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El Agua es La Vida: A Village Life Portrait

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I

ACEQUIA

II

DITCH DAY LIMPIA

III

WORK LIFE

IV

VILLAGE LIFE

V

RELIGIOUS LIFE

PRINTS

1992 - Present

20 x 16 Selenium Toned Gelatin Silver Photographs

Editions of 50


• • •

SELECTED EXHIBITIONS


Going With the Flow: Art, Actions, and Western Waters  SITE Santa Fe


Our Land 2: Acequia Commons  Agrarian Trust Annual Conference


The Paseo Project's Acequia Aquí  Harwood Art Musuem


Agua y Fe: Water and Faith  Las Vegas, NM Arts Council and Plaza Hotel


Earth Now: American Photographers and the Environment  New Mexico Museum of Art


El Agua es La Vida  Maxwell Museum of Anthropology  University of New Mexico


Bodies of Work: Series and Obsessions  Center for Creative Photography


Water in the West   FotoFest  H2O 04


Landscape/LandUse  Visual Studies Workshop


The Cultural Landscape of Northern New Mexico  Office of the State Historian


El Cerrito y la Acequia Madre  NM Organic Gardening and Farming Conference


From Petroglyphs to Plazas  New Mexico Office of Archeological Studies


El Cerrito y la Acequia Madre  National Trust for Historic Preservation Annual Meeting


Agua es Vida  El Rancho de las Golondrinas


H20  Santa Fe Art Institute


• • •



TOURING EXHIBITIONS


Landscape/LandUse  Visual Studies Workshop


From Petroglyphs to Plazas  NM Office of Archeological Studies


• • •



COLLECTIONS


Capitol Arts Foundation Collection of New Mexico


Center for Creative Photography  University of Arizona


Center for Southwest Research Special Collections Library  University of New Mexico


El Rancho de las Golondrinas


Harwood Museum of Art


New Mexico Museum of Art


New Mexico Department of Cultural Affairs Art in Public Places


Princeton University Art Museum


Stanford University Special Collections Library and University Archives


Worcester Art Museum


• • •



PRESENTATIONS


Water in the West Project  SPE National Conference, Tucson


Water in the West H2O 04  FotoFest, Houston


Where Angels Come to Sing  Theaterwork, Santa Fe and Mora


Shifting Landscapes: Considerations of Time, Place and Culture  SPE Southwest Regional Conference


• • •



PUBLICATIONS


Brandee Caoba and Lucy R. Lippard, Going With the Flow: Art, Actions, and Western Waters, 

     Santa Fe, SITE Santa Fe, 2023


The New Farmer's Almanac, Vol. VI, Adjustments and Accommodations, Greenhorns, 2023


Lucy R. Lippard, Pueblo Chico, Santa Fe,  Museum of NM Press, 2020


Cheryl and Bill Jamison,  Tasting New Mexico, Santa Fe,  Museum of NM Press, 2012


Katherine Ware, Earth Now: American Photographers and the Environment, Santa Fe, 

     Museum of New Mexico Press, 2011


Wendy Watriss, FotoFest H­2O 04: Celebrating Water, Houston, FotoFest, 2004


Leon Zimlich, Water in the West,  Original Sources: Art & Archives at the Center for Creative Photography,

Amy Rule and Nancy Solomon, Tucson, Center for Creative Photography, 2002


Lucy R. Lippard, The Lure of the Local: Senses of Place in a Multicentered Society,

     New York, The New Press, 1997

WATER IS LIFE


• • •

IN A REGION OF GHOSTED PRESENCES, the remote and tiny El Cerrito, situated at a triple oxbow of the Pecos River, has endured through centuries. This survey presents a village life portrait animated by interdependence on water from the community irrigation system--the acequia. No one remembers hearing of the gravity flow irrigation channel's origins, lending to speculation that the waterway was created by Indigenous peoples who farmed along the Pecos long before the arrival of the Spanish. Others believe its existence can be ascribed, as many of New Mexico's 700+ acequias, to the efforts of Franciscan priests, who, when colonizing the region were directed to establish two vital elements of any village's life—water and faith. Quite likely a confluence of efforts set this hand-dug channel that traces one plus miles through the village.

Acequia also refers to a self-governing association of users that honors water as a community resource rather than as a commodity. This is anchored in the Islamic Law of Thirst, which ordains that all beings have unfettered access to water; that it never be hoarded or sold. This arid farming watering method originated in the Indus Valley, was developed throughout the Arabian Peninsula, and across North Africa, to be brought to Spain by the Moors during their seven century occupation. Sharing in abundance and scarcity, repartimiento, is a vital tenet of acequias serving as a cultural commons with water rights attached to the land, not to individuals. As parciantes, members of the acequia hold these water rights and elect a mayorodomo as caretaker to oversee its maintenance throughout the year and especially during the annual spring cleaning, the limpia. In El Cerrito this is the one social gathering outside the rare wedding and more common funeral for which extended family, friends, and curious students of traditional village life return. Parciantes have shared for generations in the responsibility of maintaining a waterway that nourishes their families, orchards, gardens, fields, and livestock. While recharging watersheds, acequias also provide a rich riparian zone for wildlife, shade trees, and native plants, many of which are used in traditional medicines.


Seeing the universal in the personal, this exploration of El Cerrito’s survival provides insight into co-operative perseverance as a model redress to the dissonance created by our time’s divisiveness. With the availability of water a defining issue for our century, monetary pressures and Western water law structure are strong forces on rural residents to consider selling their water rights for transfer to urban development needs or speculation. Doing so would effectively sever ties to water and land that are a deeply cherished cultural and spiritual component of this region’s agrarian communities. In resisting, villagers help ensure the survival of the Southwest’s oldest extant water system while reinforcing the universal truism:


EL AGUA ES LA VIDA   WATER IS LIFE

Acequia Cross
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