The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
January 3, 2020
TAKING A BOW PAGE 16
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January 3, 2020
ON THE COVER
A song for the unsung heroes Perhaps they’re easy to miss in a town with so many exhibitions and performances, lectures and readings. But it’s people that make Santa Fe so profoundly interesting. Some are behind the scenes, while others you know but maybe not all that well. As we do every year at this time, we honor the builders, visionaries, and everyday heroes in a series we’re calling Taking a Bow. Here, you’ll read about 10 individuals and organizations that we think are contributing meaningfully to the City Different and Northern New Mexico, if sometimes in small ways. On the cover is an image of musician and ethnomusicologist Cipriano Vigil, one of this year’s honorees, photo Luke E. Montavan/The New Mexican.
Luke E. Montavon/The New Mexican
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pasatiempomagazine.com
BOOKS 12 In Other Words The Peanuts Papers: Writers and Cartoonists on Charlie Brown, Snoopy & the Gang, and the Meaning of Life, edited by Andrew Blauner
MOVING IMAGES
13 In Other Words The Andromeda Evolution by Daniel H. Wilson
32 A Hidden Life 34 Chile Pages 37 Movie Showtimes
MUSIC & PERFORMANCE 14 Random Acts Boris McCutcheon at Taos Mesa Brewing; YACHT at Meow Wolf; Geeks Who Drink hosts trivia night; and meditation at Upaya Zen Center
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TAKING A BOW 16 Cipriano Vigil Musician and ethnomusicologist 18 Dorothy Massey Independent bookseller 19 Valerie Guy Artistic administrator
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20 Alexandria Bombach Filmmaker 22 Chatter Innovative classical music 23 Frank Rose Gallery owner
CALENDAR
24 John Macker Poet and publisher 25 Danielle Reddick Actress
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28 Hayward Simoneaux Chocolatier 30 Charlotte Jackson Gallery owner
CORRECTION A sentence in the Hayward Simoneaux story (Page 28) misidentified the chocolatier as opening Señor Murphy Candymaker. Neil Murphy created the landmark shop in 1971.
41 Pasa Week
38
47 Exhibitionism
ET CETERA 8
Star Codes
10 Mixed Media IAIA winter readings 38 Amuse-bouche A (slightly) vegetarian new year
Visit Pasatiempo at pasatiempomagazine.com and on Facebook ©2020 The Santa Fe New Mexican Pasatiempo is an arts, entertainment, and culture magazine published every Friday by The New Mexican, 202 E. Marcy St., Santa Fe, New Mexico, 87501. Email: pasa@sfnewmexican.com • Editorial: 505-986-3019
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JANUARY AT THE O KEEFFE
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Friday, January 3, 5–7 PM First Friday: Art Activity
Join us in the galleries to create your own drawings while exploring the use of color in modern artwork! All ages welcome = Georgia O’Keeffe Museum, 217 Johnson Street = Free with Museum admission. First Fridays are free all day to New Mexico residents with ID.
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Thursday, January 16, 5:30–7:30 PM Workshop: Drawing After Hours
Have you ever wondered how Georgia O’Keeffe became the masterful artist whose work we know today? Join us for an intimate evening in the galleries, and try your hand at drawing methods that guided the young O’Keeffe in her student days. Led by local artist Liz Brindley. All supplies provided = Georgia O’Keeffe Museum, 217 Johnson Street = $35; members, $20. Space is limited; reservations recommended: 505.946.1039 or gokm.org.
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• View ar tists at work beginning at 6PM. • Party and competition begin at 10PM • $10 cover.
Simply the Best Entertainment
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Saturday, January 18, 9:30–11:30 AM Family Program: Paper Stained Glass
We’ll combine watercolor painting with different types of paper to create unique “stained-glass”art. The Museum offers special activities to allow children ages 4–12 and their grownups to learn, create, and, most important, have fun together = Family Programs start in the Museum Galleries, 217 Johnson Street = Free for the entire family.
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Thursday, January 23, 5:30 PM, Abiquiú O’Keeffe at the Movies: Harvey (1950)
Jimmy Stewart introduces his giant imaginary rabbit friend, Harvey, to everyone he meets. Georgia O’Keeffe regularly saw plays and movies when she lived in New York. The Welcome Center in Abiquiú will show classics she mentioned in letters to Maria Chabot. Films will be screened in the Welcome Center Classroom, 21120H Highway 84, Abiquiú NM = Free.
=
217 JOHNSON STREET, SANTA FE
.com
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Wednesday, January 29, 12:30 PM Conversation: LOO’K Closer: Art Talk at Lunchtime
A member of the Georgia O’Keeffe Museum’s team will lead an insightful 15-minute discussion of a work of art currently on exhibit = Georgia O’Keeffe Museum, 271 Johnson Street = Free with Museum admission. No reservation required.
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Thursday, January 30, 10 AM Workshop: Georgia O’Keeffe and the Art of Eating Well
Chefs will guide you through recipes featured in the book A Painter’s Kitchen: Recipes from the Kitchen of Georgia O’Keeffe, by Margaret Wood, former assistant and companion to O’Keeffe. Demonstration-style class; recipes and meal included = Santa Fe School of Cooking, 125 N. Guadalupe Street = $90. Registration required: 505.983.4511 or santafeschoolofcooking.com.
5O5.946.1OOO
=
OKEEFFEMUSEUM.ORG PASATIEMPOMAGAZINE.COM
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PASATIEMPO 202 E. Marcy St., Santa Fe, NM 87501
PASATIEMPO EDITOR Tracy Mobley-Martinez 505-986-3044 tmobley-martinez@sfnewmexican.com
6401 Richards Ave., Santa Fe, NM 87508
JANUARY
CALENDAR OF EVENTS
Events are free unless otherwise noted. Empower Students, Strengthen Community. Empoderar a los Estudiantes, Fortalecer a la Comunidad.
21 22 23
TUES WED
THURS
Spring Semester Credit Classes Begin Register now at sfcc.edu 505-428-1270 Info Session: Southern Italy Trip, May 2020 5:30 p.m., Room 711 505-428-1676 SFCC Governing Board Meeting — Public welcome. 5:30 p.m., Board Room, Room 223 505-428-1148 Continuing Education Open House 10 a.m. to 1 p.m., Room 131 505-428-1676 Find out about CE offerings, and much more, to help you prepare for new stages of your life.
GERALD CLAY MEMORIAL BASKETBALL TOURNAMENT Saturday, April 4 9 a.m. to 6 p.m.
&
OWNER Robin Martin
ART DIRECTOR Marcella Sandoval 505-395-9466 msandoval@sfnewmexican.com
PUBLISHER Tom Cross
ASSOCIATE ART DIRECTOR Taura Costidis 505-986-1310
EDITOR Phill Casaus
tcostidis@sfnewmexican.com
COPY EDITORS Thomas M. Hill 505-983-3303, Ext. 3096
ADVERTISING
thill@sfnewmexican.com
505-995-3852
Amy Linn 505-983-3303, Ext. 3079 alinn@sfnewmexican.com
RETAIL ADVERTISING MANAGER Wendy Ortega, 505-995-3852
CALENDAR EDITOR Pamela Beach 505-986-3019
pambeach@sfnewmexican.com
ADVERTISING SALES / PASATIEMPO Chris Alexander, 505-995-3825 Clara Holiday 505-995 3892 Deb Meyers, 505-995-3861 Dana Teton, 505-995-3844 Trina Thomas, 505-995-3840 Lisa Vakharia, 505-995 3830
ASSISTANT CALENDAR EDITOR Patricia Lenihan 505-986-3303, Ext. 3084 plenihan@sfnewmexican.com
STAFF WRITERS Michael Abatemarco 505-986-3048 mabatemarco@sfnewmexican.com
Lauren LaRocca 505-395-9469 jlevin@sfnewmexican.com
GRAPHIC DESIGNERS Rick Artiaga, Elspeth Hilbert, Joan Scholl
CONTRIBUTORS Ashley M. Biggers, Laurel Gladden, Robert Ker, Jonathan Richards Heather Roan Robbins, Mark Tiarks Patricia West-Barker
www.santafenewmexican.com
llarocca@sfnewmexican.com
Jennifer Levin 505-986-3039
AD DEADLINE 5 PM FRIDAYS
Sunday, April 5 9 a.m. to 6 p.m.
e Sant a F 59 -19 8 8 -9 5 50
SFCC William C. Witter Fitness Education Center Bring a check or cash to the front desk of the Fitness Education Center to register.
Learn more: miquela.martinez@sfcc.edu or 505-428-1615
CONTESTS, AWARDS & PRIZES
To o volunteer, call 505 5-428-1508. PLUS ...
SFCC is closed for Winter Break through Sunday, Jan. 5.
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Monday, Jan. 20 — SFCC closed for Dr. Martin Luther King, Jr. Day. Prepare for the High School Equivalency/GED tests. Orientation Sessions will be held Jan. 13-16, daytimes and evenings. Classes begin Jan. 21 in Spanish and English in Room 503B. There is a $25 registration fee. 505-428-1356 ESL Orientation Sessions 505-428-1356, Room 503B Attend only one — $25 registration fee: Tuesday, Jan. 14; Wednesday, Jan. 15; Tuesday, Jan. 21; Wednesday, Jan. 22, 10 a.m. to 1 p.m. or 5:30 to 8:30 p.m. REGISTER FOR COURSES, FIND MORE EVENTS & DETAILS AT SFCC.EDU Individuals who need special accommodations should call the phone number listed for each event.
LEARN MORE. 505-428-1000 | sfcc.edu 6
PASATIEMPO I January 3-9, 2020
…look
First Friday every month, 1-4 pm
Free!
The Caesar Family Legacy
Curated by artist Kenneth Johnson (Muscogee/Seminole) Don’t miss this one-of-a-kind exhibition! On view through March 2020.
Coe Center
1590 B Pacheco Street, Santa Fe, NM 87505 coeartscenter.org • 505.983.6372
Local Trips Political Science
Theater
Literature
Technology
Geopolitics
Music
History
Media
Weekly Lectures
The American Southwest
Film
Performance Arts
Philosophy
RENESAN Reads!
Religions
World Cultures
Arts
Science
Current Events
Social Sciences
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Online and in-person registration begin at 8AM on Monday, January 6 www.renesan.org / St. John’s United Methodist Church, 1200 Old Pecos Trail. RENESAN is located in St. John’s United Methodist Church 1200 Old Pecos Trail, Santa Fe
Classes begin on Tuesday, January 21 RENESAN Institute for Lifelong Learning is an independent, volunteersupported, nonprofit organization that provides affordable, academically oriented classes, lectures, and local trips for adults in Northern New Mexico.
For more information, call our office at 505-982-9274
Wheelwright Museum 704 Camino Lejo, Santa Fe, NM • wheelwright.org
JA N Free First Sunday • View our latest exhibitions!
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Laugher & Resilience: Humor in Native American Art Conversations: Artworks in Dialogue | The Daniel E. Prall Collection
JA N Friends Lecture: Lonnie Vigil (Nambé Pueblo)
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2:00 PM Doors Open • RSVP Online $10 Suggested Donation
JA N Friends Book Club:
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The Woman Who Owned the Shadow 1:30 PM Discussion
Open daily, 10:00 AM to 5:00 PM Visit our website for event details.
Dorothy Trujillo, Cochiti Pueblo Untitled (Baseball Fan with Camera), n.d. Clay and pigment
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OUCH O UCH
uh-oh u h - oh
OH-NO! OH-NO! COME SEE US FOR EVERY
STAR CODES Heather Roan Robbins
WE’RE HEADING INTO A COMPETENT but potentially difficult few weeks. At the moment, we have five planets in Capricorn, with a major conjunction between Saturn and Pluto arriving in mid-January; Capricorn’s symbol is a mer-goat, a creature that can dive down deep for a dream and then walk that dream up to mountaintops. With a vision, this Capricorn energy can help us make things happen. Capricorn on its high note calls us to do the right thing and be honorable. If we’re not connected to those senses of honor and respect, the Capricorn energy can substitute ambition and manipulation. We need clear goals, so ask big questions about the purpose of our lives. Mental Mercury now conjuncts expansive Jupiter, and the sun approaches Saturn and Pluto, all in Capricorn. Mars has just entered relaxed and freewheeling Sagittarius, which can soften seriousness with a sense of humor and honesty. We may be able to let go of some frustration, but we still have places to go. As the weekend begins, a feisty Aries encourages us to jump into a debate. The moon enters earthier Taurus on Saturday and encourages some self-care and personal organization through Monday morning. The moon enters talkative Gemini Monday through Wednesday, which encourages us to have meetings, make a point, and get the word out. Midweek, our imaginations are given a boost as the sun and Venus sextile creative Neptune. Plans can help us find a way out of difficult situations. This is a gentle aspect; the door is cracked open, but we have to choose to engage our imaginations. FRIDAY, JAN. 3: Make it happen. People are tactlessly honest but more willing to compromise as Mars enter Sagittarius. Make use of friendly impatience this morning. Choose power struggles carefully in late afternoon as the moon squares serious Saturn and Pluto. Tonight, break out the last of the holiday goodies. SATURDAY, JAN. 4: Get comfortable as the moon enters earthy Taurus. This afternoon, a restless moon-Uranus conjunction can inspire an urge to reorganize other people’s lives. Enjoy a spontaneous willingness to try something different, whether that’s food or a revolution. Evening could waft camaraderie and bonhomie as the moon trines expansive Jupiter. SUNDAY, JAN. 5: Work with practical magic. Fix, improve, organize, cuddle, plan, and manifest. Mid-afternoon could bring a minor disagreement; our willful enthusiasm might take us in opposite directions, but an easy rhythm returns if we offer acceptance. MONDAY, JAN. 6: Bring this earthy wave to work. People want to see progress on what’s recently been set in motion. Morning is productive, we may lose focus this afternoon. The conversation picks up toward dinnertime as the moon heads into verbal Gemini.
BUMP, OWIE & BOO-BOO!
TUESDAY, JAN. 7: Catch people at a moment of indecision. Encourage them to explore options concerning recent obstacles. Be careful around transportation or sudden movements in a rush midday as the moon opposes Mars. Keep the conversation flowing tonight. WEDNESDAY, JAN. 8: Our imaginations and intuition get a boost as Mercury sextiles intuitive and creative Neptune. We can just get lost in a daydream or harness this imagination to create or solve a problem. Just use it consciously; otherwise, we can see what we want to see rather than what’s really there.
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PASATIEMPO I January 3-9, 2020
THURSDAY, JAN. 9: Whether the issues are old or new, emotional matters stir up new complications as the moon enters Cancer. We can get really defensive where comments or experiences tap dance on old wounds. Go lightly with criticism, and be generous with reassurance. ◀ To contact astrologer Heather Roan Robbins, go to roanrobbins.com.
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MIXED MEDIA
Clockwise, from top left, Brandon Hobson, Pam Houston, David Treuer, and Kristiana Kahakauwila
WINTER AT IAIA MEANS READINGS GALORE
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The most prominent voices in indigenous literature gather Jan. 4-11 for the Institute of American Indian Arts’ Winter Reading Series, hosted by the school’s Low Residency Master of Fine Arts program in creative writing. The program is a home for aspiring Native writers who seek to hone their crafts in an environment where faculty members understand the students’ cultural context and attempt neither to flatten nor exoticize it — both of which can happen in mainstream writing programs. In a news release, program director and poet Santee Frazier says that the longterm goal of the MFA program is to “promote Indigenous intellectualism and knowledge systems through the literary arts.” Several faculty members and alumni have made a splash in the publishing world in recent years, including Brandon Hobson, the 2018 National Book Award finalist for the novel Where the Dead Sit Talking. Hobson reads on Saturday, Jan. 11, with Pam Houston, whose most recent book is the memoir Deep Creek: Finding Hope in the High Country (2019). Readings by faculty and visiting writers begin Saturday, Jan. 4, with David Treuer and Kristiana Kahakauwila. A member of the Ojibwe tribe from the Leech Lake Reservation in Minnesota, Treuer has written four novels, including The Translation of Dr. Apelles (2006). His nonfiction includes 2019’s The Heartbeat of Wounded Knee: Native America from 1890 to the Present. Kahakauwila is of Native Hawaiian, German, and Norwegian descent and is the author of This Is Paradise: Stories (2013). Her current project is a historical novel set in Maui. Poets writing across disciplines take center stage on Sunday, Jan. 5, with a reading by Ken White, who is also a screenwriter; Chip Livingston, who has also published fiction and nonfiction; and Kimberly Blaeser, the former poet laureate of Wisconsin, who also publishes fiction, nonfiction, and scholarly work. Readings on Monday, Jan. 6, feature Rion Amilcar Scott, Jennifer Foerster, and Sherwin Bitsui. Cedar Sigo, Toni Jensen, and James Thomas Stevens read on Tuesday, Jan. 7. Esther Belin and Tiffany Midge read on Thursday, Jan. 9, and Lehua M. Taitano, Brooke Swaney Pepion, and Migizi Pensoneau read on Jan. 10. All readings are at 6 p.m. in the auditorium in the Library and Technology Center at the Institute of American Indian Arts (83 Avan Nu Po Road). A detailed schedule and information about the readers is available on the college’s website. Admission is free; 505-424-2325, iaia.edu. — Jennifer Levin
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IN OTHER WORDS book reviews
The Peanuts Papers: Writers and Cartoonists on Charlie Brown, Snoopy & the Gang, and the Meaning of Life, edited by Andrew Blauner, The Library of America, 338 pages, $24.95 “I don’t remember ever thinking they were funny,” Ira Glass writes in a new anthology of writing about the quintessential American comic strip. “Who ever laughed at Peanuts?” But Glass writes this in the context of his deep love for Charlie Brown and company. It’s just that instead of finding much humor in their stories, he enjoyed the comfort they provided to a “sulky little kid” who thought of himself as “a loser and a loner.” The Peanuts Papers hammers home that fully appreciating Charles M. Schulz’s juggernaut, which ran in newspapers from 1950 to 2000, requires looking aslant at its genre. It is, as John Updike once described it, a “comic strip at bottom tragic.” This collection of deeply personal essays will help you see it clearly, if you don’t already, as a psychologically complex epic about stoicism, faith, and other approaches to existential struggles. Unsurprisingly, some of the keenest insight comes from Chris Ware, another chronicler of cartoon melancholy, who trains his expert eye on Schulz’s craft, the spatial and rhythmic decisions that create his effects. Ware also quotes Art Spiegelman, who once described Peanuts to him as “Schulz breaking himself into child-sized pieces and letting them all go at each other for the next half-century.” It’s this splintered emotional drama that draws the attention of many others, including George Saunders, who sees the different segments of the self in Peanuts. “Charlie Brown as the tender lossdreading part of me, Linus as the part that tried to address the loss-dreading part via intellect or religion or wit, Lucy as the part that addressed the loss-dreading part via aggression, Snoopy via joyful absurdist sagery.” The book’s most inspired match of writer to subject is psychiatrist Peter D. Kramer’s entry on Lucy’s work
as a psychoanalyst, which to my mind is like having Clayton Kershaw write about Charlie Brown’s pitching career. Kramer takes Lucy’s practice (and her insistence on her 5-cent fee) just seriously enough, playfully but profoundly drawing lines between her methods and those of influential 20th-century American therapists like Harry Stack Sullivan. He even finds value in her go-to advice: “Snap out of it!” “We are free to imagine that Charlie Brown gains something from Lucy’s brusque response,” Kramer writes. “He is being thrown back on his own resources, with the message that they may be more substantial than he believes. Lucy as therapist, I am suggesting, does not go entirely against the grain.” (An opposite and equally convincing line comes from Adam Gopnik: “Lucy is the least fit person to offer psychiatric advice in the history of fiction.”) Many of the admirers gathered here were creative and probably wistful American kids in the Schulz vein: the Jonathans Franzen and Lethem, Chuck Klosterman, Rick Moody. One might be a little — or a ton — more surprised to find Umberto Eco in the table of contents. (He writes of Charlie Brown’s attempts to kick the football: “What weapons can arrest impeccable bad faith when one has the misfortune to be pure of heart?”) Most of the pieces in this book are original, though Eco’s appeared in The New York Review of Books in 1985. Maxine Hong Kingston’s “Duck Boy,” a brief essay that first appeared in The New York Times in 1977, is about her experience teaching a troubled teenager. It’s a bracing but not very Peanuts-centric bit of work, jarring among the others. Some writers shine their light on one particular character: Ann Patchett on Snoopy; Mona Simpson on Schroeder; Elissa Schappell on Charlie Brown’s sister, Sally. Numerous contributors mention the running psychological portrait of Charlie Brown’s unrequited
Umberto Eco writes of Charlie Brown’s attempts to kick the football: “What weapons can arrest impeccable bad faith when one has the misfortune to be pure of heart?”
crush on the Little Red-Haired Girl — who, like Norm’s wife, Vera, in Cheers, never actually appears. The roster of writers skews quite noticeably to the older and whiter side, and the book doesn’t reproduce any of Schulz’s strips , but there are original illustrations (though not of Schulz’s copyrighted kids) by some of the cartoonist contributors. This is a collection full of Peanuts adorers, which is how it should be, but it might have been entertaining to see some dissent. I hadn’t realized, but I should have guessed, that there have been Snoopy wars. Sarah Boxer, a champion of the beagle, summarizes the opposition, which believes that Snoopy’s increasingly baroque antics hijacked the franchise about halfway through its existence. She quotes a piece by Christopher Caldwell, in which he judged that the centering of Snoopy was a “calamitous artistic misjudgment” that “went from being the strip’s besetting artistic weakness to ruining it altogether.” The “meaning of life” makes it into this book’s subtitle, and close-reading projects like this one often have prescriptive angles (“How Proust Can Change Your Life,” etc.). But blessedly, if there is a lesson in Peanuts and in this anthology, it is, as Nicole Rudick writes, that “there are no answers to the big questions.” — John Williams/The New York Times
zazenkai :
A Daylong Silent Meditation Retreat
SATURDAY, JANUARY 11 Wendy Johnson, Matthew Kozan Palevsky, Kigaku Noah Rossetter
SATURDAY, JANUARY 18 Roshi Joan Halifax, Wendy Johnson, Matthew Kozan Palevsky, Kigaku Noah Rossetter
Register online or call for more information. SANTA FE, NM 505-986-8518 EXT. 112 UPAYA.ORG/PROGRA RAMS A REGISTRA RAR@UPAYA.ORG A
12 PASATIEMPO I January 3-9, 2020
115 Don Gaspar - Between San Francisco & Water St. 505.984.0040 ● www.goldeneyesantafe.com
IN OTHER WORDS book reviews
The Andromeda Evolution by Daniel H. Wilson, Harper, 384 pages, $29.99 Grab the Purell. Fifty years after Michael Crichton published The Andromeda Strain, that deadly microbe has mutated again. Prepare yourself for the extinction of mankind in The Andromeda Evolution. Yes, the end is near — but not for Crichton’s brand. If you thought his death in 2008 was enough to stop another outbreak, you know nothing about extraterrestrial germs or American publishing. Crichton isn’t just a late author; he’s a valuable commodity. Like John Hammond in Jurassic Park, Crichton’s publisher has scoured the land looking for bits of literary mitochondria for new books. Since his death, we’ve seen Pirate Latitudes, Micro, and Dragon Teeth. Now, streaking across the sky like a meteorite comes The Andromeda Evolution, a sequel written by Daniel H. Wilson, in collaboration with Crichton’s estate. Wilson is a robotics engineer, a writer of witty books about technology, and the author of a ridiculous thriller called Robopocalypse. The Andromeda Strain described the panicked efforts to stop the spread of an alien microparticle that turned human blood to sawdust and dissolved plastics. When The Andromeda Evolution opens, a drone spots a metallic-looking shape growing up out of a remote spot in the Amazon jungle. Mass spectrometry data acquired by military satellites indicate that the quickly swelling mutation is “an almost exact match to the Andromeda strain.” A scientist announces, “There is an alien intelligence behind this,” which I have often thought when I clean out the refrigerator. “We are facing an unknown enemy who is staging an attack over the gulf of a hundred-thousand years and across our solar system and likely the cosmos. This is war.” The elite Wildfire crew will trudge into the jungle and try to keep the planet from being infected. In accordance with the requirements of the inevitable movie version, the Wildfire team consists of a small group of contentious scientists who are dangerously ill-equipped. Their leader is an interesting character: a woman who rose from the slums of Mumbai to become a world-renowned expert in nanotechnology. But alas, the rest of her crew are drawn from a fetid petri dish of stereotypes. Predictable as this group is, their adventure is at least as exciting as Crichton’s original story — and considerably more active. The jungle provides an ominous setting for some spooky scenes. And the episodes set in outer space are particularly thrilling. Wilson replicates Crichton’s tone and tics, particularly his wide-stance mansplaining. “There is a category of event that, once it occurs, cannot be satisfactorily resolved.” And the pages are larded with lots of Crichtonian technical explanations, weapons porn, and so many acronyms that I began to worry Wilson had accidentally left the caps lock on. But who cares? These various lapses may be irritating, but ultimately they don’t derail what is a fairly ingenious adventure. As the story swings from military jargon to corny implausibility, the fate of the Earth hangs from a thread of rapidly mutating cells. Finally, our hero says the words we never tire of hearing: “Technically, it’s doable. It’s insane. But it’s doable.” That portentous claim launches one last spectacular scene that would make Crichton proud. Tom Cruise: Call your agent. Scaling Dubai’s Burj Khalifa was like climbing a stepladder next to this. — Ron Charles/The Washington Post
Join us for these museum
January Events Making k History: Candles dl
SUNDAY, JANUARY 5, 1:30 – 3:30 PM
Making History will bring some warmth to our cold days. Join us and make some colorful beeswax candles to light up your home. Free with admission.
“Workshop of Democracy: Statehood and World War I in New Mexico” WEDNESDAY, JANUARY 8, NOON –1 PM Please join independent scholar and historian David Holtby, Editor-in-Chief (ret.), University of New Mexico Press, as he shares on statehood and World War I in New Mexico, part of our Friends of History lecture series. Donations welcomed. Auditorium event with limited seating-bottled water only please.
Atomic Histories exhibition closing SATURDAY, JANUARY 19, 10 AM – 5 PM If you missed seeing this popular look at New Mexiico’’s attomiic conttriibuttions, Satturdday, January 19 will be the last day to view the exhibiition.
“Hardship, Greed, and Sorrow: An Officers Photo Album of 1866 New Mexico Territory” SATURDAY, JANUARY 25, 1–3 PM Join us for a talk by author Devorah Romanek—joined by Hannah Abelbeck, New Mexico History Museum Photo Archivist, and Jennifer Nez Denetdale, Associate Professor of American Studies, University of New Mexico —on this compelling book, which captures a fraught and complex moment in the history of the American Southwest. Book sales and signing available following the lecture. Auditorium event with limited seating. Free with admission.
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RANDOM ACTS
Music on the Mesa: Boris McCutcheon
Ann Staveley
Northern New Mexico live-music stalwart Boris McCutcheon rings in the first few days of 2020 with a CD release party for his brand-new album, As Old As Española. The album is an homage to the region and features a love-song to low riders, as well as a rare political song delivered in the voice of a tree pruner (one of McCutcheon’s many day jobs). McCutcheon plays at 7 p.m. on Jan. 4 at Taos Mesa Brewing Mothership (20 ABC Mesa Road in El Prado). Doors to the all-ages show open at 6 p.m. Tickets are $7 at the door; 575-758-1900, taosmesabrewing.com. — Jennifer Levin
But can you dance to it? YACHT at Meow Wolf YACHT’s 2019 album, Chain Tripping, is conceptual to a fault — yet it’s poppy enough to fool a casual listener into thinking it’s 10 simple tracks of electronic dance fluff. In reality, every sound on Chain Tripping is a piece of the band’s back catalog that they broke down using artificial intelligence, flattened into code, and reassembled into entirely new songs. Think language poetry written by robots, reinterpreted by sculptors, and turned back into music. YACHT plays Chain Tripping in its entirety at 8 p.m. on Saturday, Jan. 4, at Meow Wolf (1352 Rufina Circle). Tickets to the all-ages show are $15-$18; 505-395-6369, santafe.meowwolf.com. — J.L.
Thirsting for knowledge? Geeks Who Drink
Cira Crowell
Want to have a little raucous fun while tossing back a few cold ones, or while sipping on your favorite cocktail? Here’s a question for you, courtesy of the Denver-based company Geeks Who Drink. “A cowboy puts a notch in his gun. Where does Pat Benatar put hers in ‘Hit Me with Your Best Shot?’ ” That’s a sample of the type of questions you’ll be called upon to answer when you participate in a Geeks Who Drink-hosted trivia night at Second Street Brewery in the Railyard (1607 Paseo de Peralta, 505-989-3278, secondstreetbrewery.com). The fun starts at 8 p.m. on Wednesday, Jan. 8. This isn’t your typical trivia night contest, as Geeks Who Drink say on their website, geekswhodrink.com, “smack talk flying around in all directions is pretty much par for the course.” Around 70 questions are fired off in the space of two hours during the free event. The answer to that Pat Benatar question? Her lipstick case. — Michael Abatemarco
Everything Zen: Meditation instruction at Upaya Zen temple etiquette varies from place to place. Guests are sometimes asked to walk backward as they exit the sacred space. In other temples, photography is frowned upon. Noah Kigaku Rossetter, a novice priest and assistant to Upaya Zen Center’s abbot, will teach a one-hour workshop on temple etiquette on Sunday, Jan. 5, and will explore the basics of Zen meditation, including posture, breath, and intention. The workshop runs from 3 to 4 p.m. at the Circle of the Way Temple at Upaya, 1404 Cerro Gordo Road (upaya.org). These workshops are typically offered on the first Sunday of each month. Entry is free, but RSVPs are required at 505-986-8518, ext. 111, or meditate@upaya.org. — Lauren LaRocca
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Eastside Oasis along the Santa Fe River
870 East Alameda Street | Historic Eastside
SOTHEBYSHOMES.COM/0567366
Nestled along the Santa Fe River in the heart of the historic Eastside, this wonderful two-bedroom home and one-bedroom guesthouse exemplify modern Santa Fe charm and style. Heating and air conditioning, a security system, high walls, and an electrically gated driveway add to the appeal of the property, which has been beautifully landscaped and includes a tranquil water feature. A graveled area provides off-street parking for three cars.
$1,350,000
Chris Haynes
chris.haynes@sothebyshomes.com 505.660.6121 326 Grant Avenue | 505.988.2533 | sothebyshomes.com/santafe Sotheby’s International Realty and the Sotheby’s International Realty logo are registered (or unregistered) service marks used with permission. Operated by Sotheby’s International Realty, Inc. Real estate brokers affiliated with Sotheby’s International Realty, Inc. are independent contractor sales associates and are not employees of Sotheby’s International Realty, Inc. Equal Housing Opportunity.
ANNUAL CALENDAR RELEASE PARTY FRIDAY
JANUARY 3
123 WEST PALACE AVE. 5:00 - 7:30 LEFT: JEREMY WINBORG, SHOOTING BOW, OIL ON CANVAS, 36” X 50”.
MANITOUGALLERIES PASATIEMPOMAGAZINE.COM
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T AKING A B OW TAKING BOW
Pasatiempo celebrates Santa Fe’s builders, visionaries, and everyday heroes.
W
alk in the front door of Cipriano Vigil’s El Rito home, and it pretty much looks like any other. A small set of stairs straight ahead leads to a sunny kitchen, a wood stove is aglow in the center of the living room, and plastic organizers full of his wife’s jewelry-making beads and tools sit on a couch. But wander deeper, and you’ll stumble into the heart of this musician’s world. In a small back room that serves as the legendary ethnomusicologist’s studio, cigar boxes are piled as high as his head. Wooden necks, miscellaneous guitar parts, and tools fill the space around a large work table, and natural light floods in from windows with views of the Tusas Mountains. Vigil’s homemade instruments, each a distinct (and playable) piece of art, hang in rows along each wall. Turn too quickly, and you may take down one of the guitars waiting to head to a local school. And there’s more. Another room stores bags of wood pellets for the stove as well as more cigar-box guitars (both acoustic and electric, with matching battery-powered cigar-box amps), which he sells — mostly by word of mouth. Yet another room houses hundreds of instruments, some made with his own hands and others collected from around the world. He plays them all. Banjos, violins, mandolins, a xylophone, a tin-tub bass, African steel drums, a Tibetan
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CIPRIANO VIGIL Musician & ethnomusicologist violin, a flute made from PVC pipe, and dozens of guitars made from various materials (including armadillos and tortoise shells) rest on stands, dangle from the ceiling, or are tucked inside cases and boxes. Stacks of cassettes, CDs, and records contain priceless musical gems — hundreds of field recordings Vigil collected, as well albums of his own compositions. “There have been times when even our bedroom is full of guitars,” his wife, Susana Vigil, says of the house they’ve shared since 1988. “We had to make room for the bed.” MUSIC IN HIS DNA In his 300-instrument room, Vigil, 78, pulls out a handmade guitar from an old case. As he’s done at least a dozen times this November afternoon, he pulls the instrument toward him and begins to strum. You
can’t help but notice that his right-hand nails are long and perfectly sculpted for finger-picking (the first time he went into a nail salon in Española, “the woman looked at me like I was crazy,” he says). He begins to sing a slow Spanish verse. It’s not a Top-10 hit. It’s a song he used to hear when family and friends gathered at the resolanas, the sunny side of a house, to play music. Even as a little boy in the village of Chamisal in Taos County, Vigil was desperate to learn guitar. His father was a self-taught violinist and guitarist who played cowboy songs and made cigar-box violins. His grandmother “would play this really tiny harmonica,” he recalls. “She’d be making tortillas and playing harmonica at the same time, and I used to be afraid that she would swallow it. So it runs in the family, from my grandmother and father to me.” When he was about 6 years old, his father asked him to make sure the family’s cows didn’t eat any wild alfalfa. But he would get lost in the world of music, fashioning two-hole flutes and other small instruments from pieces of wood and playing them in the fields. He once got so distracted that he forgot about the herd entirely, and one cow got sick from eating alfalfa and had to be killed. At least his family got some good steak out of it, he says, laughing and picking up a violin to play a jaunty indita — music derived from the blending of European and indigenous American cultures.
“When I was about 7 or 8 years old, my love for music was so great, but I didn’t have nobody to teach me, so I would run away from home at night when there was a dance going on,” he says. He began sneaking out his window to record, on a little pad of paper, the finger placements of musicians at local dances. Then he’d return home and teach himself on a $9 guitar his older sister (one of seven siblings) had bought him. “That’s how I taught myself to play — by looking at other people and listening on the radio … mostly Spanish music that was coming in from Mexico.” By the time he was a teen, he began to make a name for himself by playing shows throughout the region. He went on to teach himself mandolin, then violin, and continued to discover and learn more exotic instruments. But when a fan presented him with sheet music after a show and asked him to play it for her, he realized he had one weakness: He couldn’t read music. Then and there, he decided to learn, which led the high-school dropout to get his GED and go on to earn a bachelor’s degree in music education, master’s degrees in bilingual education and ethnomusicology, and, while teaching at Northern New Mexico College, a doctorate in ethnomusicology. In the ensuing years, he performed several times at the Smithsonian Institute in Washington, D.C., and continued to play regularly throughout New Mexico — “even though I have to carry my ‘umbilical cord’ with me everywhere I go now,” he says, referring to the oxygen he needs to treat his COPD. On Feb. 8, he and his family will make the five-hour drive to Las Cruces for a performance, and he’ll be onstage again Feb. 12 at the Museum of International Folk Art between weekly school visits and student recitals. He’s accomplished all of this with two ruptured eardrums, the result of slamming into water during a dive as a boy. “Sometimes when I’m performing, I can’t hear my son and daughter playing, so I have to hope that we’re in tune.” Between stories, he pulls one of his electric cigar-box guitars from the wall and demonstrates a short, finger-picked melody before putting the instrument down with the others. Like every moment, it’s another opportunity to make music. THE ‘PERFORMER COLLECTOR’ Armed with only a small cassette recorder, Vigil set out to collect recordings of traditional Spanish music throughout the state in the early 1960s. His thirst for music was so profound that he would go door to door, asking if there were any musicians in the house. He would hit bars and dances and arrange to meet people, finding old songs that dated back hundreds of years and learning to play them. He didn’t realize at the time that others would be interested in the rare music he’d found or that one day his research would be compiled in a book, New Mexican Folk Music: Treasures of a People, published by UNM Press in 2014. “I started doing it for my own enjoyment,” he says, “but then I had a collection of all this stuff. These people are gone, but I captured them.” Other scholars, including Jack Loeffler and John Donald Robb, have collected extensive field recordings of folk music in this region. “What distinguishes him is he also performs the entire collection,” says Enrique R. Lamadrid, a literary folklorist, professor
Between stories, he pulls one of his electric cigar-box guitars from the wall and demonstrates a short, finger-picked melody. Like every moment, it’s another opportunity to make music.
emeritus, and distinguished professor of Spanish at the University of New Mexico. “He’s the performer collector. That’s what makes him interesting.” “I had this weakness — my wife hated it — where we’d be walking down the street and all of a sudden, if there was a music store, I’d disappear and she wouldn’t know where I went,” he says. “I was mesmerized by different instruments and wanted to learn as many as I could. And I did. And some of my students are doing that themselves now.” While in Baltimore for a performance at the Walters Art Museum, he spotted a small instrument made from an albino armadillo at a pawn shop. When he asked how much it cost, the owner said it wasn’t for sale but added, “If you know how to play it, I’ll sell it to you.” “I said, ‘Bring it down.’ ” To the amazement of the store owner, Vigil learned right there on the spot, and he took it home with him. “And then I made one myself.” A GIFT FOR GENERATIONS Vigil has passed down his knowledge to his son, daughter, and grandchildren, all of whom perform with him. He’s also taught students — for 15 years at some 75 elementary and high schools throughout the state — how to build and play cigar-box guitars, which they can then take home. He spends at least four hours preparing each instrument (his brother
and grandson help a little), measuring each fret to ensure it plays in tune, then cutting each fret by hand and installing them. “It has to be perfect,” he explains. “If I dent it, it’s ruined. It’s a very slow process.” He sometimes stays up until 2 a.m., banging away in his studio. This semester, he has prepped about 100 guitar kits for schools in Española and Chimayo. By passing down the historical music, as well as the tradition of DIY instrument building, Vigil has served as a bridge between his ancestral heritage and future generations. “His cigar-box guitar-making workshops are the stuff of legend and have impacted the lives of thousands of New Mexico children,” says Thomas Goodrich, administrator of the New Mexico Music Commission. In 2019, the commission awarded Vigil a Platinum Music Award for lifetime achievement. Last semester, Vigil regularly traveled from his home to Gallina and Lybrook to lead cigar-box guitar workshops. He also takes his eccentric instrument collection on tour around the state to give show-andtell (and play) presentations at schools; he explains their history and origin, and also performs. He says he doesn’t make much money teaching, especially considering the expense of cigar-box guitar materials, but if he can interest even one student in each class to take up music — something positive, rather than something that could lead down darker paths — he’s done his job. “That’s my payment.” — Lauren LaRocca
Above and opposite page, Cipriano Vigil at his El Rito home, surrounded by hundreds of instruments that he makes, collects, and plays; photos Luke E. Montavon/The New Mexican.
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TAKING A BOW
DOROTHY MASSEY Independent bookseller
If
you wander past the tall, arched windows of Collected Works Bookstore & Coffeehouse (202 Galisteo St., 505-988-4226, collectedworksbookstore.com) one evening, you may see a crowd seated and staring straight ahead. From your vantage point outside, who or what they are watching is out of view. But on most nights of the week, it’s safe to assume that a writer is reading aloud from the small stage in the corner of the store. “I don’t think those passersby usually come in, but it helps the aura of downtown Santa Fe for people to know there are things going on,” says Dorothy Massey, the owner of Collected Works, who quickly points out that sometimes bookstore events stretch beyond poetry and prose. “Last night, we had musicians and a narrator,” she says. “It was Halloween. We saw a row of goblins looking in the window.” Massey, 81, is resistant to the idea that her success as a bookseller makes her worthy of attention in the local paper. “The store is a great deal more than one person,” she says with a flash of humor. She is, however, quite serious. “I’m delighted to talk about the store without getting into my own history.” Sitting in her office with her 12-year-old Cairn terrier, Booker T. Dog, at her feet, she is willing to reveal that she grew up on the East Coast. Careerwise, she worked in New York for many years, in some capacity connected to opera. She won’t say exactly what. On the personal front, she was married and raised two children, became a widow, and moved to Santa Fe in 1998, when she bought Collected Works. Massey is the store’s third owner. Collected Works first opened in 1976, a few blocks away, on San Francisco Street. Massey moved the operation to the corner of Water and Galisteo streets in 2008 so that she could put in a coffee bar and accommodate larger crowds, “just in time to celebrate the recession.” The store made it through the tough times thanks to the goodwill of “the local people in Santa Fe and the tourists, who did not stop coming.” In 2011, big-box bookstore Borders shut down operations across the country, including its two locations in Santa Fe. Somehow, Collected Works and other local independent bookstores outlasted the behemoth to thrive in a new era. Now, the battle for survival is against internet retailers, specifically Amazon,
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but Massey says that Collected Works offers certain advantages. First of all, you can browse far more easily than you can online, and you can ask staff members for recommendations. What’s more, “you can read a book for a good few hours in front of our fireplace before we ask you to buy it.”
Savvy as she might be about the book business, Massey refuses to accept flattery for it. “Santa Fe is a very literary town,” she says.
Collected Works carries extensive selections of books by local authors, children’s classics, and poetry, as well as new releases, literary fiction, travel books, and more. The store will order anything you can’t find on its shelves, and it often manages large wholesale orders for nonprofit organizations because it has access to publisher and distributor discounts. What keeps the business humming is the 10-member staff. “They’re not in it for the pay,” Massey says with a rueful shrug. “They’re in it because they enjoy what they’re doing and they enjoy their colleagues. We are one family — we squabble. We don’t always get along, but we try to work it out.” Weekday mornings, you’ll find receiving manager Paul Friesen checking in book shipments by the back door as music plays in the café area, which is run by Iconik Coffee. Friesen, who has worked at the store for three years, calls the job heaven for a reader such as himself. When asked whether he has a favorite among the authors who have read at the store during his tenure there, he ticks off major-name local authors with national reputations: Hampton Sides, Michael McGarrity, and Anne Hillerman. “We
have so many that are so big. It would be difficult to choose a particular one,” he says, sounding eager to get back to his books. Just a few more of the established and emerging writers who have passed through in recent years are self-help guru Deepak Chopra, humorist David Sedaris, Pulitzer Prize winner N. Scott Momaday, memoirist Marin Sardy, and Santa Fe poet laureate Elizabeth Jacobson. “I was really struck by Dorothy and the way that she talked to me as a writer,” says Gabriel Tallent, who read at Collected Works in 2017 while touring internationally for his best-selling debut novel, My Absolute Darling (Riverhead Books). “She is incredibly perceptive, and the environment she fosters is what’s best about small independent bookstores.” He adds that his visit, “among many wonderful visits to small bookstores, stands out in my mind as a great reading environment and a place where I felt warmly welcomed.” Cecile Lipworth is the store’s events curator. She arranges author visits, juggling about 20 requests for readings per week — far more than the store can accommodate. “Dorothy’s vast literary knowledge, her memory of every author and the books they’ve written, and what events have taken place in the store, is unmatched by anyone I know,” Lipworth says. “She’s one of the strongest women I’ve worked with, and her forthrightness sets important boundaries when working with the volume of authors and members of the public we talk with daily.” Savvy as she may be about the book business, Massey refuses to accept flattery for it. “Santa Fe is a very literary town. The last time I looked, there were 17 independent bookstores,” she says. “When I moved here, this store was already successful. I did research all over the country to find a store that was already part of a community. As my daughter said to me at the time, ‘You’ll be better at running a bookstore than a muffler shop.’ ” — Jennifer Levin
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VALERIE GUY Artistic administrator
menu should be and where should you seat everybody — who will bring out the best in the people they’re put together with. Also, the artistic development of younger, ‘ascending’ players is an important part of our mission. It’s lovely putting them together with more senior players they can learn from, especially because there are so many performing traditions that get passed along during rehearsals.” “I’ve had the great pleasure of knowing and working with Valerie for many years,” says AnneMarie McDermott, the renowned pianist and artistic director of the Bravo! Vail Music Festival. “She is an absolute joy whose musical integrity is unquestionable, as well as a treasured friend. Valerie is brilliant in her knowledge of chamber music and has great empathy and insight into pairing the right musician with the right repertory.” Chamber music performances can generate unique challenges, so Guy’s job doesn’t end when the concert begins. At that point, her biggest concern becomes silence rather than sound. “This is a delicate art form,” she explains, “and the silences in the music are just as important as the notes. “A few years ago at the Chamber Music Society, we had a solo piano recital in an old building with no soundproofing, and I suddenly heard chanting outside, like the sound of a protest. An animal rights group was demonstrating right across the street, outside the apartment of a pharmaceutical company CEO. “I ran into the middle of the protesters and started begging them all to stop. I literally got down on my knees and they got so embarrassed that they stopped shouting and promised to not start again until after the concert was over.” Performing in Santa Fe adds layers of complexity not found in New York. The altitude affects wind and brass players just as much as it does singers, so Guy suggests that first-timers in particular arrive a couple of days earlier than they normally would, so they can adjust. It doesn’t always help. L ast summer, bass-baritone Philippe Sly sang the entire 80 minutes of Franz Schubert’s Winter Journey (Winterreise) with altitude sickness. The saving grace was that the symptoms played into the song cycle’s existential angst. The altitude’s impact even extends to the reed players’ reeds, which perform differently here than at lower elevations. Even our summer monsoons have affected festival performances — not from wind and rain blowing across the stage, as at the Santa Fe Opera, but with downtown power failures. One of them hit the Lensic Performing Arts Center during a 2018 performance of Gustav Mahler’s Das Lied von der Erde. Guy zoomed backstage to grab as many music-stand lights and extension cords as she could find so the performance could continue in the gloaming. When asked whether living in Santa Fe has changed her in any way, Guy replies, “It’s made me a much calmer person because I can go for a hike in the mountains right after work. Plus, now I could always ride a BMW, so my whole quality of life has improved immensely!” — Mark Tiarks Luke E. Montavon/The New Mexican
alerie Guy, artistic administrator of the Santa Fe Chamber Music Festival, got acquainted with New Mexico atop a Harley-Davidson on motorcycle camping trips about 20 years ago. The thought of it horrifies her today. “I look back and just can’t believe I did it,” she says. “All those years riding a Harley when it could have been a BMW. What was I thinking?” Guy grew up in Glenview, a suburb north of Chicago, in a musically oriented family where she played violin, piano, and flute. After studying flute and dance at Butler University in Indianapolis, she flirted with the notion of a graduate degree in flute performance but dropped it in favor of a job as director of operations at the Chicago Youth Symphony Orchestras. Soon she realized that “there was an endless amount of artistic fun to be had off the stage.” In 1995, she moved to New York to become “the everything person” for the Orpheus Chamber Orchestra. It’s a musician-run collective where she learned the skill of diplomacy, the importance of getting buy-in from the players for new initiatives at every step in the process, and how to manage international touring in the days before cell phones. Seven years later, Guy joined the Chamber Music Society of Lincoln Center, the country’s largest chamber music organization, as its director of artistic planning and administration. For 15 years, she worked with artistic directors Wu Han and David Finckel, overseeing an artistic budget of $1.5 million, organizing more than 150 performances annually, at Lincoln Center’s Alice Tully Hall as well as on national and international tours. She came to the Santa Fe Chamber Music Festival in 2017. “It was the fastest decision I ever made,” she says, “and I’m having a blast.” In her position, Guy works with artistic director Marc Neikrug in planning each season’s budget, repertory, schedule, and personnel. “I love it that Marc programs like a composer. We don’t need to lean on extra-musical themes because the pieces themselves tell a musical story that makes sense.” Neikrug says she’s a dream come true. “Valerie is a ‘five-tool player,’ to borrow a baseball term,” he says. “She’s fanatically organized; has an encyclopedic knowledge of the repertory; knows everybody in the music world; has an exuberant, positive attitude; and is a generous colleague. With her around, I feel like almost anybody could do my job!” After the scheduling and repertory decisions are made, Guy negotiates the contracts with the performers and venues, secures visas for artists from outside the United States (her “most unnerving behind-the-scenes challenge”), arranges for performance rights with music publishers, manages the SFCMF broadcast program with Chicago’s WFMT radio station, rents or borrows unusual instruments the repertory requires (not as easy in Santa Fe as in New York), secures piano tuners and page turners, and schedules all the rehearsals.
“Valerie is brilliant in her knowledge of chamber music and has great empathy and insight into pairing the right musician with the right repertory.” — Anne-Marie McDermott
Rehearsals? Don’t the musicians just fly in and play a program they already know? Sometimes yes, sometimes no. The festival is a producer as well as a presenter, which means that many of its concerts are created on the spot, with specially assembled groups that may have never performed together before learning repertory that’s new to them. Guy compares the process to throwing a dinner party. “It’s figuring out who to invite and what the
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Luke E. Montavon/The New Mexican
TAKING A BOW
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lexandria Bombach is excited to be home in Santa Fe for most of the month of December. But, for now, it’s still November and the documentary filmmaker is preparing to head to Amsterdam to take part in a forum at the International Documentary Film Festival Amsterdam as one of five recipients of a Chicken & Egg Pictures $50,000 unrestricted grant. Her window of time is short and she prefers to meet at Modern General over tea. “It tastes like a forest floor,” she says of the tea, which is called, suitably enough, Forest Floor. Bombach is leaving in three days. She’s only been home for four — having just returned from Georgia, where she’s working on a documentary about the Indigo Girls. “I was just in [Indigo Girl] Amy Ray’s basement for a week, going through 300 hours of archived videotapes that she has collected over the last 40 years,” she says. “She apologized that it was so much, and I’m like, ‘No, this is documentary filmmaker heaven right now.’ It’s a really exciting next project.”
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ALEXANDRIA BOMBACH Filmmaker Bombach was at a director’s retreat with producer Kathlyn Horan when she overheard Horan mention that she’s known the Indigo Girls for 30 years. “I’ve been a huge fan, and I was like, ‘If you ever need me to bring you coffee on a shoot for a music video or something, let me know.’ And she said, ‘I think I’d hire you for more than coffee.’ ” Horan took her to meet the musicians backstage after a concert. “I was blown away by their music and who they are as people. After talking to them, I quickly looked at my phone to see if anybody had ever made the doc about them, and it hadn’t happened yet.” They, in turn, were impressed
by Bombach and were familiar with her previous documentary, On Her Shoulders (2018). On Her Shoulders is a challenging portrait of human rights activist and Nobel Peace Prize winner Nadia Murad. Bombach took the director award at the Sundance Film Festival in 2018. The 33-year-old filmmaker, who also served as director, cinematographer, and editor, spent a year on the festival circuit, introducing the film, appearing on panels, and discussing uncomfortable topics. Murad was a victim of sexual slavery under the Islamic State and saw hundreds of her fellow Yazidi villagers (including members of her family) massacred. For Bombach, focusing on musicians she admires as her follow-up project is a welcome change of pace. “I was nomadic for 10 years,” she says. “I started renting a house on Galisteo Street in December to have actual roots. Before that, I was here for about two months out of the year, living in my parents’ garage.” Bombach was born in Albuquerque and grew up dividing her time between Albuquerque and Santa Fe. As a student attending Santa Fe High School and
Albuquerque’s La Cueva High School, she liked to film her friends with a Handycam but never entertained the notion of actually becoming a filmmaker. “It was well beyond what some kid growing up in Albuquerque would think to do, at least for me. I actually went to business school at Fort Lewis College.” Bombach never attended film school, but she had a natural talent and a drive to tell stories that no one was telling. She graduated from Fort Lewis and, faced with the prospect of not being able to find work, decided to dedicate herself to her passion: working behind the camera. “There were a lot of stories I really wanted to tell in the documentary space. Creatively, it’s really engaging for me to go out into the field.” Her first feature-length documentary, Frame by Frame (2015), started as a labor of love. The idea that one could just head out and make a movie with little professional experience — especially somewhere like Afghanistan, where the film was shot — might sound daunting for most, but she had the drive to make it a reality. “I sold my car and most of my belongings to buy a ticket for myself and another cinematographer,” she says. “I sacrificed everything to make it happen. But your first film, you have to make those big investments and take big risks.”
“I think she’s such an amazing talent. She’s someone whose work is truly international.” — Jacques Paisner, Santa Fe Independent Film Festival
Afghanistan became a sort of proving ground. She was interested in how film and photography present an “image of ourselves and a story of ourselves, to ourselves and to the world.” She feels a responsibility because, she says, “these stories matter.” The film follows four Afghan photojournalists as they help shape the country’s burgeoning freedom of the press and newfound identity in the years following Taliban rule. “It was a really interesting time to be following people as they were trying to tell stories from their own canvas and through their own eyes,” she says. “As Americans, since 9/11, we’re really used to seeing images of Afghanistan in a way that evokes a feeling of fear. A big focus of Frame by Frame was on these still images of life as it actually is and people as they actually are. I think a big part of all my filmmaking is trying to challenge something that we think we know and to shake people’s perceptions of those things.” Frame by Frame would go on to win the Documentary Feature Special Jury Prize at the 2015 Santa Fe Independent Film Festival. “I just think she’s such an amazing talent,” says Jacques Paisner, SFIFF’s artistic director. “She’s someone whose work is truly international. At the 2018 SFIFF, we had Alexandria here for On Her Shoulders, and [filmmaker] Chris Eyre presented her with the Visionary Award. After that, she joined our advisory board. She also joined the Santa Fe Film Commission, and I’ve been really excited about the kind of voice she brings to that commission. I just think she’s going to be a serious leader in local film hereafter.” Bombach is determined to play a role in shaping the future of filmmaking in New Mexico. Santa Fe isn’t really a retreat for the independent filmmaker — it’s home base. For the past year she’s been developing a residency program for screenwriters and editors. In 2018, she told the New Mexican that she intends for it to be the kind of space she would have liked to have had while editing On Her Shoulders. “It’s a project that’s very near and dear to my heart because I know that filmmakers really need the support in pursuing their projects,” she says. Curiously, Bombach admits to some bewilderment while touring a film because festival organizers always refer to her as a director. “I don’t really feel like a director,” she says. “My process is really ingrained in shooting a film and editing a film. Most of my films have been very intimate stories about very sensitive subjects where access was critical for a very small team. Creatively, I’m editing while I’m filming and both crafts make me better at the other. I’m a better shooter because I edit. I’m a better editor because I shoot.” — Michael Abatemarco
PACIFICA STRING QUARTET St. Francis Auditorium SUNDAY, JANUARY 12 AT 3 PM SHOSTAKOVICH Quartet No. 7 in F-Sharp Minor, Op. 108
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CHATTER Innovative classical music
22 PASATIEMPO I January 3-9, 2020
Luke E. Montavon/The New Mexican
G
ive as many as 70 classical music performances each year, but without having a single full-time staff member. Make sure that challenging pieces from the 20th and 21st centuries comprise the largest part of your repertory. Schedule almost all your concerts on Saturday and Sunday mornings. Don’t spend more than 1 percent of your budget on marketing and promotion. Don’t announce your concert repertory and performers until about eight weeks before each performance. Don’t bother with a subscription campaign. Don’t even have a phone number. It sounds like an unlikely formula for success, but the Albuquerque-based chamber music group Chatter has made it work successfully for more than seven years. By challenging almost every norm in an industry that sometimes focuses on safe repertoire and conventional marketing, Chatter has gotten ahead of the curve. “Our model really harmonizes with today’s trends,” says violinist David Felberg, the group’s co-founder and artistic director. “People want more flexibility and aren’t buying tickets so far in advance. It also helps us stay really fresh and spontaneous, since we can take advantage of opportunities as they come up. Sometimes what seemed like a great idea at first doesn’t seem so good four or five months later, but then you’re stuck with it in a more traditional approach. We aren’t.” Sixteen months ago, Chatter launched a local presence with a performance series at SITE Santa Fe. Concerts take place on the second Saturday of each month and follow a unique template: a musical performance of 35 to 40 minutes, a 10-minute spoken-word segment (usually a poetry reading), and a two-minute “celebration of silence.” It’s a format that’s been a Chatter hallmark for more than 11 years in Albuquerque, where the events are offered on 50 Sunday mornings each year at Las Puertas community performance space. Chatter’s audiences know they aren’t just going to be hearing duets, trios, and quartets. In fact, the programs offer some surprisingly large-scale works. The group’s most recent Albuquerque program featured 17 musicians playing Mozart’s Clarinet Concerto in A Major and Stravinsky’s “Dumbarton Oaks” Concerto for Chamber Orchestra. Contemporary opera is also a Chatter hallmark, including such adventurous choices as Peter Maxwell Davies’ Eight Songs for a Mad King, a notoriously difficult piece that received an impressive staged performance here in September.
“I definitely love playing in a big orchestra, but my work with Chatter stimulates a different part of my brain.” — clarinetist James Shields
Accessibility and community are important aspects of Chatter’s mission. The top ticket price for the morning concerts is $16, and the group eschews traditional venues in favor of galleries at the Albuquerque Museum and SITE Santa Fe, as well as Las Puertas. It’s also financially efficient organization, able to pay its musicians competitive fees for its 70 or so annual events on a budget of just $325,000. Its most recent financial statements show that Chatter devotes more than 85 percent of its budget to artistic expenses, compared to the local average of 75 percent. Management and general expenses account for just over 13 percent of expenses. Less than 2 percent of the budget goes to fundraising costs. Part of its operating efficiency comes from a cost-sharing structure with Albuquerque’s Opera Southwest: Tony Zancanella serves as executive director for both groups, and Chatter maintains a small office within the opera company’s administrative space at the National Hispanic Cultural Center. Chatter’s roots go back to 2002, when it was founded by Felberg and the late Eric Walters, a cellist and composer, as a new music ensemble offering four or five performances each year. Six years later, Felberg got involved with a then-separate activity called Church of Beethoven, led by cellist Felix Wurman. Wurman was a child prodigy who studied with the renowned soloist Jacqueline du Pré, after which he renounced a traditional concert career in favor of a touring group called Domus. He later moved to Albuquerque, where he played with the New Mexico Symphony Orchestra and founded The Noisy Neighbors Chamber Orchestra, which played in a geodesic dome on a parking lot in nearby Cedar Crest.
After playing for a church service in 2007, Wurman hit upon the basic idea for the Church of Beethoven, an hour-long event that combined music, silence, a spoken-word reading, and a free-will offering. In 2012, it was combined with Felberg and Walters’ new music activities under the Chatter umbrella. Santa Feans are most familiar with Felberg from his work as concertmaster for the Santa Fe Symphony. But he’s also the associate concertmaster of the New Mexico Philharmonic, a member of the Santa Fe Pro Musica orchestra, and leader of the University of New Mexico’s new music ensemble. He’s a conductor, too, whose most recent gigs were sets of Handel’s Messiah with the New Mexico Philharmonic and performances of The Nutcracker with the New Mexico Ballet, both in December 2019. For clarinetist James Shields, the opportunity to work as Chatter’s associate artistic director (and as a frequent performer) was impossible to pass up, even though it has meant commuting from Portland, Oregon, where he’s the principal clarinet in the Oregon Symphony. Before he was in Toronto, where he held the same position in the Canadian Opera Company orchestra. Shields got involved via the Church of Beethoven while he was also with the New Mexico Symphony Orchestra. “David is super fun to work with and to brainstorm with,” Shields says. “We’re in touch almost every day, most of the time by email or text messages. He loves exploring things that start out as dumb, funny ideas and after a while lead you to something really good. It’s like learning to play an instrument. You go through stages and have to embrace failure to make progress. He’s also remarkably chill about not getting caught up in power struggles that happen in lots of places. “I definitely love playing in a big orchestra, but my work with Chatter stimulates a different part of the brain,” Shield says. “There’s more creativity, more discussion, and more give-and-take, especially in hashing out interpretations. Chatter and the Oregon Symphony are complementary activities, a kind of yin-yang combination that makes me feel like a complete artist.” — Mark Tiarks
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FRANK ROSE Gallery owner
But something was eating at Rose. For the majority of his career, he’d been working for other people, and he felt he couldn’t maintain creative control unless he had a space of his own. “It was really just me coming to terms with my ambition, I guess. I had to start my own thing.” In Oaxaca, Rose encountered an active printmaking scene. Rose likens it to what Paris might have been like for the painters of the late 19th century. Artists like Zapotec graphic artist Francisco Toledo and modernist Rufino Tamayo helped put Oaxaca on the map. But printmaking in the region really took off after a 2006 teachers’ strike led to a public standoff between protestors and the government in the zócalo, or central plaza, of downtown Oaxaca. Printmaking became a tool for the dissemination of materials for the resistance, as well as symbol of resistance itself, not unlike the prints made by the collective Taller de Gráfica Popular, who used the art form to advance revolutionary ideas and social causes in the mid-20th century. That is the kind of work that Rose wanted to show. In October, six months after securing a small space on Canyon Road across from the Teahouse, he presented six contemporary printmakers from Oaxaca City in the exhibition Grabados Oaxaqueños. Since opening Hecho a Mano in March, he’s been doing monthly shows. “There wasn’t anything around Oaxacan printmaking happening in Santa Fe, really, let alone in much of the United States. Mexican art in general wasn’t really taken seriously. So, when it came to figure what the gallery was going to be, that was already in my head. I felt like it filled a niche here.” Although Hecho a Mano, as the name suggests, focuses on works made by hand that don’t involve any automated processes, it has a broader scope than just works on paper from Oaxaca. The gallery represents indigenous and regional artists who work in contemporary ceramics and jewelry and handles historical prints by Luis Arenal Bastar, Francisco Mora, and Leopoldo Méndez, who were integral to Mexican Modernism. The gallery’s current show, Carlos Mérida: Estampas del Popol Vuh (through Jan. 26) is his second exhibition to feature the work of Mérida (1891-1895), a Guatemalan cubist who was based in Mexico. The show features color lithographs depicting the Maya creation story. “Frank is more than just a gallerist who focuses on selling work,” says Ian Kuali’i, who had a solo exhibition at Hecho a Mano in July. “He actually embeds himself within the community as a whole, which is rare to find among gallerists. He’ll actually go down to Oaxaca and embed himself in the culture, and has knowledge of what’s happening within those communities.” Rose has no illusions about the fickle nature of selling art. Being in business for himself doesn’t guarantee constancy. Instead, it means going with the flow. “I’m willing to live in a space of uncertainty,” he says. “It’s not that I’m 100 percent comfortable there, but I need it as a motivator. It all falls on my head. If I don’t do it, it isn’t going to happen.” — Michael Abatemarco Luke E. Montavon/The New Mexican
omething about Santa Fe draws people and keeps them here. Call it the magic of place. Maybe it’s some property of the base layer of obsidian that some say lies beneath the city. Frank Rose, owner of Hecho a Mano (830 Canyon Road, 505-916-1341, hechoamano.org), came here from Houston in 2008, without much of a plan. And he went from being a salesperson in a gallery to a two-time gallery director to the proprietor of his own art space. That rise to the top was thanks to a combination of determination and an embrace of uncertainty. Rose, who was raised in Anchorage and Seattle, moved with his family to Houston as a teenager. After high school, he had every intention of becoming a studio artist and enrolled at the University of Houston to study photography. Then something happened in his senior year that lead him on different career path. “I had an installation class, and we had to find a place outside of the university to put up an installation,” the 39-year-old says. “A friend of mine was running a salon in the museum district in Houston, inside his house. He had a kind of extra living room that he would use as like an entertaining area. I asked if I could do my installation in there, and he said, ‘Go for it.’ My wife’s a photographer, too, and he said, ‘What if you just did a two-person show?’ ” The Houston Press picked up the event, and more than 200 people attended the opening. “I’m sure most of them had no idea who we were but just read about it and showed up,” he says. That inspired Rose and the salon owner to start curating other shows in the space. “That kind of planted the seed of me wanting to go in this direction of holding space for other artists. It is a very creative practice for me, but I’m not making things. My work became more about supporting other artists. I found that I liked it and I was good at it. I just kept digging into that.” For the next few years, Rose worked for FotoFest, a nonprofit support organization for photographers, and then he became the publisher of ArtsHouston magazine. “At the end of that stint, I sold the business. My wife, Kara, wanted to go to massage school, and we both wanted to get out of Houston. She found a school here.” After arriving in Santa Fe, he applied for a sales job at Manitou Galleries and was hired immediately. He rose up through the ranks to become the gallery’s director, a position he held for the last of the seven years he worked there. “I found that the kind of work that they show didn’t really resonate with me,” he says. “If it wasn’t something that stoked my passion, I didn’t feel like I could be the face of the organization.” He left but was hired to handle marketing and social media for the annual Currents New Media festival. Through co-founders Frank Ragano and Mariannah Amster, he met Sandy Zane, treasurer of the Currents board and owner of Zane Bennett Contemporary Art. It was 2015, and Zane was closing her own gallery that summer but planned to use the space as the venue for something new. “We hit it off really well and started formulating the idea for Form & Concept. It was
“Frank is more than just a gallerist who focuses on selling work. He actually embeds himself within the community as a whole, which is rare to find among gallerists.” — artist Ian Kuali’i
me and Sandy, primarily, that were developing the concepts around it and formulating it.” Rose, a frequent visitor to the Mexican state of Oaxaca, was already developing an interest in handmade crafts, spurred by the art he had encountered in Mexico. That fed the vision for Form & Concept as a space dedicated to blurring the lines between fine art and craft by presenting handmade crafts in a fine art context. “People draw boundaries around fine art and craft, and I’m really interested in busting up those distinctions.”
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T here’s something about John Macker’s poetry that invites you in. As poet Donald Levering put it, his poetry is accessible and yet transcendental. His work has also been described as “exhilarating,” “honest,” and “forged of desert grit and mysticism, history and imagination, love of nature and love of the arts.” All of the above might also be said of Macker himself, who is known for his award-winning writing and also for his championing of other writers — whether it’s through publishing their work, exhibiting their art books, organizing and hosting readings or, occasionally, mentoring them. In many ways, the 64-year-old poet is part of the lineage of the Beats. He didn’t stumble upon their work until after college, despite having grown up in the Beat hub of Denver. He went to school at the University of Missouri to study journalism and never took a creative writing class, but a history teacher taught him how to think an idea through and make his papers more lively, coherent, and structured. “I kind of entered through the backdoor,” he says. When he returned to Denver after college, he came across Ann Charters’ Kerouac: A Biography and realized that much of the story took place in Denver, which prompted him to read work by Kerouac (he started with On the Road). Then, like a pinball machine, he bounced from one author to the next, taking in the writings of the Beats and the Black Mountain poets. In the late 1970s, he began to sit in on classes at the Jack Kerouac School of Disembodied Poetics at Naropa University, in Boulder, and became poet Gregory Corso’s teaching assistant there. Being at the school allowed him to mingle with William Burroughs, Allen Ginsberg, Ted Berrigan, Robert Creeley, Diane di Prima, and other “Beat heavies,” as he puts it, who passed through. “It was just an extraordinary experience ... to be around this Beat hierarchy,” he says. “I was just 22 years old, so being that I was young and impressionable, it made an impression.” I n s pi r e d b y p e ople l i ke L aw re nce Ferlinghetti, who opened Cit y Light s Booksellers & Publishers in San Francisco, Macker opened a used and rare bookstore in Glenwood Springs, Colorado, in 1988 and began hosting readings and publishing the work of writers he knew. His literary magazine, Harp, was “what I called a total theater journal,” he says. “It had poetry and essays and short stories and writings on the community. There wasn’t really a scene there, but Hunter S. Thompson lived there, so I interviewed him.” In those days, Macker would cut and paste the text onto graph paper, take a photo of each page, and send them off to a printer. Meanwhile, he continually worked on his own writing — poetry, essays, short stories, a bit of everything. In 1995, he and his wife wanted a change and moved to New Mexico. He remodeled an old adobe
24 PASATIEMPO I January 3-9, 2020
Luke E. Montavon/The New Mexican
TAKING A BOW
JOHN MACKER Poet and publisher
“Santa Fe is a town that’s crazy with poetry. I’ve never seen so much talent in all my life. Just a multitude of voices. And they’re all different.”
roadhouse near Las Vegas from the ground up. It was formerly a gas station and then a bar before becoming their home. He worked as the director of marketing for Wild Oats grocery store for five years before becoming the bookstore director at Gerald Peters Gallery, where he’s
worked for the past 19 years. Part of Macker’s role at the gallery entails curating exhibits (predominantly photography, prints, and artist books) in the intimate “jewel box” portion of the gallery while managing the collection of art books in the store. In the mid2000s, he picked up where he’d left off in Colorado by founding another literary magazine, the Desert Shovel Review, though he published only one issue; he also hosted readings at the gallery. “There’s a lot of people who won’t buy a book, but they like to listen to it and have that experience and that energy and that honesty that you get from being up close and personal to someone reading their work. What a way to communicate. This,” he says, tapping a book with his fingers, “only takes you so far, but when you hear it, it’s a different thing.” He began by inviting poets from Colorado, but over time he became acquainted with Santa Fe poets, many of whom have since become good friends. “Santa Fe is a town that’s just crazy with poetry,” he says. “I’ve never seen so much talent in all my life. Just a multitude of voices. And they’re all different. Old, young, male, female — it’s all here. Pretty good for a town of 70,000.” He hosts readings at Teatro Paraguas, too, and often attends monthly poetry open mics at the theater. “He’s a real champion of poetry in this town,” says Teatro Paraguas co-founder Argos MacCallum. “He’s a generous contributor — keeping poetry readings going, working one-on-one with poets in town as a mentor, and working with literary groups.” Macker moved to Santa Fe in 2014 and sees a lot of writers who are drawn to the area because of its tri-cultural influences and art museums, but also because of its landscape. “It’s the physicality of the place, its geography. It’s a turn-on. Everybody has to write about that, too.” Much of his work is saturated in place. “There are no degrees of separation/from the heat/the desert is a fever dreamt graveyard and/the wind is alive with hymns,” he writes in the poem “Border Wall Blues” from his latest collection, Atlas of Wolves (Stubborn Mule Press, 2019). His poetry book Underground Sky (Turkey Buzzard Press, 2010) explores Apache history in Arizona, gleaned from not only reading books but also from hiking and camping along the Mexico border in his 20s, “back when it was fun to do that.” El Paso-based poet Lawrence Welsh, who has known Macker for decades, says Macker’s poetry has moved toward a “deeper depth of the very essence of spiritualism of the Southwest. There are things you can’t learn as a poet; they’re just deeply in you. I think the land of the Southwest is that for John. He’s internalized the West. It’s in his blood and soul,” he says. “As I became more immersed in the Southwest — deeply immersed — hiking in the desert, praying in the desert — I realized he really was and is the real deal.” — Lauren LaRocca Luke E. Montavon/The New Mexican
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DANIELLE REDDICK Actress
D
anielle Reddick is trying to find the perfect shape for her life. The length of time it might take is immaterial. If there are any hard and fast rules to her process for getting there, the most important one is that art comes first. “She’s a working artist, and that’s not something you switch on and off,” says John Flax, the founding artistic director of Theater Grottesco, where Reddick is a member of the core ensemble. She most recently appeared in the company’s production of Different. “The first thing that comes to mind when thinking about Danielle is great integrity,” Flax says. “In
everything she does, she’s got to find a way into her own truth. She’s working on a lot of different levels, which are intellectual, emotional, and really connected to the heart.” Since moving to Santa Fe in 1999, Reddick, 54, has become a ubiquitous stage presence. Her first love is experimental, movement-based theater, because this is the kind of theater that “keeps the edge alive.” But she takes on plenty of conventional roles. She is also a licensed fitness instructor and a certified clinical hypnotherapist. She and her husband, Giuseppe Quinn, used to hold creative performance salons, called the RedQuyn Experience, when they lived together in a warehouse on Bisbee Court. They met in the mid-1990s when they were both part of the national touring company for the percussive movement show Stomp. When Reddick left the tour, she stayed alone for a year in an Eldorado house Quinn owned at the time. She says she was just regrouping. “Who am I? Why am I? What now?” She poses these questions rhetorically — and theatrically, pressing her hand to her heart and affecting a Greta Garbo demeanor.
Reddick is usually more concerned with believing in what she is doing than whether or not other people understand it. Theater Grottesco’s Different is a perfect example.
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Reddick and Quinn are still married, but they don’t currently live together. She rents a small basement apartment from a friend that is set up for a slightly monastic existence: a station for sleeping, one for reading, one for stretching, and so on. Quinn lives in a warehouse on the Southside, where he can be as messy as he needs to be. He compares their arrangement to another artist couple who required their own abodes: Diego Rivera and Frida Kahlo, albeit with less romantic drama. “There’s a financial aspect. Two studios together with enough separation, in Santa Fe? That’s hard to find,” Quinn says. “We don’t have a compound, so we have to be across town. It has its ups and downs, but we try to live pretty creatively in all aspects.” Reddick is usually more concerned with believing in what she is doing than with whether or not other people understand it. Different is a perfect example. The structured improvisation is based on the story of Joan of Arc. The six women in the cast do not have defined roles or memorized dialogue. The emphasis is on sound, movement, and feeling — more of an actor’s exercise than a standard play. It’s a bit like modern dance, although that doesn’t adequately explain it, either. You don’t receive such a performance passively, as you would a family drama set in a living room, Reddick says. Instead, actors and audience members
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Danielle Reddick, continued from Page 25 must engage moment-to-moment in what is happening onstage and glean meaning from the experience. “It’s a huge treat,” Reddick says of performing in Different, as well as of Grottesco’s overarching aesthetic. Her heady explanation might not make sense to someone who is unfamiliar with such an all-consuming creative journey: “Nobody gets to do this. And maybe nobody would want to, and that’s their loss, because you don’t know until after you’re in it, and things come up, where the value in it is. For me, it’s muscle-building work.” She gets some of the same satisfaction playing characters at Meow Wolf, where she has performed in costumes at the House of Eternal Return and the summer music festival, Taos Vortex. For the 2019-2020 holiday season, she’s been playing Lady Fish at the House of Eternal Return, for which she wears iridescent magenta makeup and sucks her cheeks in as if she had gills. When it comes to mainstream roles, Reddick has found a niche in Santa Fe, where she is one of only a few African-American actresses. In addition to many roles that do not specifically call for a black performer, she has played several that do, including Tituba in The Crucible (Ironweed Productions, 2017), Robyn in The Roommate (Adobe Rose Theatre, 2018), Marianne Angelle in The Revolutionists (Adobe Rose Theatre, 2018), and Kate in Good People (Ironweed Productions, 2014). Interviewed by Pasatiempo about The Crucible in 2017, Reddick said that Tituba was a tricky part. “I can hear my mother’s … concern about me doing roles that black actresses tend to do, the roles we get to win Oscars for. She was never on board with that. And this isn’t a bad role, but still I have to go through a sort of gauntlet,” she says. Reddick is grappling with some of the same issues as she pursues a master of fine arts degree in interdisciplinary arts, with a focus on performance creation, in the low-residency program at Vermont-based Goddard College. (She earned a BFA in theater at Santa Fe University of Art and Design in 2015.) She often has to write essays about her creative process but she doesn’t always know how to express the nuances of these experiences. The racial implications of playing an accused witch from Barbados in Arthur Miller’s classic play are somewhat simpler to latch onto, for instance, than what happened when Theater Grottesco did an early run-through of Different for a test audience. At that point, the play included elements of buffoonery, a sort of heightened theatrical horseplay that Grottesco often uses — but that did not come across as intended in this instance. “The responses were surprising,” says Reddick, who was the only black actor in the piece. “I’m the one who looks different and so the narrative changes. People were upset. They thought my buffoon character was being abused. People from the audience were asking me if I was okay, almost like they felt guilty for witnessing it.” Although white audiences growing more cognizant of racial context is a positive step, she says, “People were really projecting their fear and discomfort onto me.” Right now, these ideas may or may not play into the solo piece she’s working on, which she says includes puppetry and performance art, and is about the multiplicity of self. “It’s an Everyman kind of story which is going to be challenging — being in this body — to portray. How do humans evolve? How would we evolve if we’re evolving?” Quinn says that every time Reddick learns something new, new doors of exploration open up for her. She says she’s building up her knowledge base with clear goals in mind. She doesn’t care about money. She would love to regularly take on private fitness clients but worries that such structured obligations could get in the way of her art. In her grand plan, everything must work in concert. And she’s still looking for the perfect space. “It’s all like theater. The set has to be right. I might want to do a relaxation hypnosis one day, or something physical the next. Whatever the person needs, I want to be able to do that. I’m waiting for a studio I can afford and want. It will happen. All in good time.” — Jennifer Levin
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Luke E. Montavon/The New Mexican
TAKING A BOW
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ayward Simoneaux has no email, no website, no Facebook or Instagram account. And, contrary to popular belief, his total lack of social media presence has not impacted the success of Todos Santos Chocolates and Confections, the shop he established 20 years ago in La Casa Sena courtyard. Within a few years of opening, Simoneaux was recognized by Chocolatier magazine as one of the top 10 chocolatiers in the United States — and Todos Santos (125 E. Palace Ave., 505-982-3855) had been featured in The New York Times, Vogue, Town & Country, Gourmet, and Forbes, and on the Food Network. Simoneaux is still making and selling chocolates and other sweets in the same shop where he started out — although he notes a number of changes in both buyers and the city over the past two decades. “Twenty years ago,” he says, “was really the beginning of the whole artisan chocolate movement. Nowadays, people walk in and say, ‘I want this cacao percentage’ or ‘I like that bean variety.’ That didn’t exist 20 years ago. There was a lot of education in the beginning, and people weren’t used to that kind of a price point either.”
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HAYWARD SIMONEAUX Chocolatier When he first opened Señor Murphy Candymaker, it was the only other game in town. Today, a quick internet search turns up close to a dozen. Some of his regular customers shop at all the stores, Simoneaux says, and some just shop with him. “The way that it works in this small city is that we’ve all kind of found our unique niche, and so even though that number has increased over the years, my business has never gone down because of that, which is kind of amazing. I think it’s just because we are all so different.” Although he acknowledges that he has always loved chocolate and sweets, Simoneaux did not start out to become a chocolatier — or a Santa Fe shopkeeper, for that matter. While an undergraduate at New York’s
Parsons School of Design, he took the opportunity to do part of his studies in Paris, where he started collecting vintage chocolate molds from antique shops and flea markets — not with the intention of using them but because he thought they were beautiful. Before he knew it, he says, he had amassed a vast collection of chocolate molds. After he finished school and was back in the States, he read about a man who made new silicone chocolate molds. “I thought that might be fun,” Simoneaux muses, “so I flew out to work with him and took several classes over several days learning how to actually make chocolate molds.” Playing around with chocolate was the logical next step. Initially making candy just for friends, Simoneaux developed some of the key features of what is now his signature style. He had seen truffles flecked with edible gold while he was living in Paris and realized he could apply the gilding technique he had learned working for a framer to candymaking. “I had molded my milagro collection by then,” he says, “and thought it would be fun to cover the chocolate in [edible 23-karat] gold and silver so they would look like real milagros” — folk charms, religious
medals, and other symbols believed to support physical, emotional, and spiritual healing. At that point, Simoneaux, a native of New Orleans, had already moved to Santa Fe. “Growing up, I always spent August and Christmas here. An older sister opened a gallery here,” he says, “and I came just to help her out for a little while — not with the intention of staying — but then I kind of fell in love and stayed.” The popularity of the milagros and Simoneaux’s truffles helped him decide on a next step: “I wanted to work for myself,” he says, “and I just came up with the idea of a chocolate shop.” But to call Todos Santos a candy store is to miss the point — and the unique place it holds in Santa Fe’s culinary scene. A recent visit found a large, gray papier-mâché Buddha wearing a glittering death mask and a Chinese opera headdress holding court in the shop window, accompanied by some naughty-nurse Pez containers, painted wooden kachinas, ornately wrapped candy boxes, bright strips of tinsel and beads, blue monkey-like boys, and disco balls. More mirrored balls of different sizes and monkey boys hung from tree branches arching over the front door, along with faux poinsettias, fuzzy pink and blue balls, and birds’ nests filled with golden eggs — an exuberantly idiosyncratic riot of color, texture, shape, and wit that previews what can be found inside.
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“Twenty years ago was really the beginning of the whole artisan chocolate movement. Nowadays, people walk in and say, ‘I want this cacao percentage’ or ‘I like that variety.’ That didn’t exist 20 years ago.”
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The tiny, 400-square-foot shop is stuffed, literally from floor to ceiling, with brightly colored art, tchotchkes, and sweets of all descriptions. Redbeaded serpents vie for attention with slightly ominous black-and-white kittens clutching shiny bags of dark chocolate-covered sea salt pecans. Artisanal chocolate bars fill some shelves, while traditional Santas, snowmen, and Christmas trees march across others. The overall effect is childlike and elegant and kitschy — a total sensory overload. A glass case displays Simoneaux’s handmade Valrhona truffles, singly and in boxes, along with chocolates from other high-quality makers. The gift boxes are elaborately wrapped, beribboned, and topped with folk-art-like tie-ons — “things you get to keep after the candy is gone,” he says. “Customers come in and tell me, ‘My Christmas tree is full of your stuff that I’ve gotten over the years.’ ” Simoneaux, who collects folk art, buys original work from local artists to package candy or just add to the ambience of the shop. He has represented Santa Fe artist Rick Phelps, whose recycled papier-mâché sculptures are displayed at Todos Santos and Café Pasqual’s dining room and gallery, for years. Albuquerque’s Steve White crafts the cheeky Pez containers and kachinas; Gina Namkung makes the surprise balls stuffed with toys and trinkets. “All of these people bring something unique and local to the store,” he says. “I wanted the store to feel very Santa Fe and New Mexico, but I didn’t necessarily want chile ristras or howling coyotes. I wanted to go in another direction.” Another business decision underscores the local nature of Simoneaux’s shop: He no longer ships any candy or wholesales to other stores or catalogs, like Dean & Deluca. “I decided to pull all that back,” he says, “so now you literally have to walk in here to get my candy — which also makes it more special.” Choosing to stay small and local has not hurt Simoneaux’s business. He has given his finely crafted chocolate, eclectic design aesthetic, and exuberant sense of humor to the city. And the city has returned his affection. “I have a huge local clientele,” he says. “They are extremely loyal and amazing. Santa Fe has been really good to me. I feel very lucky.” — Patricia West-Barker
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Luke E. Montavon/The New Mexican
TAKING A BOW
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here is something regal about Charlotte Jackson, who is perched confidently at the large glass desk that dominates her bright, minimalist gallery office. Sharply dressed in her idiosyncratic black outfit, with her characteristic pageboy haircut, her style is her own, and it’s reflected in the clean, contemporary feel of the gallery space and the work she shows. Charlotte Jackson Fine Art, (554 S. Guadalupe St., 505-9898688, charlottejackson.com), has been at this location since 2010, but Jackson and her business have been a staple of the Santa Fe art scene for 30 years. “I started where the Merrill Lynch building is on Marcy Street, on the second floor,” says the 70-year-old gallerist. “It was just a little space.” She came to New Mexico in the early 1980s with no intention of opening her own gallery. “I grew up in Manhattan with all the wonderful things that New York has to offer,” says Jackson, a one-time artist who used to teach ceramics at Staten Island Community College. “I realized it was not my calling.” Jackson was in the museum field before coming to New Mexico, mostly in development. “I realized that I was really good at raising money,” she says. In the late 1970s and early ’80s, she worked with a headhunter who secured her some positions at places that, if you know Jackson, don’t seem like a good fit at all. Doing PR for the New York Jets, for instance. “Even though I’m from New York, I didn’t even know who the New York Jets were because I’m not a sports person.” Then, she was placed at the ProRodeo Hall of Fame and Museum of the American Cowboy in Colorado Springs, Colorado, which at least afforded
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CHARLOTTE JACKSON Gallery owner the athletic young entrepreneur the opportunity to go rock climbing and hike all the “fourteeners,” the 14,000-plus-foot peaks in the Rockies. Her first job in New Mexico, also arranged through the headhunter, was at the Kit Carson Memorial Foundation in Taos. “I had no idea about Kit Carson, other than the history I learned when I was a kid,” she says. “I was brought in to raise money.” She bided her time, hoping to secure a position at the Denver Art Museum. But Jackson never left New Mexico. Kathleen Peters, wife of art dealer Gerald Peters, hired her to start Sena Galleries West, which opened in the downtown Sena Plaza building in the mid-1980s. “I ran it for four years. Then I opened my own gallery in 1989.” Jackson says it took some convincing before she was willing to take that step. She wasn’t sure she could do it until it struck her that selling art was a lot like fundraising, which was something she knew well. “You always needed to make money to keep the doors open,” she says. She could tailor the business to reflect her own tastes and always have a product she could believe in.
She also found a trusted advisor in artist Fritz Scholder, who encouraged her and left Sena Galleries West to join her on Marcy Street. In the 1980s, Scholder’s work was hot property. It was a coup for Jackson, who showed his work along with a few East Coast and contemporary Spanish artists. But the cramped space, away from foot traffic, meant that she couldn’t do much more. When a larger space on the first floor opened up, she jumped at the chance to take on other artists and do bigger shows. Soon, she opened a second gallery in Scottsdale, Arizona, and was back and forth between the two locations until a car accident left her physically unable to travel. “I was sort of at a crossroads. Do I want to continue doing this? I had a really tempting museum job offer in California, but I realized that I loved what I was doing. I loved the gallery business. I decided to stay.” Charlotte Jackson Fine Art was in business for four years when, in 1993, she launched an ambitious threewoman show featuring works by Florence Miller Pierce, Agnes Martin, and Mala Brewer. “That was the beginning of a very exciting time. I was learning, it was fun, and people loved what I was doing. I started working with Florence Pierce full-time, which was such a blessing. We became very close and dear friends.” Jackson moved to a second location, across from the Santa Fe Community Convention Center in the mid1990s and remained at that location until moving into the Railyard. Her focus was always on contemporary art, much of it with a minimalist aesthetic, but she grew more and more attracted to monochromatic
works, and began to focus on those almost exclusively. “I met a couple named Natalie and Irving Forman. They were amazing collectors out of Chicago. They came into the gallery once, and we became fast friends. It was through them, and with them, that I started traveling all over, looking at art, particularly monochrome paintings and painters in Europe, New York, and around the world, really. It was great fun.” Jackson’s gallery still maintains a reductive program, featuring artists who work in the area of monochrome painting or have roots in it, including James Howell, Joan Watts, Keira Kotler, Anne Appleby, and Winston Roeth. “People would say, ‘Are you crazy? How do you make a living on this?’ You know, there was only one other person in the country selling this kind of art, and that was Eric Stark in New York. The only place where people had a grasp of this kind of work was Europe.” She was among the first local gallerists asked to relocate to the Railyard Arts District, but she remained steadfast against a move until she was sure her business could remain viable there. “I’m a very conservative businesswoman. Hence, I’m in business 30 years,” she says. When she did decide to move in 2009, she spent a year gutting the space and hired architect Trey Jordan to do the interior: two rooms, each designed as a white box.
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“She’s a class act. “ — new media artist Peter Sarkisian
Charlotte Jackson Fine Art is among the more atypical local galleries, in that you won’t find much in the way of traditional landscapes, still-lifes, or portraiture. Outside of a few contemporary artists, such as James Drake, you won’t find much figurative artwork at all. It’s abstraction, minimalism, monochrome painters, artists of the Light and Space movement, the Concrete movement, and Color Field painting that predominate. “To her artists she’s supportive and cultivating, and to her collectors she’s thoughtful and discriminating,” says new media artist Peter Sarkisian, whom she represents. “There’s really not much more you want in a dealer, except maybe great taste, which she also has. She’s a class act.” In 1999, Jackson took over ownership of Art Santa Fe, a homegrown annual art fair that takes place at the Santa Fe Community Convention Center every summer. Contrary to popular belief, she wasn’t the fair’s founder, but she did grow it. “It was started by Laura Carpenter,” she says. “She never gets the credit for it and she should, because she’s done really great things here in Santa Fe. But she keeps a low profile.” Art Santa Fe started as a hotel fair in the 1990s, first using La Posada de Santa Fe and then Hotel Santa Fe as a venue. In the early years, Jackson participated as a gallerist. Ownership changed hands a few times before she stepped in and moved the location to the convention center, then known as the Sweeney Center. It operated as a biennial event until 2007, when it became an annual fair. Under her leadership, Art Santa Fe brought in some high-profile keynote speakers, including architect Frank Gehry, art critic Barbara Rose, and author Lawrence Weschler. She sold Art Santa Fe to Eric Smith of Redwood Media Group in 2015 but still maintains the nonprofit component. “We run art books through it now. I did my first book on Frederick Hammersley. It wasn’t finished before he died, which broke my heart. But he saw it. He proofed it on a Thursday and he died on a Friday. Then I went on to work with David Chickey at Radius Books and we did books on Tony DeLap, Ed Moses, Charles Arnoldi, and Max Cole. Now we’re doing one on Helen Pashgian. Because of the age of a lot of these artists, there’s an urgency.” Jackson’s dedication — not only to artists, but to the community — has marked her career. As president of the Santa Fe Gallery Association, she helped launch ARTsmart, a nonprofit that provides art materials and year-round visual arts instruction to grade-school students. She also served on the Museum of New Mexico Board of Regents for six years under Gov. Bill Richardson. But running the gallery is her true passion. “I love artists. I love art. I love talking about it. This is my calling. It’s what I do best.” — Michael Abatemarco
Due to popular demand we are extending our season for Jan 3-4
Coming in January
T ick kets @ jeancocteauciinema.com PASATIEMPOMAGAZINE.COM
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REVIEW
MOVING IMAGES
A conscientious objector from Austria refuses to serve Hitler and suffers the consequences in A Hidden Life, at Violet Crown
Descent into the maelstrom A HIDDEN LIFE, drama, PG-13, 174 minutes, in English, German, and Italian, Violet Crown, 3.5 chiles Terrence Malick’s A Hidden Life marks a return to narrative form for the auteur director, aided, as is typical of Malick, by the world of nature — so reverently evoked as to become almost a character in its own right. From the start, Malick establishes distance between the realities of World War II and an insulated village in northern Austria, where much of the drama unfolds. Black-and-white newsreel footage charts the rise of Adolf Hitler, then it’s off to the mountains where a peaceful farmer and conscientious objector named Franz Jägerstätter (August Diehl) lives a simple life with his wife, Fani (Valerie Pachner), and their three young daughters. Here, the war is remote. All they see or hear of it are the occasional uniformed officers who come to collect funds for the war effort or the low rumble of distant warplanes overhead. But the effects are surely felt. All eligible young men, including Jägerstätter, head off for military training, leaving their children, wives, and the elderly behind to tend to the farms. The film covers about four years in the life of Jägerstätter, who’s based on a real-life figure who was beatified as a martyr by Pope Benedict XVI in 2007.
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After fulfilling his military service and returning to his mountain idyll, it becomes clear to Jägerstätter that the war is far from over. Only he’s no longer willing to fight for what he now sees as an unjust cause. His refusal to swear an oath to serve Hitler becomes a sticking point, first among his family and fellow villagers, then among the authorities. The last third of the film is mostly set in the Berlin prison where he awaits his sentencing as a traitor to his country. He’s given several opportunities to have his crime stricken from his record. He’s offered a position as a medical officer, a post in which he wouldn’t have to fight but would still have to swear allegiance to Hitler — and he refuses. Several times we hear how his protest will have no impact outside of the prison walls and will only bring harm to himself and his family. So why does he do it? It’s a matter of personal integrity. A man of deep religious devotion, he’s taken the lessons of Jesus Christ to heart, aware that even the Catholic bishops are unwilling to offer guidance, having seen members of their own clergy sent to the concentration camps. The most impactful moments of the film come by way of Malick’s observances of human nature and the human light in which he casts his characters. As cruel as some of them are — most notably the prison guards — they’re bound by duty. Jägerstätter is in the right and they know it. This is most clear in the exchange between Jägerstätter and Judge Lueben,
played with sympathy by the late, great Bruno Ganz (Wings of Desire, Downfall) in one of his final screen roles, who engages Jägerstätter in a private conversation on the day of his sentencing. The sentencing is a graceless, matter-of-fact affair that’s more a matter of legal formality than one driven by animosity. In lush cinematography, the camera, always in fluid motion, captures breathtaking views of the mountainous terrain surrounding Jägerstätter’s village and juxtaposes this pastoral idyll with the somber, soulless prison scenes. One feels the passing of time, the bitter winters, and the marginally warmer summers. Fani waits and waits, having become a pariah among the villagers. The other women’s husbands are all off fighting the war and they resent Jägerstätter’s stance and her tacit approval of it. They have a point. His protest brings unwanted attention to the village. But Malick’s film is ultimately about acceptance of one’s fate. Fani, like her husband, resigns herself to hers, doing the best she can, and taking what small comforts come her way — the laughter of the children, a few extra ounces of grain — with gratitude. Her stoicism pays off. It’s the ones who were angry who change, coming back around to offer aid and comfort. Perhaps they’re tired of fighting. Or maybe they realize that among their small number, in a setting where life and death are intimately tied to the rhythms of the seasons, all they really have is each other. — Michael Abatemarco
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MOVING IMAGES chile pages — compiled by Robert Ker
An evil spirit living in a house seeks vengeance on those who enter in The Grudge, at Regal Stadium 14
OPENING THIS WEEK THE GRUDGE In 2002, Japanese director Takashi Shimizu released the horror film Ju-On: The Grudge. It was popular enough to spawn eight Japanese sequels and three American remakes and sequels. The latest reboot of this franchise stars John Cho and Betty Gilpin, and centers on a house inhabited by a vengeful and bloodthirsty ghost, which dooms visitors to a violent death. Rated R. 93 minutes. Regal Stadium 14. (Not reviewed)
A HIDDEN LIFE Drama, rated PG-13, 174 minutes, in English and German with subtitles, Violet Crown. See review, Page 32.
MIDNIGHT FAMILY This documentary centers on the Ochoa family, who run a for-profit ambulance in Mexico City’s wealthiest neighborhoods. As they compete for patients with other unlicensed EMTs, they struggle to stay financially afloat while offering the best care they can. Director Luke Lorentzen rode along with the Ochoas off and on for years, and personally captured their plight on camera. Documentary, not rated, 81 minutes, in Spanish with subtitles, Center for Contemporary Arts. (Not reviewed)
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NOW IN THEATERS A BEAUTIFUL DAY IN THE NEIGHBORHOOD This movie is about how a man who devoted his life to being kind helps a man with a professional investment in skepticism to become a little nicer. It could easily have turned into something preachy, sentimental, and overstated. Fred Rogers was none of those things. His decency presented itself with a serene consistency that could be a little unnerving. That’s how Rogers sometimes struck Tom Junod in the Esquire profile that inspired Marielle Heller’s film. And that’s how the movie’s Mister Rogers, played by Tom Hanks, often strikes Lloyd Vogel (Matthew Rhys), a fictional character who, like Junod, writes for Esquire. This movie is not primarily about Rogers’ work in children’s television. It’s about how his friendship helps Lloyd become a more forgiving son, a more responsive husband, and a more involved father. Hanks performs this with faultless technique, but you never lose sight of the performance. Biopic, rated PG, 108 minutes, Regal Stadium 14. (A.O. Scott/The New York Times)
BOMBSHELL This docudrama depicts the corporate culture of sexual harassment at Fox News through the perspectives of three women: star anchor Megyn Kelly (Charlize Theron), Fox & Friends star Gretchen Carlson (Nicole Kidman), and a fictional composite associate producer named Katya
Pospisil (Margot Robbie). This is the story behind the toppling of Roger Ailes (John Lithgow), who was eventually ousted from the network he had long ruled as a powerful media fiefdom. Director Jay Roach’s camera snakes through those offices, capturing how the predatory climate filtered through the newsroom’s power structure. As a workplace drama, it’s quite successful. We get a sense of whispers and rumors and careless misogyny everywhere, capturing just how difficult it is for each woman to come forward. That makes their stories heroic but complicated. The question, ultimately, is whether the stories ought to have spun quite so snappy a movie. It does cartwheels to make a vile tale compelling, and it can feel like a parade of starry impressions rather than something genuine. But to quote Ailes in the film, “It’s a visual medium.” Drama, rated R, 108 minutes, Regal Stadium 14 and Violet Crown. (Jake Coyle/The Associated Press)
CATS One of the most successful Broadway musicals of all time gets a film adaptation courtesy of director Tom Hooper, who did the same for Les Misérables in 2012. Judy Dench, Idris Elba, Jennifer Hudson, Ian McKellen, and Taylor Swift are among the actors and singers who are partially transformed through CGI into felines. The music is composed by Andrew Lloyd Webber. A tribe of cats called the Jellicles must decide annually which one will ascend to the Heaviside Layer and become resurrected. Musical, rated PG, 102 minutes, Regal Santa Fe 6, Regal Stadium 14, and Violet Crown. (Not reviewed)
FANTASTIC FUNGI Brie Larson narrates this documentary that shows us the inside world of mushrooms, molds, and other fungi. Director Louie Schwartzberg takes viewers on a time-lapse journey that describes the ancient history of these organisms and their power in the present to heal and to sustain life. Some of the most-renowned mycologists in the world also offer their thoughts on the potential of fungi to help humans across a wide variety of uses. Documentary, not rated, 81 minutes, Center for Contemporary Arts. (Not reviewed)
FROZEN II It’s been a few years since Elsa (voice of Idina Menzel) learned to embrace her icy powers and settled on her throne. Little sister Anna (Kristen Bell) is still with hunky lunk Kristoff (Jonathan Groff). Living snowman Olaf (Josh Gad) continues to hang around. Otherwise, things are going well in the charmingly Nordic kingdom, right up until Elsa begins hearing a lone voice singing from afar. Not long after the song begins — although only Elsa can hear it — the people of Arendelle experience some oddities, culminating in an earthquake that sends the entire population heading for the hills. Frozen II starts off on shaky ground, largely because it backtracks on much of the character development Anna and Elsa went though in the first movie. The biggest disappointment? The music. There isn’t really a standout song in the bunch. Yes, it is a letdown when compared with the original. But it’s also a lackluster disappointment on its own — a pale shadow of what it could have been. Animated adventure, rated PG, 103 minutes, screens in 2D only at Regal Stadium 14 and Violet Crown. (Kristen Page-Kirby/ The Washington Post)
JUMANJI: THE NEXT LEVEL This sequel brings together the same director, writers, and actors who made the 2017 Jumanji reboot so fun and then layers in more stars — Danny Glover, Danny DeVito, and Awkwafina — plus more locations and special effects. The result is a successful, if unbalanced ride. It starts like the first, with four mismatched young people
getting sucked into a video game. There, they transform into avatars played by Dwayne Johnson, Kevin Hart, Jack Black, and Karen Gillan. Glover and DeVito, playing two estranged friends, also get pulled into the game, and everyone has a new avatar. Now The Rock employs both a honking “Noo Yawk” accent and an elderly man’s befuddlement at what’s happening since he’s controlled by DeVito. Meanwhile, Glover gets handed Hart. The plot is insane, as you might expect from an adventure video game quest, and takes our ragtag group from arid deserts to snowy mountains in search of a jewel that will restore the natural order. Like all sequels, the second suffers from not having the delicious surprise of the first. It’s not broke, so don’t fix it. Family adventure, rated PG-13, 123 minutes, screens in 2D only at Regal Santa Fe 6, Regal Stadium 14, and Violet Crown. (Mark Kennedy/ The Washington Post)
KNIVES OUT Writer and director Rian Johnson (Star Wars: The Last Jedi) takes a break from galactic adventures to dial the stakes down into a simple whodunit. Daniel Craig plays Detective Benoit Blanc, a private eye who is called upon to investigate the murder of crime novelist Harlan Thrombey (Christopher Plummer). The suspects? His family members, who are played by Toni Colette, Jamie Lee Curtis, Chris Evans, Don Johnson, Katherine Langford, Michael Shannon, and others. Mystery, rated PG-13, 130 minutes, Regal Stadium 14 and Violet Crown. (Not reviewed)
LIKE A BOSS Mia and Mel (Tiffany Haddish and Rose Byrne) are bestfriends-forever who are running their own cosmetics company. Trouble ensues when a buyout offer arrives from industry magnate Claire Luna (Salma Hayek). Comedy, rated R, 83 minutes, Regal Stadium 14. (Not reviewed)
LITTLE WOMEN There is a wild urgency to Greta Gerwig’s Little Women that hardly seems possible for a film based on a 150-year-old book. Such is the magic of
combining Louisa May Alcott’s enduring story of those four sisters with Gerwig’s feisty, evocative, and clear-eyed storytelling that makes this a new classic. Gerwig flips Alcott’s narrative to allow her characters to be women first, instead of children. Jo (Saoirse Ronan) is introduced when she is already on her own trying to be a writer and making compromises all over the place. Meg (Emma Watson) is living her life with two kids, a husband, and a yearning for finer things. Beth (Eliza Scanlen) is still at home. And Amy (Florence Pugh) is in Paris with Aunt March (Meryl Streep), studying to paint and strategically plotting out a future that involves a wealthy husband. In their adult present, Gerwig finds thematically similar chapters in their past to flash back to. These are always in warmer tones, while the present has a bluish starkness. This structure is a bold choice, but using the past to reveal and illuminate things about the present makes for a richer experience overall. Drama, rated PG, 134 minutes, Regal Santa Fe 6, Regal Stadium 14, The Screen, and Violet Crown. (Lindsey Bahr/The Associated Press)
PARASITE Director Bong Joon Ho creates specific spaces and faces that are in service to universal ideas about human dignity, class, and life itself. That’s a good way of telegraphing the larger catastrophe represented by the cramped, gloomy, and altogether disordered basement apartment where Kim Ki-taek (the great Song Kang Ho) benignly reigns. A sedentary lump, Ki-taek doesn’t have a lot obviously going for him. Fortunes change after the son, Ki-woo (Choi Woo Shik), lands a lucrative job as an Englishlanguage tutor for the teenage daughter, Da-hye (Jung Ziso), of the wealthy Park family. The other Kims soon secure their positions as art tutor, housekeeper, and chauffeur. In outsourcing their lives, all the cooking and cleaning and caring for their children, the Parks are as parasitical as their humorously opportunistic interlopers. Drama, rated R, 132 minutes, in Korean with subtitles, Jean Cocteau Cinema. (Manohla Dargis/The New York Times) continued on Page 36
Two best friends running their own cosmetics company find themselves in debt and facing a buyout in Like a Boss, at Regal Stadium 14
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who has shepherded George Lucas’ mythomaniacal creations in the Disney era. He is too slick and shallow a filmmaker to endow the dramas of repression and insurgency, of family fate and individual destiny, of solidarity and the will to power, with their full moral and metaphysical weight. At the same time, his pseudo-visionary self-importance won’t allow him to surrender to whimsy or mischief. The struggle of good against evil feels less like a cosmic battle than a long-standing sports rivalry between teams whose glory days are receding. Science-fiction adventure, rated PG-13, 141 minutes. Screens in 3D and 2D at Regal Stadium 14, screens in 2D only at Regal Santa Fe 6 and Violet Crown. (A.O. Scott/New York Times)
THE TWO POPES
A family in Mexico City runs an ambulance service in the documentary Midnight Family, at Center for Contemporary Arts
Chile Pages, continued from Page 35 QUEEN & SLIM This debut feature by music-video and television virtuoso Melina Matsoukas (written by Lena Waithe), starts out as a restrained comedy of romantic disappointment. The title pair — played by Jodie TurnerSmith and Daniel Kaluuya — are in a diner after connecting on a dating app, and the lack of chemistry is palpable. It’s a cold night in Cleveland, and a second date is unlikely. But a lethal encounter with an aggressive white police officer (country singer Sturgill Simpson) changes everything. The non-couple turn into fugitives, and Queen & Slim becomes an outlaw romance. In the course of their flight they become folk heroes. They also fall in love. The film is full of violence and danger, but its mood is dreamy, sometimes almost languorous, at least as invested in the aesthetics of life on the run as it is in the politics of black lives. Drama, rated R, 132 minutes, Jean Cocteau Cinema. (A.O. Scott/The New York Times)
RICHARD JEWELL In this movie about the security guard who found what’s known as the Centennial Park bomb during the 1996 Atlanta Olympics and was falsely implicated in planting it, the villains are more starkly delineated than the heroes. The bad guys are the government, represented by an unscrupulous FBI agent (Jon Hamm), and the media, represented by a sleazy reporter for the Atlanta JournalConstitution (Olivia Wilde), who wrote a story identifying Jewell as the subject of the investigation. The title character is a nerdy, overweight rent-a-cop who, as the film opens, is about to get fired from his college campus security job for his overly aggressive harassment of pot-smoking undergrads. Played by Paul Walter Hauser with a nuance and commitment that makes it seem like he was born for the part, Richard is mocked for his girth, for his large collection of guns, and for his inability to tamp down his uncool enthusiasm for “law
36 PASATIEMPO I January 3-9, 2020
enforcement.” Richard Jewell is a handsome film about the frightening possibility of false accusation. But coming as it does in 2019, its vilification of reporters and the feds is even scarier. Drama, rated R, 129 minutes, Regal Stadium 14 and Violet Crown. (Michael O’Sullivan/The Washington Post)
This is really three movies: a behind-the-scenes tale of Vatican politics, a mini-biopic about the current pontiff, and a two-man study of friendship, rivalry, and major British acting. The first, though intriguing, is more puzzling than illuminating. The second feels a bit like a Wikipedia page, albeit one with first-rate cinematography. The third is absolutely riveting — a subtle and engaging double portrait that touches on complicated matters of faith, ambition, and moral responsibility. Directed by Fernando Meirelles, the film begins in 2005, after the death of Pope John Paul II. The cardinals of the Roman Catholic Church gather at St. Peter’s to elect a successor, settling on Joseph Ratzinger (Anthony Hopkins), who becomes Pope Benedict XVI. The runner-up is Jorge Bergoglio (Jonathan Pryce), an Argentine priest who will replace Benedict eight years later, becoming Pope Francis in a highly unusual transfer of ecclesiastical authority. Biopic, rated PG-13, 125 minutes, Center for Contemporary Arts. (A.O. Scott/The New York Times)
SPIES IN DISGUISE To all appearances, this animated comedy is just another rollicking send up of super spy thrillers. Walter (voiced by Tom Holland) is a neurotic gadgets expert tasked with outfitting Lance Sterling (Will Smith), the star operative for a U.S. government spy organization known as the Agency. When Killian (Ben Mendelsohn), a villain with a robotic arm and a grudge, frames Lance for treason, the Agency puts a no-nonsense internal affairs agent (Rashida Jones) on the spy’s trail. Lance subsequently turns to Walter, who has an insane solution: a serum that transforms our hero into a pigeon. It then turns into a buddy movie as Walter and his now-feathered friend elude capture and thwart Killian’s evil plan. The humor includes enough slapstick and grossout gags to keep the kids entertained, but there are clever callbacks and meta-jokes for older audiences to chuckle at as well. It’s also kind of weird, and that’s why it works. Animated family film, rated PG, 101 minutes, screens in 3D and 2D at Regal Stadium 14, screens in 2D only at Regal Santa Fe 6 and Violet Crown. (Thomas Floyd/The Washington Post)
STAR WARS: THE RISE OF SKYWALKER Rey, Finn, and Poe are back — played with unflagging conviction by Daisy Ridley, John Boyega, and Oscar Isaac. Also back is everyone’s favorite bad boyfriend, Kylo Ren, formerly known as Ben Solo and irrefutably embodied by Adam Driver. The Rise of Skywalker has at least five hours worth of plot. Suffice to say that various items need to be collected from planets with exotic names, and that bad guys cackle and rant on the bridges of massive spaceships while good guys zip around doing the work of resistance. Mysteries are solved. Sacrifices are made. The director is J.J. Abrams,
UNCUT GEMS By now, it’s obvious that Adam Sandler, the actor, is capable of extraordinary range — of painfully bad and incredibly good again, as in Uncut Gems, a frenetic, compulsively watchable, exhausting and exhilarating collaboration with Josh and Benny Safdie. The year is 2012. Kevin Garnett is still playing for the Boston Celtics and The Weeknd is a relative newcomer to the music scene. One day, Garnett pays a visit to the shop of jeweler and gambling addict Howard Ratner (Sandler). Howard’s beloved black opal has arrived in the mail from Ethiopia, and he can’t resist showing it off to Garnett. The Celtics star decides he needs the gem for luck in his Eastern Conference playoff game that night. He asks Howard to lend it to him, leaving his NBA ring as collateral. Howard says yes, then pawns the ring. A frantic chase ensues to recover the gem, so Howard can bring it to auction. Meanwhile, some nasty loan collectors are chasing him down with increasing irritability. Howard’s personal life is no less precarious; he’s trying to hold onto the last vestiges of his collapsing marriage. Sandler, deserves the accolades he’s getting, again proving that with the right material, he has an uncanny ability to reach deep within us, despite our deep annoyance. Drama, rated R, 135 minutes, Regal Stadium 14 and Violet Crown. (Jocelyn Noveck/The Associated Press)
SPICY
MEDIUM
MILD
BLAND
HEARTBURN
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WHAT’S SHOWING IN & AROUND SANTA FE
CCA CINEMATHEQUE AND SCREENING ROOM 1050 Old Pecos Trail, 505-982-1338, ccasantafe.org Fantastic Fungi (NR) Fri. to Sun. 12:30 p.m., 2:15 p.m., 5:45 p.m., 7:30 p.m. Mon. to Thurs. 1:15 p.m., 3 p.m., 6 p.m., 7:45 p.m. Midnight Family (NR) Fri. to Sun. 12 p.m., 4 p.m. Mon. to Thurs. 4:15 p.m. Pain and Glory (R) Fri. to Sun. 2 p.m., 7:15 p.m. Mon. to Thurs. 1:45 p.m., 7:15 p.m. The Two Popes (PG-13) Fri. to Sun. 4:30 p.m. Mon. to Thurs. 4:45 p.m.
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Schedules are subject to last-minute changes. Call theaters or check websites to confirm screening times.
JEAN COCTEAU CINEMA 418 Montezuma Avenue, 505-466-5528, jeancocteaucinema.com Parasite (R) Fri. 1:30 p.m., 7 p.m. Sat. 2 p.m., 7:45 p.m. Sun. 1 p.m., 3:45 p.m. Wed. 6:30 p.m. Thurs. 3:45 p.m. Queen & Slim (R) Fri. 4:15 p.m. Sat. 5 p.m. Sun. 6:30 p.m. Wed. 3:45 p.m. Thurs. 6:30 p.m. REGAL SANTA FE 6 4250 Cerrillos Road - Suite #1314, regmovies.com Cats (PG) Fri. and Sat. 12 p.m., 3:10 p.m., 7 p.m., 9:50 p.m. Sun. to Thurs. 12 p.m., 3:10 p.m., 7 p.m. Jumanji: The Next Level (PG-13) Fri. and Sat. 11:40 a.m., 2:50 p.m., 6:20 p.m., 9:35 p.m. Sun. to Thurs. 11:40 a.m., 2:50 p.m., 6:20 p.m. Little Women (PG) Fri. and Sat. 11:15 a.m., 2:45 p.m., 6:15 p.m., 9:35 p.m. Sun. to Thurs. 11:15 a.m., 2:45 p.m., 6:15 p.m. Spies in Disguise (PG) Fri. and Sat. 11 a.m., 1:40 p.m., 4:20 p.m., 6:10 p.m., 9:50 p.m. Sun. to Thurs. 11 a.m., 1:40 p.m., 4:20 p.m., 6:10 p.m. Star Wars: The Rise of Skywalker (PG-13) Fri. and Sat. 11 a.m., 11:30 a.m., 2:30 p.m., 3 p.m., 6 p.m., 6:30 p.m., 9 p.m., 9:30 p.m. Sun. to Thurs. 11 a.m., 11:30 a.m., 2:30 p.m., 3 p.m., 6 p.m., 6:30 p.m. REGAL STADIUM 14 3474 Zafarano Drive, 844-462-7342 ext.1765, regmovies.com 1917 (R) Thurs. 7:15 p.m., 10:15 p.m. A Beautiful Day in the Neighborhood (PG) Fri. to Wed. 12:05 p.m., 3:10 p.m., 6:10 p.m. Thurs. 12:05 p.m., 3:10 p.m. Bombshell (R) Fri. to Thurs. 11 a.m., 1:45 p.m., 4:30 p.m., 7:20 p.m., 10:10 p.m. Cats (PG) Fri. and Sat. 12:50 p.m., 7:10 p.m., 10 p.m. Sun. 1:35 p.m., 7:20 p.m., 10:10 p.m. Mon. to Wed. 12:50 p.m., 7:10 p.m., 10 p.m. Thurs. 12:50 p.m. Frozen II (PG) Fri. to Thurs. 11 a.m., 1:45 p.m., 4:40 p.m., 7:30 p.m., 10:15 p.m. The Grudge (R) Fri. to Wed. 11 a.m., 1:40 p.m., 4:20 p.m., 6:20 p.m., 7 p.m., 9 p.m., 9:40 p.m. Thurs. 11 a.m., 1:40 p.m., 4:05 p.m., 7 p.m., 9:40 p.m. Jumanji: The Next Level (PG-13) Fri. and Sat. 11:30 a.m., 12 p.m., 3:15 p.m., 4:10 p.m., 6:30 p.m., 9 p.m., 9:45 p.m. Sun. 11:30 a.m., 12 p.m., 12:40 p.m., 3:15 p.m., 4:20 p.m., 6:30 p.m., 9 p.m., 9:45 p.m. Mon. to Wed. 11:30 a.m., 12 p.m., 3:15 p.m., 4:10 p.m., 6:30 p.m., 9 p.m., 9:45 p.m. Thurs. 11:30 a.m., 12 p.m., 3:15 p.m., 4:10 p.m., 6:30 p.m., 9:45 p.m.
An earthquate sends researchers scrambling to safety, but there’s more to fear than they know in Underwater, at Regal Stadium 14 Just Mercy (PG-13) Thurs. 5 p.m., 8:15 p.m. Knives Out (PG-13) Fri. to Thurs. 12:40 p.m., 4 p.m., 7:15 p.m., 10:25 p.m. Like a Boss (R) Thurs. 7 p.m., 9:30 p.m. Little Women (PG) Fri. and Sat. 11:50 a.m., 3:30 p.m., 6:45 p.m., 10 p.m. Sun. 11:50 a.m., 3:40 p.m., 6:50 p.m., 10:05 p.m. Mon. to Wed. 11:50 a.m., 3:30 p.m., 6:45 p.m., 10 p.m. Thurs. 11:55 a.m., 3:35 p.m., 6:45 p.m., 10 p.m. Richard Jewell (R) Fri. to Thurs. 3 p.m. Spies in Disguise (PG) Fri. to Thurs. 3 p.m., 6 p.m. Spies in Disguise 3D (PG) Fri. to Thurs. 12:15 p.m., 8:50 p.m. Star Wars: The Rise of Skywalker (PG-13) Fri. and Sat. 11:20 a.m., 12:30 p.m., 2:45 p.m., 3:20 p.m., 4:30 p.m., 6:15 p.m., 8:15 p.m., 9:40 p.m., 10:15 p.m. Sun. 11:20 a.m., 2:45 p.m., 3:20 p.m., 4:30 p.m., 6:15 p.m., 8:15 p.m., 9:40 p.m., 10:15 p.m. Mon. to Wed. 11:20 a.m., 12:30 p.m., 2:45 p.m., 3:20 p.m., 4:30 p.m., 6:15 p.m., 8:15 p.m., 9:40 p.m., 10:15 p.m. Thurs. 11:20 a.m., 12:30 p.m., 2:45 p.m., 3:20 p.m., 6:15 p.m., 9:40 p.m., 10:15 p.m. Star Wars: The Rise of Skywalker 3D (PG-13) Fri. to Thurs. 11:40 a.m., 6:50 p.m. Uncut Gems (R) Fri. to Thurs. 12:30 p.m., 3:50 p.m., 7:05 p.m., 10:20 p.m.
Heather Roan Robbins AUTHOR OF PASATIEMPO ’S “STAR CODES”
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Underwater (PG-13) Thurs. 7:30 p.m., 10:15 p.m. THE SCREEN AT MIDTOWN CAMPUS 1600 St. Michael’s Dr., 505-428-0209, ccasantafe.org Little Women (PG) Fri. to Sun. 11:15 a.m., 2 p.m., 4:45 p.m., 7:30 p.m. Mon. to Thurs. 1:30 p.m., 4:15 p.m., 7 p.m. VIOLET CROWN SANTA FE 1606 Alcaldesa St., 505-216-5678, violetcrown.com Bombshell (R) Fri. to Thurs. 10:50 a.m., 2:50 p.m., 5:20 p.m., 7:50 p.m., 10:20 p.m. Cats (PG) Fri. to Mon. 11:10 a.m., 2 p.m. Tue. 10:50 a.m., 1:20 p.m. Wed. and Thurs. 11:10 a.m., 2 p.m. Frozen II (PG) Fri. to Mon. 1:50 p.m., 4:05 p.m., 6:30 p.m. Tue. 1:05 p.m., 4:05 p.m., 6:30 p.m. Wed. and Thurs. 1:50 p.m., 4:05 p.m., 6:30 p.m. A Hidden Life (PG-13) Fri. to Thurs. 2:30 p.m., 6 p.m., 9:10 p.m. Jumanji: The Next Level (PG-13) Fri. to Thurs. 10:50 a.m., 1:40 p.m., 3:30 p.m., 6:10 p.m., 10:15 p.m. Knives Out (PG-13) Fri. to Mon. 11 a.m., 1:15 p.m., 4:40 p.m., 7:10 p.m., 9:50 p.m. Tue. 10:50 a.m., 1:15 p.m., 4:40 p.m., 7:10 p.m., 9:50 p.m. Wed. 11 a.m., 1:15 p.m.,
4:40 p.m., 7:10 p.m., 9:50 p.m. Thurs. 11 a.m., 1:15 p.m., 4:40 p.m., 9:50 p.m. Little Women (PG) Fri. to Thurs. 11 a.m., 12:10 p.m., 3:10 p.m., 4:20 p.m., 6:20 p.m., 7:30 p.m., 8:50 p.m., 9:30 p.m. Richard Jewell (R) Fri. to Thurs. 11:40 a.m. Spies in Disguise (PG) Fri. and Sat. 10:50 a.m., 1:10 p.m., 4:30 p.m., 6:50 p.m., 10:25 p.m. Sun. 10:50 a.m., 4:30 p.m., 6:50 p.m., 10:25 p.m. Sun. 1:10 p.m. Mon. 10:50 a.m., 1:10 p.m., 4:30 p.m., 6:50 p.m., 10:25 p.m. Tue. 2 p.m. (Baby’s Day) Tue. 10:50 a.m., 4:30 p.m., 6:50 p.m., 10:25 p.m. Wed. and Thurs. 10:50 a.m., 1:10 p.m., 4:30 p.m., 6:50 p.m., 10:25 p.m. Star Wars: The Rise of Skywalker (PG-13) Fri. 11:10 a.m., 12:40 p.m., 2:10 p.m., 3:40 p.m., 5:10 p.m., 6:40 p.m., 8:10 p.m., 9 p.m., 10 p.m. Sat. 11:10 a.m., 12:40 p.m., 2:10 p.m., 3:40 p.m., 6:40 p.m., 8:10 p.m., 9 p.m., 10 p.m. Sat. 5:10 p.m. Sun. to Wed. 11:10 a.m., 12:40 p.m., 2:10 p.m., 3:40 p.m., 5:10 p.m., 6:40 p.m., 8:10 p.m., 9 p.m., 10 p.m. Thurs. 11:10 a.m., 12:40 p.m., 2:10 p.m., 3:40 p.m., 5:10 p.m., 6:40 p.m., 9 p.m., 10 p.m. Uncut Gems (R) Fri. to Thurs. 11:50 a.m., 1:30 p.m., 4:10 p.m., 7:20 p.m., 9:40 p.m.
Best Best Brunch Brunch in town. in town. Nocontest. contest. No 471-3800 471-3800 joesdining.com joesdining.com Rodeo Zia Rodeo Rd. Rd. at Zia Open week Open77days days a week 7:30am 7:30am--9:00pm 8:30pm LOCALLY-SOURCED, EUROPEAN-INFLUENCED & UTTERLY DELICIOUS AMERICAN COMFORT FOOD
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AMUSE-BOUCHE [ CULINARY MUSINGS ] Ashley M. Biggers I For The New Mexican
Happy Vegetarian New Year The OMD Diet
“SO
you’re a vegetarian? How do you even have enough energy to walk?” A new acquaintance issued this query as dinner party conversation a few years ago. “Well, I’ve run two marathons, so I do OK for myself,” I responded. As a vegetarian and a runner, I know that eating a plant-forward diet doesn’t mean compromising strength or fitness. (Elite athletes like ultrarunner Scott Jurek, tennis champ Venus Williams, and Olympic weightlifter Kendrick Farris have all excelled while eating plant-based diets.) With the proper plan, and books and online resources handy, plant-based eating can contribute to overall health and even prevent common diseases. The science bears this out. According to the American Dietetic Association, “appropriately planned vegetarian diets, including total vegetarian or vegan diets, are healthful, nutritionally adequate, and may provide health benefits in the prevention and treatment of certain diseases.”
Plant-based eating can help people reach New Year’s resolutions like getting healthy and losing weight. … So how does one make the shift in a healthy manner?
Vietnamese crêpes with fresh corn salsa, fresh herbs, greens, and dipping sauce, courtesy greenkitchenstories.com
38 PASATIEMPO I January 3-9, 2020
Overall, vegetarian diets lead to a lower risk of heart disease. The landmark Lifestyle Heart Trial, co-published in 1990 by Dr. Dean Ornish, showed that plant-based diets could not just prevent heart disease but could also reverse heart disease. Vegetarians and vegans have lower cholesterol levels, cancer rates, and blood pressure. Additionally, plant-based diets have been associated with supporting sustainable weight management and lowering the incidence and severity of high-risk conditions, including obesity, hypertension, and Type 2 diabetes. Put simply: Plantbased eating can help people reach typical New Year’s resolutions like getting healthy and losing weight. Despite the benefits, Americans can find it challenging to shift away from meat, since it makes up such a large part of their diets. The U.S. Department
and Little Green Kitchen, the latter of which is focused on family-friendly recipes with lunchbox ideas, snacks, and desserts. greenkitchenstories.com The First Mess In 2014, Saveur magazine editors named The First Mess the best special diets blog. With her culinary school background, Canadian blogger Laura Wright creates comforting recipes for every occasion. They’re often gluten-free and vegan.Her cookbook, The First Mess: Vibrant Plant-Based Recipes to Eat Well through the Seasons, features 125 vegan recipes. thefirstmess.com
of Agriculture estimated that the average American consumed 222.4 pounds of red meat and poultry in 2018 — a new high. When people shift toward plant-based diets, they can go wrong quickly. I’ve seen friends dive into vegetarianism only to consume chips, soda, and candy — all technically vegetarian, but certainly not healthy. I’ve also seen them pile plates high with pasta and bread to feel full, while they ignore protein and healthy fats. (It’s a trap vegetarians and vegans are particularly subject to during the holidays, when they fill their plates with side dishes of potatoes, sweet potatoes, stuffing, and bread. Talk about carb loading.) So, how does one make the shift in a healthy manner? Actor, environmentalist, and alternative school founder Suzy Amis Cameron advocates the One Meal a Day Plan. Her recent book, The OMD Plan: Swap One Meal a Day to Save Your Health and Save the Planet, outlines the benefits of eating one vegan meal a day and prescribes ways to incorporate it. Eliminating meat from one meal a day presumably cuts its intake by a third, getting people who use the OMD Plan closer to the health benefits of plant-based diets. Cameron delves into factors that may prevent people from incorporating this method, including price (meat’s expensive, but so too can be fresh produce), concerns about safety, and taste, as some people worry they won’t enjoy their plant-based meals. To tackle the latter concern, here are a few triedand-true sources for vegetarian and vegan recipes.
WEBSITES Oprah magazine After interviewing Cameron for Oprah magazine and the SuperSoul Sunday podcast, Oprah Winfrey was so taken with her plan that she took up a 30-day OMD Challenge. Her private chef created a month’s worth of plant-based meal recipes now available on the magazine’s website. Oprahmag.com/life/food/a29473786/ oprah-plant-based-diet-plan Half Baked Harvest Cookbook Tieghan Gerard is a self-taught food blogger. But she’s no hobbyist. Her work has been featured on The Cooking Channel, Food Network, and in Shape
Sprouted Kitchen Hugh Forte and Sara Forte, the husband-and-wife duo behind Sprouted Kitchen, emphasize a Mediterranean cooking style focused on produce, whole grains, healthy fats, and natural sugar alternatives. There’s a bevy of recipes on the website, but those who need more guidance can join their weekly meal planning program, Sprouted Kitchen Cooking Club. Sprouted Kitchen categorizes recipes both by type and season, so navigating based on what’s fresh and local is easy to do here. The Fortes published Sprouted Kitchen: A Tastier Take on Whole Foods in 2012. An e-book with vegetarian recipes for kids, Little Sprouts: A Collection of Recipes to Get More Produce into Your Little Ones, is available online. sproutedkitchen.com
COOKBOOKS
Overnight cinnamon roll bread with chai frosting, courtesy halfbakedharvest.com
magazine and Self magazine, among other platforms. She released the Half Baked Harvest Cookbook in 2017, but the website is handy for filtering both vegetarian and vegan recipes from the meat-based ones. I’ve found the dozens of Half Baked Harvest recipes I’ve tried to be flavorful and filling. They never fall victim to the lack of texture that plagues many vegetarian dishes. halfbakedharvest.com Green Kitchen Stories Husband-and-wife duo David Frenkiel and Luise Vindahl started this plant-based recipe and lifestyle blog in 2009. Frenkiel is a former magazine art director and Vindahl is a holistic nutritional therapist, so their recipes are both nutritious and deliciously photographed. The recipes on GKS emphasize whole foods and organic products; the authors aim to make the recipes simple, which is fitting since they’re raising and feeding three vegetarian children. They have published five cookbooks, including The Green Kitchen, Vegetarian Everyday,
The New Vegetarian Cooking for Everyone by Deborah Madison (Ten Speed Press, 2014) Santa Feans have an expert on vegetarian cooking as a neighbor. Santa Fe-based chef and author Deborah Madison’s cookbooks are odes to fresh produce. This book is both guide and recipe box as Madison offers a primer for vegetarian cooking, teaching basic cooking techniques and ingredient combinations. The book offers more than 1,600 classic recipes that home cooks can handle (200 more than the original edition published in 1997). Her book Vegetarian Suppers from Deborah Madison’s Kitchen is a good companion that offers 100 recipes for vegetarian main dishes. Plenty: Vibrant Vegetable Recipes from London’s Ottolenghi, by Yotam Ottolenghi (Chronicle Books, 2011) Plenty quickly became part of the canon of plantbased cookbooks, which is especially notable since the author, Middle Eastern chef Yotam Ottolenghi, isn’t a vegetarian. He became associated with the diet as the owner of six Ottolenghi restaurants and as the author of the weekly The New Vegetarian column in The Guardian. The book gently suggests meat or fish pairings that are appropriate for the vegetable dishes, but it also presents vegetable-based dishes that can stand alone. Unlike other books organized around sides, mains, and desserts, Plenty is organized around key ingredients like mushrooms, eggplant, and tomatoes. In 2014, Ottolenghi followed the book with Plenty More: Vibrant Vegetable Cooking from London’s Ottolenghi. ◀
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“THIS IS A LITTLE WOMEN FOR THE AGES.” -THEWRAP
FRIDAY - SUNDAY, JAN 3 - 5 12:00p Midnight Family* 12:30p Fantastic Fungi 2:00p Pain And Glory* 2:15p Fantastic Fungi 4:00p Midnight Family 4:30p The Two Popes* 5:45p Fantastic Fungi 7:15p Pain And Glory* 7:30p Fantastic Fungi MON - THURS, JAN 6 - 9 1:15p Fantastic Fungi 1:45p Pain And Glory* 3:00p Fantastic Fungi 4:15p Midnight Family* 4:45p The Two Popes 6:00p Fantastic Fungi* 7:15p Pain And Glory 7:45p Fantastic Fungi*
FRIDAY - SUNDAY, JANUARY 3 - 5 11:15a Little Women 2:00p Little Women 4:45p Little Women 7:30p Little Women
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PASATIEMPO | January 3-9, 2020
MONDAY - THURSDAY, JANUARY 6 - 9 1:30p Little Women 4:15p Little Women 7:00p Little Women
CALE N DAR
LISTING
GUIDELINES
• To list an event in Pasa Week, send an email or press release to pasa@sfnewmexican .com or pambeach@sfnewmexican.com. • Send material no later 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 January 3-9, 2020
CALENDAR COMPILED BY PAMELA BEACH & PATRICIA LENIHAN
FRIDAY 1/3
SATURDAY 1/4
Gallery and Museum Openings
In Concert
Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona St., 505-982-9674 A Counting of Crows, paintings by Betsy Kuhn and Joseph Riggs; reception 5-7 p.m.
Meow Wolf, 1352 Rufina Circle, 505-395-6369 The Los Angeles-based pop band tours in support of its Grammy-nominated album Chain Tripping; doors 8 p.m.; $15-$18; santafe.meowwolf.com.
Art on Barcelona
YACHT
Foto Forum Santa Fe
1714 Paseo de Peralta, 505-470-2582 First Annual Members Exhibition, group show; reception 5-7 p.m.; through January.
Theater/Dance Antonio Granjero & EntreFlamenco
El Flamenco de Santa Fe, 135 W. Palace Ave., second floor, 505-209-1302 Spanish flamenco; 7:30 p.m.; tickets start at $25, discounts available; entreflamenco@entreflamenco .com.
Heidi Loewen Fine Art
315 Johnson St., 505-988-2225 Porcelain vessels by Loewen and paintings by Braldt Braids; reception 5-9 p.m.; continues noon-6 p.m. Saturday.
Books/Talks
Manitou Galleries
IAIA Winter Readers Gathering
123 W. Palace Ave., 505-986-0440 Annual calendar-release party; free copies distributed 5-7:30 p.m. 815-D Early St., 505-670-9289 Paintings, pastels, sculpture, jewelry, and ceramic work by the Bowkers; reception 1-6 p.m.; through January.
Library and Technology Center Auditorium, Institute of American Indian Arts, 83 Avan Nu Po Rd., 800-804-6422 Mentors, visiting writers, and students; 6 p.m. through Jan. 11 (except Wednesday); this evening: authors David Treuer and Kristiana Kahakauwila; directions and campus map available online at iaia.edu/about/visit; no charge. (See Mixed Media, Page 10)
Classical Music
Classes
Thomas-Carole Bowker Fine Art Studio
Robert Krupnick
The Art of the Doodle
First Presbyterian Church, 208 Grant Ave., 505-982-8544 Piano recital: Beethoven's Six Bagatelles, Opus 126, and Piano Sonata, Opus 109; 5:30-6:15 p.m.; donations accepted.
David Loughridge Learning Center, Meow Wolf, 1352 Rufina Circle, 505-395-6369 Resident artist Mikey Rae leads the free all-ages series 3-5 p.m. weekly on Saturday. Register at santafe.meowwolf.com.
Theater/Dance
Djembe Madness with Mark Clark
Antonio Granjero & EntreFlamenco
The Candyman Stings & Things, 851 St. Michaels Dr., 505-983-5906 Introductory course on hand percussion; beginner through intermediate levels; 1-3 p.m. Saturdays through Jan. 25; $15 per class, $50 for all four; drop-ins welcome.
El Flamenco de Santa Fe, 135 W. Palace Ave., second floor, 505-209-1302 Spanish flamenco; 7:30 p.m.; tickets start at $25, discounts available; entreflamenco@entreflamenco .com; Saturday encore.
Classes
Meow Wolf Open Studio
David Loughridge Learning Center, 1352 Rufina Circle, 505-395-6369 Free all-ages low-stimulation art-making program, led by Teaching for the Artistic Behavior staff; 10 am.-10 p.m.; register at santafe.meowwolf.com.
Nightlife (See Page 43 for addresses)
Anasazi Restaurant & Bar
Classical guitarist Gustavo Pimentel; 6-9 p.m.; no cover.
!Chispa! at El Mesón
Three Faces of Jazz, with guest musicians; 7:30-10:30 p.m.; no cover.
Events Monroe Gallery of Photography (112 Don Gaspar Ave.) shows photojournalistic work by Tony Vaccaro through Jan. 26. Above, Extras on the set of 8½, Lazio, Italy, 1962
Cottonwood Kitchen Lounge
Legal Tender Saloon & Eating House
Cowgirl BBQ
Los Magueyes Mexican Restaurant
El Farol
Upper Crust Pizza in Eldorado
Acoustic rock 'n' roll-duo Don Curry and Pete Springer; 6-10 p.m.; no cover. Roots-rock band DK & the Affordables; 8 p.m.; no cover. Ron Crowder Band, rock/soul; 9-11 p.m.; call for cover.
Multi-instrumentalist Gerry Carthy; 5-8:30 p.m.; call for dinner reservations.
Chat Noir Cabaret, with pianist Charles Tichenor; 6-9 p.m.; no cover. Singer-songwriter Dana Smith; 6-9 p.m.; no cover.
Vanessie
Pianist Greg Schlotthauer; 6:30 p.m.; no cover.
Cymatics Machine & Singing Experience with The Mystical Z David Loughridge Learning Center, Meow Wolf, 1352 Rufina Circle, 505-395-6369 Soundwaves and vibrations in motion, with singer Lyndsey McAdams; noon or 1 p.m. sessions; $40 includes entry fee to The House of Eternal Return; santafe.meowwolf.com.
El Museo Cultural de Santa Fe Mercado
555 Camino de la Familia, 505-992-0591 Art, antiques, Western memorabilia, jewelry, and other merchandise; 8 a.m.-4 p.m. Saturdays, 10 a.m.-4 p.m. Sundays through May.
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Santa Fe Farmers' Market
1607 Paseo de Peralta, 505-983-4098 8 a.m.-1 p.m.; santafefarmersmarket.com.
Nightlife (See Page 43 for addresses)
Anasazi Restaurant & Bar
Events
¡Chispa! at El Mesón
555 Camino de la Familia, 505-992-0591 Art, antiques, Western memorabilia, jewelry, and other merchandise; 10 a.m.-4 p.m. Sundays through May.
Cottonwood Kitchen Lounge
Alternative-country band The Real Matt Jones; 6-10 p.m.; no cover.
Cowgirl BBQ
Roots-rock band JJ & The Mystics; 8 p.m.; no cover.
El Farol
Rock band Controlled Burn; 9-11 p.m.; call for cover.
Los Magueyes Mexican Restaurant
Chat Noir Cabaret, with pianist Charles Tichenor; 6-9 p.m.; no cover.
Osteria d'Assisi
Singer-songwriter Susan Gabriel; 7-9 p.m.; no cover.
1/6
Collected Works Bookstore, 202 Galisteo St., 505-988-4226 Prioritizing sustainability issues, climate change, the housing shortage, and other concerns affecting the city and its residents; 11 a.m.; journeysantafe.org.
Jazz violinist-vocalist Gemma DeRagon; 6-9 p.m.; no cover. Los Primos Melodicos, J.J. Oviedo on bass/vocals, Fred Simpson on drums, and Joaquin Gallegos on guitar; 7:30-10:30 p.m.; no cover.
Events
The Year Ahead: A Conversation with Mayor Alan Webber
The Coded Language of Color: Santa Fe Public Library Main Branch
El Museo Cultural de Santa Fe Mercado
Sunday Brunch
Bitsui; directions and campus map available online at iaia.edu/about/visit. (See Mixed Media, Page 10)
(See Page 43 for addresses)
Southwest Seminars lecture
Cottonwood Kitchen Lounge
Dixieland band Crawfish Boyz, with Chief Sanchez on trumpet/vocals, Dave Moir on bass, Westin McDowell on banjo, and Dan Waldrop on drums; 11:30 a.m.-3 p.m.; no cover.
Cowgirl BBQ
Hotel Santa Fe, 1501 Paseo de Peralta, 855-825-9876 The Curious Case of Coronado's Shields; anthropological archaeologist Severin Fowles discusses his research on the Río Grande del Norte National Monument; 6 p.m.; $15 at the door; 505-466-2775, southwestseminars.org.
Singer-songwriter Bard Edrington V; noon; no cover.
Nightlife
Nightlife
Cottonwood Kitchen Lounge
(See Page 43 for addresses)
Tiny’s Restaurant & Lounge
(See Page 43 for addresses)
Blues artist Alex Maryol; 6-9 p.m.; no cover.
Cowgirl BBQ
Cowgirl BBQ
Vanessie
Singer-songwriter Jim Almand; 7 p.m.; no cover.
Cowgirl Karaoke; 9 p.m.; no cover.
Vanessie
La Fiesta Lounge
Showcase karaoke; 8:30 p.m.-12:30 a.m.; no cover.
Pianist Doug Montgomery; 6:30 p.m.; no cover.
SUNDAY 1/5
Pianist Doug Montgomery; 6:30 p.m.; no cover.
Bill Hearne Trio, Americana; 7:30-11 p.m.; no cover.
MONDAY 1/6
TUESDAY 1/7
School of Rock Albuquerque
In Concert
Books/Talks
Books/Talks
Desert Dogs Brewery and Cidery, 112 W. San Francisco St., 505-983-0134 New Zealand rock 'n' roll band; Microdoser opens; 8:30 p.m.; $10 suggested donation; 21+.
Library and Technology Center Auditorium, Institute of American Indian Arts, 83 Avan Nu Po Rd., 800-804-6422 Free readings by mentors, visiting writers, and students; 6 p.m. nightly (except Wednesday); Cedar Sigo, Toni Jensen, and James Thomas Stevens; directions and campus map available online at iaia.edu/about/visit. (See Mixed Media, Page 10)
In Concert
Meow Wolf, 1352 Rufina Circle, 505-395-6369 Student (ages 12-18) showcase of soul music; 6 p.m.; $15-$20; santafe.meowwolf.com.
IAIA Winter Readers Gathering
Library and Technology Center Auditorium, Institute of American Indian Arts, 83 Avan Nu Po Rd., 800-804-6422 Free readings by mentors, visiting writers, and students; 6 p.m. nightly through Jan. 11; this evening: Ken White, Chip Livingston, and Kimberly Blaeser; directions and campus map available online at iaia.edu/about/visit. (See Mixed Media, Page 10)
Laura Ramnarace
Op. Cit. Books, DeVargas Center, 157 Paseo de Peralta, 505-428-0321 The Albuquerque-based author reads from her post-apocalyptic novel, Sung Home; 2 p.m.
The Cavemen
Books/Talks
The Coded Language of Color
Santa Fe Public Library Main Branch, 145 Washington Ave., 505-955-6780 A free talk on the electromagnetic basis of color's effect on human life, by members of The Living Theatre; 6:30-7:45 p.m.; 505-231-5869, thelivingtheatre.com.
IAIA Winter Readers Gathering
Library and Technology Center Auditorium, Institute of American Indian Arts, 83 Avan Nu Po Rd., 800-804-6422 Free readings; 6 p.m. nightly (except Wednesday); Rion Amilcar Scott, Jennifer Foerster, and Sherwin
Art House (Thoma Foundation, 231 Delgado St.) shows digital work by Lee Lee Nam through October.
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PASATIEMPO I January 3-9, 2020
IAIA Winter Readers Gathering
Theatre Lovers Club
Unitarian Universalist Congregation, 107 W. Barcelona Rd. A free 6 p.m. panel discussion on the challenges of producing Shakespeare's The Merchant of Venice, which raises issues of prejudice, amidst the current increase of discrimination and intolerance; panelists include Shakespeare Guild founder John Andrews, Temple Beth Shalom Rabbi Neil Amswych, and Upstart Crows of Santa Fe director Caryl Farkas; theatresantafe.org.
Family (Fun) Dance
New Mexico School for the Arts, 500 Montezuma Ave., 505-216-7888 No experience needed; 6-7 p.m. Tuesdays through January; donations accepted.
Nightlife (See Page 43 for addresses)
¡Chispa! at El Mesón
Argentine tango milonga; 7:30-10:30 p.m.; $5 minimum consumption charge.
Cowgirl BBQ
Tyler Hilton, Americana; 7 p.m.; no cover.
El Farol
Canyon Road Blues Jam; 8-11 p.m. weekly; call for cover.
La Fiesta Lounge at La Fonda
Bill Hearne Trio, Americana; 7:30-11 p.m.; no cover.
TerraCotta Wine Bistro
Jazz guitarist Pat Malone; 6-8 p.m.; no cover.
WEDNESDAY 1/8 Books/Talks
Friends of History First Wednesday Lecture
New Mexico History Museum Auditorium, 113 Lincoln Ave., 505-476-5200 Workshop of Democracy: Statehood and WWI in New Mexico, with historian David V. Holtby; noon; no charge.
Garden Conversations — Orchid Care
Small Conference Room, Stuart L. Udall Center for Museum Resources, 725 Camino Lejo, Museum Hill Horticulturalist/landscape designer Michael Clark shares tips on feeding and reblooming; 11 a.m.; no charge; santafebotanicalgarden.org.
Nightlife (See Page 43 for addresses)
¡Chispa! at El Mesón
Flamenco guitarist Joaquin Gallegos; 7-9 p.m.; no cover.
Cottonwood Kitchen Lounge
Pop-folk guitarist Matthew Andrae; 6-9 p.m.; no cover.
Cowgirl BBQ
Kris Schultz, Americana; 7 p.m.; no cover.
El Farol
Jazz duo guitarist Pat Malone and bassist Jon Gagan; 6-8 p.m.; no cover.
PASA KIDS Santa Fe Children’s Museum
1050 Old Pecos Trail, 505-989-8359 2-4 p.m.: Fine-Art Fridays; 1-3 p.m.: Science Saturdays, with guest scientists; 9-11 a.m.: Wee Wednesday, toddler-focused programs; 10:30 a.m.-12:30 p.m. Thursdays: Seeds & Sprouts, gardening projects; 4-6:30 p.m.: Thursdays Are Yours (no charge for ages 17 and under); all other events by museum admission.
Toddler Tales Special Edition: Inside the House of Eternal Return
David Loughridge Learning Center, Meow Wolf, 1352 Rufina Circle, 505-395-6369 Free reading and music sessions for parents and their preschoolers; this week, arrive by 10:30 a.m. Monday, Jan. 6 to attend story hour in the exhibit; normal hours 10 a.m.-noon every Monday; no charge. ◀
C LU BS , RO OM S, VE NU ES Check with venues for updates and special events. Americana singer-songwriter Bill Hearne performs in La Fiesta Lounge at La Fonda on Monday and Tuesday.
Los Magueyes Mexican Restaurant
Chat Noir Cabaret, with pianist Jesse Lazcano; 6-9 p.m.; no cover.
Second Street Brewery at the Railyard Geeks Who Drink-hosted trivia night; 8 p.m. Wednesdays; no cover.
THURSDAY 1/9
El Prado
Boris McCutcheon
Taos Mesa Brewing Mothership, 20 ABC Mesa Rd., 575-758-1900 The Northern New Mexico Americana songwriter celebrates the release of his CD As Old As Española; 7 p.m. Saturday, Jan. 4, doors 6 p.m.; $7 cover; taosmesabrewing.com.
Books/Talks
PEOPLE WHO NEED PEOPLE
Library and Technology Center Auditorium, Institute of American Indian Arts, 83 Avan Nu Po Rd., 800-804-6422 Free readings by mentors, visiting writers, and students; 6 p.m.; Esther Belin and Tiffany Midge; directions and campus map available online at iaia.edu/about/visit; continuing Jan. 10 and 11. (See Mixed Media, Page 10)
Artists
IAIA Winter Readers Gathering
Nightlife (See addresses at right)
¡Chispa! at El Mesón
Jazz pianist John Rangel & guest; 7-9 p.m.; no cover.
Cottonwood Kitchen Lounge
Singer-songwriter Jesus Bas; 6-9 p.m.; no cover.
Cowgirl BBQ
Pop-soul singer-guitarist Shane Wallin; 7 p.m.; no cover.
El Farol
Flamenco guitarist Mario Febres; 6-8 p.m.; no cover.
Osteria Piano Lounge
First set, pianist/vocalist David Geist, second set, percussionist Jamie Russell joins in; 6:30-9:30 p.m.; no cover.
TerraCotta Wine Bistro
Jazz guitarist Pat Malone; 6-8 p.m.; no cover.
National Hispanic Cultural Center 2020-2021 Performing Arts Season
Proposals for dance, music, and theater performances showcasing local, national, and international talent accepted through midnight, Feb. 29; guidelines and links to submission forms available online at media .newmexicoculture.org/release/1070/nhccopens-proposal.
Santa Fe Arts Commission Community Gallery Summer 2020 Exhibit
All-media art work related to the myths, history, and decay of America's "Main Street" sought from New Mexico artists for Neon & Chrome: The Visual Vocabulary of Historic Route 66; submit portfolios to form.jotform.com/93164001215140 by 5 p.m. Jan. 17; 505-955-6707, rdlambert@santafenm.gov.
Filmmakers
12th Annual Santa Fe Independent Film Festival entries
Deadlines: early bird (March 4), regular (May 1), late (June 3), final (July 16); best-of cash prizes awarded for narrative and documentary features and narrative, documentary, and New Mexico shorts; submission forms, rules, and guidelines available at santafeindependentfilmfestival.com/ submit-a-film; event runs Oct. 14-18; 505-349-1414, contact@santafeindependent.com.
Vanessie
Volunteers
OUT OF TOWN
Opportunities to help with community events, administrative duties, advocacy, programs, and mentoring; visit girlsincofsantafe.org/take-action/ volunteer for details and to sign up; 505-982-2042.
Albuquerque
Railyard Park Conservancy
Pianist Greg Schlotthauer; 6:30 p.m.; no cover.
Chatter Sunday
Las Puertas, 1512 First St., N.W., 505-242-1958 Jesse Tatum (flute), Nathan Ukens (horn), and Luke Gullickson (piano); Lisa Bielawa's Fictional Migrations and Eric Ewazen's Ballade, Pastorale, and Dance; 10:30 a.m. Sunday, Jan. 5; $5-$16; chatterabq.org/boxoffice. (See story, page 22)
Girls Inc. of Santa Fe
Join the Earth Day Celebration-planning committee, help out in the gardens Tuesdays and Thursday, or get involved in planning toddler programs for next summer with the Children's Committee; 505-316-3596, railyardpark.org.
Santa Fe Food Depot
Anasazi Restaurant & Bar Rosewood Inn of the Anasazi, 113 Washington Ave., 505-988-3236 Beer Creek Brewing Company 3810 NM 14, 505-471-9271 Boxcar Sports Bar & Grill 530 S. Guadalupe St., 505-988-7222 The Bridge at Santa Fe Brewing Comp any 37 Fire Pl., 505-557-6182 Chez Mamou French Café & Bakery 217 E. Palace Ave., 505-216-1845
Chili Line Brewing Company 204 N. Guadalupe St., 505-982-8474 ¡Chispa! at El Mesón 213 Washington Ave., 505-983-6756 Cottonwood Kitchen Lounge at Tesuque Casino 7 Tesuque Rd., 505-984-8414 Cowgirl BBQ 319 S. Guadalupe St., 505-982-2565 Dragon Room Bar 406 Old Santa Fe Trail, 505-983-7712 El Farol 808 Canyon Rd., 505-983-9912 Evangelo's 200 W. San Francisco St., 505-982-9014 Ghost 2889 Trades West Rd. Gig Performance Space 1808 Second St., gigsantafe.com Hervé Wine Bar 139 W. San Francisco St., 505-795-7075 Gravity Nightclub & Lounge Buffalo Thunder Resort & Casino, 20 Buffalo Thunder Trail, 877-848-6337 Honeymoon Brewery 907 W. Alameda St., Solana Center, 505-303-3199 Hotel Santa Fe 1501 Paseo de Peralta, 505-982-1200 La Cantina at Casa Sena 125 E. Palace Ave., 505-988-9232 La Fiesta Lounge at La Fonda 100 E. San Francisco St., 505-982-5511 La Posada de Santa Fe Resort and Spa 330 E. Palace Ave., 505-986-0000 Legal Tender Saloon & Eating House 151 Old Lamy Trail, 505-466-1650
Lensic Performing Arts Center 211 W. San Francisco St., 505-988-1234 Los Magueyes Mexican Restaurant 31 Burro Alley, 505-992-0304 Meow Wolf 1352 Rufina Circle, 505-395-6369 The Mine Shaft Tavern 2846 NM 14, Madrid, 505-473-0743 L'Olivier Restaurant
229 Galisteo St., 505-989-1919 On the Rocks Lounge at Camel Rock Casino 17486 -A U.S. 84/285, 800-462-2035 Osteria d'Assisi 58 Federal Pl., 505-986-5858 Santa Fe Brewing Company El Dorado Taphouse 7 Caliente Rd., Suite A-9, 505-466-6939 Santa Fe Oxygen & Healing Bar 102 W. San Francisco St., 505-660-9199 Second Street Brewery 1814 Second St., 505-982-3030 Second Street Brewery at the Railyard 1607 Paseo de Peralta, 505-989-3278 Second Street Brewery Rufina Taproom 2920 Rufina St., 505-954-1068 Social Kitchen + Bar at Sage Inn 725 Cerrillos Rd., 505-982-5952 Starlight Lounge at Montecito 500 Rodeo Rd., 505-428-2840 Taberna La Boca 125 Lincoln Ave., 505-988-7102 TerraCotta Wine Bistro 304 Johnson St., 505-989-1166 Tiny’s Restaurant & Lounge 1005 S. St. Francis Dr., 505-983-9817 Tonic 103 E. Water St., 505-982-1189 Tumbleroot Brewery & Distillery 2797 Agua Fría St., 505-780-5730 Upper Crust Pizza 329 Old Santa Fe Trail, 505-982-0000 Upper Crust Pizza in Eldorado 5 Colinas Rd., 505-466-1123 Vanessie 434 W. San Francisco St., 505-982-9966
Daily, weekly, and monthly slots available; thefooddepot.org/volunteer; 505-471-1633, 1222-A Siler Rd.
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IN THE WINGS
Sean McConnell
Gig Performance Space, 1808 Second St., gigsantafe.com Nashville-based singer-songwriter; 7:30 p.m. Jan. 22; $22 in advance, $25 day of show; 505-886-1251, holdmyticket.com, or ampconcerts.org/event/351982.
Albert "Tootie" Heath Trio
Paradiso, 903 Early St., 505-577-5248 Hard-bop jazz percussionist, with pianist Bert Dalton and bassist Colin Deuble; 7:30 p.m. Jan. 24, doors 7 p.m.; $25; 505-946-7934.
NEXT WEEK Serenata Santa Fe
SITE Santa Fe, 1606 Paseo de Peralta, 505-989-1199 Barriers, including works by Leslie Wildman, Conrad Cummings, and Frederick Rzewski; 5:30 p.m. Jan. 10; tickets start at $20; brownpapertickets.com/event/4263160.
The Metropolitan Opera: Live in HD
Lensic Performing Arts Center, 211 W. San Francisco St. Yannick Nézet-Séguin conducts Wozzeck by Alban Berg; 11 a.m. Jan. 11, 6 p.m. encore; $15-$28; 505-988-1234, ticketssantafe.org.
The City Different Wedding & Event Expo
La Fiesta Lounge at La Fonda, 100 E. San Francisco St., 505-982-5511 Vendor information booths for venues, caterers, photographers, and entertainment; also, a fashion show; 1-4 p.m. Jan. 11; $5 VIP tickets include cocktail and entry in a $1,000 gift certificate drawing; free general admission.
Windswept
St. John's United Methodist Church, 1200 Old Pecos Trail Woodwind trio flutist Rochelle Mann, oboist Rebecca Ray, and bassoonist Denise Turner; accompanied by pianist C. Scott Hagler; 7 p.m. Jan. 11; $20, senior and student discounts available; southwestarts.org.
Michael Brown
Historic Old San Ysidro Church, 966 Old Church Rd., Corrales Classical pianist-composer; music of Beethoven, Ravel, Copland, Mendelssohn, and Brown's Surfaces; 7:30 p.m. Jan. 11; $25 in advance; michaelbrown.brownpapertickets.com, $30 at the door.
Pacifica String Quartet
St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Music of Shostakovich, Shulamit Ran, and Beethoven; free open rehearsal 10 a.m. Jan. 12, performance 3 p.m.; $12-$85, dinner with the performers $95; 505-988-1234, ticketssantafe.org.
ABQ Noshfest
Sandia Resort & Casino, 30 Rainbow Rd. Jewish and Israeli dishes prepared by local restaurants, caterers, and bakeries; noon-4 p.m. Jan. 12; $6.50 in advance, $8 at the door, ages 9 and under no charge; abqnoshfest.com.
From Combat to Carpet: The Art of Afghan War Rugs
Museum of International Folk Art, 706 Camino Lejo, Museum Hill, 505-476-1200 505 476 1200 A traveling exhibit of 40-plus handwoven rugs with war-related iconography; opening reception 1-4 p.m. Jan. 12, with music, a talk by curator Annemarie Sawkins, and refreshments; through Aug. 30.
Dar Williams
James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., 505-476-6300 Pop-folk singer-songwriter; 7:30 p.m. Jan. 15; $22-$33; 505-886-1251, holdmyticket.com, or ampconcerts.org.
The Ageless Living Television Series
Santa Fe Community Convention Center, 201 W. Marcy St. AgeNation and New Mexico PBS present screenings of episodes from the series, with appearances by contributing authors; 6:30 p.m. Jan. 16; free gift passes available at eventbrite.com.
COMING UP MUSIC
Santa Fe Pro Musica
Lensic Performing Arts Center, 211 W. San Francisco St. Journeys, music of Mendelssohn, Schumann, Haydn, and Melinda Wagner; 4 p.m. Jan. 25 and 3 p.m. Jan. 26; $12-$85; 505-988-1234, ticketssantafe.org.
New Mexico Philharmonic
Popejoy Hall Center for Performing Arts, 203 Cornell Dr., S.E., Albuquerque Vivaldi and Jonathan Leshnoff concertos, with guitarist Jason Vieaux; 6 p.m. Jan. 25; tickets start at $35; 505-925-5858, nmphil. org.
Stephanie Hatfield: Out This Fell
Jean Cocteau Cinema, 418 Montezuma Ave., 505-466-5528 Indie-folk album-release party; 8 p.m. Jan. 25; $20 includes CD; jeancocteaucinema.com.
Zia Singers
A la Française: Music for Piano 4 Hands
Arthur Bell Auditorium, Harwood Museum of Art, 238 Ledoux St., 575-758-9826 The Taos Chamber Music group plays music by Carolyn Shaw and John Adams; 5:30 p.m. Jan. 12; $25; students $12; 575-758-1167, taoschambermusicgroup.org.
SNBRN
Theo Katzman
Dana Cooper
Santa Fe Symphony
Lensic Performing Arts Center, 211 W. San Francisco St. Americana!, music of Copland, Gershwin, John Corigliano, and Joan Tower; with pianist Bailey-Michelle Collins; 4 p.m. Jan. 19; 505-983-1414, boxoffice.santafesymphony.org or 505-988-1234, ticketssantafe.org.
A Thousand Thoughts
Chatter in Taos
Tumbleroot Brewery & Distillery, 2797 Agua Fría St., 505-780-5730 The singer-songwriter, known for flat-picking, finger-picking, and percussive strumming styles, performs in support of the Santa Fe Animal Shelter; rock musician Stephanie Hatfield opens; 6-9 p.m. Jan. 12; pop-up market on site, with works by local artists and vendors; $10 suggested donation.
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Dana Cooper headlines a benefit concert for the Santa Fe Animal Shelter Jan. 12 at Tumbleroot Brewery & Distillery.
PASATIEMPO I January 3-9, 2020
First Presbyterian Church, 208 Grant Ave. Nevertheless She Persisted, a program celebrating the 100th anniversary of the 19th Amendment; 3 p.m. Jan. 18 and 19; $20 in advance, ages 12 and under $10, tickets sold at the door are $5 more; ziasingers.com. Meow Wolf, 1352 Rufina Circle, 505-395-6369 Digital-dance music; Ana M and XKota open; doors 9 p.m. Jan. 18; $20-$25; santafe.meowwolf.com.
St. John’s College, Peterson Center Great Hall, 1160 Camino de Cruz Blanca, 505-984-6000 Pianists Marina Magazinnik and Fred Kronacher; music of Faure, Ravel, Debussy, and Poulenc; 3 p.m. Jan. 26; $28, students $12, discounts available; musicalexperiences.org. Meow Wolf, 1352 Rufina Circle, 505-395-6369 Singer-songwriter/multi-instrumentalist; Rett Madison opens; doors 7 p.m. Jan. 27; $17.50-$22.50; santafe.meowwolf.com. Lensic Performing Arts Center, 211 W. San Francisco St. Filmmakers Sam Green and Joe Bini team up with the Kronos Quartet in a live multimedia performance blending music and narration with archival footage and filmed interviews with prominent 20th- and early 21st-century composers; 7:30 p.m. Jan. 30; $29-$115; 505-988-1234, ticketssantafe.org.
and ways of life; opening Feb. 13; through July 26; G. Peter Jemison: Iroquois Creation Story; ongoing; through March 15; iaia.edu/museum.
Slow Food Santa Fe tour and tastings at Tumbleroot Brewery & Distillery
Tumbleroot Brewery & Distillery, 2797 Agua FrĂa St., 505-780-5730 Brews, spirits, and "tiny bites"; 2-5 p.m. Feb. 15; $25; slowfoodsantafe.org.
Santa Fe Restaurant Week
Townwide Annual event offering prix-fixe meal deals at local eateries; Feb. 23-March 1; $15, $25, $35, and $45 depending on the establishment. Visit nmrestaurantweek.com for a list of participants and to enter the sweepstakes; 505-847-3333, info@wingsmedianet.com. Pianist Bailey-Michelle Collins joins the Santa Fe Symphony Jan. 19 at the Lensic.
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Georgia O’Keeffe Museum
217 Johnson St., 505-946-1000 A Great American Artist. A Great American Story, works honoring the artist's legacy; okeeffemuseum.org. Open daily.
IAIA Museum of Contemporary Native Arts 108 Cathedral Pl., 888-922-4242 Reconciliation, group show of works recognizing elimination of the Fiesta Santa Fe La Entrada pageant; through Jan. 19 • Visual Voices: Contemporary Chickasaw Art, group show; through Jan. 19 • Sámi Intervention/Dáidda Gážada, narrative video/installation depicting cultural connections with the indigenous peoples of Norway, Sweden, and northern Finland; through Feb. 16 • Iroquois Creation Story, 3-D works and drawings by G. Peter Jemison, based on his film; through March 1 • Lynnette Haozous: Abolishing the Entrada, a mural; through June • Robyn Tsinnajinnie and Austin Big Crow: The Holy Trinity, mural; through Oct. 1 • Experimental exPRESSion: Printmaking at IAIA, 1963-1980, works on paper from the Tubis Print Collection; through July 11, 2021; iaia.edu/museum. Closed Tuesdays.
Meow Wolf Art Complex
1352 Rufina Circle, 505-395-6369 The House of Eternal Return, evolving interactive installation; santafe.meowwolf.com. Closed Tuesdays.
Museum of Encaustic Art
632 Agua Fría St., 505-989-3283 Rotating exhibits of works from the permanent collection; moeart.org. Closed Mondays.
Museum of Indian Arts & Culture
710 Camino Lejo, Museum Hill, 505-476-1269 Here, Now and Always, collection artifacts; through January • San Ildefonso Pottery: 1600-1930, combining social context, Native ethnogenesis, and discussions with descendant members of the community; through August; indianartsandculture.org. Closed Mondays.
Museum of Interactive Art at Shidoni Gallery
Keep Contemporary (142 Lincoln Ave., Suite 102) shows prints by James Medrano through Jan. 19.
AT THE GALLERIES 7 Arts Gallery
125 Lincoln Ave., #110, 505-819-1103 Great Things Come in Small Packages, group show; through January.
Art House
Thoma Foundation, 231 Delgado St., 505-995-0231 Earth Algorithms: Landscapes of the Digital Age, group show studying contemporary natural resources in the digital era using weaving, assemblage, and video; through July. Lorna, interactive video installation by Lynn Hershman Leeson; through October.
Chiaroscuro Contemporary Art
558 Canyon Rd., 505-992-0711 Group show of works by gallery artists, featuring photographs by Renate Aller; through Jan. 11.
Evoke Contemporary
550 S. Guadalupe St., 505-995-9902 Revelry, holiday group show; through Jan. 25.
Hecho a Mano
830 Canyon Rd., 505-916-1341 Carlos Mérida: Estampas del Popol-Vuh, 1943 portfolio of prints; through Jan. 26.
Keep Contemporary 142 Lincoln Ave., Suite 102, 505-557-9574 Everything Is Illuminated III, group show; reception 5-8 p.m.; through Jan. 19.
LewAllen Galleries
1613 Paseo de Peralta, 505-988-3250 Esphyr Slobodkina, paintings, collage, and sculpture; through Feb. 15.
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PASATIEMPO I January 3-9, 2020
The Owings Gallery
120 E. Marcy St., 505-982-6244 Jewelry by Yazzie Johnson and Gail Bird; through February.
Santa Fe Arts Commission Community Gallery
Santa Fe Community Convention Center, 201 W. Marcy St., 800-777-2489 Longer Table: Food, Nourishment, and Sustainability, group show and series of free public programs addressing the effect of climate change on food production; through Jan. 16.
Vivo Contemporary
725-A Canyon Rd., 505-982-1320 Untitled, group show; through Jan. 13.
Winterowd Fine Art
701 Canyon Rd., 505-992-8878 Celebrate Art, group show of paintings, sculpture, and cast-glass works; through Jan. 15.
MUSEUMS & ART SPACES Santa Fe
Center for Contemporary Arts
1050 Old Pecos Trail, 505-982-1338 Scott Johnson: Fissure, sculptural installation; in the Tank Garage Gallery through Feb. 2. Open Tuesdays-Sundays; ccasantafe.org.
Coe Center for the Arts
1590-B Pacheco St., 505-983-6372 Exhibits of indigenous art, with a concentration in artifacts of North America; coeartscenter.org. Open first Friday of the month and by appointment.
1508 Bishops Lodge Rd., 505-670-2118 Invent Your Own Reality Room, permanent interactive exhibit of works created by visitors; shidoni.com. Open Tuesdays-Saturdays.
Museum of International Folk Art
706 Camino Lejo, Museum Hill, 505-476-1200 Girard's Modern Folk, objects from the collection; in Lloyd's Treasure Chest through Jan. 26 • Yōkai: Ghosts & Demons of Japan, Muromachi Period scroll paintings, Edo Period woodblock prints, and contemporary folk art; through Jan. 10, 2021 • Música Buena: Hispano Folk Music of New Mexico, exploring the roots of New Mexican music through sound, video, instruments, and live performances; through March 7, 2021; moifa.org. Closed Mondays.
Museum of Spanish Colonial Art
750 Camino Lejo, Museum Hill, 505-982-2226 Trails, Rails and Highways: How Trade Transformed the Art of Spanish New Mexico, historic objects from the collections relating to the Camino Real, the Santa Fe Trail, the railroad & Route 66, and works by contemporary artists working in the traditional arts, through September • The Delgado Room, based on the will and estate inventory of trader/ 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; spanishcolonial.org. Closed Mondays.
New Mexico History Museum/ Palace of the Governors
113 Lincoln Ave., 505-476-5200 Atomic Histories, highlighting New Mexico's nuclear history, with photographer Meridel Rubenstein's installations from the traveling exhibit Critical Mass and her installation Oppenheimer's Chair; through Jan. 19 • The Massacre of Don Pedro Villasur, work by graphic artist Turner Avery Mark-Jacobs depicting the Spanish Colonial military expedition
of 1720; through Feb. 1 • We the Rosies: Women at Work, a lobby display of a 6-foot, 3D-printed sculpture of the WWII-era poster girl for women in the workforce, Rosie the Riveter; through March 1. Core exhibits: Setting the Standard: The Fred Harvey Company and Its Legacy, 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 U.S. colonial life. Closed Mondays.
New Mexico Museum of Art
107 W. Palace Ave., 505-476-5072 Agnes Pelton: Desert Transcendentalist, a traveling retrospective exhibit of paintings; through Sunday, Jan. 5 • Picturing Passion: Artists Interpret the Penitente Brotherhood; through Aug. 16; nmartmuseum.org. Open daily.
Poeh Cultural Center and Museum
78 Cities of Gold Rd., Pueblo of Pojoaque, 505-455-5041 Di Wae Powa: They Came Back, historical Tewa Pueblo pottery on long-term loan from the Smithsonian Institution's National Museum of the American Indian • The Why, group show of works by Native artists • Nah Poeh Meng, 1,600-squarefoot core installation highlighting the works of Pueblo artists and Pueblo history; poehcenter.org; also, ongoing sculpture exhibit in the Tower Gallery, 505-455-3037. Closed Sundays.
Santa Fe Botanical Garden
715 Camino Lejo, Museum Hill, 505-471-9103 Human Nature: Explorations in Bronze, sculpture by Allan Houser, David Pearson, and Jonathan Hertzel; through May 10; santafebotanicalgarden .org. Closed Mondays and Tuesdays.
SITE Santa Fe
1606 Paseo de Peralta, 505-989-1199 Bel Canto: Contemporary Artists Explore Opera, group show examining themes of race, gender, and class within the stories, traditions, architecture, and music of opera; through Sunday, Jan. 5 • Seeking Refuge, four short films by Sylvia Johnson; through Jan. 12; sitesantafe.org. Open daily.
Wheelwright Museum of the American Indian
704 Camino Lejo, Museum Hill, 505-982-4636 Conversations: Artworks in Dialogue, Native works from the Daniel E. Prall collection; through April 5 • Laughter and Resilience: Humor in Native American Art, multidisciplinary works from the 1880s to the present; through Oct. 4 • Center for the Study of Southwestern Jewelry, devoted to Diné and Pueblo metalwork and lapidary traditions; wheelwright .org. Open daily.
Taos
Harwood Museum of Art
238 Ledoux St., 575-758-9826 Core exhibits include Highlights From the Harwood Museum of Art's Collection of Contemporary Art • Works by Taos Society of Artists members and Taos Pueblo artists; harwoodmuseum.org. Closed Mondays.
Millicent Rogers Museum
1504 Millicent Rogers Rd., 575-758-2462 Majestic Owls, multidisciplinary representations • Horse Cultures of the Southwest, paintings, beadwork, and tack from the collection; through Feb. 16 • Marjorie Eaton: A Life in Pictures, paintings, photographs, and personal items; through March • Icon, American Style, ephemera connected to Millicent Rogers' role as a trendsetting fashionista and jewelry designer; through April; millicentrogers .org. Open daily.
Taos Art Museum at Fechin House
227 Paseo del Pueblo Norte, 575-758-2690 Housed in the studio and home that artist Nicolai Fechin built for his family between1927 and 1933; taosartmuseum.org. Closed Mondays.
Emil Bisttram, Hopi Dancer (1945), serigraph Addison Rowe Gallery, 229 E. Marcy St., 505-982-1533, addisonrowe.com A selection of some of the finest works by New Mexican modernists and artists who made New Mexico the subject of their work is included in the exhibition Gallery Highlights (on view through Jan. 15). Among the pieces by artists such as Emil Bisttram, Louis Ribak, and Raymond Jonson are works by the earlier Taos Society of Artists, a group that included Oscar Berninghaus and E. Irving Couse. Significant nonregional American modernists and postwar artists are on display, as well. The exhibit offers a broad assortment of artwork that features abstractions, landscapes, figurative works, and still-lifes, and it provides an overview of the gallery’s purview, which largely encompasses American artists from the early 20th century.
Michael Scott, Life is a Bowl of Cherries (2019), oil on panel Evoke Contemporary, 550 S. Guadalupe St., 505-995-9902, evokecontemporary.com From figurative nudes to richly textured realist landscapes, Evoke presents a stunning array of representational work in the holiday group show Revelry. The show includes narrative works, such as Gregory Ferrand’s dreamlike representations of midcentury American suburbia, and works that explore contemporary themes through the masterful use of traditional techniques, such as Michael Scott’s meticulously rendered hallucinatory odes to landscape and still-life painting. Patrick McGrath Muñiz’s modern takes on Renaissance, Baroque, and Spanish Colonial-era motifs are also on view. Revelry is up through Jan. 25.
Renate Aller, #1 USA, Rocky Mts/Swiss Alps (2018), archival pigment print Chiaroscuro Contemporary Art, 558 Canyon Road, 505-992-0711, chiaroscurosantafe.com New works by 11 of Chiaroscuro’s gallery artists are included in its annual Holiday Show, with photography by Renate Aller and Irene Kung, sculpture by Rose B. Simpson, paintings by Emmi Whitehorse, and works on paper from the Harry Fonseca Trust. Mountain vistas tinged with the subtle sense of color lend a near-monochromatic appearance to Aller’s high-altitude landscapes in the series Mountain Interval. Whitehorse imbues her atmospheric abstractions with subtle allusions to figurative, organic forms. And Kung’s photographs create a tension between her subjects’ momentous sense of presence and their ephemeral beauty. The show is on view through Jan. 11.
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
Erik Sanchez, Savage in the Studio (2018), digital print Foto Forum Santa Fe, 1714 Paseo de Peralta, 505-470-2582, fotoforumsantafe.com Artist Erik Sanchez created his studio “savage” to skewer a stereotype that doesn’t conform, in any sense, to Native identity, yet remains a trope among non-Natives. The emotions such a word inspires — rage, anger, distress — are real enough, though. Staging himself as the protagonist in a series of images of this so-called savage, Sanchez critiques the history of misrepresenting Native subjects in art and photography. “I aimed for the Eurocentric idea of what a wild savage would look like and juxtapose that to a more cultured portrait emotion,” he says. “I expressed heavy emotions and played with irony by conveying an openness while portraying savage.” Sanchez is among the two-dozen photographers included in Foto Forum Santa Fe’s First Annual Members Exhibition. The opening reception for the show is at 5 p.m. on Friday, Jan. 3 (through Jan. 31).
Tom Ross Rosenberg, Odyssey (2019), acrylic on acrylic panel Winterowd Fine Art, 701 Canyon Road, 505-992-8878, fineartsantafe.com Sixteen of Winterowd’s represented artists created new works for the exhibition Celebrate Art (through Jan. 15). The show includes a wide range of mediums and genres, such as landscape painting, abstraction, and sculpture, and includes mixed media works by J. D. Wellborn that explore ancient motifs such as mandalas and petroglyphs through contemporary techniques. Also featured are abstract reverse paintings on acrylic by Tom Ross Rosenberg that dazzle the eye with intricate patterns and a fluid sense of motion, and luminous, gem-like glass and fused steel sculptures by Alex Gabriel Bernstein. The artists consist of a cross-section of emerging and established talents.
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The 27th Annual
Art of Devotion Historic Art of the Americas
237 East Palace Avenue, Santa Fe, 87501 48
PASATIEMPO | January 3-9, 2020
505·989·9888
peytonwright.com