i>my </i>experience, <i>my</i> material, <i>my</i> Taos, and to formulate it all into a magnificent creation.</blockquote><br />
The next day Lawrence came to Mabel's home to begin their joint venture. This beginning, seemingly full of promise, came with a foreshadowing of what would transpire. Lawrence wasn't sure how Frieda felt about their collaboration. "She won't let any other women into my books." The next day he informed Mabel: "Frieda thinks we ought to work over in our house." When they arrived there, Frieda "stamped round, sweeping noisily, and singing with a loud defiance." (This incident sparked a life-long rivalry between the two women, but that's another story.) <br />
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Although their planned novel never appeared, Lawrence managed to write "The Wilful Woman," a short story about the journey that brought Mabel to Taos. While living in the Tony house, he also wrote several prose pieces and poems. By November, due to Mabel's overbearing ways, the Lawrences sought other quarters. They lived at the abandoned ranch twenty miles north of Taos that they later owned. With interim trips to Mexico and Europe, D. H. and Frieda spent contented months there on their two next visits in 1924 and 1925.<br />
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<tr><td class="tr-caption" style="text-align: center;">Cover for the May 1924 issue of <i>Laughing Horse</i></td></tr>
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During this time both Lawrence and Mabel had works published nationally in <i>The Dial</i> and locally in the <i>Laughing Horse</i>, a small magazine printed in Taos by Willard "Spud" Johnson. Poet, columnist and publisher, Spud worked for a time as Mabel's secretary and became a close friend of the Lawrences. In May 1924 he featured Mabel's poem "Ballad of a Bad Girl" in the Laughing Horse. Two lines in the poem describing a "very, very angry man/With blue, blue eyes and a red, red crest" refers to Lawrence. It was written to him as a reconciliatory offering after his return to New Mexico that spring. The only known response to Mabel's overture is Lawrence's illustration that accompanied her poem. I considered this a collaboration of sorts.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL8SXsZ25CBPhWKdI6RzipCcfthHKdLGBaVgB3lZF57g4Cy9GhIUlh3MJCnJcyx9W0rM9n7zq9cjbAcXJNhFBg1BqG5Ii_rTjDzZ01IVT7MLUw2gyPz3pRhTGyVOi86zEN23mVTIGntf0/s1600/BadGirlPansyBed-DHL.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL8SXsZ25CBPhWKdI6RzipCcfthHKdLGBaVgB3lZF57g4Cy9GhIUlh3MJCnJcyx9W0rM9n7zq9cjbAcXJNhFBg1BqG5Ii_rTjDzZ01IVT7MLUw2gyPz3pRhTGyVOi86zEN23mVTIGntf0/s1600/BadGirlPansyBed-DHL.jpg" /></a></div><br />
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">Looking at later issues, I found two other <i>Laughing Horse</i> pieces that showed a continuing connection between Mabel and Lawrence. In 1926, after the publication of Lawrence's novel <i>The Plumed Serpent</i>, Spud printed Mabel's article "The Plumed Serpent," which instead of reviewing his new book provided a portrait of him. Spud published the last piece of Lawrence's in <i>Laughing Horse</i> in 1938, eight years after the author's death. It was the first scene from "Altitude," an unfinished play that caricatured "Mabeltown" and American attitudes. </div><br />
I might have stopped my investigation there, but as I read on in Mabel's book, <i>Lorenzo in Taos</i>, I made a discovery. Lawrence corresponded with Mabel from the time he returned to Europe in 1925 until shortly before his death in 1930. In parts of his letters, he occasionally made reference to his writing in progress or works he had submitted for publication. What surprised me was that he also commented and offered advice on Mabel's memoirs-in-progress. In 1926 Lawrence wrote that he was returning the "Villa" [Mabel's Villa Curonia period] manuscript which seemed all right--even though "a wee bit absurd, but expressive of the phase you wish to describe." Months later he noticed that Mabel's writing had "gone out of gear" perhaps because she didn't want to "do anymore." Lawrence advised her to "Let it rest, for a while." He also cautioned Mabel: "As for publishing the Memories, I don't think it's wise, while your mother lives." and "Don't write if you're out of mood. Don't force yourself. And wait for grace."<br />
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Lawrence recognized how Mabel's autobiographical history corroborated with his own views of life in the United States. He expressed this to her in his letter of April 12, 1926:<br />
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<blockquote class="tr_bq">I should say it's the most serious "confession" that ever came out of America, and perhaps the most heart-destroying revelation of the American life-process that ever has or will be produced.</blockquote></div><div class="MsoNoSpacing">The decision to write her memoirs arose from what Freudian psychoanalyst A. A. Brill, who attended Mabel's salons and served as her analyst for 20 years, deemed a Cathartic Method whereby in reliving past experiences by giving voice to them, the painful emotions associated with those experiences would be exorcized. Willing to open old wounds to achieve psychic equilibrium, Mabel issued the first volume of her "Intimate Memories" in 1933, the year of her mother's death.<br />
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Three other volumes in the Intimate Memories series followed: <i>European Experiences</i> (1935), <i>Movers and Shakers</i> (1936), and <i>Edge of Taos Desert</i> (1937). She also wrote <i>Taos and Its Artists</i> (1947, a leading overview of the painters and sculptors from the art colony founders through the modernists of the 1940s. Up through the early 1950s Mabel continued to produce the occasional newspaper and magazine article, many dedicated to the history and culture of Taos.<br />
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Before any of her autobiographical works went to press, Mabel published <i>Lorenzo in Taos</i>, her memories of D. H. Lawrence. Following the book's 1932 printing in the United States, the Martin Secker company issued an edition printed in London in 1933. Since then her book and Lawrence's volumes written in and about New Mexico have influenced generations of Lawrence scholars, and attracted writers like Geoff Dyer to the area.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOPyjlqoTrJLw6PPz63xRVWTgpO_tgUI_lYAohHAy9KlsjwxRsQX6gfYfCwOxKtai3IYNzj7l-JicmohycbnEItgaVq7FTxsoHXlWlOxpPi70CHj_gCXiVKWnP_jzSW8drf-_knH_wMfU/s1600/LorenzoInTaos1933LondonCrp.jpeg.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOPyjlqoTrJLw6PPz63xRVWTgpO_tgUI_lYAohHAy9KlsjwxRsQX6gfYfCwOxKtai3IYNzj7l-JicmohycbnEItgaVq7FTxsoHXlWlOxpPi70CHj_gCXiVKWnP_jzSW8drf-_knH_wMfU/s1600/LorenzoInTaos1933LondonCrp.jpeg.jpg" /></a></div><br />
<i>Lorenzo in Taos</i> was Mabel's tribute to Lawrence. He also honored her. In his April 14, 1927 letter to Mabel, Lawrence related receiving and correcting the proofs for <i>Mornings in Mexico</i>, a book of essays that he liked. He added: "I inscribe the book to you...since to you we really owe Taos and all that ensues from Taos."<br />
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Adios for now,</div><div class="MsoNoSpacing">Liz<br />
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</div><div class="MsoNoSpacing">* Bill Haller, current president of the Taos-based Friends of D. H. Lawrence.<br />
** Unless otherwise noted, quotes are from Mabel's book <i>Lorenzo in Taos</i> (1932).<br />
*** Quote from <i>D. H. Lawrence and New Mexico</i>, edited by Keith Sagar.<br />
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I am indebted to Linda Lambert, author and one of the Friends of D. H. Lawrence for allowing me to use her photos memorializing Steven and Geoff's visit, to Nita Murphy of the Center for Southwest Research, Taos for providing access to the D. H. Lawrence and <i>Laughing Horse</i> materials used in this post, and to Lois Palken Rudnick, Mabel's biographer, whose book <i>Mabel Dodge Luhan: New Woman, New Worlds</i> is my constant companion and reference source--and, as always, to my husband and in-house editor, Skip Miller. Thank you all.<br />
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</div><div class="blogger-post-footer">Blog etiquette: This blog will be conducted with a commitment to civil and constructive conversation that allows for personal expression: a place where participants “agree to disagree agreeably.” In this spirit, the Mabel Dodge Luhan and the Remarkable Women of Taos blogsite will adhere to a "Civility Enforced" standard and uphold the Blogger Content Policy as set forth in Blogger.com’s site: http://www.blogger.com/content.g</div>lizhttp://www.blogger.com/profile/04640519051616776710noreply@blogger.com1tag:blogger.com,1999:blog-2266348750409788008.post-91940231297854937112011-10-26T10:43:00.000-06:002011-10-26T10:43:18.018-06:00Photo post: Mabel Dodge Luhan and Autumn Glory in TaosOh, what a glorious turning of the leaves in the Taos Valley these past several days. Two weeks ago I struck gold up at Taos Ski Valley<br />
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<div class="MsoNoSpacing"></div><div class="MsoNoSpacing"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3zqxcuLDzbzWk8nojMiP1O83pyg5ChqWAofH_PSpVEl7vMXSfvmKflIHw0XXylnbpITncm5mfzT1gJifNjoEEa8Ky0OX-9_bfP1d2gNrBwCaMxZ5uEd9iGXcC8ptqm56v72jU31sfAFM/s1600/AspenLeaves.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3zqxcuLDzbzWk8nojMiP1O83pyg5ChqWAofH_PSpVEl7vMXSfvmKflIHw0XXylnbpITncm5mfzT1gJifNjoEEa8Ky0OX-9_bfP1d2gNrBwCaMxZ5uEd9iGXcC8ptqm56v72jU31sfAFM/s320/AspenLeaves.jpg" width="240" /></a> </div><div class="MsoNoSpacing"><br />
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<div class="separator" style="clear: both; text-align: left;"></div><div class="separator" style="clear: both; text-align: left;">where the aspen glowed from greenish to bright yellow to red. These trees alight with warm colors set against the evergreen reminded me of some of Ernest L. Blumenschein's paintings and his fascination with such contrasts in nature. </div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjfR42rL6bHsmF-O3rjqOZuelb1J1YNkv65YehEIJBlWC_xuBAG7wKznGzv8jNDMeqaGmprpxIXo3BCJhRgdhqSywXghBqgbckc7Ci4H9hUIkNJ1KBZ8m3zYFAcCBNs2x2eHw7bRCl994/s1600/AspenFullColor.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjfR42rL6bHsmF-O3rjqOZuelb1J1YNkv65YehEIJBlWC_xuBAG7wKznGzv8jNDMeqaGmprpxIXo3BCJhRgdhqSywXghBqgbckc7Ci4H9hUIkNJ1KBZ8m3zYFAcCBNs2x2eHw7bRCl994/s320/AspenFullColor.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: left;">Lately, I've wondered what Mabel might have thought, and as I skimmed through her books <i>Winter in Taos</i>, <i>Edge of Taos Desert</i>, and even <i>Lorenzo in Taos</i>, what struck me was how much time she spent outdoors, how much she observed and wrote about nature. Mabel certainly felt the rhythm of the seasons. I wondered if she felt the same uplift of the heart as I do at viewing fall colors. She did and so I thought it would be fun to illustrate her words with photos.</div><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3z7o2qi00OcWwboUr6dh003Ac880ARu-xLqe1dpe5NfCwDb0XVRvE07_UnZU5BXUUmrsVqdbAnXFmOQeRiGkALWp5S_rTuB5xLsU8yWUOsQAmkvqpMNqjbxFYWOVx4enV8-WImk0e9GQ/s1600/Cottonwd%2526MDLH.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3z7o2qi00OcWwboUr6dh003Ac880ARu-xLqe1dpe5NfCwDb0XVRvE07_UnZU5BXUUmrsVqdbAnXFmOQeRiGkALWp5S_rTuB5xLsU8yWUOsQAmkvqpMNqjbxFYWOVx4enV8-WImk0e9GQ/s320/Cottonwd%2526MDLH.jpg" width="320" /></a></div><blockquote class="tr_bq">Here, where we live, the autumn has come upon us imperceptibly and we have not noticed its gradual approach.</blockquote><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxl-GI2Ru343YKsd9YaYrxUbNreWbw-RFh57qv5P2vSCl7-2uMgP5Npm3brd9TPRji1AmsbVCoeKTbx3rW4lGONxUZj4Iy9uSrK324jlcL6dYlMsSJGFnPvtQh9ImTq9XMaH6VGgLtgBg/s1600/CottonwdVenrablMDLHLoRes.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxl-GI2Ru343YKsd9YaYrxUbNreWbw-RFh57qv5P2vSCl7-2uMgP5Npm3brd9TPRji1AmsbVCoeKTbx3rW4lGONxUZj4Iy9uSrK324jlcL6dYlMsSJGFnPvtQh9ImTq9XMaH6VGgLtgBg/s320/CottonwdVenrablMDLHLoRes.jpg" width="240" /></a></div><br />
<blockquote class="tr_bq">A yellowish tinge comes over the big cottonwood trees so slowly we do not see it until we go away and come back, then our eyes are fresh and we suddenly see that summer is over.</blockquote><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_fypuXiJt2hSm1VwFaWyMg5mF6ILyklZm7g-OXIe1YafuuN_TQBRMHd9ukRnj3gFR4hHVcV4r7iA4NymkE5MyVsDlqzk8EAVupOKVGsfoKJyB2T61fFLmdPBoZ68jh56uA8jrYyRjXJo/s1600/AutumnGlory.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_fypuXiJt2hSm1VwFaWyMg5mF6ILyklZm7g-OXIe1YafuuN_TQBRMHd9ukRnj3gFR4hHVcV4r7iA4NymkE5MyVsDlqzk8EAVupOKVGsfoKJyB2T61fFLmdPBoZ68jh56uA8jrYyRjXJo/s400/AutumnGlory.jpg" width="400" /></a></div><blockquote class="tr_bq"> The trees change color quickly now for there is frost at night and they are showing every shade of yellow against the dark mountains. The distance turns a deeper blue for all the yellow near us.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7qzGxFbnjF83cHjYZz3lIoRFEKJO-GPX0Q6ssuY4qx1LTp8I_HyLtzgu3jpqDuA8z0ba8stsChQ3tYEzpje9nHC6ri0OLcpjKUscwplP0JI7kVTLoGIpR34PGIdiU7S7ODB5gMB3SO_o/s1600/AspenFlameBluSkyLeft2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7qzGxFbnjF83cHjYZz3lIoRFEKJO-GPX0Q6ssuY4qx1LTp8I_HyLtzgu3jpqDuA8z0ba8stsChQ3tYEzpje9nHC6ri0OLcpjKUscwplP0JI7kVTLoGIpR34PGIdiU7S7ODB5gMB3SO_o/s320/AspenFlameBluSkyLeft2.jpg" width="240" /></a></div><br />
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<div class="MsoNoSpacing"><blockquote class="tr_bq">After the trees are fully turned and are like torches of fiery yellow, often with coral red tips, and others are big balls of radiant, sun-colored loveliness, they have a long quiet pause before the end. </blockquote><br />
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</div><div class="separator" style="clear: both; text-align: center;"></div><div class="MsoNoSpacing"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpVghpYZl916YVSA9pyoYxYolXbhyphenhyphen7o40CeHFDs1XX2rNM7GhqPIfybvUZeGZ5wHUA5QQDk3lgSX27p1Ag0wp40In3nNAwEBBgiHlmTtHUIf7mFmJMJCFFWSFouhwLSAywpzadNp3NZpE/s1600/AcrosValleCrpLoRes10-18-11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzkn75fOYr24DklW8CUeiBe08tzlgpHUTcWLpC63Ldm5cbF4DQAWF65zsdHg8gk9_jb8bhR96PkuD1kTkM8dZ68_WrqXqEwcBhen2LM7AwGFapKDl8RKVo7bmC-EO6jPRwobuqXrOq7PI/s400/AcrosValleCrpLoRes10-18-11.jpg" width="367" /></a> </div><blockquote class="tr_bq"><div class="MsoNoSpacing">Day after day of Indian summer passes, breathless, when the whole valley is immobile and every leaf is motionless, shining golden and still. What days! One moves in a dream through the country, scarcely able to believe one's eyes, for the wonder of it.</div></blockquote><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-US</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:DontVertAlignCellWithSp/> <w:DontBreakConstrainedForcedTables/> <w:DontVertAlignInTxbx/> <w:Word11KerningPairs/> <w:CachedColBalance/> </w:Compatibility> <w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="--"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
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</style> <![endif]--><span style="font-size: 11pt; line-height: 115%;"></span></div></blockquote><blockquote class="tr_bq"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNuXTQkVFCvcfdiYMd-8K5Crm7xC8GNdLLj4qI_r_stTkzxd42i8LI7NxSaLFLGZZ_i8SJRf7xDxYNQgRTbFkL-HHofopNW7ij8kjuiaDl5oCv4Y1VkWwIA47UYzqS_T8tMFPGED93iWg/s1600/CottnwdLeavs%2526BluSky.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNuXTQkVFCvcfdiYMd-8K5Crm7xC8GNdLLj4qI_r_stTkzxd42i8LI7NxSaLFLGZZ_i8SJRf7xDxYNQgRTbFkL-HHofopNW7ij8kjuiaDl5oCv4Y1VkWwIA47UYzqS_T8tMFPGED93iWg/s320/CottnwdLeavs%2526BluSky.JPG" width="320" /></a></div><div style="font-family: Times,"Times New Roman",serif;"><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-US</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:DontVertAlignCellWithSp/> <w:DontBreakConstrainedForcedTables/> <w:DontVertAlignInTxbx/> <w:Word11KerningPairs/> <w:CachedColBalance/> </w:Compatibility> <w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="--"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument> </xml><![endif]--><span style="font-size: 11pt; line-height: 115%;"></span></div></blockquote><blockquote class="tr_bq"><span style="font-size: small;"><span style="line-height: 115%;">Again the cottonwood trees were yellow against the dark-blue sky and there was no wind—not a breath of a breeze in the rich autumnal air.</span></span></blockquote><br />
This past Sunday I drove from Santa Fe to Taos, and all along the Rio Grande clusters and families of golden-glow cottonwoods loomed over the river as it snaked along the canyon. As evening deepened the color on the trees intensified from rich goldenrod to cadmium orange, morphing finally to rosy bronze. No camera could have captured this: I have it only in my mind's eye...and you must imagine it. When I arrived at the overlook onto the Rio Grande Gorge and Taos Mountain with the valley spreading as wide as the eye could see, it seemed that globes of cottonwoods festooned the sweep like so many tethered balloons looming over the landscape.<br />
<br />
It's gone now. It's raining and the glow is gone. But not the memory and not the thrill of seeing nature wearing her glory coat of autumn.<br />
<br />
With hopes that this has provided you with a feast for the eyes and a different view of Mabel Dodge Luhan.<br />
<br />
Adios for now,<br />
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<div class="MsoNoSpacing"><span style="font-family: "Lucida Handwriting"; font-size: 14.0pt;">Liz</span></div><br />
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<div class="separator" style="clear: both; text-align: center;"></div><div class="blogger-post-footer">Blog etiquette: This blog will be conducted with a commitment to civil and constructive conversation that allows for personal expression: a place where participants “agree to disagree agreeably.” In this spirit, the Mabel Dodge Luhan and the Remarkable Women of Taos blogsite will adhere to a "Civility Enforced" standard and uphold the Blogger Content Policy as set forth in Blogger.com’s site: http://www.blogger.com/content.g</div>lizhttp://www.blogger.com/profile/04640519051616776710noreply@blogger.com7tag:blogger.com,1999:blog-2266348750409788008.post-91011537339560799532011-10-08T11:05:00.001-06:002011-10-08T11:06:06.367-06:00Short: Mabel Dodge Luhan & the Transformative Power of Taos<div class="separator" style="clear: both; text-align: center;"></div>Whew! Visions and names of the Remarkable Women of Taos whirl in my head and inform my dreams. I'm interviewing and writing up women ranging across the age and community groups of Taos. Soon the Remarkable Women of Taos media campaign will go live, and you'll be able to read about some of the women in full, but today I'll give you a sampling of what is to come.<br />
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For this piece I am focusing on one of the questions on the interview form used to gather the stories of remarkable women, namely: "How has the landscape / environment of Taos shaped you?"<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk4M5hduopLC_v4Ey37n2nmjNthO91K2OZgYpRThwC49-1nXGhbXcvcD2-TFpqJ7aqoQ9x3vbNB3CtcYYAvirBWuAtHQUxJdJ5mqWRppjd1dUEAboPByJ72Er46VfcSKE76u0Eq82rpx4/s1600/MabelGrandmaMDLHfoto.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk4M5hduopLC_v4Ey37n2nmjNthO91K2OZgYpRThwC49-1nXGhbXcvcD2-TFpqJ7aqoQ9x3vbNB3CtcYYAvirBWuAtHQUxJdJ5mqWRppjd1dUEAboPByJ72Er46VfcSKE76u0Eq82rpx4/s1600/MabelGrandmaMDLHfoto.jpg" /></a></div><br />
Obviously, I can't ask Mabel this question, but as Judi Jordan pointed out, mining Mabel's work can unearth some answers. Here's one example of the transformative power of Taos from <i>The Edge of Taos Desert</i>. Mabel first writes about the change she felt as all the trappings from her former life fell away. Leading into the following paragraph, she recalls the intimate memories of her life, then relates the effect of Taos on her:<br />
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<blockquote>I was offered and accepted a spiritual therapy that was cleansing, one that ... finally rewarded me with a sense of reality.</blockquote><div class="MsoNoSpacing"></div><div class="MsoNoSpacing"><br />
</div><div class="MsoNoSpacing">Looking at a similar question, I thought you might like to know how some contemporary Taos women responded. For artist and book illustrator Amy Cordova whose family has lived in the area for three centuries, the land holds the stories of her ancestors.</div><div class="MsoNoSpacing"></div><div class="MsoNoSpacing"></div><div class="MsoNoSpacing"></div><br />
<blockquote><div class="MsoNoSpacing">There is something sacred in realizing that my ancestors traveled my same routes, saw the same grand peak of Taos Mountain, smelled the sage after the rains, or the scent of pinon rising from a kiva fireplace on a cold winter’s night…just like I experience…now. I feel close to them through this way of thinking. </div></blockquote><div class="MsoNoSpacing"><br />
</div><div class="MsoNoSpacing"></div><div class="MsoNoSpacing">When she first arrived, glass artist Delinda VanneBrightyn immediately sensed that Taos was a special place--a place that felt ancient yet left her, like Mabel, feeling renewed, alive.</div><br />
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<blockquote><div class="MsoNoSpacing">The land and sky here has shaped me for sure. It informs my art. It fills my soul. It hardens me to be strong and fit and capable. It softens me with its boundless and breathtaking beauty. It leaves me in awe of my insignificance. It inspires me to push on to be as creative as possible. </div></blockquote><br />
This just a glimpse of the transformative power of Taos. May these few paragraphs also provide you with a flavor of the contemporary remarkable women of Taos who will appear on the blog in the months to come.<br />
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Adios for now,<br />
Liz<div class="blogger-post-footer">Blog etiquette: This blog will be conducted with a commitment to civil and constructive conversation that allows for personal expression: a place where participants “agree to disagree agreeably.” In this spirit, the Mabel Dodge Luhan and the Remarkable Women of Taos blogsite will adhere to a "Civility Enforced" standard and uphold the Blogger Content Policy as set forth in Blogger.com’s site: http://www.blogger.com/content.g</div>lizhttp://www.blogger.com/profile/04640519051616776710noreply@blogger.com1tag:blogger.com,1999:blog-2266348750409788008.post-30679738772428562662011-09-08T11:18:00.000-06:002012-07-23T16:36:04.026-06:00Mabel and Fabiola Cabeza de Baca: Home Making in New Mexico<br />
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<i style="mso-bidi-font-style: normal;">The history of women in the American West is like the history of air. You could certainly write history without it. You just can't have history without it</i>.*</div>
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Rereading these introductory sentences to <i style="mso-bidi-font-style: normal;">Home Lands : How Women Made the West</i>, I thought about a conversation I had with Mabel’s biographer Lois Rudnick where the question arose: “What would Taos have been like without Mabel?” Part of the “Home Lands” exhibition (currently at the New Mexico History Museum) is dedicated to Mabel and her Santa Fe counterparts, poet Alice Corbin and writer Mary Austin, who represented the modern “New Women.” Through both her salons and her written essays Mabel openly flaunted convention about women in matters of love, family, and career. In the period between World Wars I and II, ideas of feminist emancipation also reached into the lives of New Mexico’s Pueblo and Hispanic populations.</div>
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One of these women, Fabiola Cabeza de Baca (referred to in the <i style="mso-bidi-font-style: normal;">Dictionary of Literary Biography</i> as a beloved and nearly legendary cultural heroine), served as a premier example of a native Spanish-speaking New Mexican whose life was indeed remarkable. </div>
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<tr><td class="tr-caption" style="text-align: center;">Fabiola Cabeza de Baca in front of a New Mexico schoolhouse, photographer and date unknown. Fabiola Cabeza de Baca Gilbert Photograph Collection, no. 000-603-0002, Center for the Southwest Research, University of New Mexico.</td></tr>
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Born in 1894 in La Liendre, New Mexico Territory, she grew up on the family ranch. Just after high school Fabiola joined a number of young Hispanics recruited to teach in New Mexico’s rural areas. She began her career in the one-room schools of Guadalupe County, and would soon number among a handful of the earliest of New Mexico’s Hispanic pioneers in education. While teaching, she intermittently attended New Mexico Normal University (now known as Highlands University) in Las Vegas, NM. She took a year off to study at Centro de Estudios Historicos in Madrid, Spain, then received her B.A. in Pedagogy from her alma mater in 1921. Fabiola spent some additional years in the classroom, then continued her education at New Mexico College of Agriculture and Mechanic Arts (now New Mexico State University), graduating with an M. A. in Home Economics in 1929. That year Fabiola began working for the U.S. government, at a time when the communal land cultivated for centuries by the Hispanic farmers of northern New Mexico came under federal legal assault, when they lost traditional grazing lands to the jurisdiction of the U.S. Forest Service. </div>
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In her job as extension agent Fabiola brought new scientific ideas and the latest household technology to rural households in the remote, wide-spread villages of northern New Mexico. While teaching women the newest gardening and poultry-raising techniques and introducing modern canning kettles and pressure cookers using the latest government bulletins on food preparation, Fabiola also saw the value in and worked to preserve the people’s traditional ways. As an extension agent Fabiola spent nearly thirty years of her life on the road. A paragraph from <i style="mso-bidi-font-style: normal;">Homelands: How Women Made the West</i> provides an overview of the work she did during that time. </div>
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<i style="mso-bidi-font-style: normal;">She helped hard-pressed families get access to canning equipment and sewing machines, and made information available to families not comfortable with English by speaking Spanish (and later Tewa and Towa), translating government bulletins from English into Spanish, and writing her own bilingual materials. Cabeza de Baca in turn heard stories she would treasure; collected folklore about herbal medicine, planting practices, and religious rituals; and learned much of what she would later recount about New Mexican cooking in her 1939 book Historic Cookery. She kept voluminous notes about remedies, rituals, and recipes and took palpable pleasure in cataloging local knowledge, techniques, and skills, observing the mingling of faith and science.**</i></div>
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“Pueblo Girls Learning to Use Pressure Cooker, 1930s,” by Frances E. and Henry Prior Clark. Braun Research Library Collection, Autry National Center; OP.160</div>
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Fabiola’s budding career as an extension agent could have ended after a train hit her car in 1932. Injuries to her leg eventually resulted in its amputation. Fabiola may have lost her leg, but not her courage or her desire to work. During her two-year convalescence, she wrote extension brochures on canning and food preparation. Back on the road, she visited thousands of homes and made notes on the cultural practices of the villages she served and collected recipes from the Anglo, Indian, and Hispanic families from her extension circuit. Fabiola’s outreach broadened when <i style="mso-bidi-font-style: normal;">The Santa Fe Scene</i> published a series of vignettes she had written that included recipes, and KVSF broadcast her weekly bilingual radio program on homemaking.</div>
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In the midst of her work as extension agent, in 1935 Fabiola joined together with such notable Hispanic New Mexicans as politician and suffragist Nina Otero Warren and writer Cleofas Jaramillo to found the <i style="mso-bidi-font-style: normal;">Sociedad Folklorico de Santa Fe</i> (Folklore Society of Santa Fe), an organization dedicated to preserving the Spanish language and Hispanic folkways in New Mexico. Observing the toll Americanization was taking on the centuries-old traditions she had grown up with, Fabiola decided to preserve this cultural history in writing. The articles she penned for <i style="mso-bidi-font-style: normal;">The Santa Fe Scene</i> expanded into <i style="mso-bidi-font-style: normal;">The Good Life</i> (1949), a book published as a tribute to the Hispanic traditions of New Mexico. Six years later her next book, <i style="mso-bidi-font-style: normal;">We Fed Them Cactus</i> (1954), recounted the history of four generations of her family and their transition from wealthy Spanish land grant holders to struggling ranchers under a new governmental legal system that violated their previous title to the land. </div>
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Another teaching opportunity arose when Fabiola went to Mexico as a representative of the United Nations. From 1950 to 1959 she developed home economics programs in Mexico, and set up demonstration centers among the Tarascan Indians. Later she also trained extension agents in Central and South America. Following her retirement in 1959 Fabiola continued her community work, delivered lectures, and worked as a trainer and consultant for the Peace Corps. She died in Albuquerque in 1991 at age 97.</div>
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While working on the book, <i style="mso-bidi-font-style: normal;">Stones into Bread: The Lives and Letters of Peggy Pond Church and Corina Aurora Santistevan, Two Women of New Mexico</i>, I discovered that in the 1940s Corina worked with Fabiola Cabeza de Baca, who procured a pressure cooker for communal utilization and demonstrated its use in Taos. It led me to wonder if Fabiola provided training for some of Mabel’s cooks.</div>
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One thing is for certain: if you are in the area, you still have time to see the “Home Lands” exhibition in Santa Fe at the New Mexico History Museum. I’m planning to see it one more time before the show closes on September 11<sup>th</sup>. It’s a seminal, thought-provoking exhibition. If you don’t have an opportunity to see it, I heartily recommend the book. You’ll see Mabel in a different context and come to appreciate the contributions of remarkable women like Fabiola, women who made the American West home.</div>
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* <i style="mso-bidi-font-style: normal;">Home Lands : How Women Made the West</i> by Virginia Scharff and Carolyn Brucken Los Angeles : Autry National Center of the American West, University of California Press, 2010 : 1</div>
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**<i style="mso-bidi-font-style: normal;"> Home Lands</i>, Chapter 1 "Home on Earth: Women and Land in the Rio Arriba": 34</div>
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For more information on Fabiola Cabeza de Baca, see Tey Diana Rebolledo’s introduction to Fabiola’s book <i>We Fed Them Cactus</i>. Albuquerque: University of New Mexico Press, 1998. (Diana gave a lecture on Fabiola this past July as part of the “Home Land” exhibition programming.) Also, Fabriola’s preface to <i>The Good Life: New Mexico Traditions and Food</i> (included over 80 recipes and an introduction by writer Ina Sizer Cassidy). Santa Fe: Museum of New Mexico Press, 1986.</div><div class="blogger-post-footer">Blog etiquette: This blog will be conducted with a commitment to civil and constructive conversation that allows for personal expression: a place where participants “agree to disagree agreeably.” In this spirit, the Mabel Dodge Luhan and the Remarkable Women of Taos blogsite will adhere to a "Civility Enforced" standard and uphold the Blogger Content Policy as set forth in Blogger.com’s site: http://www.blogger.com/content.g</div>lizhttp://www.blogger.com/profile/04640519051616776710noreply@blogger.com1tag:blogger.com,1999:blog-2266348750409788008.post-41904830353576181842011-08-06T17:06:00.000-06:002012-11-18T11:59:27.650-07:00Mabel Dodge Luhan House blog celebrates 1st anniversary in Taos and Remarkable Women<div class="MsoNoSpacing">
Today marks the first anniversary of the “Mabel Dodge Luhan and the Remarkable Women of Taos” blog. If you go back to August 6, 2010 you’ll see that the initial posting began with a sign. It seemed appropriate to celebrate the blog’s new year with another sign from Taos: the one that indicates that you are in the vicinity of Mabel’s house. On this anniversary, let me introduce you to Mabel’s physical world.</div>
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So much in Taos happens behind adobe walls…and so much is hidden away. In the case of the Mabel Dodge Luhan House, once you reach the parking lot, you can only see the solarium topped by El Gallo, the rooster weathervane.Only after climbing up the curving wooden plank steps, does the main house come into view.</div>
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<o:p> </o:p>Crossing the courtyard, Mabel’s domain – or part of it (the main house is surrounded by additions built on over the years) – confronts you. Approaching the main entrance, you walk along the same cobblestone walkway under the <i>portal</i> or covered porch trod by former visitors like D.H. and Frieda Lawrence, Leopold Stokowski, Georgia O’Keeffe, Tennessee Williams and numerous other houseguests of Mabel’s—famous and infamous, well-known names and unfamiliar ones.</div>
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As you pass through the door with Mabel’s initials, you enter her world…and not her world. When you step into the living room, past and present collide. You are living in the present, Mabel isn’t. Yet although 2012 will mark the 50<sup>th</sup> anniversary since her death, she continues to inspire and inform the present.</div>
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Reflecting on this first year anniversary of the blog, I realize I’m only beginning to tap into the variety, depth and breadth of subjects that interested Mabel. Restless, in need of entertainment, she loved surrounding herself with interesting people—in Italy, in New York, and in Taos. I believe that what she gleaned from her salons, what she wrote about, what she participated in before she arrived in New Mexico made her remarkable. In Taos she became more remarkable.</div>
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And now? For starters, Mabel’s blog has inspired the Town of Taos to designate 2012, New Mexico’s 100<sup>th</sup> anniversary of statehood, as The Year of the Remarkable Women of Taos. And right at the head of it, there’s Mabel…and not Mabel.</div>
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Earlier this afternoon I spoke with Lois Rudnick, Mabel’s biographer. (We are meeting next week to brainstorm and finalize events at the Mabel Dodge Luhan House as part of The Year of the Remarkable Women of Taos celebration.) I told Lois that Mabel was pushing me, driving me. She understood only too well. We both know that Mabel is at the heart of it all. Lois has a new book on Mabel going to the publisher, and I have one almost ready on two other remarkable women of Taos that includes Mabel snippets.</div>
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Floodgates are opening around the Year of the Remarkable Women of Taos. Exhibitions and events around the theme burgeon with every passing week as we approach 2012. Daily now I add another name or five to the growing list of Taos’s remarkable women. </div>
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So on this first anniversary of the “Mabel Dodge Luhan and the Remarkable Women of Taos” blog, all I can say is “stay tuned.” </div>
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Adios for now,</div>
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<span class="Apple-style-span" style="font-family: 'Lucida Calligraphy'; font-size: 19px;">Liz</span></div>
<div class="blogger-post-footer">Blog etiquette: This blog will be conducted with a commitment to civil and constructive conversation that allows for personal expression: a place where participants “agree to disagree agreeably.” In this spirit, the Mabel Dodge Luhan and the Remarkable Women of Taos blogsite will adhere to a "Civility Enforced" standard and uphold the Blogger Content Policy as set forth in Blogger.com’s site: http://www.blogger.com/content.g</div>lizhttp://www.blogger.com/profile/04640519051616776710noreply@blogger.com6tag:blogger.com,1999:blog-2266348750409788008.post-15302326451106301672011-08-03T10:36:00.000-06:002011-08-03T10:36:30.245-06:00Newsflash: Sizzling Summer of New Mexico Women<div class="MsoNoSpacing"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">What could be more exciting than firecrackers on the 4<sup>th</sup> of July? For me, summer programs centered around the remarkable women of New Mexico. This past July the Taos-based group Izcalli In Nanantzin Danza Azteca, under the direction of Capitana Tanya Ocañas y Vigil, ended <a href="http://www.taosnews.com/articles/2011/08/03/entertainment/doc4e2ad85cbe40b275938763.txt">their feast day celebration</a> on a Saturday afternoon with a dance in Aztec regalia. The festivities which included a velacíon or prayer vigil and a procession to the San Francisco de Asís church, honored Señor Santiago de Los Cuatro Vientos (St. James of the Four Winds). That weekend celebrations of the biblical Santiago and Santa Ana (St. James and St. Anne) at the annual Taos fiestas took place on the Plaza. The weekend began with a Fiesta mass followed by a line-up of Spanish music and dance that included groups of Taos women performers like Catalina Río Fernandez and Flamenco Nuevo Mexico, and the Audrey Davis Trio.</span></div><br />
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<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNoSpacing"><span style="font-family: "Times New Roman","serif"; font-size: 10pt;">Colorful dancers along State Road 68 in Ranchos de Taos. Photo by Rick Romancito, © 2011*</span><span style="font-family: "Times New Roman","serif"; font-size: 12pt;"></span></div></td></tr>
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<div class="separator" style="clear: both; text-align: left;"></div><div class="MsoNoSpacing"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Earlier, in June, the final of four exhibitions opened at Santa Fe’s New Mexico History Museum. All include stories of women. Since its opening in 2009, the New Mexico History Museum has featured stories of men, women and children as part of a conscious effort to broaden the telling of history. This summer’s exhibits, according to museum director <span style="color: #333333;">Frances Levine</span>, focus “<span style="color: #333333;">squarely on the contributions made by women that don’t begin and end with popular Western stereotypes.” The exhibition </span><i>Home Lands: How Women Made the West</i><i style="mso-bidi-font-style: normal;">, </i>presents such well-known New Mexican artists as Pueblo potter Maria Martinez, painters Pablita Velarde and Georgia O’Keeffe, and photographer Laura Gilpin. Contemporary New Mexico artists include New Mexican <i style="mso-bidi-font-style: normal;">santera</i> (carver of saints) Gloria Lopez Cordova; Santa Clara Pueblo artists Tammy Garcia and Nora Naranjo Morse. To complement <i>Home Lands</i>, Albuquerque-based poet and playwright Joy Harjo was commissioned to create a video piece inspired by a historic narrative of slavery and interracial marriage in 19th century New Mexico.</span></div><div class="separator" style="clear: both; text-align: center;"> </div><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifCVwnSTxAfK9TrmScR8MXkeNzb2IUfeAqBy40rfZsMyF1QnDOa9x24lZvoC_MW51IAhxFkgGuxVmie6y8-V3Xfozu_nYm4lQdYs8LneYeHnk_JxRoI-3MFRpFEvY1bcRCUj_oi14pF_U/s1600/4-RW_DortheaBegay.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifCVwnSTxAfK9TrmScR8MXkeNzb2IUfeAqBy40rfZsMyF1QnDOa9x24lZvoC_MW51IAhxFkgGuxVmie6y8-V3Xfozu_nYm4lQdYs8LneYeHnk_JxRoI-3MFRpFEvY1bcRCUj_oi14pF_U/s320/4-RW_DortheaBegay.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div align="center" class="MsoNoSpacing" style="text-align: center;"><span class="apple-style-span"><span style="font-family: "Times New Roman","serif"; font-size: 10pt;">Dorothea Begay. </span></span><span style="font-family: "Times New Roman","serif"; font-size: 10pt;">Photo by Ann Bromberg, © 2011**</span></div></td></tr>
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<blockquote><div class="MsoNoSpacing"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; mso-fareast-font-family: "Times New Roman";">A traditional Navajo sheep rancher in Canoncity, Begay told author Sharon Niederman in 1996, </span></i><span style="font-family: "Times New Roman","serif"; mso-fareast-font-family: "Times New Roman";">“We need to bring back our livestock. To learn to survive off that; to learn to work and farm. We must care for the community together.”</span><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"></span></div></blockquote><div class="MsoNoSpacing"><br />
</div><div class="MsoNoSpacing"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">A second exhibition<span style="font-family: Times,"Times New Roman",serif;">, </span></span><em style="font-family: Times,"Times New Roman",serif;"><span style="font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Ranch Women of New Mexico</span></em><em style="font-family: Times,"Times New Roman",serif;"><span style="font-size: 12.0pt; font-style: normal; mso-bidi-font-style: italic; mso-fareast-font-family: "Times New Roman";">,</span></em><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> documents the lives of 11 women who have “cow-girled” or owned ranches in the state over the past 50 years. The text by Raton author Sharon Niederman and photos by <span class="apple-style-span"><span style="color: #333333;">Albuquerque photographer Ann Bromberg bring to life women's dynamic contributions to the environment, their multicultural families, and their economic survival in a "boots on the ground" way of life.</span></span></span></div><div class="MsoNoSpacing"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4WGnuHG-pQDrZv3gdAZYRUhBJpgQn93Pdg0tdhJzFnO5kBUJEvGdhOsg2kRoyzN-WHpJwprp8gl_ci6qF8RDxxZJsGcXszhNTldWERvEI8mUxFigkoPY7LlVMzOHLmuY7-mbuw4ygHls/s1600/MaryDavisSm.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4WGnuHG-pQDrZv3gdAZYRUhBJpgQn93Pdg0tdhJzFnO5kBUJEvGdhOsg2kRoyzN-WHpJwprp8gl_ci6qF8RDxxZJsGcXszhNTldWERvEI8mUxFigkoPY7LlVMzOHLmuY7-mbuw4ygHls/s320/MaryDavisSm.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div align="center" class="MsoNoSpacing" style="text-align: center;"><span style="font-family: "Times New Roman","serif"; font-size: 10pt;">Mary B. Davis. </span><span style="font-family: Times,"Times New Roman",serif; font-size: 10pt;">Photo by Ann Bromberg, © 2011</span><span class="apple-style-span"><span style="color: #333333; font-family: "Times New Roman","serif"; font-size: 10pt;"></span></span></div></td></tr>
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<blockquote><div style="mso-line-height-alt: 9.0pt;"><i style="mso-bidi-font-style: normal;">Daughter-in-law of legendary New Mexico rancher Linda Davis, Mary B. Davis shows what she's made of as manager of the horse breeding operation of the Crow Creek Division of the CS Ranch.<span class="apple-style-span"><span style="color: #333333;"></span></span></i></div></blockquote><div style="font-family: Times,"Times New Roman",serif;"><span style="font-size: small;"><br />
</span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br />
</span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span class="apple-style-span" style="font-size: small;"><span style="color: #333333;">The staff at the </span></span><span style="font-size: small;">New Mexico History Museum designed a <a href="http://media.museumofnewmexico.org/press_releases.php?action=detail&releaseID=149.">summer program</a> to augment these exhibitions. Coming up this month: “Homespun: Northern New Mexico Spinning and Weaving Techniques,” demonstrations by the Española Valley Fiber Arts Center, and a lecture “Through Her Eyes: An American Indian Woman’s Perspective.” Due to travels to interview some remarkable women in Wallowa County, OR, I missed Dr. Tey Diana Rebolledo’s lecture “Fabiola Cabeza de Baca and The Good Life.” </span><span style="font-size: small;">A native of</span><span style="color: #333333; font-size: small;"> Las Vegas, NM, teacher and writer Fabiola Cabeza de Baca “elevated both the art and science of homemaking from the Depression forward, blending traditional practices with modern-day conveniences. Beginning in the 1950s, her expertise went global when she started home-economics programs in Central and South America for the United Nations and became a trainer for the Peace Corps.” </span><span style="font-size: small;">Her story is included in the <i>Home Lands</i></span><span style="font-size: small;"> exhibition.</span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br />
</span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">My interest in Fabiola Cabeza de Baca stems from her work in the 1940s with the County Extension Service in Taos. My friend Corina Santistevan recalled her teaching local women to can both meats and vegetables with a huge pressure canner that was brought for use by the community.</span><span style="font-size: small;"> I will be profiling Fabiola Cabeza de Baca later this month.</span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br />
</span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">Just today Judi Jordan and I talked about Mabel visiting people and places throughout the Taos Valley and in other places throughout New Mexico. Oh how Mabel would have enjoyed visiting with these interesting women!</span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br />
</span></div><div class="MsoNoSpacing" style="font-family: Georgia,"Times New Roman",serif;"><span style="color: #333333; font-size: small;">Adios for now,</span></div><span style="font-family: "Lucida Calligraphy"; font-size: 14pt;">Liz</span><br />
<br />
<br />
<div class="MsoNoSpacing"><span style="font-family: "Times New Roman","serif"; font-size: 10pt;">* </span><span style="font-family: "Times New Roman","serif"; font-size: 10pt;">Courtesy of Rick Romancito, Tempo editor, <i style="mso-bidi-font-style: normal;">The Taos News</i></span><span style="font-family: "Times New Roman","serif"; font-size: 10pt;"></span></div><div class="MsoNoSpacing"><br />
</div><div class="MsoNoSpacing"><span style="font-family: "Times New Roman","serif"; font-size: 10pt;">* Courtesy of the Photo Archives at the Palace of the Governors/New Mexico History Museum, DCA, Ann Bromberg Collection HP.2008.31.</span></div><div class="MsoNoSpacing"><br />
</div><div class="blogger-post-footer">Blog etiquette: This blog will be conducted with a commitment to civil and constructive conversation that allows for personal expression: a place where participants “agree to disagree agreeably.” In this spirit, the Mabel Dodge Luhan and the Remarkable Women of Taos blogsite will adhere to a "Civility Enforced" standard and uphold the Blogger Content Policy as set forth in Blogger.com’s site: http://www.blogger.com/content.g</div>lizhttp://www.blogger.com/profile/04640519051616776710noreply@blogger.com1tag:blogger.com,1999:blog-2266348750409788008.post-27533822723964341542011-06-17T14:01:00.004-06:002011-08-06T20:47:12.179-06:00Georgia (O'Keeffe) and Mabel on My Mind<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPxCyYhAvqvWoUdpJfdqeIivv2RRsc0m0flbe0YImvAt_CfTG-ZoqgIkTbSIuDZpxP3GDfig9Oi67yWnYzQz5ULbynaQVvg4qAViwZ9fyXW5Iw60RtsRIMifCC_W9vboOPcrTB1DQKicQ/s1600/Braid-Inward2BonesCvrSm.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPxCyYhAvqvWoUdpJfdqeIivv2RRsc0m0flbe0YImvAt_CfTG-ZoqgIkTbSIuDZpxP3GDfig9Oi67yWnYzQz5ULbynaQVvg4qAViwZ9fyXW5Iw60RtsRIMifCC_W9vboOPcrTB1DQKicQ/s400/Braid-Inward2BonesCvrSm.jpg" width="261" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"On the Portal, Ghost Ranch, 1959" Photo by Todd Webb, <span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="font-size: x-small;">© 2010*</span></span><span style="font-family: "Times New Roman","serif"; font-size: 12pt;"></span></td></tr>
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<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; tab-stops: 45.8pt 91.6pt 137.4pt 183.2pt 229.0pt 274.8pt 320.6pt 366.4pt 412.2pt 458.0pt 503.8pt 549.6pt 595.4pt 641.2pt 687.0pt 732.8pt;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Last August after Karen Young and I began making plans for the 2012 Year of Remarkable Taos Women, Canadian poet and author Kate Braid contacted me. One of her favorite painters is Georgia O’Keeffe. Kate spent a week in Taos some years ago. Inspired by the landscape, history and people – and some recent research she’d conducted on Georgia, she went on to write a book of poems that “document” Georgia’s journal of an imaginary trip with Emily Carr, Canada’s iconic woman painter. Nominated for several prizes, including the Pat Lowther Award for Best Book of Poems by a Canadian Woman, Kate’s book, <i style="mso-bidi-font-style: normal;">Inward to the Bones: Georgia O'Keeffe’s Journey with Emily Carr</i>, won the VanCity Women's Book Prize in Vancouver, British Columbia.</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; tab-stops: 45.8pt 91.6pt 137.4pt 183.2pt 229.0pt 274.8pt 320.6pt 366.4pt 412.2pt 458.0pt 503.8pt 549.6pt 595.4pt 641.2pt 687.0pt 732.8pt;"><br />
</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; tab-stops: 45.8pt 91.6pt 137.4pt 183.2pt 229.0pt 274.8pt 320.6pt 366.4pt 412.2pt 458.0pt 503.8pt 549.6pt 595.4pt 641.2pt 687.0pt 732.8pt;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">One of Kate’s poems (below) inspired this blog posting. I remembered reading how two series of photographs by Georgia’s husband Alfred Stieglitz had helped develop a mystique around O’Keeffe, in particular his photographs from the 1930s. These portraits, released to the press in the 1910s and 1920s, contributed to the legend that grew up around her: descriptions of her personality ranged from aloof to enigmatic to reserved.</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; tab-stops: 45.8pt 91.6pt 137.4pt 183.2pt 229.0pt 274.8pt 320.6pt 366.4pt 412.2pt 458.0pt 503.8pt 549.6pt 595.4pt 641.2pt 687.0pt 732.8pt;"><br />
</div><div class="MsoNoSpacing"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">On reading her letters, however, I discovered a more complex personality, the real Georgia. One she penned in April 1929, a week before leaving New York for New Mexico, illustrates her reluctance to leave Stieglitz (who had suffered a severe heart attack the previous September). She wrote: “</span><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">If I can keep up my courage and leave Stieglitz I plan to go West the beginning of next week for two months. It is always such a struggle for me to leave him.”</span></div><div class="MsoNoSpacing"><br />
</div><div class="MsoNoSpacing"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Kate Braid portrayed that aspect in this poem (from Part II, “New Mexico: Light over Water”):</span></div><div class="MsoNoSpacing"><br />
</div><blockquote><div class="MsoNoSpacing"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">28.</span></div><div class="MsoNoSpacing"><br />
</div><div class="MsoNoSpacing"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">I pack the suitcase, trembling with excitement.</span></div><div class="MsoNoSpacing"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">And fear. Alfred will miss me.</span></div><div class="MsoNoSpacing"><br />
</div><div class="MsoNoSpacing"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">He is so fragile, so tragic.</span></div><div class="MsoNoSpacing"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">His long white fingers play with my valise,</span></div><div class="MsoNoSpacing"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">His eyes cast down in sorrow.</span></div><div class="MsoNoSpacing"><br />
</div><div class="MsoNoSpacing"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">But I must go—</span></div><div class="MsoNoSpacing"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">It is for my spirit, for my life.</span></div></blockquote><div class="MsoNoSpacing"><br />
</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; tab-stops: 45.8pt 91.6pt 137.4pt 183.2pt 229.0pt 274.8pt 320.6pt 366.4pt 412.2pt 458.0pt 503.8pt 549.6pt 595.4pt 641.2pt 687.0pt 732.8pt;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Kate also captured O’Keeffe’s anticipation. Then experiencing an ebb in her career, a time when she considered her painting weak, she needed a change, a new world of possibilities. In 1916 Georgia had found inspiration in the west Texas landscape, in the contrasts between color, form and shape, after her move to Canyon. The New Mexico landscape, viewed briefly during a visit to Santa Fe in 1917, had also captured her imagination.</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; tab-stops: 45.8pt 91.6pt 137.4pt 183.2pt 229.0pt 274.8pt 320.6pt 366.4pt 412.2pt 458.0pt 503.8pt 549.6pt 595.4pt 641.2pt 687.0pt 732.8pt;"><br />
</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; tab-stops: 45.8pt 91.6pt 137.4pt 183.2pt 229.0pt 274.8pt 320.6pt 366.4pt 412.2pt 458.0pt 503.8pt 549.6pt 595.4pt 641.2pt 687.0pt 732.8pt;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">How Georgia got to Taos is a long story, but at Mabel’s invitation she and her friend and fellow painter Rebecca Strand (then married to the well-known American photographer Paul Strand) arrived there in May 1929. Mabel put them up in the Pink House, and gave Georgia her own studio to work in.</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; tab-stops: 45.8pt 91.6pt 137.4pt 183.2pt 229.0pt 274.8pt 320.6pt 366.4pt 412.2pt 458.0pt 503.8pt 549.6pt 595.4pt 641.2pt 687.0pt 732.8pt;"><br />
</div><div class="MsoNoSpacing" style="tab-stops: -4.5in -319.5pt 0in;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">That summer in northern New Mexico changed O’Keeffe’s world forever. What happened to her comes out in letters. Just days after their arrival Rebecca wrote to Stieglitz telling him how much greater the opportunity to work was, how she and Georgia both felt active and alive in Taos away from all the distractions of the city. Sometime that summer O’Keeffe wrote her friend Henry McBride(art critic for the <i style="mso-bidi-font-style: normal;">New York Sun</i>)”You know I never feel at home in the East like I do out here—and finally feeling in the right place again—I feel like myself—and I like it—and I like what Mabel has dug up out of the Earth here…” At the end of her stay, O’Keeffe expressed her appreciation to Mabel (who was absent from Taos most of the summer):</span></div><div class="MsoNoSpacing" style="tab-stops: -4.5in -319.5pt 0in;"><br />
</div><blockquote><div class="MsoNoSpacing" style="margin-right: .5in; tab-stops: -4.5in -319.5pt 0in;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">I wish I could see you this morning—more than that I could tell you how important these months have been to me—Maybe you know—I am ready to go now—in every way—If you were here I could tell you quite definitely how it came about—it is some thing so perfect—so perfect for ending this and beginning a new thing—(August 1929)**</span></div></blockquote><div class="MsoNoSpacing" style="tab-stops: -4.5in -319.5pt 0in;"><br />
</div><div class="MsoNoSpacing" style="tab-stops: -4.5in -319.5pt 0in;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">In the process of beginning the “new thing”—paintings inspired by the folk art, architecture, light and landscape of Taos—Georgia also found herself. From 1929 until her death in 1986, O’Keeffe captured the vast New Mexico sky, the canyons and cliffs around Abiquiu, and bones bleached in the desert sun. These images became her signature paintings. And it all started at Mabel’s in Taos.</span></div><div class="MsoNoSpacing" style="tab-stops: -4.5in -319.5pt 0in;"><br />
</div><div class="MsoNoSpacing" style="tab-stops: -4.5in -319.5pt 0in;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">For me, Kate Braid’s last poem (from Part IV, “Inward the Bones”) encapsulates O’Keeffe’s long life and painting career. It provides the perfect ending to this posting.</span></div><div class="MsoNoSpacing" style="tab-stops: -4.5in -319.5pt 0in;"><br />
</div><blockquote><div class="MsoNoSpacing" style="tab-stops: -4.5in -319.5pt 0in; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">87.</span></div><div class="MsoNoSpacing" style="tab-stops: -4.5in -319.5pt 0in; text-align: justify;"><br />
</div><div class="MsoNoSpacing" style="tab-stops: -4.5in -319.5pt 0in; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">I dream a wild wind over my bare bones,</span></div><div class="MsoNoSpacing" style="tab-stops: -4.5in -319.5pt 0in; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">a terrifying song through the cavities of my skull,</span></div><div class="MsoNoSpacing" style="tab-stops: -4.5in -319.5pt 0in; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">my hips. The thin digits of what once were</span></div><div class="MsoNoSpacing" style="tab-stops: -4.5in -319.5pt 0in; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">articulating fingers, trail paint.</span></div><div class="MsoNoSpacing" style="tab-stops: -4.5in -319.5pt 0in; text-align: justify;"><br />
</div><div class="MsoNoSpacing" style="tab-stops: -4.5in -319.5pt 0in; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">I am reduced to light wind.</span></div><div class="MsoNoSpacing" style="tab-stops: -4.5in -319.5pt 0in; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">I can feel myself inside this body</span></div><div class="MsoNoSpacing" style="tab-stops: -4.5in -319.5pt 0in; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">like hills, like a vaulted room,</span></div><div class="MsoNoSpacing" style="tab-stops: -4.5in -319.5pt 0in; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">like spans or poles set</span></div><div class="MsoNoSpacing" style="tab-stops: -4.5in -319.5pt 0in; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">bone-deep in pearly earth</span><span style="font-family: "Times New Roman","serif"; font-size: 12pt;"></span></div><div class="MsoNoSpacing" style="text-align: justify;"><br />
</div><div class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">A dark shell falls away, light rising</span></div><div class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">through translucent flesh.</span></div><div class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">I am haunted by skeletons, stripped clean</span></div><div class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">of blood and dirt.</span></div><div class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Shaken, I vibrate to the sensations</span></div><div class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">that were once this body. The wind whistles</span></div><div class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">music through these bones.</span></div></blockquote><div class="MsoNoSpacing"><br />
</div><div class="MsoNoSpacing" style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">Before I sign off, I’m pleased to announce that Kate has promised to contribute something in the future about her experience writing these terrific, moving poems on O’Keeffe.</span></div><div class="MsoNoSpacing" style="font-family: Georgia,"Times New Roman",serif;"><br />
</div><div class="MsoNoSpacing" style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">Adios for now,</span></div><div class="MsoNoSpacing" style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">Liz</span></div><div class="MsoNoSpacing"><br />
</div><div class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: "Times New Roman","serif";">* Cover photo to </span><i><span style="font-family: "Times New Roman","serif";">Inward to the Bones: Georgia O'Keeffe’s Journey with Emily Carr</span></i><span style="font-family: "Times New Roman","serif";"> (2010) by Kate Braid courtesy of Caitlin Press, Half Moon Bay, British Columbia.</span></span></div><div class="MsoNoSpacing"><br />
</div><div class="MsoNoSpacing"><span style="font-size: small;"><span style="font-family: "Times New Roman","serif";">** Quotes from this and other letters excerpted from <i>Georgia O’Keeffe: Art and Letter</i>s by Jack Cowart, </span><span style="font-family: "Times New Roman","serif";">Juan Hamilton, and Sarah Greenough. Washington : National Gallery of Art ; Boston : New York Graphic Society Books, 1987.</span></span><span style="font-family: "Times New Roman","serif";"></span></div><div class="blogger-post-footer">Blog etiquette: This blog will be conducted with a commitment to civil and constructive conversation that allows for personal expression: a place where participants “agree to disagree agreeably.” In this spirit, the Mabel Dodge Luhan and the Remarkable Women of Taos blogsite will adhere to a "Civility Enforced" standard and uphold the Blogger Content Policy as set forth in Blogger.com’s site: http://www.blogger.com/content.g</div>lizhttp://www.blogger.com/profile/04640519051616776710noreply@blogger.com4tag:blogger.com,1999:blog-2266348750409788008.post-63277294276204382582011-05-17T18:28:00.000-06:002011-05-17T18:28:16.336-06:00Newsflash : Town of Taos theme for 2012 -- "The Remarkable Women of Taos"<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: left;"><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-US</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:DontVertAlignCellWithSp/> <w:DontBreakConstrainedForcedTables/> <w:DontVertAlignInTxbx/> <w:Word11KerningPairs/> <w:CachedColBalance/> </w:Compatibility> <w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="--"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
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</style> <![endif]--> </div><div class="MsoNoSpacing"><span style="font-family: "Arial","sans-serif";">Last fall Karen Young and I decided to offer a workshop at the Mabel Dodge Luhan House called “Meetings with Remarkable Women”, slated for next summer. Through Steve Parks, director of the Parks Gallery, we discovered that the Harwood Museum of Art had planned two exhibitions, <i style="mso-bidi-font-style: normal;">Agnes Martin: Before the Grid</i> and <i style="mso-bidi-font-style: normal;">Bea Mandelman: Centennial</i> for 2012. Subsequently, Karen and I hosted a brainstorming meeting with Steve; the Harwood’s director, Susan Longhenry; Janet Webb, owner of Webb Design; and Cathy Connelly, the <span style="color: black;">Town of Taos Public Affairs & Tourism Director. As we talked, ideas grew up a</span>round historic and contemporary Taos women. We also discussed programming and promotion of the arts (Mabel would have liked this). Our conversation, and several anniversaries that coincide with New Mexico’s Centennial next year, culminated in the Town of Taos designating “The Remarkable Women of Taos” as its theme for 2012.</span></div><div class="MsoNoSpacing"><br />
</div><div class="separator" style="clear: both; text-align: left;"></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5gfqD8Hv4iu_E6-ZzqYzML77_9CWs4ba2sAYa35fpt7xCLkFwzLsIhQuTJHZ4VWqY5DkKWWPEUb3FSJ2XqrComknsIkjGVtc53CxQp7wn-xvQtuNMZuE99P3YMWslJJx3hNVQpmVH2h0/s1600/MDL%2526GLoeffler.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5gfqD8Hv4iu_E6-ZzqYzML77_9CWs4ba2sAYa35fpt7xCLkFwzLsIhQuTJHZ4VWqY5DkKWWPEUb3FSJ2XqrComknsIkjGVtc53CxQp7wn-xvQtuNMZuE99P3YMWslJJx3hNVQpmVH2h0/s320/MDL%2526GLoeffler.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mabel and Gisella Loeffler (right). Courtesy the Taos Historic Museums</td></tr>
</tbody></table><div class="separator" style="clear: both; text-align: left;"><span style="font-family: "Arial","sans-serif";"></span></div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: "Arial","sans-serif";">Already other institutions of the Museum Association of Taos have scheduled exhibitions featuring Taos women for next year. They include <i style="mso-bidi-font-style: normal;">Out of the Background – The Women Artists of Early Taos</i> at the E.L. Blumenschein Home; <i style="mso-bidi-font-style: normal;">Cultural Threads – Nellie Dunton and the Colcha Revival in New Mexico</i> at the Hacienda de los Martinez; and <i style="mso-bidi-font-style: normal;">Millicent Rogers & Her Circle </i>and <i style="mso-bidi-font-style: normal;">Unknown Was a Woman</i> at the Millicent Rogers Museum. Steve Parks announced that <span style="mso-bidi-font-style: italic;">in March 2012 </span>Parks Gallery will show <i>Melissa Zink Remembered, Paintings and Sculpture, 1975 to 2009</i><span style="mso-bidi-font-style: italic;">.</span></span></div><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-US</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:DontVertAlignCellWithSp/> <w:DontBreakConstrainedForcedTables/> <w:DontVertAlignInTxbx/> <w:Word11KerningPairs/> <w:CachedColBalance/> </w:Compatibility> <w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="--"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUcvMutS1BvUIVaqTFgBnb9E-VTMV6ZHC7mSmb5VqKalxXn9ayx8lfpIgjbVUQomRBubeqOrsACaqnGNzngb16BEN16A2_u_lMSnagdLMEWddIiG2_ioZBBDO7hqIMctHOnZDQ-gAiPSk/s1600/MRMcolchaLoRes.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUcvMutS1BvUIVaqTFgBnb9E-VTMV6ZHC7mSmb5VqKalxXn9ayx8lfpIgjbVUQomRBubeqOrsACaqnGNzngb16BEN16A2_u_lMSnagdLMEWddIiG2_ioZBBDO7hqIMctHOnZDQ-gAiPSk/s1600/MRMcolchaLoRes.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">An example of colcha embroidery, after 1870* Courtesy of the Millicent Rogers Museum </td></tr>
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</div><div class="MsoNoSpacing"><span style="font-family: "Arial","sans-serif";">Just last week our core group and some museum personnel met with representatives from Taos galleries and art organizations, the publicity team from the Town of Taos, and the New Mexico Committee of the National Museum of Women in the Arts. These organizations are looking into exhibitions, lectures and other events that highlight creative women in Taos. While they design programs and events, we are inviting widespread participation drawing from the fields of education, history, agriculture and recreation in Taos. Looks like 2012 will be filled with events that will explore, discuss, and celebrate the remarkable women of Taos. </span></div><div class="MsoNoSpacing"><br />
</div><div class="MsoNoSpacing"><span style="font-family: "Arial","sans-serif";">Stay tuned. Oh, and save the date – June 1-3, 2012 – for the Mabel Dodge Luhan House’s workshop, “Meetings with Remarkable Women.”</span></div><div class="MsoNoSpacing"><br />
</div><div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;">Adios for now,</div><div class="MsoNoSpacing" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"></div><div style="font-family: Georgia,"Times New Roman",serif;">Liz</div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;">* This example of Rio Grande Hispanic colcha shows a type of embroidery specific to New Mexico. The woman who created it is unknown.</div><br />
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</div><div class="separator" style="clear: both; text-align: center;"></div><div class="blogger-post-footer">Blog etiquette: This blog will be conducted with a commitment to civil and constructive conversation that allows for personal expression: a place where participants “agree to disagree agreeably.” In this spirit, the Mabel Dodge Luhan and the Remarkable Women of Taos blogsite will adhere to a "Civility Enforced" standard and uphold the Blogger Content Policy as set forth in Blogger.com’s site: http://www.blogger.com/content.g</div>lizhttp://www.blogger.com/profile/04640519051616776710noreply@blogger.com3