David, Age 14: A Book Review

David, Age 14: Who and what determine our children’s health, education and future by Dr. Katherine Ortega Courtney and Dominic Cappello*

Independently published 142 pages
Paperback $9.50 from Amazon

Reviewed by Hanna Churchwell

Dr. Katherine Ortega Courtney and Dominic Cappello worked for the New Mexico Child Protective Services Research, Assessment and Data Bureau, where they co-developed the Data Leaders for Child Welfare program- now they guide the 100% New Mexico Initiative as co-directors of the Anna, Age Eight Institute at New Mexico State University.

The framework and data Dr. Katherine Ortega Courtney and Dominic Capello presented in 2017’s Anna, Age 8 served the authors well in their launch of the 100% New Mexico Initiative and in writing their latest book David, Age 14: Who and what determine our children’s health education and future. Through a mixture of straightforward and persuasive writing, journal entries from each author exploring their experiences and frustrations with our current systems, and the fictional but very real story of David, age 14– a stand-in for many children in Santa Fe and across the country– the authors advocate for preventing adverse childhood experiences (ACEs) and argue research on the topic paints a clear picture of how prevention of ACEs is central to combating diseases of despair and intergenerational cycles of trauma and poverty.

The book proposes that children be given a legal right to survive and thrive and that our local government uphold the right through providing 10 necessary services to all members of the community: distribution of food, provision of shelter, medical care, behavioral health care, parent support, early childhood learning programs, community schools with health centers, youth mentoring, workforce training, and transportation to all these services. The initiative is ambitious–it has to be. The ten services proposed must be implemented simultaneously, easily accessed, and carried out over decades to be effective– a repellent notion to government officials and funders motivated by instant gratification.

There is an optimistic and motivating side to this otherwise emotionally-exhausting read in the authors’ assertion that ACEs and the systems which perpetuate them are not inevitable natural disasters but man-made disasters our community can confront on the local, county level. Ortega Courtney and Cappello firmly place the problem in our hands, asking us to shed our feelings of powerlessness and replace them with the will to change. If you are looking for tangible, data-driven ideas on forming healthier communities accompanied by actionable steps and community buy-in, this book is for you. 

*Dominic Capello is currently a resident artist at HSFF’s El Zaguán.

Olive Rush and Her Legacy

INTRODUCTION

Following is an article written by Bettina Raphael regarding Olive Rush, and her home and studio at 630 Canyon Road. Listed on the Historic Santa Fe Foundation Register of Properties Worthy of Preservation as the Olive Rush Studio, it is a significant property that spans three distinct periods of the history of Canyon Road– as a farm house, the agricultural roots so difficult to see now on the street, the early Santa Fe artists colony, and finally, the long period of use for the Friends Meeting. It is a distinctive and quiet place on the bustle of the street. - Pete Warzel, HSFF Executive Director

WRITER’S BIO

Bettina Raphael is an art conservator in private practice. A professionally trained objects conservator, Bettina Raphael graduated with an M.A. degree from the Art Conservation Program in Cooperstown, NY in the 1970s. After a year’s internship at the Smithsonian Institution she went on to work with conservation studios in Virginia, Birmingham, England, at the University of Denver, and the Museum of New Mexico. Raphael has spent the last 30 years working in the Southwest focused on the preservation treatment and care of objects of archaeological, ethnographic and historic origin in museums and private collections. Raphael’s research interests have included the life and work of the 18th cen. restorer in Venice, Pietro Edwards; the construction and care of Southwestern tin decorative arts from the early 20th century; and most recently, the career trajectory of Olive Rush, the versatile and inspired painter who settled in Santa Fe, NM.

 

PHOTOGRAPH BY SIMONE FRANCES FOR OLD SANTA FE TODAY (5TH EDITION)


PHOTOGRAPH BY SIMONE FRANCES FOR OLD SANTA FE TODAY (5TH EDITION)

OLIVE RUSH AND HER LEGACY, AN ARTICLE BY BETTINA RAPHAEL

In 1966, the small Religious Society of Friends (Quakers) Meeting in Santa Fe, NM came to occupy its recent home, the historic house and garden of the painter, Olive Rush. It is an unlikely occurrence for a Quaker meeting to have a patron and even more so for the benefactor to be an artist, given Friends’ long history of disparaging the arts as frivolous and vain. Thus, Santa Fe Meeting’s relationship with our “patron”, Olive Rush, is quite unique and has been a source of pride as well as of controversy.     

A birthright Quaker born in Fairmount, Indiana, Ms. Rush spent most of her 90+ years pursuing her artistic calling, first as an art student on the East Coast, later as a young illustrator and easel painter in New York, Indianapolis and Europe. During her last 46 years, 1920-1966, she settled in Santa Fe, the art colony of the Southwest, where she was often termed the “First Lady of the Arts”. In 1948, Ms. Rush was a founding member of the Santa Fe Meeting, a small group of 6 -8 members who met usually in each other’s homes. At her death, Olive’s 100 year-old farmhouse on Canyon Road provided a permanent meetinghouse to this group of Friends and a future center for Quaker activities that would also serve as a memorial to her parents and her own religious, artistic, and civic values.  

The year 2020 marked the 100th anniversary of Olive Rush’s arrival in Santa Fe. It was also a critical moment in the development of the Meeting she helped found, as it struggled to integrate the group’s current spiritual and space needs with the responsibility of maintaining a significant historic property. It is an appropriate time to acknowledge both what this pioneering artist contributed to her Southwestern community and the difficult challenges the Meeting now faces in honoring her wishes to preserve the property she donated.

Born on an Indiana farm, Rush Hill, in 1873, Olive was one of seven children of the Quaker minister, Nixon Rush and his wife Louisa Winslow Rush. She showed a gift for drawing at an early age and was encouraged by her parents. Apparently their own artistic interests had been discouraged under earlier Quaker restrictions. At seventeen she left home to study art and history at Earlham College in nearby Richmond, Indiana. After a year, she entered the art program at the Corcoran School of Art in Wash. D.C., and continued her studies at the Art Students League in New York City, the Pennsylvania Academy, and the Boston Museum School. Studying with the renowned illustrator Howard Pyle in Wilmington, DE, she honed her drawing skills, began an interest in mural painting and shared studio space there with her life-long friend and fellow painter, Ethel Pennewill Brown.  

By the age of thirty, Rush had established a successful career as an illustrator in New York City, working on various publications including children’s books and women’s magazines of the day. She also painted portraits on commission, particularly of mothers and children. She made two trips to Europe to study with painters and to witness first-hand the modern art movement germinating there.

In 1914, at the age of 41, Olive accompanied her father on the minister’s missionary trip to Arizona and New Mexico. With his encouragement, she painted as they traveled. At the end of her first venture into the West, Olive’s art was acknowledged with an invitation to show her paintings in a one-woman exhibit at the Palace of the Governors in Santa Fe.   

Inspired by memories of the beauty and drama of the Southwest and in search of new modes of artistic expression, Olive returned to New Mexico in 1920 and became “the first important American woman artist to settle in Santa Fe.” 1 With savings and a small inheritance from her parents, she purchased an old farmhouse on Canyon Road, which was to become the center of the burgeoning art colony.  Once established in Santa Fe, Ms. Rush entered a new world of inspiring influences described here in her words:

 

“Artists are spiritual adventurers and the strange beauty of the Southwest country, splendid and generous, lyric at one turn, dramatic at another, invites us to dare all things. Compositions are marvelously made before our eyes, offering lesson after lesson in form and color.”2

Olive was a true pioneer, not merely for her inspired trek west to the newly recognized state of New Mexico, but for what she was able to achieve over her forty-plus years of residence here. It was a time when many considered this high desert destination a “wild territory”, and Olive arrived alone, a single woman at forty-seven years of age, a self-supporting artist from a modest Quaker background. She brought with her an open and inquisitive attitude and a hardiness developed through farm life,  education, and exposure to modern values. Sometimes misrepresented as a “retiring spinster”, Olive Rush was in fact one of the “New Women” of her time: a suffragette, an adventurer, a teacher, and a risk-taker seeking a less confined way of being a free woman than what was customary under the social strictures of life in the Midwest and the East Coast. She joined with many other free-spirited and courageous female transplants to the Southwest in exploring new possibilities, relationships, forms of activism, and creative expression. 

Once settled in Santa Fe, Olive found herself surrounded by the cultural traditions of both the Spanish and Indian communities and the presence of experimental artists who, like her, had been drawn to the art colony seeking a new way of seeing and painting. Olive’s artistic expression changed significantly as she moved beyond her bread-and-butter reliance on commercial or literary illustrations and family portraiture in oil on canvas. Rush turned to a more intimate scale and style, using watercolors often as her medium and subjects from nature and local life in New Mexico. At the same time, the artist became even bolder as she ventured more deeply into the realm of mural painting, having taught herself the Italian “old world” method of fresco painting on fresh plaster. She found the traditional adobe walls of Southwest architecture an ideal “canvas” for her fresco work. With these novel artistic ventures, Ms. Rush built a new public reputation in the region and joined in close camaraderie with many local artists, writers, anthropologists and cultural adventures. A regular exhibitor at the new Art Museum in Santa Fe, Olive was also a frequent participant in national juried shows, and group exhibits of Southwest modernists and women artists, gaining recognition by collectors far outside the Southwest. Today her drawings and paintings can be found in at least twenty major museums.  

After painting the adobe walls of her own home with lyrical frescos, Olive was commissioned to create larger murals in the homes and gardens of friends, including the heiress Mary Cabot Wheelwright, folk art museum-founder Florence Bartlett, and in public venues such as the dining room in the popular La Fonda Hotel. These initial experiments led to even more ambitious projects during the 1930s as Rush was commissioned to paint murals in the local public library, post offices and university buildings under the federal New Deal program.  One of these postal murals in Florence, CO, was recently commemorated with a U.S. postage stamp. At age 60, Olive Rush was still balancing on scaffolding while painting her water-based colors into wet plaster high up on public walls.

The practice of wall painting led Olive to a new meaningful “calling”.  When asked to paint the walls of the dining room in the local Federal Indian Boarding School, she offered to teach the students how to create their own murals there. The work by nine artists from mostly Southwestern tribes was a resounding success and this began a long relationship of encouragement and promotion by Ms. Rush of Native American artists. She managed to bring the work by young painters from the Indian School to the exhibition at the 1933 “A Century of Progress International Exposition” in Chicago. She later arranged travel and exhibits for the students to national museums including the Corcoran Gallery and the Museum of Modern Art, and promoted the sale of their works in galleries from Santa Fe to New York.  Olive felt a close resonance with these young artists, admiring the simplicity and directness of their artistic styles, the integrity of their spiritual traditions, and their respect for Nature.

Local Pueblo Indians, Hispanic neighbors, and cowboys from surrounding ranches found warm encouragement, welcome support and sometimes a place to stay at Olive’s studio on Canyon Road. This “ministry of hospitality” was generously offered to fellow women artists, young Quakers traveling across country, and family members as the Olive Rush Studio provided refuge for many. Throughout her life, Rush held a moral commitment in aid of the needy, the disenfranchised, and socially neglected.  Her advocacy included marching for women’s rights, promoting social activism in her classes for art students in Nebraska, joining local groups in the defense of Native Americans’ rights to practice their cultural traditions, and in the 1940s, volunteering on relief projects for refugees after World War II. 

In her later years, Olive’s art grew increasingly unrestricted by old criteria and less representational. As in the artwork of her chosen mentors (El Greco, Kandinsky, and Japanese brush painters), figurative interpretations of “reality” became less important and abstraction took on a larger role in her work. Some of her strongest work in the 1930s and 40s are watercolors depicting deer and antelope in airy, natural and sometimes ephemeral settings. These are often lightly painted, gentle in feel and “open” in the space she created on the paper. The quietness of these scenes has been compared to the silence of a Quaker Meeting, and it is possible that her repeated choice of depicting vulnerable, tentative, creatures such as these deer was Olive’s way of representing the soul or the tenderness of spirit she honored in all things.  

Throughout her life, her subjects as well as her innovative painting styles reflected her religious principles and Olive Rush often acknowledged the spirituality of art:  

 

“The task of the artist, she writes is to 'explore in his own way the spiritual possibilities of his art. Until he does that he is guilty, along with the man in the parable, of misuse of talents the landlord has given him.’” 3

“I believe that all art should carry without effort ‘the outward signs of an inward grace’.  You must learn your own best way of living and creating. You are an individual in art as in life.” 4

“For Rush, art could not be separated from how one lived one’s life, and likewise no aspect of life could be separated from her spirituality; thus, her studio and place of worship became one.” 5

Since Olive Rush’s death in 1966 until last year, her residence has served as the primary meetinghouse for Santa Fe Friends. The building’s interior retains the feeling of a private home with built-in features and cabinets from its first owner’s time and a lingering sense of calm that comforts many long-time attenders and visitors. Housed in the old adobe building is a range of original furnishings, Native American and Hispanic artifacts, personal memorabilia, and a variety of finished paintings and sketches by Olive. These along with archival records form the Olive Rush Collection. The combination of the historic structure, its forty years of use by the artist, its Quaker history, and the remains of original contents have come to embody the unique remembrance of a life and a period of Santa Fe history. 

The house is now only one of two original artist studios remaining intact on Canyon Road. Over the years under the Meeting’s care, the historic building of mud walls and weathered wooden beams have required constant maintenance and occasional restoration projects just to keep it stable and functional. Up until recently, a portion of the Meeting’s limited funding had gone toward general up-keep and repairs of the building. Long-term preservation and conservation projects for the exterior structure and interior collection have had to be postponed. 

In July 2022 the Santa Fe Meeting purchased a new property in the town to accommodate its need for a larger and newer space. This facility is appropriate to the group’s future plans. The age and intimacy of the old Rush facility, once valued as a comfortable “spiritual space” are now not so relevant and the stress of its upkeep today is considered a burden by many Friends. In recent months, the Meeting has explored selling the property, which would, I believe, override the original commitment made to Olive Rush to preserve and protect the studio and land for social not commercial use. Undoubtedly a property on Canyon Road could sell for a great deal of money with the likelihood of being converted to yet another gallery or residence or tourist shop, none of which were the uses Olive originally envisioned for her home and studio.

Meanwhile, members of the extended Rush Family from around the country have recognized the need to intervene for the perpetuation of this historic structure and its artistic legacy. They are proposing to assume responsibility for the property through the creation of a nonprofit foundation. Their vision is to make the facilities open to the public as an historic site honoring Olive Rush’s achievements, her Quaker values, and the importance of the art colony of Santa Fe. The Friends Meeting has remained divided on this offer. Olive envisioned just such a recycling or regifting of the property in conjunction with its preservation, when the Quakers would no longer need it. 

This is a moment when history can be acknowledged and stewarded. The Olive Rush Studio, Garden, and Collection can remain a concrete reminder for all Santa Fe residents and visitors of Olive Rush’s contributions and the role Santa Fe played for over 100 years as the art capital of the Southwest. The Rush Home and Studio can continue as an active resource: the spacious garden a unique place of respite on Canyon Road, a home-base for resident artists and scholars, a venue for future exhibits of Olive’s art as well as the work of young artists like those Ms. Rush wished to nurture. Here is an opportunity for the community and art admirers to recognize the significance of the Olive Rush legacy, and maintain the integrity of this most important house, studio, and garden on Canyon Road.  

CONTACT INFORMATION

Bettina Raphael, art and artifact conservator: bettinaraphael@msn.com
Liz Kohlenberg, great niece of Olive Rush and Chair of the proposed Olive Rush Memorial Studio: geoliz@comcast.net
Clerk of Santa Fe Monthly Meeting of Friends: sfmmclerk@gmail.com

FOOTNOTES

1. Stanley L. Cuba, Olive Rush: A Hoosier Artist in New Mexico, Minnetrista Cultural Foundation, Inc. Muncie, Indiana. 1992, page 45.
2. Stanley L. Cuba, Olive Rush: A Hoosier Artist in New Mexico, Minnetrista Cultural Foundation, Inc. Muncie, Indiana. 1992, page 43. From an artist statement in a 1925 exhibition catalog.
3. “Successes of Past Can’t Be Copied Forever, Says Miss Rush”, Santa Fe New Mexican, January 19, 1945, page 5.
4. “Thetford Le Viness Writes of Olive Rush in Kansas City Times”, Santa Fe New Mexican, January, 19, 1948.
5. Carol Gish, “Olive Rush: Spiritual Adventurer in the Southwest”, a paper written for the course “New Mexican Art and the Mainstreams” at the University of New Mexico, November, 1994, page 4.

Lucie Genay's Under the Cap of Invisibility: A Book Review by Pete Warzel

 

Under the Cap of Invisibility: The Pantex Nuclear Weapons Plant and the Texas Panhandle
By Lucie Genay
Foreword by Alex Hunt
University of New Mexico Press
Hardcover
304 pages
$85.00

Book review by Pete Warzel

There are three clues that Under the Cap of Invisibility is a scholarly work from a university press. The first is that academic books tend to have subtitles with more words than the title proper. Check. The second is that fifty eight pages of notes and twelve full pages of bibliography are a dead giveaway. The third is price. At $85 this is an academic work. That is unfortunate because although the research is impeccable, it does not read like a bookish treatise, rather it moves with the verve and good writing of a literary thriller. Lucie Genay writes a very good story. The UNMP may have priced themselves out of a popular book.

Lucie Genay is an associate professor of US civilization in the American Studies Department of the University of Limoges, France. She has taught English and American history there since 2009 and has focused her research and writing on the nuclear history of New Mexico. This book crosses the border into the Panhandle of Texas and the very interesting social, economic, and cultural environment around Amarillo. Genay states at the start of the book, “The objective of this book is both historical and anthropological….” It is that double focus that makes the work so deeply fascinating and rings true with the cultural milieu that is home to Cadillac Ranch, that Stonehenge of deceased Cadillacs, and The Big Texan Steak Ranch, with its 72-ounce steak challenge.

So, Pantex. The book cover is photo of a Texas highway road sign that points to Pantex,   Amarillo, and Panhandle.  You would think it just another town east of New Mexico. One premise of the book is that Consolidated Nuclear Security, LLC, the operator of Pantex for the US Department of Energy, would probably like you to think that, as hinted at by the main title – the cap of invisibility. I spoke to a friend of ours who has moved to Santa Fe from the Panhandle, and when asked about Pantex she was familiar with the name but could not remember what it was. My wife asked if it was town. Invisible.

Pantex is our country’s “sole assembly and disassembly plant for nuclear weapons….” The story here of its founding and obscure history fits the zeitgeist of the Panhandle. Nuclear and environmental protests struggled against a very compliant business climate in Amarillo until the local ranchers, deep in their history of the area, became concerned about the quality of water for their operations, for their cattle, and for their crops they were sending into the world in proximity to nuclear waste and accident.

Today there are 3,300 workers at this 16,000-acre facility on the Texas plains. Started as a conventional ordnance manufacturing plant during World War II, the facility evolved into several variations of nuclear-warhead assembly, disassembly, and storage. It is big business for Amarillo and Randall County, but comes with the gradual development of a good deal of angst in the local population. Genay takes a very close look at the political and sociological makeup of Amarillo and the surrounding county: conservative, religious, independent minded, and the tough can-do attitude blended with the business-first attitude of the state of Texas. Then of course there is the huge benefit of jobs and ancillary economics for the city. The benefits and historic attitude evolve to an attitude towards Pantex as the “benevolent nuclear bomb manufacturer…,” “benevolent” being the key word, “bomb manufacturer” not so much discussed. “The story of this book is how the pressure of pursuing growth can lead communities to willfully relinquish critical oversight and participate in the invisibility of the makers of their success.” The slogans printed at the plant and the newsletter sent out to employees tell of propaganda directed at a very willing population, the result being economic, religious, and patriotic excuses for living with fear.

Until the nuclear protests began, and then environmental activist appearances on site, Pantex existed quietly, mostly invisibly, in the countryside. There begins a questioning and some friction, and Genay dissects the religious arguments, the philosophic investigations of good for the country, supporting defending freedom by nuclear deterrence through manufacturing, and the “In God We Trust” attitude of a patriotic population.

She gives the entire history of place and function, setting a stage for the rationalization of the pros and cons, benefits and risks without taking a side, rather letting the facts and the people speak, and the book speaks so clearly in doing so. She waits until the final chapter to let the workers speak, as accidents and illness come to the fore, having been hidden in the history presented. Making an analogy to the canary in the coalmine trope, one worker states, “’We are those canaries.’  The pride remains of having worked on weapons that help to ‘keep this country free…,’” but there is a realization locally that “the same weapons had put workers ‘in bondage to illnesses.’”

A lot of this is unknown or forgotten history. Having lived in Denver for years I have not thought about the Rocky Flats plant disaster in a very long time. My memory was tweaked by this book, as well as the memory of my wife, Denise, who transferred from Atlanta to Denver with IBM, to serve their customer at Rocky Flats. I asked her about her experience there in database management during 1986 and 1987, and she said they knew something was up, there were whisperings, but she believed, as did most people there, that surely the government would not put people in jeopardy knowingly. The thick concrete walls assured safety. Ironic then that Pentax was a target site for the transference of plutonium pits for storage from Rocky Flats, after it was forced to shut down due to the disastrous waste chemicals and plutonium contamination following the “Operation Desert Glow” raid by the FBI in 1989.  Pu pits are the hollow spheres of plutonium that are the core of the nuclear warhead or bomb. When explosives compress the sphere, a nuclear explosion occurs.

Lucie Genay has done extensive research for a scholarly history of this almost invisible plant on the Panhandle plains of Texas, 72 miles across I-40 to the state border at the ghost town of Glenrio, Texas/New Mexico, straddling both states. She makes the connections to the other nuclear sites situated in the American west – away from major populations but inherently making the inference that this geographic population does not matter very much.  She has written an excellent, readable book of parallel lives and stories that is a necessary and fascinating read.

Los Pinos Ranch Added to HSFF's Register

Los Pinos Ranch

At the August 25, 2022 Board of Directors meeting, the Education, Research, and Archives Committee recommended to the Board that Los Pinos Ranch be added to the HSFF Register of Properties Worthy of Preservation. The ranch was approved, adding another property with a fascinating history to the Register. Many of the guest ranches that once checkered northern New Mexico have now disappeared, as have many of the Spanish Log construction buildings in the region. Still operational and with great architectural integrity, Los Pinos Ranch is an enduring emblem of the economic activity and architectural typology that characterized the region during the early to mid 1900s.

Los Pinos Ranch, founded in 1912 by Amado Chaves, has operated as a guest ranch for a century. Part of the phenomenon of wealthy and educated individuals from the East Coast seeking outdoor recreation in a rustic yet cultivated atmosphere, Los Pinos Ranch was home to and the place of respite for many historically significant people. Notable figures who occupied the ranch include Charles Lummis, Marc Simmons, Paul Horgan, and Robert J. Oppenheimer. Oppenheimer frequented the ranch over a period which spanned decades, starting when he was a teenager. His horseback rides with Amado’s daughter Kia Chaves, a lifelong friend, eventually led Oppenheimer to the site of the Manhattan Project in Los Alamos.

Alan “Mac” Watson researched and wrote the nomination for the property on behalf of the ranch’s owners Alice M. McSweeney and William J. McSweeney. The McSweeney family is one of two families who owned and operated the ranch. The McSweeney and Chaves families both meticulously maintained guest registers, diaries, letters, photographs, and videos which provided Mac with a wealth of details on the ranch’s history. The property and its facilities, the history of its use through today, as well as the significance of the people associated with Los Pinos Ranch over a century, position Los Pinos Ranch as a place worthy of preservation and recognition. It is an honor to include such a remarkable property on HSFF’s Register.


LEARN MORE ABOUT HSFF'S REGISTER

J. Robert Keating's Poteet Victory: A Book Review by Pete Warzel

Poteet Victory
By J. Robert Keating
Atmosphere Press
Hardcover, 620 pages


I met Poteet Victory in 2019 when he became interested in and eventually stepped up as the buyer of the Historic Santa Fe Foundation’s former Delgado House on Palace Avenue. He had known the building for many years and fell in love with it, then wanting to make it his gallery, Victory Contemporary. He is an honest, direct, caring, and talented gentleman, and his wife Terry is as genuine a person as you can be. He had to weather COVID in his new gallery and did so thanks to internet sales. He and Terry are fine stewards of this important property in Santa Fe. Poteet also works in his studio on the upper floor.

They had donated to our publication of the 5th edition of Old Santa Fe Today, so several weeks ago I visited them to deliver a copy of the finished, published book. Poteet and I caught up and when I left I saw a rack with copies of this book for sale.

The biography by Mr. Keating is adventurous…a “Biographical Novel.” Being a self-proclaimed literary snob, I was quite leery. No need. Most of the book plays out as an interview conducted by Elliot Jacobs, a filmmaker (fictional character) interested in Poteet’s life. The dialogue is real, as captured by Keating on tape, and the tone of Poteet’s and Terry’s voices are right on the mark, capturing the rhythms, inflections, and vocabularies of both. There is a sense of sitting in Poteet’s studio, upstairs at the Delgado House, listening to him tell you the stories of his life.

Poteet was born Robert Lee Poteet, and took his grandmother’s family name at the end – Victory. So, today he has two last names, and doing so recognizes the importance of his American Indian heritage, his grandmother was Cherokee, his father Cherokee and Choctaw. What Elliot Jacobs, and I am sure Keating, thought he was going to hear was an Indian story. What Poteet’s life has been to this point is that, but really something different, so very individual to the nature of the individual. When asked how he wished to be described he says “’American Indian.’ ‘So you prefer American Indian (rather than Native American)’ “Yeah. I do. You’re native American.’” To the point but with a smile.

Poteet, surprisingly to me, was a scrapper, a street fighter. As a boy and then a man, he would try anything as a living: bull riding at age thirteen, pipeline work in high school, National Guard in the Viet Nam era. He learns and then builds a silkscreen print operation in Hawaii, that makes him some good money. In his twenties he goes and lives in New York City where he helps Andy Warhol develop his own screen print capabilities. Through Warhol he knows the rising reputation of Basquiat, and pulls no punches in what he thinks about it. “It’s like….It’s what I mean about artists like him bein’ a big hoax.”

In Michigan, during a job working with an oil company negotiating mineral rights with landowners, he is told by a woman that he would quit his job, move west, and work “…somethin’ to do with art.” West turned out to be Santa Fe, and his first job was as a bartender at Vanessie’s. He is invited to bring his paintings to hang in the restaurant (he studied at the Art Students League of New York), and they sell. He attends AA and works on his art, and begins selling by word of mouth. The University of Oklahoma commissions Poteet for a mural about The Trail of Tears. The mural became extremely controversial and was stopped by the University, incomplete. This goes to the core of Poteet’s being, with emotion and anger deeply felt to this day. His idea for the massive three-panel mural was the American Holocaust, and he is distraught that this history is not taught in our schools.

Keating writes forty pages on Poteet’s explication of the mural. It is important to Poteet’s story, perhaps the ghost in the machine of a very American success story. His success is via exemplary art sales, and the operation of a gallery, Victory Contemporary. As the story enters 2019 Poteet says, “Did I tell ya I’m in negotiations for a building?” That is our building, or was before his purchase - the Delgado House. And so we have come full circle. When he starts telling the stories that make up his life he is asked if they are true. His only answer is “Yeah, it’s all true.”

Which is what is so compelling about this book. Most autobiographies tell the edited life, the one that presents the subject’s view of his or her own self, and that view is a deluded model, not a reality. I remember reading a memoir by the poet and novelist Jim Harrison many years ago, and expected to find a gritty, unvarnished look at his fascinating, if not rowdy life. The disappointment was in the lack of substance. Granted, this is not an autobiography, but it may as well be as it is told in Poteet’s voice through an interview narrative technique. It is nothing except bald truth – warts and all. It is the warts that makes it a read about a very human success story, but one not without turmoil and angst. “Yeah, it’s all true.”

Recap of HSFF's 2022 Annual Garden Party & Members' Meeting

By Hanna Churchwell

Each summer Historic Santa Fe Foundation (HSFF) invites members to the Annual Garden Party and Members’ Meeting. This year, reflecting HSFF’s goal of further opening the doors of El Zaguán to the public, we invited non-members to attend the meeting. Due to overwhelming interest, HSFF made the decision to host our Annual Garden Party and Meeting on both Wednesday, August 17 and Thursday, August 18. HSFF Executive Director Pete Warzel opened this year’s meeting with a recap of our ongoing programs and projects. The list was extensive; however, Pete delivered his recap of HSFF’s past year efficiently and thoroughly. Highlights from the recap include:

This year’s guest lecturer, BC Rimbeaux, Mayordomo of Acequia de la Muralla– one of the last of the functioning acequias in Santa Fe, delivered a thoughtful and educational presentation on the history, significance, and contemporary state of acequias and water culture in Santa Fe and Northern New Mexico. Rimbeaux’s speech gave guests the perfect primer for the unveiling of HSFF’s acequia interpretive exhibit, which nods to the now defunct Canyon Road Community Ditch and was built utilizing the original stone from El Zaguan’s portion of the long-gone acequia. Pete Warzel turned the headgate for the inaugural demonstration of the interpretative exhibit, showing how water from the acequia may be diverted to irrigate the land of water right holders.

Thank you all for your continued support of Historic Santa Fe Foundation. HSFF staff continues to work on important projects as does our Board of Directors. We look forward to presenting even more exciting updates at next year’s Annual Garden Party and Members’ Meeting.