The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture January 19, 2024
An exploration of colonization through the eyes of an Indigenous artist PAGE 20
January 19, 2024
18 Off the walls by Spencer Fordin Photography featured in the New Mexico Museum of Art’s new exhibit were plucked from a select group of collectors, revealing a range of images and an eclectic array of tastes.
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ON THE COVER
10
Holding pattern
by Brian Sandford
Artist Nicholas Galanin’s Interference Patterns exhibition at SITE Santa Fe invites viewers to scream as they explore the legacies and impacts of colonization on Indigenous cultures as well as the world’s climate.
MOVING IMAGES 26 Marvel Studios’ Echo is a triumph of Native storytelling by Ania Hull 28 Review All of Us Strangers 30 Chile Pages In theaters and special screenings
OUT THERE 6 The Upstart Crows stage Macbeth 6 Albuquerque Comic Con 7 A trio of top New Mexico hot springs 8 SFCC’s and IAIA’s Writing Generation Series 8 The New Mexico Hip-Hop Awards 9 Storytelling and music from The Aunties: Women of the White Shell Water Place
IN OTHER WORDS 10 Photographer Tony Bonanno captures the beauty of France’s Camargue horse by Ania Hull 16 Review You Only Call When You’re in Trouble by Stephen McCauley
EXTRAS 4
Editor’s Note:
Arts for the future
32 Star Codes 35 Pasa Week 36 Pasa Planner 39 Final Frame
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26
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Cover: Nicholas Galanin, Loom (2022), Interference Patterns installation view at SITE Santa Fe; photo Zach Chambers Cover design Taura Costidis
PA S AT I E M P O MAG A Z I N E.CO M Visit Pasatiempo at pasatiempomagazine.com and on Facebook ©2024 The Santa Fe New Mexican Pasatiempo is an arts, entertainment, and culture magazine published every Friday by The New Mexican, P.O. Box 2048, Santa Fe, New Mexico, 87504. Email: pasa@sfnewmexican.com • Editorial: 505-986-3019
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EDITOR’S NOTE
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PASATIEMPO I January 19-25, 2024
Well, Happy New Year! I’m only 19 days late to the party, partially due to the fact I’ve been using my spare Editor’s Note writing time to partake in some of these arts and culture experiences we’re so richly endowed with here and also partly to consider how I might go about setting some loose resolutions to experience more of them. I’m proud of the fact that I left the office and/or house often enough to enjoy some cool stuff. I caught Secret Byrd in November and was transported to a time when some composers had to work undercover just so they wouldn’t get beheaded for their religious beliefs. As I wandered through the Scottish Rite (a perfect setting for such meandering musical experiences), the harmonies bounced all around me as I sipped broth and wine by candlelight and looked over the shoulders of the violin players. That was cool. Visual art? Yep, covered some of that, too, boning up on a few key New Mexico contemporary artists when the Vladem opened in September. One particularly spectacular late-summer Saturday afternoon, I wandered through a sampling of Canyon Road galleries. I even got caught up with the happenings at the New Mexico History Museum and tried to roll up for as many concerts on the Plaza as I could (missed Shakey Graves but caught James McMurtry). Another highlight was witnessing the National Dance Institute’s May Gala performance. If you don’t care for dance — or children doing dance — this event will change your mind about both. (Side note: I semi-forced my then 6-year-old son to take a hip-hop class offered by his afterschool program one year, and while he still holds it against me, he’s got moves. I take full credit.) Anyway, dance isn’t my comfort zone, but watching a performance stirs a part of my emotion response zone that is just different from the movie-watching or concert-going brain hemisphere. Do I have more to do and see and experience and learn about? Obviously, yes. I’d like to attend more artist openings and see concerts by performers I know nothing about (Meow Wolf, I’m talking to your lineup). I want to test my love for classical music and learn how to correctly pronounce and spell the names of composers without benefit of Google. And what do I ask in return? I’m glad you asked. Santa Fe, you have a lot to offer, but you have so much more you can do. Here’s my pitch (which, I know, is fraught with all sorts of obstacles, but here goes, nonetheless): Let’s convert the old Santa Fe Downs into a sprawling entertainment complex, complete with a full-sized indoor theater (bring it, Hamilton) and outdoor theater that Taylor Swift would swoon for and that will blow the nonexistent roof off both Denver’s Red Rocks and the Hollywood Bowl. Nearby, let’s construct a small outdoor performance area for a bonafide Shakespeare festival that has grapevines and a formal English garden (and shade). And because nature is key, I’d also vote for a reflecting pond for all those outdoor sculptures and yes, why not: A butterfly pavilion to encourage pollination — now and well into the future. Carolyn Graham, Editor cgraham@sfnewmexican.com
Speaking of resolutions: Have you signed up for Pasatiempo’s new and improved, chatty, informative, weekly newsletter? It’s SO good. To sign up, visit santafenewmexican.com and scroll on the homepage to the “NEWSLETTER SIGN UP” section. You’re welcome. Follow us: @ThePasatiempo @PasatiempoMag
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OUT THERE ON STAGE
Som mething tragic this way comes
New Mexico Actors Lab 1213 Parkway Drive 6:30 p.m. Friday through Sunday, January 19-21, as well as January 26-28 $10-$20 upstartcrowsofsantafe.org For more information about the Upstart Crows of Santa Fe or to get involved, email Caryl Farkas at caryl@UpstartCrowsofSantaFe.org.
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PASATIEMPO I January 19-25, 2024
COURTESY DAVID MCGAHEY
Members of Upstart Crows can choose to direct a play that carries deep p meaning for them when they matriculate out of the Shakesp peare troupe for ages 10 to 18. The group refers to the culminaating project as a Blackfriars production. In June, Rylie Philpo ot, now 18, helped present close friend Itai Rosen’s intended Bllackfriars production, King Lear. Rosen died unexpectedly in Au ugust 2022. It’s now Philpot’s turn to direct her own, and she selected Macbeth. King Lear was staged d at the Crows’ Nest, an outdoor performance space in Eldorado o. Macbeth will be in the warm confines of the New Mexico Acttors Lab. In an interview conducted viaa email, Philpot says she plans to study engineering and isn’tt yet sure where she will attend college or whether she’ll contin nue to seriously pursue theater. Philpot, a senior with The MASTEERS Program, doubts that she’ll ever act as a career. “Even so, I have a dream, one that I shared with an old friend, Itai, to own a theater in which I can employ and house the homeless until they have enough money to either move on to their own homes and jobs, or stay in the theater,” she writes. “It may be difficult to accomplish, but so are many of the things I have done with the Crows.” Philpot says she’s sad to be leaving the Crows and grateful for all she has learned. She adds that she selected Macbeth for her Blackfriars production because it’s unique among Shakespeare’s 37 plays. “It follows the story of a hero who, through fear, becomes the villain,” Philpot says. “At the play’s start, Macbeth has everything: a wife, a thaneship, great friends, and respect from the rest of the court. His decline into fear, tyranny, and eventually villainy is something I find so fascinating. The play’s central themes of masculinity and war heavily influenced my vision — that, in contrast with feminine power and camaraderie.” — Brian Sandford
Rylie Philpot performs in a Youth Shakespeare Festival production of Macbeth. Philpot will be directing Macbeth for her Blackfriars production as her time with the youth ensemble Upstart Crows comes to an end.
POP CULTURE
Prepare to geek out Dust off your costumes and get your autograph book ready. Albuquerque will stand in for Hollywood Friday through Sunday, January 19 through 21, when it hosts Comic Con at the Albuquerque Convention Center. Christopher Lloyd, star of Back to the Future and a two-time Emmy Award-winner for his work in Taxi, will serve as one of the event’s headliners. Henry Thomas, the former child star of E.T. the Extra-Terrestrial, will also be on hand, as will Famke Janssen, who starred in the James Bond film GoldenEye and in the X-Men films as Jean Grey. If you’re planning to attend in costume, the Albuquerque Comic Con has a few rules you should be aware of: No bladed weapons are allowed, and arrows cannot have real tips. No guns are allowed as part of costumes unless it is clear they are not real weapons. — Spencer Fordin
Christopher Lloyd is among the celebrity guests at Comic Con in Albuquerque.
Albuquerque Comic Con 4-8 p.m. Friday, January 19 10 a.m.-4 p.m. Saturday, January 20 10 a.m.-6 p.m. Sunday, January 21 Albuquerque Convention Center 401 Second Street NW $20-$65 albuquerquecomiccon.com
COURTESY OJO SPA RESORTS
Clockwise from left: People chat while soaking in hot mineral water at Ojo Caliente Spa Resort. Hot water pours into one of the pools at Ojo Caliente. Despite being surrounded by snow, Ali Davis and Alex Broom of Amarillo, Texas, stay warm at Montezuma Hot Springs.
COURTESY OJO SPA RESORTS
NATURE
Find yourself in hot water
PHOTO JUDY GIBBS ROBINSON
Whether you ski, sled, snowboard, snowshoe, ice skate, or spend the cold, snowy months by the fire, there’s no better time than winter to soak your bones in one of New Mexico’s dozens of hot springs. When the cold air hits the hot water, steam rises around bathers who alternate between full immersion until they break a sweat and half in, half out, to cool off. If you’re really lucky, your hot pool will be surrounded by fresh snow, further enhancing the contrast between your toasty toes and your chilly nose. Science has not fully verified all the healing properties some advocates attribute to a hot springs soak, but no one disputes the relaxation factor, a result of the water’s warmth and buoyancy. The warmth and gentle pressure of water on skin increase blood circulation, which soothes sore muscles. Additionally, because the water bears most of your body weight, muscles can further relax. Natural hot springs are a gift to New Mexico from our volcanic past. Because of those long-ago eruptions, the state is rich in geothermal activity, which warms underground water. Sometimes that water bubbles to the surface, creating hot, mineral-rich pools. And where there is hot water, there will be people: New Mexico’s hot springs show signs of human activity at least since the ancestral Puebloans, who used the waters for religious and healing purposes. You can still hike to a natural hot spring and bathe for free as our ancestors did. But these days, you can also take the easy route and luxuriate in a spring-fed spa, which often includes not only hot water but also massages, facials, mud baths, salt scrubs, and more. Either way, you’re going to break a sweat doing nothing and come away feeling like a million bucks. Depending on your budget and your taste for adventure, here are three northern New Mexico options for soaking:
High end: If pampering is what you’re craving, consider a stay (two nights minimum, starting at $365 a night) at Ten Thousand Waves, 11 minutes up Hyde Park Road northeast of downtown Santa Fe. The room reservation includes all the soaking time you want, plus priority booking for private spa treatments, massages, and reservations at the on-site Izanami restaurant (all at additional cost). Imagine how radiant you’ll feel after an 80-minute massage. Packages include a Japanese organic facial massage ($465), a shiatsu massage ($321), or a CBD massage ($311). 21 Ten Thousand Waves Way, 505-9829304; tenthousandwaves.com Medium range: Drive about an hour north of Santa Fe to reach Ojo Caliente, where Ojo Spa Resorts boasts of having four healing minerals in its water: arsenic, lithia, soda, and iron (and no sulfur, the smelly stuff ). You can book a room here and enjoy an array of pricey spa treatments or skip the hands-on stuff and buy a one-day soaking pass for all the hot water you can stand. Cost is $45 Monday through Thursday and $65 Fridays through Sundays and on holidays. The fee includes a locker and towel. You can rent a robe for $18. 50 Los Banos Drive, Ojo Caliente, 877-977-8212; ojosparesorts .com/ojo-caliente Low end: If you’re willing to rough it a little — like bringing your own towel — you can bathe for free at Montezuma Hot Springs, located about 72 miles east of Santa Fe near Las Vegas. In the 1890s, the now-defunct Montezuma Hotel plumbed the bubbling hot water into several open-air concrete pools ranging from very hot to
warm. The former hotel is now the administration building for United World College-USA, which allows free public access to the adjacent pools as long as you follow a few regulations, including mandatory bathing suits. The New Mexico Tourism Department has information and links to many of the state’s hot springs at newmexico .org. — Judy Gibbs Robinson/For The New Mexican
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LISTEN UP
Self-conversation starters Santa Fe poet and workshop leader Janna Lopez uses a self-taught method to get the best out of herself and those she seeks to inspire: self-conversation. She describes it as “thinking and unlearning what you know about writing. It’s about connecting to that place within you where your deepest reflections, expressions, memories, observations, and beliefs have a chance to gift back to you and reflect to you those parts of yourself that you’re needing to connect with at this moment.” Lopez laughingly acknowledges that her descriptions might sound “a bit woo-woo,” but the Santa Fe poet laureate ambassador — she’s filling the laureate role until February 1 — embraces spiritual and intellectual exploration. People interested in doing the same via poetry are invited to participate in the first two sessions of the free Writing Generation Series, offered via a partnership between the creative writing programs at Santa Fe Community College and the Institute of American Indian Arts. Subsequent sessions featuring yet-to-benamed writers are planned, with a culminating reading May 1 involving all participants. On Wednesday, January 24, Lopez is set to share work from her latest poetry collection, such is.
PHOTO DANIEL ULIBARRI
OUT THERE On January 31, she’ll share her creative method with attendees, who will be invited to use it to write their own poems, then share with others — if they want to. Lopez prefers the term “writing invitations” to the more traditional “writing prompts.” “The reason is because prompts imply you have to do something,” she says. “You cannot beat creativity into submission through the expectation of your mind. You might get a couple of hundred words done, but I’ll bet you don’t come back to those words. ‘Invitation’ means you can write or not write; you can respond or not respond. Just knowing that you have that option opens up possibilities.” Lopez leads workshops periodically; the most recent was Possibility Through Poetry on December 30 at the Santa Fe Library. She also plans to do some work with youths at the Santa Fe Teen Center. “What’s interesting is the people who have stayed with me, this method takes some time to unlayer,” she says of self-conversation. “It takes some time to really understand and integrate and even when you think you know, something will happen. You’re like, ‘Oh, I get it now. That’s what you meant.’ And so the self-awareness unfolds.” Lopez says she’s passionate about poetry in part because people have failed to understand it for so long. “It’s been socially and culturally and educationally placed as if it belongs on a separate, unrelated pedestal,” she says. “Once I’m able to connect with people and open up these pathways and doorways, helping them relearn and re-engage and reimagine poetry, the lightbulb goes off and suddenly everything is possible. There is no form of art that I can think of that connects people at such a deep and profound level once they remove the barriers of perception that they’ve long held.” — B.S. Writing Generation Series initial sessions 6 p.m. Wednesday, January 24 (reading by Lopez); 6 p.m. January 31 (creative session led by Lopez) Online 505-428-1506 Poet Janna Lopez will lead an online writing course in which she will teach her method of self-conversation as a tool to spark creativity.
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PASATIEMPO I January 19-25, 2024
Free; register at surveymonkey.com/r/ WritingGenSpring24.
AWARDS SEASON
R hymes and beats Hip-hop is celebrating its golden anniversary, and the New Mexico scene is entering a golden era. The second annual New Mexico Hip-Hop Awards will be held at the Lensic Performing Arts Center on Saturday, January 20, and it will aim to celebrate the craft of a growing community. Chris Soveranez, the executive director of the New Mexico Hip-Hop Awards and a performer who works under the name of Sove C.R., says around 700 people attended last year’s Hip-Hop Awards and that he hopes the event will build an audience over time. “What we’re trying to do is help shape Above: Artist Lil’ Renzo the scene,” Soveranez says. “We have walks the red carpet at some very talented artists, and I definitely the 2023 New Mexico believe there’s a fanbase to hold that up. Hip-Hop Awards. We have acts that have a real coherent sound, but what’s typically heard around New Mexico is an old school sound, like a sound from the 1990s to the early 2000s. We’re trying to change that.” The awards are voted on by a cross-section of judges who live across the state, and more than 700 submissions were sent in for this year’s group of candidates. Soveranez says the artists come from all over New Mexico, but they are heavily centered in Albuquerque. “A lot of them come from Albuquerque, because that’s where the scene is,” he says. “But we did have people from all over the state; we had people from Alamagordo and Las Cruces. I don’t know about further up north, but there are a lot of Santa Fe artists.” This year’s Female Artist of the Year candidates include C. Nest, Envee The Queen, Emariposaa, and Nitalia V; Male Artist of the Year candidates are Alexx Cloud, Def-I, Geoffrodamus, and Jawny Badluck. There’s one artist, Dremon, who may be turning heads outside the state. The Albuquerque-based rapper’s song “Shiftin’” was included in the nationwide release of the computer and video game NBA 2K24 and is nominated for New Mexico’s Hip-Hop Song of the Year. “That’s a big deal; that song is making a lot of waves,” says Soveranez. “That’s the first time I’ve ever heard of a New Mexico artist getting on NBA 2K.” — S.F. 5 p.m. Saturday, January 24 Lensic Performing Arts Center 211 W. San Francisco Street $15-$35 505-988-1234; lensic.org
Annual sale
RANDOM ACT
A shell of a place The Aunties: Women of the White Shell Water Place is a celebration in storytelling, music, and media arts of three New Mexico women — Nora Naranjo-Morse (Kha’p’o Owenge/Santa Clara Pueblo), Deborah Taffa (Yuma Kwaa-Tsaan/Laguna Pueblo), and Laura Tohe (Diné/Laguna Pueblo) — and of the tradition they embody, that of “the aunties” who nurture, shape, and heal Indigenous communities. The title refers to the place name given by ancestral Tewa people to the area now called Santa Fe, “Oghá P’o’oge,” which means White Shell Water Place. Naranjo-Morse was born into an extended family of potters and grew up in an environment rich with female relatives who worked with clay. Her own creations are in collections at the Smithsonian Institution, the Heard Museum in Phoenix, and on the grounds of the National Museum of the American Indian in Washington, D.C. In describing her cultural heritage, Naranjo-Morse says, “In the Tewa language, there is no word for art. There is, however, the concept of an artful life.” Taffa leads the MFA program in creative writing at the Institute of American Indian Arts. Her memoir, Whiskey Tender, will be released by HarperCollins on February 27. She holds an MFA in writing from the University of Iowa and has been a MacDowell, Hedgebrook, Tin House, and Kranzberg fellow. The daughter of a Navajo Code Talker and the Navajo Nation’s current poet laureate, Tohe is an author, librettist, and award-winning poet. Her published work includes multiple volumes of poetry, serving as editor for an anthology featuring Indigenous women writers, an oral history book on the code talkers, and a commissioned libretto for Enemy Slayer, A Navajo Oratorio, which the Phoenix Symphony premiered in 2008. Top to bottom: Deborah TheAunties is a project of the Olympia, WashingtonTaffa, Laura Tohe, and based Indigenous Performance Productions, a Nora Naranjo-Morse are nonprofit whose mission is “Sharing stories by the aunties celebrated in Women of the White Indigenous culture leaders that confront, shape, Shell Water Place. and align our world toward a more inclusive and thoughtful future.” The organization plans for it to become part of a documentary film series that also features Aunties from across Turtle Island (North America), including currently Washington State’s Lummi Nation and Squaxin Island Tribe, as well as Minnesota’s Ojibwe and Dakota People. After the performance, Isleta Pueblo’s Tara Gatewood hosts a School for Advanced Research-sponsored talkback with Naranjo-Morse, Taffa, and Tohe. — Mark Tiarks/For The New Mexican 7:30 p.m., Wednesday, January 24
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THROUGH JANUARY 31
Marble Medicine Bear with inlaid accents by Hiram Peynetsa, Zuni Pueblo
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227 Don Gaspar, Santa Fe Keshi.com 505.989.8728
bridge building With Paper and Paste Across Generations
public talk by cal duran
Lensic Performing Arts Center
Sunday, January 21 · 2:00 – 3:00 PM
211 W. San Francisco Street
Join us for a public talk with multi-media artist Cal Duran, who will explore the many layers of storytelling, time, imagination, and heart that goes into his papier mâché installations.
$25-$85 505-984-8759; performancesantafe.org CALENDAR NOTE: The Friday, January 19, Santa Fe performance by the Alash Ensemble (Tuvan throat singers) is canceled and ticket holders should reach out to Performance Santa Fe (505-984-8759) for a refund. However, AMP Concerts added an encore performance of the group scheduled for 9:30 p.m. on Friday, January 19, at Fusion 708 (708 First Street NW, Albuquerque). Tickets are $35; ampconcerts.org.
Presented in conjunction with La Cartonería Mexicana | The Mexican Art of Paper and Paste free with museum admission · asl interpretation provided
On Museum Hill in Santa Fe InternationalFolkArt.org · (505) 476-1204
Installation detail from El reino de los muertos | Realm of the Dead, UNC Galleries, 2023. Photo courtesy of the artist. This event is generously funded by the International Folk Art Foundation.
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IN OTHER WORDS
A wild and precious life Photographer Tony Bonanno captures the power and beauty of France’s Camargue horse PHOTOGRAPHY HORSE OF THE SEA: THE WHITE HORSES OF THE CAMARGUE (bilingual edition); text and photo by Tony Bonanno, translated into the French by Audrey Bourriaud; Chusco Editions; 2023; 132 pages
Ania Hull l For The New Mexican
TO
take a photo of a moving horse, Tony Bonanno says, shoot wide and fast and frame later. This concept can also apply to that poetic notion about living a wild and precious life: to live it, say “yes” to everything, especially to anything that does good in the world, and wait to see what happens. Bonanno, a professional photographer based in Santa Fe and the author of Horse of the Sea: The White Horses of the Camargue, said “yes” a lot throughout his life. He said “yes” to teaching high school biology, to working for the National Park Service, to working overseas, to taking a job on Cape Cod — where he was reminded how gorgeous the world is. He said “yes” to buying that Canon camera at Hunt’s, a camera store in Boston considered to be among the oldest in America. He also said “yes” to relearning photography, to allowing it to take over his life, and to teaching his craft at workshops in Santa Fe as well as Cuba, Mexico, Peru, France, and elsewhere. And in 2015, Bonanno said “yes” to a former student, a photojournalist who invited him to co-lead a workshop with her in France, south of Arles, where lakes and lagoons lick the Rhône Delta and the Mediterranean Sea. There, Bonanno found an old community of wetland cowboys who speak an ancient tongue and raise saltwater horses and small but fierce bulls. Bonanno fell in love with the region and its people — as well as with their way of life, which he now worries is on the brink. He promised himself
he would help educate a wider audience about this culture through his photography, starting with publishing his photo book, Horse of the Sea. The horses of the Camargue, as readers learn early on in the book, are a venerable and protected breed with a light grey or white coat, and one of the oldest horse breeds in the world. Their presence in the Camargue in southern France dates back to several centuries BCE. Their exact origin is unknown, but according to one story, le cheval de Camargue (the horse of Camargue) was born from the froth that lingers on the surface of the sea, or in French, from l’écume de mer. Legend has it that thousands of years ago, a man escaped an angry bull by running into the sea, only to be saved by a stallion who surged out of the foam atop a wave. The stallion told the man that he would never be the man’s servant, but his friend. “Most of them [Camargue horses] are smaller, bigger than a pony, but they’re not big horses at all,” Bonanno says over coffee one cold January afternoon. “What I found fascinating about them was that they have very wide hooves, and they’re very, very comfortable in water, which is not very stable, and is mucky and muddy and slippery.” Bonnano worked with horses in the National Park Service and had since become a respected equine photographer. His Hooves & Dust series, for continued on Page 13
Photogtapher Tony Bonanno captured stunning images for his book Horse of the Sea. Left: Gardians work the semi-wild Camargue horses. These French cowboys are considered the protectors of the ancient equine breed. Right: A rasateur in southern France attempts to remove a ribbon (cocarde) attached to the bull’s brow. Camargue stallions are used to help gardians herd cattle and champion bulls, which are never harmed during the traditional arena events called courses camarguaises. Opposite: The striking white horses have wide hooves that help them navigate the harsh wetland terrain.
10 PASATIEMPO I January 19-25, 2024
PHOTO TONY BONANNO
“The more I shoot, the more critical I become of my compositions. I think that I actually have become a better horse photographer. However, what I really have learned is the appreciation of that gardian culture and those powerful, wonderful horses.” — Tony Bonanno
PHOTO TONY BONANNO PHOTO DIANE WILLIAMS
Book signing Photographer Tony Bonanno will offer a presentation on the Camargue culture followed by a conversation with Mark Berndt and a book signing at 3 p.m. on Sunday, January 21, at Edition One Gallery, 729 Canyon Road, 505-982-9668; editiononegallery.com. Learn more about his work at bonannophoto.com.
Gardians (top left) work with the Camargue horses. Tony Bonanno (bottom left) hopes to educate a wider audience about the Camargue culture through his photo book, Horse of the Sea (top right). Two of the powerful horses spar (above) in the marshes of southern France, where they are a revered and protected breed.
12 PASATIEMPO I January 19-25, 2024
Tony Bonanno, continued from Page 10 example, portrays horses of the American Southwest at their most majestic; so much so that Bonanno is sometimes asked to teach equine photography, and, on occasion, is sent into the field, here in New Mexico and elsewhere. “In the Carson National Forest, there’s still a herd of mustangs, and I was asked to go up there several years ago, with one of the people who’s working with a research group, and try to get some photographs,” he says. “I did get a few photographs, but it was not easy. And I wasn’t able to get a lot, because they’re very shy.” The horses of the Camargue were more obliging. They may not be as wild as New Mexico’s mustangs, but they are considered semi-wild or feral. And yet, they are far from shy. “They would come up to you, friendly and curious,” Bonanno says, recalling his first trip to the Camargue. “I’d be standing there with my camera with a couple of students. Next thing I know, I got those horses right here.” He gestures at the space between his neck and shoulder where a horse would put its head. “They have no fear of people.” To this day, Camargue horses are born in the wild, never in captivity, and spend their lives on vast expanses of flat wetland. They live in herds, or manades, as they’re known in the area, which consist of a dozen individuals, mostly mares and foals, plus a stallion. The manades are looked after, more often than not from afar, by gardians, whose name loosely means “horse herder” in the Occitan language or langue d’oc. The gardians live by three fundamental values: faith, hope, and charity. Gardians never ride mares, and they return to the wild those stallions who don’t pass the fear test in front of a Camargue bull. The stallions who do pass help gardians herd cattle and champion bulls. In the summer, select bulls (bióus) partake in traditional arena events called courses camarguaises, where the bull is never harmed and often eclipses his human opponent (raseteur) in fame. Horse of the Sea includes dozens of striking black and white and color photographs of horses, gardians, and bulls. When asked how he came to choose which photos to render in black and white and which in color, he points at the black and white of two stallions sparring, one white and the younger one darker. Had the photograph been in color, the viewer might have missed the line that differentiates the horses, as well as the adversarial feeling to their separate movements. “Sometimes, color plays an important part of the composition,” Bonanno says. “Other times, color actually distracts from the compositional element.” Bonanno also elaborates on his earlier tip about shooting wide. “You want to be able to shoot fast, you want to be able to shoot wide, and create your final composition from within the wider shot,” he says. “If you try to compose through the viewfinder, while they run, you’re not going to get it — you’re going to cut off a head or a tail or something.” And the secret to living that wild and precious life? Continue learning. “The more I shoot, the more critical I become of my compositions,” he says. “I think that I actually have become a better horse photographer. However, what I really have learned is the appreciation of that gardian culture and those powerful, wonderful horses.” ◀
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Ania Hull is a journalist and writer based in Albuquerque. She writes about the arts, the environment, book culture, film culture, immigration, and travel.
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IN OTHER WORDS
REVIEW
A witty look at a better world FIC TION
YOU ONLY CALL WHEN YOU’RE IN TROUBLE by Stephen McCauley, Henry Holt, 336 pages Meredith Maran I For The Washington Post
Since his first novel, The Object of My Affection, became a bestseller in 1987 and a hit movie in 1998, Stephen McCauley has been writing stories that challenge and expand the definition and parameters of gay life and the “gay fiction” category. In the film, Jennifer Aniston (straight) and Paul Rudd (gay) play best friends who become lovers and co-parents. In McCauley’s 1996 novel, The Man of the House, roommates Clyde (gay) and Marcus (straight) obsess over their exes with the equal-opportunity angst of teenagers. My Ex-Life (2018) revolves around (gay) David’s tortured relationship with his (straight) ex-wife, Julie. In McCauley’s tales, then and now, the rigid rules of sexual-orientation segregation do not apply. Thanks in part to this kind of bias-busting representation, much has changed for queer people, in life and in literature, since the 1980s, which the magazine Bookseller called “the decade of the gay novel.” AIDS. Don’t Ask, Don’t Tell. Legal marriage. Gender-neutral bathrooms. Openly queer legislators, news anchors, football players, rappers. It’s a testament to McCauley’s prescience, faith, and talent for fictional world-building that his eighth novel — the first in five years — resumes the wish-andmake-it-true fiction that he and other gay authors started publishing decades ago. In You Only Call When You’re in Trouble, McCauley drops us into a real-life land, somewhat resembling ours now, in which sexual orientation is part of the landscape, not an unnatural disaster, and love is love (and mishegoss), no matter its form. In alternating chapters, we hear from McCauley’s three related but very different protagonists: gay, 60-something architect and Olympic-level codependent Tom; Tom’s self-serving, needy, straight younger sister, Dorothy; and Dorothy’s professor daughter, Cecily. As the novel opens, Dorothy is ambivalently inviting Cecily to attend her latest gambit: the opening of her new retreat center in Woodstock, N.Y., which is her “last chance at a business success.” When her daughter shows up, Dorothy decides it’s finally time to correct the lie she’s told for 30 years: that she doesn’t know who Cecily’s father is. Dorothy does indeed know, and that truth, if told, has the power to shatter Cecily’s world. As he has done for nearly four decades, McCauley weaves a witty social critique from the interplay between his characters and the day’s breaking news — in this case, Cecily’s ripped-from-the-headlines suspension from her teaching job, following charges that she sexually assaulted a female student, who, she assures us, actually lunged at her. “In academia, discomfort of any kind was increasingly equated with trauma,” Cecily explains. “But if you described a kiss from a student as ‘trauma,’ what word was left for the suffering of refugees freezing and starving 16 PASATIEMPO I January 19-25, 2024
in tents all over the planet?” Her doting uncle, Tom, poohpoohs the accusation, attributing it to “that generation’s eagerness to hunt down, unearth, buff, and polish every scrap of experience that could be put on the trophy shelf of Slights, Insults, Microaggressions, and Trauma.” Victim-status-seeking though it may be, the accusation ripples through every aspect of Cecily’s life. Her boyfriend’s prim mother threatens to banish her son from the family if he stays with an alleged abuser. To avoid forcing that choice, Cecily flees to the cottage built just for her by Tom, whose long-term boyfriend, Alan, has just left him, citing his codependent caretaking of his sister and niece. Despite his cynicism about marriage — “Monogamy,” Tom says, “was as unsustainable and unhealthy as a raw food diet and, in the case of male couples, as cloying as matching sweaters” — Tom begins a fruitless campaign to win Alan back. Finding himself single at 63 exacerbates the indignities of aging. “For him and most of his peers, attempting to stay ‘young’ amounted to deriding the things they’d grown to enjoy (nostalgic music, dull food, large-print books) and condemning as ‘too old’ politicians who were more or less their own age.” Like his previous novels, You Only Call When You’re in Trouble is a skillfully written, playful paean to a melting-pot society, in which love means never having to name your orientation, and neuroses like failure to launch, narcissism, and codependency are equally distributed across the populace. At the novel’s denouement, in which Cecily demonstrates long-awaited signs of maturity, and Dorothy soars to new heights of self-centeredness, and Tom finally hits his limit for codependence, issuing words we thought we’d never hear from him — “The answer is a firm no” — it seems irrelevant that two of these characters are heterosexual and one is gay. It seems downright old-fashioned to even peer at the novel’s conclusion through that prism. Depending on your vision of a post-homophobic world, you might find this blurring of once-defining differences disappointing, or unrealistically optimistic, or triumphant. Depending on your place on the caring/ compassion/codependence continuum, you might agree with, or shudder at, Tom’s weary— or is it Zen? — conclusion: “At a certain point, you have to accept that your life is the choices you’ve made.” But whatever your politics and predilections, McCauley’s gifts for prose, plot, and provocation are likely to offer you a few fast-flying hours in his sunny, slightly futuristic world. ◀ Meredith Maran is a journalist, a critic, and the author of The New Old Me: My Late-Life Reinvention, among other books.
Like his previous novels, You Only Call When You’re in Trouble is a skillfully written, playful paean to a melting-pot society, in which love means never having to name your orientation, and neuroses like failure to launch, narcissism, and codependency are equally distributed across the populace.
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Spencer Fordin l The New Mexican
OFF THE WALLS
PHOTOGRAPHY FEATURED IN THE NMMOA’S NEW EXHIBIT REFLECTS THE EYE OF THE BEHOLDER
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18 PASATIEMPO I January 19-25, 2024
ALL IMAGES COURTESY NEW MEXICO MUSEUM OF ART
aroline Burnett is sitting in an office with half-empty walls. She’s trying to describe what was there just days before and what visitors to the New Mexico Museum of Art will find when they explore the museum’s new Ways of Seeing photographic exhibition. Burnett, who began collecting decades ago with her late husband, William, says that if there’s a theme to the work she treasures, it’s the depiction of the beauty of humanity. In her case, it’s mostly black-and-white photos, and it’s mostly women radiating some kind of palpable emotion. “They all bring me in,” she says of the pieces she’s collected. “They have some pensiveness or passion or some expression of their lives that speak to me.” Burnett has lived in Santa Fe since the early 1990s, and she is one of two local contributors to the exhibit, which aims to celebrate the individual tastes of individual collectors. Jamie Brunson, a Lamy-based artist and collector, is the other local contributor. Other collectors are Don Moritz, who amassed a treasury of prints by El Rito-based photographer David Michael Kennedy, and W.M. Hunt, a New York-based curator who published The Unseen Eye: Photographs from the Unconscious (Aperture, 2011). In that book, the subjects are captured either not looking at the camera or just without eyes, and the photographs he contributed for Ways of Seeing run along similar themes. That’s part of the charm of the exhibit, says curator Kate Ware. The art is similar to what you might find in someone’s home, and that can be somewhat eclectic. “Private collectors have a lot more flexibility and latitude in terms of what they acquire,” says Ware of the Ways of Seeing collection, which will run at the New Mexico Museum of Art’s Goodwin Gallery until June 16. “It’s a lot of fun to see their distinctive personalities.” Brunson, who moved to New Mexico about nine years ago, says she did most of her collecting with her former husband, Mark Levy. Levy, who died in 2021, was an art professor, and Brunson is a painter who taught locally and showed her work at various
Jeff Brouws, Mobil/Trailer, Inyokern, California, (1991), chromogenic print
galleries in the Bay Area. They both worked as critics for Art Week and spent their weekends visiting galleries and looking for pieces that moved them. “For me, because I’m a painter, there’s no mystery in painting,” Brunson says. “I can look at a painting and go, ‘OK, this was done with that material.’ But photography was more like some kind of magic. It was more possible to focus less on technique and more on the narrative of the imagery. And Mark … was very interested in old culture and religion. Buddhism. Shamanism. He actually wrote a book about the modern artist as shaman.” Together, they traveled to far-flung corners of the world, including India and Thailand. They visited Japan, where Brunson spent part of her childhood.
Everywhere they went, they were attracted to old buildings and nature in the state of destruction. That’s a prevailing theme in the work they collected. Brunson, a geometric abstractionist, speaks of one piece, a Richard Misrach photograph of a submerged gas station in the Salton Sea. Misrach is a pioneer in color photography, and in the image, she says, the art isn’t just in the desert; it’s in what humans left behind and nature took over. There are similar themes in the rest of her collection. One piece, an Edward Burtynsky (a Canadian artist known for his industrial landscapes), shows a proud worker standing in front of the hollowed carcass of a ship. And in another she loves, by John Pfahl (an American landscape photographer),
there’s the dominance of smokestacks spewing industrial bile. For every piece they bought, she says, there’s a story. “Sometimes we would agree together that something was special,” Brunson says. “But sometimes, I would pay special attention to the work Mark responded to, and I would sneak back to the gallery to buy it as a birthday present or a holiday present. That was part of the accumulation process; the idea that it could be a lovely surprise or a gift.” The same is true for Burnett, who recalls that the first piece she ever bought with her husband was an Arnold Newman photograph of Georgia O’Keeffe. They started collecting photography in the late ’90s to decorate their home. They collected classic work by Ansel Adams and Alfred Stieglitz, among others. Burnett says she has a portfolio of nature photographer Eliot Porter that is in full color that she loves dearly, but when she stops and thinks about what moves her, it’s often the starkness of black-and-white images. In one photo from her collection, renowned photojournalist Tony O’Brien’s untitled portrait of a young girl living in a refugee camp in Afghanistan, the subject resolutely stares back at the camera with a battle-worn visage. It’s the poster for Ways of Seeing. “It’s a picture that brought me to tears the first time I saw it,” Burnett says. “In my journey, photos have to have a passionate impact on me. I’m not saying I have
to be brought to tears, but there are plenty of pieces I like that don’t have that level of emotional draw to them for me. I don’t buy just for the sake of buying art. With every piece, there’s a reason I purchased it.” Another piece of hers appears as part of the Manuel Carrillo exhibit at the New Mexico Museum of Art, and over the last few years, she’s had pieces on display in a number of other exhibitions. She says she found joy in collecting for herself and now relishes the opportunity to share it with the community. When you’re walking through the Ways of Seeing exhibit, Burnett says, she hopes visitors will consider not just the perspective of the artist but also of the people who treasured their art. “I don’t want to make it sound like an assignment,” she says. “But I hope people will see this exhibit — mine and the other collectors’ — and look at it through the lens of, ‘Why is this part of someone’s collection? Where is the beauty that might be seen?’ Somebody saw this beauty, and they’re sharing part of who they are by putting together this collection for this exhibition.” ◀ Ways of Seeing Opens Saturday, January 20, and runs through June 16 Goodwin Gallery, New Mexico Museum of Art 107 W. Palace Avenue 505-476-5063; nmartmuseum.org
Alfred Stieglitz, Marie Rapp (1914), gelatin silver print. Top: Gertrude Käsebier, Blessed Art Thou Among Women (negative 1899, printed 1903), photogravure Left: David Michael Kennedy, Rain, Luna County, New Mexico (negative 1989, print 1992, palladium print 2022)
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Brian Sandford I The New Mexican
Holding pattern
INDIGENOUS ARTIST NICHOLAS GALANIN’S EXHIBITION INVITES VIEWERS TO SCREAM AS THEY EXPLORE IMPACTS OF COLONIZATION
B
efore viewing Nicholas Galanin’s Interference Patterns, a sprawling SITE Santa Fe exhibition delving in part into the legacies and consequences of colonization, visitors might hear uncontrolled screaming and wonder if they’re about to see more explicit horrors than they’d imagined. The first room featuring the Indigenous multidisciplinary artist’s work houses Neon American Anthem, an 11½-by-16-foot stark neon sign reading, “I’ve Composed a New National Anthem: Take a Knee and Scream Until You Can’t Breathe.” Fifteen mats are arranged in front of the buzzing red letters in what curator Brandee Caoba calls an invitation for catharsis.
“‘Take a knee’ was made popular through [former San Francisco 49ers quarterback] Colin Kaepernick in the NFL,” she says. “It’s at once a gesture of reverence but also defiance, and ‘scream until you can’t breathe’ is a reference to police brutality and the murders of George Floyd and Tyre Nichols and so many other people of color by police. There’s so much reverberating settler colonial violence and generational trauma in New Mexico. … There’s a lot to be screaming about right now.” Caoba is pleased so many visitors have been comfortable flouting societal expectations and shrieking within earshot of others. The exercise might set them up for an even more raw emotional
continued on Page 22
PHOTO BRAD TRONE/SITE SANTA FE COMMISSION WITH THE SUPPORT OF PETER BLUM GALLERY, NEW YORK, AND BECKY GOCHMAN
PHOTO ZACH CHAMBERS/COURTESY SITE SANTA FE AND THE GOCHMAN FAMILY COLLECTION
PHOTO ZACH CHAMBERS/COURTESY SITE SANTA FE
20 PASATIEMPO I January 19-25, 2024
experience as they explore the seven other gallery spaces containing Galanin’s creations. In the heart of the exhibition, three pieces intersect to resonate with viewers. You’re Doing Such a Good Job is as uplifting as the title suggests. On a 12-by-15-foot video screen, an off-camera Galanin (Tlingit-Unangax) speaks kind phrases to his pigtailed 4-year-old son At Tugáni’, who grins joyfully as the Pyramid Mountains near their Sitka, Alaska, home tower magnificently in the background. The phrases include “I love you I love you I love you,” “You’re the sweetest,” and “Thank you” and are spoken in Lingít.
Nicholas Galanin’s Neon American Anthem (red) (2023, neon by Noble Neon, Seattle) extends an invitation to visitors to interact with the work in the SITE Santa Fe exhibition. Opposite page, from left: Installation view of Galanin’s Interference Patterns; the artist’s White Flag (2022), installation detail
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Galanin took part in an artist talk on October 7 at SITE Santa Fe, and At Tugáni’ was one of three family members who accompanied him. At Tugáni’ hadn’t seen the show, Caoba says, and exclaimed, “Oh my god, that’s me!” upon seeing the screen. “Just hearing a father speak words of care to his son is kind of revolutionary in some ways, and it is healing and beautiful,” Caoba says. “Nicholas is speaking Lingít language, which was lost; he wasn’t taught it growing up. I think because of colonization and residential boarding schools, it wasn’t passed on in his family. So through his artwork, he is reclaiming the language. He’s learning this language; he’s teaching his son this language. And he’s implementing it with words of care.” The interaction includes large English subtitles and is heartwarming enough to induce tears of joy. Near the base of the screen, Indian Children’s Bracelets is heartbreaking to the point of evoking a different emotion with tears. It consists of a small pair of handcuffs clearly not intended for adults, sending one’s mind spinning about the evil they helped facilitate. It doesn’t require much imagination, given their proximity to the video of a smiling Indigenous child. “These handcuffs are not unlike those that were used to forcibly remove children from their homes,” Caoba says, referring to young Indigenous people being sent to boarding schools to essentially be culturally deprogrammed. “There are a lot of layers. He’s definitely critiquing the way the Western culture 22 PASATIEMPO I January 19-25, 2024
Opposite page: Galanin’s Infinite Weight (2022), installation view
covets and logs Indigenous jewelry, Indigenous art, Indigenous culture, while it doesn’t want to look at the history of Indigenous people.” Loom, a few feet away from Indian Children’s Bracelets, is a tower of stacked school desks. “All of the works reference the historical trauma of residential boarding schools in Canada and the United States,” Caoba says. “There were, like, over 400 boarding schools across the United States and Canada, and 42 of them, I believe, were in New Mexico.” Earlier in Interference Patterns, Indian Land is a photograph of block letters spelling those words against a mountain backdrop near Palm Springs, mimicking the famous sign elsewhere in California. “These are huge public art pieces; each letter in Indian Land stands 45 feet tall,” Caoba says. “It’s the same scale as the Hollywood sign. It obviously references the Hollywood sign, which used to say, ‘Hollywoodland.’ That was a new housing development that displaced a lot of Black and brown people in that area, and it was designed to keep them out.” Upon closer inspection, White Flag, on a wall facing Indian Land, reveals a polar bear clinging to a piece of wood, its arms outstretched. The bear was killed by European trophy hunters in the 1920s, Caoba says; Galanin purchased it on eBay. Caoba calls it the sharpest critique of climate change she has ever seen. “I think it’s interesting being a New Mexican, living in the Southwest climate, and Nicholas living in Sitka,” she says. “Both of our environments are front lines for the impacts of climate change, in some sense, with melting icebergs there, and fires and water scarcity here.”
Near the exhibition’s end, Converted, Unconverted juxtaposes a pristine deer hide with one of similar size that’s pixelated, as though the original image had been uploaded, then output on a low-resolution printer. It’s a statement on how the complexity of culture gets lost in the process of conversion, Caoba says. Caoba became familiar with Galanin’s work in 2015. A video he had created nine years earlier of an Indigenous dancer moving to modern music, followed by a modern dancer moving to traditional music, was featured at the since-closed Red Dot Gallery on Canyon Road. Galanin composed the modern music; he also wrote all the texts accompanying his creations, a rarity in the art world. Caoba approached Galanin about being featured at SITE Santa Fe in 2021. The video and music she’d seen at Red Dot are at the end of Interference Patterns. “When we started our conversations, we were focusing on ideas around climate change, how it’s predicated on colonization,” she says. “We developed a checklist that evolved into this show, which is speaking to both the ways that natural patterns are being interfered with by human-driven climate change, and also ways in which we can interfere with systemic oppression.” ◀ Interference Patterns Through February 5 SITE Santa Fe, 1606 Paseo De Peralta Free 505-989-1199; sitesantafe.org
PHOTO BRAD TRONE/COURTESY SITE SANTA FE
PHOTO ZACH CHAMBERS/COURTESY SITE SANTA FE AND THE GOCHMAN FAMILY COLLECTION
Nicholas Galanin, continued from Page 20
From left: Nicholas Galanin, The Imaginary Indian (Paradise) (2022), installation view at SITE Santa Fe; works by the artist in the Interference Patterns exhibition
ABOUT THE ARTIST
PHOTO MERRITT JOHNSON
PHOTO ZACH CHAMBERS/COURTESY THE ARTIST AND PETER BLUM GALLERY, NEW YORK
In his art, Nicholas Galanin (Tlingit-Unangax) works to address the effects of colonialism, the misappropriation of Indigenous visual culture, and society’s tendencies to forget that either ever took place. He and his family live in Sitka, Alaska. The city of about 8,500 residents is a five-hour ferry ride to the closest commercial airport, in Juneau. Despite that relative isolation, Galanin has traveled extensively to both share his work and to earn two art degrees. He earned a Bachelor of Fine Arts degree in 2003 from London Guildhall University and a Master of Fine Arts degree in 2007 at Massey University in Palmerston North, New Zealand. Galanin participated in Desert X, Palm Springs, in 2021; Biennale of Sydney in 2020; Whitney (New York) Biennial in 2019; Honolulu Biennial in 2019; and Venice Biennale in 2017. His work is part of the permanent collections at the Museum of Modern Art in New York City; Whitney Museum of American Art in New York; Philadelphia Museum of Art; Art Institute of Chicago; Detroit Institute of Arts; National Gallery of Canada in Ottawa; Museum of Fine Arts in Houston; Denver Art Museum; Los Angeles County Museum of Art; and Princeton University. — B.S.
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MOVING IMAGES
Ania Hull l For The New Mexican
Marvel Studios’ Echo
PHOTO CHUCK ZLOTNICK/COURTESY MARVEL STUDIOS
is a triumph of Native storytelling
Above: Echo director Sydney Freeland (Navajo) attends a November 2023 screening at Violet Crown during which she spoke with IAIA students, many of whom are aspiring filmmakers. Left and below: In Echo, Alaqua Cox plays Maya Lopez, a character who is Native American, deaf, and an amputee, as is Cox.
Y
ou don’t need to be a fan or connoisseur of the Marvel Universe to enjoy Echo, MU’s newest five-episode miniseries now available on Hulu and Disney+. Most of us lost count years ago of all the hundreds of super heroes (and villains) who populate Marvel comics, films, and TV shows, and I can’t tell Captain Marvel apart from Captain Anarchy or Captain America Jr. And if I might be blunt: I’d be the last person to sit through an entire Avengers film, never mind make a night of it. Echo, however, is different, and exemplifies not only an exciting wave of Native storytelling in Hollywood, but also serves as a lesson in how best to add authenticity and true representation to a story that depicts an underrepresented community, be it an ethnic one or one related to a disability. The characters in Echo — and the Native and deaf communities they represent — feel real and relatable. And as filmmaker Sydney Freeland (Navajo) put it during an early screening at Violet Crown Cinema and a conversation about Echo for Institute of American Indian Arts students in late November, the stakes in the miniseries are not to save the world or the universe, but rather to save and protect a family. I was hooked from the first episode. Echo deconstructs the backstory of a lesser-known Marvel character, Maya Lopez, played by Alaqua Cox (Menominee and Mohican), who also portrayed 26 PASATIEMPO I January 19-25, 2024
Maya, aka Echo, in the 2021 Marvel miniseries Hawkeye. Maya is Native American (Choctaw Nation of Oklahoma), deaf, and an amputee who uses a prosthetic leg — as is Cox herself: Native, deaf, and an amputee. In Echo, Maya leaves New York City, where she shot Kingpin to avenge her father, and returns to her hometown in Oklahoma, a place she left with her father when she was still a young girl. The character is complex and nuanced. Maya is angry and vengeful but also hurt, heartbroken, and worried about having to face her family; she wants to play solo, but needs others too. IAIA students, many of whom study filmmaking and were in the audience at the Violet Crown screening in November, responded positively to the two first episodes of Echo. “I spoke with a number of students who really appreciated seeing a superhero who’s Native and then also deaf, of course, and an amputee as well,” says Robert Martin (Cherokee Nation), president of IAIA. “It’s an issue of inclusivity and of being authentic.” He adds that the film industry has changed for the better over the decades. “That’s the difference now that we’re seeing in mass media, in film, and in TV productions,” he says. “When I was a kid, you had non-Natives playing Natives. They weren’t authentic.”
PHOTO JASON S. ORDAZ PHOTO CHUCK ZLOTNICK/COURTESY MARVEL STUDIOS
Being authentic requires filmmakers who tell stories about Native people to have had the experience and the background themselves, and to have lived in and come from a Native community, Martin says. But he acknowledges that it is challenging to achieve the level of authenticity that Freeland and the Echo team did. Creative and talented Native filmmakers have always been there, he says, but they weren’t given the opportunity to tell and produce their stories. Freeland was born in Gallup and has many impressive credits to her record. The two feature films she wrote and directed — the uncompromising Drunktown’s Finest (2014), whose executive producer was Robert Redford, and Deidra & Laney Rob a Train (2017) — both premiered at the Sundance Film Festival. She also has directed episodes of Grey’s Anatomy and most recently co-wrote and directed several episodes of Reservation Dogs, the award-winning Hulu series co-created by Sterlin Harjo and Taika Waititi. During her conversation at Violet Crown in November with James Lujan (Taos Pueblo), chair of the Cinematic Arts and Technology Department at IAIA, Freeland said that as soon as Marvel Studios brought her in to direct Echo, she and her team decided to be as true to their main character as possible. To make Maya’s world feel cohesive and authentic, Freeland worked with Native and deaf writers. Everyone took ASL classes, and when Cox came on set for the first time, everyone greeted her in ASL. “She was so kind, she was so accommodating,” Freeland told the Violet Crown audience. Freeland and her team also insisted on having a dialogue with the Choctaw Nation from the get-go and consulting with them throughout the entire process. Martin applauds this. “There’s so much diversity among Native nations,” he says. “In the lower 48 and in Alaska, there are hundreds of Native nations with their own cultures, traditions, and languages that make them different. People generalize about Native people, and they don’t understand the level of diversity that’s there. Even if you’re a member of a Native nation, say you’re a Navajo going into the Cherokee community, you need to know what the protocols are and you need to respect them, you need to know who to approach and who to consult with. And don’t assume that you have the answer or the solution or that you know what you’re doing before you go in and meet with a Native nation.” To do that — to consult with a Native community that was not her own — Freeland and her team traveled to Oklahoma at the beginning of their creative process. “Working with the Choctaw Nation wasn’t a maybe. It was a must,” Freeland said in an interview with The Oklahoman. “One of the things I remember we talked about when we first got here was saying, like, ‘We’re not here to tell you what we’re going to do. We’re here to create a dialogue specifically because we want you to tell us, ‘Hey, this is off limits; if you look at it from this perspective, you might need to correct yourself.’” That humility and respect is evident in Echo, adding a new dimension to storytelling in film and TV that’s been a long time coming: authentic perspective. But more importantly, productions like Echo speak to people who can at last see themselves reflected on the screen. “That voice is so important,” Martin says. “But that voice has to come from Native people themselves. And I think that’s the difference now.” ◀ Ania Hull is a journalist and writer based in Albuquerque. She writes about the arts, the environment, book culture, film culture, immigration, and travel.
Echo (premiered January 9) 1 season, 5 episodes Rated TV-MA Streaming on Disney+ and Hulu
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27
MOVING IMAGES I REVIEW
Paul Mescal (left) and Andrew Scott star in All of Us Strangers, director Andrew Haigh’s tender exploration of grief and love.
A soul longing for the impossible ALL OF US STRANGERS
Alissa Wilkinson I The New York Times Lonely suburban existence is filmmaker catnip, but urban apartment life — especially in new, soundproof buildings — can be just as isolating, maybe more. High in a box in the sky, it’s easy to fancy yourself the last person on earth. Such is the sort of flat in which Adam (Andrew Scott), the dreamer at the center of All of Us Strangers, has chosen to dwell, positioned on the outskirts of London. Alone, forlornly attempting to write a screenplay and wearing a profoundly ugly sweater, he mostly lies on the couch watching TV and eating crisps. From his window, he can stare at the skyline. But he is thoroughly apart from the city in the way he’s felt apart from everything his whole life. You get the sense that now, in early middle age, he’s most secure on the outside looking in. Adam is gay; his childhood was tragic; he’s a writer, the kind of person his father always said knew less about the world than anyone else. Loneliness comes naturally to him. All of Us Strangers, written and directed by Andrew Haigh, is loosely based on Japanese writer Taichi Yamada’s spare novel Strangers, about a divorced writer who meets a woman in his building. But Haigh’s work (including Weekend and the TV series Looking) has often explored the intimate emotional landscape of queer men, and he remolded Yamada’s
28 PASATIEMPO I January 19-25, 2024
story into something less chilly, much slipperier, much closer to his own heartbeat. Haigh spends the first half-hour making us wonder what kind of a film we’re even watching. There are moments when it seems like Adam isn’t just figuratively but actually the last man on earth. But one night, he meets Harry (Paul Mescal, mustachioed), who knocks on his door with whiskey bottle in hand. They’re apparently the only two people living in this strange building. Adam is polite but awkward and doesn’t let him in. He is comfortable with his solitude — or too scared of what it might mean to disrupt it. But Adam is also trying to write about his childhood, and, almost without thinking, he finds himself on a train headed to the suburbs. There, time twists, folding in on itself, and when he returns to his apartment, his drab life starts to gain dimension. Tentatively at first, then passionately, he falls for Harry, slowly peeling back layers of himself that have scarred over. Could life be different? Could unlocking his heart be worth the risk? And what would his parents say if they could see him now? Haigh is a tremendously lyrical filmmaker, and All of Us Strangers unfolds in a space that seems like a dream, or a hallucination, pulsing with the rippling soul rush of love turning a life from monochrome to full color. It is, however, a movie with a tricky conceit to pull off, one I am trying not to spoil for you. Let’s just say it’s a spectral story, inherently a little contrived, and thus veers close to sticky sentimentality more than once. In the end, anyhow, Scott’s performance is what makes it all sing. He’s an extraordinary stage actor, but on screen, where you can see his eyes, he telegraphs repressed pain without seeming like a cliche. Every
movement he makes and line he speaks reveal a soul longing for the impossible: to see his parents, who died when he was 12, once again and to know how they’d feel about who he is now. All of Us Strangers acts as a prism through which loneliness and its manifestations are refracted, like colorful light onto a wall. Adam is alone physically, emotionally, mentally, and artistically, a man untethered from most everyone. But perhaps his greatest sense of loneliness comes from encounters and experiences that could have happened but didn’t: the trip he and his parents didn’t take, the Christmas trees they didn’t trim, the conversations they didn’t have about his sexuality, the comfort his father never gave him when he was a boy crying alone in his room. If you have suddenly lost a parent or a close one without the opportunity to bid them farewell and tell them all you never managed to say, then you know just how this feels. You spend your life wondering how they’d react to you now, to the person you’ve become, in part, often, because of their absence. “I’ve always felt like a stranger in my own family,” Harry tells Adam, and once I was able to stop intellectualizing All of Us Strangers, the line hit me like a ton of bricks. I think it’s a sentiment more common than most of us admit, even to ourselves, even when we are surrounded by people who love us. We are, we know, strangers in our families and in our lives and our cities and our own bodies, and our life’s work is to move from the strange to something approaching the familiar. All, I think, of us. ◀ Fantasy/romance, rated R, 105 minutes, Violet Crown, 4 chiles
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MOVING IMAGES
CHILE PAGES compiled by Holly Weber
SFJFF SCREENS SUKI JOHN’S SH’MA The Santa Fe Jewish Film Festival is hosting the dance film Sh’ma: A Story of Survival at 11 a.m. on Sunday, January 21, at the Center for Contemporary Arts. Sh’ma tells the story of the late Veronka JohnSteiner, a longtime professor of linguistics and educational psychology at the University of New Mexico. Recounting her experiences before, during, and after the Holocaust, the film seamlessly weaves together the emotive languages of dance, music, and film. The story follows John-Steiner from her school days to the ghetto, deportation to Bergen-Belsen, and finally to immigration to the United States. Originally a choreodrama performed in the former Yugoslavia and New York, the international resurgence of fascism and anti-Semitism spurred the creation of Sh’ma as a film. The film is directed by Suki John, John-Steiner’s daughter and a Santa Fe High graduate. She will be in attendance for a post-film discussion.
OPENING ALL OF US STRANGERS One night in his near-empty tower block in contemporary London, Adam (Andrew Scott) has a chance encounter with a mysterious neighbor Harry (Paul Mescal), which punctures the rhythm of his everyday life. As a relationship develops between them, Adam is preoccupied with memories of the past and finds himself drawn back to the suburban town where he grew up, and the childhood home where his parents (Claire Foy and Jamie Bell), appear to be living, just as they were on the day they died, 30 years before. Fantasy/romance, rated R, 105 minutes, Violet Crown. Review Page 28 I.S.S. Tensions flare in the near future aboard the International Space Station when a worldwide conflict breaks out on Earth. Soon, the U.S. and Russian astronauts each receive orders from the ground: take control of the station by any means necessary. Sci-fi/thriller, rated R, 96 minutes, Dreamcatcher 10, Regal Santa Fe Place 6, Violet Crown
30 PASATIEMPO I January 19-25, 2024
In Gabriela Cowperthwaite’s film I.S.S., astronauts on the International Space Station are caught in the middle when war breaks out on Earth.
THE POST A loving father in a football-crazed Texas town is left devastated and seeking revenge after a video is posted on social media of his murdered teenage son being beaten by unidentified classmates. One by one, he detects each person in the video, and, one by one, they end up dead. Drama, rated R, runtime not available, Dreamcatcher 10
Special Screenings EVEN HELL HAS ITS HEROES Tuesday, Jan. 23 As part of its AMPLIFIED series of music documentaries, CCA presents the Southwest Premiere of Even Hell Has Its Heroes, director/writer Clyde Petersen’s 2023 documentary on the band Earth. Since 1989, the slowest metal band on the planet has conjured some of music’s most striking tectonic changes. Despite the high volume of its beloved and beautiful drone metal, Earth has rarely had much to say for itself. Petersen’s film gets to the core of the could-have-beentragic triumph of the slow band that changed everything it touched. Documentary, not rated, 110 minutes, CCA FARGO (1996) Friday, January 19, through Sunday, January 21 In Joel and Ethan Coen’s reality-based crime drama set in Minnesota in 1987, Jerry Lundegaard (William H. Macy) is a car salesman in Minneapolis who has gotten himself into debt and is so desperate for money that he hires two thugs (Steve Buscemi and Peter Stormare) to kidnap his own wife. The scheme collapses when the thugs shoot a state trooper. Crime/thriller, rated R, 95 minutes, Jean Cocteau Cinema
INGRESS Thursday, January 25 A woman who can move between parallel realities loses her husband tragically and must overcome past trauma to travel the multiverse once again and find her way into a reality where he is still alive. Written and directed by Rachel Noll James. A Q&A with James will follow the film. Sci-fi, not rated, 118 minutes, Jean Cocteau Cinema REAR WINDOW (1954) Friday, January 19, through Sunday, January 21 A newspaper photographer (James Stewart) with a broken leg passes time recuperating by observing his neighbors through his window. He sees what he believes to be a murder and decides to solve the crime himself, enlisting the help of his high society fashion-consultant girlfriend Lisa Fremont (Grace Kelly) and his visiting nurse to investigate. Mystery/thriller, not rated, 112 minutes, Jean Cocteau Cinema
Return Engagements MAESTRO The biographical drama Maestro centers on the relationship between American composer Leonard Bernstein and his wife, Felicia Montealegre. Directed by Bradley Cooper from a screenplay he wrote with Josh Singer, the film stars Carey Mulligan as Montealegre alongside
SPICY
MEDIUM
MILD
BLAND
HEARTBURN
Cooper as Bernstein. Maestro uses the love story between Bernstein and Felicia — complicated by Bernstein’s bisexuality — as the impressionistic framing device to cover the renowned conductor’s five decade career. Musical/romance, rated R, 129 minutes, CCA. Also streaming on Netflix PAST LIVES Celine Song makes a spectacular leap from playwriting to film directing with Past Lives, a heartrending modern romance. Nora and Hae Sung, two deeply connected childhood friends, are torn apart after Nora’s family emigrated from South Korea. Two decades later, they are reunited in New York for one fateful week as they confront notions of destiny, love, and the choices that make a life. On January 7, Past Lives was chosen by the National Society of Film Critics as the year’s Best Picture. The New York Film Critic’s awarded Song’s film their Best First Film prize, while the Los Angeles Film Critics gave Song its New Generation Award. Drama/romance, rated PG-13, 106 minutes, CCA
Continuing AMERICAN FICTION Monk (Jeffrey Wright) is a frustrated novelist who’s fed up with the establishment that profits from Black entertainment that relies on tired and offensive tropes. To prove his point, he uses a pen name to write an outlandish Black book of his own, a book that propels him to the heart of hypocrisy and the madness he claims to disdain. Comedy/drama, rated R, 117 minutes, CCA, Violet Crown ANSELM 3D Director Wim Wenders creates a portrait of Anselm Kiefer, one of the most innovative and important painters and sculptors of our time. The film presents a cinematic experience of the artist’s work that explores human existence and the cyclical nature of history. For more than two years, Wenders traced Kiefer’s path from his native Germany to his current home in France, connecting the stages of his life to the essential places of his career. Documentary, not rated, 93 minutes, Violet Crown ANYONE BUT YOU Despite an amazing first date, Bea and Ben’s initial attraction quickly turns sour. However, when they unexpectedly find themselves at a destination wedding in Australia, they pretend to be the perfect couple to keep up appearances. Romantic comedy, rated R, 104 minutes, Dreamcatcher 10, Violet Crown AQUAMAN AND THE LOST KINGDOM After failing to defeat Aquaman (Jason Momoa) the first time, Black Manta wields the power of the mythic Black Trident to unleash an ancient and malevolent force. Hoping to end his reign of terror, Aquaman forges an unlikely alliance with his brother, Orm, the former king of Atlantis. Setting aside their differences, they join forces to protect their kingdom and save the world from irreversible destruction. Action/ fantasy, rated PG-13, 124 minutes, Regal Santa Fe Place 6 THE BEEKEEPER One man’s campaign for vengeance takes on national stakes after it’s revealed he’s a former operative of a powerful and clandestine organization known as Beekeepers. Action, rated R, 105 minutes, Dreamcatcher 10, Violet Crown
THE BOOK OF CLARENCE A down-on-his-luck man struggles to find a better life for his family while fighting to free himself of debt. Captivated by the power and glory of the rising Messiah, he risks everything to carve his own path to a divine life, ultimately discovering that the redemptive power of belief may be his only way out. Adventure, rated PG-13, 129 minutes, Dreamcatcher 10, Violet Crown THE BOY AND THE HERON Twelve-year-old Mahito struggles to settle in a new town after his mother’s death. However, when a talking heron informs Mahito that his mother is still alive, he enters an abandoned tower in search of her, which takes him to another world. Fantasy/adventure, rated PG-13, 124 minutes, Violet Crown THE BOYS IN THE BOAT During the height of the Great Depression, members of the rowing team at the University of Washington are thrust into the spotlight as they compete for gold at the 1936 Olympics in Berlin. George Clooney directs. Drama, rated PG-13, 124 minutes, Violet Crown FERRARI During the summer of 1957, bankruptcy looms over the company that Enzo Ferrari (Adam Driver) and his wife (Penélope Cruz) built 10 years earlier. He decides to roll the dice and wager it all on the iconic Mille Miglia, a treacherous 1,000-mile race across Italy. Drama, rated R, 131 minutes, Violet Crown THE HOLDOVERS A curmudgeonly instructor (Paul Giamatti) at a New England prep school remains on campus during Christmas break to babysit a handful of students with nowhere to go. He soon forms an unlikely bond with a brainy but damaged troublemaker, and with the school’s head cook, a woman who just lost a son in the Vietnam War. Comedy/drama, rated R, 133 minutes, Violet Crown
Box office Center for Contemporary Arts Cinema, 1050 Old Pecos Trail, 505-982-1338, ext.105, ccasantafe.org Dreamcatcher 10, 15 State Road 106, Espanola; dreamcatcher10.com Jean Cocteau Cinema, 418 Montezuma Ave., 505-466-5528, jeancocteaucinema.com No Name Cinema, 2013 Piñon St., nonamecinema.org Regal Santa Fe Place 6, 4250 Cerrillos Road, 505-424-6109, sfnm.co/3o2Cesk Violet Crown, 106 Alcaldesa St., 505-216-5678, santafe.violetcrown.com
THE IRON CLAW The true story of the Von Erich brothers, who make history in the intensely competitive world of professional wrestling in the early 1980s. Through tragedy and triumph under the shadow of their domineering father and coach, the brothers seek larger-than-life immortality on the biggest stage in sports. Drama, rated R, 130 minutes, Violet Crown MEAN GIRLS: THE MUSICAL New student Cady Heron gets welcomed into the top of the social food chain by an elite group of popular girls called the Plastics, ruled by the conniving queen bee Regina George. However, when Cady makes the major misstep of falling for Regina’s ex-boyfriend, she soon finds herself caught in their crosshairs. Tina Fey updates her 2004 social critique. Musical/comedy, rated PG-13, 112 minutes, Dreamcatcher 10, Regal Santa Fe Place 6, Violet Crown MIGRATION A family of ducks decides to leave the safety of a New England pond for an adventurous trip to Jamaica. However, their well-laid plans quickly go awry when they get lost and wind up in New York City. The experience soon inspires them to expand their horizons, open themselves up to new friends, and accomplish more than they ever thought possible. Animated comedy/adventure, rated PG, 91 minutes, Dreamcatcher 10, Regal Santa Fe Place 6 NIGHT SWIM A former baseball player moves into a new house with his wife and two children, hoping that the backyard swimming pool will be fun for the kids and provide physical therapy for himself. However, a dark secret from the home’s past soon unleashes a malevolent force that drags the family into the depths of terror. Horror, rated PG-13, 98 minutes, Dreamcatcher 10, Regal Santa Fe Place 6, Violet Crown OPPENHEIMER Christopher Nolan’s biographical feature film about American scientist J. Robert Oppenheimer (Cillian Murphy) and his role in the development of the atomic bomb. With Robert Downey Jr., Emily Blunt, Matt Damon, and Florence Pugh. Drama, rated R, 180 minutes, Violet Crown POOR THINGS Bella Baxter (Emma Stone) is a young woman brought back to life by the brilliant and unorthodox scientist Dr. Godwin Baxter (Willem Dafoe). Under Baxter’s protection, Bella is eager to learn. Hungry for the worldliness she is lacking, Bella runs off with Duncan Wedderburn (Mark Ruffalo) a slick and debauched lawyer, on a whirlwind adventure across the continents. Free from the prejudices of her times, Bella grows steadfast in her purpose to stand for equality and liberation. Sci-fi/fantasy, rated R, 141 minutes, Violet Crown WONKA Armed with nothing but a hatful of dreams, young chocolatier Willy Wonka (Timothée Chalamet) manages to change the world, one delectable bite at a time. Fantasy/comedy, rated PG, 116 minutes, Dreamcatcher 10, Regal Santa Fe Place 6, Violet Crown SOURCES: Google, IMDb.com, RottenTomatoes.com, Vimeo. com, YouTube.com
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STAR CODES THIS WEEK MARKS A TURNING POINT; whether it’s a soft curve or sharp angle depends on us as the sun conjuncts Pluto, both leave Capricorn, and then enter Aquarius. We might feel some personal or professional deadline tapping on our shoulder telling us it’s now or never. Notice the forks in life’s roads, small and large, and contemplate what could be found in each direction. Consider whether the deadline is real and a decision needs to be made or if it is just an anxious illusion. For the next few weeks, Mercury and Saturn conjunct in executive Capricorn and can add pressure in our negotiations. This can be a pragmatically intelligent if ruthless combination; look for budget cuts, sudden funding, or contract signs. While we can make great progress, it’s up to us to keep the heart connected to the head and compassion and soul connected to that bottom line. Friday and Saturday are practical, productive, and potentially intense. Late Saturday through Monday brings that turning point as the sun and Pluto enter Aquarius. We could see breakthroughs in communication, announcements, or simply great conversation with an old friend. The week begins on a more personal note under a sensitive Cancer moon. On Tuesday Venus in Capricorn adds momentum and structure to our creative process, but we’ll need to watch the tendency to tell people what to do. Let’s do our own homework instead. FRIDAY, JANUARY 19: Our minds work and lines of communication open, but our hearts may be confused as mental Mercury forms a supportive trine to expansive Jupiter while Venus squares confusing Neptune. Our hopes and fears can distort our perception. Make practical adjustments midday as the moon conjuncts Uranus. Tonight, tend to heavy hearts and discuss big issues as the sun conjuncts Pluto. SATURDAY, JANUARY 20: Stay in the present moment and observe. Make only necessary decisions, think through consequences carefully, and follow through decisively. The conversation expands through the day as the moon enters Gemini. Words have consequences. SUNDAY, JANUARY 21: Reassess; we’ve turned an astrological corner and can see further down the line. Talk, think, laugh, take notes, do mind maps, consider all possibilities, and enjoy each other’s company in the process. Just make sure everyone feels heard and no one monologues.
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MONDAY, JANUARY 22: Have meetings, make contacts, and check in with teammates this morning under the verbal Gemini moon. Midday, carefully avoid misunderstandings or accidental emotional snags as that moon, Venus, and Neptune form a tricky T-square. Let people speak from the heart rather than try to make sense. The moon enters Cancer, and toward the evening we may pull within and need self-care. TUESDAY, JANUARY 23: People are touchy, pushy; some insecurity can make us cranky or manipulative. Avoid telling people what to do unless asked; speak up about what is needed as the Cancer moon opposes Mercury and Mars. Let’s put in our own work rather than push others to help us. WEDNESDAY, JANUARY 24: We’ll tend to avoid disagreements rather than wade into them because they bring up such strong feelings. Keep the focus on a more comfortable goal and redirect the energy. In the afternoon, curl up with a good book and take a moment out of time as the moon trines Neptune. THURSDAY, JANUARY 25: This full moon in Leo can bring us out of our shell and into the show. Some will grandstand, some will be angsty, and others will just enjoy. This full moon highlights any tension between our needs and our self-consciousness around feeling seen versus our love and responsibilities to the people around us. Find a balance. ◀ Contact astrologer Heather Roan Robbins at roanrobbins.com.
32 PASATIEMPO I January 19-25, 2024
TUVAYHUN Beatitudes for a Wounded World Featured Performers: Willa a Roberts, Alina Pontius and Katharine Garcia-Ortega.
With h select string players from the Albuquerque Philharmonic Orchestra.
Janu uary 27th & 28th, 3:00PM Ne ew Mexico Museum of Art, Santa Fe, NM
February 4th, 3:00PM
Centtral United Methodist Church, Albuquerque, NM
Adult Preferred Seating: $35 Ad dult General Seating: $25 Child/Student (under 13): $10 Tickets s can be purchased and more information found at www.TheZiaSingers.com Concertt Sponsors:
Franz Vote Artistic Director
André García-Nuthmann Tenor
Natural fiber and fabric Carefully curated for the modern maker Featuring Tauko magazine
Esther Moses Soprano
Andrew Paulson Bass-Baritone
Alyssa Anaya Mezzo Soprano
Margaret-Mary Sauppé Keyboardist
New Mexico Performing Arts Society Presents
The New Mexico Bach Society Cantata Series Concert: Cantatas BWV 23 and 114 Franz Vote, Artistic Director and Conductor
Sunday, January 28, 2024 at 5:30 PM Immaculate Heart of Mary Chapel 50 Mount Carmel Road in Santa Fe
Sponsored by Norman and Suzanne George and New Mexico Arts Let’s get together at hacersantafe.com
Tickets and More Info: nmpas.org or call Hold My Ticket at 877-466-3404
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Helping Hands Heal Hearts
Give Today ONLINE: sfnm.co/esfund BY MAIL: Empty Stocking Fund c/o Santa Fe Community Foundation PO Box 1827 | Santa Fe, NM 87504 -1827 IN PERSON: Santa Fe New Mexican • 150 Washington Ave. Ste. 105 • 10am – 4pm, Mon – Fri Make checks payable to Empty Stocking Fund
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stocking fund ®
Thank You 2023 Partnering Organizations
34 PASATIEMPO I January 19-25, 2024
compiled by Pamela Beach
A R T S . E N T E R TA I N M E N T. C U LT U R E .
FRIDAY 1/19
and Laura Tohe (Diné, Tsénahabiłnii, Sleepy Rock People clan); 7:30 p.m.; $25-$85; performancesantafe.org.
In Concert 2024 Winter Mariachi Concert
Santa Fe Free Thinkers Forum
Unitarian Universalist Santa Fe, 107 W. Barcelona Street Community conversation with John Mather of NASA’s Goddard Space Flight Center; 7 p.m.; no charge; 505-231-1447.
Christ Church of Santa Fe, 1213 Don Gaspar Avenue Santa Fe Youth Symphony showcase; 5:30 p.m.; $15; donorbox.org/events/543773.
Flutiss X 4
The Writing Generation Series
First Presbyterian Church, 208 Grant Avenue, 505-982-8544 Original compositions; 5:30 p.m., doors 5:15 p.m.; donations accepted.
Surveymonkey.com/r/WritingGenSpring24 Santa Fe Poet Laureate Janna Lopez reads from her collection such is; 6 p.m., online; no charge.
Theater/Dance Macbeth
Nightlife
New Mexico Actors Lab Theater, 1213 Parkway Drive, 505-395-6576 Upstart Crows of Santa Fe presents a Blackfriars production; directed by Rylie Philpot; 6:30 p.m. today through Sunday, and Jan. 26-28; $10 and $20; upstartcrowssantafe.org.
Wine & Jazz Night
Tesuque Casino, 7 Tesuque Road, 800-462-2635 Alex Murzyn Trio; 6-9 p.m.; no cover.
THURSDAY 1/25
SATURDAY 1/20
In Concert
Gallery and Museum Openings
Muñoz Waxman Gallery, Center for Contemporary Arts, 1050 Old Pecos Trail, 505-982-1338 An interactive, musically illustrated presentation based on a painting by Tony Abeyta, with Oliver Prezant, Carla Kountoupes, Jerry Weimer, and Katie Harlow; 6-7:30 p.m.; $25; oliverprezant.com.
Axle Contemporary
Look for the mobile gallery outside the Santa Fe Farmers’ Market Pavilion, 1607 Paseo de Peralta, 505-670-5854 Safe Haven, installation by Jesse Wilson; reception 2-5 p.m.
New Mexico Museum of Art
107 W. Palace Avenue, 505-476-5072 Ways of Seeing: Four Photographic Collections, mid-20th century photographs; through June 16. (See story, Page 18)
Pecos Trail Café
2239 Old Pecos Trail, 505-982-9444 Paintings by Linda Boatwright and Susan Thornton; reception 3-7 p.m.
Classical Music
Chatter North
Discovering the Music of Paintings
Meow Wolf presents Mayer Hawthorne on Sunday.
Shane Wallin
Tesuque Casino, 7 Tesuque Road, 800-462-2635 Singer-guitarist; 6-9 p.m.; no cover.
SUNDAY 1/21 In Concert
Mayer Hawthorne
Meow Wolf, 1352 Rufina Circle, 505-395-6369 Singer-songwriter; doors 7 p.m.; Chulita Vinyl Club opens; $30-$105; meowwolf.com.
Nightlife
Bill Hearne
dance events among Venezuelan hunter-gathers; 6 p.m.; $20 at the door; 505-466-2775.
TUESDAY 1/23
Books/Talks
Richard Connerty
Books/Talks
Geronimo’s Books, 3018-D Cielo Court, 505-467-8315 The local building contractor discusses traditional New Mexico earthern floors; 5 p.m.
Unitarian Universalist Santa Fe, 107 W. Barcelona Street, Pasatiempo contributor Mark Tiarks kicks off the first of Santa Fe Opera Guild’s public offerings; 6 p.m.; $10 and $20; santafeoperaguild.org.
New Mexico Governor’s Mansion Mozart’s Birthday Party, with conductor Marcello Cormio and flutist Anthony Trionfo; 6 p.m.; $100; 505-988-4640, ext. 1000, tickets.sfpromusica.org.
Opera in the Films of Francis Ford Coppola and Martin Scorsese
Events
Creative Connections — A Celebration of Aunties
Santa Fe Pro Musica Discovery Series
Nightlife
Annalisa Ewald
Center for Contemporary Arts, 1050 Old Pecos Trail Violinist Ruxandra Marquardt, cellist Joel Becktell, and pianist Judith Gordon (Haydn and Enescu); 10:30 a.m.; $5-$17; chatterabq.org/boxoffice.
La Fiesta Lounge at La Fonda, 100 E. San Francisco Street, 505-982-5511 Americana singer-songwriter; 6:30 p.m.; no cover.
Books/Talks
Rio Chama, 414 Old Santa Fe Trail, 505-955-0765 Pianist-vocalist; Great American Songbook; 6-9 p.m. Sundays and Mondays; no cover.
Institute of American Indian Arts, 83 Avan Nu Po Road Art, food, music, presentation from Indigenous Performance Productions, with director Kendra Potter and executive creative producer Andre Bouchard; 5:30 p.m.; $40; performancesantafe.org.
MONDAY 1/22
WEDNESDAY 1/24
OUT OF TOWN
In Concert
Albuquerque
Remembering Marc Simmons (1937-2023)
Santa Fe Public Library Southside Branch, 6599 Jaguar Drive Joy Poole of the Santa Fe Trail Association honors the author and historian’s legacy in a PowerPoint presentation; 1:30 p.m.; no charge.
Events
New Mexico Hip-Hop Awards
Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Second annual black-tie and red-carpet gala; 5 p.m.; $15-$35; blkdmndnm.com/awards.
Nightlife
Bok Choy
Tiny’s Restaurant & Lounge, 1005 St. Francis Drive, 505-983-9817 Rock ‘n’ roll band; 8 p.m.-midnight; no cover.
CALENDAR LISTING GUIDELINES
Doug Montgomery
Books/Talks
Race & Rurality: Considerations for Advancing Higher Education Equity
Collected Works Bookstore, 202 Galisteo Street, 505-988-4226 Book contributors Tobe Bott-Lyons and Hanna Negishi Levin in conversation with Patricia Trujillo, deputy secretary of higher education; 6 p.m.
Southwest Seminars
Santa Fe Woman’s Club, 1616 Old Pecos Trail Ceremony, Religion or Pro-Social Practice?, UNM archaeologist Russell Greaves describes all-night
Albert Castiglia
Tumbleroot Brewery & Distillery, 2791 Agua Fría Street, 505-393-5135 Blues guitarist; 7:30 p.m.; $25; ampconcerts.org.
Books/Talks
The Aunties: Women of the White Shell Water Place
Lensic Performing Arts Center, 211 W. San Francisco Street Storytellers Nora Naranjo Morse (Santa Clara Pueblo), Deborah Taffa (Laguna Pueblo),
Email press releases to pambeach@sfnewmexican.com at least two weeks prior to the event date.
Agave Restaurant & Lounge, Eldorado Hotel & Spa, 309 W. San Francisco Street, 505-995-4530 Classical guitarist; 6 p.m. Thursdays and Fridays; no cover.
Pat Malone
TerraCotta Wine Bistro, 304 Johnson Street, 505-989-1166 Jazz guitarist; 6-8 p.m. Thursdays; no cover.
Alash Ensemble
Fusion 708, 708 First Street NW, 505-766-9412 Republic of Tuva throat singers; 9:30 p.m., doors 8:30 p.m. Friday, Jan. 19; $30; ampconcerts.com.
Dixon
Monster in a Box
The Toolshed, N.M. 75, Dixon Actor Spalding Gray’s monologue, performed by Jeff Spicer; 7 p.m. Saturday, 2 p.m. Sunday, Jan. 20 and 21; $15; dixonplayers.com. ◀
Inclusion of free listings is dependent on space availability.
PASATIEMPOMAGAZINE.COM
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A guide to performances & events for the weeks ahead
Music
Black Mesa Brass Ensemble
First Presbyterian Church, 208 Grant Avenue Music of Phillip Buttall, Mozart, and Saint-Saëns; 5:30 p.m. Jan. 26; donations accepted.
Chatter North
Center for Contemporary Arts, 1050 Old Pecos Trail, 505-982-1338 Jan. 27: Violinist David Felberg and cellist James Holland (J.S. Bach); Feb. 3: Violinists Tom Chiu and Conrad Harris, violist Max Mandel, and cellist Felix Fan (Morton Feldman, Leroy Jenkins, Roscoe Mitchell, and Oliver Lake); 10:30 a.m.; $5-$17; chatterabq.org /boxoffice.
The Zia Singers
St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Avenue The womans’ choir performs Kim André Arnesen’s Tuvayhun – Beatitudes for a Wounded World, 3 p.m. Jan. 27 and 28; $10-$35; theziasingers.com.
Dust City Opera
Brad Mehldau: 14 Reveries
Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 The jazz pianist performs cuts off his new composition; 7:30 p.m. Feb. 7; $35-$95; performancesantafe.org.
Robert Jon and The Wreck
Tumbleroot Brewery & Distillery, 2791 Agua Fría Street, 505-393-5135 Southern rock band; 7:30 p.m. Feb. 8; $30; ampconcerts.org.
Kelly Hunt and Stas Heaney
GiG Performance Space, 1808 Second Street Folk singer/banjo player and fiddler; 7:30 p.m. Feb. 9; $25; gigsantafe.tickit.ca.
Santa Fe Symphony
Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 American Classics, with violinist Alexi Kenney; Barber’s Violin Concerto No. 1; also, Bernstein’s Chichester Psalms, and Copland’s Four Dance Episodes from Rodeo; 4 p.m. Feb. 18; $25-$92; boxoffice.santafesymphony.org.
Mauro Durante & Justin Adams
Fusion 708, 708 First Street NW, Albuquerque Folk-rock orchestra: Sadness, Madness, & Mayhem, including performances by Conservation Carnivale Science Circus members, Giovanni String Quartet, and tarot readings; 6:30 p.m. Jan. 27; $25 and $150; ampconcerts.com.
San Miguel Chapel, 401 Old Santa Fe Trail The percussionist-violinist and guitarist fuse love songs of southern Italy and the blues of North Africa and North America; 7:30 p.m. Feb. 20; $30 and $50; ampconcerts.org.
Santa Fe Pro Musica Discovery Series
St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Avenue Free performances; noon Feb. 21-May 15; kicks off with David Solem (music of Vierne, J. S. Bach, and Franck); Frederick Frahm March 20, Solem April 17, and Maxine Thévenot May 15.
Lensic Performing Arts Center, 211 W. San Francisco Street Celebrate Mozart, music of Mozart, Carl Nielsen, and Jessie Montgomery, led by Marcello Cormio, with Anthony Trionfo; 3 p.m. Jan. 28; $28-$98; 505-988-4640, ext. 1000, tickets.sfpromusica.org.
Amy Ray Band
Tumbleroot Brewery & Distillery, 2791 Agua Fría Street, 505-393-5135 Touring in support of her album If It All Goes South; 7:30 p.m. Jan. 29; $25; tickets.lensic360.org.
An Evening of the Blues, with Jhett Black, Felix y Los Gatos & Dry Suede Tumbleroot Brewery & Distillery, 2791 Agua Fría Street, 505-393-5135 Doors 6 p.m., show 7:30 p.m. Feb. 3; $15 and $25; tumblerootbreweryanddistillery.com.
David Wax Museum & Lone Piñon
Tumbleroot Brewery & Distillery, 2791 Agua Fría Street, 505-393-5135 Folk/roots-rock band and New Mexico string band; 7:30 p.m. Feb. 5; $20; ampconcerts.org.
Santa Fe Pro Musica Organ Recital Series
Dylan LeBlanc
Paradiso Santa Fe, 903 Early Street, 505-577-5248 Singer-songwriter-guitarist; 7:30 p.m. Feb. 22; $18; ampconcerts.org.
Terence Blanchard, E-Collective, and Turtle Island String Quartet
Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Paying tribute to jazz composer Wayne Shorter; 7:30 p.m. Feb. 22; $49-$72; lensic.org/events.
Elias Quartet
St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Avenue Music of Haydn (Quartet in G Major, Opus 54, No. 1), Stravinsky (Three Pieces for String Quartet), and Beethoven (Quartet in E Minor, Opus 59, No. 2); 3 p.m. Feb. 25; $24-$94; 505-988-4640, ext. 1000, tickets.sfpromusica.org.
Severall Friends
New Mexico School for the Arts, 500 Montezuma Avenue Telemann in Paris, with flutist Sandra Miller, violinist Elizabeth Blumenstock, viola da gambist Mary Springfels, cellist Katie Rietman, and harpsichordist Kathleen McIntosh; 4 p.m. Feb. 25, $30 in advance; severallfriends.org.
Donavon Frankenreiter
Taos Center for the Arts, 145 Paseo del Pueblo Norte, 505-758-2052 Surfer-cum-singer-songwriter; 7:30 p.m. Feb. 28; $30; tickets.lensic360.org.
Taj Mahal Quartet & Sona Jobarteh
Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Double bill with the kora virtuoso; 7:30 p.m. March 1; $55-$94; lensic.org/events.
Wailin’ Jennys
KiMo Theatre, 32 Central Avenue NW, Albuquerque Folk trio; 7:30 p.m. March 4; $49-$59; tickets.lensic360.org.
Benjamin Grosvenor
St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Avenue Piano recital of Sofia Gubaidulina’s Chaconne, Chopin’s Sonata No. 2 in B-flat minor, Opus 35, and Liszt’s Berceuse in D-flat Major and Sonata in B minor; 7:30 p.m. March 6; $35-$95; 505-984-8759, secure.performancesantafe.org.
Tony Furtado & Stephanie Schneiderman
Judith Hill
Gregory Alan Isakov
Tumbleroot Brewery & Distillery, 2791 Agua Fría Street, 505-393-5135 Groove-based rock ‘n’ roll band; 7:30 p.m. Feb. 23; $15; tickets.lensic360.org.
Cory Wong
Portugal. The Man
Rio Chama Steakhouse, 414 Old Santa Fe Trail, 505-955-0765 A fundraiser for the Santa Fe Symphony, with pianist-singer Doug Montgomery; 6 p.m. Feb. 24; $125; 505-552-3916, santafesymphony.org.
Sunshine Theater, 120 Central Avenue SW, Albuquerque, 505-764-0249 Portland, Oregon-based rock band; 8 p.m. Feb. 6; $43; tickets.lensic360.org.
National Hispanic Cultural Center, 1701 Fourth Street SW, Albuquerque, 505-246-2261 Before Night Falls, Jorge Martín-Buján’s opera based on the life of the gay Cuban political dissident Reinaldo Arenas; Feb. 25, March 1 and 3; $22-$105; 505-724-4771, operasouthwest.org.
Grady Spencer & The Work
Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Singer-songwriter; 7:30 p.m. Feb. 23; $30-$55; lensic.org/events.
El Rey Theater, 622 Central Avenue SW, Albuquerque Funk-rock, rhythm guitarist; 8 p.m. Feb. 5; $35 and $160; tickets.lensic360.org.
Opera Southwest
Champagne & Chocolates
San Miguel Chapel, 401 Old Santa Fe Trail Banjo/slide guitarist and multi-instrumentalist; 7:30 p.m. March 8; $30; southwestrootsmusic.org. Kiva Auditorium, Albuquerque Convention Center, 401 Second Street NW Indie folk-rock singer-songwriter; 7:30 p.m. March 13; tickets start at $29; tickets.lensic360.org.
Alasdair Fraser & Natalie Haas
St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Avenue Traditional music of Scotland performed by the fiddler and cellist; 7:30 p.m. March 15; $22-$38; ampconcerts.org.
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36 PASATIEMPO I January 19-25, 2024
www.cafecitosantafe.com
Hommage à Fauré Harwood Museum of Art, 238 Ledoux Street, Taos, 575-758-9826 Pianist Robert McDonald, cellist Sally Guenther, and violinist Ruxandra Marquardt; 5:30 p.m. March 16 and 17; $24-$30; taoschambermusicgroup.org.
Lúnasa
Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Traditional music of Ireland; 7:30 p.m. March 16; $25-$49; lensic.org/events.
Santa Fe Symphony
Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Italian Nights, Rossini’s L’Italiana in Alegeri, Mendessohn’s Italian Symphony, and Berlioz’s Harold in Italy; featuring violist Kimberly Fredenburgh; 4 p.m. March 17; $25-$92; boxoffice.santafesymphony .org.
Kronos Quartet Five Decades Tour
Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 The string ensemble performs new commissions, signature works, and selections from its Fifty for the Future project; 7:30 p.m. March 19; $35-$115; 505-984-8759, secure.performancesantafe.org.
Raul Midón
San Miguel Chapel, 401 Old Santa Fe Trail New Mexico-born singer-songwriter; 7:30 p.m. March 20; $37; tickets.lensic360.org.
Jonathan Richman
St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Avenue Singer-songwriter, with percussionist Tommy Larkings; 7:30 p.m. March 21; $30 and $35; tickets.lensic360.org.
Santa Fe Pro Musica Baroque Ensemble
First Presbyterian Church Joy and Sorrow, violinist Stephen Redfield leads the ensemble in early music of French female composers, with soprano Clara Rottsolk; 7:30 p.m. March 23, 3 p.m. March 24; $27-$67; 505-988-4640, ext. 1000, tickets.sfpromusica.org.
Andy Frasco & The U.N.
Tumbleroot Brewery & Distillery, 2791 Agua Fría Street, 505-393-5135 Blues-rock band; 7:30 p.m. March 26; $24; tickets.lensic360.org.
Jimmie Vaughan & The Tilt-A-Whirl Band
KiMo Theatre, 32 Central Avenue NW, Albuquerque Fifty-plus years of the blues; 7:30 p.m. March 28; $45-$65; lensic360.org.
Santa Fe Pro Musica presents Anthony Trionfo Thursday, Jan. 25 at the Governor’s Mansion and Jan. 28 at the Lensic Performing Arts Center.
Charlotte’s Web
and the Ancient Southwest; March 26: Historian Thomas Chavez on The Diplomacy of Independence: Benjamin Franklin and Spain; all 6-7 p.m.; $10, 505-471-2261, golondrinas.org.
Cirque du Soleil
El Monte Sagrado Resort, 317 Kit Carson Road, 575-758-3502 Champagne and caviar reception, with chef Louis Moskow of 315 Restaurant & Wine Bar, 4 p.m. Feb. 1, $60; reserve wine tasting and silent auction follows, $135; taoswinterwinefest.com.
Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 A TheatreWorksUSA production based on E.B. White’s 1952 children’s book; 3 p.m. March 3; $15 and $18; lensic.org/events.
Herb Alpert & Lani Hall
Rio Rancho Events Center, 3001 Civic Center Circle NE, 505-891-7300 Crystal, ice arena touring show; 7:30 p.m. March 7 and 8, 3 and 7 p.m. March 9, 1 p.m. March 10; $32-$165.75; cirquedusoleil.com/crystal.
Jammed
On Stage
Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Brazilian dance company; 7:30 p.m. March 8; $36-$119; lensic.org/events.
The Peking Acrobats
New Mexico Actors Lab Theater, 1213 Parkway Drive, 505-395-6576 Tri-M Productions presents the musical; 7 p.m. Thursdays-Saturdays, 2 p.m. Sundays, March 21-31; $30-$40, half-price options available; trimsantafe.org.
KiMo Theatre, 32 Central Avenue NW, Albuquerque Performing their classic recordings; 7:30 p.m. March 29; $39-$59; tickets.lensic360.org.
Santa Fe Playhouse, 142 E. De Vargas Street, 505-988-4262 Staged reading of Joan Tewkesbury’s 2009 drama, with Ali MacGraw, Brooke Palance, Brent Black, and Patrick Janssen; 2 p.m. Jan. 28; $15-$60; santafeplayhouse.org and at the door. Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Accompanied by musicians; 7:30 p.m. Feb. 1; $35-$59; lensic.org/events.
MOMIX
Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 The modern-dance troupe in Alice, Moses Pendleton’s choreography inspired by Alice in Wonderland; 7:30 p.m. Feb. 6; $36-$114; lensic.org/events.
Les Ballets Trockadero de Monte Carlo
Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Comic drag troupe celebrating its 50th anniversary; 7:30 p.m. Feb. 12; $36-$114; lensic.org/events.
Mariana Pineda
Teatro Paraguas, 3205 Calle Marie, 505-424-1601 Teatro Paraguas presents the play by Federico García Lorca, based on the life of Spanish liberalist heroine Mariana de Pineda Muñoz; 7:30 p.m. Thursdays-Saturdays, 2 p.m. Sundays, Feb. 16-March 3; $15 and $25; teatroparaguasnm.org. Call for reservations.
Spectrum Dance Theater
Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Choreographer Donald Byrd’s production of Grief, depicting the hardships of Mamie Till-Mobley; 7:30 p.m. Feb. 29; $49-$75; lensic.org/events.
Grupo Corpo
Taos Wine Festival
IAIA Museum of Contemporary Native Arts
Little Women
108 Cathedral Place, 505-983-8900 Opening Feb. 2: Inuk Silis Høegh: Arctic Vertigo, video installations and carvings by the Greenlandic artist/filmmaker; through July 14. Womb of the Earth: Cosmovision of the Rainforest, artworks by Indigenous Brazilian women; through July 19.
American Ballet Theatre Studio Company
Santa Fe Community Convention Center, 201 W. Marcy Street Annual fundraiser, with a raffle of international vacations (tickets sold online); 5 p.m. Feb. 10; $150; 505-955-7931, cffnm.org.
Happenings
Prix-fixe meal deals at 30-plus local eateries; Feb. 19-29; $20-$65 (depending on the establishment). Visit nmrestaurantweek.com for a list of participants and to enter the sweepstakes; 505-847-3333, info@wingsmedianet.com.
Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Masterworks of classical and neoclassical choreography; 7:30 p.m. March 28; $45-$69; lensic.org/events.
Winterbrew
Santa Fe Farmers’Market Pavilion, 1607 Paseo de Peralta Annual New Mexico Brewers Guild’s craft beer tasting event; 6-9 p.m. Jan. 26; $10-$45; eventbrite.com.
2024 Souper Bowl
Santa Fe Community Convention Center, 201 W. Marcy Street, 800-777-2489 The Food Depot’s fundraiser with local chefs competing in this best-soup challenge, 11 a.m.-2 p.m. Jan. 27, adult VIP $100 in advance, $150 day of, discounts available; 505-471-1633, thefooddepot.org.
El Rancho de las Golondrinas Winter Lecture Series
St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Avenue Jan. 30: Jayne Aubele (New Mexico Museum of Natural History and Science) on New Mexico’s Geological Landscape and Its Effect on Our Culture and Social History; Feb. 27: Archaeologist Stephen Lekson on Of Noble Kings Descended: Colonial Documents
Cancer Foundation for New Mexico Sweetheart Auction
Santa Fe Restaurant Week
Raven Chacon: Three Songs
Harwood Museum of Art, 238 Ledoux Street, Taos, 575-758-9826 A multimedia exhibit paying tribute to Indigenous women; public opening 6:30-8:30 p.m. Feb. 23; through July 7; pop-up performances by Kona Sunrise Mirabal and Masa Rain Mirabal opening day; performances continue April 6, May 4, and June 7, with Autumn Chacon, Laura Ortman, and Marisa DeMarco; $8 and $10.
Staff Picks: Favorites from the Collection
Museum of International Folk Art, 706 Camino Lejo, Museum Hill, 505-476-1204 Celebrating the museum’s 70th anniversary with artwork by 37 artists from 23 countries; opening Feb. 25; through Aug. 18.
35th National Fiery Foods & BBQ Show
Sandia Resort & Casino, 30 Rainbow Road Tastings and sales of salsas, marinades, and rubs; 2-8 p.m. March 1, 9 a.m.-7 p.m. March 2, and 10 a.m.-6 p.m. March 3; $16, advance tickets $11, through Feb. 21, discounts available; fieryfoodsshow.com.
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AT THE GALLERIES
Abiquiú
Florence Hawley Ellis Museum of Anthropology
Santa Fe
Aaron Payne Fine Art
Ghost Ranch, 280 Private Drive, 505-685-1000 The Gathering, photographs by Cara Romero; through December.
Artes de Cuba
Albuquerque
1708 Lena Street, Suites 202 & 203, 917-319-5430 Group show; through Feb. 3. 1700-A Lena Street, 505-303-3138 Tesoros de la Bóveda (Treasures from the vault), group show of contemporary works by Cuban artists; through March 3.
Indian Pueblo Cultural Center
2401 12th Street NW, 505-843-7270 Grounded: Honoring Our Cultural Ties with Strength and Resilience • Birds and Feathers: Their Beauty Within Our Traditions, group shows; through April; indianpueblo.org. Open Tuesdays-Sundays.
Aurelia Gallery
414 Canyon Road, 505-501-2905 Colors Gone Wild, group show; through Feb. 4.
National Hispanic Cultural Center
1701 Fourth Street SW, 505-246-2261 Hecho en Nuevo México, showcases New Mexican artists whose artworks have been added to the museum’s permanent collection; through Sunday, Jan. 21 • Hourglass: Paño Arte from the Rudy Padilla Collection, celebrating paños as an art form and the contributions of incarcerated artists to the broader fields of Chicano and American art; through April 14; nationalhispaniccenter.org. Open Tuesdays-Sundays.
Gerald Peters Gallery
1005 Paseo de Peralta, 505-954-5700 Cabinet of Curiosities, group show; through Feb. 2.
Hecho a Mano
129 W. Palace Avenue, 505-916-1341 A Handful of Earth, A Handful of Sky, ceramics by b. brown; through Jan. 29.
LewAllen Galleries
1613 Paseo de Peralta, 505-988-3250 Glassen Wonders, international group show of contemporary glass art; through Feb. 17.
Muñoz Waxman Gallery
Center for Contemporary Arts, 1050 Old Pecos Trail, 505-982-1338 Tia X Chatter: The B/W Show, works from the Tia Collection; through Feb. 3.
Nüart Gallery
670 Canyon Road, 505-988-3888 Winter Selections, group show of paintings; through Jan. 28.
Webster Collection
54½ Lincoln Ave. (upstairs), 505-954-9500 Multidisciplinary works by Darren Vigil Gray, Maggie Hanley, and others; prehistoric and historic pottery and textiles; through Jan. 27.
MUSEUMS & ART SPACES Santa Fe
Coe Center for the Arts
1590-B Pacheco Street, 505-983-6372 African, Asian, European, Native American, and Oceanic objects; email info@coeartscenter.org for tours; coeartscenter.org. Open by appointment.
Georgia O’Keeffe Museum
217 Johnson Street, 505-946-1000 Rooted in Place, O’Keeffe’s studies of trees; through April 15 • Georgia O’Keeffe: Making a Life, art and objects from the collection; through Nov. 15; okeeffemuseum.org. Closed Tuesdays and Wednesdays.
IAIA Museum of Contemporary Native Arts
108 Cathedral Place, 505-983-8900 The Stories We Carry, jewelry from the museum collection; through September 29, 2025; iaia.edu/mocna. Closed Tuesdays.
Meow Wolf
1352 Rufina Circle, 505-395-6369 The House of Eternal Return, immersive, evolving exhibits; meowwolf.com. Days and hours vary.
Museum of Indian Arts and Culture
710 Camino Lejo, Museum Hill, 505-476-1269 Horizons: Weaving Between the Lines with Diné Textiles, historic and contemporary weavings, prints, photographs, and other related items; through June 2 • Here, Now and Always, artifacts from the collection; long term; indianartsandculture.org. Closed Mondays.
38 PASATIEMPO I January 19-25, 2024
LewAllen Galleries (lewallengalleries.com) shows kiln-cast glass by Peter Bremer through Feb. 17 in the group show Glassen Wonders.
Museum of International Folk Art
706 Camino Lejo, Museum Hill, 505-476-1204 Protection: Adaptation and Resistance, works by Alaskan Indigenous artists ranging from regalia to images of traditional tattooing and graphic design; through April 7 • Ghhúunayúkata/To Keep Them Warm: The Alaska Native Parka, examples from the mid-19th century to contemporary reinterpretations; through April 7 • La Cartonería Mexicana: The Mexican Art of Paper and Paste, historic sculptures from the collection, exhibited with the work of three visiting cartoneros; through Nov. 3. Core exhibits: Multiple Visions: A Common Bond, works in the Alexander Girard Wing • Lloyd’s Treasure Chest: Folk Art in Focus, thematic displays from the permanent collection; moifa.org. Open daily.
Museum of Spanish Colonial Art
750 Camino Lejo, museum@spanishcolonial.org Generations and Imagination: What Lies Behind the Vision of Chimayó Weavers, highlighting the shifting traditions through four generations of the Trujillo family’s work; through April 1; spanishcolonial.org. Open Wednesdays-Fridays.
New Mexico History Museum
113 Lincoln Avenue, 505-476-5200 18 Miles and That’s As Far As It Got: The Lamy Branch of the Atchison, Topeka and Santa Fe Railroad, model train crafted by Santa Fe Model Railroad Club members; through Jan. 16, 2025. Core exhibitions: Palace Seen and Unseen: A Convergence of History and Archaeology, photographs and artifacts • The Massacre of Don Pedro Villasur, graphic art by Turner Avery Mark-Jacobs • The First World War, ephemera relating to New Mexicans’ contributions • Setting the Standard: The Fred Harvey Company and Its Legacy, objects from the collection and photographs from Palace of the Governors archives • Telling New Mexico: Stories From Then and Now, artifacts, photographs, films, and oral histories; nmhistorymuseum.org. Closed Mondays.
New Mexico Museum of Art
107 W. Palace Avenue, 505-476-5072 Manuel Carrillo: Mexican Modernist, photographic exhibition; through Feb. 4 • Rick Dillingham: To Make, Unmake and Make Again; through June 16 • Out West: Gay and Lesbian Artists in the Southwest 1900-1969; through Sept. 2; nmartmuseum.org. Closed Mondays.
New Mexico Museum of Art Vladem Contemporary
404 Montezuma Avenue, 505-476-5062 Shadow and Light, including works by Larry Bell, Judy Chicago, Agnes Martin, and Leo Villareal; through April 28 • Oswaldo Maciá: El Cruce, sound sculpture; through Sept. 22; nmartmuseum .org/vladem-contemporary. Closed Mondays.
Poeh Cultural Center and Museum
78 Cities of Gold Road, 505-455-5041 Di Wae Powa: They Came Back, historical Tewa Pueblo pottery • Nah Poeh Meng, 1,600-square-foot core installation highlighting works by Pueblo artists; poehcenter.org. Open Mondays-Fridays.
Santa Fe Botanical Garden
715 Camino Lejo, Museum Hill, 505-471-9103 18-acre living museum; santafebotanicalgarden .org. Closed Mondays and Tuesdays.
SITE Santa Fe
1606 Paseo de Peralta, 505-989-1199 Interference Patterns, multidisciplinary work by Nicholas Galanin (see story, Page 20); and Water, paintings by N. Dash; through Feb. 5 • Field of Dreams, textile compositions by Billie Zangewa, through Feb. 12; sitesantafe.org. Closed Tuesdays and Wednesdays.
Wheelwright Museum of the American Indian
704 Camino Lejo, Museum Hill, 505-982-4636 Long term: Center for the Study of Southwestern Jewelry, devoted to Diné and Pueblo traditions • Rooted: Samples of Southwest Basketry; works from the collection; wheelwright.org. Closed through Feb. 9.
New Mexico Holocaust and Intolerance Museum
616 Central Avenue SW, 505-247-0606 Overturned: A Life Etched in Stone • Hate in America. Permanent exhibits, With Evil Intent • African American Experience, Phase 2: Slavery 1866-1945 • Czech Torah • Armenian Genocide • Hidden Treasures • Colonization: Racism and Resilience; nmholocaustmuseum.org. Open Wednesdays-Saturdays.
UNM Art Museum
203 Cornell Drive NE, 505-277-4001 Pelton & Jonson: The Transcendent 1930s, paintings, drawings, and archival materials by Agnes Pelton and Raymond Jonson; artmuseum.unm.edu/exhibition. Closed Sundays and Mondays.
Taos
Couse-Sharp Historic Site
138 & 146 Kit Carson Road, 575-751-0369 Plein Air Painters of America: Out West, annual exhibition; through Saturday, Jan. 20 • Joseph Henry Sharp: The Life and Work of an American Legend; through December; couse-sharp.org. Open by appointment Tuesdays-Saturdays.
Harwood Museum of Art
238 Ledoux Street, 575-758-9826 Harwood 100: Taos Municipal Schools Historic Collection, including works by Emil Bisttram, Andrew Dasburg, Gene Kloss, and Agnes Martin; through Jan. 28; harwoodmuseum.org. Open Wednesdays-Sundays.
E.L. Blumenschein Home and Museum 222 Ledoux Street, 575-758-0505 Hacienda art from the Blumenschein family collection; European and Spanish colonial antiques; taoshistoricmuseums.org. Closed Wednesdays and Thursdays.
Millicent Rogers Museum
1504 Millicent Rogers, 575-758-2462 Tuah-Tah/Taos Pueblo: Home, highlighting the Pueblo’s culture and artistic achievements • Pop Chalee! Yippee Ki Yay!, paintings; millicentrogers.org. Closed Wednesdays.
Taos Art Museum at Fechin House
227 Paseo del Pueblo Norte, 575-758-2690 Natural Forms, sculpture by Britt Brown; through Sunday, Jan. 21; taosartmuseum.org. Closed Mondays.
FINAL FRAME
COURTESY HECHO A MANO
Red Round II (2023), a 16¾-by-16¾-inch piece with a mid-fire red sculpture body created by b. brown, is part of b. brown: A Handful of Earth, A Handful of Sky at Hecho a Mano gallery. Through January 29; 129 W. Palace Avenue; 505-916-1341, hechoamano.org — Brian Sandford
Local • Independent • Caring
A GREAT PARTY FOR A GREAT CAUSE SATURDAY • FEBRUARY 10, 2024 • 5:00 PM SANTA FE CONVENTION CENTER
Sweetheart of aL ive Auction
Get ready to bid on these & other fabulous items!
Luxury 14-Night Safari for Two with Africa Calls
“Evening Star Coyote” by Nocona Burgess (Comanche)
Healing with Heart A Partnership for Healing & Hope
Napa Valley Wine Tasting Trip for Two by Auberge Resorts & Others
“Distant Thunder” Bronze Sculpture by Star Liana York
Seafood Feast for Eight at 315 Wine Bar & Restaurant
Dinner for Eight with Shirley MacLaine
Private Dinner for Ten at The Compound Bar
Dinner for Eight with Author Doug Preston
Dinner for Eight at Market Steer Steakhouse
“Caution: Rocks in the Road” acrylic on canvas, by Diana Shomaker in collaboration with Allen Bourne, 24" x 30"
“Taos” oil on canvas, by Kiki Martinez, in collaboration with Suzanne Sakelaris, 36" x 28"
Healing with Heart returns for its second year following a successful debut at last year's Sweetheart Auction. This Cancer Foundation initiative pairs cancer survivors or patients with local artists to create impactful visual messages of healing and hope. Our goal is to foster open dialogue within each pair, resulting in a meaningful exploration of the patient’s cancer journey.
To see more Auction Items, visit SweetheartAuction.org
Through this initiative, we've witnessed genuine connections forming as stories intersect and inspire unique works of art. Initially launched with four collaborations, this year we proudly present two equally powerful pieces meant to inspire those facing their own cancer journeys or caring for someone who is. We aim to continue this initiative, connecting more artists and patients or caregivers willing to share their talents, stories and insights.
To learn more, visit CFFNM.org
Tickets on Sale
Attend the Sweetheart Auction
SweetheartAuction.org