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This non-traditional New Mexico cookbook has been a bestseller since it was first published a decade ago. B&Bs from across New Mexico shared their favourite recipes including Lavender Pound Cake, Bread Pudding with Rum Sauce, Peach Frangipane Tart, Maggie''s Wicked Apple Margarita, Native American Stew, Nana Banana Bread, Cactus Quiche, Chocolate Cherry Muffins and Cimarron''s Trail Cookies, among others.

This keepsake New Mexico cookbook takes its name from Adela Amador''s much-loved column in New Mexico Magazine. Adela''s recollections of meals prepared for family and friends over the years, many for New Mexico holidays, are accompanied by dozens of receipts. The volume is organized seasonally and includes charming illustrations and a glossary of Spanish food names and terms.

Each August, one hundred thousand people attend Indian Market in Santa Fe, New Mexico, the nation's largest and most anticipated Native arts event. One thousand artists, representing 160 tribes, nations, and villages from the United States and Canada, proudly display and sell their works of art, ranging from pottery and basketry to contemporary paintings and sculptures. The history of Indian Market as related in this new publication is the story of Indian cultural arts in the twentieth century beginning with Edgar L. Hewett and the founding of the Museum of New Mexico in Santa Fe in 1909. At the turn of the last century, the notion of Indian art as art in its own right and not ethnography was a foreign concept. With the arrival of the railroad and tourism in New Mexico, two thousand years of utilitarian Pueblo pottery tradition gave way to a curio trade intended for visitors to the area. The curators and archaeologists at the Museum of New Mexico began to collect prehistoric and historic pottery and encouraged potters to make pottery modeled on traditional ideas thought to represent authentic culture. Maria and Julian Martinez countered the idea that art was a matter of studying the past when in 1922, at the first "Indian Fair,"they introduced their revolutionary Black-on-black pottery. Bruce Bernstein links these early developments to Indian Market's ninety-year relationship with Native arts, cultural movements, historical events, and the ever-evolving creativity of Native artists to shape their market.

This book provides an overview of the uses of turquoise in native arts of the Southwest, beginning with the earliest people who mined and processed the stone for use in jewellery, on decorative objects, and as a powerful element in ceremony. In the past, as now, turquoise was valued for its color and beauty but also for its symbolic nature: sky, water, health, protection, abundance. The book traces historical and contemporary jewellery made by Navajo, Zuni, Hopi, and Santo Domingo artisans, and the continuously inventive ways the stone has been worked.

Jerry West: The Alchemy of Memory is the long-awaited, richly deserved retrospective of one of Santa Fe and New Mexico''s most prominent artists. West was born in 1933 before the war that brought New Mexico into the modern century. His father Harold E. ("Hal") West, a WPA artist, anchored his son in the rugged world of ranch life and an abiding respect for American regionalism. Dreams, memory, prairie, the night sky; demons, family, history; remoteness and the grandeur of the vast windmills, coyotes and low-flying ravens; childhood, manhood, a tiny white kite and an advancing storm; vulnerability and masculinity; the strong, saturated colors of an artist who knows what he knows - a figurative artist of the subconscious nestled in peronal history with the New Mexico roots intact. Featuring ninety painting and some prints and murals that cover the period from early 1960s to the present and narrated by the artist.

For the past three decades Eric Renner and Nancy Spencer have exerted a defining influence on the reemergence of pinhole photography through their publication Pinhole Journal and in building the world's most extensive collection of contemporary pinhole art from thirty-five countries. Presented here are two hundred images representing the collection in its diversity, experimentation, and essential mystery that define pinhole photography. Pinhole photographs were the first experimental images with the birth of the camera but the process was superseded by the modern camera and fell into obscurity. Who is it that sees, and whose gaze is recorded? In pinhole it is the camera object that looks but the artist that sees, thus accounting for the considerable mystery and poetry that is pinhole photography.

"I must have seen the Black Place first driving past on a trip into the Navajo country and, having seen it, I had to go back to paint even in the heat of mid-summer. It became one of my favorite places to work. . . . the Black Place is about one hundred and fifty miles from Ghost Ranch and as you come to it over a hill, it looks like a mile of elephants grey hills all about the same size with almost white sand at their feet. . . . such a beautiful, untouched, lonely-feeling place part of what I call the Far away." Georgia O'Keeffe, from Georgia O'Keeffe (Viking Press, 1976) Few people have ventured into the remote, uninhabited badlands of the Navajo Reservation in northwest New Mexico known, by the artist who made the location famous, as the Black Place. During the 1930s and 1940s, Georgia O'Keeffe and her friend Maria Chabot braved the harsh conditions of baking heat in summer, bitter cold in winter, and ferocious winds to make many camping trips to the area, which inspired one of the great outpourings of creativity in O'Keeffe's artistic life. Photographer Walter Nelson, who share's with O'Keeffe what writer Douglas Preston calls "a great affinity for geology," went in search of the Black Place twenty years ago and has returned more than thirty times to photograph it, first in black and white with a large-format 8 x 10 camera and, over the last five years, in color with a digital camera. The two seasons of his title refer to the fact that in this region virtually devoid of vegetation, only the presence of snow visually distinguishes the landscape from the non-winter months. Inexhaustible in scope, with geological complexity dating back some sixty-six million years, the Black Place must be patiently experienced for its mystery and infinitude and deep secrets of time.

It all begins when the sandhill cranes leave, and it ends as they come back. When they leave, you plant. When they return, you harvest," writes Spragg-Braude in the opening to her deeply observant extended homage to orchard farmer Evelyn Curtis Losack and her village of Corrales, New Mexico. Corrales is an agricultural village where if you come on horseback to the local pizza place you get a discount. When she isn't in the fields or teaching piano to her students, or canning or making fruit leather or pickling, Evelyn loves to drive the roads between fields, scanning the landscape like pages in a scrapbook, moments and images fixed in time. She passes by the crumbled adobes of her ancestors that anchor old orchards where her grandchildren once played. This book is a journey with Evelyn as she drags the hoe through the earth making her furrows, and we follow on hands and knees behind her, dropping in the seeds. The story shares with readers how someone finds fulfillment, happiness, and a sense of self by connecting to those who came before her and those who will inherit all this when we're gone, to the land beneath her feet and the water flowing, to the seasons, to her food and to those who grow it, and to her community. In this way, it is at once a biography of a person and in the larger sense a valuable parable for our times.

Examines six centuries of human history: hunters and gatherers, Southern Tewa people, Hispanic settlers, and Anglo ranches that occupy the land today.

This biography of one of New Mexico's most distinguished citizens, J Paul Taylor (born 1920) recounts the life of the legislator, educator, community leader, and arts patron. J Paul Taylor was born to a pioneering New Mexico family. Taylor's mother, Margarita Romero y Lopez, was born in 1881 in Romeroville, near Las Vegas, New Mexico, to wealthy traders and merchants on the Santa Fe Trail who were instrumental in the development of Las Vegas as a commercial centre. Margarita and her husband Robert Taylor, settled in the Mesilla Valley near Las Cruces, where, in 1945, son J Paul and his bride Mary Daniels set up home. In 1947 the young couple relocated to Mesilla, where J Paul Taylor began his thirty-nine-year career in education. He was first elected to the New Mexico House of Representatives in 1986, a position he held until his retirement in 2004. In 1953 Taylor and his wife purchased the historic Barela-Reynolds property on the plaza in Old Mesilla, two miles from Las Cruces. The Taylor's home today is one of the great architecturally and historically significant properties in southern New Mexico, filled with a world-class collection of art from New Mexico, the Southwest, North and South America, Mexico, and Europe. On the National Register of Historic Properties, the property was dedicated a New Mexico State Monument in 2004. Ana Pacheco extensively interviewed Taylor and many of his family members while writing the story of Taylor's remarkable life in New Mexico. The book is illustrated with historical and family photographs as well as contemporary photographs of the Taylor Monument and art collections.

Offers penetrating views of the richness of the basketmaking tradition of Southwestern tribes and the current revival of the art and the beauty of the baskets themselves.