Pasatiempo, Dec. 29, 2023 by The New Mexican

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

December 29, 2023

CLASSIC ROCK HOW PETROGLYPHS PAINT HISTORY IN PLACE Page 20

December 29, 2023

14 Screen queens by Robert Nott

New Mexico’s small-town cinemas, many of which served as the heart of main street in their heyday, are turning the lights back on, thanks to some state funding and a little community love.

ON THE COVER

COURTESY LEA THEATER

Written in stone

by Brian Sandford

A new book and exhibition, featuring photography by William Frej and captions by noted rock art expert and author Polly Schaafsma, reveals how petroglyphs convey both mysteries and connections to the people and places of the Southwest.

COMIDAS Y MAS

OUT THERE 6 Chatter’s spirit-lifting Goldberg Variations 6 Ski Santa Fe’s open slopes 7 A survey of New Mexico’s sparkling wines 8 Monroe Gallery of Photography’s This Fragile Earth 8 Conductor Joe Illick’s New Year’s surprise 9 Downtown gallery updates 9 Folk duo performs at El Rey Court

12 A sweet tour of the Santa Fe Honey Salón

10 IN OTHER WORDS

by Spencer Fordin

Roundup: The 10 best books of 2023 by The Washington Post staff

MOVING IMAGES 24 Maestro is quite the overture by Mark Tiarks 28 Review Poor Things 28 Review All Dirt Roads Taste of Salt 29 Review The Color Purple 30 Chile Pages In theaters and special screenings

EXTRAS 4 Editor’s Note: Checking in 32 Star Codes 34 Pasa Week 36 Pasa Planner 39 Final Frame

Cover: Detail of William Frej’s Jornada Style Petroglyphs, Three Rivers (2021, Otero County, New Mexico) Photo William Frej/Courtesy Peyton Wright Gallery Cover design Marcella Sandoval

PA S AT I E M P O MAG A Z I N E.CO M Visit Pasatiempo at pasatiempomagazine.com and on Facebook ©2023 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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PASATIEMPO I December 29, 2023-January 4, 2024

Checking in I thought a lot on Christmas Day about how fortunate most of us are. My previous column, which elicited some thoughtful responses, detailed my friend Chris’ move to Santa Fe and some challenges he faces as a wheelchair user. I flew to New Jersey to accompany Chris to New Mexico, in the process meeting his and his late partner’s families. We stayed in a hotel near Philadelphia International Airport. The hotel was part of a reputable chain. But while there, I saw a couple of things that I will never allow myself to forget. Although we stayed in a handicapped-accessible room, it would have been treacherous for Chris had I not been there. The bed was 2½ feet off the floor — much too high for Chris to climb into without assistance. The shower had bars, but it wasn’t a walk-in, which would have barred Chris from entry had he been alone. The shower head and water handle were far too high for him to reach. And the carpet surface was jagged, a danger to crawl on. These issues annoyed Chris but didn’t surprise him. Most hotel rooms he has stayed in seemed to have been designed by someone who has never met a wheelchair user, nor thought for more than three minutes about what a wheelchair user might need. This is a familiar reality to him, but it was a painful new reality for a woman in the “accessible” room next to ours. She approached me, panic in her eyes, and explained that her mother had recently had a stroke, and “There’s no walk-in shower! How is she supposed to use the shower?” It quickly became clear that the woman and her mother were not on vacation; they didn’t have much money; and the woman was learning the awful lesson, “Nobody’s going to help you.” Typing that brings tears to my eyes, and I wonder almost every night if their situation has improved. In the hotel’s lobby, a clerk explained to an increasingly distressed man, “Sir, we can’t give you a room unless you have a credit card.” His protests that he had cash to pay for a night’s stay were met with vague mentions of a corporate policy. I didn’t have enough money to volunteer to pay for his room using my card, which will haunt me forever. I later did some research, and I couldn’t find any hotel chains that don’t require credit cards for stays. This is a punishing penalty for the already-disadvantaged, and it means people who should be indoors weren’t on Christmas Eve. Yes, there are shelters in Santa Fe and Albuquerque, but that doesn’t help people in, say, El Rito or San Ysidro — nor is it a comfortable reality regardless. As the women in the “accessible” hotel room reminded me, people are introduced to harsh new realities every day, everywhere. I’ve told friends that if a company were able to produce a chemical that simply made people feel like they’re fortunate, it’d be the most sought-after substance on Earth. Some people who possess seemingly everything needed for happiness are unable to enjoy the warm embrace of the simple sensation, “I’m lucky.” I say those words aloud sometimes, to remind myself. If you’re reading this, there’s a good chance you are lucky as well — not with everything, but overall. I write this not to encourage you feel bad about it, but rather to feel great about it. Have a great new year, and thank you for reading the things I write. I truly appreciate it. Brian Sandford, Staff Writer bsandford@sfnewmexican.com

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OUT THERE FOR THE EARS (AND THE BRAIN)

10:30 a.m. Saturday, December 30 Center for Contemporary Arts 1050 Old Pecos Trail $17 in advance with discounts available, $20 at the door if not sold out Chatterabq.org

PASATIEMPO I December 29, 2023-January 4, 2024

PHOTO JONATHAN BARBER

Johann Gottlieb Goldberg may or may not have premiered J.S. Bach’s structurally magnificent Goldberg Variations in 1741 — the harpsichord virtuoso was 14 years old at the time — but one thing is certain. The nickname by which we know them is catchier than Bach’s original title, Aria with Diverse Variations for a Harpsichord with Two Manuals, Composed for Music Lovers to Refresh their Spirits. Pianist Judith Gordon, who performs it on Chatter’s Saturday, December 30, program, may be the perfect spirit-lifting match for the piece. New York Times music critic Bernard Holland wrote of her New York debut, “She already has the powers to cheer up one apprehensive listener who has heard the Liszt Sonata and the Chopin Preludes a few times too many.” Another certainty is that the piece is a supreme example of Bach’s ability to combine extraordinarily varied melodies with an almost superhuman display of organizational unity. The piece has 32 movements; the same aria begins and ends the work, with the variations in between. It has a false ending at the end of the 16th movement, which fades away quietly, only to have the second set of 16 movements begin with a flourish. Each movement is constructed on a 32-measure bass line and has two 16-measure sections, each of which is played twice. Each third variation is in the form of a canon, in which Pianist Judith Gordon the same melody is repeated at different starting performs Bach’s times, as in “Row, Row, Row Your Boat.” Goldberg Variations on Bach also slips in a surprise where the 10th canon Chatter’s next program at CCA. should come, with a quodlibet, in which different folk songs are sung or played simultaneously. The tunes here include “I’ve Been Away from You So Long” and the ever-popular “Cabbage and Beets Have Driven Me Away.” Santa Fe music lovers, however, should drive toward CCA for a concert that is sure to refresh their spirits, just in time for the new year. — Mark Tiarks/For The New Mexican

PHOTO MOUNTAIN STANDARD CREATIVE

Music to refresh your spirits

OUTDOORS

Double diamonds Mother Nature flipped the snow switch, and the ski slopes responded. Ski Santa Fe opened its Upper Mountain for the first time this year on December 22, bringing its Millennium and Tesuque Peak Triple Chairs into service. The mountain received 66 inches of snow this season as of December 28. Ski Santa Fe estimated that 90 percent of its Upper Mountain trails would be open, including advanced terrain such as Roadrunner, Avalanche Bowl, Tequila Sunrise, Cody’s Glade, Big Rocks Trees, and Richard’s Run. All facilities — including La Casa Lodge, La Casa Café, Ski Santa Fe Sports Shop, Ski & Snowboard Rental Shop, and Baz Coffee Bar — are expected to be open. The ski mountain is located about 16 miles northeast of downtown Santa Fe and sits at a base elevation of 10,350 feet. Public transportation is available to transport skiers from downtown Santa Fe to the top of the hill. Ski Santa Fe is open daily from 9 a.m. to 4 p.m. Daily lift tickets range from $47 for beginners to $105 for a full-day ticket on a weekend or a holiday. — Spencer Fordin Visit skisantafe.com for more information about the slopes and ncrtd.org/255-mountain-trail-route for information about the bus route.

IN GOOD TASTE

Pop the cork

La Viña Winery, La Dolce Viña, $24, lavinawinery.com The Mesilla Valley-based winery makes three sparkling wines, but its website bills its La Dolce Viña sparkling muscat blend as its best-seller. La Vina also makes La Piñata, which is a sparkling white zinfandel and black muscat blend, and a sparkling wine with a beer flavor. “You really have to be down in southern New Mexico to get your hands on them, but they’re really interesting and well done wines,” says Goblet. “Their winemaker is Chilean, and he has a completely different focus. He’s a really amazing white winemaker.” Noisy Water Winery, Forbidden Sparkling Wine, $35, noisywaterwinery.com The Forbidden sparkling wine carries hints of lemon zest, stone fruit, and citrus, and it’s made from grapes on Gruet’s original vineyard in Engle, just east of Truth or Consequences. Noisy Water makes three other bubblies, including Jo Mamma’s Bubbly, Bella Rossa sparkling rosé, and its Ruidoso Bubbly. “It’s a little more widely available because Noisy Water has tasting rooms in six different cities,” says Goblet. “It comes from that heritage vineyard. They also make a sweet sparkling wine as well; pretty much all of these folks have a traditional sweet sparkling wine.” — S.F.

COURTESY GRUET

Gruet, NV Magnum Brut, $42, gruetwinery.com Here’s one of the best and most distinctive varieties of American sparkling wine that you can get your hands on, and it’s made right here in New Mexico. This is a traditional classic sparkling wine with aromas of green apple and citrus mineral notes. Gruet also offers a sparkling rosé and a sparkling blanc de noirs with aromas of berries and pear.

VARA Winery & Distillery, Silverhead Brut, $25, varawines.com VARA’s signature celebration wine comes in a summer wheat color and carries aromas of almonds, pears, apricot, and grapefruit. VARA also makes its Brut in a rosado flavor, and it recommends that the latter variety is used to enhance richer foods.

COURTESY NOISY WATER

FOLLOWING ARE A FEW OPTIONS FOR LOCAL PURVEYORS OF SPARKLING WINE:

St. Clair Wines, St. Clair Brut, $15, stclairwine.com The Deming-based winemaker has been producing quality products for four decades now, and they have three sparkling wine choices. The Brut is recommended for hors d’oeuvres and cheese tastings; St. Clair also makes a sparkling Bellissimo, which has hints of peaches and honeydew melon; and an Imperial Kir, which tastes like raspberries mixed with melon. “St. Clair’s Brut is very high quality and very affordable,” says Goblet. “It’s not in the méthod champenoise but it’s dry, and it’s approachable. It’s under $20. It’s another French family making another sparkling wine that I think is worth paying attention to.”

COURTESY NOISY WATER

The year is winding down, and the bubbly is already on ice. New Year’s Eve is right around the corner, which means it’s time for New Mexico’s most popular grapes to be the life of the party. Christopher Goblet, executive director of New Mexico Wine (nmwine.com), says that the state has earned global distinction for its sparkling blends. You can find Gruet’s sparkling wines, says Goblet, at distributors in 50 states and 13 different countries. The rest of New Mexico’s wines, by contrast, are fighting for a smaller footprint. “If anyone has heard of New Mexico wine, it’s probably sparkling wine from Gruet. It’s the one thing we’re known for,” says Goblet. “I talk to wine writers all the time; you can go to a Michelin-starred restaurant in France and find Gruet. People in New Mexico know about Gruet, but they may not recognize that it’s a significant force in the sparkling wine world.” Gruet has been making its signature méthode champenoise sparkling wines since 1984, and the family sold its winery to Precept Brands in 2014. Laurent Gruet left his role at his old company in 2020, and now he’s a partner at VARA Winery & Distillery. Last month, VARA announced that Gruet’s nephew, Sofian Himeur, will be joining the Albuquerque-based winery following a stint as head winemaker at Iron Horse Vineyards in Sonoma, California. And that’s not the only notable development. Goblet says that Noisy Water Winery, a Ruidoso-based winemaker, is working on a Ribolla Gialla sparkling wine that would be the first of its kind made in America. That’s not likely to be out until spring, which means it’s a New Year’s option for 2024 at best. The traditional method of making champagne — méthode champenoise — involves allowing the last stage of fermentation to take place in the bottle. The winemaker adds yeast and sugar to the bottle, which ferments over the following month. Another method, Goblet says, is forced carbonation, which resembles the sparkling water machines some people have at home. If you’re not sure exactly when you should be breaking open the bubbly, Goblet says it’s appropriate to start at the beginning of the night. “This is your aperitif. This is how you kick off the party,” he says. “You can serve a sparkling wine with dinner, particularly when you have a sparkling rosé or a vintage sparkling that’s aged a little longer. It might have a more robust flavor. I typically think of sparkling wine as the welcome beverage. It goes with dessert at the end of the evening if that’s where the party is headed. It goes with the toasts at midnight. And it goes with mimosas in the morning.”

Ring in the new year by popping a cork and sipping Noisy Water Winery’s Jo Mamma’s Bubbly (top) or Ruidoso Bubbly (above). Gruet’s Blanc de Noirs is a versatile sparkling wine that pairs well with a variety of food.

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OUT THERE FOR THE EARS

New news for New Year’s Eve PHOTO ED KASHI/COURTESY MONROE GALLERY OF PHOTOGRAPHY

There’s something new this year on a Santa Fe New Year’s Eve tradition. We’re used to seeing Joe Illick on the podium at the Lensic Performing Arts Center, ringing out the old year with a specially assembled New Year’s Eve Orchestra, and at the keyboard for other events, collaborating as an accompanist. For 2023, he’s the featured soloist in Frédéric Chopin’s Piano Concerto No. 2 in F minor, Violinist Augustin playing the third movement while also conducting Hadelich is the from the piano. guest soloist for Violinist Augustin Hadelich returns as the soloist Joe Illick’s New in Max Bruch’s Violin Concerto and in Pablo de Year’s Eve show. Sarasate’s Carmen Fantasy. The former opens with an exhilarating first movement, followed by an adagio that seems to channel the spirit of Felix Mendelssohn and an allegro influenced by the music of Hungary. The latter is a five-section work based on some of the most overtly Spanish-sounding numbers from Bizet’s opera, including the Habanera and Seguidilla. In addition to the 5 p.m. performance, there’s an open dress rehearsal for families at 1 p.m., with general admission tickets at $5 for children ages 6 to 12 and $20 for adults. — M.T.

PHOTOGRAPHY

Documenting damage In one of the more disturbing images in Monroe Gallery of Photography’s This Fragile Earth, a subcontractor for Shell Oil Company takes a break from cleaning up an oil spill at an abandoned well owned by Shell, holding out his hand. At first glance, it appears to be covered in human blood. Further examination reveals it’s actually covered in Earth’s blood: oil. The untitled image was captured by photographer Ed Kashi in 2004. Equally troubling, but perhaps more resonant to New Mexicans, A worker subcontracted by Shell Oil Company cleans is Aftermath of Calf Creek/Hermits Peak Wildfire, taken near Mora in up an oil spill from a well 2022 by Santa Fe New Mexican photographer Gabriela Campos. It owned by Shell that had features a panoramic view of the charred landscape left by the been left abandoned for most damaging wildfire in the state’s history. over 25 years in the Niger Delta (2004). This Fragile Earth, which runs through January 21, juxtaposes images showing human-caused environmental devastation and the effects of climate change with others that highlight nature’s magnificence. Among the latter are Taos Gorge, taken by Henry Monroe in 2018, and an untitled image showing a giraffe beneath flying storks at Shaba Game Reserve in Kenya, taken by Bill Eppridge in 1978. The exhibition’s goal is to motivate awareness and change, say gallery owners Michelle and Sid Monroe. It’s supplemented by a virtual exhibition, Stephen Wilkes: This Fragile Earth, Day to Night, showing that photographer’s images of nature’s splendor. Wilkes, of Connecticut, used a technique in the pieces that captures the passage of time from day to night. Many of Wilkes’ images show details of locations relatively few humans have visited: Churchill, Manitoba, near Hudson Bay; Ilulissat, Greenland; and Chilko Lake, British Columbia. While humans are only visible in one of the images, others feature caribou, wood bison, polar and grizzly bears, zebras, and elephants. Wilkes gave a talk about the images, as well as his documentation of the aftermath of Hurricane Sandy, at the gallery on November 30. View it at monroegallery.com. — Brian Sandford

5 p.m. Sunday, December 31 Lensic Performing Arts Center 211 W. San Francisco Street $30-$80 505-988-1234; lensic.org

Through January 21 Monroe Gallery of Photography 112 Don Gaspar Avenue 505-992-0800; monroegallery.com 8

PASATIEMPO I December 29, 2023-January 4, 2024

COURTESY FACEBOOK

This Fragile Earth

GALLERY NOTES

Hecho leaves Canyon Road

All kinds of art Everything’s for sale except the view. The Webster Collection, housed in the second oldest building on the Plaza, has made a move in recent years to diversify its holdings and to open its doors as an event space. Here, above the Plaza Cafe and with an expansive view of the Plaza, Christopher Webster has sold real estate, paintings, and prehistoric pottery since 1972. But now, thanks to his son and namesake Christopher Webster III, the gallery includes jewelry, apparel, and textiles. “One of the things we’re increasingly passionate about is being on the second floor and being on the Plaza; it’s such a fun place to visit,” says Webster III. “We’re sort of hidden even though we’re right in the middle of everything. Being able to invite people up and letting people experience this space has become something we’ve put a lot of energy into.” The space — a multiroom suite that formerly housed Sotheby’s International Realty office in Santa Fe as well as offices for Blue Cross Blue Shield — now has a treasure on every wall. Beautiful ceramics and ancient pre-Colombian sculptures house one niche of the studio. There’s striking landscape photography by Alex Harris, a finalist for the Pulitzer Prize, lining one wall, and metalwork atomic art sculptures by Tony Price tucked away along the floor. Painters Maggie Hanley and Adam Feibelman, among others, have work at the gallery, and in another room, there’s apparel from numerous designers including Carla Fernandez and Nicholas Daley. Webster III says the boutique aspect of the gallery was an outgrowth from the uncertain times during the pandemic when it was hard to schedule events and have people in the space.

Frank Rose has combined his two galleries into the space at 129 W. Palace Avenue.

COURTESY HECHO A MANO

In an emailed letter to patrons, Hecho Gallery and Hecho a Mano owner Frank Rose lists benefits of the galleries’ pending merger. He’s also honest about the fact that it wasn’t his choice. Hecho a Mano has mostly featured New Mexican and Mexican printmakers, while Hecho Gallery primarily showcased artists based in New Mexico and Oaxaca, Mexico. The combined entity will be called Hecho Gallery. As of Monday, January 1, the two galleries will occupy the space formerly occupied solely by Hecho Gallery at 129 W. Palace Avenue (hecho .gallery). December 26 was set to be Hecho a Mano’s final day in operation at 830 Canyon Road. Rose started it in 2019. — B.S.

RANDOM ACT

The gallery lists appraisal, consignment, curation, and “procurement of rare items by request” among its services. “I ended up spending a lot of time here mostly waiting for the mailman trying to figure out what we’d do next. But it allowed me to find some other opportunities,” says Webster III. “I started reaching out to people, Nicholas Daley being one and Carla Fernandez being another. We started dipping our toes in at blurring the lines between our gallery and art and design.” The gallery has served as a green room for artists during the summer-long concert series on the Plaza and for numerous other events, and Webster says he recently had to let the innkeeper on the roof during Las Posadas. The Webster Collection is still open mainly by appointment but is transitioning back to regular hours. Those interested in visiting can call 505954-9500 or check out the gallery’s website, webstercollection.com. — S.F.

Tunes from a twosome Santa Fean Elizabeth Blanco’s longtime folk songwriting project is called Lili St. Anne, and there’s a story behind the name. “Lili is the name I started going under for music when I first started writing; it’s a nickname for Elizabeth in French,” Blanco says via email. “Saint is because I grew up Catholic and knew I would never be one. Anne is the name of my grandmother who went back to painting school Elizabeth Blanco after having five kids.” and Ivy Ross The project’s most recent perform as Lili St. album, the socially conscious Anne Thursday, Tin Can Times, was recorded January 4, at El in April 2020 in Blanco’s native Rey Court. Portland, Oregon, and released in September that year. The track “Oh, the World!” includes observations such as, “When I look out on this sweet Earth, I see so much wrong.” The song title “Letter to My Children Who Aren’t Born Yet” is self-explanatory. Blanco is a theater instructor at New Mexico School for the Arts and resident musician at the Open Circle church community in Santa Fe. She has performed with various musicians using the Lili St. Anne moniker. On Thursday, January 4, she and fellow Santa Fean Ivy Ross will perform as Lili St. Anne. To hear the group’s music, visit lilistanne .bandcamp.com. To hear Ross’ solo music, visit ivyross.bandcamp.com. — B.S. 8 p.m. Thursday, January 4 El Rey Court 1862 Cerrillos Road Donations accepted

The Webster Collection gallery is a hidden gem on the Santa Fe Plaza.

505-982-1931; elreycourt.com

PASATIEMPOMAGAZINE.COM

IN OTHER WORDS

The 10 best books of 2023 The Washington Post staff

FICTION THE BEE STING by Paul Murray Murray’s novel, shortlisted for the Booker Prize, reads like an instant classic. In it, the gleaming facade of one Irish family — a successful car dealer, his legendarily beautiful wife, and their two children — begins to fracture under the weight of long-held secrets. Murray is a fantastically witty and empathetic writer, and he dazzles by somehow bringing the great sprawling randomness of life to glamorously choreographed climaxes. He is essentially interested in the moral conflicts of our lives, and he handles his characters and their failings with heartbreaking tenderness. THE HEAVEN & EARTH GROCERY STORE by James McBride The National Book Award-winning author of The Good Lord Bird sets this exuberant novel in a ramshackle Pennsylvania neighborhood before and during the Great Depression. There, Black and Jewish residents come together to hide an orphan from state officials who want to send the boy to a harrowing institution ruled by a violent fiend. Such circumstances might seem to promise a grim tale, but this is a book by James McBride. Vitality and humor thrum through his stories even in the shadows of despair. This vibrant, loveaffirming novel bounds over any difference that claims to separate us. LOOT by Tania James A real-life object of fascination — an 18th-century automaton depicting a tiger biting into an Englishman’s neck — is the basis for this novel. The story begins in Mysore with a 17-year-old peasant who has a talent for carving mechanical toys and spans decades as the curiosity he creates changes hands and crosses continents. James moves within the historical record while freely exploiting its considerable gaps and silences. Her prose is lush with the sights, sounds, and smells of India, France, and England, and always laced with Dickensian wit. THE MANIAC by Benjamín Labatut Like Labatut’s last book, When We Cease to Understand the World (2021), The MANIAC is captivating and unclassifiable, at once a historical novel and a philosophical foray. Its resident genius is the polymath and pioneering computer scientist John von Neumann, who displays “a sinister, machinelike intelligence.” The book’s many narrators offer a polyphonic portrait of the brilliant, frustrating von Neumann, and its extraordinary final segment brings us to the wonder and potential danger of artificial intelligence. Labatut is 10 PASATIEMPO I December 29, 2023-January 4, 2024

a writer of thrilling originality. The MANIAC is a work of dark, eerie, and singular beauty. NORTH WOODS by Daniel Mason Mason plants his novel on an expanse of land in western Massachusetts where, over centuries, various absorbing tales unfold and interweave. There’s an illicit marriage between two Puritan runaways, a shocking, brutal murder, and an enslaved woman fleeing north. The silent spaces between these stories articulate what the residents can’t, as their errant lives begin locking together in a winding chain of unlikely history. Elegantly designed with photos and illustrations, this is a time-spanning, genre-blurring work of storytelling magic. Mason has a light, mischievous touch, and it’s hard to imagine there is anything he can’t do.

NONFICTION THE BATHYSPHERE BOOK: EFFECTS OF THE LUMINOUS OCEAN DEPTHS by Brad Fox In 1930, the naturalist William Beebe descended deep into the ocean in a 4½-foot steel sphere, describing what he saw outside the porthole through a telephone wire that rose to the surface. By turns philosophical and elegiac, Fox’s history of Beebe’s explorations is a hypnotic ode to the world beneath the waves. This is no straightforward narrative but a book built from scraps that belie its intricate engineering. It is also an exceptionally beautiful object, bursting with fullcolor illustrations and paintings of the creatures Beebe encountered. HOW TO SAY BABYLON by Safiya Sinclair Born in a seaside Jamaican village near Montego Bay, Sinclair grew up in a strict Rastafarian family on the fringe of a hedonistic tourist mecca. She wanted more than the Rasta wifedom that was mapped out for her, and in this lushly observed memoir, she chronicles how she threw off that yoke. Doing so risked the wrath of her father, a reggae musician who feared that corrupting Western influences would ruin his daughter. The book grabs the reader with the beauty of its words (Sinclair is also a published poet), but it sticks because of the thorniness and complexity of its ideas. JUDGMENT AT TOKYO: WORLD WAR II ON TRIAL AND THE MAKING OF MODERN ASIA by Gary J. Bass The post-World War II war crimes trial in Tokyo of leading Japanese military and civilian perpetrators lasted from

May 1946 to November 1948 and resulted in 16 life sentences and seven hangings, including that of the wartime prime minister and minister of war, Hideki Tojo. This trial — far more complex, drawn-out, and contentious than the Nuremberg proceedings — is the subject of Bass’ comprehensive, landmark, and riveting book. Bass employs the complexities of the trial as a fulcrum to sketch a wide canvas, documenting not just atrocities and attempts at justice but the history of World War II in Asia. KING: A LIFE by Jonathan Eig Eig’s book is the most compelling account of the Rev. Martin Luther King Jr.’s life in a generation. To write it, he conducted more than 200 interviews, including with scores of people old enough to have known or observed King, and pieced together numerous accounts gathered by other journalists and scholars, some of them never published before. The result might be described as a deeply reported psychobiography — one infused with the narrative energy of a thriller, as Eig vividly reconstructs some of the story’s most dramatic turning points. THE LIFE AND TIMES OF HANNAH CRAFTS: THE TRUE STORY OF THE BONDWOMAN’S NARRATIVE by Gregg Hecimovich In 2001, the professor and literary scholar Henry Louis Gates Jr. purchased an unheralded novel of unknown authorship at an auction. He verified that it was authentic and had probably been written by a Black person before 1860. It was published to wide acclaim and robust sales as The Bondwoman’s Narrative. Hecimovich’s book tells the incredible story of Hannah Crafts, the woman who wrote it, and of Hecimovich’s tireless efforts to discover her identity and reconstruct her trajectory. The result is an inspired amalgam of genres — part thriller, part mystery, and part biography. ◀

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COMIDAS Y MAS

A heart for honey This sweet Santa Fe salon is the bee’s knees Spencer Fordin l Photos by Luis Sánchez Saturno THE NEW MEXICAN

IT’S

impossible to stop your eyes from wandering when you enter the Santa Fe Honey Salón. A variety of vibrantly colored honey jars — ranging from TSA-friendly two ounces all the way to a gallon — vie for attention, as do a wide range of products made from the same hives. There are homemade soaps and beeswax candles, not to mention lip balms and other body products. Once you get your bearings, you might encounter the shop’s friendly proprietor, Gadiel Marquez, who beckons you to try a free sample of one of the flavors of honey. That’s part of the fun for Marquez, who runs both locations of the Santa Fe Honey Salón with his wife, Martha Alcantar, and family. “When people visit, the first thing we do is welcome them. We know it takes a second to take it all in,” he says from his post at the tasting station. “I’ll invite them to browse, and when they’re ready to taste, I’ll

12 PASATIEMPO I December 29, 2023-January 4, 2024

meet them over here. This is a great place to start the conversation and get that multisensory experience going. Many times, people are expecting us to entertain them, which I shy away from. We need to have a conversation; it needs to be two ways.” Marquez, who grew up in Cuidad Juárez, Mexico, has been part of the Santa Fe honey scene for two decades. He started selling his wares from a van at flea markets, and nine years ago, opened a brick-andmortar location at the corner of Juanita Street and St. Francis Drive. Two years ago, in the thick of the pandemic, Marquez opened a second location in a downstairs shopping center on San Francisco Street close to the Plaza. “For the longest time, I wanted a commercial space downtown,” he says. “It’s downstairs. People have to take that extra step. And it just works out great for us. We can focus on presenting our products.”

Marquez makes his honeys — which include more than two dozen flavors and infusions such as mountain wildflower and sage/marigold — on location at his Juanita Street salon. The honey comes from a farm in Polvadera, about 10 miles north of Socorro, called Bee Chama Honey, and Marquez says it’s handled with the greatest of care. “When we’re talking about honey, we’re talking raw, pure, unfiltered honey,” he says. “That’s the challenge, to keep our honey a certain temperature so it remains alive. If it gets too cold, it will go from liquidy to chunky. If it gets too hot, it will cook and pasteurize. Then it won’t be raw. We want raw honey, which is a lot different than what is available commercially.” To collect the raw honey, the beekeepers have to help make sure the bees are comfortable. Marquez says the bees are kept in Socorro County and don’t travel to other areas to help in their pollination

efforts. Three or four workers look after 200 hives, and eventually, the honey is packed into jars by hand. The honey farm workers are at constant peril of being stung, and if they’re stung frequently enough, they can develop a career-ending allergy. “Those girls are violent,” Marquez says. “But just as they are violent, they take good care of themselves. Part of our work is setting up those bees where there are plenty of flowers where they can forage. The other part is making sure the queen is laying eggs and ensuring the hive is strong enough.” Most of the honey’s flavor comes from the hive, says Marquez, and it’s dictated by the mix of nectar the bees have brought in from the flowers in the surrounding

area. You can’t tell the taste of the honey by looking at it; you have to try it and decide what flavors are complementary. Those flavors could include red chile or green pistachio, and many options in between. “I believe that if we start with a top-notch product and we put top-notch honey in it, it can only be tastier,” he says. “My infusions and nuts I make with as few ingredients as possible. It just sits; it’s that simple. Put honey and nuts together. Everything is made in small batches right here, and it takes me one full day to accomplish that because I’m here and receiving my customers. When I’m not receiving customers, I can go through a batch in three hours.” One batch of honey is equivalent to 72 bottles, or six cases, Marquez says. The honey maker creates 27 different flavors of honey in the store, and 18 of them are available in the gallon size. Marquez jokingly refers to his daughter, Xochitl, as the store’s manager, because she comes up with some of the ideas for the shaped beeswax candles, such as the skull mold, and helps to make them by hand. Honey, says Marquez, has afforded his family a comfortable and fulfilling life, and that’s why he’s thrilled to have settled in Santa Fe. His customers know him and his product, and he loves interacting

with old and new customers. So don’t be shy: Marquez is happy to give you as many tastes of honey as you’d like in order to help you find your favorite. “Everyone who walks into our place can have a few dabs of honey for free,” Marquez says. “We measure our success by the amount of used tasting sticks we have. For us, at that point, we’ve done everything. And after we’ve done our part, usually customers take good care of us.” ◀

Clockwise from top: Julia Vine and her husband, Terry, visiting from Houston, browse the selection at the Honey Salón. There are 18 flavors of honey that can be purchased by the gallon at the store. In addition to honey, the store sells tea, nuts, handmade soaps, lip balms, and beeswax candles. Opposite page: It’s a family affair at the Honey Salón, with Xochitl Marquez, 9, assisting her parents, store owners Gadiel Marq quez and Martha Alcantar.

The Santa Fe Honey Salón’s original location is at 554 Juanita Street; it has an additional tasting room at 112 W. San Francisco Street. 505-780-8797; santafehoney.com PASATIEMPOMAGAZINE.COM

Screen queens Robert Nott I The New Mexican

A SELECTION OF NEW MEXICO’S SMALL-TOWN CINEMAS RESOLVE TO GET A FACELIFT

COURTESY CARLSBAD MAINSTREET

14 PASATIEMPO I December 29, 2023-January 4, 2024

ou’ve probably seen them while driving though any numbeer of small towns in New Mexico — dead, dying, or desperate small-town movie theaters. Fadeed beauties, you might call them. For thosee who grew up in these small-town hotspots of cultural id dentity, the sight of those beauties’ decaying facades and thoughts of their abandoned innards might stir fond or sad memories of days long gone by. Maybe it was the place you enjoyed holding hands with your stteady while you watched a film, or perhaps where you and your date could make out in the back row, only to o get caught by an usher who told you to knock it offf or get out. (Speaking for myself, I’d usually get out and look for another place to make out.) If you weere real lucky, sitting just a few rows away, you’d see yo our ex fighting with his or her current beau. During t heir heyday, these main street cinemas offered a co ommunal experience that also spoke to the vibrancy off small-town America. Many are long gone, replaced byy banks, churches, or warehouses. Some sit like silent ghosts, whose wails of despair cannot be heard. But manyy are holding on, looking for financial and communityy help to keep their marquees lit, seats full, and scc reens lit. Thankfully, a state Economic Developmen nt Department initiative is helping some off them do jusst that. The New w Mexico Historic Theaters Initiative, which started in 2013, partners with the New Mexico MainStreett program to provide funding to publicly

With $350,000 from the New Mexico Historic Theaters Initiative, and with the help of other funding options, Carlsbad MainStreet hopes to reopen the Cavern Theatre by the end of 2024. Opposite: Howard Stein’s LUX Theaater Grants NM is part of his photography exhibition Last Frame of Piicture,, Small Town Movie Theaters.

owned cinemas located in main street districts to pay for renovations and digital-projection upgrades. To date, the project has provided $3 million in capital outlay money to help 11 historic theaters in such cities and communities as Alamogordo, Carlsbad, Gallup, Lovington, Raton, and Silver City. “A lot of them are going black, especially in rural communities,” says Daniel Gutierrez, director of the Economic Development Department’s New Mexico MainStreet program, of our state’s historic movie houses. “They didn’t have the funding to update to digital projection and sound, so people were leaving.”

Although the digital revolution is not the only challenge facing these small-town cinemas — it’s less profitable to run a one- or two-screen cinema, especially in a downtown that may be struggling to keep its lights on as well — it was a stimulus for the state to get involved in saving some of these beauties, he says. There’s an economic benefit to bringing these buildings back to life, Gutierrez adds, because many of these cinemas serve as an “anchor institution.” continued on Page 16 PHOTO HOWARD STEIN

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Theaters, continued from Page 15

PHOTO HOWARD STEIN

COURTESY LEA THEATER

“If you are going to see a movie, you are likely to go to lunch or dinner, shop downtown, see an activity you might want to engage in that you may not have seen otherwise,” he says. “[Cinemas] do draw people downtown. They help keep open local businesses around them.”

Love for the Lovington theater Mara Salcido gets that. The director of Lovington MainStreet grew up in the rural Southeastern New Mexico town of about 11,000 people and still fondly recalls going to the Lea Theater on Central Avenue. The cinema, which opened in the late 1940s, operated pretty steadily until about 15 years ago, when the projection system started having problems. Then it shut down for a while, and then reopened, and then came the COVID pandemic, when it shut down again, she says. It’s quiet and dark now, awaiting some attention that will get its hot pink and green marquee glowing again. The city of Lovington owns the roughly 270seat theater and is taking advantage of the Economic Development Department program to the tune of 16 PASATIEMPO I December 29, 2023-January 4, 2024

$400,000 to help with renovations for the stage, sound, and lightning systems. “It’s one of the town’s memories,” Salcido says, adding she considers the cinema “my baby.” She’s hoping her baby will be back up and running by the summer of 2025. The state monies won’t be enough to fully reopen the theater, but Salcido says those trying to save the theater are seeking other funding sources and recently conducted a penny drive to replace the floor, which is made out of pennies. (They’ve raised $3,000 in pennies so far.) Her organization is looking to raise a total of $1.3 million — it will cost $300,000 just to revive the marquee alone, she says — and it has raised about $1 million of that so far. “It’s an old building,” she says of the venerable Lea. “It needs a lot of love and care.” In addition, she says the cinema is essential to the heart of Lovington and that the marquee is “a beacon of light to highlight the community is not dying, there are things going on, there are efforts to revive the area, because the community wants it.”

The flicker of the future But occasionally, community love is not enough. Too many small-town cinemas around the country have shuttered, according to photographer Howard Stein’s estimate. Throughout his cross-country travels, he has photographed more than 440 smalltown movie theaters in 26 states, including about two dozen in New Mexico. Not all are closed for good, he says, but many of them are. “Some have gone dark after I photographed them,” says Stein, whose photography exhibition, Last Frame of Picture, Small Town Movie Theaters, opens on February 1 at the Vista Grande Public Library in Eldorado. The show runs through the end of February. His black-and-white images evoke a sense of nostalgia for what were once elegant movie houses, now gone to seed, that spoke to who we were as a community. His cinema-photo craze started after Stein, who now lives in Eldorado but grew up in northern New York in the late 1940s, came across the boarded-up Ritz theater in Natchez, Mississippi, and photographed it nearly 20 years ago during a cross-country road trip

with one of his brothers. The two kept heading west, and Stein kept shooting small cinemas — some open, some closed. He says New Mexico’s efforts to help small theaters is wonderful to see. “I don’t know what the future of that kind of funding is,” he says, “but I’m hoping there is some ongoing stream for this kind of investment in theaters.” Witnessing these little theaters go dark adds to his frustration about the homogenization of culture “through the fast-food franchises, the Home Depots, the Walmarts, where the mom-and-pop era has transitioned from local identity into just generic sprawl.” Regardless of where you grew up, he says, many people identify with the town’s main street cinemas of their past. “It’s not going to church, but in some ways, it was a similar religious experience for us growing up — going to the theater every Friday or Saturday, it became a much-anticipated event,” he says. Lovington MainStreet is working on getting the hot pink and green Cinemas became gathering marquee of the town’s Lea Theater places where, he says, everyone glowing again (opposite page, shared more than just a box of right). Howard Stein has photopopcorn. They became a commugraphed hundreds of small-town nity engrossed in the same story, movie theaters, including the LOMA Theater in Socorro (opposite even if just for a few hours. page, left), which reopened in 2017 “Without a theater you lose with state-of-the-art equipment. that,” Stein says. “Maybe you see your friends at the Walmart or Dollar Store, but it’s not the same as seeing them every Friday or Saturday downtown at the movie show.” He recalls his childhood days attending one of the three local theaters in his hometown of Elmira, New York. One still operates as a performing arts center, displaying the sort of adaptable ingenuity that keeps some of these old cinemas alive.

NM residents use code MONDAYFUNDAY for half price admission from 3pm-8pm meow.wf

Light for the Cavern Gutierrez agrees and says some theater owners are transitioning their old movie theaters into spaces that can also host live events, such as concerts, plays, and parties. “That’s what we have been doing now … working on improving [theater] stages with enhanced lightning and other amenities to help them serve a multipurpose use, not just showing film,” he says. That’s the hope for revitalizing the downtown Carlsbad Cavern Theatre, says Kat Davis, director of Carlsbad MainStreet. The group received $350,000 from the state’s historic theater fund, and with the help of other state funding options, they’ve raised more than $1 million dollars to purchase and install a digital projection system and help renovate and update the structure’s HVAC and fire suppression systems and bring it up to Americans With Disabilities Act standards. Then there was a new roof remodel and problems with asbestos and the list goes on. “You expect 15 things, and there were more like 30 things,” she says. The city now owns the theater, which has been closed for decades, but Davis says she hopes the Cavern will reopen by the end of 2024 and draw families back downtown. “Yes, we have a movie theater in our mall, but when you go to a historic theater, it’s not just going to see a movie, it’s the experience,” she says. “A lot of people have memories there.” ◀ Last Frame of Picture, Small Town Movie Theaters Photography exhibit by Howard Stein February 1-29, 2024 Vista Grande Public Library 4 Avenida Torreon, Eldorado 505-466-7323; vglibrary.org

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18 PASATIEMPO I December 29, 2023-January 4, 2024

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Right: William Frej’s Barrier Canyon Style Anthropomorph (2021, northern Utah) is an example of the rock art he photographed and included in his book Blurred Boundaries: Perspectives on Rock Art of the Greater Southwest. Bottom: Bighorn Sheep Shaman, (2022, Fremont Culture, northern Utah)

PHOTOS WILLIAM FREJ/COURTESY PEYTON WRIGHT GALLERY

Opposite page: Large Animal with Long, Undulating Tail (2021, southern Utah)

Brian Sandford l The New Mexican

Written in stone How rock art conveys both mysteries and connections to the people and places of the Southwest

ONE

of archaeologist Polly Schaafsma’s favorite photographs shows a sweeping view of the Great Basin in Northern Nevada, a valley cresting into mountains in the distance. In the foreground, a road sign cheekily advises drivers, “Absolutely nothing for the next 50 miles.” The sign’s definition of “nothing,” she says, is a powerful statement about the limits of Western perception and imagination. “You can’t stop and get a hotdog or Coca-Cola,” Schaafsma says of the terrain shown in the photo. 20 PASATIEMPO I December 29, 2023-January 4, 2024

“But Natives’ perspective was, ‘Oh my God. There’s water over here and piñon trees over there, where we can collect nuts, and we hunt over here.” That philosophy — viewing what non-Indigenous people might call “the middle of nowhere” as a living, breathing world of opportunities — guided the creation of Blurred Boundaries: Perspectives on Rock Art of the Greater Southwest, featuring 170 black-andwhite images taken by photographer William Frej and a 20-page essay, as well as hundreds of detailed captions, written by Schaafsma.

The 232-page hardcover book, published in the fall by Museum of New Mexico Press in Santa Fe, includes a four-page foreword by New Mexico author Frank Graziano, and the Land of Enchantment is featured prominently within its pages. In fact, the first image readers see upon opening the nearly 5-pound book shows a Northern New Mexico petroglyph estimated to date to the 14th century. The back cover features a note of praise for the book by Michael F. continued on Page 22

PASATIEMPOMAGAZINE.COM

PHOTO WILLIAM FREJ/COURTESY PEYTON WRIGHT GALLERY

William Frej’s A Large Bear and Tiny Hunters (2022) shows a petroglyph panel above the Colorado River in eastern Utah.

Written in stone, continued from Page 20 Brown, president of Santa Fe’s School for Advanced Research. Both Frej and Schaafsma will attend an exhibition of photographs from the book Friday, December 29, at Peyton Wright Gallery. The exhibition also features paintings by Schaafsma. “For me, rock art portrays a real mystery and a mystical feeling,” Frej says. “I think black-and-white photography captures that mysterious perspective better than color. It’s important to visualize rock art not as individual subject matter, but something that’s part of a much broader landscape.” Neither Frej nor Schaafsma is Indigenous, but both stress the importance of learning from people whose familiarity with the landscape goes back hundreds of generations. Frej recalls a valuable lesson from an Indigenous archaeologist who works at the Center for New Mexico Archaeology in Santa Fe. She told him not to just pay attention to petroglyphs individually, but to turn around and observe their placement within landscapes. Frej’s resulting efforts to focus on both art and landscape in Blurred Boundaries aren’t lost on Schaafsma, who has written several books about rock art. “There’s something more stark and more direct about black and white,” she says. “When I looked at the book, I thought, I’m not just going to write about archaeological periods, dates, or interpretations, because he really conveys a sense of exploration and discovery. I aimed to address how people react to rock 22 PASATIEMPO I December 29, 2023-January 4, 2024

art — what it means to observers including the Native community and how it continues to affect people who encounter it over centuries, basically.” The following sentence from the book is an example of her goal to dig deeper in the captions she wrote for the images: “This perplexing group of petroglyphs on a large boulder in eastern Utah appears to involve a birthing scene, to the right of which is a set of small human footprints paralleled by deer tracks.” Frej feels spiritually inspired when climbing or hiking to view art created by people of the past. While religion in Western culture involves attending church and is static, he says, Indigenous belief systems are more transcendent. “Indigenous creators of this rock art have had access to this complex cosmology of meanings, symbols, visual metaphors,” he says. “These figures in rock create a strong sense of otherworldliness to me, and they breach the boundaries between the natural world and spiritual dimensions.”

Frej says the book could have been three times its size and maintained its level of quality. He praises Graziano and Schaafsma — whom he calls “probably the world’s leading expert on rock art” — for providing vital context. “We really intended this to be a visual journey, not a rock art book that defines where places are, as a guidebook would do,” Frej says. “Picking the images was an important part for me. We went through thousands of photographs, and I feel strongly they’re all very, very strong depictions of something that many people don’t yet understand.” ◀ Exhibition of photographs from Blurred Boundaries: Perspectives on Rock Art of the Greater Southwest Opening reception and book signing 3-7 p.m. Friday, December 29 Peyton Wright Gallery, 237 E. Palace Avenue 505-989-9888; peytonwright.com

By the book William Frej, Polly Schaafsma, and Frank Graziano all have published other books. Frej’s include Seasons of Ceremonies: Rites and Rituals in Guatemala and Mexico (Museum of New Mexico Press, 2021), Maya Ruins Revisited: In the Footsteps of Teobert Maler (Peyton Wright Gallery, 2020), and Travels Across the Roof of the World: A Himalayan Memoir (George F. Thompson Publishing, (2022). Schaafsma’s include Rock Art in New Mexico (University of New Mexico Press, 1992) and Indian Rock Art of the Southwest (University of New Mexico Press, 1986). Graziano’s include Historic Churches of New Mexico Today (Oxford University Press, 2019) and Miraculous Images and Votive Offerings in Mexico (Oxford University Press, 2015).

Blessings for the New Year!

The UniTed ChUrCh of SanTa fe

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i will light Candles this season: Candles of joy despite all sadness, Candles of hope where despair keeps watch, Candles of courage for fears ever present, Candles of peace for tempest-tossed days, Candles of grace to ease heavy burdens, Candles of love to inspire all my living, Candles that will burn all the year long.

THURSDAY, FRIDAY & SATURDAY

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MOVING IMAGES I REVIEW

Quite the

overture

Mark Tiarks l For The New Mexican MAESTRO CHRONICLES LEONARD BERNSTEIN’S LIFE WITH TWO STANDING OVATION-WORTHY PERFORMANCES Classical music practitioners don’t show up as major characters very often in Hollywood features, but the two most recent autumns have brought notable exceptions. In fact, they turned out to be the falls of the conductors, thanks first to Cate Blanchett as a groundbreaking conductor accused of being a sexual predator in Tár, released in October 2022, and Bradley Cooper as the turbulent, troubled Leonard Bernstein in Maestro, released limitedly to theaters in November before its streaming debut on Netflix. The most immediately striking aspect of the film is Cooper’s uncanny resemblance to Bernstein. It’s partly a triumph of Hollywood’s skill with prosthetics, makeup, and wigs, but more the way in which Cooper inhabits Bernstein’s personality, magnetism, and physicality. The most impressive single example comes near the end of the film, in a six-minute-plus re-creation of a 1973 concert at England’s Ely Cathedral in which Bernstein conducted Mahler’s Symphony No. 2 for orchestra, chorus, and vocal soloists. “I was absolutely terrified,” Cooper told Variety. “That was the London Symphony Orchestra. It was recorded live. I had to conduct them.” 24 PASATIEMPO I December 29, 2023-January 4, 2024

Cooper spent six years learning how to conduct the film’s musical sequences not only convincingly but also convincingly à la Lennie, as he was known to colleagues, with teachers including Yannick Nézet-Séguin, music director of the Philadelphia Orchestra. At the screening I attended, a longtime Santa Fe Opera orchestra member who played for Bernstein several times confirmed how successfully Cooper channeled his characteristic, idiosyncratic physical style and emotional intensity on the podium. In many ways, however, the film’s title should have been Maestra. Cooper’s astonishing performance is trumped by that of Carey Mulligan as Felicia Montealegre, the Costa Rican American actress Bernstein wed in 1951. Montealegre continued her significant acting career while being the primary parent to their three children and navigating a relationship threatened by Bernstein’s many liaisons with men until her death from lung cancer in 1978. Montealegre’s role has an enormous emotional range, and Mulligan’s skill in enacting is acknowledged in the film’s end credits, where she has first billing. Cooper had reams of material — written and videographic — to work with in developing his character; Mulligan not nearly so much. continued on Page 26

Bradley Cooper and Carey Mulligan portray married couple Leonard Bernstein and Felicia Montealegre in Maestro. Top: Cooper (left) rehearses the Ely Cathedral scene for Maestro, in which he conducts the London Symphony Orchestra in a re-creation of a 1973 concert.

More movie maestros Here are two earlier cinematic looks at the life of the conductor, including one in which a real-life conductor plays himself.

UNFAITHFULLY YOURS

Unfaithfully Yours stars Rex Harrison as a jealous symphony conductor who imagines different ways of dealing with the supposed infidelity of his young wife. Right: Deanna Durbin and Leopold Stokowski star in the charming 1937 film One Hundred Men and a Girl.

Preston Sturges’ black screwball comedy wasn’t a box-office hit in 1948, perhaps because it takes a while for the comedy to kick in, unlike his earlier films. He got the idea for it in the early 1930s, when he realized how much the music he was listening to influenced the script he was writing at the time. Now Unfaithfully Yours is held in high regard by critics and film professionals, with Pauline Kael calling it “One of the most sophisticated slapstick comedies ever made ... writers and directors have been stealing from it for years, but no one has ever come close to replicating [its] wild-man devilry,” and Quentin Tarantino naming it one of his 10 favorite flicks. In the film, Rex Harrison is Sir Alfred de Carter, a distinguished orchestral conductor who mistakenly suspects his much younger, beautiful wife, Daphne, played by Linda Darnell, of adultery. During a concert, the plots for the three pieces he conducts suggest to him three very different methods by which he could conclude the affair. The works in question are the overture to Rossini’s Semiramide, during which he imagines suavely dispatching Daphne with a straight razor and framing her lover for the crime; the overture to Wagner’s Tannhäuser, during which he nobly steps aside in favor of the younger man; and Tchaikovsky’s Francesca da Rimini, during which he dispatches himself in a game of Russian roulette. Sir Alfred becomes emotionally overwrought during each one, and the audience goes wild for his over-the-top interpretations. He returns to his apartment and attempts to enact each scenario, only to bungle them hilariously as skewed versions of the related music are heard on the soundtrack. Needless to say, he and Daphne reconcile. 105 minutes, no rating; available online from Amazon Prime Video, Apple TV+, and Vudu; DVDs are available at Amazon and other retailers and from the Santa Fe Public Library and Video Library. (Note: The 1984 remake with Dudley Moore and Nastassja Kinski is not an acceptable substitute.)

ONE HUNDRED MEN AND A GIRL

They didn’t have to teach an actor how to look convincing as an orchestra conductor for this one. They hired Leopold Stokowski to play himself, and he did so reasonably well, three years before Fantasia made him even more famous. The girl of the title was Deanna Durbin, who was 15 when the film was released in 1937. Her

specialty was classical music, which she sang with a flexible, light soprano, a style very much in vogue at the time. (Even so, Walt Disney turned her down for the role of Snow White, saying her voice sounded “too old.”) The 100 men were unemployed musician friends of her father, an out-of-work trombone player. Deanna gets a wealthy society woman to sponsor the orchestra and, after several attempts, convinces Stokowski to conduct them by sneaking all 100 into the conductor’s home and playing an arrangement of Lizst’s Hungarian Rhapsody No. 2 for him. The concert is a big success, and when Stokowski brings her onstage to thank her for rounding up the money and the musicians, she gets tonguetied and decides to sing the drinking song from Verdi’s La Traviata instead. Durbin also sings the

Alleluia from Mozart’s “Exultate, jubilate” and “It’s Raining Sunbeams.” As the girl-next-door type who rained sunbeams and high notes all over the celluloid, she was understandably popular during the latter part of the Great Depression. Winston Churchill’s favorite film, One Hundred Men and a Girl is by no means a masterpiece, but it provides charm in a fairy-tale type story, solid direction, and a skilled cast including Adolphe Menjou, Mischa Auer, and Billy Gilbert, alongside the chance to see and hear Stokowski. ◀ 84 minutes, no rating; not currently available on streaming platforms; DVDs are available from Amazon and other retailers.

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Maestro, continued from Page 24 “We didn’t know what to expect because our mother was such a complex and subtle person, and she had so many idiosyncrasies,” Jamie Bernstein, the couple’s eldest daughter, told Vanity Fair. “She was also a very private person, so we didn’t know whether anyone would be capable of conveying her essence. And it’s just the damnedest thing, how Carey really did that.” PACE AND PERSONALITY “I’m always just barely keeping up with myself.” This Bernstein quote could be the inspiration for the pacing in Maestro, which rockets from the early 1940s to the late 1980s. A particularly telling technique in creating the pace is first evident when the young conductor is about to leave his apartment for his lastminute debut with the New York Philharmonic — an overhead shot of him walking through the front door immediately transforms into his arrival at Carnegie Hall. It’s a device that Cooper uses effectively at several critical moments during the film. (With what might best be described as “Bernsteinian energy,” he served as director, co-author, and one of its producers, as well as its male lead.) Cooper and co-writer Josh Singer got the small details right as well as the big ones. Maestro includes quick, memorable glimpses of people important to his early career, including composer Aaron Copland, chore-

“I’m always just barely keeping up with myself.” MAGAZINE SPACE RESERVATION DEADLINE: MONDAY, JAN. 8 To advertise, contact: 505-995-3852 or advertising@sf newmexican.com

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— Leonard Bernstein ographer Jerome Robbins, and writers Betty Comden and Adolph Green; the latter three collaborated with Bernstein on the 1944 Broadway musical On the Town and on its 1949 version. Several of Bernstein’s personal quirks are revealed as well. One notable example: He was infamous for dealing with family and professional issues in person while simultaneously dealing with biological ones astride the toilet in a room where he always maintained an open-door policy. (It’s one of the first scenes in the film.) The Bernsteins were famous party-givers and Leonard an infamous party guest, as several soirées in the film depict. I can vouch for the accuracy of his attention-grabbing behavior, having met him at a post-performance celebration after an opera production at Indiana University. Bernstein was already quite sozzled when I arrived and seemed to be smoking multiple cigarettes simultaneously while also cruising the male attendees and playing the piano. When a young British conductor arrived, he and Bernstein teamed up for impromptu four-hands versions of Gilbert and Sullivan songs at the piano, complete with raunchy lyrics they improvised in a “Can you top this?” spirit. Sadly, it was decades before the invention of smart phones and their cameras. While marriage, rather than music, is at the heart of Maestro, the film serves as a retrospective of Bernstein’s career as a composer as well as a conductor. The excerpts are often brief, with some key exceptions, but effectively display the exceptional variety of his compositions. Broadway musicals are represented with excerpts from On the Town and Candide, film via On the Waterfront, opera with Trouble in Tahiti and A Quiet Place, and concert music with his Mass, Chichester Psalms, Symphony No. 2, “The Age of Anxiety,” and Symphony No. 3, “Kaddish.” Maestro is highly recommended, especially if you can catch it in a theater. It was released for streaming on Netflix but can currently be seen on the big screen at the Center for Contemporary Arts Cinema. ◀ Biography/drama, rated R, 129 minutes, 3.5 chiles

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Audacious and twisted, but also revelatory POOR THINGS Ann Hornaday I The Washington Post Emma Stone goes for bawdy, boundary-pushing broke in Poor Things, a funny, unsettling, ugly, fantastically constructed cabinet of cinematic wonders. Adapted from Alasdair Gray’s novel by Tony McNamara (The Great) and directed by Yorgos Lanthimos (who collaborated with McNamara and Stone on the antically anachronistic The Favourite), this time-traveling picaresque about a woman’s striding awkwardly — then fearlessly — into the modern age is that rarity among movies: a tale that begins as an off-putting exercise in fetish, only to blossom into something that’s not just shocking for its own sake, but genuinely revelatory and meaningful. Stone plays Bella, who for mysterious reasons seems to be a child trapped in a grown person’s body. In the opening sequences of Poor Things, filmed in chiaroscuro black-and-white, Bella is living with her surrogate father, Godwin Baxter, who has invented her, a la Frankenstein, as a case study in brain transplants. A doll-like automaton who can barely form words and plays piano with her feet, Bella is a blank slate reminiscent of Helen Keller; the dubious miracle worker here is Godwin, played by Willem Dafoe with a monomaniacal gleam in his eye and a crazy quilt of scars across his face. Bella calls Dafoe’s character “God,” a bit on the nose for someone who initially seems to be so creepily controlling that he might as well have “Toxic Man” tattooed on his stitched-up forehead. But nothing is as it seems in Poor Things, especially when it becomes clear that Bella won’t stay a wide-eyed naif for long. In fact, she’s learning at a canter-like pace, especially when it comes to her body’s most primal urges. It turns out that Bella enjoys physical pleasure, an impulse that sends her on a journey halfway across the world: Lisbon, an Oz-like garden of earthy delights she visits with an amoral popinjay named Duncan Wedderburn (played with hilarious bumptiousness by Mark Ruffalo); Alexandria, where Bella encounters poverty, injustice, and perfidy for the first time; and Paris, where she finds sexual self-discovery and financial autonomy in a whorehouse run by an eccentric madam named Swiney (the fabulous Kathryn Hunter, last seen deploying her incantatory powers in Joel Coen’s The Tragedy of Macbeth). The aesthetic roots of Poor Things extend from Charles Dickens and Mary Shelley to George Bernard Shaw and Erica Jong; from Vivienne Westwood to Jules Verne; and from Terry Gilliam to Jean-Pierre

28 PASATIEMPO I December 29, 2023-January 4, 2024

Emma Stone plays a young woman brought back to life by an unorthodox scientist in Yorgos Lanthimos’ Poor Things.

Jeunet. As Bella comes into her own, the film blooms into a fanciful riot of color, textures, and points of view; Lanthimos likes to use canted camera angles and concave frames, giving the entire enterprise the feeling of a voyeuristic, barely controlled whirligig. Visually, Poor Things is an unalloyed treat: Even spectators who might cringe at the gouged eyes and spatchcocked cadavers in God’s lab (not to mention a disquieting scene involving Bella and an errant apple) will delight in its deliciously exaggerated costumes and decor. Retro-futurist Victoriana and storybook whimsy abound, from Bella’s gothic-chic wardrobe to God’s Moreauvian menagerie of animal experiments gone awry. Because McNamara wrote the script, Poor Things brims with his signature polished, sophisticated humor; because Lanthimos directed, it’s full of envelope-pushing zaniness and self-amusement, especially when it comes to Bella’s increasingly uninhibited sexual appetites. This is where Poor Things enters ambiguous territory. As thoroughly committed as Stone is to the bit, there are moments when viewers might wonder for whose benefit she’s baring it all so bravely. As real ideas begin to overtake Bella’s hedonistic instinct, the idea of her finding agency through hyper-sexualization admittedly feels freeing, but also undeniably gratifying for the men looking through the lens. This is Hollywood, after all, so Poor Things demands to have its kinky cake and feminist allegory too. The film’s central contradiction is that the more outlandish the story becomes, the more grounded it is in women’s seemingly eternal struggles around power, selfhood, and constricting social norms. As Bella careens into a new century, her journey morphs into a fable about the getting of wisdom — along with

pleasure, empathy, and joy. With a little sex, of course (op. cit.: Hollywood). Actually, with a whole lot of it. But, when Poor Things is firing on all its subversive steampunk cylinders, also with much more. ◀ Sci-fi/fantasy, rated R, 141 minutes, CCA, Violet Crown, 3.5 chiles

A dreamlike collage of memories ALL DIRT ROADS TASTE OF SALT Ann Hornaday I The Washington Post All Dirt Roads Taste of Salt, the quietly ambitious debut of writer-director Raven Jackson, is not a conventional narrative: Its rhythms and gestures suggest looking toward the likes of Terrence Malick, William Faulkner, and Maya Angelou for their elliptical meanings. Less a story than an impressionistic portrait of a girl coming of age in rural Mississippi, this deliberately paced meditation on family, first love, nature, and beauty could fairly be described as “slow cinema.” But there are rewards to be had by viewers who welcome the chance to enter into a different kind of consciousness, not just to immerse themselves in the universe Jackson creates, but to unlock worlds of their own. Opening to a symphony of crickets and bird chirps, All Dirt Roads Taste of Salt begins when its main character, Mackenzie, is being taught to fish by her father; Jackson films their hands in extreme close-up, intently observing the line growing taut with each

click of the reel. Mack, as her family calls her, is less interested in the mechanics of fishing than in the mystery of life and death: When she finally catches a fish, she strokes it while the creature takes its final breaths. All of this unfolds with steady, observational patience, as do ensuing episodes of Mack’s life that are captured in often dialogue-free tableaux: a party where she observes her parents (Sheila Atim and Chris Chalk) dancing languidly to Gladys Knight; a thunderstorm as her beloved mother bathes her in a bathtub; learning how to kiss; falling in love. All Dirt Roads Taste of Salt doesn’t obey straight lines but bursts out of Jackson’s imagination like a collage of fragments, sense memories, chronologically random but pivotal encounters, and moments of supreme grief and joy. Mack, played by Kaylee Nicole Johnson as a child, as well as Charleen McClure, Mylee Shannon, and Zainab Jah at other ages, emerges as a watchful child who grows into a similarly careful, self-aware young woman. One of the joys of All Dirt Roads Taste of Salt lies in the vicarious pleasure of taking in her environment, whether the neat plaits she and her sister Josie (Jayah Henry) wear their hair in, the sound of rain on a river, or the gentle banter over a kitchen table while cleaning fish. Jackson returns to certain visual motifs that border on cliché — there are enough shots of hands running through water to fill a syllabus on literary symbolism — but her heightened perception casts its own undeniable spell. All Dirt Roads Taste of Salt doesn’t just announce a promising new talent in Jackson. It serves as a shimmering, dreamlike reminder that movies are as good for poetry as for prose. ◀ Drama, rated PG, 93 minutes, Center for Contemporary Arts Cinema, 3 chiles

All Dirt Roads Taste of Salt, a coming-of-age film set in rural Mississippi, marks the debut of writer-director Raven Jackson.

Mixing tragedy with show tunes THE COLOR PURPLE Pat Padua I For The Washington Post Based on the 2005 stage musical inspired by Alice Walker’s Pulitzer-winning novel, the film musical The Color Purple requires a delicate balancing act: how else to tell a personal tale of rape and racism with show tunes? If anyone could pull it off, it’s Ghanaian-born director Blitz Bazawule, whose work has included the Afrofuturist The Burial of Kojo and Beyoncé’s visual album Black Is King. Despite a talented cast and some moments that are stirring enough to make you occasionally forget the 1985 film directed by Steven Spielberg (co-producer of this one with Oprah Winfrey, who played the breakout role of Sofia in the previous film), the results are uneven. The story opens somewhere near the Georgia coast in 1909 with teenage Celie (Phylicia Pearl Mpasi) sitting in a tree playing patty-cake with her sister Nettie (Halle Bailey). This idyllic scene doesn’t last long, as Celie is pregnant — for the second time — by her father, Alfonso (Deon Cole). After delivering the baby and being separated from her two children, Celie is married off to a traveler who calls himself Mister (Colman Domingo). Alfonso wants to keep Nettie for himself, but he’s more than willing to hand over Celie. Eventually, the story jumps forward in time to a now-grown Celie (American Idol winner Fantasia Barrino, who originated the role on Broadway). Nettie (played as an adult by singer Ciara) has been banished from visiting her sister by Mister, who physically abuses Celie. It’s a brutal story, yet perhaps less harrowing than Spielberg’s version (or Walker’s). But it’s undercut even more by an opening number that promises — courtesy of a gospel choir/Greek chorus — that the Lord works in “mysterious ways.” And so does the movie. But where the 1985 film worked its way up to a thrilling climax, Bazawule, following the template of the Broadway version, starts with a big production number, which works against the violence that’s so crucial to the source material. Turning such a devastating narrative into a songand-dance show is not a dealbreaker, and that’s thanks to the cast. Barrino has some big shoes to fill, and they’re right in front of her: Whoopi Goldberg, who played Celie in Spielberg’s film, has a brief cameo as a midwife. If anything, Barrino has a stronger presence than Goldberg did. Taraji P. Henson is a natural as the singer Shug Avery, who befriends Celie, and she has a chemistry with Barrino that helps make their relationship stand out. Danielle Brooks is another powerhouse, coming on even stronger as the strong-willed Sofia than her predecessor Winfrey.

Fantasia Barrino plays Celie, the role she originated on Broadway, and Danielle Brooks is Sofia in the film musical inspired by Alice Walker’s novel The Color Purple.

Despite the strong acting, the pacing seems a little off. There’s a tension between the magical realism of Bazawule’s Kojo and the conventions of a mainstream musical, so the tone veers from lyrical realism to stage-bound artifice. Although each cast member has at least one moment to shine, the drama isn’t always well-served by the music. One reason is that the production numbers, while frequently dazzling, can be, well, muddy. While Brooks’ showcase “Hell No!” and Barrino’s closer “I’m Here” are both triumphal vocal performances, the former is staged with plenty of sweeping camera motion, while the latter is so static that it might just as well have been staged for a theater audience. Other dance scenes are poorly lit, with performers kept in shadow. Visually, this evokes film noir — a curious aesthetic choice that ends up being a distraction. If there’s one character who consistently rises above the murk, it’s Mister: Whenever Domingo is on-screen, he commands your attention, a triple threat of singer, dancer, and actor. Often seen playing the banjo, Mister comes off like an evil bluesman, and his inevitable comeuppance gives Bazawule the opportunity to stage a frightening, almost mythical scene on a stormy night. In the end, The Color Purple manages to find a sweet spot between tragedy and entertainment. But is that really the best way to honor Walker’s vision? ◀ Musical/drama, rated PG-13, 141 minutes, Dreamcatcher 10, Regal Santa Fe Place 6, Violet Crown, 2.5 chiles

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MOVING IMAGES

CHILE PAGES compiled by Holly Weber

Jim Carrey (left) and Jeff Daniels star as not-so-clever best buddies in the 1994 comedy Dumb and Dumber.

CCA AMPLIFIES THE OUTLAW COUNTRY MOVEMENT The AMPLIFIED series at the Center for Contemporary Arts continues on Tuesday, January 2, with a 6 p.m. screening of Heartworn Highways. The music documentary by James Szalapski captures some of the founders of Outlaw Country genre in Texas and Tennessee in the mid-1970s, highlighting singer-songwriters whosee songs are more true to early folk and country music instead of following in the tradition of commercial Nashville musicians. In 1975, Szalapski connected with bassistt Skinny Dennis, a notorious hellraiser who left little musical legacy when he died a short while later but was much loved by his friends, who included many up-and-coming singer-songwriters of that time. Among them were Guy Clark, Townes van Zandt, Steve Young, Rodney Crowell, and Steve Earle. This network occupies the heart of the film, with Szalapski following them going about their normal lives: None of them is rich, none of them is famous, and crucially none of them expects to become either of those things by appearing in the film. But their wholly authentic love for their music, and their wholly exceptional abilities, enliven this genuinely intimate and musically sublime documentary. Special guests and Santa Feans Terry Allen and Jo Harvey Allen will be in attendance to introduce the film and to participate in a Q&A with the audience after the screening.

30 PASATIEMPO I December 29, 2023-January 4, 2024

Opening ALL DIRT ROADS TASTE OF SALT All Dirt Roads Taste of Salt is a lyrical, decadesspanning exploration across a woman’s life in Mississippi. The feature debut from award-winning poet, photographer, and filmmaker Raven Jackson screened at the th Santa Fe International Film Festival and is a haunting and richly layered portrait, a beautiful ode to the generations of people and places that shape us. “All Dirt Roads Taste of Salt doesn’t just announce a promising new talent in Raven Jackson. It serves as a shimmering, dreamlike reminder that movies are as good for poetry as for prose.” (The (T Washington Post) Drama, rated PG, 93 minutes, CCA. Review Page 28

Special Screenings AIRBORNE (1993) Friday, December 29 Jean Cocteau Cinema will hold a 30th anniversary screening of the rollerblade classic Airborne, featuring a Q&A with star Shane McDermott. Good-natured teen surfer Mitchell Goosen finds himself staying with his aunt and uncle in Cincinnati, Ohio, when his parents head to Australia for work. There he meets his cousin, Wiley (Seth Green), and together they try to navigate the perils of high school: avoid the bullies, get the girl, and win a little respect. Comedy/ adventure, rated PG, 91 minutes, Jean Cocteau Cinema DUMB AND DUMBER (1994) Friday, December 29, through Sunday, December 31 Imbecilic best friends Lloyd Christmas (Jim Carrey) and Harry Dunne (Jeff Daniels) stumble across a suitcase full of money

left behind in Harry’s car by Mary Swanson (Lauren Holly), who was on her way to the airport. The pair decide to go to Aspen, Colorado, to return the money, unaware that it is connected to a kidnapping. As Harry and Lloyd — who has fallen in love with Mary — are pursued across the country by hired killers and police, they find both their friendship and their brains tested. Comedy, rated PG-13, 106 minutes, Jean Cocteau Cinema

Continuing ANATOMY OF A FALL For the past year, Sandra, her husband, Samuel, and their 11-year-old son Daniel have lived a secluded life in a remote town in the French Alps. When Samuel is found dead in the snow below their chalet, the police question whether he was murdered or committed suicide. Samuel’s suspicious death is presumed murder, and Sandra becomes the main suspect. What follows is not just an investigation into the circumstances of Samuel’s death but an unsettling psychological journey into the depths of Sandra and Samuel’s conflicted relationship. “Anatomy of a Fall ... is the kind of craftily constructed, skillfully executed movie designed to mainline straight into sophisticated pleasure centers.” (The Washington Post) Crime/drama, rated R, 151 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, Regal Santa Fe Place 6, 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, Dreamcatcher 10, Regal Santa Fe Place 6, 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. A semi-autobiographical fantasy about life, death, and creation, in tribute to friendship, from the mind of Hayao Miyazaki. “This is not a happy-go-lucky story, but an old-school fairy tale meant to frighten, confuse, and excite. It’s the good kind of scary: the kind that helps prepare children for the terrors of the real world.” (The Washington Post) 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, Dreamcatcher 10, Violet Crown THE COLOR PURPLE Torn apart from her sister and her children, Celie (Fantasia Barrino) faces many hardships in life, including an abusive husband. With support from a sultry singer named Shug Avery (Taraji P. Henson), as well as her stand-her-ground stepdaughter, Celie ultimately finds extraordinary strength in the unbreakable bonds of a new kind of sisterhood. Musical/drama, rated PG-13, 140 minutes, Dreamcatcher 10, Regal Santa Fe Place 6, Violet Crown. Review Page 29 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, Dreamcatcher 10, Violet Crown GODZILLA MINUS ONE Postwar Japan is at its lowest point when a new crisis emerges in the form of a giant monster, baptized in the horrific power of the atomic bomb. “Godzilla Minus One offers an alternative to shared universe syndrome. It’s an artfully made throwback to kaiju classics and likely the first Godzilla movie that dares to make you cry. See it on the biggest screen possible.” (Rolling Stone) Adventure, rated PG-13, 125 minutes, Dreamcatcher 10

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HEARTBURN

Box office Center for Contemporary Arts Cinema, 1050 Old Pecos Trail, 505-982-1338, ext.105, ccasantafe.org Dreamcatcher 10, 15 State Road 106, Española; 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 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. “This is [director Alexander] Payne’s first movie set in any kind of past … But it doesn’t feel stuck there.” (New York Times) Comedy/drama, rated R, 133 minutes, Violet Crown THE IRON CLAW The true story of the inseparable 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, Dreamcatcher 10, Violet Crown 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 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. “Cooper throws himself into the role of Bernstein and delivers one of his finest performances, playing a complicated family man who desired men and couldn’t deny that desire even while loving his wife.” (Observer) Musical/romance, rated R, 129 minutes, CCA. Review Page 24 MIGRATION A family of ducks decides to leave the safety of a New England pond for an adventurous trip to Jamaica. However, their welllaid 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, 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. “Murphy embodies Oppenheimer so naturally that you may start thinking you’re watching documentary footage of the real thing. The film humanizes Oppenheimer. … Murphy’s perfect portrayal leaves us with an image of a brilliant mind put to work to kill a nation, a people, and maybe the entire world. There’s a price to pay for that kind of knowledge.” (Robert Nott/The New Mexican) Drama, rated R, 180 minutes, Violet Crown POOR THINGS From filmmaker Yorgos Lanthimos and producer Emma Stone comes the incredible tale of the fantastical evolution of Bella Baxter (Stone), 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. “Beautifully garish, wonderfully twisted, unabashedly raunchy, and at times grotesquely striking.” (Chicago Sun-Times) Sci-fi/fantasy, rated R, 141 minutes, CCA, Violet Crown. Review Page 28 SALTBURN Struggling to find his place at Oxford University, student Oliver Quick (Barry Keoghan) finds himself drawn into the world of the charming and aristocratic Felix Catton (Jacob Elordi), who invites him to Saltburn, his eccentric family’s sprawling estate, for a summer never to be forgotten. “Come for the class warfare and the occasional shots-fired zingers about the rich being different than you and me. Stay for Keoghan.” (Rolling Stone) Comedy/drama, rated R, 127 minutes, Violet Crown TROLLS BAND TOGETHER Poppy (Anna Kendrick) discovers that Branch (Justin Timberlake) and his four brothers were once part of her favorite boy band. When one of his siblings, Floyd, gets kidnapped by a pair of nefarious villains, Branch and Poppy embark on a harrowing and emotional journey to reunite the other brothers and rescue Floyd. Comedy, rated PG, Dreamcatcher 10 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. “In addition to committing to its sense of fun, Wonka reminds us that life is made sweetest by the people we share it with. If that’s not particularly novel, it’s still as comforting and scrumptious a notion as a chocolate bar.” (Entertainment Weekly) 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 PASATIEMPOMAGAZINE.COM

STAR CODES 2024 SPOTLIGHTS OUR RELATIONSHIP to our local, national, and

global communities and asks us to not take them for granted. The planets ask us whether our country, groups, or circles split apart or are we willing to work together. Pluto starts the year in Capricorn, enters Aquarius on January 20, and reenters Capricorn September 1 through November 19 when it shifts to Aquarius until 2043. Pluto spends decades in a sign and brings the nature of that sign to the edge for transformation. Pluto in ambitious Capricorn (2008-2024) heralded both a burst of progressive politics and a backlash against it, brought a rash of dictatorial behavior, reenergized patriarchy around the globe as well as our resistance to it, and questioned the very structure of architecture, organization, and government. Pluto in Aquarius now turns our focus toward collective action, both to empower the people and make us deal with the specter of mob rule. Pluto last worked through Aquarius during the crafting of the U.S. Constitution, a time when many countries questioned monarchies and tried to develop a fair democracy. The world is now crowded; Pluto in Aquarius asks how we can accommodate all these individual human souls and still support personal individuality and the larger circle of our ecosystem. Whether these forms are healthy or oppressive will depend on our ability to create truly diverse inclusivity. Let’s assess our circles of connection. If we’re not creating sustainable ecologies — getting out as much as we put in and giving as much as we receive — then it’s time to change the process and trim, reorganize, and re-center so our interdependent web grows into a healthy future. The birth chart of 2024 on New Year’s Day holds a hopeful grand trine in earth signs between the sun, moon, and Jupiter, which reminds us to stay grounded and take pragmatic action on good ideas. Mercury turns direct in Sagittarius and gets us off to a slow but honest start that speeds up soon. Throughout early 2024 expect confrontations with outmoded ideas and look for people with a vision of life beyond the fight, a vision of how we can thrive. Let’s search for a fresh vision ourselves. Look for an impatient surge for ingenuity, freedom, and technological leaps forward as change-inducing Uranus turns direct on January 27 and approaches a conjunction with expansive, far-sighted Jupiter on April 20. We can prepare now and imagine how to participate. Back to the week of December 29-January 4. Feel a festive lift as Venus leaves Scorpio and enters Sagittarius under Friday and Saturday‘s convivial, if stubborn, Leo moon. The moon enters more subdued Virgo early Sunday morning, potentially dampening the party spirit for New Year’s Eve but inspiring in-depth conversation and a great chance to clear the decks of clutter or cluttered thoughts. Just watch an edginess that can make us brittle with one another; stay consciously flexible and safety focused. Mercury is stationary and can tangle transportation and timing. We’re quickly beckoned back to work as Mercury turns direct on Monday. Start at home on personal projects, then take it back out into the world on Tuesday and Wednesday; it will be easier to see the road ahead. The moon enters sociable Libra late Tuesday and helps us gather our teams. Loving relationships can get rocky in swirling changes unless we remember to nurture our loves even as we get busy, so let’s remember to stay connected. New work kicks in on Thursday as Mars enters competent, ambitious Capricorn. It’s time to state our intentions and go remake our world. ◀ Contact astrologer Heather Roan Robbins at roanrobbins.com.

32 PASATIEMPO I December 29, 2023-January 4, 2024

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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 .

Santa Fe Pro Musica Holiday Bach Festival

St. Francis Auditorium, 107 W. Palace Avenue Bach & Beyond, music of Glass, Bach, Mendelssohn, and Pärt, led by violinist Colin Jacobsen; 7:30 p.m.; $35-$100; sfpromusica.org.

Nightlife

Annalisa Ewald

Agave Restaurant & Lounge, Eldorado Hotel & Spa, 309 W. San Francisco Street, 505-995-4530 Classical guitarist; 6-9 p.m. Thursdays and Fridays; no cover.

Carlos Medina & Trio CPR

Tesuque Casino, 7 Tesuque Road, 800-462-2635 Traditional Hispanic music; 6:30-9:30 p.m.; no cover.

Those Guys

La Fiesta Lounge at La Fonda 100 E. San Francisco Street Country, rock, and blues; featuring Tom Williams; 6:30 p.m. today and Saturday; no cover.

Trinity Soul

Cowgirl BBQ, 319 S. Guadalupe Street, 505-982-2565 Blues band; 7 p.m.-close; no cover.

Westin Lee McDowell & the Dirty Brown Jug Band

The Mine Shaft Tavern, 2846 N.M. 14, 505-473-0743 Singer-songwriter 5 p.m.; country-rock band 8 p.m.; no cover.

SATURDAY 12/30 Classical Music Chatter North

Tumbleroot Brewery and Distillery presents Raashan Ahmad’s Love & Happiness Dance Party on Sunday.

FRIDAY 12/29 Gallery and Museum Openings

Peyton Wright Gallery

237 E. Palace Avenue, 505-989-9888 Blurred Boundaries: Perspectives on Rock Art of the Greater Southwest, photographs by William Frej; through Feb. 19; paintings by Polly Schaafsma; reception and book signing 3-7 p.m. (See story, Page 20)

Classical Music Luke Raffanti

First Presbyterian Church, 208 Grant Avenue, 505-982-8544 Piano recital: music of Respighi, Brahms, Ravel, and Chopin; 5:30 p.m., donations accepted.

In Concert

Frank Leto & PANdemonium

Paradiso Santa Fe, 903 Early Street, 505-577-5248 Percussion-driven Afro-Cuban dance music; 7:30 p.m.; $20; paradisosantafe.com.

Peter Williams and The Sticky

Tumbleroot Brewery & Distillery, 2791 Agua Fría Street Funk band; 7:30 p.m.; $10 in advance, $12 at the door; tumblerootbreweryanddistillery.com.

CALENDAR LISTING GUIDELINES

Theater/Dance

Books/Talks

El Flamenco de Santa Fe, 135 W. Palace Avenue, 505-209-1302 Featuring Antonio Granjero and Estefania Ramirez; 6:15 p.m. today through Sunday; $25-$45; entreflamenco.com/tickets.

Barbara Bowles Fine Art & Jewelry, 129-E W. San Francisco Street, 505-603-5105 Bowles signs copies of her book; noon-4 p.m. today and Saturday.

EntreFlamenco

La Emi Winter Flamenco Series

Benítez Cabaret at The Lodge at Santa Fe, 750 N. St. Francis Drive, 505-992-5800 Special guest appearances by Vicente Griego, featuring Gabriel Lautaro Osuna, Brisyda Zàrate, and Fabian Sineros; 7:30 p.m. today through Sunday, doors 6:45 p.m.; $25-$115; 505-660-9122, emiarteflamenco.com.

Seth Meyers

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Stand-up performance; 7:30 p.m.; $65-$99; Call for ticket availability.

Tesuque Comedy Club

Tesuque Casino, 7 Tesuque Road, 800-462-2635 Scott Record and Dobie Maxwell, hosted by Carlos Medina; 6:30 and 8:30 p.m.; Saturday encore; $10 cover.

Life & Love in Rusty Trucks

Lisa Lucas and Debrianna Mansini

Santa Fe Spirits Downtown Tasting Room, 308 Read Street, 505-780-5906 The authors sign copies of That Time We Ate Our Feelings: 150 Recipes for Comfort Food From the Heart; 4-8 p.m.

Happy Holidays

First National 1870 Annual Holiday Tree & Train Celebration

62 Lincoln Avenue Santa Fe Model Railroad Club display with Polar Express and Hogwarts Express trains, a special holiday freight train, Victorian and winter villages; 9:30 a.m.-noon and 1:30-4 p.m.

La Luz de las Noches

Santa Fe Botanical Garden, 715 Camino Lejo, 505-471-9103 At the gift shop: Santa Domingo jeweler Thomas Coriz; performances by Los Niños de Santa Fe and Vicente Griego & ReVóZo Flamenco; 4:30-7:30 p.m. through Monday; $27, discounts available; santafebotanicalgarden.org.

Email press releases to pambeach@sfnewmexican.com at least two weeks prior to the event date.

34 PASATIEMPO I December 29, 2023-January 4, 2024

Center for Contemporary Arts, 1050 Old Pecos Trail, 505-982-1338 Piano recital by Judith Gordon of J.S. Bach’s Goldberg Variations; 10:30 a.m., spoken word performance by Kristen Patton follows; $5-$17; chatterabq.org/boxoffice.

Theater/Dance

EntreFlamenco

El Flamenco de Santa Fe, 135 W. Palace Avenue, 505-209-1302 Featuring Antonio Granjero and Estefania Ramirez; 6:15 p.m. today and Sunday; $25-$45; entreflamenco.com/tickets.

Happy Holidays

La Luz de las Noches

Santa Fe Botanical Garden, 715 Camino Lejo, 505-471-9103 Farolito-lined paths and holiday lights; at the gift shop: Standing Rock Lakota Sioux beadwork artist Charlene Holy Bear; performances by Acoma Pueblo Enchantment Dancers and Diné music collective Earth Surface People; 4:30-7:30 p.m. through Monday; $27, discounts available; santafebotanicalgarden.org.

Events

Pottery demonstration

Andrea Fisher Fine Pottery, 100 W. San Francisco Street, 505-986-1234 Kewa/Santo Domingo Pueblo ceramicist Thomas Tenorio illustrates his techniques; 11 a.m.-4 p.m.

Inclusion of free listings is dependent on space availability.

Santa Fe Farmers’ Market

1607 Paseo de Peralta, 505-983-4098 Saturdays 8 a.m.-1 p.m.; santafefarmersmarket.com.

Nightlife

AlmaZazz!

Arable, 7 Avenida Vista Grande, Eldorado, 505-303-3816 Accordian and percussion duo; 6-8 p.m.; no cover.

Annalisa Ewald

Hervé Wine Bar, 139 W. San Francisco Street, 505-795-7075 Spanish, Latin, and flamenco guitar; 5:30-7:30 p.m.; no cover.

ChillHouse

Cowgirl BBQ, 319 S. Guadalupe Street, 505-982-2565 Soul/funk band; 7 p.m.-close; no cover.

City Different Jazz Duo

Chili Line Brewing Company, 204 N. Guadalupe Street, 505-982-8474 Guitar and saxophone; 7-9 p.m.; no cover.

Hondo Coyote

The Mine Shaft Tavern, 2846 N.M. 14, 505-473-0743 Americana band; 8 p.m.; no cover.

Shane Wallin

Tesuque Casino, 7 Tesuque Road, 800-462-2635 Singer-guitarist; 6-9 p.m.; no cover.

Those Guys

La Fiesta Lounge at La Fonda 100 E. San Francisco Street Country, rock, and blues; featuring Tom Williams; 6:30 p.m.; no cover.

NEW YEAR’S EVE Theater/Dance EntreFlamenco

El Flamenco de Santa Fe, 135 W. Palace Avenue, 505-209-1302 Featuring Antonio Granjero and Estefania Ramirez; 6:15 p.m.; $25-$45; entreflamenco.com/tickets.

Happy New Year! Carousel

Meow Wolf, 352 Rufina Circle, 505-395-6369 Dance to Ana M, Bacon, Callie Jones, Red Flag, Saint’s Ball, and Spoolius; doors open 9 p.m.; $45 and $55; meowwolf.com.

Chicago Meets L.A.

Vanessie Santa Fe, 427 W. Water Street, 505-984-1193 Jazz vocalist Ivette Camarano, accompanied by pianist Kyle Moore; prix fixe wine dinner 6 p.m., performance 8 p.m.; $120 per person, performance and champagne toast only, $75 per person; vanessiesantafe.com.

DJ Zapot

La Reina at El Rey Court, 1862 Cerrillos Road, 505-982-1931 Disco/house/Afrobeats; 8 p.m.-midnight; no cover.

J.J. and the Hooligans

Cowgirl BBQ, 319 S. Guadalupe Street, 505-982-2565 R&B band; 9 p.m.-close; no cover.

Joe Illick & the NYE Orchestra

Lensic Performing Arts Center, 211 W. San Francisco Street Violin soloist Augustin Hadelich; Bruch Violin Concerto, Sarasate’s Carmen Fantasy, and Chopin’s Piano Concerto No. 2; 5 p.m.; $30-$80; open rehearsal 1 p.m.; $5 and $20; tickets .lensic.org/8818/8820.

La Luz de las Noches

Santa Fe Botanical Garden, 715 Camino Lejo, 505-471-9103 Farolito-lined paths and holiday lights; at the gift shop: jeweler Pia; performances by rock musician Gabriel Mozart Abeyta and violinist Rachel Kelli; 4:30-7:30 p.m. through Monday; $27, discounts available; santafebotanicalgarden.org.

Santa Fe Botanical Garden presents Vicente Griego & ReVóZo Flamenco on Friday.

Love & Happiness Dance Party

Tumbleroot Brewery and Distillery, 2791 Agua Fría Street, 505-393-5135 Led by Raashan Ahmad; 9 p.m.; $12-$15; tumblerootbreweryanddistillery.com.

New Year’s Eve on the Plaza

Hot chocolate, bizcochitos, live music with Sol Fire, the Alex Maryol Band, and Felix y Los Gatos; food trucks, stationary heaters and bonfires; 9 p.m.; Zia symbol rises at midnight, with fireworks.

New Year’s Eve Show & Party

Tesuque Casino, Tesuque Road, 800-462-2635 Carlos Medina and Danny Duran bands; 7:30 p.m.-midnight; $20 at the door.

Ron Crowder Band

The Mine Shaft Tavern, 2846 N.M. 14, 505-473-0743 Rock singer-songwriter; 8 p.m.; $10 cover.

Outdoors

Community Day at the Garden

Santa Fe Botanical Garden, 715 Camino Lejo, Museum Hill, 505-471-9103 Stroll through The Orchard Gardens, Ojos y Manos: Eyes and Hands, and Piñon-Juniper Woodland sections; 10 a.m.-4 p.m. Check in at the Visitor Center. No admission fee for New Mexico residents.

Nightlife

Doug Montgomery

Rio Chama, 414 Old Santa Fe Trail, 505-955-0765 Pianist-vocalist; Great American Songbook; 6-9 p.m. Sundays and Mondays; no cover.

Pat Malone

Four Seasons Resort Rancho Encantado, 198 N.M. 592, 505-946-5700 Jazz guitarist; 5:30-8:30 p.m.; no cover.

MONDAY 1/1 Outdoors

First-Day Hike

Cerrillos Hills State Park, about 16 miles south of Santa Fe off N.M. 14, 505-474-0196 Annual free trek held in celebration of the new year; moderately difficult walk; trivia contest with prizes; 1.5 or 3 mile options. Meet at 1 p.m. in the main parking lot, a half mile north of the village on County Road 59; cerrilloshills.org/events.

Events

La Luz de las Noches

Santa Fe Botanical Garden, 715 Camino Lejo, 505-471-9103 Farolito-lined paths and holiday lights; at the gift shop: Diné/Inupiaq beadworkers Harriet Newman and Joseph Newman; performances by DJ Christina Swilley (world music/jazz/disco) and Diné/Dakota country-western musician Dachuneeh Martin; 4:30-7:30 p.m.; $27, discounts available; santafebotanicalgarden.org.

Nightlife

Doug Montgomery

Rio Chama, 414 Old Santa Fe Trail, 505-955-0765 Pianist-vocalist; Great American Songbook; 6-9 p.m. Sundays and Mondays; no cover.

Karaoke with Crash Romero

Cowgirl BBQ, 319 S. Guadalupe Street, 505-982-2565 Mondays; 7 p.m.-close; no cover.

TUESDAY 1/2 Outdoors

Cerrillos Hills State Park

About 16 miles south of Santa Fe off NM 14, 505-474-0196 Open daily, with hiking, equestrian, and mountain-biking trails; cerrilloshills.org /visit-the-park.

Hiking trails

Alltrails.com/us/new-mexico/santa-fe City limits: Dale Ball, Frenchy’s Field/Santa Fe River; Santa Fe National Forest: Atalaya Mountain, Chamisa, Deception Peak, Lower Río en Medio, Nambé Lake, Picacho Peak, Santa Fe Baldy, Tesuque Peak via Aspen Vista.

WEDNESDAY 1/3 Books/Talks

Friends of History First Wednesday Zoom Lecture Series

Friendsofhistorynm.org Texas A&M prof. William Kiser discusses his book Illusions of Empire: The Civil War and Reconstruction in the U.S.-Mexico Borderlands; noon-1 p.m., online.

Nightlife

David Geist

Osteria d’Assisi Cabaret, 58 Federal Place, 505-986-5858 Geist Cabaret, Broadway, pop tunes, and originals; 7-10 p.m.; $5 cover.

Wine & Jazz Night

Tesuque Casino, 7 Tesuque Road, 800-462-2635 Jazz guitarist Pat Malone; 6-9 p.m.; no cover.

THURSDAY 1/4 Events 24

Aurelia Gallery, 414 Canyon Road, 505-501-2915 Cabaret Aurelia presents songs, poems, and stories about the new year, with Kristen Kalangis and friends; 5:30-6:30 p.m.; $25 includes drinks and hors d’oeuvres.

Nightlife

Annalisa Ewald

Agave Restaurant & Lounge, Eldorado Hotel & Spa, 309 W. San Francisco Street, 505-995-4530 Classical guitarist; 6-9 p.m. Thursdays and Fridays; no cover.

Pat Malone

TerraCotta Wine Bistro, 304 Johnson Street, 505-989-1166 Jazz guitarist; 6-8 p.m.; no cover.

OUT OF TOWN Taos

New Year’s Eve at Taos Ski Valley

Torchlight parade: Skiers with torches glide down trails; fireworks, and the Snow Ball 4-8 p.m. Sunday, Dec. 31. Visit taosskivalley.com for full schedule of events, and tickets for dinner buffet (available through Sunday, Dec. 30); 800-776-1111.

PEOPLE WHO NEED PEOPLE 2024 Foto Forum Santa Fe Photography Award Call for Entries

Open to emerging and established artists; submission of up to twelve images accepted through March 5; $25 early-entry fees through Jan. 16, $35 entry fees, Jan. 17-Feb. 17, late entry fees Feb. 18-March 5; fotoforum.santafe.com. ◀

PASATIEMPOMAGAZINE.COM

A guide to performances & events for the weeks ahead

Music

TGIF recitals

First Presbyterian Church, 208 Grant Avenue Atalaya String Quartet (Shostakovich and Haydn), Jan. 5; Johanna Hogell-Darsee and Scott Darsee (Medieval, Scandinavian, and Celtic ballads), Jan. 12; Flutiss X 4 (original compositions), Jan. 19; all 5:30 p.m.; donations accepted.

The Met: Live in HD

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Verdi’s Nabucco, with baritone George Gagnidze in the lead role, and soprano Liudmyla Monastyrska as his vengeful daughter Abigaille; 11 a.m. Jan. 6; $22-$28; lensic.org/events.

Slaughter Beach, Dog

Meow Wolf, 1352 Rufina Circle, 505-395-6369 Rock band; Sun June opens; 7 p.m. Jan. 9; $27.50; meowwolf.com.

Leo Kottke

Taos Center for the Arts, Lensic Performing Arts Center, KiMo Theatre, Albuquerque On the road again; 7:30 p.m. Jan. 10, 12, and 13; tickets start at $42; lensic360.org.

Delirium Musicum

Duane Smith Auditorium, Los Alamos High School campus, 1300 Diamond Drive L.A.-based chamber orchestra on tour; 7 p.m. Jan. 12; $35, ages 6-18 no charge; losalamosconcert.org.

An Evening with Jamie Barton

Taos Center for the Arts, 145 Paseo del Pueblo Norte, 505-758-2052 The mezzo-soprano sings operatic selections and contemporary songs; 4 p.m. Jan. 13; $65, concert and artist reception $125; tcataos.org.

Diderot Quartet

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Avenue Caroline Shaw’s Punctum, Bach, selections from Art of the Fugue, and Mendelssohn’s Quartet in A Minor, Op. 13; 3 p.m. Jan. 14; $24-$94; 505-988-4640, ext. 1000, tickets.sfpromusica.org.

Philippe Quint in Charlie Chaplin’s Smile

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Multimedia program accompanying clips from classic Chaplin films, with the violinist and the Santa Fe Symphony Orchestra; 4 p.m. Jan. 14; $25-$92; boxoffice.santafesymphony.org/8733.

The Lone Bellow

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Indie-folk trio’s 10th anniversary tour; 7:30 p.m. Jan. 16; $25-$130; lensic.org.

Yungchen Lhamo

Taos Center for the Arts and San Miguel Chapel Tibetan singer-songwriter; 7:30 p.m. Jan. 17 and 18; $25 and $35; ampconcerts.org.

Alash Ensemble

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Avenue Republic of Tuva throat singers; 7:30 p.m. Jan. 19; $25-$75; performancesantafe.org.

Winter Reverie

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.

Cory Wong

Harwood Museum of Art, 238 Ledoux Street, 575-758-9826 Violinist Elizabeth Baker, violist Laura Chang, cellist Sally Guenther, and pianist Debra Ayers; music of Brahms and Dohnányi; 5:30 p.m. Jan. 20, 3 p.m. Jan. 21; $24 and $30; taoschambermusicgroup.org.

El Rey Theater, 622 Central Avenue SW, Albuquerque Funk-rock, rhythm guitarist; 8 p.m. Feb. 5; $35 and $160; lensic360.org.

Placitas Artists Series

Sunshine Theater, 120 Central Avenue SW, Albuquerque, 505-764-0249 Portland, Oregon-based rock band; 8 p.m. Feb. 6; $43; lensic360-org.

Las Placitas Presbyterian Church, 7 Paseo de San Antonio, N.M. 165, Exit 242 off Interstate 25 Violin recital with David Felberg; music of Colombi, Petzold, Puts, and J.S. Bach; 3 p.m. Jan. 21; $25; placitasarts.org.

Albert Castiglia

Tumbleroot Brewery & Distillery, 2791 Agua Fría Street, 505-393-5135 Blues guitarist; 7:30 p.m. Jan. 24; $25; ampconcerts.org.

SOJA

The Historic El Rey Theater, 622 Central Ave., SW, Albuquerque, 505-510-2582 Roots-reggae band; special guests Hirie and Likkle Jordee; 7:30 p.m. Jan. 25; $38; lensic360.org.

Dust City Opera

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.

Santa Fe Pro Musica Discovery Series

New Mexico Governor’s Mansion and Lensic Performing Arts Center Mozart’s Birthday Party, the 268th anniversary, with conductor Marcello Cormio and flutist Anthony Trionfo, 6 p.m. Jan. 25, $100; Celebrate Mozart, music of Mozart, Carl Nielsen, and Jessie Montgomery, led by Cormio, with Trionfo; 3 p.m. Jan. 28; $28-$98; 505-988-4640, ext. 1000, tickets.sfpromusica.org.

Portugal. The Man

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.

Los Angeles Guitar Quartet

Duane Smith Auditorium, Los Alamos High School campus, 1300 Diamond Drive Known for programs ranging from bluegrass to Bach; 3 p.m. Feb. 10; $35, ages 6-18 no charge; losalamosconcert.org.

A Mardi Gras Celebration with Delfeayo Marsalis and the Uptown Jazz Orchestra

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Part of the 2024 Art + Sol Winter Arts Festival; 7:30 p.m. Feb. 10; $35-$115; performancesantafe.org.

Bentano Quartet

Amy Ray Band

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Avenue Music of Mozart, Shostakovich, and Mendelssohn; 3 p.m. Feb. 11; $24-$94; performancesantafe.org.

Benise

Meow Wolf, 1352 Rufina Circle, 505-395-6369 Reggae singer/rapper on his Hold the Fire tour; 7 p.m. Feb. 14; $50.50-$145.50; meowwolf.com.

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; lensic360.org. KiMo Theatre, 423 Central Avenue NW, Albuquerque American self-described nouveau Spanish flamenco guitarist’s stage production Fiesta!; 7:30 p.m. Feb. 2; $29-$95; holdmyticket.com/tickets/416770.

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; tumblerootbreweryand distillery.com.

Matisyahu

Rosanne Cash

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 With John Leventhal; 7:30 p.m. Feb. 14; $59-$84; lensic.org/events.

BeauSoleil avec Michael Doucet

Tumbleroot Brewery & Distillery, 2791 Agua Fría Street, 505-393-5135 Cajun band; 7:30 p.m. Feb. 16; $30 in advance, $35 at the door; southwestrootsmusic.org.

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36 PASATIEMPO I December 29, 2023-January 4, 2024

www.cafecitosantafe.com

The Black Jacket Symphony

KiMo Theatre, 423 Central Avenue NW, Albuquerque Performing Pink Floyd’s The Dark Side of the Moon; plus, a full set of the band’s hits; 8 p.m. Feb. 17, doors 7 p.m.; $35 and $40; cabq.gov/artsculture/kimo/events.

Santa Fe Symphony

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 American Classics, with violinist Alexi Kenney performing Barber’s Violin Concerto No. 1; also on the program, Bernstein’s Chishester Psalms, Copland’s Four Dance Episodes from Rodeo; 4 p.m. Feb. 18; $25-$92; boxoffice.santafesymphony.org/8735.

Mauro Durante & Justin Adams

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.

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.

Grady Spencer & The Work

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/tickets/424217.

Judith Hill

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.

Champagne & Chocolates

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.

Las Migas

National Hispanic Cultural Center, 1701 Fourth Street SW, Albuquerque, 505-246-2261 Spanish flamenco-crossover quartet; 7:30 p.m. Feb. 24; $22-$44; ampconcerts.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/tickets/424080.

The Santa Fe Symphony presents Philippe Quint in Charlie Chaplin’s Smile Jan. 14 at the Lensic.

Tradition and Invention: American Jazz Dance with Nan Giordano & the Giordano Dance Chicago

LewAllen Galleries, 1613 Paseo de Peralta, and Lensic Performing Arts Center, 211 W. San Francisco Street Presentation by the artistic director of Giordano Dance Chicago; 5:30 p.m. Feb. 20; $125 (at the gallery); secure.performancesantafe .org/9039/9064. Giordano Dance Chicago jazz troupe; 7:30 p.m. Feb. 21; $35-$115; secure.performancesantafe.org/842/8865.

Spectrum Dance Theater

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Choreographer Donald Byrd’s production of Grief, depicting the experiences of Mamie Till-Mobley after the murder of her son Emmett Till; 7:30 p.m. Feb. 29; $49-$75; lensic.org/events.

Happenings

Ways of Seeing: Four Photographic Collections

New Mexico Museum of Art, 107 W. Palace Avenue Photographs from the mid-20th century, including works by Ruth Bernhard, Edward Burtynsky, Harry Callahan, Adam Fuss, David Michael Kennedy, and Minor White; opening Jan. 20; through July 7, 2024.

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. Jan. 20; $15-$35; blkdmndnm.com/awards.

Creative Connections — A Celebration of Aunties

Metamorphosis

Institute of American Indian Arts, 83 Avan Nu Po Road Native American arts, food, music, and a presentation from Indigenous Performance Productions, with director Kendra Potter (Lummi), executive creative producer Andre Bouchard (Kootenai/Ojibwe/Pend d’Orielle/Salish); performers include Nora Naranjo Morse (Santa Clara Pueblo), Laura Tohe (Diné), and IAIA students; 5:30 p.m. Jan. 23; $40; performancesantafe.org.

Macbeth

Opera in the Films of Francis Ford Coppola and Martin Scorsese

On Stage

Teatro Paraguas, 3205 Calle Marie, 505-424-1601 Blue Raven Theatre presents aerial dancer Talia Pura’s one-woman show based on the life cycle of butterflies; 7:30 p.m. Jan. 11-13, 2 p.m. Jan. 14; $25, students $15; blueraventheatre.com. 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. Jan. 19-21 and 26-28; $10 and $20; upstartcrowssantafe.org.

The Peking Acrobats

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.

Unitarian Universalist Santa Fe, 107 W. Barcelona Street, 505-982-9674 Pasatiempo contributor Mark Tiarks kicks off the first of Santa Fe Opera Guild’s public offerings; 6 p.m. Jan. 23; $10 and $20; santafeoperaguild.org.

The Writing Generation Series

Via Zoom Free readings by New Mexico writers, and creative-writing sessions; Santa Fe Poet Laureate Janna Lopez launches the series with a reading of her collection such is; 6 p.m. Jan. 24; session follows 6 p.m. Jan. 31. The series continues with online readings and workshops offered by Santa Fe Community College and Institute of American Indian Arts graduates and professors through spring.

Backcountry Film Festival

SALA Los Alamos Event Center, 2551 Central Avenue, Los Alamos, 505-412-6030 Winter Wildlife Alliance presents films on outdoor adventures, the environment, climate change, and ski culture; 7 p.m. Jan. 24; $15; winterwildlands.org.

The Aunties: Women of the White Shell Water Place

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Multimedia storytelling, with Nora Naranjo Morse (Kha’p’o Owenge/Santa Clara Pueblo), Deborah Taffa (Quechan/Laguna Pueblo), and Laura Tohe (Diné, Tsénahabiłnii, Sleepy Rock People clan); 7:30 p.m. Jan. 24; $25-$85; performancesantafe.org.

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, child VIP (13 and up) $30, general admission $30 in advance (by 12/27), $50 in advance, $75 day of, children $15, ages 12 and under no charge; 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 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.

Taos Wine Festival

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.

IAIA Museum of Contemporary Native Arts openings

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, art works by Indigenous Brazilian women; through July 19.

Santa Fe Restaurant Week

Offering 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.

Wheelwright Museum of the American Indian openings

704 Camino Lejo, Museum Hill, 505-982-4636 Opening Feb. 10: Pathfinder: 40 Years of Marcus Amerman, a retrospective exhibit of beadwork, glass art, and paintings by the Choctaw Nation artist, through Jan. 11, 2025; Masterglass: The Collaborative Spirit of Tony Jojola, blown and sculpted glass art by the late Isleta Pueblo artist; through June 9.

PASATIEMPOMAGAZINE.COM

AT THE GALLERIES Santa Fe

Artes de Cuba

1700-A Lena Street, 505-303-3138 Tesoros de la Bóveda (Treasures from the Vault), works by Cuban artists; through March 3.

CONTAINER

1226 Flagman Way, 505-995-0012 Jess T. Dugan: I want you to know my story; photographs; through Jan. 5.

Nüart Gallery

670 Canyon Road, 505-988-3888 Equinations, paintings by Juan Kelly; through Jan. 7.

Photo-eye Gallery

1300 Rufina Circle, Suite A-3, 505-988-5152 Reshaping the Earth: Energy and the Environment, photographs by David E. Adams, Bremner Benedict, and Jamey Stillings; through Jan. 6.

Webster Collection

54½ Lincoln Ave. (upstairs), 505-954-9500 Multidisciplinary works by Darren Vigil Gray, Maggie Hanley, Adam Feibelman, 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, 2024; okeeffemuseum.org. Closed Tuesdays and Wednesdays.

IAIA Museum of Contemporary Native Arts

108 Cathedral Place, 505-983-8900 The Art of Jean Lamarr, paintings, prints, and sculpture from the 1970s to the present; through Jan. 7 • The Stories We Carry, jewelry from the museum collection; through September 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.

Museum of International Folk Art

Nüart Gallery (nuartgallery.com) shows paintings by Juan Kelly through Jan. 7.

38 PASATIEMPO I December 29, 2023-January 4, 2024

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, 2024; moifa.org. Open daily.

Museum of Spanish Colonial Art

750 Camino Lejo, museum@spanishcolonial.org Grow and Flourish: Spanish Colonial Arts Society New Acquisitions, historic and contemporary bultos and hide paintings; through December • 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; spanishcolonial.org. Open Wednesdays-Fridays.

New Mexico History Museum

113 Lincoln Avenue, 505-476-5200 Solidarity Now! 1968 Poor People’s Campaign, a Smithsonian Institution traveling exhibit exploring the grassroots movements of the civil rights era; through Jan. 15 • 18 Miles and That’s As Far As It Got: The Lamy Branch of the Atchison, Topeka and Santa Fe Railroad, model trains 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 The Nature of Glass, group show; through Sunday, Dec. 31 • 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-squarefoot 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; 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 California Stars: Huivaniūs Pütsiv, the first Californian artists whose works reflected personal experiences, mythology, and social justice; through Jan. 14. 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 Jan. 7-Feb. 9.

FINAL FRAME

COURTESY FOTO FORUM

Untitled, an 18-by-12-inch photograph by Zoe Penot, is part of a series of four images taken by the New Mexico School for the Arts sophomore that will appear in the coming week on Foto Forum Santa Fe’s website. Penot received this year’s Foto Forum High School Grant Award; prizes include $250 in cash, a $250 gift certificate to Visions Photo Lab, and a three-month exhibition on Foto Forum’s website. Students in several Southwestern states are eligible to apply. 505-470-2582, sage@fotoforumsantafe.com, fotoforumsantafe.com — Brian Sandford

SANTA FE’S RAILYARD DISTRICT

The Destination for Contemporary Art LAST FRIDAY ART WALK I TONIGHT, DECEMBER 29.2023 I 5-7PM

TAI MODERN On the Wall

LEWALLEN GALLERIES ART VAULT Carol Mothner: Little Treasures Huntrezz Janos: Chromovirus Michael Roque Collins: In the Chama, Where the Spirit Flows

FORM & CONCEPT Salt Pillars: Featuring Eric Cousineau, Andrés Mario de Varona, Morgan Barnard, and Michael Petry Gallery reopens 2 January 2024

BLUE RAIN GALLERY Nicolas Otero: New Devotional Works

CHARLOTTE JACKSON FINE ART Conversations: A Group Exhibition

ZANE BENNETT CONTEMPORARY Paper Trails: Featuring Diego Romero, Nancy Graves, Robert Motherwell, El Anatsui, and more Gallery reopens 2 January 2024

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SANTA FE TRAIN DEPOT

EVOKE CHARLOTTE JACKSON

ART VAULT FORM & CONCEPT ZANE BENNETT BLUE RAIN

GARFIELD

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RAILYARD PARKING GARAGE

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RA I LYA RD PA RK

HA T TA N

FARMER’S MARKET RAILYARD PLAZA

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Free Admission

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SITE Santa Fe

Nicholas Galanin: Signal Disruption

MARKET STATION

JEAN COCTEAU CINEMA

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VIOLET CROWN

NEW MEXICO SCHOOL FOR THE ARTS

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CAMINO DE LA FAMILIA

On View

EVOKE CONTEMPORARY Aron Wiesenfeld: Past Lives Patrick McGrath Muñiz: Retablos

VLADEM CONTEMPORARY

The Railyard Arts District (RAD) is comprised of eight prominent Railyard area galleries along with SITE Santa Fe, a leading contemporary arts venue, and the recently opened New Mexico Museum of Art Vladem Contemporary. RAD seeks to add to the excitement of the Railyard area through events like this monthly Last Friday Art Walk. We invite you to come and experience all we have to offer. www.santaferailyardartsdistrict.com