Pasatiempo May 19, 2017

The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture

May 19, 2017

J E S S I C A

L A N G

D A N C E

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LENSIC PRESENTS

Doug Menuez: Fearless Genius

Doug Menuez shares photos and eyewitness stories from his book Fearless Genius: The Digital Revolution in Silicon Valley, 1985-2000. A behind the scenes chronicle of unprecendented access to Steve Jobs and other Silicon Valley pioneers.

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Museum of Indian Arts and Culture’s

Museum-quality Native American art show & benefit

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26– E K 28, 201 E N D 7

Photos by Carol Franco

Photo courtesy Blue Rain Gallery

Over 200 artists

Robert Mesa

MAY 26–28, 2017

SANTA FE CONVENTION CENTER art sale | entertainment | street eats A benefit for the Museum of Indian Arts and Culture www.nativetreasures.org

Hollis Chitto

Melesio Benally

2017 MIAC Living Treasure Jody Naranjo, Santa Clara

Support for this event comes from:

Adobe Star Properties • El Palacio Invisible City Design • Starline Printing Company Steve Getzwiller’s Nizhoni Ranch Gallery

New this year! Native Treasures Street Eats, a food truck event • Sunday, May 28 from 11am to 3pm PASATIEMPOMAGAZINE.COM

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pasatiempomagazine.com

May 19, 2017

ON THE COVER

28 55

A woman in full Jessica Lang is one of the few women choreographers creating works for many of the top ballet companies around the world. Her Road was inspired by Georgia O’Keeffe — “the woman as well as the artist,” Lang said. “I consider myself a visual artist. I paint and sculpt with movement.” Jessica Lange Dance will perform Her Road in a mixed-repertoire program, at the Lensic Performing Arts Center on Tuesday, May 23. On the cover is a photograph of company dancer Kana Kimura in Lang’s The Calling; photo Sharen Bradford.

BOOKS

MOVING IMAGES

17 In Other Words God’s Red Son: The Ghost Dance Religion and the Making of Modern America by Louis S. Warren

37 Chuck

17 Subtexts Poets Jesús Castillo and Sonja Bjeli´c give a reading at No Land

41 Glory

39 Norman 42 Chile Pages

18 Start the presses Indie publishing on the rise

MUSIC & PERFORMANCE 21 Pasa Tempos Albums by Laura Marling and Metqāl Quenāwī

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42

23 Pasa Reviews Chatter Trio 25 Random Acts New Mexico Actors Lab presents The Glass Menagerie; Carla Van Blake sings jazz at Museum Hill Café; and Guillermo Figueroa leads the Santa Fe Symphony to the season’s conclusion

ART & ARCHITECTURE

CALENDAR 49 Pasa Week

30 Long division Border Cantos

25

34 Borderline personality Ronald Rael’s manifesto for the U.S.-Mexico boundary

55 Exhibitionism

ET CETERA 11 Mixed Media A symposium on “Understanding Cultural Property: A Path to Healing Through Communication”

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13 Mixed Media Santa Fe Zine Fest

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15 Star Codes 46 Amuse-bouche Frenchish in Albuquerque CORRECTIONS In “Falling apart, merging together: Psychedelic psychotherapy” (May 12), Santa Fe’s Synergetic Press was incorrectly identified as Synergistic Press.

A story about Frida Kahlo in the May 5 edition misstated the relationship between photographer Nickolas Muray, Iona Robinson, and Muray’s daughter Arija; Robinson and Muray were never married, nor was Robinson Arija’s mother.

Visit Pasatiempo at pasatiempomagazine.com and on Facebook ©2017 The Santa Fe New Mexican Pasatiempo is an arts, entertainment, and culture magazine published every Friday by The New Mexican, 202 E. Marcy Street, Santa Fe, New Mexico, 87501.

Email: pasa@sfnewmexican.com • Editorial: 505-986-3019

Embrace Your Inner Rat JOE FERGUSON, PhD

PhD Clinical Psychology, Fielding University MBA, Wharton School of Business

I

t is important to recognize and embrace your inner laboratory animal so that you can better influence your own behavior once you decide what you want to do. Rats are particularly good for conditioning experiments because they exhibit complex innate behavior and they are uncontaminated by culture or by thinking. These rat features allowed psychologists to determine the mathematical rules of positive and negative reinforcement half a century before the neural mechanism of conditioning was properly understood. You establish a reinforcement schedule for yourself when you learn to play golf or quit smoking, master a new subject, recover from an addiction or overcome a fear. You are reconditioning yourself intentionally all the time; or trying to without exactly knowing the rules. You are trying to embrace your inner rat.

Targets for behavior modification are not so clear when we are talking about intimate relationships, personal aspirations, kids, parents, sexuality, love, money, retirement, security, attachment or existential angst. Contrary to the strict behaviorists, humans have extremely complex language and symbolic instincts that are genetically coded and literally embodied in the wetware of our brains and vocal cords. Speech is one product of this system and thinking is another. Everything we think, say and do is conditioned on this foundation by our culture, language and situation. This is the essential postmodern insight and it is also the key to counseling and psychotherapy. From a sufficient distance many of our strongest beliefs turn out to be quite arbitrary, especially the dysfunctional ones that are causing you grief.

Culture and language define who we think we are and what we think is going on, including the problems we think we have and their solutions. This is why certain kinds of thinking and talking can be especially helpful.

Depression and anxiety reflect your belief that your situation is dangerous and hopeless, that everything is a big deal, and that this is never going to change. None of these things is actually as true as it seems when you are depressed or anxious, and this insight itself provides immediate relief from depression and anxiety. This insight needs to be reinforced. Trust me. Call me.

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PASATIEMPO | May 19-25, 2017

MIXED MEDIA

Drawing by D. Lancelot

The Safeguard Tribal Objects of Patrimony (STOP) Act will most likely be a key issue in a Monday, May 22, symposium titled “Understanding Cultural Property: A Path to Healing Through Communication,” presented by the Antique Tribal Art Dealers Association and the School for Advanced Research. U.S. Senator Martin Heinrich (D-N.M.) introduced the STOP Act in a bill last year, but it was not enacted. He plans to reintroduce it “in the near future,” according to his press secretary, Vanessa Valdivia. Heinrich said the act would “prohibit the exporting of sacred Native American items and increase penalties for stealing and illegally trafficking tribal cultural patrimony.” Its supporters include Paul Torres, chairman of the All Pueblo Council of Governors, who gave testimony to that effect on March 8 to the Senate Committee on Indian Affairs.

But Kate Fitz Gibbon, a cultural property lawyer representing the Antique Tribal Art Dealers Association (ATADA), said during an April panel discussion in Santa Fe that although ancestral remains and communally owned ceremonial objects should indeed be repatriated, her opinion was that the STOP Act would not achieve that goal. She pointed instead to the new ATADA Voluntary Returns initiative, under which “dozens of important ceremonial objects” have been returned to tribes. David Ezziddine, the association’s executive director, lamented that definitions of what is “sacred” or “ceremonial” remain unresolved. The most important question is not simply what is “sacred,” he told Pasatiempo. “The key question is what is the best and most effective means of returning important sacred items to tribes without harming the general trade in Indian art, on which both Native and non-Native peoples depend for their livelihood — and which brings millions of dollars a year to the New Mexico economy.”

In an interview, attorney Shannon Keller O’Loughlin (Choctaw), who is one of the 13 presenters at the May 22 event, said, “I understand ATADA wants to create a discussion that is productive, but their interest is economic, and I don’t know if it is possible to have a discussion in which equity is found because I think the interests of Native Americans and the protection of their cultural property is a much greater interest than someone’s ability to sell a sacred item or a piece of cultural patrimony.”

Keller O’Loughlin, a former member of the U.S. Department of State’s Cultural Property Advisory Committee and now chief of staff for the National Indian Gaming Commission, added, “What I hope to see is the symposium really allows the discussion to happen and folks are able to listen and work together.”

The all-day symposium at the Eldorado Hotel (309 W. San Francisco St.), begins at 9 a.m. To register and buy tickets ($35 each), visit www.atada.org.

— Paul Weideman

Season Fiinalle

MONEY AND PATRIMONY: THE STEWARDSHIP OF TRIBAL ARTIFACTS

LAURIDSEN Lux Aeterna MENDELSSOHN Psalm 114, BEETHOVEN Symphony No. 5 in C Minor, Opus 67

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IN HONOR OF THE SYMPHONY’S 33RD SEASON

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take advantage of our special season finale offer!

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E N J O Y T H E O P E R A’ S F R E E

OPEN HOUSE

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PASATIEMPO | May 19-25, 2017

MIXED MEDIA

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Second generation: Santa Fe Zine FeSt Those who remember the Riot Grrrl- and punk-fueled DIY zine movement of the 1990s — in which a pre-internet generation of teenagers and twentysomethings all over America took to their local Kinko’s to lay out, photocopy, and staple personal and political mini manifestos by hand — can check out a new generation of zine producers at Santa Fe Zine Fest. The event, which takes place at the Living Room at the Center for Contemporary Arts from 11 a.m. to 5 p.m. on Saturday, May 20, features self-published zines, comics, chapbooks, and more from producers that include the Denver Zine Library and artists from Las Cruces and San Antonio, as well as Strangers Collective, Eliza Lutz, and Israel Francisco Haros López.

Organizer Bucket Siler said she became interested in zines in the 2000s.

In contrast to the zine scene’s ’90s heyday, she said, “I feel like the new generation is doing a lot of poetry and fiction and photography, whereas the ’90s was a lot of band zines, fanzines, personal zines, political stuff.

There is still all of that, but now people are making, like, cookbook zines, and the definition has just really widened.” She said that unlike the first wave of zine artists, who didn’t have the resources to create a blog, producers now make a conscious choice to step away from the computer and use specific tangible materials for their creations. “It’s retro. The idea of something being on paper is really novel and kind of countercultural. People are into the physicality of it more than ever, because of the internet.”

Producers generally keep prices low for their works to encourage sharing. “To me, accessibility is the thing,” Siler said. “Like, come to my reading and I’ll give you a copy of my poetry zine and you’ll give me yours. We want to share our ideas with each other, and if we were all charging 20 dollars for this thing, that would not happen.” The event features more than 100 zines, from political screeds and illustration to cookbooks to poetry and fiction, along with a performance by the Riot Grrrl-influenced collective Victory Grrrls. CCA is at 1050 Old Pecos Trail, 505-982-1338. For more information about this free event, see www .ccasantafe.org. — Molly Boyle

CO

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SANTA FE IS THE FIRST OF ONLY TWO INTERNATIONAL VENUES FOR THIS EXHIBITION

P OP RPO FRIDAY, MAY 26, 5:30–7:30 PM

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1–2 PM

With Isabel Seligman, Curator, Lines of Thought: Drawing from Michelangelo to Now: from the British Museum and Hugo Chapman, Simon Sainsbury Keeper of Prints & Drawings at the British Museum.

Included with cost of Museum admission.

  P  O  P    MRMM.OR · -- Leonardo da Vinci (1452–1519), The Virgin and Christ Child with a Cat, ca. 1478–81. Pen and brown ink and wash over stylus underdrawing.

1856,0621.1 © The Trustees of the British Museum.

PASATIEMPOMAGAZINE.COM

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Congratulations SFCC Class of 2017!

725 GRADUATES earned 874 certificates and degrees

View the graduation ceremonies on SFCC’s YouTube channel, youtube.com/sfccnm.

DEGREES & CERTIFICATES OPEN DOORS! summer and fall registration is underway TALK TO AN ADVISER TODAY 505-428-1270 | www.sfcc.edu 14

PASATIEMPO | May 19-25, 2017

Accessible | Affordable | Exceptional

STAR CODES

Heather Roan Robbins

DEEP CHANGES ARE AFOOT and momentum is building. We have the

opportunity to balance a healthy sense of responsibility with the ability to embrace change as Saturn, the planet of structure, security, and limitations, forms a trine with catalyzing Uranus. A trine is a collaborative aspect, and those supportive aspects offer an opportunity, insisting that we seize the potential of the moment.

The headlines could get exciting this week, but most of us will feel this opportunity on a subtler level. Areas of life that feel stuck or predictable may now begin to shift. But let’s not place bets on which direction yet, as the dice will still be rolling, and the results will be a mix of our effort, grace, and kismet. Be ready to move with purpose and intention if a door opens.

As the weekend begins, our feelings may be touchy under a sensitive Pisces moon. We might want some stress-free time to renew, but may still be nagged by a soul impatience with Venus in restless Aries and Mars in nervy Gemini. So let’s take every opportunity to refill the wells with the scent and feel of springtime.

The sun enters verbal Gemini on Saturday, and the energy begins to diffuse for the summer. The nervy and conversational energy of Gemini helps us finish final papers and part ways, adjusting to the new landscapes ahead. The moon enters Aries on Sunday and turns up the volume on our actions and our heart. Tempers spike when we feel thwarted. We may feel resistant to the boring and ordinary, but are ready to throw our energy into whatever grabs our heart and imagination.

FRIDAY, MAY 19: There are strong moods in the wind. One series of aspects asks us to look at the fundamental building blocks of our life, and questions how we use and misuse power. On the other hand, Venus in Aries opposes Jupiter — we might just rather be in love, expressing ourselves creatively and directly, or throwing a good party.

SATURDAY, MAY 20: Drift away and dream this morning. More practical elements call us midday as Venus semisquares the sun. We may feel creative discontent with ourselves, our wardrobes, our garden, or our politics.

SUNDAY, MAY 21: This is a proactive, get-it-done kind of day, though irritation and anxiety can spike easily around the edges. A Mercury-Mars semisquare this afternoon can sharpen our tongs and potentially increase our tendency to have accidents if we are careless. Breathe deep, relax, and stay on target.

MONDAY, MAY 22: An emotional morning meeting can cause intense reactions. Objectivity is scarce on the ground, and opinions run rampant.

t f h o e r L a ibrary e Y e h T Join us to celebrate the Southside Library’s 10th Anniversary May 20 11:00am-4:00pm

TUESDAY, MAY 23: Sudden changes can surprise us this morning as the moon conjuncts erratic Uranus in Aries. Let’s be light on our feet and ready to adjust, keeping in mind the potential for an exciting opportunity or shocking wake-up call. Follow through and get work done instead of having to put out fires.

WEDNESDAY, MAY 24: Reliability is important to us today; we need people to do what they say they are going to do, but to have patience about the process. Pluto moods kick in tonight, which means bittersweet melancholy for some of us.

THURSDAY, MAY 25: A thoughtful mood lingers today, with a funny lightweight buzz over some truly profound feelings. Hang in there. www.roanrobbins.com

Enjoy Mariachis, Wise Fool, booths and more!

Sign up for Summer Reading Program!

Santa Fe Public Library • 6599 Jaguar Drive PASATIEMPOMAGAZINE.COM

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PASATIEMPO | May 19-25, 2017

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IN OTHER WORDS book reviews

God’s Red Son: The Ghost Dance Religion and the Making of Modern America by Louis S. Warren, Basic Books, 496 pages The Ghost Dance was a Native American religious revival that ended in a mass grave of nearly 150 Lakota Indians at Wounded Knee, South Dakota.

Most of what is known as the Ghost Dance movement h appened over 18 89 a nd 1890. Across the West in Nevada, California, Oklahoma, and the Dakotas, Native Americans took up a prolonged, nearly nonstop ecstatic ritual of dancing, while spreading the message of a new prophecy that had come from the vision of a Paiute holy man in Nevada. Known alternately as Jack Wilson or Wovoka, the Native American preacher began spreading the religion beyond his reservation, as visiting Bannocks and Shoshones brought the dance and religion back to their homes in Idaho and Wyoming. By the summer of 1890, Arapaho, Lakota, and Cheyenne tribes began sending their holy men to Nevada to learn this new prophecy.

Many of the Ghost Dance’s new adherents proclaimed the imminent arrival of an Indian messiah.

But in the press, Ghost Dancers were demonized as religious warriors parading their “bulletproof shirts.”

They were besieged by the U.S. military, who came to view the religious dance as a thinly veiled call to arms.

In his new history of the Ghost Dance movement, historian Louis S. Warren explains how this peaceful prophecy, which also issued pan-Indian calls for assimilation — taking wage labor jobs, accepting reservation life, and adapting to American rule — came to be so tragically misunderstood by the American public and its military leaders as a frenzied prelude to war with whites.

The appearance of the Ghost Dance, amidst widespread removal to reservations, deadly epidemics, and many tribes’ increasing dependence on federal rations, wasn’t coincidental. In 1890, fewer than a quarter-million Native Americans were left in the entire U.S. The arrival of the Ghost Dance, the country’s first pan-Indian movement, was a spiritual assertion of Native Americans’ existence at a time when most Americans believed the tribes would soon cease to exist at all. “The Ghost Dance invited believers,” according to one Lakota, “to ‘be Indians’ again.”

For most of 1889 and 1890, the Ghost Dance remained a curiosity to the press, the military, and the American public. But in November 1890, fearful of losing a Republican Senate seat in South Dakota,

President William Henry Harrison ordered the U.S. Army onto the Sioux reservation to quell perceived unrest from the Ghost Dance. To carry out his orders, he appointed a zealot general who was hellbent on making this the country’s final Indian war. “With one-third of the entire U.S. Army descending on some of the most remote and impoverished communities in the United States, the ‘Ghost Dance War’ quickly became the largest military campaign since Lee’s surrender at Appomattox,” Warren writes.

The Army’s missteps were quick and calamitous. Within a month of their arrival, Lakota holy man Sitting Bull would be killed. Custer’s old regiment, reactivated, took fire on Lakota villages, losing 38 soldiers to tribal warriors who were masterful at close-range fighting.

The U.S. Army returned with a fusillade, culminating in the massacre at Wounded Knee, where at least 146 Lakota tribal members — many of them elderly — along with women and children, were cut down in a single day. The corpses that were not already frozen to the ground were piled into wagons and buried in a mass grave.

Warren’s command of the innumerable missteps that led to Wounded Knee is masterful, but the book’s

SUBTEXTS Poets corner: Jésus Castillo and Sonja Bjeli´c “This is a test. A set of margins created for company. For waiting in train stations or asking a stranger the time.”

Thus begins Jesús Castillo’s Remains (McSweeney’s Poetry Series, 2016), a book-length poem made up of stanzas that the author began jotting down on index cards seven years ago. While living in Berkeley and helping to organize ‘Lectric Collective, an exhibition collaborative between artists and poets, Castillo took an interest in the work of poets Ben Lerner and Ron Silliman.

“They were working on this thing called the serial poem, which was not a singlepage poem, but a long poem in sections, structured as a book,” he said. He decided to construct his own sprawling poem made from smaller fragments, written in intervals on the cards he carried around

real appeal lies in its exegesis of the Ghost Dance religion itself. The dance originated in 1869 in economically depressed western Nevada, where locally bound Paiute tribal members found themselves constantly moving to find food and work. This new religion was not quite accepted among older Paiutes, as it overturned the deep authority of traditional shamans.

With its apocalyptic tones and promises to restore the dead, the Ghost Dance bore a heavy resemblance to the Christianity that missionaries preached on reservations. But instead of being influenced by Christianity, Warren believes the Ghost Dance’s popularity, especially among the Lakota, was also because of its ability to heal reservation rifts between Native Americans who believed in the traditional spirits and those who had adopted the Gospels.

Ultimately, Warren’s goal with this book is to reintroduce the Ghost Dance religion not as the millennial cry of people pining for a glorious past, but as a faith that worked to secure its adherents a future place as Indians in a country that had tried to destroy them. “These were the victims at Wounded Knee: people who sallied forth courageously into the future to do the things that white people demanded without becoming who they demanded — that is, without becoming white,” Warren writes. “The people lost at Wounded Knee were not merely bodies to be counted, and they were not naïfs clinging to a vanished past. They were people trying to leave a familiar past and move toward a strange, hostile future.” — Casey Sanchez with him. The result is a disjointed but absorbing epic, divided into six sections and alternating between “we” and “I” narrations and musings that possess an itinerant dreamer’s sensibility. It is at once surreal and carefully observed, and the New Orleans Review calls it “a stark collage of voice, nature, and the breakdown of culture” with a “modernist, dystopian feel.” Castillo frequently rearranges the fragments of Remains when he reads aloud from it, as if shuffling a deck of cards. “To me,” he said, “the interesting parts are the jumps between stanzas, so messing around to see what different kinds of jumps you can find is cool.”

Castillo, who graduated from the Iowa Writers’ Workshop with an MFA in poetry, reads from Remains at 8 p.m. on Friday, May 19, at No Land (54 ½ E. San Francisco St., 541-844-6683). He is joined by Sonja Bjeli´c, who is pursuing an MFA in poetry at New York University, at this free event.

Bjeli´c, whose poems have appeared in Mud City Journal and Petri Press, is at work on her first book. — Molly Boyle

PASATIEMPOMAGAZINE.COM

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Molly Boyle I The New Mexican

S TA R T T H E

T

PRESSES

he rumors of independent book publishing’s demise have been greatly exaggerated, if you ask Stalking Horse Press publisher James Reich. Reich, who is also the chair of the creative writing and literature department at Santa Fe University of Art and Design, wrote to Pasatiempo, “We need small presses to keep literature vital, because the corporations owned by Rupert Murdoch or CBS, for example, aren’t particularly interested in literature.”

Though 80 percent of U.S. books are produced by the “big five” publishers — Penguin Random House, HarperCollins, Simon & Schuster, Hachette, and Macmillan — the overarching trend in publishing is to pay large advances and bet big on blockbuster debut authors, thus leaving less money to invest in a more diverse catalog of books. As a result, small presses are taking up the slack and publishing increasingly more well-rounded book lists — and readers are taking notice. Reich’s sentiments are echoed by a July 2016 article in The Atlantic (“American Literature Needs Indie Presses”), in which Nathan Scott McNamara writes, “In reorganizing the priorities of book publishing — by inventing new models rather than trying to repeat past success, by valuing ingenuity over magnitude, by thinking of sales as a way to make great books possible rather than the point — indie presses aren’t just becoming the places where the best books are published; they’re already there.”

INDIE PUBLISHING ON THE RISE Stalking Horse is one of two new publishers, along with the Nambé-based Called Back Books, that has recently entered into the Santa Fe literary landscape. They join a crowd of local presses that include Sunstone Press, Radius Books, Red Mountain Press, Twin Palms publishers, Terra Nova Books, Synergetic Press, and several other publishing companies that concentrate on niche and experimental markets.

Reich said, “Stalking Horse Press exists to publish the kind of literature that corporate houses refuse to take risks on, and that becomes marginalized due to its style, or content, or because the author just doesn’t ‘fit,’ even if their writing is profound and compelling.”

Reich, who is the author of Mistah Kurtz! A Prelude to Heart of Darkness (Anti-Oedipus Press, 2016) and two prior novels published by Soft Skull Press, cited the British writer Will Self’s viewpoint on the major houses, that “most people in publishing are working at a glorified photocopying shop, except that they put on insufferable airs.” Reich knows of what Self speaks, having worked as a bookseller for a decade before moving to the U.S., as well as moonlighting as a copy editor for academic presses. “I know the book trade, for better and worse, from all angles, dealing with agents, sales reps, editors, and the unsung people who hold it all together,” he said. With a list of 11 books

published or forthcoming from the press, Reich said he pays his authors royalties and modest advances for 2017 contracts, and requires contracted writers to select a humanitarian, charitable, or nonprofit organization to receive a percentage of the press’ own net profit from their book. Stalking Horse books are distributed by Ingram, the largest book distributor in the country, and available on www.stalkinghorse press.com as well as from the websites of Amazon and Barnes & Noble.

The Stalking Horse catalog reflects the eclecticism of Reich’s mission. The City, Awake (2017) by duncan b. barlow, is a “metaphysical noir” centering on Saul, a man who awakes in a hotel room with a mysterious note in his pocket. The Minneapolisbased literary journal Rain Taxi writes that D. Foy’s novel Patricide (2016) “rumbles with violence, even when there’s none to be seen on the page. A dark, brave, complicated tale, it speaks to the rages that linger in men through generations.” The forthcoming anthology Epistolary (to be released in October), edited by former Santa Fe Reporter editor and radio personality Julia Goldberg, features writers corresponding with other writers, living or dead. And on the poetry side, Jessie Janeshek’s The Shaky Phase (2017), which sports a sexy neo-noir cover featuring a blonde femme fatale in a glittery dress, is billed as a collection of “poems of vodka, velour, westernnature-trash, wolves, weird oscillations, and spectral shivers.”

Another emerging press, Called Back Books, begun by partners and poets L.M. Rivera and Sharon Zetter,

WE NEED SMALL PRESSES TO KEEP LITERATURE VITAL, BECAUSE THE CORPORATIONS OWNED BY RUPERT MURDOCH OR CBS, FOR EXAMPLE, AREN’T PARTICULARLY INTERESTED IN LITERATURE. — publisher James Reich

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PASATIEMPO I May 19-25, 2017

focuses on poetry in a hybrid, intertextual format, as is evident from their well-designed website, www.calledbackbooks.com, which has several hidden hyperlinks for browsers to discover. “For us, art-house films, philosophy, visual arts — they’re just as important to us as poetry proper,” Zetter said. She began the press in Brooklyn with Rivera, who grew up in Santa Fe. In 2016, the two moved to Nambé to be near Rivera’s family and continue the venture.

The couple spent a formative time in the thriving Bay Area poetry scene, of which Zetter said, “It’s not really sustainable as a working artist; it’s just very expensive. There’s a lot of politics that goes on, infighting.” Of Called Back’s avant-garde sensibility, she said, “We’re trying to struggle against ideas of coherence and accessibility. We take our lead from the philosopher Avital Ronell, who says, ‘To make things perfectly clear is reactionary and stupefying because the real is not perfectly clear.’ ” So far, that philosophy has manifested itself in chapbooks by three poets — Pablo Lopez, Adam Fagin, and Colby Gillette — and visual arts and poetry samplers that are featured on the website and on online lit and culture journals. Their releases are available to purchase online and in town at Op.Cit Books and The Good Stuff. Called Back Books’ striking visual signature is reflective of Zetter’s day job as a book designer at Omnidawn Publishing, a well-established indie press that counts such notable experimental poets as Dan Beachy-Quick, Rosmarie and Keith Waldrop, Calvin Bedient, Martha Ronk, and Lyn Hejinian among its authors. (Rivera’s first book is out from Omnidawn in the fall.) On Sunday, May 21, Called Back celebrates the launch of its first full-length book release, Occident by Gillian Olivia Blythe Hamel, with an appearance by Hamel at local poet Mike Young’s reading series Wu on the Range (named in honor of Young’s cat). Other readers include local poets Catherine Meng and Bailey Schaumburg, along with music from Theo Krantz of the band Cry Like Donna. (The event is held at a residence; email mikeayoung@ gmail.com for information.)

On the potential for a burgeoning new literary scene — perhaps given a boost by these two presses — Zetter pointed to Santa Fe’s legacy of playing host to experimental poets such as Robert Creeley. “Nathaniel Tarn is here, Mei-mei Berssenbrugge is here — they are writers who are on the contemporary pulse and writing really interesting avant-garde poetry, but they are all sort of spread out.” With Called Back’s forthcoming events and publications, she looks to “the goal of creating a living, growing community of people who are interested in getting together and talking about film, talking about contemporary art, sharing works with each other, and pushing those boundaries of what it is that people think of when they think of Santa Fe. There’s a characterization of the kind of poetry or the kind of art that is pervasive here. We are interested in engaging with that but also moving it in a different direction and seeing what happens.” ◀

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album reviews

LAURA MARLING Semper Femina (More Alarming Records) British singer-songwriter Laura Marling has been releasing records since she was seventeen, steadily expanding her ambition with each release.

After playing mostly solo acoustic folk and lush, sprawling Americana early in her career, she nestled snugly into the space between Nick Drake and Joni Mitchell on albums such as 2013’s brilliant Once I Was an Eagle. Marling is now twenty-seven, and her latest album expands her palette further. Strings and snare drums reverberate heavily, complemented by a colorful array of instruments that recalls the lush, playful textures that producer Jon Brion created for Aimee Mann and used to accompany films such as Eternal Sunshine of the Spotless Mind. Songs like the intoxicating “The Valley” swirl about in slow-burning jazz similar to the music of Van Morrison, while closing track “Nothing Not Nearly” finds her scat-singing across fuzzy indie-rock. Marling’s singing, multi-octave and highly proficient yet casual and conversational, remains the focal point of her recordings, and she trains it on observational character sketches here. Always an empathetic songwriter, Marling began Semper Femina as an attempt to write about women from the male point of view until she realized it was all her own perspective and introduced multiples layers of insight on cross-gender relations. Enveloped in lovely arrangements and drawn with evocative storytelling, this album is a cocoon that you can wrap yourself in. — Robert Ker METQAL QUENAWI Metqāl Quenāwī (Akenaton) Beginning at age nine in the Nile city of Luxor, Metqaˉ l Quenˉawˉi spent much of his life preserving the musical traditions of the fellahin, or farm laborers, of southern Egypt. After his death in 2004, there was a renewed interest in his music. The four untitled tracks here, ranging from a sprightly four-minute opener to a sprawling 20-minute composition, may not make sense as a traditional album. But taken together, the songs are stunning illustrations of the sounds of rural Egypt. The opening track deserves its slot, with catchy, melodic hooks. The third song features a high-pitched call-and-response chorus that chirps over Quenˉawˉi’s thunderous vocal range. But new listeners may want to head straight to the epic closing track, with its everything-and-the-kitchen-sink array of guest vocalists, mizmar flute solos, frenetic finger-cymbal percussion, and ululating female choruses. This music is purely analog, powered by propulsive tabla drumming and Quenˉawˉi’s hypnotic command of the rebab — a Bedouin violin made from a coconut shell, animal hide, and three strings played with a horsehair bow. It also carries a whiff of controversy, long associated with the ghawazi belly dancers of rural Egypt, whose presence scandalized 19th-century Egyptian elites. But Quenˉawˉi’s virtuosity brought him to popularity in Paris and eventually, respectability in Cairo.

— Casey Sanchez

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Coro de Cámara presents

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Chorus, piano, and guest string quartet perform works by Brahms, Dvořák, and Fauré.

Friday, May 19, 7 p.m.

The Immaculate Heart of Mary Chapel, Santa Fe

Saturday, May 20, 7 p.m.

The United Church of Los Alamos

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The Unitarian Church of Los Alamos

Nylea Butler-Moore, Artistic Director • Nathan Salazar, Pianist Admission at the door: suggested $20 adults, $10 students

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PASA REVIEWS BALANCED ACT Chatter Trio

San Miguel Chapel, May 12 Founded in 2002, Chatter has grown into a busy enterprise mostly devoted to performing chamber music in Albuquerque. Three of its stalwart members — violinist David Felberg (who co-founded the group), violist Shanti Randall, and cellist James Holland — have coalesced into a self-standing subensemble as the Chatter Trio, and they paid a visit to Santa Fe on May 12 for a recital in the historic San Miguel Chapel.

The group introduced itself through the supreme work of the string trio medium, Mozart’s Divertimento in E-flat major (K. 563). The work’s name may seem to imply lighthearted triviality — the Italian divertire means “to amuse” — but in fact this is a serious masterwork that happens to follow the form of a standard divertimento. That means that extra minuets (in this case, two) are interlaced among the usual four movements one would expect to encounter in, say, a Classical string quartet, and the result is the longest of all Mozart’s chamber compositions. The Chatter players kept it alive throughout its six movements.

They were exceptionally adept in their treatment of rhythm. Many soloists and small ensembles come up short in that department, particularly by cutting short the rest at the end of phrases and rushing on to the next idea. The Chatter Trio, however, gave every rest its full and proper duration and emphasis. Perhaps it seems a backhanded compliment to single out the moments when the group was not actually playing, but I don’t mean it in that way. I mean instead that during the pulses when Mozart inhaled rather than exhaled, the group did not stop making music.

The musicians proved generally extroverted in their approach. As they move ahead, they might focus on expanding their dynamic range on the soft end of the spectrum, which would pay particular dividends when playing in a small and lively space.

Now and again, the viola was overly prominent in the sonic mix, at least partly due to the chapel’s

particular acoustic. Still, you can hardly begrudge a violist for letting loose in a piece like this, given the subservient role that instrument must often play.

Randall filled the first Trio of the second Minuet with particular delight. The group reached its pinnacle in the fourth movement, a set of Andante variations in which they energized the instrumental texture through unflagging attention to details of balance and timbre.

The second half of the David Felberg concert featured two contemporary works. Vision Mantra, composed in 2009

by Marcos Balter (a Brazilian living in Chicago), was inspired by the soaring decorative ceiling of the Chicago Cultural Center. That translated into prismatic music in which the three instruments emitted vaporous sounds in simultaneous bursts, rather than contrapuntally, as if they were flinging handfuls of fairy dust. Once one started to notice Stravinskyian sounds, they emerged quite a lot from the work’s surface, particularly recalling Petrushka and the Three Pieces for String Quartet. The piece had a happy mien and filled its six minutes pleasantly.

More substantial was Companion Guide to Rome,

by Andrew Norman, who has been rising quickly through the ranks of American composers under forty. In 2017, he both won the Grawemeyer Award and was named Musical America’s Composer of the Year — notable feathers in his cap. A recipient of the Rome Prize about a decade ago, Norman crafted each of the nine movements of this half-hour piece to illustrate (or otherwise represent) a different church in the Eternal City. It opens with take-no-prisoners vehemence that recalls George Crumb’s string quartet Black Angels — in this case, apparently having to do with the mortifications and ecstatic visions of

Shanti Randall

James Holland

St. Teresa (here just “Teresa,” since Norman is on a casual first-name basis with his saints). Indeed, there is something Crumb-like about this cycle as a whole, though without the incantatory quality one might expect from that composer. The movements employ a number of extended string-playing techniques, which are summoned up selectively for emotional effect. Harmonics and whistle-tones are all over the place. So are microtonal shadings of pitches, which sometimes sneak through the “in between” spaces in chord progressions. The instrumental effects endow each movement with its own flavor: a shuddering viola (in “Susanna”), violin-cello interactions that suggest bell-ringing (in “Pietro”), deep bowing of unctuous weightiness (in “Lorenzo”), the violin’s fluty lyricism (in “Cecilia,” played by Felberg with his back to the audience). But on the whole it is a captivating work, an emotionally intense entry in the catalogue of a composer who does not shy away from complexity.

Chatter Trio brought seriousness of purpose and fine musical insight to all three works. Music lovers will look forward to watching this New Mexico group go on growing as they work through the substantial but underrepresented corpus of music for their ensemble. — James M. Keller

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RANDOM ACTS Blue roses: The Glass Menagerie

Suzanne Lederer and Robyn Rikoon

Honoring the legends: Carla Van Blake

Carla Van Blake is the featured performer for the Friday, May 19, gig at Museum Hill Café. Van Blake was raised on jazz. “My parents moved me to a remote area in Nigeria when I was eight years old,” she said. “My father took his jazz collection with him, so I grew up listening to Ella Fitzgerald, Dinah Washington, Sarah Vaughan, Carmen McRae, and Nina Simone. Since that’s all we had in terms of music, I got pretty well marinated in that genre. Most children were listening to the Beatles and the Rolling Stones, but I was listening to jazz classics.” Van Blake was a Cornell University-educated software engineer for a few decades, but these days she’s singing full-time. “I was just waiting to retire so I could enjoy life.” On this date, she sings alongside drummer John Trentacosta, bassist Andy Zadrozny, and pianist John Rangel. The vocalist dips into the résumés of the jazz divas she loves and also sings originals ranging from one she wrote in 1993 to one she penned just three months ago. Doors at the café (710 Camino Lejo) open at 6 p.m. and the music starts at 7 p.m. Tickets are $25 for this Santa Fe Music Collective event; call 505-983-6820. — Paul Weideman

Tom Wingfield works in a shoe warehouse and lives in a rundown apartment with his overbearing mother, Amanda, and his shy, sickly older sister Laura, in Tennessee Williams’ 1944 autobiographical stage classic, The Glass Menagerie. Amanda wants to marry off her daughter to whatever gentleman caller will have her; Laura wants to polish her collection of glass animals; and Tom wants to leave them both behind. He brings a dinner guest into this abode of quiet desperation. New Mexico Actors Lab presents The Glass Menagerie, directed by Robert Benedetti, at Teatro Paraguas Studios (3205 Calle Marie, 505-424-1601).

Performances are at 7:30 p.m. on Friday, May 19, Saturday, May 20, and Thursday, May 25, and at 2 p.m. on Sunday, May 21, and continue through June 4. Tickets are $20 (discounts available); visit www.nmactorslab.com.

— Jennifer Levin

THIS WEEK

Psalm setting: Santa Fe Symphony

Everybody knows the first four notes of Beethoven’s Fifth Symphony, but the rest of the piece is pretty good, too. Guillermo Figueroa leads the Santa Fe Symphony in this classic work to conclude the group’s 33rd season, at 7 p.m. on Saturday, May 20, and at 4 p.m. on Sunday, May 21. Also on the program are a pair of works in which the orchestra is joined by the Santa Fe Symphony Chorus. Morten Lauridsen’s Lux aeterna, composed in 1997, is a characteristic example of that composer’s hyper-conser vative but comforting style, which has endeared him to choristers and those who love them.

Much of Felix Mendel s s oh n’s large production of choral music also has a conservative bent compared to the edgier music of the 1820s, ’30s, and ’40s. Alt hough one would like to hear more of his choral output performed regularly, one cannot really argue with his opinion that his large-scale psalm settings for chorus and orchestra rank among the best of it. This performance will include his Da Israel aus Ägypten zog, an imposing setting of Psalm 114 for double chorus and orchestra composed in 1839.

The concert takes place at the Lensic Performing Arts Center (211 W. San Francisco St.).

Tickets ($20-$80) are available from the Symphony directly (505-983-1414) or by visiting www.ticketssantafe .org or calling 505-988-1234.

Guillermo Figueroa — James M. Keller PASATIEMPOMAGAZINE.COM

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Michael Wade Simpson I For The New Mexican

THE LONG & WINDING ROAD JESSICA LANG DANCE

Jessica Lang Dance company members in Her Road; photo Milan Misko

“Two walls of my room in the Abiquiú house are glass and from one window I see the road toward Española, Santa Fe, and the world.” — Georgia O’Keeffe, 1976

I WAS INSPIRED TO CREATE A PIECE BASED ON GEORGIA O’KEEFFE — THE WOMAN AS WELL AS THE ARTIST. I WANTED TO MAKE A POINT ABOUT THE AMERICAN TRADITION OF WOMEN MAKING GREAT ART.

— CHOREOGRAPHER JESSICA LANG

G

eorgia O’Keeffe created a series of paintings featuring the view from her window in Abiquiú. In 1963’s Winter Road I, painted when the artist was in her mid-seventies, all that is left of the landscape is a long black calligraphic squiggle on a field of white. This “road” will be recreated with a roll of tape at the Lensic Performing Arts Center, an appropriately stripped-down scenic element in Jessica Lang’s 2017 Her Road. Jessica Lang Dance will perform the piece on Tuesday, May 23, in a program of mixed repertoire.

“I was inspired to create a piece based on Georgia O’Keeffe — the woman as well as the artist,” Lang said.

“I wanted to make a point about the American tradition of women making great art.” Lang, who graduated from The Juilliard School and danced with Twyla Tharp, has created nearly 100 dances for companies throughout the world, including American Ballet Theatre, Pacific Northwest Ballet, Birmingham Royal Ballet, the National Ballet of Japan, and Joffrey Ballet.

Her company, formed in 2011, is ending a 29-city tour in Santa Fe. “I consider myself a visual artist,” Lang said. “I paint and sculpt with movement. I create an environment with music and intention, lines that travel through space.” She said that she had visited the O’Keeffe house and found herself drawn to the simple things there — the shapes of doorways, the stepping

stones leading to the door, the windows O’Keeffe had built into the walls of the old adobe structure she remodeled. Looking out those windows, seeing what O’Keeffe saw every day, offered a dichotomy for the choreographer around the idea of home versus the outside world. “It was a quiet and reverent experience. It felt personal. I enjoyed it very much. I can understand the value of being quiet. Quiet time is important to find,” Lang said.

Many of Lang’s pieces include interactive sets, with dancers manipulating large pieces and props.

The Calling features a dancer in a dress that fills up the entire stage. The choreographer has also incorporated animation and projections into some of her latest works. “She likes to add visual elements beyond dancers and dance steps,” said Julie Fiorenza, who has performed with the company since its founding.

“In rehearsal, she’ll talk about the inspiration for a piece, whether it’s a poem, music, or a painting. As we work, we focus on all the possible theatrical elements of a dance.”

As a choreographer, Lang’s taste in music runs to the classical. Her 2014 piece, The Wanderer, translated Schubert’s song cycle Die schöne Müllerin into dance.

For Pacific Northwest Ballet, Lang created another O’Keeffe-inspired dance, Her Door to the Sky, in 2016, to music by Benjamin Britten. For Her Notes, made for American Ballet Theatre, Lang was drawn to the music and story of Fanny Mendelssohn Hensel, whose music was overlooked during her lifetime, in the 1800s, overshadowed by the work of her brother Felix. She wrote more than 400 works for piano, the instrument she had access to in her home. The music Lang selected for Her Road came from a CD the Georgia O’Keeffe Museum put together of music the artist was known to paint to — Beethoven’s Violin Sonata No. 5 in F Major.

“The piece is very musical and captures the mood — how I feel when I view her Road paintings,” Lang said.

Lang’s theatrical abilities have given her opportunities in the field of opera. In 2013, she made her directorial debut with Pergolesi’s Stabat Mater for the Glimmerglass Festival, and in 2016, she provided the choreography for Verdi’s Aida at San Francisco Opera.

The San Francisco Chronicle described Lang’s work in the latter as a “taut, confrontational” exploration on the theme of rape.

In a recent conversation in The New York Times, three choreographers — New York City Ballet’s Justin Peck, Christopher Wheeldon of London’s Royal Ballet, and American Ballet Theatre’s Alexei Ratmansky — were asked about the dearth of women choreographers in classical dance. “I don’t see it as a problem,” Ratmansky said. “Besides Crystal Pite, Jessica Lang and Annabelle Lopez Ochoa are among the very best now. And Graham and Nijinska are still performed. I’m sure that if new, interesting talent arrives and is a woman, she will have equal opportunities.”

Lang weighed in: “I get asked the question a lot: ‘Why are there no great female ballet choreographers today?’ My answer is, ‘I don’t analyze. I just do.

Making dances is the important part.’”

details Jessica Lang Dance, mixed-repertoire program 7:30 p.m. Tuesday, May 23 Lensic Performing Arts Center, 211 W. San Francisco St. $20-55; 505-988-1234, www.ticketssantafe.org

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PASATIEMPO I May 19-25, 2017

Paul Weideman I The New Mexican

LO NG

D I V I S IO N BORDER

CAN TOS

photographer Richard Misrach’s 13 years of taking pictures along the United States-Mexico border, he has seen all kinds of landscapes and fences and detritus.

“The artifacts you see have a lot of different explanations,” he said by phone from his home in California’s Berkeley Hills. “Basically people have walked a long way from Central America and Mexico, and their clothes are filthy, and they often dump them after they’re across the border, because they bring fresh clothes with them.

Also the Border Patrol has been known to make people dump whatever they have when they find them. You see backpacks and tennis shoes, religious icons and Bibles, and all kinds of things strewn along the border.”

In the 2016 book Border Cantos (and an accompanying exhibition that opens at Pace/MacGill Gallery, New York, June and hangs on 28 through Aug. 18), Misrach’s photos are presented alongside instruments created from border artifacts by California experimental composer Guillermo Galindo. His Teclata “keyboard” has a base made of Border Patrol ammunition boxes and finger-operated keys that activate found objects: empty bottles, cans, and a plastic cup. Ángel exterminador (Exterminating Angel)) is a gong made from a twisted sectio on of om a steel border wall suspended fro frame.

Galindo made wo wooden tw instruments from a bicycle that reportedly was run over by the Border Patrol to sabotage its use for transportation.

“Combining Richard’s imagess with my sounds provides informatiion of a place or a circumstance where w everything is possible, even deeath,” continued on PPage 32 Teclata, 2014, opposite page, Wall, Nogales,, Arizona, 2013; all images from Border Cantos, Aperture, 2016, ©Richard Misrach; courtesy Fraenkel Gallery, Pace/MacGill Gallery, and Marc Selwyn Fine Art

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Nogales, Arizona (detail), 2013; opposite page, Effigy #10, near Jacumba, California, 2009

Border Cantos, continued from Page 31 Galindo said. “The absence of the owners of the items who make my instruments complements Richard’s human-less space. The imagination of the viewer or listener then creates the story.”

The story certainly includes death. Some of the artifacts one sees along the nearly 2,000-mile border most likely belonged to individuals who have made good lives for themselves in the U.S., but the owners of other items did not last long walking north through the deserts of California, Arizona, New Mexico, and Texas. A May 4 story in The New York Times, “A Path to America, Marked by More and More Bodies,” said the Border Patrol documented 6,023 migrant deaths between 2000 and 2016. The wall and fence sections that currently exist — much of them built as a result of President George W. Bush’s 2006 Secure Fence Act — are dramatic additions to the landscape when seen through Misrach’s lenses, but do little to deter passage. Border Cantos reproduces a still from Roy Germano’s 2009 film The Other Side of Immigration, in which two teenage girls are shown climbing to the top of a border wall in less than 18 seconds. “You can go over the wall really fast,” Misrach said. “Let’s just say you can efficiently build a huge wall like the Great Wall in China — but even bigger, from San Diego to Texas — then the drug cartels will fly things in. They will bribe people. I’ve heard stories that I can’t give the source of. On the California border, the wall goes into the ocean. People go visit family three times a year and they take a Jet Ski around and they give the Border Patrol agent $3,000.

“With money, you can find a way to do it. They sling a baseball filled with marijuana over. I found a doll’s head with a rope attached that they obviously 32

PASATIEMPO I May 19-25, 2017

had filled with drugs. We’re spending billions of dollars for this security and it doesn’t work. It’s not an efficient way to deal with the problem. Workers are coming over because there are jobs here and as long as our economy needs them, they will find a way to get here. Drugs are the bigger issue and as long as the U.S. is buying, they’ll find a way. If we could figure out a way to control the drug problem here, we’d put the cartel out of business.

“The wall is just a small obstruction. It’s a political spectacle, that’s all it is. What a waste of taxpayer resources that could go to education, toward infrastructure, toward fighting terrorism.”

My sonic devices tell me how they want to speak. I allow them to say what they want to say and what they can say. They have lots of possibilities and also lots of limitations, because they are very raw instruments.

— composer Guillermo Galindo Border Cantos is quite a document of the borderwall habitat. The scope of the work can be rather overwhelming, and the viewer appreciates Misrach’s division of the work into cantos (photo suites). Among them are Agua, which zeroes in on the barrels of water that are placed in the desert by humanitarian groups; Artifacts, the clothing, backpacks, toothbrushes, and other debris left by migrants; Target Practice, photos of Border Patrol targets and the messes of spent shells on the ground; and one named after the Effigies that Misrach encountered near the California-Mexico

border. These are scarecrow-like figures made of migrant clothing on agave stalks that could be warnings or creative sculptures or epitaphs or signs of protest — neither their makers nor their purpose are known.

Like most of Misrach’s photographs, the Effigies works are stunning in their clarity, even when they’re presented as huge prints.

Asked about his equipment, the photographer said one photo in the book dates to 2004 and was taken with an 8 x 10 view camera; for many decades this was the instrument of choice when you wanted to render your subject in crisp detail.

But every other photo in Border Cantos was taken with digital cameras. “Some of the prints in a museum traveling exhibition are 12 feet long and were shot with a medium-format Hasselblad digital camera. The quality has surpassed the 8 x 10 now. And a lot of the artifacts I shot with my iPhone.

I’m able to work with the iPhone in places like the Border Patrol shooting range, where I could get in and work fast and get really adequate imagery.

That was fantastic.”

Misrach became aware of Galindo’s project of making musical instruments out of human border detritus in 2012, and after that he would sometimes bring Galindo items that he found on his wallphotography expeditions. In his text for the book, the composer writes about the “intimate connection between an instrument and the material from which it was made” in the pre-Columbian world, along with the idea that “Mesoamerican instruments were talismans between worlds.” Accordingly, his sonic devices are all about the organic: Their materials and sounds are of the same cloth. His Ropófono was designed to amplify the sound of a loop of discarded clothing as it turns on a loomlike device. The Piñata de cartuchos is a large shaker instrument based on a soccer ball found along the border and with shotgun shells harvested from a Border Patrol shooting range fastened by small chains as noisemakers. And Tonk is a trumpet made from a Border Patrol flashlight; it is named for a derogatory border-agent name for migrants, based on the sound of a flashlight hitting a head.

The sounds made with these instruments can seem minimalistic and chaotic, but Galindo emphasized that he is allowing them to have their own voices.

“My sonic devices tell me how they want to speak.

I allow them to say what they want to say and what they can say. They have lots of possibilities and also lots of limitations, because they are very raw instruments. You have to sit down with them and become their friend. Once you do that, you will find how they talk and what they want to say.”

He can be heard playing some of them at www .bordercantos.com. And what’s going through his

head when he’s playing? “I pay so much attention to gesture and sounds that all of a sudden I’m not aware of anything around me,” he said. “Nothing goes through my mind. Any outside thought could be disrupting. It’s like being in a trance. Except for the art of meditation, I cannot think of anything similar to the process of making music with these instruments. It’s about extracting the sound, feeling it, and moving with it. It’s completely giving myself to the expression of the instrument.

“I do know how to write a conventional Western orchestral piece for woodwinds and strings, for example, but what got me into what I’m doing here is what we call the extended playing techniques of late 20th-century composers, playing instruments in alternative ways and developing timbre. The basic principle that I use to tune the strings is that tension equals tension. When the strings are tighter, they talk

with a strained voice, a brighter voice, and when they are looser, they talk with a softer voice.

“There are also peculiarities: I noticed that, for a millisecond, the strings of [the instrument he titled] Effigy tend to go slightly off tune once you strike them. The slight detuning varies with different tuning tensions. I play with those kind of accidents as well.

Also, the best part of making your own instruments,” he said with a laugh, “is that nobody’s going to tell you how to play them.”

After the completion of Border Cantos, Misrach worked on two new series, his Desert Cantos 38 and Desert Cantos 39. “One is called Premonitions. I went back over work I did since Obama was elected, and I’ve culled work that I shot and never printed that suddenly makes sense now, that kind of suggests what’s going on in the dystopic underside of America.

The other canto is The Writing on the Wall, which is

basically people’s writings on abandoned buildings in the American Southwest that talk about the election. There’s a lot of Nazi and racist stuff, a lot about Trump. That will be opening at the Fraenkel Gallery in San Francisco in July.”

Misrach is raising money for organizations, including the Arizona groups No More Deaths and the Colibri Center for Human Rights. “Colibri finds skeletal remains in the Arizona desert. Through DNA, they try to find out who they were and try to reconnect with their families. No More Deaths puts out water in remote areas where there have been a lot of deaths. These are humanitarian groups that do such good work, but they keep a very low profile, and they’ve been a big inspiration for me.”

“Border Cantos” by Richard Misrach and Guillermo Galindo is published by Aperture.

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Paul Weideman I The New Mexican

BORDERLINE

PERSONALITY R O N A L D R A E L’S M A N I F E S T O F O R T H E U. S. - M E X I C O B O U N D A R Y

orderwall as Architecture: A Manifesto for the U.S.-M Mexico Boundary is filled with what author Ronald Rael calls “un n s olicited counterproposals” for t he fences and walls along much of the Mexico-United States border. One of the most interesting is Swing Wall.

On each of this proposal’s swings, a person from each side of the border sits in the end of a long rectangular box hanging from a support at the top of the wall. The box swings through a slot in the wall, transporting the riders back and forth between the two countries. “These propositions emerged from realities that exist,” Rael said. “The border has historically moved and shifted back and forth in some places.”

In his book, published by University of California Press, he explains that most of the border between Texas and Mexico was posited by the 1848 Treaty of Guadalupe Hidalgo to be in the center of the Río Grande/Río Bravo del Norte. But after a quarter century, the river section that separates El Paso and Ciudad Juárez had shifted south, adding about 600 acres to the United States. Mexico’s justifiable protest was not relieved until 1964, when more than half of the land was given back and American families who had built homes in the disputed area were obliged to move. Both countries subsequently paid for a concrete channel to prevent future problems.

“Swing Wall is just an architectural expression of this idea that for a historical moment you can be in another place,” said Rael, an 11th-generation New Mexican who is an associate professor of architecture and art practice at the University of California, Berkeley. The heart of his new book is populated with creative ideas for the wall, and many of them were memorialized by Rael with the production of souvenirs or recuerdos that look like little snow globes.

Rael was surprised to see Borderwall as Architecture released at a time when a new U.S. president is 34

PASATIEMPO I May 19-25, 2017

This book is a protest against the wall — a protest that employs the tools of the discipline of architecture manifested as a series of designs that challenge the intrinsic architectural element of a wall charged by its political content.

— Ronald Rael clamoring for a tall steel wall. “These are really stories about the existing wall and ways to fix those landscapes; they’re not meant to be proposals for new walls,” he stressed. He began work on the book project 13 years ago. “There have been plenty of presidential contenders who had crazy ideas for the wall, and I mention Herman Cain’s idea of the electric fence to shock people, but I didn’t mention Trump because Above, souvenir or recuerdo of the Bicycle and Pedestrian Wall

he was only talking about building a big, beautiful wall, and I didn’t want to call attention to that — and I didn’t think it was ever going to happen. This is kind of a field guide to the wall that already exists, but it could also be a guide about what to do and not to do in the future.”

The book offers drawings, models, stories, anecdotes, and essays, as well as speculations. In his introduction, titled “The Revolting Door,” he writes, “This book is also a protest against the wall — a protest that employs the tools of the discipline of architecture manifested as a series of designs that challenge the intrinsic architectural element of a wall charged by its political content.” Rael documents efforts by the U.S. government, including Fence Lab, for which $12,500 a day for eight weeks was spent testing fence designs, and the Border Patrol strategy of smoothing the dirt on border paths by dragging tires behind trucks so the footprints of migrants will be easier to see; and efforts by Mexican people to get over or under the wall. A section on “Projectiles” details not only the practice of cartel lackeys using catapults to deliver marijuana packets over the wall but the 2005 feat of human cannonball David Smith Sr., who was shot over the border, passport in hand, from Tijuana to San Diego. Asked why he did it, Smith said, “I did it for the money — I get paid!”

A nice capitalistic motive. “Yes,” Rael said, “but also the reason why many come to the United States is motivated by improving qualities of life. The irony there is that a white guy is allowed to be launched over carrying his passport, to make money, as spectacle, but hardworking people that are the base of the American economy are not.”

Rael’s “counterproposals” would subvert the government’s intended use of the wall — keeping people out — by engaging both sides in dialogue and other socially beneficial functions. His Bicycle and Pedestrian Wall is surmounted by a screen-enclosed pathway to facilitate east-west travel. The ideas run into the realm of pure delight in his Xylophone Wall. Instead of walls

erected “as a manifestation of the irrational fear of that which is foreign,” how about using resonant posts that could be played by people on both sides? It could be the world’s largest xylophone. Teeter-Totter Wall is somewhat similar to Swing Wall and would represent “the mutual give-and-take required of two nations whose economic success literally hinges upon their relationship with each other.”

One “engagement” covered by Rael that already exists is the Invisible Wall by artist Ana Teresa Fernández. “She paints the border fence in such a way that it looks like it disappears. It’s really magical.

It looks like there’s an opening in the wall. People in Tijuana have become so proud of this wall that they don’t allow graffiti or anything else to happen to it. There’s an irony embedded in that that I think is really beautiful. Let’s say a president in the future says, Let’s tear down the wall. I think the community would rally trying to save that section. But they would be keeping a section that’s ‘invisible.’ ” Shared use is a hallmark of many of Rael’s proposals.

Burrito Wall has built-in seats on both sides so people can eat and talk. “When I began this, I just started to list terms that had the word ‘wall’ in them and one of them was ‘party wall,’ which divides two buildings and is often shared between both spaces. So I thought a wall could be half-owned and the people could engage it from both sides and take ownership of it.”

From top, Teeter-Totter Wall drawn on original plat of U.S. Mexico border; section of Swing Wall; all by Rael San Fratello studio; residents of Naco, Arizona, and Naco, Sonora, play volleyball during 2007 Fiesta Binacional, courtesy Corbis Images/ Jeff Topping; all images courtesy University of California Press

in 1957. Another mutual activity already going on is “wall y ball” — over-the-wall volleyball. “Sometimes I make these drawings or these little souvenirs to sort of memorialize and sometimes I do it to hyperbolize, as souvenirs sometimes do. You know, we visit the tallest building in the world, and we remember it and we collect it with a snow globe. We wanted to present these proposals in a way that somewhat diminishes the wall, but also to just memorialize those very important moments when people’s interaction was more important than the biggest construction project of the 21st century — you know, this humble act of whacking a ball and having some fun brought people together, and I think that’s important to remember.”

“Borderwall as Architecture: A Manifesto for the U.S.-Mexico Boundary” by Ronald Rael was published

by University of California Press in April.

If Trump finds the money and support for a TexasMexico border wall, it would cut off great swaths of American landowners’ property, and their access to the Río Grande. “This is an interesting conundrum, because the wall is always built on American soil and because construction has to take place on both sides of the wall, the other side would be on American soil,” Rael said. “And sometimes it’s constructed three miles into the United States so there are tens of thousands of acres on the other side of the wall that are in the United States. Even now, there are people who have to check in with key codes and then giant steel gates open up so they can get to their house.”

One of the architect’s favorite stories having to do with border barriers is about the races that took place between horses running on either side of the fence at Douglas, Arizona, and Agua Prieta, Mexico, beginning PASATIEMPOMAGAZINE.COM

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Another round: Liev Schreiber and Elisabeth Moss

If it bleeds, it leads CHUCK, drama, R, Violet Crown, 2.5 chiles If casting were all that mattered, this film coulda been a contender. Liev Schreiber plays Chuck Wepner, the New Jersey heavyweight known as the Bayonne Bleeder (the movie’s original title was The Bleeder) who earned himself a measure of local legend by going (almost) 15 rounds with Muhammad Ali (Pooch Hall) in 1975. Ali finished him off on a TKO with 19 seconds left in the fight, and Wepner’s face a mask of gore.

Schreiber is a fine actor. In his loud checked jackets and Sonny Bono mustache, he captures the spirit of the man and the place and the era, and he trained himself into plausible fighting shape for this role; but no amount of acting chops and friendly makeup can disguise the fact that at nearly fifty, he’s more than a dozen years older than Wepner was when he stepped into the ring that night.

Chuck Wepner had a day job peddling liquor to New Jersey bars, where he spent a lot of time, and a wife and young daughter at home, where he didn’t. Mad Men’s Elisabeth Moss gives the movie’s standout performance as Wepner’s wife Phyliss, and a scene where she finds her errant hubby in a diner with a bimbo is as much of a knockout as anything Chuck ever dished out.

The Ali fight proves Wepner’s undoing. Welcomed back to the neighborhood as a hero after nearly going the distance with the two-time champ, he slides into a life of wine, women, song, and a blizzard of cocaine. Surrounded by pals like his manager (Ron Perlman) and his best friend (a likeable Jim Gaffigan), and a motley crew of hangers-on, his life hits the canvas.

Then the movie Rocky comes out, and Wepner recognizes himself, correctly, as the model for Sylvester Stallone’s punch-drunk hero.

He engineers a meeting with Stallone (beautifully played by Morgan Spector), who greets him with open arms and even invites him to come audition for a small part in Rocky II. Had Wepner put even a quarter of the effort into preparing for the audition that he did into training for the Ali fight, it’s clear Stallone would have bent over backward to find a spot for him in the movie. But Chuck blunders in unprepared, stoked on coke and bluster, and blows his chance.

The other acting heavyweight in this life story is Naomi Watts, who makes the most of a few scenes as a tart-tongued bartender who won’t give the champ a tumble until he’s single and ready to reform.

Canadian director Philippe Falardeau (Monsieur Lazhar) has crafted a cautionary tale, told with affection and a lacing of regret, about a man of limited capabilities but a good heart. It’s not on the level of the great boxing movies (like Requiem for a Heavyweight, Wepner’s muchviewed favorite), but it manages to hang in there doggedly for a few rounds. — Jonathan Richards

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Fall guy: Richard Gere

Flimflam man NORMAN: THE MODERATE RISE AND TRAGIC FALL OF A NEW YORK FIXER, drama, R, Center for Contemporary Arts, 2.5 chiles Richard Gere plays Norman, the eponymous hero of this archly named character study of a flimflam man who suddenly finds himself operating at an unaccustomed altitude and gasping for breath. Gere is garnering fine reviews for this performance, and one’s appreciation or tolerance for the actor’s idiosyncrasies will provide a pretty accurate gauge of one’s reaction to this quirky New York tale.

A con man has to inspire confidence. That’s pretty basic to the job description, and Gere, for me, has always had a smile that seems to hurt his face. When Norman glad-hands, the hands seem more sweaty than glad.

Norman Oppenheimer is not a big success. He’s a fixer who makes his tenuous living spinning tall tales, ingratiating himself with the mighty by doing them favors and hoping to reap rewards. Norman has spent his life struggling to keep a lot of balls in the air in a desperate juggling act that always seems on the brink of crashing to the ground. But in the movie’s key set-up, he insinuates himself into the company of a mid-level Israeli politician named Micha Eshel (a superb Lior Ashkenazi). He follows Eshel through Midtown Manhattan after a symposium, and strikes up a conversation with him as he’s admiring a pair of expensive shoes in a shop window. Over the Israeli’s protests, Norman buys him the shoes.

It’s an investment that pays off three years later, when Eshel returns to New York as Israel’s prime minister.

Eshel’s warm embrace of “Norman, my friend!” at a reception sets our man up as a somebody, and fuels his credibility in a number of other “fixes” he’s trying to leverage. These involve a business mogul (the invaluable Harris Yulin) and his nephew (Downton Abbey’s Dan Stevens), his rabbi (Steve Buscemi), and his lawyer nephew (Michael Sheen). But the basis for the Eshel friendship is never credibly established. Indeed, it’s a matter of considerable suspicion for the people around Eshel, and particularly for Israeli intelligence operative Alex Green (an excellent Charlotte Gainsbourg), whom he meets on a train from Washington to New York.

The political intricacies of this story, by the Israeli-American writerdirector Joseph Cedar (Footnote), keep things interesting, and the solid supporting cast helps us to overlook some of the story’s weak points.

Eventually, as the threads knot and tangle around Norman and threaten to bring him and his precarious house of cards to grief, there is only one avenue that leads to redemption. — Jonathan Richards

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Vinttage and New Pieces to be shown onn Saturday 5/20/17 from 10-5 Refreshments will be served

La Casa Fina Consignment

312 Sandoval St. Santa Fe, NM 87501 505-780-5298 PASATIEMPOMAGAZINE.COM

39

DARK ANGEL D L Joanne Froggatt, who stole the hearts of millions of viewers as Anna,

the loving and resilient lady’s maid on Downton Abbey, stars in a totally different role—the notorious Victorian poisoner Mary Ann Cotton, Britain’s first female serial killer.

SUNDAY MAY 21 8PM KNME 5.1 NewMexicoPBS.org

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2019 GALISTEO ST. SUITE H3 • SANTA FE, NM 87505 40

PASATIEMPO | May 19-25, 2017

MOVING IMAGES

FROM THE WRITER-DIRECTOR OF “FOOTNOTE”

RICHARD LIOR HANK STEVE CHARLOTTE MICHAEL DAN JOSH GERE ASHKENAZI AZARIA BUSCEMI GAINSBOURG SHEEN STEVENS CHARLES

“RICHARD GERE’S PERFORMANCE IS AMAZINGLY FUNNY.” -A.O. Scott, THE NEW YORK TIMES

NORMAN

The Moderate Rise and Tragic Fall of a New York Fixer

WRITTEN AND DIRECTED BY JOSEPH CEDAR

EXCLUSIVE ENGAGEMENT STARTS TODAY

Santa Fe THE CENTER FOR CONTEMPORARY ARTS (505) 982-1338

VIEW THE TRAILER AT WWW.NORMAN-MOVIE.COM

Watch on the line: Stefan Denolyubov

It’s all on the wrist GLORY, drama, not rated, in Bulgarian with subtitles, The Screen, 3 chiles The economically deprived nation of Bulgaria has accomplished something that’s stymied Hollywood for decades. Namely, it has produced a winning team of filmmakers who happen to be husband and wife.

Glory is the second feature film co-directed by the married duo of Kristina Grozeva and Petar Valchanov, after the pair began collaborating on shorts and TV documentaries. I can’t think of a single husband-andwife directing team at work in Hollywood today, although the industry doesn’t shy away from co-directors who are brothers — Joel and Ethan Coen, for instance, or Chris and Paul Weitz, or the Farrellys, or the Hughes. Judging from Glory, a husband-and-wife teaming can be richer and reveal so much more.

As with the Romanian New Wave of the 2000s, these Bulgarian filmmakers are deeply involved in exposing the trials of a former Soviet-bloc nation undergoing a rough transition toward capitalism. The story, drawn from newspaper headlines, introduces a railroad lineman from the countryside who shocks everyone when he finds a pile of loose currency strewn along the tracks and turns it in. The press has been hounding the transit agency for some time, citing graft and corruption, which gives the agency’s public-relations chief a bright idea: Invite the yokel in and reward him with a new digital watch.

But life is never so simple. Margita Gosheva, who plays the stuffy PR wunderkind Julia, is exceedingly rude and condescending, particularly when she meets the awkward lineman, Tsanko (Stefan Denolyubov), who is so socially inept that he has no friends. His closest companions are pigeons that he raises. Julia has a tough time turning this shy bumbler into a godsend for the agency. Still, with advanced stagecraft, she nearly works a miracle — that is, until she misplaces a prized family heirloom, a watch that Tsanko must remove in order to accept the new timepiece.

That pushes him over the edge, so much so that he begins to wage war against the agency, its corrupt leaders, and its petty-thieving employees.

Glory opens as a political parody, but evolves into something more engaging — more of a dark thriller with a strong bite to it. Grozeva and Valchanov also co-wrote the story with Decho Taralezhkov. Valchanov also served as editor, and his work is one of the clear strengths behind this drama. The other asset: having both a man and a woman share the directing. I don’t know if Grozeva did the actress’ scenes, or if Valchanov did those with the lineman, but they have different rhythms that distinctively define these characters and their very separate worlds. The two watches — the old hand-wound piece from Russia and the cheap new digital model — also become marvelous symbols, representing a world that is not quite so grand. — Jon Bowman

Santa Fe Iris Society Presents Thirty-Sixth Annual Iris Show Saturday, May 20, 2017 Noon - 4:00 pm Open to Public Admission: FREE 7:30 - 9:30 am Iris Entry DeVargas Center N. Guadalupe and Paseo Peralta Santa Fe, NM

SF National Organization for Women & Planned Parenthood Present:

Wednesday, May 24 - 7:30 PM

CCA Cinamatheque, 1050 Old Pecos Trail For tickets: www.ccasantafe.org

Panel discussion after the film.

Free Popcorn!

PASATIEMPOMAGAZINE.COM

41

MOVING IMAGES chile pages — compiled by Robert Ker

Open the hatch: Alien: Covenant, at Regal Stadium 14, Violet Crown, and DreamCatcher

OPENING THIS WEEK ALIEN: COVENANT

This sequel to the 2012 film Prometheus finds director Ridley Scott following up on the philosophical questions about the origins of man and beast — and the splashes of gory horror — in that movie. This time, the spacecraft Covenant continues in the footsteps of the doomed mission in Prometheus, and the crew tries to figure out what happened before they become prey themselves. Michael Fassbender returns as the android David, and Katherine Waterston, Billy Crudup, and Danny McBride play some of the humans. Rated R. 122 minutes. Regal Stadium 14; Violet Crown; DreamCatcher. (Not reviewed)

CHUCK

Rated R. 101 minutes. Violet Crown. See review, Page 37.

DIARY OF A WIMPY KID: THE LONG HAUL

The Diary of a Wimpy Kid books have spawned this film series, which features a somewhat revolving cast and is not as widely loved as the books, yet still popular enough to make it to this fourth installment. This time, Jason Drucker plays the titular wimpy kid, who is forced to go on a road trip with his older brother (Charlie Wright) and family, where a parade of kidfriendly hijinks ensue. Alicia Silverstone, once a teenage icon in Clueless, now plays the fun-loving yet embarrassing mother of teenagers. Rated PG. 90 minutes. Regal Stadium 14; Violet Crown; DreamCatcher. (Not reviewed)

42

PASATIEMPO I May 19-25, 2017

EVERYTHING, EVERYTHING

After the blockbuster success of 2014’s The Fault in Our Stars, stories involving seriously ill teenage girls who find dashing boys who bring them joy and love has become a genre unto itself. This latest take, based on the 2015 young-adult novel, involves a teenager (Amandla Stenberg) who is forced to stay inside her house because of an autoimmune disease. When the boy across the street (Nick Robinson) communicates with her through their windows, a romance blossoms. Rated PG-13.

96 minutes. Regal Stadium 14; Violet Crown; DreamCatcher.

(Not reviewed)

GLORY

Not rated. 101 minutes. In Bulgarian with subtitles. The Screen. See review, Page 41.

NORMAN: THE MODERATE RISE AND TRAGIC FALL OF A NEW YORK FIXER

Rated R. 118 minutes. Center for Contemporary Arts. See review, Page 39.

NOW IN THEATERS BEAUTY AND THE BEAST

Director Bill Condon seems to call on his collective experience directing Gods and Monsters, Dreamgirls, and some Twilight films to effectively imagine Disney’s 1991 animated fairy tale as a Gothic musical horrorromance. Emma Watson steps into the role of the bookworm Belle, who is imprisoned by the Beast (Dan Stevens) in his castle.

Unbeknownst to her, if she falls in love with him, she will release him and his friends from a curse. Luke Evans cuts a delicious villain as Gaston, and Emma Thompson, Ewan McGregor, and Ian McKellen voice some of the Beast’s magical knick-knacks.

The story hews so closely to the animated original — which is more charming and concise — that this remake doesn’t fully validate its existence, aside from serving as a license for Disney to print money. This won’t matter to the core audience, however, who will adore the classic-Hollywood extravagance and the crowd-pleasing finale. Rated PG. 129 minutes.

Screens in 2-D only at DreamCatcher. (Robert Ker)

THE BOSS BABY

In this animated comedy, Alec Baldwin voices the title character, who is also the cutthroat CEO of the Baby Corporation. Boss Baby forms a reluctant alliance with his jealous older brother (Miles Christopher Bakshi) when they uncover a dastardly plot by Francis E. Francis (Steve Buscemi), the CEO of Puppy Co., to destabilize the balance of love in the world. Rated PG. 97minutes.Screensin2-DonlyatRegalStadium14;DreamCatcher.

(Not reviewed)

CÉZANNE ET MOI

The friendship between Paul Cézanne and Émile Zola begins in their school days in Aix-en-Provence in 1852, and remains strong through good times and bad as the two men travel very different career paths. Zola starts out dirt-poor, but achieves early success with his writing, gradually drifting into the haute-bourgeoisie that he made his reputation by criticizing. Acceptance as a painter is painfully more elusive to Cézanne, who is not considered an equal

by his peers. The movie, which jumps dizzyingly around in time, opens with Cézanne (Guillaume Gallienne) arriving for a visit, near Paris, at the comfortable home of Zola (Guillaume Canet). It soon becomes clear that Cézanne has been deeply wounded by his old friend’s latest book, Zola’s 1886 L’Oeuvre (The Masterpiece), whose central painter character is not always flatteringly built on Cézanne. He is difficult, obsessive, abrasive and foul-mouthed in polite company, and repeatedly characterized by Zola and others as incapable of love. Writer-director Danièle Thompson’s weakness for repetition weighs down an otherwise well-drawn and beautifully acted portrait of a fascinating friendship. Rated R. 117 minutes. The Screen.

(Jonathan Richards)

CITIZEN JANE: BATTLE FOR THE CITY

Developer Robert Moses was one of the biggest and most controversial figures of 20th-century New York. He accrued enough power within city government that he could raze entire neighborhoods and replace them with expressways and housing projects, in the name of urban renewal. Jane Jacobs (1916-2006) was a journalist and author who disagreed with the modernist designers who saw cities as concepts rather than organic, functional places defined by the people who lived there. When Moses’ development encroached upon Washington Square Park and swaths of Jacobs’ West Village neighborhood, she shifted from writer to activist and successfully fought City Hall. This documentary traces both of their lives and their clash. It offers little new to those familiar with the city’s history and doesn’t really get cooking until the final third, when it tackles race and the highway system, but it’s a fascinating look at a struggle that persists in urban centers to this day. Not rated. 92 minutes. Center for Contemporary Arts.

(Robert Ker)

THE COLORADO

This 2016 documentary about the Colorado River boasts a score of stunning vocal music with cinematography that is alternately awe-inspiring (the Rocky Mountains in Colorado and the Grand Canyon) and depressing (the dams, the Salton Sea, and the dried-up delta in Mexico). Mark Rylance narrates text written by Santa Fe author William deBuys and director Murat Eyuboglu. The film’s multidimensional portrait of the river includes spotlights on a 17th-century Jesuit mapmaker, a 19th-century explorer, and a 20th-century farmworker. The documentary offers an educational immersion in ecology and regional history, and it’s just a joy of an experience. Not rated. 91 minutes. Jean Cocteau Cinema. (Paul Weideman)

THE FATE OF THE FURIOUS

In the crew of his starship Enterprise, Star Trek creator Gene Roddenberry sought to represent the varied peoples of planet Earth, along with a few other life forms. A new microcosm of human diversity showed up in 2001 with The Fast and the Furious, about a multi-cultural band of brothers and sisters united by their singular inability to drive fifty-five. The Fast series’ casting department struck gold, particularly with the easy rapport between leads Vin Diesel and Michelle Rodriguez, but the films’ scope has expanded to such an extent that the last few entries minimize street racing in favor of cockamamie claptrap about international terrorists and saving the world. The trend is particularly galling in this movie, which opens with an enjoyable romp in Cuba’s classic-car scene and then swerves with zero explanation into a national-security-related heist in Berlin. Did the projectionist skip a reel? By the time we’ve reached the finale, involving vehicular combat between cars

and a submarine, it’s clear that the franchise has relegated its likable characters to the back seat. What matters isn’t what’s under the hood, it’s who’s behind the wheel, or so goes the wisdom of Dominic Toretto (Diesel). The Fast movies should take that sentiment to heart and focus more on people and less on things that go boom. Rated PG-13. 136 minutes. Regal Stadium 14; DreamCatcher. (Jeff Acker)

GOING IN STYLE

A buddy-heist movie must deliver two things: good buddies and a good heist. Zach Braff’s remake of a 1979 geriatric caper flick comes through on the first count, bringing together three cinematic treasures — in Morgan Freeman, Michael Caine, and Alan Arkin — who plot to rob a bank. Unfortunately, the caper itself falls flat. We want cleverness in our movie heists, and there’s not enough of that here to knock off a 7-Eleven, much less a bank. The script and direction never rise to the challenge, but the three old pros (plus AnnMargret) still make good on their hour and a half of screen time, displaying a couple of centuries worth of charm and acting chops to make this palatable. Rated PG-13. 96 minutes. Regal Stadium 14. (Jonathan Richards)

GUARDIANS OF THE GALAXY VOL. 2

The gang from the 2014 space opera returns: Chris Pratt as Star Lord, Zoe Saldana as Gamora, and Dave Bautista as Drax, with Vin Diesel voicing the treelike Groot (in adorably miniaturized form this time around) and Bradley Cooper voicing the snarky raccoon Rocket. The plot is thoroughly uninvolving, but you won’t notice amid all the intergalactic fireworks and dazzling action sequences choreographed to the sounds of Fleetwood Mac, ELO, and Cheap Trick. The highlight is the rapid-fire zinger-laden dialogue, especially as delivered

by Bautista, whose comic timing is impeccable. All the explosions get tiresome and the violence can be troubling, but at moments the movie plays like Seinfeld in space. Rated PG-13.

136 minutes. Screens in 3-D and 2-D at Regal Stadium 14.

Screens in 2-D only Violet Crown; DreamCatcher. (Jeff Acker)

HOUNDS OF LOVE

Australian filmmaker Ben Young makes his feature debut with this low-key horror film in which a couple named John and Evelyn (Stephen Curry and Emma Booth) kidnap a teenager named Vicki (Ashleigh Cummings) and chain her to a bed in their shabby apartment until it comes time to kill her.

Their motives come from a blend of sadism and sexual arousal, and as Vicki tries to reason with Evelyn in order to escape, a heavy subtext of class, gender roles, and how women can end up trapped in bad relationships bubbles to the surface. Those themes don’t stand much chance to connect, however — the film is not nihilistic or scary enough to work as horror, and much too unpleasant to work as a drama. Young shows a clever use of music and slow motion, but it’s never clear to what end these devices are used, and whether this kind of story is a great use of anyone’s talents. Not rated. 108 minutes. Jean Cocteau Cinema. (Robert Ker)

HOW TO BE A LATIN LOVER

Mexican comedy star Eugenio Derbez gets his biggest shot to cross over into the United States yet. He plays Máximo, a man who has created a pampered life for himself by seducing wealthy older women. When he is humbled and must move in with his sister (Salma Hayek), he learns lessons about what is really important in life. Rob Lowe also stars. Rated PG-13. 115 minutes.

Regal Stadium 14; DreamCatcher. (Not reviewed)

HUMAN

French filmmaker Yann Arthus-Bertrand’s monumental testament to humanity in its current state is a moving look at people from all walks of life and from all continents. With a team of 16 journalists, Arthus-Bertrand traveled the globe, visiting 60 countries and conducting countless interviews. He has one story to tell and allows it to be told through many voices: Syrian refugees, soldiers, survivors of the Khmer Rouge and the Rwandan genocide, people eking out a meager existence among mountains of trash in the despoiled regions of third world nations, nomads, and veterans, to name a few. They share their accounts of personal experience without added context or reporting; they don’t give their names; and the film combines these poignant interviews with poetic images of aerial and slow-motion photography. What emerges is a portrait of humanity that is diverse but shares in universal suffering, the search for a meaning to existence, and expressions of love. It’s a compelling and beautiful film with the power to move you to tears of sorrow and of joy. Not rated. 143 minutes. In multiple languages with subtitles. The Screen. (Michael Abatemarco)

KEDI

Director Ceyda Torun grew up surrounded by the street cats of Istanbul. “They were my friends and confidants,“ she wrote, “and I missed their presence in all the other cities I ever lived in.” This warmhearted film, shot partly from human perspective and partly from cat height, is a love letter to the felines and the people who share her native city. “People who don’t love animals can’t love people either — I know that much,” observes one matter-of-fact fishmonger. Yet the film is not sappy, just generous and wise. By the end, you’ll feel as if a cat has been purring on your lap for 80 minutes.

Not rated. 80 minutes. In Turkish with subtitles. Center for Contemporary Arts. (James Keller)

KING ARTHUR: LEGEND OF THE SWORD

In 2009, director Guy Ritchie reimagined the Sherlock Holmes stories as a kinetic action flick. Now, he attempts to give another British myth a similar transformation by applying his visual style to King Arthur. This story focuses on the years surrounding Arthur’s (Charlie Hunnam) pulling the sword from the stone and becoming a somewhat reluctant king. Astrid BergèsFrisbey, Jude Law, Djimon Hounsou, and Eric Bana also star.

Rated PG-13. 126 minutes. Screens in 3-D and 2-D at Regal Stadium 14. Screens in 2-D only at Violet Crown; DreamCatcher.

(Not reviewed)

THE LOST CITY OF Z

Could there be anything more exotically romantic than a century-old real-life adventure down the uncharted wilderness of the Amazon? It’s a tale that seems ripped simultaneously from newspaper headlines and from the pages of Boy’s Own Magazine. And it’s all true. Or most of it. Or some of it. Col. Percy Fawcett (Charlie Hunnam) was an adventurer who made a number of expeditions down the Amazon in search of a rumored lost civilization near the turn of the 20th century. Fawcett’s adventures must have been incredibly challenging, dangerous, and exciting. Writer-director James Gray, adapting David Grann’s 2009 nonfiction bestseller, captures some of that, but he surrenders too often to the clichés of the movies. Rated R. 141 minutes. Violet Crown.

(Jonathan Richards)

continued on Page 44

PASATIEMPOMAGAZINE.COM

43

THE WAR AT HOME

In 1979, six years after the signing of the Paris Peace Accords, a young anti-war movement veteran named Glenn Silber (with co-director Barry Alexander Brown) made a documentary about the Vietnam anti-war protest movement as it unfolded on and around the University of Wisconsin in the decade from 1963 to the war’s end. It was nominated for an Academy Award. Silber, now a Santa Fean, traces the escalation from peaceful protest to confrontation with club-wielding police. The stakes rose with the chaos at the ’68 Democratic Convention in Chicago, and the subsequent election of Richard Nixon. It turned deadly with the National Guard’s killing of four students at Kent State and a bombing of the U.S. Army Mathematics Research Center on the Madison campus that killed a graduate student. The film is “not a nostalgic blast from the past,” Silber says. “It does connect. It’s almost like a CliffsNotes on how to resist.” The Jean Cocteau projects this as the first of a series called Films of Resistance, which Silber will help to curate. 4:50 p.m. Tuesday, May 23. Not rated.

100 minutes. Jean Cocteau Cinema. (Jonathan Richards)

OTHER SCREENINGS In sickness and in health: Amandla Stenberg and Nick Robinson in Everything, Everything, at Regal Stadium 14, Violet Crown, and DreamCatcher

Chile Pages, continued from Page 43 LOWRIDERS

Set in East LA, this drama centers on Danny (Gabriel Chavarria), a teenage graffiti artist who is encouraged by his father (Demián Bichir) to become a mechanic and join the family business.

When his no-good brother (Theo Rossi) returns from prison and seeks to compete with their father at a lowrider competition, Danny must choose his allegiances. Rated PG-13. 99 minutes.

Regal Stadium 14. (Not reviewed)

NEITHER WOLF NOR DOG

In the 1990s, author Kent Nerburn was contacted by a Native American elder named Dan to help him write a book that conveyed Dan’s wisdom, political opinions, and social commentary. That collaboration became the 1995 book Neither Wolf Nor Dog, and now Nerburn has adapted the book into a screenplay about the journey the two men undertook.

Christopher Sweeney plays Nerburn, and Dave Bald Eagle plays Dan, in this telling of how Nerburn accepted this responsibility while traversing Lakota country. Not rated. 110 minutes.

Jean Cocteau Cinema. (Not reviewed)

A QUIET PASSION

The life of a writer is a notoriously difficult challenge to film. The life of a reclusive writer raises that difficulty exponentially. In director Terence Davies’ biopic of Emily Dickinson, the results are uneven. Davies has an exquisite visual sensibility, but much of his screenplay is filled with dialogue that seems extracted faithfully from the written word, from journals, letters, and poems. But people don’t often speak the way they write, and the effect is of characters being squeezed through a press of someone’s idea of period authenticity. Emma Bell plays the young Emily, who morphs into Cynthia Nixon in maturity. Nixon delivers a spirited and persuasive performance as she charts Dickinson’s arc from a radiant young woman into the eccentric recluse she became. Rated PG-13. 125 minutes. Violet Crown. (Jonathan Richards)

44

PASATIEMPO I May 19-25, 2017

SNATCHED

In the latest Amy Schumer comedy, she plays Emily, a woman who is dumped by her boyfriend just before they are scheduled to embark on a trip to South America. Instead she coaxes her homebody mother (Goldie Hawn, in her first film role since 2002) to join her for a little bonding in paradise. Their adventure goes awry when they are kidnapped and must work together to get away from their captors. Rated R. 91 minutes. Regal Stadium 14; Violet Crown; DreamCatcher. (Not reviewed)

THEIR FINEST

By turns funny, romantic, moving, and harrowing, this movie about movies, war, and female empowerment hits every note with the exquisite ping of a fork struck to fine crystal. Gemma Arterton is Catrin Cole, a young woman who in blitz-ravaged London unexpectedly finds herself hired by the British Ministry of Information’s film division as a screenwriter to handle the “slop” (women’s dialogue) for propaganda movies. The assignment is to find real wartime human interest stories and turn them into morale-raising potboilers. The perfect casting includes Sam Claflin as her writing partner and perhaps more, Bill Nighy as an aging star, Eddie Marsden as his agent, plus Helen McCrory, Richard E. Grant, Jeremy Irons, and many more. To see Nighy raise an eyebrow, or sing an Irish air in a pub, is pure cinema magic. Impeccably directed by Danish filmmaker Lone Sherfig and adapted by Gaby Chiappe from Lissa Evans’s 2009 novel Their Finest Hour and a Half (a title they should have kept), this is certainly one of the year’s finest to date.

Rated R. 117 minutes. Violet Crown. (Jonathan Richards)

THE WALL

There is a certain brand of thriller in which the story’s heroes are trapped in one place with an unseen enemy out to get them — last year’s shark movie The Shallows is a good example. This film

by Doug Liman (The Bourne Identity) takes the concept to the war in Iraq, where two American soldiers (Aaron Taylor-Johnson and John Cena) are trapped behind a wall in the middle of the desert by an unseen Iraqi sniper. If they attempt to move from their position, they’ll be killed. Rated R. 81 minutes. Regal Stadium 14; Violet Crown. (Not reviewed)

Call ahead to confirm showtimes.

Center for Contemporary Arts, 505-982-1338. ▼ 5 p.m. Friday, May 19: Santa Fe Jewish Film Festival presents The Women’s Balcony. ▼ 7:30 p.m. Saturday, May 20: Auteurs 2017 presents Nosferatu (1922) with a live score by Invincible Czars. ▼ 10:30 a.m. Sunday, May 21: Auteurs 2017 presents Dr. Jekyll and Mr. Hyde (1931) with a live score by Invincible Czars. ▼ 7:30 p.m. Wednesday, May 24: National Organization for Women presents My Choice followed by a panel discussion. ▼ Masters and Museums presents Hermitage Revealed.

Jean Cocteau Cinema, 505-466-5528

▼ 4 p.m. Friday and Saturday, May 19 and 20: Blood Road. ▼ 7 p.m. Friday and Saturday, May 19 and 20: The Max

Headroom Chronicles (1987-1988 TV show). No charge.

▼ 6:30 p.m. Monday, May 22: 10 Questions for the

Dalai Lama (2006).

▼ 9:10 p.m. Thursday, May 25: The Void. ▼ The War Show.

Runnels Building Auditorium, 1190 S. St. Francis Drive, 505-827-2572 ▼ 3 p.m. Friday, May 19: The Chinese Exclusion Act followed by a discussion. No charge; reservations required.

The Screen, 505-473-6494

▼ 10:30 a.m. Saturday, May 20: TED Experience, Program 3.

Violet Crown, 505-216-5678

▼ 2 p.m. Sunday, May 21: Friday (1995).

SPICY

MEDIUM

MILD

BLAND

HEARTBURN

Read movie reviews online at santafenewmexican.com/pasatiempo

CCA CINEMATHEQUE AND SCREENING ROOM 1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org Citizen Jane: Battle for the City Fri. and Sat. 11:30 a.m., 8:30 p.m. Sun. 5:45 p.m. Mon. to Thurs.

1:45 p.m.

Dr. Jekyll and Mr. Hyde (NR) Sun. 10:30 a.m.

Hermitage Revealed (NR) Fri. to Sun. 11 a.m.

Mon. to Thurs. 5:30 p.m.

Kedi (NR) Fri. and Sat. 1:30 p.m., 3:15 p.m.

Sun. 1 p.m., 2:45 p.m. Stadium Seating Mon. to Thurs. 3:45 p.m.

My Choice (NR) Wed. 7:30 p.m.

Norman: The Moderate Rise and Tragic Fall of a New York Fixer (R) Fri. 1 p.m., 3:30 p.m., 6 p.m., 7:30 p.m. Sat. 1 p.m., 3:30 p.m., 5 p.m., 6 p.m.

Sun. 12:45 p.m., 3:15 p.m., 4:30 p.m., 7 p.m., 7:45 p.m. Mon. and Tue. 2 p.m., 4:30 p.m., 7 p.m., 7:30 p.m. Wed. 2 p.m., 4:30 p.m., 7 p.m. Thurs. 2 p.m., 4:30 p.m., 7 p.m., 7:30 p.m.

Nosferatu (NR) Sat. 7:30 p.m.

The Women’s Balcony (NR) Fri. 5 p.m.

JEAN COCTEAU CINEMA 418 Montezuma Avenue, 505-466-5528, www.jeancocteaucinema.com 10 Questions for the Dalai Lama (NR) Mon. 6:30 p.m.

Blood Road (NR) Fri. and Sat. 4 p.m.

The Colorado (NR) Sat. 2 p.m. Sun. 3:40 p.m.

Mon. 4:20 p.m. Tue. 2:40 p.m. Wed. 5 p.m.

Thurs. 7 p.m.

Hounds of Love (NR) Sun. 8:40 p.m. Tue. 9:10 p.m.

Wed. 9:15 p.m.

The Max Headroom Chronicles (NR) Fri. and Sat. 7 p.m.

Neither Wolf Nor Dog (NR) Wed. 2:40 p.m.

Thurs. 2:20 p.m.

The Void Thurs. 9:10 p.m.

The War Show (NR) Fri. 1:40 p.m. Sun. 6:30 p.m.

Tue. and Wed. 7 p.m. Thurs. 4:40 p.m.

The War at Home (R) Tue. 4:50 p.m.

REGAL STADIUM 14 3474 Zafarano Drive, 505-424-6296, www.fandango.com Alien: Covenant (R) Fri. to Sun. 1 p.m., 1:35 p.m., 4 p.m., 4:40 p.m., 6:30 p.m., 7 p.m., 7:45 p.m., 9:30 p.m., 10 p.m., 10:45 p.m. Mon. and Tue. 1 p.m., 1:35 p.m., 4 p.m., 4:40 p.m., 7 p.m., 7:45 p.m., 10 p.m., 10:45 p.m. Wed. 1 p.m., 1:35 p.m., 4 p.m., 4:40 p.m., 7:10 p.m., 7:45 p.m., 10:10 p.m., 10:45 p.m.

Baywatch (R) Wed. 7 p.m., 10 p.m. Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m., 10:30 p.m.

The Boss Baby (PG) Fri. to Sun. 1:15 p.m., 3:50 p.m.

Mon. 1:15 p.m., 3:50 p.m., 6:30 p.m., 9 p.m.

Tue. 1:15 p.m., 3:50 p.m., 8 p.m., 10 p.m. Wed. 1:15 p.m., 3:50 p.m., 6:30 p.m., 9 p.m.

Diary of a Wimpy Kid: The Long Haul (PG) Fri. to Sun. 11:35 a.m., 2:10 p.m., 4:45 p.m., 7:15 p.m., 9:45 p.m. Mon. to Wed. 11:35 a.m., 2:10 p.m., 4:45 p.m., 7:15 p.m., 9:45 p.m.

WHAT’S SHOWING IN & AROUND SANTA FE

Call theaters or check websites to confirm screening times.

Nosferatu, at Center for Contemporary Arts Everything, Everything (PG-13) Fri. to Sun. 11:50 a.m., 2:25 p.m., 5:05 p.m., 7:40 p.m., 10:25 p.m. Mon. to Wed. 11:50 a.m., 2:25 p.m., 5:05 p.m., 7:40 p.m., 10:25 p.m.

The Fate of the Furious (PG-13) Fri. to Wed. 12:10 p.m., 3:30 p.m., 6:50 p.m., 10:15 p.m.

Going in Style (PG-13) Fri. to Mon. 8:05 p.m., 10:35 p.m. Wed. 8:05 p.m.

Guardians of the Galaxy Vol. 2 (PG-13) Fri. to Wed. 12:20 p.m., 3:40 p.m., 7:25 p.m., 10:40 p.m.

Guardians of the Galaxy Vol. 2, 3D (PG-13) Fri. to Wed. 11:40 a.m., 3 p.m., 6:45 p.m., 9:55 p.m.

How to Be a Latin Lover (PG-13) Fri. to Sun. 12:50 p.m., 4:10 p.m., 7:10 p.m., 10:05 p.m.

Mon. and Tue. 12:50 p.m., 4:10 p.m., 7:10 p.m., 10:05 p.m. Wed. 12:50 p.m., 4:10 p.m., 10:35 p.m.

In Our Hands: Battle for Jerusalem Tue. 7 p.m.

King Arthur: Legend of the Sword (PG-13) Fri. to Sun. 1:10 p.m., 4:15 p.m., 7:15 p.m., 10:20 p.m. Mon. to Wed. 1:10 p.m., 4:15 p.m., 7:15 p.m., 10:20 p.m.

King Arthur: Legend of the Sword 3D (PG-13) Fri. to Wed. 1:50 p.m., 4:45 p.m., 7:40 p.m.

Lowriders (PG-13) Fri. to Sun. 11:35 a.m., 2:20 p.m., 5:10 p.m., 7:50 p.m., 10:30 p.m. Mon. to Wed. 11:35 a.m., 2:20 p.m., 5:10 p.m., 7:50 p.m., 10:30 p.m.

Pirates of the Caribbean: Dead Men Tell No Tales (PG-13) Thurs. 7 p.m., 7:20 p.m., 10:05 p.m., 10:25 p.m.

Smurfs: The Lost Village (PG) Fri. to Sun. 12:30 p.m., 3:10 p.m., 5:40 p.m. Mon. to Wed. 12:30 p.m., 3:10 p.m., 5:40 p.m.

Snatched (R) Fri. to Sun. 12 p.m., 2:30 p.m., 5 p.m., 7:35 p.m., 10:10 p.m. Mon. to Wed. 12 p.m., 2:30 p.m., 5 p.m., 7:35 p.m., 10:10 p.m.

The Wall (R) Fri. to Wed. 11:30 a.m., 10:40 p.m.

THE SCREEN Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com Cézanne et Moi (R) Fri. to Thurs. 3 p.m.

Glory Fri. to Thurs. 1 p.m., 7:45 p.m.

Human (NR) Fri. to Thurs. 5:15 p.m.

TED Cinema Experience: Program 3 (NR) Sat. 10:30 a.m.

VIOLET CROWN SANTA FE 1606 Alcaldesa St., 505-216-5678, www.violetcrown.com Alien: Covenant (R) Fri. and Sat. 10:50 a.m., 12:10 p.m., 1:40 p.m., 2:50 p.m., 4:30 p.m., 5:30 p.m., 7:20 p.m., 8:20 p.m., 9:10 p.m., 10:10 p.m.

Sun. 10:50 a.m., 1:40 p.m., 2:50 p.m., 4:30 p.m., 5:30 p.m., 7:20 p.m., 8:20 p.m., 9:10 p.m., 10:10 p.m.

Sun. 12:10 p.m. OC-Open Caption Mon. to Wed. 10:50 a.m., 12:10 p.m., 1:40 p.m., 2:50 p.m., 4:30 p.m., 5:30 p.m., 7:20 p.m., 8:20 p.m., 9:10 p.m., 10:10 p.m.

Thurs. 11 a.m., 1:30 p.m., 4:30 p.m., 7:30 p.m., 10:10 p.m.

Baywatch (R) Wed. 7:15 p.m., 8:15 p.m. Thurs.

10:50 a.m., 1:50 p.m., 4:20 p.m., 7:10 p.m., 9:45 p.m.

Chuck (R) Fri. to Wed. 11:15 a.m., 1:20 p.m., 4:25 p.m., 7:15 p.m., 9 p.m.

Diary of a Wimpy Kid: The Long Haul (PG) Fri. to Mon. 11:10 a.m., 12:50 p.m., 3 p.m., 5:20 p.m., 7:30 p.m. Tue. 11:10 a.m., 12:50 p.m., 3 p.m., 5:45 p.m., 8 p.m. Wed. 11:10 a.m., 12:50 p.m., 3 p.m., 5:20 p.m., 8 p.m.

Everything, Everything (PG-13) Fri. to Mon. 10:50 a.m., 1 p.m., 3:30 p.m., 6:40 p.m., 9:40 p.m.

Tue. 10:50 a.m., 1 p.m., 3:30 p.m., 6:40 p.m., 10:10 p.m. Wed. 10:50 a.m., 1 p.m., 3:30 p.m., 6:40 p.m., 8:45 p.m.

Friday (R) Sun. 2 p.m.

Guardians of the Galaxy Vol. 2 (PG-13) Fri. to Wed. 11 a.m., 12:15 p.m., 2 p.m., 3:30 p.m., 5 p.m., 6:25 p.m., 8 p.m., 9:20 p.m.

King Arthur: Legend of the Sword (PG-13) Fri. and Sat. 11 a.m., 1:30 p.m., 4:15 p.m., 7:05 p.m., 9:30 p.m.

Sun. 11 a.m., 1:30 p.m., 4:15 p.m., 9:30 p.m. Mon. and Tue. 11 a.m., 1:30 p.m., 4:15 p.m., 7:05 p.m., 9:30 p.m. Wed. 11 a.m., 1:30 p.m., 4:15 p.m., 9:50 p.m.

ATTENTION ADVERTISERS! PASATIEMPO

EARLY HOLIDAY DEADLINES ISSUE: FRIDAY, JUNE 2 RESERVATION AND AD COPY DEADLINE: FRIDAY,, MAY 26,, 5p pm

The offificces of the Santa Fe New Mexican will be closed on Monday, May 29, 2017. While normal distribution will occur on these dates, Circulation Customer Service will be closed and the call center will reopen on Tuesday, May 30 at 6a.m.

FATE OF FURIOUS LATIN LOVER KING ARTHUR DIARY OF A WIMPY KID GUARDIANS BOSS BABY GUARDIANS EVERYTHING BEA EAUTY A TYY 2D SNATCHED ALIEN

FRI 4:40/7:40 4:25/7:10/9:40 4:35/7:15/10:00 4:30/7:00/9:40 4:45 45/7 5/7:35 7 355 4:45/7:05 10:05 4:55/7:10/9:45 /7:20/10:05 7 4:30/7 5:00/7:05/9:50 4:50/7:30/10:10

The Lost City of Z (PG-13) Fri. to Sun. 11:20 a.m., 3:20 p.m., 5:45 p.m. Mon. and Tue. 11:20 a.m., 3:20 p.m. Wed. 11:20 a.m., 3:20 p.m., 5:45 p.m.

Pirates of the Caribbean: Dead Men Tell No Tales (PG-13) Thurs. 7 p.m., 10 p.m.

Pirates of the Caribbean: Dead Men Tell No Tales 3D (PG-13) Thurs. 9 p.m.

A Quiet Passion (PG-13) Fri. to Mon. 2:20 p.m., 5:15 p.m., 8:45 p.m. Tue. 2:20 p.m., 5:15 p.m., 9:30 p.m. Wed. 2:20 p.m., 5:15 p.m.

Snatched (R) Fri. 1:20 p.m., 3:10 p.m., 5:10 p.m., 8:10 p.m. Sat. to Tue. 1:20 p.m., 3:10 p.m., 5:10 p.m., 8:10 p.m., 10:15 p.m. Wed. 1:20 p.m., 3:10 p.m., 5:10 p.m., 10:15 p.m.

Their Finest (R) Fri. and Sat. 10:50 a.m., 1:50 p.m., 6:30 p.m., 9:50 p.m. Sun. 10:50 a.m., 6:30 p.m., 10 p.m. Mon. and Tue. 10:50 a.m., 1:50 p.m., 6:30 p.m., 9:50 p.m. Wed. 10:50 a.m., 1:50 p.m., 6:30 p.m.

The Wall (R) Fri. to Wed. 10:50 a.m.

MITCHELL DREAMCATCHER CINEMA ESPAÑOLA 15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com Alien: Covenant (R) Fri. 4:50 p.m., 7:30 p.m., 10:10 p.m. Sat. 2:10 p.m., 4:50 p.m., 7:30 p.m., 10:10 p.m. Sun. 2:10 p.m., 4:50 p.m., 7:30 p.m.

Mon. to Wed. 4:50 p.m., 7:30 p.m.

Beauty and the Beast (PG) Fri. 4:30 p.m., 7:20 p.m., 10:05 p.m. Sat. 1:45 p.m., 4:30 p.m., 7:20 p.m., 10:05 p.m. Sun. 1:45 p.m., 4:30 p.m., 7:20 p.m.

Mon. to Wed. 4:30 p.m., 7:20 p.m.

The Boss Baby (PG) Fri. 4:45 p.m., 7:05 p.m.

Sat. and Sun. 2:05 p.m., 4:45 p.m., 7:05 p.m.

Mon. to Wed. 4:45 p.m., 7:05 p.m.

Diary of a Wimpy Kid: The Long Haul (PG) Fri. 4:30 p.m., 7 p.m., 9:40 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:40 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m.

Mon. to Wed. 4:30 p.m., 7 p.m.

Everything, Everything (PG-13) Fri. 4:55 p.m., 7:10 p.m., 9:45 p.m. Sat. 2:20 p.m., 4:55 p.m., 7:10 p.m., 9:45 p.m. Sun. 2:20 p.m., 4:55 p.m., 7:10 p.m. Mon. to Wed. 4:55 p.m., 7:10 p.m.

The Fate of the Furious (PG-13) Fri. 4:40 p.m., 7:40 p.m. Sat. and Sun. 1:45 p.m., 4:40 p.m., 7:40 p.m. Mon. to Wed. 4:20 p.m., 7:15 p.m.

Guardians of the Galaxy Vol. 2 (PG-13) Fri. 4:45 p.m., 7:35 p.m., 10:05 p.m. Sat. 1:50 p.m., 4:45 p.m., 7:35 p.m., 10:05 p.m. Sun. 1:50 p.m., 4:45 p.m., 7:35 p.m. Mon. to Wed. 4:25 p.m., 7:20 p.m.

How to Be a Latin Lover (PG-13) Fri. 4:25 p.m., 7:10 p.m., 9:40 p.m. Sat. 1:50 p.m., 4:25 p.m., 7:10 p.m., 9:40 p.m. Sun. 1:50 p.m., 4:25 p.m., 7:10 p.m. Mon. to Wed. 4:25 p.m., 7:10 p.m.

King Arthur: Legend of the Sword (PG-13) Fri. 4:35 p.m., 7:15 p.m., 10 p.m. Sat. 1:55 p.m., 4:35 p.m., 7:15 p.m., 10 p.m. Sun. 1:55 p.m., 4:35 p.m., 7:15 p.m. Mon. to Wed. 4:35 p.m., 7:15 p.m.

Snatched (R) Fri. 5 p.m., 7:05 p.m., 9:50 p.m.

Sat. 2:15 p.m., 5 p.m., 7:05 p.m., 9:50 p.m.

Sun. 2:15 p.m., 5 p.m., 7:05 p.m. Mon. to Wed. 5 p.m., 7:05 p.m.

SAT 1:45/4:40/7:40 1:50/4:25/7:10/9:40 1:55/4:35/7:15/10:00 2:00/4:30/7:00/9:40 1:50/4:45 45/7 5/7:35 7 355 2:05/4:45/7:05 10:05 2:20/4:55/7:10/9:45 1:45/4:30/7 /7:20/10:05 7 2:15/5:00/7:05/9:50 2:10/4:50/7:30/10:10

SUN 1:45/4:40/7:40 1:50/4:25/7:10 1:55/4:35/7:15 2:00/4:30/7:00 1:50/4:45 45/7 5/7:35 7 355 2:05/4:45/7:05

MON-THURS 4:20/7:15 4:25/7:10 4:35/7:15 4:30/7:00 4:25/7 /7:20 7 4:45/7:05

2:20/4:55/7:10 1:45/4:30/7 /7:20 7 2:15/5:00/7:05 2:10/4:50/7:30

4:55/7:10 4:30/7 /7:20 7 5:00/7:05 4:50/7:30

Times for Friday, May 19th - Thursday, May 25th

PASATIEMPOMAGAZINE.COM

45

AMUSE-BOUCHE [ CULINARY MUSINGS ] Laurel Gladden I For The New Mexican

a lot of Gaul FRENCHISH

A

dding an “ish” to a statement of intention almost always sounds like you’re hedging your bets. “I’ll be there at 6-ish,” for example, doesn’t exactly scream determination to be on time. Jennifer James, sometime James Beard Award semifinalist and one of Albuquerque’s most popular and highly lauded chefs, may have chosen Frenchish as the name for her new foray into the dining scene to avoid the judgment of purist Francophiles, but she needn’t have worried. Her versions of French classics can withstand the scrutiny, and her more whimsical twists might even win over les grincheux.

The chef’s previous restaurants — Jennifer James Contemporary Cuisine, Jennifer James 101, and Graze — earned nigh-legendary status around the Duke City over the years. She opened Frenchish last fall in the heart of Nob Hill, in the Central Avenue space formerly occupied by the women’s clothing boutique Elsa Ross, seemingly unconcerned by the launch of the Albuquerque Rapid Transit project along that corridor and the ensuing kerfuffle.

The backbone of her cooking — clean, modern, and local — remains intact. In her previous establishments, James was known for somewhat unexpected signature dishes including deviled eggs and chickpea fritters. fritters A variation on one of

these standbys materializes at Frenchish, this time a halved soft-boiled egg topped with a frilly slaw of Dijon and celery root accented with micro-greens. A new curiosity, the “carrot dog,” adds its name to the roster, too. Rather than chopped or processed carrot formed into a dog shape, the dish is as straightforward as it sounds: a hefty sausage-sized carrot, par-cooked, given a quick smoky blackening on the grill, and swaddled in a brioche bun with relish.

Cheesy gift-shop cocktail napkins ask, “Why limit happy to an hour?” Frenchish answers by extending it from 5 to 6:30 p.m. This means six-dollar glasses of white wine, red wine — unnamed but identified on the menu as French — and bubbles as well as a few cheap beer choices. Six or eight discounted snacks are offered, including the carrot dog, the egg, and crispy pig ears with a mild sweetness and pleasurably fatty mouth feel. Fried pickles, practically

Frenchish

3509 Central Ave., NE, Albuquerque 505-433-5911 www.frenchish.co Dinner 5-9 p.m., “happy hour & a half” 5-6:30 p.m.

Tuesdays-Saturdays; closed Sundays and Mondays Takeout available Vegetarian options Handicapped accessible Noise level: lively Beer, wine, and a short list of wine-based cocktails Credit cards, no checks The Short Order Jennifer James, one of Albuquerque’s most popular and highly lauded chefs, opened Frenchish last fall in the heart of Nob Hill, where the backbone of her cooking — clean, modern, and local — remains intact. Dinner can swing from practically spa-worthy light fare to remarkably rich, and service is professional but friendly, patient and attentive.

Recommended: Rabbit terrine, sole meunière, pork belly confit, French onion burger.

46

PASATIEMPO I May 19-25, 2017

a delicacy in the American South, become fried cornichons, briny two-bite tidbits with roughand-tumble cornmeal “batter” and a satisfying sweetand-saltiness.

There’s a well-manicured wine list — the 2016 Bieler Père & Fils rosé is a standout — along with a shorter list of limited-availability bottles. Anyone at your table intrigued by the Unicorn Frappuccino should instead opt for the “prickled pink” French soda — a combination of prickly pear nectar, cream, and soda water that arrives stratified but, when stirred, turns into a delightfully fizzy and filling pink drink.

The single-page main menu, which changes often, includes starters, salads, cheeses, sides, and plats principaux (a three-course prix-fixe option is mentioned for those paralyzed by decisions). Only the bread service struck me as a tad fussy — a small plate of puffy Parker House-style rolls and sweet cream butter for three dollars. But the motivation became clear: endless baskets of bread will only lead to a belly full of bread, leaving you with less room for the truly good stuff — of which there’s quite a bit here.

The rabbit terrine is rugged and rustic, served with crisp slices of golden-toasted baguette and sprightly, snappy pickled carrots. Aficionados of oddball vegetables will rejoice, with sides like salsify, hearts of palm, and on a recent visit, sunchokes, each treated minimally to respect its natural goodness — cooked

Dinner for six (with a happy-hour overlap) at Frenchish: $ 5.00 French soda $ 6.00 Glass, French white $ 6.00 Glass, sparkling $ 6.00 Devil-ish eggs (3) $ 5.00 Fried cornichons $ 6.00 Carrot dog $ 6.00 Pig’s ears $ 12.00 Rabbit terrine $ 3.00 Bread service $ 9.00 Rocket salad $ 10.00 French onion burger $ 4.00 Frites $ 25.00 Pork belly confit $ 26.00 Sole meunière $ 18.00 Crêpe $ 6.00 Mac and cheese $ 4.00 Side, salsify $ 6.00 French press coffee $ 10.00 Baked Alaska $ 8.00 Strawberries and cream crêpe $ 181.00 TOTAL (before tax and tip)

505-695-7070

www.KristenLBiggsMD.com

It’s not vain to treat your varicose & spider veins!

simply, seasoned lightly, and dusted with herb confetti. A salad of fresh peppery rocket (arugula) makes a fresh, bright counterpoint to the menu’s richer offerings, tossed with spring’s early bounty, namely spicy radish, asparagus, and carrot.

Dinner can swing from practically spa-worthy — light and classic sole meunière accompanied by rice and bright-emerald cress — to remarkably rich — slabs of unctuous pork belly confit served with sauce soubise, pickled pearl onions, and another pig-ear squiggle, or the savory French onion burger, blanketed with caramelized onions and Gruyère, which one dining companion compared to eating “a fluffy meat cloud.” Macaroni and cheese may be offered to appease the picky or unadventurous at the table, but it’s still rich, gooey, and indulgent, arriving piping hot in an oversized mug with a rugged breadcrumb topping.

It’s not a dish you’ll read about in classic French cookbooks, but French green lentils stuffed into a crêpe (buckwheat on my visit, chickpea-flour on a more recent menu), topped with Gruyère and caramelized onions, and showered with fresh cress is hearty and satisfying, particularly for any vegetarians at the table.

The dessert list is brief but varied. The meringue on our dainty baked Alaska had been whimsically piped rather than spread, making it look something like a storybook turtle covered in toasted mini marshmallows. The strawberries and cream crêpe was perhaps the meal’s only misstep, the crêpe itself undercooked and gummy — a condition not improved by the healthy dollop of house whipped cream and exceptionally fresh strawberries.

The décor at Frenchish is far from the warm rustic country charm you might expect. Rather, the restaurant occupies an open, minimalist space that hints at James’ clean contemporary leanings. Service is professional but friendly, patient but attentive, and the timing for every stage of our meal was on point.

A word, though, about parking. Albuquerque is roiling with concern over the rapid transit system currently ripping up large sections of one of the city’s busiest commercial thoroughfares and eliminating chunks of valuable on-street parking at a time. If you frequent the area or simply find yourself hungry in Albuquerque, don’t be daunted. Here’s me not hedging my bets: Frenchish is worth the hassle. ◀

Call today to make an appointment with Dr. Biggs, the only board certified vascular surgeon in Northern New Mexico.

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PASATIEMPOMAGAZINE.COM

47

C I N E M AT H E Q U E 1050 OLD PECOS TRAIL • 505.982.1338 • CCASANTAFE.ORG

SHOWTIMES MAY 19 – 25 , 2017

LIOR RICHARD ASHKENAZI GERE CHARLOTTE MICHAEL SHEEN GAINSBOURG

HANK AZARIA DAN STEVENS

STEVE BUSCEMI JOSH CHARLES

“A SPELLBINDER THAT TAKES YOU PLACES YOU DON’T SEE COMING AND FEATURES RICHARD GERE IN ONE OF HIS BEST PERFORMANCES EVER.” -Peter Travers, ROLLING STONE

Friday, May 19 11:00a Masters & Museums: Hermitage Revealed* 11:30a Citizen Jane 1:00p Norman* 1:30p Kedi 3:15p Kedi 3:30p Norman* 5:00p SFJFF presents: The Women’s Balcony 6:00p Norman* 7:30p Norman 8:30p Citizen Jane*

“SLY AND DECEPTIVELY LIGHTHEARTED. RICHARD GERE’S PERFORMANCE IS AMAZINGLY FUNNY.” Saturday, May 20 -A.O. Scott, THE NEW YORK TIMES 11:00a Masters & Museums: Hermitage Revealed* TELLURIDE MIAMI TORONTO 11:30a Citizen Jane FILM FESTIVAL FILM FESTIVAL INTERNATIONAL FILM FESTIVAL 1:00p Norman* 1:30p Kedi 3:15p Kedi FROM THE WRITER-DIRECTOR OF “FOOTNOTE” 3:30p Norman* 5:00p Norman 6:00p Norman* 7:30p Auteurs 2017: Nosferatu w/ Invincible Czars 8:30p Citizen Jane*

NORMAN

zia

The Moderate Rise and Tragic Fall of a New York Fixer Sunday, May 21 WRITTEN & DIRECTED BY JOSEPH CEDAR 9:30a Auteurs ‘17: Live Music Brunch WWW.SONYCLASSICS.COM

HERMITAGE

REVEALED MASTERS & MUSEUMS:

PASSES AVAILABLE: 505.982.1338

PASSES AVAILABLE: 505.982.1338

Mon.-Tues., May 22-23 1:45p Citizen Jane* 2:00p Norman 3:45p Kedi* 4:30p Norman 5:30p Masters & Museums: Hermitage Revealed* 7:00p Norman 7:30p Norman*

COMING MAY 31 TO THE LENSIC NEW MEXICO’S FIRST SCREENING OF THE MARTIN SCORSESE-PRODUCED GRATEFUL DEAD DOC!

Thursday, May 25 1:45p Citizen Jane* 2:00p Norman 3:45p Kedi* 4:30p Norman 5:30p Masters & Museums: Hermitage Revealed* 7:00p Norman 7:30p Norman*

*in The Studio

Congratulate Your Graduate!

GRADGram!✮ with a personalized

Your Grad’s Name GRADUATE’S SCHOOL

We knew you could do it!

Congratulations, We love you!

25

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includes one color photo of your grad, plus your personal message (75 characters max.)

LENSIC.ORG • TICKETS.TICKETSSANTAFE.ORG • 505-988-1234

Mom, Dad, Valerie, Mia, and Frank

m

C

OR IN PERSON: 202 E. Marcy Street

The City of Santa Fe Arts Commission

48

PASATIEMPO | May 19-25, 2017

PUBLISHES

!✮ SUNDAY, JUNE 4, 2017 GRADtoGdarya! m PLUS ONLINE AT ur custo reate yo

SUBMIT YOURS ONLINE: santafenewmexican.com/gradgrams

SPONSORS:

singers

The Zia Singers are a 501c3 non-profit and if you would like to support us in other ways, please call 505-690-8177.

We take the summer off, so if you are interested in joining us send us a message via our website and we’ll let you know when the Zia Singers will be starting their next season.

Wednesday, May 24 1:45p Citizen Jane 2:00p Norman* 3:45p Kedi 4:30p Norman* 5:30p Masters & Museums: Hermitage Revealed 7:00p Norman* 7:30p NOW presents: My Choice

NOSFERATU (MAY 20) & DR. JECKYLL & MR. HYDE (MAY 21) W/ LIVE MUSIC BY INVINCIBLE CZARS!

AUTEURS 2017:

10:30a Auteurs 2017: Dr. Jeckyll & Mr. Hyde w/ Invincible Czars 11:00a Masters & Museums: Hermitage Revealed* 12:45p Norman 1:00p Kedi* 2:45p Kedi* 3:15p Norman 4:30p Norman* 5:45p Citizen Jane 7:00p Norman* 7:45p Norman

Submission Deadline: Wednesday, May 31, Midnight

santafenewmexican.com

2017 Salute to Local Grads will also publish Sunday, June 4th, with school accomplishments, list of graduates and ceremony photos

C A L E N D A R

L I S T I N G

G U I D E L I N E S

• To list an event in Pasa Week, send an email or press release to pasa@sfnewmexican.com or pambeach@sfnewmexican.com.

• Send material no less than two weeks prior to the desired publication date.

• For each event, provide the following information: time, day, date, venue/address, ticket prices, web address, phone number, and brief description of event (15 to 20 words).

• All submissions are welcome; however, events are included in Pasa Week as space allows.

There is no charge for listings.

• Return of photos and other materials cannot be guaranteed.

• Pasatiempo reserves the right to publish received information and photographs on The New Mexican's website.

• To add your event to The New Mexican online calendar, visit santafenewmexican.com and click on the Calendar tab.

• For further information contact Pamela Beach: pambeach@sfnewmexican.com, 202 E. Marcy St., Santa Fe, NM 87501, phone: 505-986-3019.

ARTS AND ENTERTAINMENT CALENDAR May19-25, 2017

CALENDAR COMPILED BY PAMELA BEACH

FRIDAY 5/19

Los Alamos Gentle Walks

Los Alamos Nature Center, 2600 Canyon Rd., 505-662-0460 Free guided treks for adults, 9 a.m. Fridays, register online at losalamosnature.org.

Gallery and Museum Openings Acosta Strong Fine Art

640 Canyon Rd., 505-982-2795 Works by sculptor Kirk Tatom and painter Rick Young.

Outside Bike & Brew

Bike trails in and around Santa Fe, and the Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta Road- and mountain-bike rides begin at 8 a.m., craft-beer garden and food trucks 5-9 p.m. Visit outsidesantafe.com for event schedule and tickets, continues through Sunday.

The Artist Statement

1400-A Agua Fría St., 505-577-9564 Jewelry by Mara Saxer; reception 5-7 p.m.

Hunter Kirkland Contemporary

200-B Canyon Rd., 505-984-2111 Works by sculptor Eric Boyer and painter Carlos Ramirez; through June 4.

Randall Davey House and Studio tours

Randall Davey Audubon Center, 1800 Upper Canyon Rd. Docent-led tours of the residence, 2 p.m., $5, audubon.org, 505-983-4609.

Max Coll Center

16 Avenida Torreon, Eldorado Preview by artists participating in the Eldorado Studio Tour; reception 5-7 p.m.; through Sunday, eldoradostudiotour.org.

SAR artist-in-residence presentation

Dobkin Boardroom and Dubin Studio, School for Advanced Research, 660 Garcia St. A meet-and-greet with Seneca painter and beadworker Luanne Redeye, 6-7:30 p.m., register by calling 505-954-7205, or email iarc@sarsf.org.

New Concept Gallery

610 Canyon Rd., 505-795-7570 Changes & Continuity, photographs by Steven A. Jackson; reception 5-7 p.m.; through June 26.

School for Advanced Research collection tour Indian Arts Research Center, 660 Garcia St., 505-954-7205 Tour SAR’s collection of Southwestern Native American pottery, textiles, basketry, and paintings, 2 p.m. Fridays; $15; advance reservations required.

Ventana Fine Art

400 Canyon Rd., 505-983-8815 International Attraction, paintings by Frank Balaam and Angus; reception 5-7 p.m.; through May.

Nightlife

Vivo Contemporary

(See Page 51 for addresses)

725 Canyon Rd., 505-982-1320 Coexisting Realities, group show of multidisciplinary works; reception 5-7 p.m.; through July 11.

Boxcar Sports Bar & Grill

DJ Dynamite Sol, old-school hip-hop, 10 p.m., no cover.

Classical Music

TGIF flute and guitar recital

First Presbyterian Church, 208 Grant Ave. Folios Duo: music of Maret and Bergeron, 5:30 p.m., donations accepted, 505-982-8544, Ext. 16, visit fpcsantafe.org for series schedule.

In Concert

Carla Van Blake

Museum Hill Café, 710 Camino Lejo Jazz vocalist, with pianist John Rangel, bassist Andy Zadrozny, and percussionist John Trentacosta, 7 p.m., $25 in advance, 505-983-6820..

Charlie Daniels Band

Buffalo Thunder Resort & Casino, 30 Buffalo Thunder Tr. A fundraiser for Española Valley Humane Society, 8 p.m., $69-$99, buffalothunderresort.com.

Detroit Lightning

Meow Wolf, 1352 Rufina Circle, 505-395-6369 Grateful Dead tribute band, 8 p.m., $15 in advance and at the door, meowwolf.com.

Theater/Dance

The Glass Menagerie

Teatro Paraguas, 3205 Calle Marie New Mexico Actors Lab presents Tennessee Williams’ drama, directed by Robert Benedetti,

Turner Carroll Gallery (725 Canyon Rd.) shows mixed-media work by Drew Tal.

7:30 p.m., $20, students $15, nmactorslab.com, 505-424-1601, Thursdays-Sundays through June 4.

High School Musical Jr.

benefit KNME-TV, KUNM-FM, and KSFR-FM, publicmedianm2017.brownpapertickets.com, 800-838-3006.

In the Next Room (or the Vibrator Play)

No Land, 54½ E. San Francisco St., Suite 7, 541-844-6683 Santa Fe poet Jesús Castillo reads from Remains; poet Sonja Bjelić reads from her works, 8 p.m., no charge. (See Subtexts, Page 17)

Santa Fe Prep Theater, 1101 Camino de la Cruz Blanca A student production, 7 p.m., no charge.

Call Brad Fairbanks for more information, 505-982-1829.

Santa Fe Playhouse, 142 E. DeVargas St., 505-988-4262 Sarah Ruhl’s comedy, 7:30 p.m., $25, discounts available, santafeplayhouse.org, final weekend.

Time Stands Still

Adobe Rose Theatre, 1213-B Parkway Dr., 505-629-8688 Donald Margulies’ drama, 7:30 p.m., $25, discounts available, brownpapertickets.com/event/2729485, Thursdays-Sundays through June 4.

Books/Talks

An Evening With Amy Goodman

James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. The Democracy Now! host and executive producer discusses grassroots resistance to the Trump administration, 7 p.m., $15 in advance, proceeds

Poetry readings

Santa Fe Opera Spotlight Series

Collected Works Bookstore, 202 Galisteo St., 505-988-4226 Who Wears the Pants? Women in Disguise!, a talk

by Oliver Prezant, Santa Fe Community Orchestra music director, correlating with SFO’s production of Handel’s Alcina, 6 p.m., no charge.

Events

ArtSpring Gala

The Lensic and Inn and Spa at Loretto, 211 Old Santa Fe Trail New Mexico School for the Arts annual year-end student showcase and fundraiser; pre-show reception 5 p.m., performance follows at 6 p.m., gala party at the Inn and Spa at Loretto begins at 7 p.m., gala $125, performance only $15, 505-988-1234, ticketssantafe.org.

Caffe Greco

Pianist/vocalist Sky, 6-9 p.m., no cover.

Chez Mamou French Café & Bakery

Cellist Nelson Denman, 6-9 p.m., no cover.

¡Chispa! at El Mesón

The Three Faces of Jazz, 7:30 p.m., no cover.

Cowgirl BBQ

John Kurzweg rock band, 8:30 p.m., no cover.

Hotel Santa Fe

Flutist/guitarist Ronald Roybal, 7-9 p.m., no cover.

La Fiesta Lounge at La Fonda

R & B band Pleasure Pilots, 8-11 p.m., no cover.

Omira Bar & Grill

Guitarist Randy Rane, Brazilian and Spanish music, 6-9 p.m., no cover.

The Palace Restaurant & Saloon

Americana band Pistols in Petticoats, 10 p.m., call for cover.

Pizzeria & Trattoria da Lino

Accordionist Dadou, 6:30-9 p.m., no cover.

Pranzo Italian Grill

Geist Cabaret, with David Geist, 6-9 p.m., call for cover.

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Bird Walks

Randall Davey Audubon Center, 1800 Upper Canyon Rd. Guided by experienced birders, 8:30 a.m. Saturdays, as weather permits, no charge, 505-983-4609.

Events

26th Annual Eldorado Studio Tour

Self-guided tour of more than 60 Eldorado studios with with works by over 100 artists, held 10 a.m.5 p.m. today and Sunday. View studio map and artists' works online at eldoradostudiotour.org.

Cornerstones adobe brick workshops

Americana band Half Broke Horses, 6-9 p.m., no cover.

Second Street Brewery at the Railyard

Son Huasteco trio Lone Piñon, 7-10 p.m., no cover.

Shadeh

DJ-driven hip-hop, 9 p.m.-4 a.m. weekly, no cover.

Vanessie

At the Piano Bar: Doug Montgomery, 6 p.m.; Ester Hana, 8 p.m.; no cover.

SATURDAY 5/20 Classical Music

Santa Fe Symphony

The Lensic Guillermo Figueroa leads the symphony in music of Beethoven, Mendelssohn & Lauridsen, 7 p.m., $20-$80, children ages 6-14 half-price, 505-983-1414, or ticketssantafe.org, 505-988-1234.

In Concert Teebs

Meow Wolf, 1352 Rufina Circle, 505-395-6369 Electronic music, Lefto and Free the Robots open, 9 p.m., $16 in advance, $19 at the door, meowwolf.com.

Zia Singers

Temple Beth Shalom Social Hall, 205 E. Barcelona Rd. Rhythm & Dance, jazz standards and Broadway tunes, 7 p.m., $20 in advance and at the door, theziasingers.com, Sunday encore.

Theater/Dance

The Glass Menagerie

Teatro Paraguas, 3205 Calle Marie New Mexico Actors Lab presents Tennessee Williams’ drama, directed by Robert Benedetti, 7:30 p.m., $20, students $15, nmactorslab.com, 505-424-1601, Thursdays-Sundays through June 4.

High School Musical Jr.

Santa Fe Prep Theater, 1101 Camino de la Cruz Blanca A student production, 2 p.m., no charge.

Call Brad Fairbanks for more information, 505-982-1829.

In the Next Room (or the Vibrator Play)

Santa Fe Playhouse, 142 E. DeVargas St., 505-988-4262 Sarah Ruhl’s comedy, 7:30 p.m., $25, discounts available, santafeplayhouse.org, final weekend.

50

PASATIEMPO I May 19-25, 2017

Regenesis

Muñoz Waxman Gallery, Center for Contemporary Arts, 1050 Old Pecos Trail, 505-982-1338 A performance by feminist collective Victory Grrrls inspired by the exhibit Cryin’ Out Loud, 1-2 p.m., no charge.

Serendipitous

Armory for the Arts, 1050 Old Pecos Trail A dance performance by Early Street Studios and Santa Fe Performing Arts students, 8 p.m., $8 at the door, 505-983-5742.

Time Stands Still

Adobe Rose Theatre, 1213-B Parkway Dr., 505-629-8688 Donald Margulies’ drama, 7:30 p.m., $25, discounts available, brownpapertickets.com/event/2729485, Thursdays-Sundays through June 4.

Books/Talks

Behind the Scenes: Concepts, Objects, and Exhibitions

Museum of International Folk Art, 706 Camino Lejo, Museum Hill, 505-476-1200 Current exhibits are the topic of this talk by curator Felicia Katz-Harris, 3 p.m., free with museum admission.

JoyceGroup Santa Fe

Winiarski Seminar Room, #201, St. John’s College, 1160 Camino de Cruz Blanca, 505-984-6000 Weekly readings and discussions of works

by James Joyce, 10 a.m.-12:30 p.m., no charge, joycegeek.com.

Santa Fe Zine Fest

The Living Room Gallery, Center for Contemporary Arts, 1050 Old Pecos Trail Writers of self-published books, poetry, and essays, come together to showcase their works, 11 a.m.-5 p.m., no charge.

For more information, visit ccasantafe.org.

Outdoors

32nd Annual Santa Fe Century races

Christus St. Vincent Regional Medical Center parking lot, 465 St. Michael’s Dr. Vintage-bike celebration, pageant, and beer garden: Celebration Corral is open for beverages and food 4-7 p.m.; competition registration runs 5-7 p.m.; 20-mile, 50-mile, and 100-mile timed events begin at 6 a.m. Sunday; advance registration available online at santafecentury.com.

Boxcar Sports Bar & Grill

Funk band Felix y Los Gatos, 10 p.m., no cover.

Caffe Greco

Pianist/vocalist Sky, 6-9 p.m., no cover.

Chez Mamou French Café & Bakery

Cellist Nelson Denman, 6-9 p.m., no cover.

¡Chispa! at El Mesón

Pat Malone Jazz Trio, 7:30 p.m., no cover.

Cowgirl BBQ

Evening of Earthly Delights

Flutist/guitarist Ronald Roybal, 7-9 p.m., no cover.

IAIA Museum of Contemporary Native Arts Fourth Annual Family Day

Second Street Brewery

(See Page 51 for addresses)

Palace of the Governor’s Courtyard, through the Blue Gate on Lincoln Avenue Held in celebration of Historic Preservation Month: beginning at 9 a.m. with introductory talks. Call 505-982-9521 or email Nicole Kliebert for more information, nkliebert@cstones.org.

Eldorado Hotel & Spa, 309 W. San Francisco St. A gala dinner celebrating the exhibit The Prado, 6 p.m., $175 in advance, eventbrite.com/e/prado, for more information visit spanishcolonial.org.

Ventana Fine Art (400 Canyon Rd.) shows paintings by Argus.

Nightlife

Allan Houser Art Park, 108 Cathedral Pl. Mural- and print-making activities, scavenger hunt, and jewelry-making demonstration; noon-4 p.m., no charge. For more information, contact Andrea Hanley, 505-428-5907, ahanley@iaia.edu.

Model train show

Rock band Chango, 8:30 p.m., no cover.

Derailed at Sage Inn

Rock ‘n’ roll band Little Leroy and His Pack of Lies, 6-9 p.m., no cover.

Hotel Santa Fe

La Fiesta Lounge at La Fonda

R & B band Pleasure Pilots, 8-11 p.m., no cover.

Omira Bar & Grill

Guitarist Randy Rane, Brazilian and Spanish music, 6-9 p.m., no cover.

Pranzo Italian Grill

Geist Cabaret, with David Geist, 6 p.m., call for cover.

Second Street Brewery

Bluegrass band Mystic Lizard, 6-9 p.m., no cover.

Second Street Brewery at the Railyard

Americana band Santa Fe Revue, 7-10 p.m., no cover.

Former Hastings space, DeVargas Center, 564 N. Guadalupe St. All-scales displayed, 9 a.m.-5 p.m. For a schedule of shows, visit santafemodelrailroadclub.org.

Skylight

Office of Archaeological Studies Hopi Weekend

Starlight Lounge at Montecito

Center for New Mexico Archaeology, 7 Old Cochiti Rd. Dry-farming techniques and kachina-carving presentations, and basket weaving demonstrated by the Lalo family from the Hopi village of Hotevilla, Arizona, 9 a.m.-4 p.m. today and Sunday, $105 for one day, $165 for both days, register by calling 505-982-7799, Ext. 5, nmarchaeology.org/events.

Outside Bike & Brew

Bike trails in and around Santa Fe, and the Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta Road- and mountain-bike rides, craft-beer vendors, live music, and films. Visit outsidesantafe.com for event schedule and tickets.

Place and Sound Art

Santa Fe Art Institute, SFUAD campus, 1600 St. Michael’s Dr. A workshop covering field-recording basics and sound-editing skills, 1-4 p.m., $60. For more information contact Toni, tgentilli@sfai.org, 505-424-5050.

Rabbit Day

Look What the Cat Dragged In, 2570 Camino Entrada, 505-474-6300 New Mexico Rabbit Society adoption event and bake sale, noon-4 p.m.

Santa Fe Farmers Market

1607 Paseo de Peralta 8 a.m.-1 p.m. Saturdays, santafefarmersmarket.com.

Santa Fe Opera open house

301 Opera Dr., 505-986-5900 The one-hour tour includes a viewing of the The (R)evolution of Steve Jobs set, 11 a.m., $10; seniors $8, ages 22 and under no charge.

Santa Fe Society of Artists

122 W. Palace Ave. Outdoor art market, Saturdays and Sundays through Oct. 15, santafesocietyofartists.com.

Southside Branch Library 10th Anniversary Plaza Fair and Summer Reading kick off Santa Fe Public Library, 6599 Jaguar Dr. Information booths, Books & Babies program, and performances by circus-arts troupe Wise Fool New Mexico and Emi Arte Flamenco dancers, 11 a.m.-4 p.m., no charge.

DJs n_8 and Xavier spinning underground-house music, doors open at 9 p.m., call for cover.

Duo Bohemia, Ron Romanovsky and Hilary Schacht, 7 p.m., call for cover.

The Underground at Evangelos

DJ Shatterliffik and electronic band Cinematica, doors open at 9 p.m., call for cover.

Vanessie

At the Piano Bar: Doug Montgomery, 6 p.m.; Ester Hana, 8 p.m.; no cover.

SUNDAY 5/21 Classical Music

Santa Fe Symphony

The Lensic Guillermo Figueroa leads the symphony in music of Beethoven, Mendelssohn & Lauridsen, 4 p.m., $22-$80, children ages 6-14 half-price, 505-983-1414, or ticketssantafe.org, 505-988-1234.

In Concert Hoops

Meow Wolf, 1352 Rufina Circle, 505-395-6369 Power-pop band, 8 p.m., $10 in advance and at the door, meowwolf.com.

Zia Singers

Temple Beth Shalom Social Hall, 205 E. Barcelona Rd. Rhythm & Dance, jazz standards and Broadway tunes, 4 p.m., $20 in advance and at the door, theziasingers.com.

Theater/Dance

The Glass Menagerie

Teatro Paraguas, 3205 Calle Marie New Mexico Actors Lab presents Tennessee Williams’ drama, directed by Robert Benedetti, 2 p.m., $20, students $15, nmactorslab.com, 505-424-1601, Thursdays-Sundays through June 4.

In the Next Room (or the Vibrator Play)

Santa Fe Playhouse, 142 E. DeVargas St., 505-988-4262 Sarah Ruhl’s comedy, 2 p.m., $25, discounts available, santafeplayhouse.org.

Time Stands Still

Adobe Rose Theatre, 1213-B Parkway Dr., 505-629-8688 Donald Margulies’ drama, 3 p.m., $20, brownpapertickets.com/event/2729485, Thursdays-Sundays through June 4.

Cultivating Resiliency Through Writing Santa Fe Community Yoga Center, 826 Camino de Monte Rey, Suite B1, 505-820-9363 A workshop led by poet Wendy Brown-Báez, 2-4 p.m., $20, santafecommunityyoga.org.

Gordon Ball

Teatro Paraguas, 3205 Calle Marie, 505-424-1601 The author reads from On Tokyo’s Edge: Gajin Tales from Postwar Japan, 5 p.m.

Jean Cocteau Cinema Writers Series

418 Montezuma Ave., 505-466-5528 Anne Hillerman, David Morrell, and Darynda Jones in conversation, 1 p.m., no charge.

Journey Santa Fe Presents Claudia Borchert

MONDAY 5/22 In Concert

Temple at Midnight Tour

James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. Sacred-music band Deva Premal & Miten, 7:30 p.m., check for ticket availability online at devapremalmiten.com.

Books/Talks

A Two-Way Street: Economic Success for Artists and Communities

The Horse Shelter auction and luncheon

Events

Lowrider Day

Center for Progress & Justice, 1400 Cerrillos Rd. A grassroots political-activism group, 7 p.m.

Mondays and 8:30 a.m. Tuesdays, no charge, indivisiblesantafe.org.

Santa Fe Railyard Plaza, South Guadalupe Street Car show, noon-6 p.m., no charge, presented

by Rollerz Only car club.

Indivisible Santa Fe

Santa Fe Swing

Odd Fellows Hall, 1125 Cerrillos Rd. Jitterbug, Lindy Hop, and Shim Sham; lessons 7 p.m., dance 8 p.m.; lessons and dance $8, Model train show Former Hastings space, DeVargas Center, 564 N. Guadalupe St. dance only $3, santafeswing.com.

All-scales displayed, 11 a.m.-5 p.m. For a schedule The Transition Network of shows, visit santafemodelrailroadclub.org.

Montezuma Lodge, 431 Paseo de Peralta A resource group for female professionals ages Office of Archaeological Studies 50 and over, 5:45-7:30 p.m., email Sue Burgess to Hopi Weekend register, sebsfe@gmail.com. For more information, Center for New Mexico Archaeology, 7 Old Cochiti Rd. visit thetransitionnetwork.org.

Dry-farming techniques and kachina-carving presentations, and basket weaving demonstrated Nightlife by the Lalo family from the Hopi village of Hotevilla, (See addresses at right) Arizona, 9 a.m.-4 p.m., $105, register by calling Boxcar Sports Bar & Grill 505-982-7799, Ext. 5, nmarchaeology.org/events.

DJ Obi Zen, house/hip-hop; 10 p.m., no cover.

Railyard Artisan Market Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta Handcrafted goods and food vendors, 10 a.m.-4 p.m. Sundays, artmarketsantafe.com.

Santa Fe Society of Artists

122 W. Palace Ave. Outdoor art market, Saturdays and Sundays through Oct. 15, santafesocietyofartists.com.

Santa Fe Vintage Car Club Plaza Cruise-in

Downtown Plaza Car show, noon-4 p.m., no charge.

Nightlife

Cowgirl BBQ

Cowgirl karaoke, 9 p.m., no cover.

La Fiesta Lounge at La Fonda

Bill Hearne Trio, honky-tonk, 7:30 p.m., no cover.

The Underground at Evangelos

Death-metal bands Sacrificial Slaughter, Voices of Ruin, Desmadre and Atrophic Wound, doors open at 9 p.m., call for cover.

Vanessie

Doug Montgomery at the Piano Bar, 6:30 p.m.

(See addresses at right)

TUESDAY 5/23

La Fiesta Lounge at La Fonda

Gallery and Museum Openings

Vanessie

107 W. Barcelona Rd. Across the Digital Spectrum, photographs

by Virginia Asman, Taylor Oliver, and Karen and Kip Waters; reception 5-7 p.m.

Flamenco artist La Emi, 6-8:30 p.m., no cover.

Doug Montgomery at the Piano Bar, 6:30 p.m., no cover.

Books/Talks

United Church of Santa Fe, 1804 Arroyo Chamiso Classical and contemporary music, 7 p.m., donations accepted.

Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The local author reads from Deep Waters, a collection of correspondence with author Frank Waters, 6 p.m.

Missouri State University Chorale

Theater/Dance

Jessica Lang Dance

Unitarian Universalist Congregation

Alan Kishbaugh

Events

The Lensic A fusion of ballet and modern-dance, 7:30 p.m., $20-$55, ticketssantafe.org, 505-988-1234.

(See story, Page 28)

Adobe Rose Theatre, 1213-B Parkway Dr., 505-629-8688 A lecture by Laura Zabel, director of Springboard for the Arts, 5:30-7 p.m., $5 in advance and at the door, call 505-288-3531 for reservations.

Collected Works Bookstore, 202 Galisteo St., 505-988-4226 Santa Fe Council on International Relations The Santa Fe County sustainability manager discusses On Greening the Place We Call Home, 11 a.m. lecture Hotel Santa Fe, 1501 Paseo De Peralta Outdoors The Changing World Order, by Santa Fe New Mexican 32nd Annual Santa Fe Century races columnist Bill Stewart, 6 p.m., $20, register online Christus St. Vincent Regional Medical Center parking lot, at sfcir.org or call 505-982-4931, Ext. 102.

465 St. Michael’s Dr. Southwest Seminars lecture 20-mile, 50-mile, and 100-mile timed races Hotel Santa Fe, 1501 Paseo de Peralta begin at 6 a.m., advance registration available Transformation of Mexican New Mexico and online at santafecentury.com. the Unsettled Legacy of Gov. Manuel Armijo, by historian Matthew K. Saionz, 6 p.m., Events $15 at the door, southwestseminars.org, 26th Annual Eldorado Studio Tour 505-466-277.

Self-guided tour of more than 60 Eldorado studios with works by over 100 artists, 10 a.m.-5 p.m. Understanding Cultural Property: A Path View studio map and artists' works online to Healing Through Communication at eldoradostudiotour.org.

Eldorado Hotel & Spa, 309 W. San Francisco St. A public symposium on repatriation of Native Families Make History workshop ancestral remains and ceremonial objects, New Mexico History Museum, 113 Lincoln Ave. presented by the School for Advanced Research Bring a white T-shirt or canvas shoes to create and the Antique Tribal Art Dealers Association, tie-dye designs with permanent markers, 9 a.m.-4:30 p.m., $35 in advance, atada.org/events.

1:30-3:30 p.m., no charge, 505-476-5200.

The Horse Shelter, 100 Old Cash Rd., off NM 14, Cerrillos Catered by Restaurant Martín and The Ranch House, 11 a.m.-3 p.m., $75, 505-471-6179, info@thehorseshelter.org.

In Concert

C L U B S, R O O M S, V E N UES

Books/Talks

Demystifying the Arts & Crafts Show Jury Process

Santa Fe Business Incubator, 3900 Paseo del Sol A workshop on selecting shows, submitting photographs, and following up after applying, 10:30 a.m.-12:30 p.m., $29, register online at wesst.org/training-event, 505-474-6556.

Check with venues for updates and sp ecial events.

The Bell Tower at La

Fonda 100 E. San Francisc The Matador o St., 505-982-5511 116 W. San Francisc Boxcar Sports Bar o St., downstairs & Gr 530 S. Guadalupe St. ill The Mine Shaft Ta , 505-988-7222 vern 2846 NM 14, Madr The Bridge at Santa id, 505-473-0743 Fe Brewing Compan y On the Rocks Lo 37 Fire Place, 505-4 24-3333 unge Camel Rock Casino, Caffe Greco 17 U.S. 84/285, 505-984 486-A 233 Canyon Rd., 50 -8414 5-820-7996 Osteria d'Assisi Pia Chez Mamou Frenc no Lounge h Café & Bakery 58 Federal Pl., 505-9 217 E. Palace Ave., 86-5858 505-216-1845¡ Th e Palace Restauran ¡Chispa! at El Mesó t & Saloon n 142 W. Palace Ave., 213 Washington Av 505-428-0690 e., 505-983-6756 Pizzeria & Trattoria Cowgirl BBQ da Lino 204 N. Guadalupe 319 S. Guadalupe St. St., 505-982-8474 , 505-982-2565 Pranzo Italian Grill Derailed at Sage Inn 540 Montezuma Av 725 Cerrillos Rd., 50 e., 505-984-2645 5-982-5952 Radical Abacus Dragon Room Bar 1226-D Calle de Co 406 Old Santa Fe Tra me il, 505-983-7712 radicalabacus.com rcio, Duel Brewing Radish & Rye 1228 Parkway Dr., 505-474-5301 54 8 Agua Fría St., 505-9 El Farol 30-5325 The Root Cellar 808 Canyon Rd., 50 5-983-9912 101 W. Marcy St., 50 Evangelos 5-303-3879 Rosewood Inn of th 200 W. San Francisc e Anas o St., 505-982-9014 113 Washington Ave., 50 azi Fresh Santa Fe 5-988-3236 Second Street Brew 2855 Cooks Rd., 50 ery 5-270-2654 1814 Second St., 50 Ghost 5-982-3030 Second Street Brew 2889 Trades West Rd er .

1607 Paseo de Peral y at the Railyard Gig Performance Sp ta, 505-989-3278 ace Shadeh 1808 Second St., gig santafe.com Buffalo Thunder Re Hilton Santa Fe sort & Casino, 20 Buffalo Thunde 100 Sandoval St., 50 r Trail, 877-848-6337 5-988-2811 Skylight Hotel Santa Fe 13 9 W. San Francisco 1501 Paseo de Peral St., 505-982-0775 ta, 505-982-1200 Starlight Lounge at Jean Cocteau Cinem Mo a 500 Rodeo Rd., 505-4 ntecito 418 Montezuma Av 28-2840 e., 505-466-5528 Taberna La Boca La Boca 125 Lincoln Ave., 50 72 W. Marcy St., 50 5-988-7102 5-982-3433 Te rraCotta Wine Bistro La Fiesta Lounge at La Fonda 304 Johnson St., 50 100 E. San Francisc 5-989-1166 o St., 505-982-5511 Tin y’s La Fogata Grill 1005 St. Francis Dr 112 W. San Francisc ive, 505-983-9817 o St., Suite 101, The Underground 505-983-7302 at Evangelos 200 W. San Francisc La Posada de Sant o St., 505-982-9014 a Fe Resort and Sp a Upper Crust Pizza 330 E. Palace Ave., 505-986-0000 329 Old Santa Fe Tra The Lensic il, 505-982-0000 Vanessie 211 W. San Francisc o St., 505-988-1234 434 W. San Francisco St. Living Room Loun , 505-982-9966 ge at Loretto Zephyr Inn and Spa at Loret to, 211 Old Santa Fe 520 Ce Trail, 505-984-7905 nter Dr., faceboo /zephyrmusicandart k.com L'Olivier Restauran t 229 Galisteo St., 50 5-989-1919

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51

New Mexico Council of Car Clubs car show Albuquerque Museum, 2000 Mountain Rd., N.W., 505-243-7255 A free event with over 1,000 vehicles, held in celebration of the museum's 50th anniversary, 10 a.m.-3 p.m. Sunday, May 21.

Bernadette Peters

Popejoy Hall Center for Performing Arts, 203 Cornell Dr., S.E. Broadway selections, 6 p.m. Sunday, May 21, $50-$200, unmtickets.com, 877-664-8661, call 505-344-1779 for group orders of 10 or more.

Jemez Springs

Homeless Veterans NO MAS fundraiser

Jemez Springs Community Park, NM 4 More than a dozen bands, arts & crafts booths, food vendors, and beer garden, 11 a.m.-9 p.m.

Saturday, May 20, $5, children $2, parking $2.

Los Alamos Charlie Daniels performs at Buffalo Thunder Resort & Casino (20 Buffalo Thunder Trail) on Friday.

Indivisible Santa Fe

Theater/Dance

Santa Fe Farmers Market

Teatro Paraguas, 3205 Calle Marie New Mexico Actors Lab presents Tennessee Williams’ drama, directed by Robert Benedetti, 7:30 p.m., $20, students $15, nmactorslab.com, 505-424-1601, Thursdays-Sundays through June 4.

Center for Progress & Justice, 1400 Cerrillos Rd. A grassroots political-activism group, 8:30 a.m., no charge, indivisiblesantafe.org.

1607 Paseo de Peralta Open 8 a.m.-1 p.m. on Tuesdays, 505-983-4098, santafefarmersmarket.com.

Nightlife

(See Page 51 for addresses)

Boxcar Sports Bar & Grill

Canyon Road Blues Jam, 8:30 p.m.-midnight, no cover.

¡Chispa! at El Mesón

Argentine Tango Milonga, 7:30-11 p.m., no cover.

The Glass Menagerie

Time Stands Still

Adobe Rose Theatre, 1213-B Parkway Dr., 505-629-8688 Donald Margulies’ drama, 7:30 p.m., $25, discounts available, brownpapertickets.com/ event/2729485, Thursdays-Sundays through June 4.

Nightlife

(See Page 51 for addresses)

La Fiesta Lounge at La Fonda

Boxcar Sports Bar & Grill

Tiny’s

¡Chispa! at El Mesón

Vanessie

La Fiesta Lounge at La Fonda

Bill Hearne Trio, honky-tonk, 7:30-11 p.m., no cover.

Open-mic night, 7-10 p.m., no cover.

Reggae Night, reggae and dubstep, 10 p.m.-1:30 a.m., no cover.

Jazz pianist John Rangel, 7 p.m., no cover.

La Fiesta Lounge at La Fonda

Gerry Carthy and Chris Abeyta, Northern New Mexico tunes, 7:30-11 p.m., no cover.

The Palace Restaurant & Saloon

Santa Fe Crooners: selections from the Great American Songbook, 7 p.m., open mic 9 p.m., no cover.

Tiny’s

Electric Jam, with Nick Wimett and Albert Diaz, 8:30 p.m.-midnight, musicians and dancers welcome, no cover.

Vanessie

Ester Hana at the Piano Bar, 7 p.m., no cover.

THURSDAY 5/25 In Concert

Cindy Kallet

Gig Performance Space,1808 Second St. Folk singer/songwriter, 7:30 p.m., $20 at the door, gigsantafe.com.

Space Jesus

Meow Wolf, 1352 Rufina Circle, 505-395-6369 Electronic-music producer Jasha Tull, 8 p.m., $15 in advance, $20 at the door, meowwolf.com, 18+.

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PASATIEMPO I May 19-25, 2017

Los Alamos History Museum guided tours

1050 Bathtub Row, 505-662-6272 11 a.m. Mondays-Saturdays, including exhibits covering ancestral Pueblos, the Los Alamos Ranch School, the Manhattan Project, and postwar Los Alamos, by museum admission, losalamoshistory.org.

Madrid

CrawDaddy Blues Fest

The Historic Santa Fe Foundation seeks watercolors, gouache, acrylic, and water-based ink works for an exhibit highlighting the cultural, architectural, and natural characteristics of Northern New Mexico; entries must be received

by Friday, July 14 for the September show; historicsantafe.org/2017watercolorentry.

Community

CURRENTS New Media 2017

Volunteers sought to help install the exhibit (painting walls, running cables, sorting electronic equipment) Friday-Friday, June 2-9; all skill levels and ages welcome. Gallery attendants/ greeters needed to volunteer during the event (Friday-Sunday, June 9-25); sign up online at currentsnewmedia.org or email Hannah Kramm, hanna@currentsnewmedia.org.

New Mexico Senior Olympics

Athletes age 50 and older may sign up for the summer games held Wednesday-Sunday, July 19-23 in Albuquerque; to register, visit nmseniorolympics.org or call the New Mexico Senior Olympic office, 888-623-6676; registration deadline is Tuesday, June 20.

Taos

Pizzeria & Trattoria da Lino

Ninth Annual Santa Fe Independent Film Festival

Kit Carson Park, 115 Civic Plaza Dr. Live entertainment, food and crafts vendors, and a wine and beer garden, 2-5 p.m. Friday, noon-5:30 p.m. Saturday, 12:30-3:30 p.m. Sunday, May 19-21; full schedule of events available online at taoslilacfestival.com; no admission fee.

Guitarist Randy Rane, Brazilian and Spanish music, 6-9 p.m., no cover.

Guitarist Daniel Spadavecchia, 7 p.m., no cover.

Overlook Park, 700 Overlook Rd., White Rock Afro-Cuban musician Chucho Valdes, 7 p.m. Friday, May 19, no charge, 505-690-2484.

Pushing the Boundaries

Limelight Karaoke, 10 p.m. weekly, 21+, no cover.

WEDNESDAY 5/24 ¡Chispa! at El Mesón

Gordon's Summer Concerts

Works sought for the 17th annual juried recycled-art show held at Stables Gallery in Taos on Saturday-Saturday, Aug. 26-Sept. 9; for prospectus, visit whollyrags.org/events, or send a SASE to Wholly Rags, PO Box 1051, Ranchos de Taos, NM, 87557, or pick up at the studio, 1337 Gusdorf Rd., Suite L, in Taos; entry deadline is Tuesday, Aug. 1; call Melissa for more information, 575-751-9862.

Sherman Alexie Scholarship

Gerry Carthy and Chris Abeyta, Northern New Mexico tunes, 7:30-11 p.m., no cover.

(See Page 51 for addresses)

Meet at the Tsankawi Annex parking lot, NM 4 A hike to the site of the 1920s Pueblo potters' market led by Bandelier Monument archeologists and preservationists, 1 p.m. Friday, May 19.

For more information, contact J.T. Stark, 505-672-3861, Ext. 308, or call the Visitor Center, 505-672-3861, Ext. 517.

Arte de Descartes XVII

Madrid Railyard, next to The Mine Shaft Tavern Three outdoor stages featuring Partizani Brass Band, Whiskey Diablo, Felix y Los Gatos, and others; gates open at noon Saturday and Sunday, May 20 and 21, $15 in advance; $25 both days; $20 at the gate; advance tickets available at ticketssantafe.org, 505-988-1234, or at the tavern, crawdaddybluesfest .com.

At the Piano Bar: Doug Montgomery, 6 p.m.; Ester Hana, 8 p.m.; no cover.

Nightlife

Pueblo Craft Revitalization and the Women of Duchesse Castle

demonstrated a long-lasting commitment to Santa Fe's arts community; youth arts award: nominations open to young artists demonstrating excellence and commitment to their pursuits; visit santafeartscommission.org for guidelines and nomination forms, or call 505-955-6707; submission due by 5 p.m. Friday, June 16.

Omira Bar & Grill

The Palace Restaurant & Saloon

Accordionist Dadou, 6:30-9 p.m., no cover.

The Root Cellar

Multi-instrumentalist Gerry Carthy, 6 p.m., no cover.

Vanessie

Ester Hana at the Piano Bar, 7 p.m., no cover.

OUT OF TOWN Abiquiú

Poshuouinge Pueblo Walking Tour

Meet at the Poshuouinge Interpretive Site parking lot A 23-acre ancestral site along the banks of the Río Chama River; 10 a.m.-1 p.m. Friday, May 19.

For more information about this free hike, contact Jana Comstock of the Española Ranger District of the Santa Fe National Forest, 505-753-7331, jmcomstock@fs.fed.us.

Albuquerque

René Marie & Experiment in Truth

Outpost Performance Space, 210 Yale Blvd., S.E. Jazz vocalist, 7:30 p.m. Friday, May 19, doors 7 p.m., $20 and $25, holdmyticket.com/tickets/274559.

Taos Lilac Festival

203 Fine Art

1335-I Gusdorf Rd., 575-751-1262 The Art of Ted Egri, retrospective show of paintings, drawings, and sculptures from the 1950s to the 2000s; reception 3-7 p.m. Saturday, May 20; through June.

ARTAOS

Look for the mobile gallery outside of the Taos County Courthouse Complex, 105 Albright St. Prints by Egon Schiele (1890-1918); on view 10 a.m.4 p.m. Saturday, May 20; through June; artaos.com.

PEOPLE WHO NEED PEOPLE Artists

2017 Mayor's Awards for Excellence in the Arts and Melissa Engestrom Youth Arts Award

Mayor's awards: nominate artists, performers, writers, organizations, or businesses that have

Offered by the Institute of American Indian Arts to a Native American student who applies and enrolls in the school's MFA program; $7,500 per semester for four semesters; contact Jon Davis for details, jdavis@iaia.edu, 505-424-2365; entries due by Friday, May 26, at 5 p.m.

Filmmakers

Call for feature films and shorts entries for the October 2017 festival; deadline, Saturday, July 1; final deadline, Saturday, Aug. 1; guidelines, rules, and submission forms available online at santafeindependentfilmfestival.com.

PASA KIDS

The Santa Fe Children’s Museum programs 1050 Old Pecos Trail Open Art Studio: Children explore art using glue, paint, crayons, found objects, and collage, 2:30-4:30 p.m. Fridays, by museum admission; Meet Cornelius the Corn Snake!, meet and feed the resident reptile, 3 p.m. Sundays, by museum admission; free admission 4-6:30 p.m. Thursdays, santafechildrensmuseum.org.

Southside Branch Library 10th Anniversary Plaza Fair and Summer Reading kick off Santa Fe Public Library, 6599 Jaguar Dr. Information booths, Books & Babies program, and performances by circus-arts troupe Wise Fool New Mexico and Emi Arte Flamenco dancers, 11 a.m.-4 p.m. Saturday, May 20, no charge.

Santa Fe Children’s Chess Club

Community Room, Santa Fe Public Library, Main Branch, 145 Washington Ave., 505-955-6780 Meets 5:45-7:45 p.m. every Wednesday of the month, no charge. ◀

I N

THE

WI NGS

U P C O M I N G

MUSIC

Gig Performance Space concerts

1808 Second St. 7:30 p.m. Friday, May 26, Sweetwater String Band; 7:30 p.m. Saturday, May 27, Leni Stern African Trio, jazz fusion; 7:30 p.m. Sunday, May 28, jazz-funk fusion band Progger; 7:30 p.m. Tuesday, May 30, experimental folk-rock band Little Tybee; all concerts $20 at the door, gigsantafe.com.

Santa Fe Symphony

Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Pl. In Honor of Memorial Day, music of Bach, Mozart, and Vivaldi, 7 p.m. Wednesday, May 31, no charge.

Doug Lawrence Quartet

Museum Hill Café, 710 Camino Lejo The saxophonist in concert with pianist Bert Dalton, bassist Milo Jaramillo, and percussionist John Trentacosta, 7 p.m. Friday, June 2, $25 in advance, 505-983-6820.

New Mexico Women's Choir

Center Stage Santa Fe, 505 Camino de los Marquez Phenomenal Women: Then and Now, 7 p.m.

Saturday, June 3, $15 in advance online at nmwomenschorus.org; $20 at the door; discounts available.

Great American Composers

Congregation Beit Tikva, 2230 Old Pecos Trail Cantor Ephraim Herrera in concert with Pamela McClain, Gayle Kenny, Melissa Ridel, and others, 3 p.m. Sunday, June 4, $25 in advance and at the door, beittikvasantafe.org, 505-820-2991.

MarchFourth

The Bridge at Santa Fe Brewing, 37 Fire Pl. Theatrical marching band, 7 p.m. Sunday, June 4, doors 3 p.m., Innastate, Greyhounds, and Red Light Cameras open, $21 in advance, $26 day of show, ampconcerts.org/event/278921.

Elvis Costello & The Imposters

Popejoy Hall Center for Performing Arts, 203 Cornell Dr., S.E., Albuquerque The Imperial Bedroom & Other Chambers tour, 7:30 p.m. Wednesday, June 7, $59-$84, 877-664-8661.

North Mississippi Allstars

The Bridge at Santa Fe Brewing Company, 37 Fire Pl. Southern rock and blues, 7:30 p.m. Friday, June 9, $25, holdmyticket.com/tickets/277147.

Gregory Porter

The Lensic Grammy-winning jazz vocalist, 7:30 p.m.

Saturday, June 10, $38-$62, ticketssantafe.org, 505-988-1234.

Music on the Hill

St. John's College Athletic Field, 1160 Camino de Cruz Blanca, 505-984-6400 A free outdoor series held 6-8 p.m. Wednesdays, June 14-28 and July 12-26; performers include jazz flutist Ali Ryerson, dance band The Pleasure Pilots, and Afro-Cuban jazz ensemble Jane Bunnett and Maqueque; sjc.edu.

E V E N T S

Taos School of Music

Taos Community Auditorium, Taos Center for the Arts, 133 Paseo del Pueblo Norte The 55th season (June 18-Aug. 6) includes performances by the Borromeo String Quartet, the Shanghai Quartet, pianists Robert McDonald and Thomas Sauer, and the Brentano String Quartet, season tickets $100; concert tickets $25; ages 17 and under $10; taosschoolofmusic.com.

Santa Fe Opera

301 Opera Dr., 505-986-5900 The 2017 season (June 30-Aug. 26) features the premiere of composer Mason Bates' The (R)evolution of Steve Jobs, libretto by Mark Campbell; also, Johann Strauss' Die Fledermaus, Donizetti's Lucia di Lammermoor, Rimsky-Korsakov's The Golden Cockerel, and Handel's Alcina. For tickets and schedule visit santafeopera.org.

Santana Transmogrify Tour

Isleta Amphitheater, 5601 University Blvd., S.E. Rock and Roll Hall of Famer Carlos Santana, 8 p.m. Saturday, July 1; tickets start at $30.50, santana.com.

Santa Fe Bandstand

On the Plaza Outside In Productions free outdoor summer concert series includes Max Baca, Marcia Ball, The Peterson Brothers, and others, running July 5-Aug. 25; visit santafebandstand.org schedule updates.

12th Annual New Mexico Jazz Festival

The Lensic, Downtown Plaza, and Albuquerque Including Pharoah Sanders, Ravi Coltrane, NEA Jazz Master Jimmy Cobb, Dexter Gordon Tribute Project, and Jane Bunnett & Maqueque, July 13-Aug. 5, visit outpostspace.org for updates.

Santa Fe Chamber Music Festival

St. Francis Auditorium, the Lensic, and Albuquerque Music of J.S. Bach, Vivaldi, and Telemann; also, commissioned works by William Bolcom, Brett Dean, and Julian Anderson; beginning July 16 and continuing to Aug. 21; tickets available online at santafechambermusic.com, or call 888-221-9836, Ext. 102, or order at the box office, 208 Griffin St.

Bonnie Raitt

Santa Fe Opera, 301 Opera Dr. Dig In Deep tour, 7:30 p.m. Saturday, Sept. 16, $39-$94, holdmyticket.com/tickets/279724.

TajMo, the Taj Mahal & Keb' Mo' Band

Santa Fe Opera, 301 Opera Dr. An evening of blues, held in support of New Mexico Children's Foundation, 7 p.m. Sunday, Sept. 17, $38-$80, holdmyticket.com/tickets/275101.

THEATER/DANCE

Aspen Santa Fe Ballet Folklórico

The Lensic Flamenco-students' showcase, 6 p.m. Sunday, May 28, $25, ticketssantafe.org, 505-988-1234.

The Normal Heart

Santa Fe Playhouse, 142 E. DeVargas St., 505-988-4262 Larry Kramer's play about the onset of the HIV/AIDS crisis in 1980s New York City, ThursdaysSundays, June 8-25, tickets available online at santafeplayhouse.org.

Juan Siddi Flamenco/Arte Flamenco Society

The Lensic The tenth season opens at 7:30 p.m. Friday, June 9, with a reception and silent auction following the performance, $25-$65, ticketssantafe.org, 505-988-1234. Performances continue on Aug. 27 and on Dec. 9, arteflamencosociety.org.

Bust!

Wise Fool New Mexico Studio, 1131-B Siler Rd., 505-992-2588 A circus-arts showcase, 7:30 p.m. Friday, 2 and 7:30 p.m. Saturday, June 30 and July 1, $5-$20 in advance online at bust2017 .brownpapertickets.com.

Garrison Keillor's Prairie Home "Love and Comedy" Tour

Santa Fe Opera, 301 Opera Dr. With Richard Dworsky & The Roadhounds and Fred Newman, 7 p.m. Sunday, Aug. 27, $45-$85 in advance, ticketmaster.com, 800-745-3000.

HAPPENINGS

Native Treasures: Indian Arts Festival

Santa Fe Community Convention Center, 201 W. Marcy St. Preshow celebration and benefit, 5:30 p.m.

Friday, May 26, $125; festival: 9 a.m.-5 p.m.

Saturday, May 27, early bird sale $25, general admission 10 a.m.-5 p.m. $10, no admission charge on Sunday, May 28, nativetreasures.org, tickets available at the door.

CineFesta Italia

Jean Cocteau Cinema, Pizzeria da Lino, Osteria d'Assisi, and Cowgirl BBQ Opening-night reception followed by a film screening and after-party, 5 p.m. Thursday, June 1; festival events include dinner, wine tasting, and film screenings scheduled Friday-Sunday, June 2-4.

Opening-night reception $45, Friday dinner $65, Saturday wine tastings $50, films only $12; proceeds benefit Cooking With Kids and Communities in Schools in New Mexico.

Edible Art Tour (EAT)

Downtown and Canyon Road galleries ARTsmart New Mexico’s annual event pairs area galleries and restaurants during this self-guided tour; 5-8 p.m. Friday (downtown) and Saturday (Canyon Road), June 9 and 10, $35 for both nights, ticketssantafe.org, 505-988-1234, or artfeast.org/ artfeast-events, 505-992-2787.

Currents International New Media Festival

Local venues Annual new-media festival offering interactive installations, film screenings, live music, and presentations; opening night is 6 p.m.-midnight Friday, June 9 at El Museo Cultural de Santa Fe in the Railyard; the festival continues through June 25; event schedule and list of artists available online at currentsnewmedia.org/festivals/ currents-2017.

Creative Mornings presents Ray Rivera

New Mexico History Museum, 113 Lincoln Ave. Santa Fe New Mexican Editor Ray Rivera discusses The Attack on Real News, 9 a.m. Friday, June 16.

Register online at creativemornings.com/talks/ ray-rivera for this free discussion

Rodeo de Santa Fe

Santa Fe Rodeo Grounds, 3237 Rodeo Rd. The 68th season (Wednesday-Saturday, June 21-24) includes food concessions, a large array of rodeo athletes, and kids' mutton-busting competitions; $10-$37, discounts available, 505-988-1234, ticketssantafe.org. Visit rodeosantafe.org, or call 505-471-4300 for more information.

Platinum Music Awards

The Lensic Honoring Arlen Asher, Fernando Cellicion, Bill and Bonnie Hearne, Al Hurricane, Dale Kempter, and Catherine Oppenheimer; 7:30 p.m.

Friday, July 21, $25-$100, ticketssantafe.org, 505-988-1234.

Santa Fe Desert Chorale Summer Festival

Various Santa Fe and Albuquerque venues The season, running July 19 to Aug. 13, includes music by Poulenc, Palestrina, and Pärt, as well as contemporary works by Brandon Boyd, John Corigliano, and Jake Runestad. Tickets for Santa Fe performances are $20-$75; Albuquerque concerts are $20-$55; visit desertchorale.org or call 505-988-2282 for more information.

Herbie Hancock

Kiva Auditorium, 401 Second St., N.W., Albuquerque A benefit concert for the Española Valley Humane Society, 7:30 p.m. Wednesday, Aug. 16, $49-$68 in advance at ampconcerts.org/event/280284.

Pink Martini and Santa Fe Symphony Strings

Santa Fe Opera, 301 Opera Dr. Kitchen Angels silver anniversary benefit, 7:30 p.m. Wednesday, Aug. 30, $29-$109 in advance, SFO box office, 505-986-5900, contact Tony McCarty at Kitchen Angels for VIP tickets for the preshow reception, 505-471-7780, Ext. 5, tmccarty@kitchenangels.org.

Elvis Costello & The Imposters perform at UNM's Popejoy Hall on June 7.

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• Here, Now, and Always, artifacts from the museum collection • The Buchsbaum Gallery of Southwestern Pottery, core exhibit of contemporary and traditional works; indianartsandculture.org; open daily.

Museum of International Folk Art

706 Camino Lejo, Museum Hill, 505-476-1200 No Idle Hands: The Myths & Meanings of Tramp Art, chip-carved woodwork; on view through Sept. 16, 2018 • Lloyd’s Treasure Chest, rotating thematic displays of items from past exhibitions • Flamenco: From Spain to New Mexico, items from the private collections of José Greco, Vicente Romero, María Benítez, and others; through Sept.10 • Multiple Visions: A Common Bond, toys and folk art • Negotiate, Navigate, Innovate: Strategies Folk Artists Use in Today's Global Market Place, interactive exhibit; through Jan. 8, 2018; internationalfolkart.org; open daily.

Museum of Spanish Colonial Art

750 Camino Lejo, Museum Hill, 505-982-2226 Mirror, Mirror: Photographs of Frida Kahlo, works

by Manuel Alvarez Bravo, Imogen Cunningham, Carl Van Vechten, and Nickolas Murray; $10 in advance only, ticketssantafe.org, 505-988-1234; through October 29 • Conexiones: The Delgado Room and A World of Art, based on the will and estate inventory of trader and merchant Don Manuel Delgado • Beltrán-Kropp Collection of Peruvian Colonial Art, works from the collection of Pedro Beltrán and Miriam Kropp Beltrán • The Youth Gallery, works from Youth Market Artists and participants of the Art in the Schools program. Open daily; spanishcolonial.org.

7 Arts Gallery (125 Lincoln Ave.) shows work by Angel Wynn.

AT THE GALLERIES

El Museo Cultural de Santa Fe

131 Cathedral Pl. The Prado in Santa Fe, an outdoor exhibit of photo replicas of works from The Prado Museum in Madrid, Spain; on view through October.

Georgia O’Keeffe Museum

Cathedral Park

Form & Concept

435 S. Guadalupe St., 505-982-8111 Shifting Landscapes, group show of textile arts, through June 10; Mark Newport: Mending; through Saturday, May 20.

The Globe Gallery

727 Canyon Rd., 505-989-3888 Translucency, paintings by Carlene Frances; through June 7; Chattel, photographs by Kevin Horan; through July 5.

Mill Contemporary

702½ Canyon Rd., 505-983-6668 Sanctuary: A Celebration of Our Diverse Creative Community, group show; through May 27.

Patina Gallery

131 W. Palace Ave., 505-986-3432 In the Garden & Beyond the Sky, sculpture

by Ivan Barnett; through June 11.

Turner Carroll Gallery

725 Canyon Rd., 505-986-9800 Silent Words, mixed-media photographs

by Drew Tal; through July 5.

MUSEUMS & ART SPACES Santa Fe

Center for Contemporary Arts

1050 Old Pecos Trail, 505-982-1338, ccasantafe.org Muñoz Waxman Gallery, Cryin' Out Loud, group show; Spector Ripps Project Space, Lens/Scratch States Project: New Mexico, group show; on view through July 9 • Tomorrow's Yesterday Home, paintings by Micaela Gardner; through June 4, in the Cinematheque Lobby. Open ThursdaysSundays.

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PASATIEMPO I May 19-25, 2017

555 Camino de la Familia, 505-992-0591 Rotating exhibits, community programs, and performances designed to preserve Hispanic culture; elmuseocultural.org; open Tuesdays-Saturdays.

217 Johnson St., 505-946-1000 O'Keeffe at the University of Virginia, 1912-1914, watercolors; through Sept. 10. Core exhibit: A Great American Artist. A Great American Story, the artist's work, personal possessions, photographs, and documents. Open daily; okeeffemuseum.org.

IAIA Museum of Contemporary Native Arts

108 Cathedral Pl., 505-983-1777 New Acquisitions: 2011-2017, featuring works

by Brandee Caoba, John Hagen, Alex Pena, and others; through January 21, 2018 • New Impressions: Experiments in Contemporary Native American Printmaking, group show; through June 15 • The Ceaseless Quest for Utopia, mural

by Daniel McCoy; through January 2018 • Visions and Visionaries, group show; through July.

Closed Tuesdays; iaia.edu/museum.

Meow Wolf Art Complex

1352 Rufina Circle, 505-780-4458 The House of Eternal Return, permanent interactive installation. Closed Tuesdays; meowwolf.com.

Museum of Encaustic Art

632 Agua Fría St., 505-989-3283 Encaustic paintings, sculpture, and mixed-media work. Closed Mondays; moeart.org.

Museum of Indian Arts & Culture

710 Camino Lejo, Museum Hill, 505-476-1269 Living Treasures: A Celebration of Vision, group show; through Sept. 1 • Jody Naranjo: Revealing Joy, work by the Santa Clara Pueblo potter; through December • I-Witness Culture, paintings and sculpture by Frank Buffalo Hyde; through Jan. 7, 2018 • Into the Future: Culture Power in Native American Art, contemporary works by more than fifty artists; through Oct. 22

New Mexico History Museum/Palace of the Governors

113 Lincoln Ave., 505-476-5200 Voices of Counterculture in the Southwest, archival footage, photographs, artifacts, and other ephemera spanning the '60s and '70s; through Feb. 11, 2018 • Sleeping During the Day: Vietnam 1968, photographs

by Herbert Lotz; through Oct. 1 • Out of the Box: The Art of the Cigar, lithographic work; through Oct. 14 • Agnes Martin and Me, photographs by Donald Woodman; through Aug. 5 • Core exhibits: Setting the Standard: The Fred Harvey Company and Its Legacy, ephemera from the museum collection and photos from POG photo archives • Telling New Mexico: Stories From Then and Now • Santa Fe Found: Fragments of Time, archaeological and historical roots of Santa Fe • Treasures of Devotion/Tesoros de Devoción, bultos, retablos, and crucifijos dating from the late 1700s to 1900 • Segesser Hide Paintings, depictions of colonial life in the U.S. Open daily; nmhistorymuseum.org.

New Mexico Museum of Art

107 W. Palace Ave., 505-476-5072 Cady Wells: Ruminations, watercolors; through Sept. 17; Light Tight: New Work by Meggan Gould and Andy Mattern, photographs • Imagining New Mexico, works from the permanent collection; all through Sept. 17. Docent tours, 10 a.m. Mondays.

Open daily; nmartmuseum.org.

Poeh Cultural Center & Museum

78 Cities of Gold Rd., Pueblo of Pojoaque, 505-455-5041 In T’owa Vi Sae’we: The People's Pottery, Tewa pottery from the Smithsonian National Museum of the American Indian • Nah Poeh Meng, 1,600-squarefoot core installation highlighting the works of Pueblo artists and Pueblo history • Sculpture by Roxanne Swentzell, Tower Gallery. Closed Sundays; poehcenter.org.

Santa Fe Botanical Garden

715 Camino Lejo, Museum Hill, 505-471-9103 Living museum on 14 acres: Ojos y Manos, Orchard Gardens, The Courtyard Gardens, and the Arroyo Trails. Open daily; santafebotanicalgarden.org.

Santa Fe Children's Museum

1050 Old Pecos Trail, 505-989-8359 Interactive exhibits and activities. Open WednesdaysSundays; santafechildrensmuseum.org.

Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 505-982-4636 Beads: A Universe of Meaning, garments, articles of adornment, and works of art from 1850 to the present; on view through April 15, 2018 • Bridles and Bits: Treasures From the Southwest, late 1800s harness-leather bridles, with Navajo-made bits • Center for the Study of Southwestern Jewelry, a permanent exhibit devoted to the history of Diné and Pueblo metalwork, lapidary, and related traditions. Docent tours 10:30 a.m. and 2 p.m.

Saturdays, Sundays, Tuesdays, and Thursdays; wheelwright.org; open daily.

Albuquerque

Albuquerque Museum

2000 Mountain Rd., N.W., 505-243-7255 Spirit of Creation: Works on Paper by Native American Artists, works from the permanent collection; through Nov. 5 • Hollywood Southwest: New Mexico in Film and Television, movie posters, clips, and other film memorabilia; through Aug. 27. Closed Mondays; cabq.gov/culturalservices/albuquerque-museum.

Indian Pueblo Cultural Center

2401 12th St., N.W., 866-855-7902 Long Ago..., multimedia narratives, through July 2018 • Pueblo People & Our Modern Environment, exploring cutting-edge sustainability issues; through September • We Are of This Place: The Pueblo Story, a historical overview and contemporary artworks; weekly weekend Native dances; indianpueblo.org; Open daily.

Maxwell Museum of Anthropology

UNM campus, 1 University Blvd., N.E., 505-277-4405 Evidence & Theory: Photographs From the Maxwell Museum Archives, historical images. Closed Sundays and Mondays; maxwellmuseum.unm.edu.

National Hispanic Cultural Center

1701 Fourth St., S.W., 505-604-6896 Outstanding in His Field: San Isidro, Patron Saint of Farmers, contemporary and traditional depictions of the saint; through Nov. 5 • A Life of Service: The Mari-Luci Jaramillo Collection, 1915-2007, archival ephemera documenting the career and family history of the first Latina United States ambassador; longterm. Visit nationalhispaniccenter .org for hours of operation.

UNM Art Museum

1 University of New Mexico, 505-277-4001 A Painter's Hand: The Monotypes of Adolph Gottlieb and Recording Southern New Mexico: The Botanical Drawings of Edward Skeats; through June 3. Closed Mondays and Sundays; unmartmuseum.org.

Los Alamos

Bradbury Science Museum

1350 Central Ave., 505-667-4444 Ephemera on the history of Los Alamos and the Manhattan Project as well as over 40 interactive exhibits; lanl.gov/museum; open daily.

Taos

Harwood Museum of Art

238 Ledoux St., 575-758-9826 Continuum exhibits (works from the museum's collection); on view through Sunday, May 21: Light, Space and Time • Beyond Picturesque • Brave New World • Art-As-Art • The Ascent of the Modern • Sermo Humilis. On permanent display: paintings by Agnes Martin • Death Shrine, an installation by Ken Price; harwoodmuseum.org; closed Mondays and Tuesdays.

Taos Art Museum at Fechin House

227 Paseo del Pueblo Norte, 575-758-2690 Twilight of the West, paintings by W. Herbert "Buck" Dunton; through Oct. 8 • Nicolai Fechin: A Vision of Home, longterm retrospective exhibit of paintings; taosartmuseum.org; closed Mondays.

Carlene Frances: The Color Yellow #20, 2017 oil on canvas The Globe Gallery, 727 Canyon Road, 505-989-3888 Three solo exhibitions are currently on view at The Globe Gallery. Translucency (through June 7) is an exhibit of Carlene Frances’ luminous paintings. Frances creates her surfaces with successive layers of transparent oil glazes that give her abstractions an inner glow. Chattel: A Portrait Study (through July 5) is a photographic exhibit of work by Kevin Horan, whose studio portraits of sheep capture a sense of his subjects’ individual personalities. Crossroads, an exhibit of David Michael Kennedy’s blackand-white platinum/palladium prints, is up through June 2.

Rick Young: Río Grande Evening Glow 2017, oil on canvas Acosta Strong Fine Art, 640 Canyon Road, 505-982-2795 New works by Rick Young, Susan Diehl, and Kirk Tatom are featured in the exhibit Visions of New Mexico.

Young paints vibrant, whimsical pastoral landscapes that often depict a human element. Diehl is a plein-air painter whose light-filled landscape style is influenced by Russian Impressionism. Tatom, a sculptor turned painter, captures moody scenes in subdued colors that evoke a sense of stillness and quietude. The show opens with a reception at 5 p.m. on Friday, May 19. A second artists’ reception is scheduled for 5 p.m. on Friday, May 26.

Richard Roth: Drama Queen 2017, acrylic on birch plywood panel David Richard Gallery, 1570-A1 Pacheco St., 505-983-9555 Using a reductive palette, Richard Roth creates artworks with bold, graphic designs in which he explores perception, optics, and the tension between two- and three-dimensional forms. His paintings are small-sized compositions rendered on squat rectangular panels, four inches thick and a foot in height. “In spite of their diminutive stature and stark vocabulary, my paintings involve my interest in play, the quotidian, and the ‘retinal,’ ” he wrote in a statement.

His solo exhibition, Shocks and Struts, is currently on view through June 3.

A P E E K AT W H AT ’S S H O W I N G A R O U N D TO W N

by Michael Abatemarco

Steven A. Jackson: Old Car Dreams 2016, archival digital print New Concept Gallery, 610 Canyon Road, 505-795-7570 Photographer Steven A. Jackson’s exhibit Changes & Continuity opens Friday, May 19, with a 5 p.m. reception. Jackson, a darkroom photographer, has recently turned to producing digital work. His images are not manipulated by computer, however, other than to create a look similar to toned black-andwhite imagery. His New Mexico landscapes, which often capture an aspect of human activity, have a surreal edge and a feeling of vintage photography.

The exhibit features new works by Jackson as well as older pieces.

Warren Keating: Man Carrying Bag 2017, oil on canvas Vivo Contemporary, 725 Canyon Road, 505-982-1320 Vivo Contemporary presents Coexisting Realities, an exhibit that looks at contemporary art as a reflection of direct experience rather than one dictated by societal norms and individual habits.

The exhibition includes book art, painting, sculpture, and other mediums by gallery artists Joy Campbell, William Sayler, Warren Keating, and others. The reception is Friday, May 19, at 5 p.m.

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Main Campus 250 East Alameda • The Garden Memory Center 239 E. DeVargas • Santa Fe • 505.988.2877 • elcastilloretirement.com 56

PASATIEMPO | May 19-25, 2017