The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture April 26, 2013
European Perspectives
U HA TE
FRANCOIS MORELLET GREGOIRE CHENEAU OLIVIER MOSSET DIANA BLOK AND PETER BIJWAARD RUTH GSCHWENDTNER-WÖLFLE
Friday May 3, 2013 5:30 to 8pm
MIGUEL MONT TONY SOULIE
April 26 through May 24
435 S. Guadalupe Street Santa Fe, NM 87501 505 982-8111 zanebennettgallery.com Tue-Sat 10-5
OP E N I N G RE CEP T ION:
Friday, April 26 from 5 – 7 pm
Celebrate 60 Years of connecting people with the arts and cultures of the world at the Museum of International Folk Art! Enjoy a festive evening of delectable food, wine, fashion and fun and a silent auction of folk art treasures available Friday night only! Demonstration of “50 Ways to Wear a Shawl” by artist Victoria Adams and more!
RAILYARD ARTS DISTRICT WALK LAST FRIDAY OF EVERY MONTH
Tickets are $60 per person; $30 of which is tax-deductible. Buy tickets at the Museum of International Folk Art Gift Shop, by phone at 877-567-7380, or on-line at worldfolkart.org.
MOTHER’S DAY BRUNCH SUNDAY, MAY 12TH 10:00 AM - 2:30 PM
Sponsored by the Patricia Arscott LaFarge Foundation for Folk Art and other generous sponsors.
DONATE TIME TO DONATE
Photo Credit Bobby Morean
13 NOW through April 30, 20 Tax- deductible donations accepted April 25-30 at m of to the MuseuFolk donations urMuseum the of International Art. Bring yo 6-1201 47 ) 05 (5 ll ca or t Ar lk Fo l tionathe Folk Art Flea Market Hotline InternaCall ents. All proceeds ngem (505) 476-1201. to make other arra ernational Folk Art. benefit the Museum of Int
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PASATIEMPO I April 26 - May 2, 2013
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PASATIEMPO I April 26 - May 2, 2013
Lensic Presents
Trey McIntyre Project May 3 & 4 7:30 pm $20–$45
Discounts for Lensic members
The contemporary dance company returns with three dazzling works by choreographer Trey McIntyre.
PAYNE’S NURSERIES
SPRING WORKSHOPS
Mon - Sat 9 to 5:30 Sun 10 to 4
Join us for another Spring Workshop! Stay tuned for Summer Workshops. Fun, interesting & informative talks absolutely FREE! All participants receive a 20% discount card to use the day of the workshop. This Saturday’s workshop will be at our SOUTH store on St. Michaels’s Dr. Workshop starts at 11:00 AM.
Payne’s Organic Soil Yard 6037 Agua Fria 424-0336 Mon - Fri 8 to 4 Sat 8 to Noon
April 27 Lynn Payne, AKA The Garden Guru America’s Favorite Flower, The Rose
Payne’s South 715 St. Michael’s 988-9626 Payne’s North 304 Camino Alire 988-8011 Spring Hours
Lynn Payne
SPRING/SUMMER HOURS begin on April 29, Mon - Sat 8 to 6, Sun 10 to 4
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THE SANTA FE NEW MEXICAN
April 26 - May 2, 2013
www.pasatiempomagazine.com
On the cOver 32 character buildings: marco Petrus The forms of urban architecture — of particular towers and skyscrapers created in Rome, London, Shanghai, and New York during the 1920s, 1930s, and 1940s — inspire Italian painter Marco Petrus. His visions on canvas are a few degrees abstracted, simplified, from downright realistic portrayals, but they seem to capture the spirit of each building’s design. An exhibit of Petrus’ paintings opens Friday, April 26, at LewAllen Galleries’ Railyard location. On the cover is Petrus’ Upside Down, a 2012 oil on canvas that measures 31.5 x 23.75 inches.
bOOks
mOving images
12 in Other Words Snow leopard anthology
46 50 51 52
mUsic 14 16 18 20 26 29 30 63
harry bicket New SF Opera conductor Pasa reviews Awna Teixeira at Gig super novum Canticum Novum listen Up Songwriting wizard Yip Harburg Pasa tempos CD Reviews Onstage this Week Women’s Voices II masked man The many faces of Rob Faust sound Waves Low on High’s new CD
Pasa Pics To the Wonder War Witch Mud
calendar 56 Pasa Week
and 8 mixed media 11 star codes 54 restaurant review
art 36 art in review Flatlanders & Surface Dwellers 38 african art From Ivory Coast to the East Coast
archaeOlOgy 42 chuck hannaford To protect and preserve
advertising: 505-995-3819 santafenewmexican.com ad deadline 5 p.m. monday
Pasatiempo is an arts, entertainment & culture magazine published every Friday by The New Mexican. Our offices are at 202 e. marcy st. santa Fe, nm 87501. editorial: 505-986-3019. Fax: 505-820-0803. e-mail: pasa@sfnewmexican.com PasatiemPO editOr — kristina melcher 986-3044, kmelcher@sfnewmexican.com
rob Faust in performance
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art director — marcella sandoval 986-3025, msandoval@sfnewmexican.com
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assistant editor — madeleine nicklin 986-3096, mnicklin@sfnewmexican.com
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associate art director — lori Johnson 986-3046, ljohnson@sfnewmexican.com
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staFF Writers michael abatemarco 986-3048, mabatemarco@sfnewmexican.com rob deWalt 986-3039, rdewalt@sfnewmexican.com James m. keller 986-3079, jkeller@sfnewmexican.com Paul Weideman 986-3043, pweideman@sfnewmexican.com
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cOntribUtOrs nancy coggeshall, douglas Fairfield, laurel gladden, robert ker, bill kohlhaase, Jennifer levin, adele Oliveira, robert nott, Jonathan richards, heather roan-robbins, michael Wade simpson, roger snodgrass, steve terrell, khristaan d. villela
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The Santa Fe New Mexican
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MIXED MEDIA
Nishida Mayumi: Kiku Series: Blue and Green, 2013, Prismacolor on paper; right, Judith Toler: Hut of the Copper Spirit, 2013, acrylic
Collect and connect Artists have a chance to get lucky in Collect 10: Lucky 13, an exhibit that opens with a 6 p.m. reception on Friday, April 26, at the Center for Contemporary Arts. It isn’t Friday the 13th, but it is a Friday, and it is the 13th year of CCA’s annual Collect 10 fundraiser. The rules for showing work in the exhibit are simple. Artists based in New Mexico are invited to participate by submitting one or two works of art. Each work is required to fit within a 10-inch cubic space. The size restriction notwithstanding, CCA accepts work for the show in any medium. A $25 entry fee per artwork is paid by the artists and pooled. During the opening reception, one lucky artist will be selected to receive the People’s Choice award of $300 from the collected funds. Another lucky artist will be selected for the Curator’s Choice award, which carries with it an opportunity for a solo exhibition in CCA’s Spector Ripps Project Space. All artworks are for sale to the public. Artists set the sale price for their work and may accept up to 50 percent of each sale or choose to donate all proceeds to CCA. The event is an excellent way for the public to support the arts in Santa Fe and for artists to support one another. There is no charge for admission to the exhibit. Collect 10: Lucky 13 runs through May 19. The Center for Contemporary Arts is at 1050 Old Pecos Trail. Call 982-1338. — Michael Abatemarco 8
PASATIEMPO I April 26 - May 2, 2013
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See what makes Quail Run the place to play golf in Santa Fe. Enjoy the relaxed atmosphere of the club’s 9-hole, challenging par 32 course. Schedule a private lesson with Golf Professional Drew Shurbet and play where last year’s Mayor’s Cup winners train. Golf membership at Quail Run gives you access to: • Men’s & Women’s Golf Associations • Weekly clinics • Club and Inter-Club Tournaments • Our premier health club, ozone pool and spas
3101 Old Pecos Trail 505.986.2200 quailrunsantafe.com For more information or to schedule a tour, call 505.795.7224.
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PASATIEMPO I April 26 - May 2, 2013
C U ST O M PA I N T I N G , D E C O R AT I V E F I N I S H E S , C O L O R C O N S U LTAT I O N
www.gretchenovermandesigns.blogspot.com Tel.505.670.4622
“Unravled Daydreams” Santa Fe High School Advanced Studio Art Show
Opening reception Tonight Friday, April 26 5-7pm Show runs through May 3 Georgia O’Keeffe Education Annex Gallery 123 Grant St.
“Separate Threads” by Lauren Heine
STAR CODES
There are secrets …
Heather Roan Robbins
April showers bring May flowers, or so the saying goes. Hold these words close. This hardworking week, let the troubles of April water the land and cultivate the fields to encourage all plants and plans to bloom in the weeks ahead. The energizing sun and Mars run close together, as they have for the last few weeks, but they are now in stubborn, territorial, productive Taurus rather than explosive Aries. We’re less likely to spark a fire and more likely to dig in our heels and push the mountain. While it’s good to laze around in the sunshine, it’s dangerous to be intellectually lazy. Work takes real investigation and effort this week and may be short-circuited by shallow thinking or a return to old patterns. As the weekend begins, we feel tension between the Taurus need for security and a call for freedom. Strong moods, resentments, and concerns can swim up from the subconscious as murky as snow-melt. Solve mysteries, but turn some of that inquisitive energy inward. Investigations made during the week can prompt surprising revelations over the weekend. Pardon the tactlessness, and don’t bother getting offended; look for the useful information underneath. Take any opportunity to let go of old resentments. It’s time to work constructively as the sun and Mars oppose taskmaster Saturn. Watch a tendency to crack down or tighten up on kids, girlfriends, or constituents. Friday, April 26: We tend to process from a defensive place and wrestle with ourselves this stubborn, broody morning. Emotions can really tweak our thinking as mental Mercury semisquares illusionary Neptune. Later, be discerning and drop assumptions. Saturday, April 27: As the playful Sagittarius moon squares Neptune, keep the mind open, expectations low, and an adventurous spirit nearby, and don’t take any static personally. Some people are working out recent events and need to act out. Listen for a call to offer pragmatic assistance. Engage the spirit tonight — just watch the alcohol intake as active Mars sextiles imaginative Neptune. Sunday, April 28: Although we may long to rest, responsibilities tug at us. If depression whispers, we can concentrate on what and whom we love and focus on one improvement. Kind humor helps smooth cooperation. Elders and animals need attention, muscles need stretching, and conflicting desires need balancing as the sun opposes serious Saturn. Let the stories flow and plans form as the moon trines talkative Mercury. Monday, April 29: Activate, but don’t push. All-around success is the goal as the moon enters industrious Capricorn. Organize in the morning, make connections in the afternoon, and initiate the next step as the moon trines the sun and Mars just before dinner. Tuesday, April 30: Our aches and pains twinge, and annoying people bug us, but let’s not whine. We know what we need to do — just get it done as Mars opposes Saturn. Awkward news or touchy conversations can bring a new opportunity for healing if we stay untriggered as Mercury semisquares Chiron. Look to old friends and traditions for support. Wednesday, May 1: Bring in the flowers and celebrate the people as an Aquarius moon brings out friendly appreciation. Nurture important crops as Mercury enters healthy, solid Taurus. Midday flows collectively, and the evening brings out our cranky side as the moon squares Mars and Saturn. Don’t take complaints too seriously or impose your philosophy on others.
…to staying young Learn the secrets at a free lecture sponsored by
El Castillo LifeCare Community
10 Strategies for Successful Aging by Dr. Roger Landry
7:00 PM, Wednesday, May 8, 2013 St. Francis Auditorium, New Mexico Museum of Art, on the Plaza Roger Landry, M.D., M.P.H. is a preventive medicine physician who specializes in empowering individuals to take control of their own aging. He was trained at Tufts University School of Medicine and Harvard University School of Public Health. He served as a flight surgeon for 22 years with the United States Air Force where his duties involved keeping astronauts, pilots and other aircrew healthy and performing at their best. Dr. Landry is a nationally known expert on successful aging and the author of Live Long Die Short: A Guide for Authentic Health and Successful Aging, to be published in summer 2013.
Complimentary parking provided by First National Bank of Santa Fe on a first-come, first-served basis on Palace Avenue We thank the New Mexico Museum of Art for their support with this event.
Reservations for seating are required. Please reserve your place by calling 995-2110 no later than Sunday, May 5
Thursday, May 2: Dance in a solid, personal rhythm on this friendly, stubborn, uncomfortable day. Otherwise distractions, multitasking needs, or conflicting information can take us off-center as Mercury semisquares Jupiter. ◀ www.roanrobbins.com
250 East Alameda • Santa Fe • 505-988-2877 • elcastilloretirement.com PASATIEMPOMAGAZINE.COM
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In Other wOrds Snow Leopard: Stories From the Roof of the World edited by Don Hunter, University Press of Colorado, 216 Pages Reading about snow leopards is tantamount to opening a thesaurus to find synonyms for elusive. Of the 21 entries in Snow Leopard: Stories From the Roof of the World, edited by Don Hunter, the words mythic, ghost, rare, cryptic, stealthy, secretive, solitary, and fleeting appear throughout. From Peter Matthiessen, whose book The Snow Leopard won the National Book Award in 1980, to Avaantseren Bayarjargal, a Mongolian translator of research teams, contributors were charged with writing about their “most profound or heart-touching experiences” with snow leopards. The most salient common theme is passion: wonder, privilege, and awe. Seeing one in the wild, Hunter says, “throttles the senses.” The collection embraces an engaging variety of experiences. Against prevailing policy, Nasier A. Kitchloo, a wildlife warden in India’s Ladakh region, raised a snow leopard cub. An old woman presented the foundling to him because she was a Buddhist and couldn’t allow the cub to die. In Pakistan, Shafqat Hussain, another wildlife official, inadvertently acquired a snow leopard pelt, compromising his position before he could deliver it to a museum in Islamabad, 600 miles away. Eminent researchers such as George B. Schaller, considered the world’s first snow leopard specialist, and leading expert Rodney Jackson, the first to place a radio collar on a snow leopard, added their reminiscences. Besides Bayarjargal, two other women are included. Helen Freeman founded the Snow Leopard Trust, and Darla Hillard wrote Vanishing Tracks: Four Years Among the Snow Leopards of Nepal. Nearly half of the wildlife biologists, researchers, and conservationists are American. An Australian filmmaker also contributed. Others from China, India, Mongolia, Nepal, Pakistan, and Russia represent six of the 12 countries where snow leopards range across. This animal is charismatic. Its silent roar whispers mystery. Its very appearance beguiles. Thick, luxuriant fur provides protection from the sub-zero temperatures at elevations ranging from 11,000 to 23,000 feet above sea level. The pelt is smoky gray with black accents and dark rosettes. A white belly, reflecting the colors over which the cat moves, further enhances the ability to disappear into rocky terrain. The snow leopard weighs 60 to 120 pounds and can measure 6 feet from nose to tail. Long legs and paws like snowshoes facilitate travel through snow and on precipitous slopes, “as if a feather has brushed the ground,” Freeman writes. The leopard’s tail, nearly as long as its body, not only provides balance when running and turning but also adds warmth when curled around the body, shawl-like, in rest or sleep. Like all big cats, snow leopards kill efficiently. In pursuit of prey, they drop down mountainsides as effortlessly as water falling or bound pell-mell to pounce decisively on their targets. Their preferred diet is the wild sheep and goats of the high elevations, though they will also take advantage of local herders’ livestock. The latter form of prey causes conflict in the villages near snow leopard habitat. The contributors have worked with indigenous people to address the issue. Home-stay programs, in which local residents offer housing to trekkers, researchers, and filmmakers, have been established. Insurance programs to compensate herders for livestock lost to snow leopards have also been created, as have programs for local women to produce handcrafted items for sale abroad. But outraged, impoverished herders are not the only threat the snow leopards face. Poachers prize their hides. These cats are also sought for use in the Asian medicine market. Add climate change and greater human encroachment into their habitat, and you have an animal whose future isn’t bright. Other themes common among the contributors are the expense, danger, and arduous nature of research in Himalayan ranges. In 1996 Hunter, science director for the Rocky Mountain Cat Conservancy, traveled to Mongolia to work with Tom McCarthy of the Snow Leopard Trust and Panthera. Hunter flew from Fort Collins, Colorado, to Tokyo; Beijing; and finally Ulan Bator, Mongolia. From there, a flight to Altay in a “tired Russian two prop airplane” afforded a view of the Mongolian steppe — like “Wyoming on steroids.” He reached his final destination after eight hours in a jeep, witnessing the magic of the Gobi Desert sky at night. For researchers, coping with dysentery might be the first priority before they reach base camps at higher elevations, where possibly fatal mountain sickness awaits. Setting live traps and placing motion-detecting cameras to collect data means traipsing from five to 14 miles to sites in steep rocky valleys bristling with shrub “that disdains leaves and the color green.” Repeat to check results after returning to camp. These perambulations take place at elevations exceeding 10,000 feet above sea level. Snow or cold factors into the exercise. Mountainous challenges notwithstanding, all the writers convey a sense of the snow leopard as magical. Alluring. Whatever they suffer is worth it. Rinchen Wangchuk, former director of the Snow Leopard Conservancy — India Trust, calls the snow leopard the “spirit animal” of his youth. Overwhelmed by his first sighting of one in the wild, Schaller crouched on a ledge to observe the snow leopard in the morning. Snowfall during the night thoroughly soaked his bedding. Kelly regards the snow leopard as “the most potent symbol of wildness.” Now a wildlife biologist himself, Kyle McCarthy accompanied his father to Mongolia for snow leopard research when he was young. “At sixteen,” he writes, “I was ready to fall in love, and I did.” — Nancy Coggeshall
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PASATIEMPO I April 26 - May 2, 2013
book reviews
SubtextS
Word for word In celebration of National Poetry Month, the Institute of American Indian Arts College of Contemporary Native Arts and the University of New Mexico English department are hosting a My Favorite Poem project every Friday during April. Readings alternate between the two schools, and the final reading takes place at 6 p.m. Friday, April 26, at the IAIA Center for Lifelong Education (83 Avan Nu Po Road, second floor). The project was inspired by former U.S. poet laureate Robert Pinsky’s 1998 initiative, which resulted in thousands of readers sharing their favorite works of poetry. The New Mexico project was started by UNM professor and poet Luci Tapahonso. Among the readers scheduled to join Tapahonso in the reading at IAIA are Jon Davis, Santa Fe’s poet laureate and the chair of IAIA’s new master’s program in creative writing; Santa Fe mayor David Coss; artists Emmi Whitehorse and Laura Fragua-Cota; Oliver Prezant of the Santa Fe Community Orchestra; actor and musician Maura Dhu Studi; Ann Filemyr, poet and dean of IAIA’s College of Contemporary Native Arts; Michael Lopez, a representative for Sen. Tom Udall; Mark Bahti, author and owner of Bahti Indian Arts; and Bette Booth, coordinator of the Santa Fe Green Lodging Initiative. There is no charge for the reading. Call 424-2351. Body-sattva: Eve Ensure Also on April 26, playwright and activist Eve Ensler reads from her new memoir, In the Body of the World, at 7:30 p.m. at the Lensic Performing Arts Center (211 W. San Francisco St.). Admission is $30, $15 for students. The $30 price includes a signed copy of the book. Ensler is the author of The Vagina Monologues and founder of the One Billion Rising campaign to address violence against women. A Booklist review said the memoir is a “ravishing book of revelation and healing, lashing truths and deep emotion” and called Ensler “poetic, passionate, and heroic.” For tickets, call 988-1234 or visit www. ticketssantafe.org. — Jennifer Levin
MAy
Star of the West
www.sfcc.edu
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cAlendAr Of eventS SUN
7 p.m., Campus Center Dance performances by SFCC students. Wed
May 8 & 9, 10 a.m. to 4 p.m., Main Hallway SFCC Clay Club/Garden Club sale.
Cowboy Movie Night
See two Tom Mix movies, Ranch Life in the Great Southwest (1910) and Local Color (1915) with a discussion by film critic Jon Bowman. Part of the new exhibit, Cowboys Real and Imagined. Support from the New Mexico Humanities Council
Confessions of a Failed Saint
Spring Planting Sale
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505-428-1731
5:30 p.m., SFCC Planetarium 505-428-1333 Terry Wilson reads from her memoir about dealing with Catholicism, Alzheimer’s Disease and Santa Fe.
free ClassiC
Friday, april 26, 6 pm NMhM auditorium
Performing Arts Showcase
THUR
505-670-8961
Planetarium: Ancient Skies
May 9 and May 16, 8 p.m. to 9 p.m., 505-428-1744 How the settlers and Native Americans viewed the constellations.
Student Writing Awards Celebration
6 p.m., Collected Works Bookstore 505-988-4226 Winners, runners-up and honorable mentions read from their work.
10 11 16
FRi
Spring Choral Concert
May 10, 5 p.m. & May 11, 2 p.m., Jemez Rooms Concert by the SFCC Chorus and Chamber singers.
SaT
CommUNITY Day on the Plaza
10 a.m. to 3 p.m., Downtown Plaza Visit SFCC at the annual CommUNITY Day on the Plaza. THUR
505-428-1731
505-428-1271
Student Fashion Show
8 p.m., Jemez Rooms 505-428-1731 Benefiting the SFCC Fashion Club, admission: $7; students, $5.
Environmental Jobs Training Program Graduation 3 p.m., SFCC Board Room
20 22
MON
505-428-1524
SFCC’s Film Program Spring Showcase 6 p.m. to 8:30 p.m., James A. Little Theater
Wed
Nurses Pinning Ceremony
1 p.m., Witter Fitness Education Center
Commencement Ceremony
5 p.m., Witter Fitness Education Center
23 31 2
THUR
GED Graduation 5:30 p.m.
FRi
505-428-1266 505-428-1323 505-428-1665 505-428-1356
Carbon Economy Series: Gardening Like the Forest 10 a.m. to 2 p.m., Main Hallway/Campus Center carboneconomyseries.com
505-819-3828
SPeCiaL aNd ONGOiNG eVeNTS FIGURE IN SPACE, an art exhibition
505-301-6317 Through May 10: FIGURE IN SPACE, featuring work by SFCC student Deanne Richards. Media Arts Gallery.
New Kids Campus Summer Program
505-428-1380 Activities and field trips to areas of interest on the SFCC campus. Registration required. Visit kidscampus.sfcc.edu. Individuals who need special accommodations should call the phone number listed for each event.
Learn more. 505-428-1000 www.sfcc.edu
Helping StudentS Succeed. Serving Our cOMMunity. PASATIEMPOMAGAZINE.COM
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James M. Keller I The New Mexican
Harry Bicket, Santa Fe Opera’s new chief conductor
S
anta Fe Opera announced on Wednesday, April 24, that Harry Bicket will be the organization’s new chief conductor, a post he will assume at the beginning of October. The position has been open since Frédéric Chaslin and the company abruptly severed their relationship at the close of last summer’s season. Bicket has conducted three productions at Santa Fe Opera: Handel’s Agrippina (2004) and Radamisto (2008) and Rameau’s Platée (2008), and in the 2014 season, in which he takes up his new post, he will lead the company’s first-ever production of Beethoven’s Fidelio. The 52-year-old Bicket, who was born in Liverpool and now holds joint U.K. and U.S. citizenship, was trained as a pianist at London’s Royal College of Music, but he began his career as an organist at Westminster Abbey. He earned acclaim for his work as a harpsichordist with historical-performance groups, and since 2007 he has been artistic director of one of the finest of them, the English Concert. He developed a parallel expertise in the opera house, serving as chorus-master for the English National Opera and gradually building a conducting career that has taken him to such renowned companies as the Bavarian State Opera, Royal Opera House (Covent Garden), and the Metropolitan Opera. At the last of these, he is currently conducting Handel’s Giulio Cesare, which will be broadcast internationally (including to the Lensic Performing Arts Center) on Saturday, April 27, as part of the series The Met: Live in HD. Bicket proved genial, unpretentious, and engaging when we spoke shortly before his appointment was announced. Pasatiempo: Although the early-music movement provided the foundation for your career, you are increasingly conducting mainstream, moderninstrument orchestras. Is it a challenge to transfer the historical approach to modern performing groups? 14
PASATIEMPO I April 26 - May 2, 2013
Harry Bicket: You pick your battles, really. You have to assess within about the first 20 minutes of a rehearsal how far you can go. I don’t try to tell them how to play their instruments, which is the first way to alienate an orchestra. They have to feel they’re not being asked to do something a certain way because that’s the way it was done in the 18th century but rather because it lends a color or an idea or a rhetoric, which is a huge issue for this music. In the 19th century, music became more and more annotated — the composer said, “I want you to do exactly this or that” — whereas in earlier repertoire, you’re lucky to get even a tempo marking, let alone any indications of affect or articulation. So players have to suddenly look at the score and shape it. It can be liberating for players but also slightly terrifying, if they’re not used to that. When I conducted Platée here, the orchestra found it hugely challenging. Someone came up afterward and said, “We did Wozzeck last year, but honestly I think this is more difficult.” From a sheer mental standpoint, there really was a lot to master: every note with an ornament on it, how long is the appoggiatura, how fast is the trill, how fast is the bow strike, and all these things in French Baroque style, in which everything is very fluid. But they loved doing it, and they played it brilliantly. Pasa: Do you relish return engagements as an opportunity to not start again from the very beginning in terms of style? Bicket: That is why working at the Met has been so lovely. I’ve now done four or five operas there, and every time I go the musicians know what to expect from me — and me from them. We start on a new level. Flying in for the first time as guest conductor with a new orchestra, you just can’t change the approach so radically. Pasa: How did you end up conducting opera? Bicket: I started as an organist at Westminster Abbey when I was 23, and although I loved it, I knew my musical horizons were beyond that. It is quite a lonely life as an organist, when you sit in your tower and play. An opportunity arrived to join the English National Opera as a répétiteur, but in between my appointment and my arriving, the chorus master left rather suddenly, and knowing I had worked with choirs at the Abbey, they asked if I’d like that job. I did five years there. In addition to the chorus I also got to conduct all the offstage banda bits, which was a fantastic lesson. Toward the end of my time there they started asking me to conduct operas, including a production of Handel’s Ariodante that turned into a huge success, still in their repertoire. After that I went off to the Bavarian State Opera in Munich, doing all their Handel, Rossini, Monteverdi, Cavalli. They do
50 operas a year there; singers fly in, fly out; the orchestra changed every night. I find now that whenever people cancel or some crisis arises, I just go, “Oh, it’s much worse in Munich.” Pasa: How many different operas have you conducted? Bicket: Twelve a year at the ENO over five years, so that’s 60; and then maybe 40 others since then. A lot has been early opera. Especially since the Met’s Rodelinda, people seem to say if they’re doing a Handel opera, they should get Harry, which I’m delighted about. I did a broader repertoire before, though, and am starting to do it again. I’m doing a Carmen coming up at Lyric Opera of Chicago, Rusalka in Houston, Fidelio here. I could be a different kind of specialist, but I’d rather be stuck in the 18th century than many other places. I love the 18th century: the musical repertoire, the architecture, literature, art — a great period of flowering. Pasa: What will be the focus of your responsibility at Santa Fe Opera? Bicket: Chief conductor is not artistic director. My job is maintaining and elevating the standard of orchestral playing, being responsible for the orchestra. And also championing the orchestra is part of my role. It’s a two-way street. Pasa: Are there some operas you are just dying to conduct? Bicket: Would I love to conduct Meistersinger, Pelléas, Simon Boccanegra — wonderful pieces I completely adore? Yes, but would I do them well enough? I’m not ambitious in the sense that I want to expand my repertoire to prove that I can do these pieces. In a practical situation, I think there are people who do them so beautifully that I am happy to let them do it. This job is not about using personal ambition to do repertoire I wouldn’t do elsewhere. Pasa: I know from experience how seriously you undertake your work as a conductor, but I can’t say you sound terribly driven in terms of your career. Bicket: To be honest, the conducting thing came by surprise. I’m thrilled to be doing it, but in terms of ambition, I’ve already achieved so much more than I thought I would. If someone had said to me 15 years ago, You’ll never conduct at the Met, I would have laughed; of course I wouldn’t ever conduct at the Met, and yet here I am doing it. I’m not driven by the need for world domination when it comes to repertoire. I don’t want to go conduct Mahler symphonies, much though I love them. What I am interested in is a level of performance that can get inside the skin of the music, which applies to any kind of repertoire. And it may be that my strength and my way of getting there is through 18th- and early-19thcentury stuff. ◀
SFO 2007 © Ken Howard
All the right noteS
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The New Mexico Performing Arts Society Presents
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JOHN DONALD ROBB Requiem A major work by New Mexico composer John Donald Robb – Performed by the New Mexico Bach Society, FRANZ VOTE, Conductor
Church of St. Eustache, Paris Site of the Premiere
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PASATIEMPO I April 26 - May 2, 2013
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s half of the alt-folk duo Po’ Girl, singer, songwriter, and multiinstrumentalist Awna Teixeira is accustomed to the support — you might call it cover — of a backup band. Her recent solo recording Where the Darkness Goes finds her accompanied by trios, quartets, and quintets. On April 19 at Gig Performance Space, in a show organized by Southwest Roots Music, Teixeira was truly performing alone, a fact she referenced more than once during the evening’s two sets. “The thing about going out on my own like this,” she said, picking up her banjo before one number, “is that I’ve had to learn to play my own songs.” Teixeira, not quite a one-woman band, went back and forth between banjo, guitar, and accordion to frame her inviting, amber-toned voice. That she had no other accompaniment — although Santa Fe vocalist Larkin Gayl joined her briefly for the title tune from Teixeira’s solo CD — put the emphasis squarely on her songwriting abilities. Her lyrics, full of stars, tall trees, waves, and riversides, rely more on imagery than narrative. In the Portuguese-titled “Minha Querida” (My Darling), she sings, “She is a diamond, she is a dream/She is the wonder that follows you down to your knees/High above the sky you fly, fly, fly.” To listeners, those words might suggest a particularly inspiring woman. But as Teixeira explained, the song is about her first accordion, an instrument she named Sophia, which cost her $40 at a secondhand store and an additional $3,500 in repairs since. All this served as introduction to Etta, Teixeira’s current squeezebox, named for the late, great R & B singer. (Sophia is now at her father’s home awaiting a $700 bellows repair.) Teixeira’s singing inflection was something of a songbird’s warble. Despite the acoustically pure reproduction of Gig’s sound-friendly space, her words sometimes disguised themselves by sliding from the corner of her mouth. Her accent at times was reminiscent of that of West Virginia mountain folk singers, though Teixeira is a Canadian of Portuguese descent. Her quick, light vibrato on any note that lasted more than a count or two gave her voice an air of tension and passion. But her slippery enunciation often veiled the most important word in a line. Just when you thought you’d grasped what she was singing, the words would squirm away. At other times, her pronunciation was clear and distinct. When she sang the chorus (“Loving hearts hold together/Nothing falls apart”) from “Blooming Bounty,” an original song written for a possible children’s recording, the words — and the feeling — were unmistakable. It was this kind of passion and genuine sincerity that carried her performance. Even without the benefit of discerning each word, one couldn’t help but understand and be moved by her emotion. No matter which instrument she played, she twisted and turned with it as if in a dance, her hair half covering her face at the end of each number. As she sang Beck’s “Rowboat,” a song that in her hands carried a suggestive gender twist, she brought more pathos to the lament than its composer did. When she sang “Pick me up, give me some alcohol,” you knew she was thirsty. Her self-accompaniment was always strong, if not rhythmically perfect. Etta the accordion appeared on waltzes and lively tunes suggesting European folk rhythms. Holiday, the guitar, added further twang to countryinspired numbers. The banjo — its name was not announced — placed music firmly in hill-country folk tradition. Her voice, her instrumentals, and her songwriting — especially her songwriting — came together in a glorious whole. You might say that Teixeira’s music is greater than the sum of its parts. — Bill Kohlhaase
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In contrast, the United States has invaded practically every country in the entire world. Since 1947 its Department of War has been called the Department of Defense, and its war budget the defense budget. The names are an enigma as indecipherable as the Holy Trinity. — From Children of the Days: A Calendar of Human History by Eduardo Galeano © 2013.
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Michael Wade Simpson I For The New Mexican
SUPER NOVUM
CANTICUM NOVUM HIGHLIGHTS ORCHESTRAL GEMS
he Latin text of Psalm 96 includes the phrase Cantate Domino canticum novum — “Sing unto the Lord a new song.” “We were inspired, over nine years ago, to give our choir its name based on those words,” said Kenneth Knight, artistic director and conductor of choral and orchestral group Canticum Novum. In two upcoming concerts the Santa Fe-based ensemble, now in its ninth season, strives to fulfill its stated mission: to present “unjustly neglected masterpieces.” The program ranges from an unfamiliar Mozart and a work by William Boyce, an 18th-century English composer whose reputation languished under the shadow of Handel, to a piece by Antony le Fleming, a living British composer not particularly well known outside musical circles. The group performs Saturday and Sunday, April 27 and 28, at Cristo Rey Church. Knight grew up in Uvalde, Texas (“the home of Dale Evans and Matthew McConaughey,” he said), and holds degrees from Yale and the Manhattan School of Music. He lived in Los Angeles, where he sang with the Roger Wagner Chorale, the Los Angeles Master Chorale, and the chamber group I Cantori. After moving to Santa Fe in 1990, Knight’s “semi-retirement” has included directing the Santa Fe Men’s Camerata, the Zia Singers, the choirs at the United Church of Santa Fe and Santa Fe Prep, and co-founding Canticum Novum with John Onstad. Knight said that directing a chorus is easy. The most time-consuming part of his job with Canticum Novum is raising money to pay for the orchestra, an integral part of the group. The singers in the group are smart, talented, well-trained amateurs, he said. The chamber orchestra, on the other hand, is made up of professional musicians. Knight admitted to a bit of risk-taking when founding an ensemble based on a single musical premise. “I thought, when the group started with this mission of presenting overlooked pieces, that I would run out of inspiration fairly quickly.” Obviously, that’s not what happened. Nine seasons later, “I have a whole long list I call future repertoire. I surf the net, watch YouTube videos, people send me suggestions, and I buy a lot of CDs that look interesting. Things pop out, especially when they are chamber-sized works for orchestra and chorus.” On the program for the concert at Cristo Rey Church is a symphony by Boyce. In Boyce’s time, according to Knight, a symphony was an overture, often a preface to a theatrical work with chorus. The Symphony No. 5 in D, a piece for strings, oboes, trumpets, and timpani, was composed as an overture to Boyce’s Ode for St. Cecilia’s Day. “It’s a dance suite,” Knight said. Canticum Novum will be presenting a promenade, a gavotte, and a minuet. Mozart’s Dominican Vespers, K. 321, is one of two sets of vespers the composer wrote. “The other set is much better known,” Knight said. “The more well-known set is slow and lyrical. This piece is florid, with a showpiece solo for a coloratura soprano.” (Cecilia Leitner will be the soloist.) Canticum Novum’s program also includes excerpts from Albuquerque composer Daniel Steven Crafts’ opera La Llorona, with lyrics by New Mexico author Rudolfo Anaya, well known for his novel Bless Me, Ultima. “The story is ubiquitous in the Spanish-speaking world. It’s like the Spanish Medea,” Knight said. “A mother drowns her children when a love affair with a handsome man ends badly.” In Craft’s opera, Anaya adapted the tale to draw from Aztec legend. The conquistador Hernán Cortés fathers a child with a Native woman, Malinche, before announcing he will return to Spain to marry a princess. Soon after, Malinche becomes La Llorona or the crying one. Knight’s programming choices may initially be based on a requisite obscurity, but when it comes down to final decisions, “I pick pieces I really want to hear and to conduct.” The final piece on the concert, Cantate Domino by Antony le Fleming, is one of these. Le Fleming, who was born in 1941, has been described as “unashamedly an English Romantic.” “His father was a musician who studied with Vaughan Williams. Le Fleming sounds like a cross between Elgar, Vaughan Williams, and Holst. We love his music; this is the fourth piece of his we have performed.” Cantate Domino is based on Psalm 96, which has been set to music by many, many choral composers, Knight said. “Usually, it’s done a cappella, but le Fleming’s version is festive, lyrical, and contemporary. It’s a triumphant setting.” ◀
details ▼ Canticum Novum Chorus and Orchestra in concert ▼ 7 p.m. Saturday, April 27; 3 p.m. Sunday, April 28 (Lectures by Oliver Prezant take place one hour before each performance and are free to ticket holders.) ▼ Cristo Rey Church, 1120 Canyon Road ▼ $20 & $30, discounts available; at the door and from Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org)
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PASATIEMPO I April 26 - May 2, 2013
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LISTEN UP
Photofest
James M. Keller
Judy Garland seated with Harold Arlen, rehearsing The Wizard of Oz, 1939, with help from (clockwise from left), Bert Lahr, Ray Bolger, M.G.M. executive L. K. Sidney, Yip Harburg (with his hands on Arlen’s shoulders), Meredith Willson, and music publisher Harry Link; below, hat worn by Margaret Hamilton in The Wizard of Oz
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PASATIEMPO I April 26 - May 2, 2013
From Depression to optimism: lyricist Yip Harburg Who would ever have imagined that in 2013 a song written in 1939 would claim the top spot on the British iTunes list of bestselling songs — in its original recording, no less, which was released the following year. In the normal course of events, recordings have trouble getting quite so much air in their sails after 73 years, but in this case the phenomenon was sparked by a circumstance of history: the death, on April 8, of Margaret Thatcher. Quite a few British citizens viewed her 11-year term as prime minister (from 1979-1990) as insensitive to the needier members of society. Learning of her death, many of them adopted as an anti-funereal anthem the song “Ding-Dong! The Witch Is Dead,” which composer Harold Arlen and lyricist E. Y. “Yip” Harburg wrote for the film The Wizard of Oz. Downloading the song, as performed on the movie’s soundtrack by Judy Garland and the actors playing the Munchkins, became a political act, and social media fanned the flames. People of the De mortuis nil nisi bonum school were predictably aghast, and this particular mode of speaking ill of the dead — or in this case, singing ill of the dead — reached a mini-crisis when the publicly funded BBC had to finesse what to do on its Sunday radio program that every week plays the current top 40 musical hits. The powers that be arrived at what they described as a “difficult compromise”: they played only an excerpt from the song, as part of a news report about its surging popularity.
In the end it will be a tempest in a teapot, but the brouhaha does underscore how a song can become a focus of popular sentiment. The New York Times journalist Robert Mackey had the inspiration to ask Ernie Harburg, son of the late lyricist, what his father might have thought of this turn of events. Harburg responded that he believed his father would have been amused. “W. S. Gilbert and George Bernard Shaw taught Yip Harburg, democratic socialist, sworn challenger of all tyranny against the people, that ‘humor is an act of courage’ and dissent,” he wrote in a statement to Mackey. “Yip said, ‘Humor is the antidote to tyranny’ and, ‘Show me a place without humor and I’ll show you a disaster area.’ Yip believed tyranny is caused by the policies of austerity, imperialism, theocracy and class supremacy, which deny most people human rights and economic freedom from poverty and want. A song — music and lyrics — allows singers and audiences to ‘feel the thought’ of the lyric. ‘Ding-Dong! The Witch Is Dead’ is a universal cry against the cruelty of tyrants and a protest against the ban on laughter at that cruelty. For the 99 percent, laughing and joy are required at the funeral of a tyrant. According to Yip, humor gives us hope in hard times.”
I changed my philosophy of writing from ‘Brother, CanYou Spare a Dime?’to‘Somewhere Over the Rainbow’because even though we were all down and out, that American dream that my immigrant parents came over for was still there. ...That rainbow still has to be reached.
T
his commonsensical sanguinity is entirely in sync with Ernie Harburg’s ongoing view of his father, much as one found it in the excellent 1993 biography he co-authored with Harold Meyerson, Who Put the Rainbow in the Wizard of Oz?: Yip Harburg, Lyricist. That remains the essential account of Harburg’s life, but his story is eked out in a new volume released in December 2012 by Wesleyan University Press: Yip Harburg: Legendary Lyricist and Human Rights Activist by Harriet Hyman Alonso. The book is far more lively and less politically earnest than its title suggests. In fact, it is downright chatty, being essentially a sort of oral history Alonso crafted out of nearly 50 published and unpublished transcripts of radio and television broadcasts, speeches, roundtables, and conversations in which Harburg participated over the years. Like nearly all showbiz types, Harburg was happy to tell stories about his long life (1896-1981) and interesting career, which unrolled through what many aficionados consider the golden age of vaudeville, Broadway, and Hollywood. He was one of those emblematic figures who seemed always to be where the action was. He possessed the typical professional pedigree of being born into an impoverished Russian family that had arrived several years earlier on New York’s Lower East Side. “Most of my fellow students were also the sons of immigrants,” he declares, “all of us pursuing an education as though our salvation depended on it.” In high school he grew especially close to a classmate named Isidore Gershvin, later known as Ira Gershwin, and the two began authoring a joint column — signed “Yip and Gersh” — for the school newspaper, which they then continued when they enrolled at City College. Mama Gershvin characterized her two sons thus: “Ira is the scholar in the family and George is a loafer.” In truth, George showed little enthusiasm for his studies in double-entry bookkeeping, and he accordingly dropped out of the High School for Commerce. Anyway, Mrs. Gershvin decided to encourage Ira’s cultural inclinations by buying a piano, which held no interest for him but proved a prescient investment nonetheless when brother George took to it and, six months later, got a job on Tin Pan Alley. Early on in the book, Alonso devotes an extended and fascinating chapter to the song “Brother, Can You Spare a Dime?” which Harburg wrote in 1932 with composer Jay Gorney. A heart-rending outpouring of Depression-era frustration, it was truly the anthem of its time, but it’s a miracle that it ever came together. Harburg was hired as lyricist for a show called Americana —“and I went to work with Vincent Youmans, the composer they’d hired.” He continues: “But after we wrote the opening song, Youmans took his $5,000, got drunk, and disappeared. The show had to open in a couple of months. Catastrophe! What to do? The only way to do it is to call in several composers and let them all feed me. When good tunes set me off I work fast. ... So I grabbed a few tunes from Jay and a few from a then little-known guy named Harold Arlen, and one from a complete unknown named Burton Lane. That’s how the show was written.”
T
Harburg’s 1932 worksheet for “Brother, Can You Spare a Dime,” courtesy Yip Harburg Foundation/ Wesleyan University Press; the song’s lyrics
his chapter carefully illustrates how a song finds its eventual identity, which may be anything but clear until many drafts have been scrapped. Gorney had previously written a song with break-up lyrics: “I could go on crying/
continued on Page 22
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Yip Harburg, continued from Page 21
Environmental Stewardship • Social Justice • Economic Health
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The 2013 SustainableSanta Fe Awards Ceremony Saturday, April 27 • 6pm-7pm
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Big blue tears/Ever since you said we were through./I could go on crying/ Big blue tears.” Harburg liked the melody but thought he could provide a better text. For example: “Once I built a railroad,/Made it run/Made it race against time/Once I built a railroad/Now it’s done/Brother, can you spare a dime?” This was not an incidental sentiment for Harburg. “My analysis, he says, “started with an awareness of the injustice of a society in which the man who produces, who builds towers, makes railroads, farms the land, is left empty-handed. Why doesn’t he share in the wealth his sweat and skill have produced? So much for analysis. How to say all that poetically, dramatically, and with lasting emotional impact, to make the song neither pitiful nor sentimental but an intelligent dramatic statement?” The song almost didn’t make it into Americana — one of the two feuding Shubert brothers producing the show wanted it out, the other wanted it in — but once it made it to the stage it was on everyone’s lips, and it has retained its potency ever since. In 1974, Harburg sent The New York Times up-to-date parody lyrics he had just written: “Once we had a Roosevelt,/Praise the Lord, —/Life had meaning and hope,/Now we’re stuck with Nixon,/Agnew — Ford,/Brother, can you spare a rope?” It goes without saying that a songwriter capable of expressing such sentiments with such artistry would not find a friend in Sen. Joseph McCarthy. Harburg was blacklisted, and his commentary about that period of his life is moving without being maudlin. He seems resigned to the Kafkaesque situation that surrounded him, but he never shows the slightest doubt about the reasonableness of his ethics, and eventually he rides out the storm. He had enjoyed great success before the bad times hit, and his financial cushion put him in a position to help out less fortunate colleagues, although this is not something he felt compelled to discuss much in public. In the course of Alonso’s book, Harburg speaks at length about his works — shows like Bloomer Girl, Finian’s Rainbow (which included what he said was his favorite among his songs, “Look to the Rainbow”), and Flahooley; and songs such as “April in Paris,” “It’s Only a Paper Moon,” and “Lydia, the Tattooed Lady” (which he had to alter to mollify the Hollywood censors). And, of course, the 1939 MGM movie The Wizard of Oz. The story of that film has been often told, and although this book doesn’t cast new light on the subject, it does approach it through unfamiliar commentary. Harburg was so respected at the studio that he had considerable input on the casting, but one of his strongest recommendations came to naught: securing W.C. Fields as the Wizard. “W.C. Fields wanted $75,000 to do that little part,” recounts Harburg. “They offered him $50,000. He wouldn’t take it ... an example to me [of] a man giv[ing] up immortality for a lousy few dollars he didn’t need.” And another of his essential ideas came close to not happening. The song “Over the Rainbow” was cut from what was supposed to be the final version of the film. Director Victor Fleming thought it dragged down the action in the first part of the movie. Harburg and Arlen appealed to the big boss, Louis B. Mayer, via associate producer Arthur Freed, and Mayer issued the dictum to “let the boys have the damn song.” Displeased though he was about some ways in which the world worked, Harburg produced an oeuvre that teems with optimism. Late in life he explained: “I changed my philosophy of writing from ‘Brother, Can You Spare a Dime?’ to ‘Somewhere Over the Rainbow’ because even though we were all down and out, that American dream that my immigrant parents came over for was still there. ... That rainbow still has to be reached. ... We’ve got to find out what our values are. ... What are our moralities?” The goal, he continued, was “to see to it that our songs are now uplifting and to make the American spirit work for us as our forefathers had planned, not for economics alone, but for this greater thing that is more, as Shakespeare said, in heaven and earth, Horatio, than your philosophy has dreamed of.” Ernie Harburg is no doubt right in saying that his father would get a kick out of “Ding-Dong! The Witch Is Dead” being adopted in response to the passing of a world leader of illiberal tendencies. But probably Yip Harburg would be even happier if people would remember that its double bar does not spell the end, and if they would segue with a renewed sense of purpose into his favorite lyric: “Look, look, look to the rainbow/Follow the fellow who follows a dream.” ◀ “Yip Harburg: Legendary Lyricist and Human Rights Activist” by Harriet Hyman Alonso is published by Wesleyan University Press.
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PASATIEMPO I April 26 - May 2, 2013
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tonight . april 26, 2013 . 5-7pm
L a s t F r i d ay a r t Wa L k In Santa Fe’s Vibrant Railyard Arts District last friday every month
charLotte jackson Fine art William metcalf, Mindspace
tai gaLLery Contemporary Bamboo Art
david richard gaLLery Carol Brown Goldberg, Phillis ideal, tom martinelli
LeWaLLen P
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El muSEo culTuRAl
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WiLLiam siegaL gaLLery Peter ogilvie, Paula roland, marcia Weese and many others, Selections
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WiLLiam james david keLLy richard siegaL charLotte jackson
READ ST.
WAREHouSE 21
P RAIlyARD pARkIng gARAgE
zane bennett
james keLLy contemPorary stuart arends, New Work
LeWaLLen gaLLeries marco Petrus, Belle Città
zane bennett contemPorary art European Perspectives: The Radiant Line Join us at SiTE Santa Fe to experience three contemporary art exhibitions that explore that California State of Mind.... State of Mind: New California Art Circa 1970 Mungo Thomson: Time, People, Money, Crickets Linda Mary Montano: Always Creative Through May 19
image: mungo Thomson: Time, People, Money, Crickets, Installation View, photo: kate Russell
The Railyard Arts District (RAD) is comprised of seven prominent Railyard area galleries and SITE Santa Fe, a leading contemporary arts venue. RAD seeks to add to the excitement of the new Railyard area through coordinated events like this monthly Art Walk and Free Fridays at SITE, made possible by the Brown Foundation, Inc., of Houston. We invite you to come and experience all we have to offer. 24
PASATIEMPO I April 26 - May 2, 2013
Spring book Sale! Saturday, April 27: Members only 10 am - noon Open to the public noon - 4 pm.
Main Library April 27 & 28
Specially-priced books in the Southwest Room and discount books in the Tatum Room. Sunday, April 28: 1-3:30 pm BAG DAY in the Tatum Room: all you can stuff into a bag (provided) for $3. Sale organized and sponsored by the Friends of the SF Public Library.
145 Washington Ave.
GREAT SAVINGS AT 10-15% OFF ALL AWNING PRODUCTS
Best discounts apply to multiple purchases. Save now through May 2nd, 2013
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PASA TEMPOS
album reviews
RxGibbS Stan Killian Evoke (Sunnyside) All of Contact (Cascine) the compositions on Evoke are by Detroit producer Ron Gibbs has saxophonist Stan Killian, a Texas native been involved in electronic music (now in New York) who has worked during since the late 1990s, picking up different the last decade with trumpeters Martin Banks instruments and trying different genres. and Roy Hargrove, guitarist Ben Monder, Contact, his debut LP as RxGibbs, is his and bassist Scott Colley. His second album most inviting work yet: a lush suite of for Sunnyside opens with “Subterranean dub-inspired, cheerful compositions Melody,” a straight-ahead jazz number enriched by a stable of guest musicians. featuring the leader’s strong, fluid technique The bass works well above its pay grade and incisive contributions by his working in the mix, anchoring the rhythm and quartet mates pianist Benito Gonzalez, bassist Corcoran Holt, and providing the lion’s share of the melodies, allowing the percussion drummer McClenty Hunter; the tune also holds a fine solo from to splash about in whatever colors Gibbs fancies at a given time. guitarist Mike Moreno, joining the band on this bright session. Several “Red Connection” is given a breakdown with congas and a live drum of the songs reflect New York life; this one’s A- and B-section time kit, “Empire” relaxes with a steady ambient beat and a garnish of clicksignatures relate to Killian’s perception of subway trains approaching Union clacking woodblocks, and “Contact” takes a classic rap breakbeat for Square and running over the Manhattan Bridge. The pace steps down for a spin around an opulent ballroom of sighs and synthesizers. Vocals are the moody title track, Killian still commanding attention with his absent, save for vowel sounds that are looped and tweaked, and unhurried but dynamic tenor voice. “Echolalic,” following a they rise and fall in the production like any other instrument. warm mosaic of electric-guitar notes, expands into spirited Contact is not a Rubik’s Cube for fans of intricate electronic jazz territory — centrist jazz, that is. Killian does not stray music; there’s little here they haven’t encountered before. into the more abstract realms, nor does he explore the It’s more like a waterslide for fans both old and new to ballad on this CD (although he did so on his early-2000s effortlessly glide down all the twists and turns. It’s over album Deep Down). Killian isn’t too well known outside quicker than you expect, and you’re perfectly happy Just when you of Manhattan, where he has played regularly at 55 Bar, going back up to the top and riding again. — Robert Ker think Ben Goldberg’s but nobody who plays like this remains anonymous for very long. Check out Evoke. — Paul Weideman bEn GOlDbERG Unfold Ordinary Mind (bag Production band is about to boil over, Records) Clarinetist Ben Goldberg — seen in Santa Fe DRaStiC anDREW State of Denial (Frogville Records) this past March as a member of the eclectic art quartet it drops back to a Andrew MacLauchlan, aka local singer-songwriter Drastic Tin Hat — is even more eclectic than his association Andrew, is back with another ear-pleasing full-length album with that strange and wonderful ensemble might suggest. lyrical simmer. engineered with style and flair by Frogville lead engineer His new recording features his contra-alto and B-flat clarinet and local musician Bill Palmer (of T.V. Killers and Stephanie play with two other reed men — tenor saxophonists Ellery Hatfield and Hot Mess). MacLauchlan and his band again Eskelin and Rob Sudduth — along with drummer Ches Smith traverse a varied musical landscape, which includes country and guitarist Nels Cline. The sound, especially when anchored by Goldberg’s contra-alto, is reminiscent of the distinguished World (“Just a Man”), string-focused indie rock in the vein of R.E.M. Saxophone Quartet, with Cline’s wily electric guitar serving as the fourth (“Voices,” “Ohio Rain”), and anthemic ballads à la David Bowie (album horn. The quintet is incredibly empathetic when playing as an ensemble and closer “Moving On”). MacLauchlan’s stable of musicians has expanded to frighteningly unhinged when improvising. The opening tune, “Elliptical,” include a good amount of horn (Russell Scharf on trumpet and fluegelhorn, Manny Ramirez on tenor sax), which allows for grander, more varied highlights warm ensemble play between the horns over Smith’s snare atmosphere throughout. Drastic Andrew’s debut release, Save the Machine, march. Goldberg switches between instruments, sometimes in a single explored love and loss, as well as social issues, head-on. While State of tune, as he does in the closing number “Breathing Room,” a relaxed Denial dabbles in such themes, it unfolds like an audacious road-movie piece without drums that is at once melodically inviting and intricately woven. The tunes between are a grab-bag soundtrack with a deranged central character of rhythms and moods that frequently bearing his introspective and angry soul, with feature reed riffs and cut-loose tenor just enough irreverent humor to keep you from improvs soaring over surprisingly accescrying in your beer. Recalling the twisted redsible funk, swing, and rock beats. Cline’s neck-liberal wit of Fish Karma (Terry Owen) guitar is tangy and bright, often delivered and Mojo Nixon without quite as much blatant offensiveness, Drastic Andrew tells stories with blistering heat. Just when you think that speak specifically to the Santa Fe experithe band’s about to boil over, it drops back ence (“El Farol”) while exploring universal to a lyrical simmer. Goldberg’s mind, as themes of longing, feeling trapped, and unfolded in his music, is more extraorbeing lied to and hung out to dry. dinary than his title suggests. — Rob DeWalt — Bill Kohlhaase
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PASATIEMPO I April 26 - May 2, 2013
Santa Fe Science Café For Young Thinkers
“Complexity Science: A Guided Tour” Melanie Mitchell Portland State University and Santa Fe Institute Wednesday, May 1st, 6 – 7:30 PM O’Keeffe Education Annex, 123 Grant Av As science probes the nature of life, society, and technology ever more closely, what it finds there is complexity. The sophisticated group behavior of social insects, the unexpected intricacies of the genome, the dynamics of population growth, and the self-organized structure of the World Wide Web are but a few examples of complex systems that elude our understanding. A new approach seems to be needed. I will present examples that illustrate how the interdisciplinary field of complex systems science is discovering common principles underlying different natural and technological systems. Admission is Free. Youth (ages 13-19) seating a priority, but all are welcome! Melanie also will appear on the KSFR Radio Café (101.1 FM) with host Mary Charlotte at 8:30 AM that day. Melanie is Professor of Computer Science at Portland State University and External Professor at the Santa Fe Institute. She attended Brown University and the University of Michigan. Her recent book, Complexity: A Guided Tour, was named by Amazon as one of the ten best science books of 2009.
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PASATIEMPO I April 26 - May 2, 2013
128 West Palace Avenue • Santa Fe NM 87501 (two blocks south of the Convention Center) www.WadleGalleries.com • 505-983-9219
Open 10am-5pm Mon-Sat
ON STAGE Connect four: Bobby Shew and friends play KSFR benefit
All fired up: David Berkeley’s music and stories
Singer-songwriter, New Jersey native, and Harvard grad David Berkeley moved to the Santa Fe area for a spell in August 2012, and since then, he’s been an incredibly busy man. Well, he’s always been a busy man. Since recording his 2011 crowdfunded album Some Kind of Cure and writing a companion book of short stories that correspond to the album’s songs, Berkeley has been performing his intensely personal, melancholy ballads and energized folk-pop tunes wherever and whenever he can. In July he’s poised to release The Fire in My Head, his fifth studio album, recorded at Jono Manson’s Kitchen Sink Studio in Chupadero. From 5 to 7 p.m. Saturday, April 27, Berkeley performs songs from Some Kind of Cure and reads excerpts from his book, 140 Goats and a Guitar: The Stories Behind “Some Kind of Cure,” at Collected Works Bookstore (202 Galisteo St., 988-4226). Fans of Ryan Adams, Ben Folds, Rufus Wainwright, and Tim Buckley, don’t miss this free performance. — RDW
Louder Than Words: students and guests dance new works
Moving People Dance Theatre School offers classes for kids and adults in everything from Zumba to pointe work and dance composition, in which future choreographers learn their craft. Louder Than Words, featuring new works by local choreographers and danced by the school’s advanced students with special guests from the Keshet Dance Company, takes place at 7 p.m. Friday, April 26; 2 and 7 p.m. Saturday, April 27; and 2 p.m. Sunday, April 28, at MPDT’s Performance Space (1583 Pacheco St.). Dancemakers include Robert Sher-Machherndl, co-founder of Boulder’s Lemon Sponge Cake Contemporary Ballet; Jonathan Guise; Christin Severini; and Erica Gionfriddo. For tickets ($15 with discounts available), call 438-9180 or email admin@ movingpeopledance.org. — MWS
THIS WEEK
The newest date in the KSFR Music Café Series happens this Friday, April 26, featuring a hot quartet led by trumpeter Bobby Shew. Born in Albuquerque in 1941, Shew returned a few years ago after a career full of jazzmaking with stars such as Tommy Dorsey, Della Reese, Buddy Rich, and the Toshiko Akiyoshi-Lew Tabackin Big Band. With him on April 26 are pianist Jim Ahrend, bassist Andy Zadrozny, and drummer John Trentacosta. The concert, which benefits the radio station, begins at 7 p.m. at the Museum Hill Café (710 Camino Lejo). For reservations — tickets ($20) and dinner — call 428-1527. — PW
Theater with purpose: Women’s Voices II
There is a struggle in New Mexico to ensure women’s job security, equality, and domestic safety. Local theater company Santa Fe Rep addresses some of these issues in Women’s Voices II: The Choices We Make, featuring students from the New Mexico School for the Arts and the Santa Fe University of Art and Design as well as local actors. The students have been mentored in writing and performance by Lynn Goodwin (who directs the show) and playwright Dale Dunn, and their words speak frankly to the audience. Two short plays, And Landed on the Porch and Parakeet Love by Dunn, form part of this theatrical collaboration. Performances, at Warehouse 21 (1614 Paseo de Peralta, 989-4423), are at 7:30 p.m. Thursday, May 2, and 2 p.m. on Saturday and Sunday, May 4 and 5. Tickets are $18 (discounts available) and can be purchased at www.sfrep.org and at the door. Call 629-6517 for reservations. — LEG
PASATIEMPOMAGAZINE.COM
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Rob DeWalt I The New Mexican
THE MANY FACES OF ROB FAUST
Photo illustration of Rob Faust
scar Wilde reportedly said, “Man is least himself when he talks in his own person. Give him a mask, and he will tell you the truth.” The sentiment is certainly not lost on native New Orleanian and current Toronto resident Rob Faust — mask maker, actor, dancer, comic, and founder (in 1983) and artistic director of Faustwork Mask Theatre. Faust has performed and collaborated with Pilobolus Dance Theater, Martha Clarke, Jules Feiffer, Mangrove, and the Paul Winter Consort, among others, and Faustwork Mask Theatre has toured the world. Friday, April 26, through Sunday, April 28, Faust brings his show The Mask Messenger to Santa Fe as part of Theater Grottesco’s Eventua festival, a celebration of 30 years of theater performances, at the Center for Contemporary Arts. Faust initially found his way to dance and theater through school sports, and he quickly gravitated toward contact improvisation, a complex, integrative technique in which paired or teamed dancers experience the dynamic physical forces that affect mass, momentum, inertia, and friction. “Along the way I was taking physical theater classes in Berkeley, California,” Faust told Pasatiempo, “and we used masks as training tools. The teacher had spent time in Bali and had a collection of these Balinese masks. We would do training work for hours a day, and 30
PASATIEMPO I April 26 - May 2, 2013
he would pull out the masks during the last half hour of class. I just lit up over the fun and the power of masks in that context. I grew up in New Orleans, with Mardi Gras happening every year, so I was no stranger to masks. But using them in physical theater was eye-opening.” The Mask Messenger, Faust said, is a comedy-theater piece that’s shaped more like a lecture or demonstration, but he stresses that the word lecture isn’t an invitation to rigidness or to be bored to tears. “One of the characters loves to talk about masks, and the other one is saying, Come on, come on, let’s get to the good stuff! It’s a running gag throughout the show. I’m working solo onstage in Santa Fe, so there’s not the interplay of two different people. It’s me doing both things and making fun of myself while in character. I’ll put on a series of half masks and will revert back to another character who is talking about all of them.” Faust designed and manufactured all the masks for the show at his studio in Canada, where at any given time 50 to 60 masks cover one wall, while another wall holds 50 to 60 hats. He began making his own masks after a fellow student showed him a few tricks of the trade. “I was an underemployed performer — as will happen to performers at times, you know — and I started filling up some of my free time with mask making. I have them in all shapes and sizes, and considerably more of them are full masks rather than half masks. Some are almost 2 feet wide and 2 feet tall. I have made huge oversized heads, and I also have tiny masks, 6 inches long and 3 inches wide. When worn correctly and animated well, they all come to life on the human body.”
Faust makes some masks while looking into a mirror and sculpting with clay. He uses the mirror to examine the musculature of a certain expression and then gets to work. “Sometimes the masks are inspired by people I see on the street or masks from other places or cultures. Sometimes it’s pure improvisation in clay. I may not have a use for a new mask, but in my mind I just know I want to be working. I have the luxury of doing it with a little patience because I’m doing it for myself. I’ll just push clay around until something emerges. Maybe one feature starts to take shape. Maybe one imperfection or dent looks like a mouth, and I’ll exaggerate it and form an expression around it.” Faust uses wood, clay, bronze, Celastic, leather, neoprene, and other materials in the studio. Some of the masks are realistic, many are caricatures, and a few are larval masks, which don’t resemble fully formed faces. Larvals are oversized and abstract, and in many cases they represent characters that are not yet fully developed. “They have a life, but the features are very simple — a lump for a nose, a slash for a mouth, two pencil holes for eyes. And the characters are also larval, not fully formed humans really. The characters tend to be innocents, I suppose, or just naive.” Some characters in The Mask Messenger don animalistic masks based on fantasy creatures. The masks are worn on the top of the head, and the wearer crawls or stands in a hunched-over position. “It creates an illusion, and audiences love that. It shifts their perceptions and gives them the choice to either embrace the illusion, and thus the character, or not. If I’m doing a good job, they embrace it.” Many of the characters are fairly recognizable archetypes from contemporary Western society — the gruff coach, the sensitive artist. “One of the masks looks like it’s Balinese and is indeed inspired by a photo of a Bali mask. It’s not Balinese in nature though — just a really berserk guy. As the show evolved, so did the characters, and I still add new ones. It keeps the performance fresh.” Besides overseeing the Faustwork Mask Theatre, Faust conducts maskmovement and mask-making workshops at universities, middle and high schools, and business conferences. Between performances in Santa Fe, he will conduct workshops with theater professionals, students, and the public. (Call Theater Grottesco to find out more about the workshops.) According to the company’s website, The Mask Messenger “unmasks the folly humans encounter when they act as if life were simple and appearances were not deceiving.” The show is a vehicle to explore the way people see each other and the way people want to be seen, Faust explained. “It’s really referring to the psychological masks that we’re always choosing to wear while oftentimes not being aware of those choices. We’re just going about our day, but there are times — say a job interview or a first date — where we armor up. We put on our best mask. I get into that a little bit in the performance, to get people laughing and thinking about how we’re always doing it: reading people either consciously or unconsciously. I’m sending a message that says, Let’s be more conscious of the masks we wear as well as the ones we see around us. It taps into the power of masks throughout the ages. “I think that’s why they are so ubiquitous. You see them in every culture used for different reasons, and still they harbor this universal power for instant transformation. They were used to appease the gods so they wouldn’t throw lightning on you and burn your hut down anymore. They would allow you to go further into the spirit world because you were appeasing some god by portraying it. They were worn during rituals and sacrifices to ensure a good harvest. And, as is the nature of my hometown, at times they are worn to have more permission to let go and to have fun: ‘It wasn’t me who vomited on your new patent leather shoes, it was my character!’ ” ◀
presents
women’s voices II THE CHOICES WE MAKE A THEATRICAL COLLABORATION Featuring original work from young women at Santa Fe University of Art and Design, New Mexico School of the Arts, and seasoned local Playwrights
Thursday, May 2 • 7:30pm Saturday, May 4 • 2:00pm Sunday, May 5 • 2:00pm
Warehouse 21 1614 Paseo de Peralta, in the Railyard
Tickets online at www.sfrep.org, or call 629-6517 to reserve $18 Adults/$16 Seniors over 65/ $15 Teens
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“Holding your hand through the entire process” • Over 20 Years Experience
details ▼ Faustwork Mask Theatre’s The Mask Messenger, part of Theater Grottesco’s Eventua festival ▼ 7 p.m. Friday & Saturday, April 26 & 27; 4 p.m. Sunday, April 28
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▼ Center for Contemporary Art’s Muñoz Waxman Gallery, 1050 Old Pecos Trail ▼ $25, $10 for students; www.theatergrottesco.org, 474-8400
PASATIEMPOMAGAZINE.COM
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Paul Weideman I The New Mexican
In his visions on canvas, Italian artist Marco Petrus renders real-world urban behemoths of concrete, steel, and glass as colorful, people-less floating architectural fantasies. Ironically, the creative liberties he takes with angles of view as well as with hue may actually illuminate the essence of the architects’ gestures by emphasizing the pure design qualities of the buildings. LewAllen Galleries at the Railyard presents the artist’s first solo exhibition in the United States, opening Friday, April 26. Petrus was born in the Italian coastal city of Rimini and was raised, from the age of 5, in the Porta Garibaldi section of Milan. There his artist father painted in studios rehabbed from old, dilapidated buildings. In 1984, when Petrus was in his early 20s, his father died, and he opened a printing shop, which became an artists’ meeting place. By the early 1990s, he was working as a professional artist; his first solo exhibition was in 1991 at N.o.A., a gallery in Milan. During the next decade he expanded his subject matter to the buildings of London, Shanghai, and other cities in Italy. One of his exhibition highlights came in 2003, when he participated in Italian Factory: La Nuova Scena Artistica Italiana, held during the 50th Venice Biennale. The 26 works at LewAllen, which were done between 2008 and 2012, show the artist’s predilection for painting details of towers, skyscrapers, and other types of buildings in Milan, Naples, Trieste, and Rome, Shanghai, Finland, London, and New York. Pasatiempo contacted Petrus in Milan, where he lives and works.
CharaCter buildings Painter Marco Petrus
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PASATIEMPO I April 26 - May 2, 2013
Pasatiempo: Many of the buildings in your paintings seem to fall within the realms of postmodernism and Art Deco in architecture. Are these styles that are common in Milan, perhaps, or is it simply your preference? Marco Petrus: I observe the city — and especially Milan with its many periods and styles of architecture — to be a community of vast possibilities. Each building with its own style of architecture is like an individual whose personality and physiognomy intrigues the artist to ask them to sit for a portrait. The buildings are chosen in a similar way to become my “models.” It is a question always of which shapes, forms, details, and arrangements of a building — its architectural personality and character if you will — will engage my aesthetic sensibilities at a given moment. However, there are some architectural styles that always have been more interesting for me. I’ve found architecture from the 1920s to the 1940s to be especially fascinating. But it is still the sense of the personality of the form rather than its specific historical period that interests me most. I choose most often architecture with strong character and monumental volumes to inspire a sense that goes beyond the immediate subject, to allow thoughts of things greater than the buildings only. Pasa: Your New Yorker is based on the 1930 New Yorker Hotel by Sugarman and Berger, but you have abstracted the letters off the face of the building — and the windows are reduced to black holes. Can you tell us a little about your ideas? Petrus: I’m interested in the composition of the building as a subject, in what I see as the essential personality of the building rather than all its little details. By reducing the image to the
relationships between space and form, full and empty, light and shadow, I hope to make more intense the experience of that form in a deeper way and to give it the power to inspire new thinking. In the case of New Yorker, the building is an icon as well, so I liked to leave also the letters, even if simplified in this way. Pasa: With Florin Court [based on the 1936 London building designed by Guy Morgan and Partners] you have preserved the pane patterns in the windows but changed the brick to simple bands of color, which accentuates the sense of rhythm; is that right? Petrus: You are exactly right. I do not paint brick by brick. In this case I was interested in the movement of the curves, in the plasticity of the building, in the modulation of the light. These are
the essential parts of what gives this building in my eye its unique character and its energy. I strip away the superficial things that distract rather than inspire. In a sense, my process is partly abstraction, an effort to get beyond the detail and expose the mystery. Pasa: Are the structures you depict in PSM 12 taken from a real building? Petrus: Yes, of course. All my paintings begin from existing architecture. PSM is the acronym for the Palazzina San Maurizio in Rome, designed by the famous if controversial architect Luigi Moretti in 1962. There are two paintings of PSM that will be continued on Page 34
Marco Petrus: Florin Court (London), 2010, oil on canvas, 31.75 x 39.5 inches Opposite page, top, New Yorker, 2012, oil on canvas, 31.5 x 39.5 inches; below, Casa del Vento, 2011, oil on canvas, 15.75 x 19.75 inches
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Marco Petrus, continued from Page 33
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exhibited in the show at LewAllen Galleries. They are part of a series of 12 independent works of this fascinating building. Space limited, RSVP to: Pasa: What are you trying toKit do with your art? What do you want Uniqu0e 4x8 Raised Bed Garden sales@thefirebird.com or call 505.983.5264 your viewers to experience? complete with 1808 Espinacitas St. Stove, Fireplace Petrus: For me, architecture is a universal subject through which just off St. Michaels Dr. Frame, Irrigation & Timer & I can explore ideas that are of the world, not just of a particular Irrigation Specialists 505.983.5264 | TheFirebird.com place or time. Architecture is a way to connect different places and various times. People everywhere can relate to the built form, and I use it to begin a conversation from a point of seeming familiarity. But then I want this appearance of the real to open a deeper looking, for mystery to become evident, and for the building to become the object of contemplation. My goal is to start a meditation, without crowds of people in the pictures to distract. I paint from unusual angles to suggest new ways to see and to think about the world. From the appearance of a real place I want my art to help move a viewer to another place, Saturday & Sunday • May 4 & 5, 2013 • 10am—5pm to make a transformation to the place of ideas and imagination. In At the Santa Fe Woman’s Club Featur in g this way, I search in my art to reinterpret modernity in the context New A 1616 Old Pecos Trail • Between San Mateo & St. Michaels rtists! of the contemporary. Free parking and admission • Cash, checks, Visa/Mastercard accepted Pasa: How has your palette changed over the years? Petrus: It has evolved as a technique for focusing attention by the viewer. Deeper color prompts deeper looking. Color in my work has grown from shaded tones early on to a purer, brighter, flatter, and more intense part of the painting process. Pasa: What are you working on now? Petrus: I am just completing two very large canvases that collect the various architectures of Milan that I have painted individually over the past years. In these compositions the buildings are tangled and stacked one between the other. They are part of the new series Dalle Belle Città that comes after the Upside Down series, two examples of which will be presented in the LewAllen exhibition, where two If you are missing one buildings are overturned and placed one against the other. ◀
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PASATIEMPO I April 26 - May 2, 2013
Santa Fe 141 Paseo de Peralta, Suite C Mon - Fri 505-983-2909
details ▼ Marco Petrus: Bella Città ▼ Opening reception 5:30 p.m. Friday, April 26; through June 9 ▼ LewAllen Galleries at the Railyard, 1613 Paseo de Peralta, 988-3250
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PASATIEMPOMAGAZINE.COM
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ART IN
REVIEW
Flatlanders & Surface Dwellers, 516 ARTS, 516 Central Ave. S.W., Albuquerque, 505-242-1445; through June 1
F
latlanders & Surface Dwellers sounds like a great gig booked for the Lensic. With a moniker like that, one can only imagine a playlist of highflying, foot-stomping songs by freewheeling tunesmiths from Texas and Mississippi. But in truth, the title refers to a most interesting exhibition at 516 ARTS in Albuquerque. The show, curated by Lea Anderson, a professor of art at Central New Mexico Community College in Albuquerque, explores anything that constitutes the concept of surface. The obvious results are physical attributes, that is, textures — smooth, coarse, shiny, dull, hard, soft, reflective, and so on. But here, one must also consider notions of hidden surfaces, adjoined surfaces, and surfaces that are carved or constructed as well as those that are sewn, sculpted, painted, printed, filmed, and photographed. Some work addresses the intrinsic surfaces of the human condition. Anderson states in the exhibition catalog: “Every touch, even when it’s another human being, is simply an encounter with another surface. ‘What’s going on in there?’ we ask. If we cut through skin we find still more surfaces, more protective layers of tissue, or bone, or membrane, and this continues as far down as the cellular ectoderm. Each door opens to yet another door. And still, we sense that beneath the bounds of the ‘physical’ surface, other mysterious processes bubble and churn.” There is, indeed, a bubbling and churning going on among the 50-plus works in this show that take up the upper and lower galleries at 516. Just the variety of techniques and materials used is engaging enough. But what I found gratifying is that the majority of artists — 25 were selected by Anderson — allow their work to be open-ended with regard to meaning. The few nonobjective pieces on display typically refer to formal elements such as surface quality, process, design, and color. In other words, expect to see an eclectic mix of work and a variety of ideas that challenge and expand concepts about surface. While most of the work imports a degree of seriousness, some are also quite fun. Take Anchor, for instance, a multipiece assemblage of recognizable mundane items made from aluminum foil situated on a low plinth by collaborative artists Rhonda Weppler from San Francisco and Trevor Mahovsky of Toronto. Just the fact that these folks spent their time manipulating aluminum foil into 36
PASATIEMPO I April 26 - May 2, 2013
shimmering, silver-colored trompe l’oeil objects makes you smile — the surface effect dazzles you. It’s hard to believe that the crushed grocery cart along with the loosely distributed debris surrounding it — tableware, skeleton keys, hand tools, a vanity mirror, a model train car, a tuning fork, a protractor, scissors, a door hinge, and a large platter — aren’t the real deal spray painted with Krylon. The urge to pick something up to verify its constitution — foil, not solid metal — is irresistible, but nearby signage requests you not do so. Aside from the remarkable fruits of their labor, Weppler and Mahovsky’s piece attests to an underlying storyline about the socioeconomic condition of homelessness, if not consumerism — the weight of which many of us bear. Another piece that solicits a grin — and a roll of the eyes — is The Nomadik Harvest Dress (part of the Urban Foragers series) by Nicole Dextras of Vancouver, British Columbia. To fully experience it, you have to stand outside the gallery, as it is propped up in the window facing the street. Hardly the latest in fashion from Eileen Fisher or Saks Fifth Avenue, Dextras’ wearable art is a patched-together dress of various found fabric and attached accouterments — tiny books, plants, bows, and ribbons — and a headdress fit for a pagan rite. Imagine a fusion of handcrafted attire inspired by Scarlett O’Hara’s makeshift dress of drapery as conceived by Carol Burnett, tweaked by the imagination of filmmaker Tim Burton, and topped by a bad imitation of Carmen Miranda’s headgear. Funny stuff. Maybe too funny. But as quoted in the catalog, Dextras sees her creations as “wearable architectures,” pieces that serve as “portable shelters and gardens.” That’s all fine and good, but this garment wouldn’t cut it as a prom dress let alone at the court of Louis XIV. The most sobering work in the exhibit is also wearable. All My Little Failures by Andrew McPhail is a cloak conceived of tens of thousands of adjoined, Band-Aids draped over a life-size nude mannequin. The piece completely covers the standing figure and flows outward, taking up nearly one-quarter of the
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Nicole Dextras: The Nomadik Harvest Dress, 2011, mixed media, 66 inches high, 60 inches in diameter Opposite page, left, Jessica Kennedy: Fusiform, 2013, acrylic, graphite, and metal leaf, each panel 84 x 42 inches Opposite page, right, Andrew McPhail: All My Little Failures, 2006-present, mixed media with 40,000 Band-Aids; image courtesy Art Gallery of Hamilton
gallery space it commands. The overall surface pattern created by the linked bandages is lovely, but on an emotional level many viewers will find the piece a manifestation of their own life issues — those that lie beneath the surface. For McPhail, who is based in Hamilton, Ontario, the work is personal. The artist was diagnosed with HIV in 1993, and he conceived his piece as an unwanted burqa that both effaces and proclaims his visibility. Striking in its quiet presence, the piece could have been installed to greater effect with better lighting and a room of its own. A colorful palette, dancing kinetics, and combined styles of execution populate the surfaces of Fusiform — a large-scale, nonobjective diptych by Albuquerque artist Jessica Kennedy. With an overall scale of 84 by 84 inches, Kennedy’s work immediately draws your attention, and the payoff is a delightful journey through a cornucopia of techniques in acrylic, graphite, and metal leaf on panel. Clean, hard-edge geometrics are intermittently violated by downward drips of paint composed on a background of expressive biomorphic shapes painted in warm pastel colors. Interwoven among the commingled styles — or trapped within them on each panel — are separate, seemingly look-alike black designs that resemble two dancing figures poised face to face clothed in non-Western ceremonial costumes. You might see something entirely different or nothing at all. Flatlanders & Surface Dwellers offers much more than can be said here. It’s truly an international affair. Along with those cited, Anderson invited artists from South Korea, Canada, and Chile to participate, as well as a respectful showing of artists from across the United States, including five from New Mexico. — Douglas Fairfield
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PASATIEMPOMAGAZINE.COM
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From
Ivory Coast to the
East Coast Khristaan D. Villela I For The New Mexican
In
Alfred Stieglitz (1864-1946): Georgia O’Keeffe, circa 1918-1919, palladium print, 4.5 x 3.5 inches; image courtesy Ruth-Catone, © Georgia O’Keeffe Museum/Artists Rights Society (ARS), New York Portrait mask by unidentified Baule or Guro artist, Ivory Coast, before 1914, 16.5 x 6.5 x 4.4 inches; photograph courtesy the Department of Image Collections, National Gallery of Art Library, Washington, D.C.
1918 or 1919, when Alfred Stieglitz made a palladium print of Georgia O’Keeffe holding a wooden spoon from Ivory Coast, African art was already firmly established as a significant source of inspiration for modern artists in Europe as well as the U.S. In the often-recounted narrative, painters in Paris in the first years of the 20th century, among them Henri Matisse, André Derain, and Pablo Picasso, saw and collected objects from France’s African colonies and incorporated aspects of African imagery and aesthetics, as they understood them, into their own works, most famously in Picasso’s Les Demoiselles d’Avignon (1907). The exhibition African Art, New York and the Avant-Garde, on view at the Metropolitan Museum of Art through Sept. 2, tells the story of how gallerists, artists, and collectors on both sides of the Atlantic introduced African art to New York starting in 1914. Museum exhibitions that examine the influence of non-Western objects and cultures on modern art usually present the exotic works as catalysts. Such has always been so, from the earliest exhibitions discussed here to the landmark MoMA exhibition Primitivism in Twentieth Century Art (1984), curated by William Rubin and the late Kirk Varnedoe. But in a welcome departure, the present exhibition, organized by Yaëlle Biro, the Met’s assistant curator of African art, focuses on the African sculptures themselves and how they occupied the center of a web of dealers, collectors, artists, exhibitions, and criticism. In the special issue of the magazine Tribal Art that is the exhibition catalog, Biro writes that in Europe, artists encountered African art in displays that were either the products of or were shaped by overseas colonialism, as at the old Musée d’Ethnographie du Trocadéro in Paris. In the U.S., however, African art was introduced in juxtaposition with the work of European artists who were inspired by it. This is not to say that museums like the American Museum of Natural History or the Field Museum did not have large African collections in the early 20th century, but instead that a small group of galleries and collectors in New York were instrumental in recontextualizing African sculptures as art rather than as material culture, and also
When the modernists went mad for African art 38
PASATIEMPO I April 26 - May 2, 2013
Clockwise, from above left, Alfred Stieglitz: view of the exhibition Statuary in Wood by African Savages: The Root of Modern Art, 12.5 x 8.5 inches, detail from Camera Work - A Photographic Quarterly (October 1916); © The Metropolitan Museum of Art Charles Sheeler (1883-1965): plate from John Quinn Album of African Art, 1919, gelatin silver print, 16.25 x 13.25 inches; © The Lane Collection; courtesy Museum of Fine Arts, Boston Constantin Brancu¸si (1876-1957): Sleeping Muse, 1910, bronze, 6.75 x 9.5 x 6 inches; © 2012 Artists Rights Society (ARS), New York/ADAGP, Paris Alfred Stieglitz: installation view of the Picasso-Braque exhibition at 291 Gallery, New York, 1915, platinum print, 7.5 x 9.5 inches; © The Metropolitan Museum of Art
as essential to modernism in the visual arts. There is little evidence that any of the European or American artists, gallerists, or collectors in this story had much interest in the original meanings and functions of the African art objects that fascinated them. Neither does there seem to have been much awareness that these objects came from many national, regional, and tribal styles. Those more nuanced approaches were still decades in the future.
T
he first European exhibition of African objects as art was held in May and June 1913 at Charles Vignier’s Galerie Levesque in Paris. By the time that show opened, large audiences in the U.S. had already been introduced to the latest trends in European art at the Armory Show, or International Exhibition of Modern Art, which opened in New York in February of the same year before traveling to Boston and Chicago. As several Armory centenary exhibitions and commemorations (such as the Montclair Art Museum’s The continued on Page 40 PASATIEMPOMAGAZINE.COM
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African Art, continued from Page 39 New Spirit: American Art in the Armory Show, 1913) have noted, the old idea that American artists were so benighted and conservative that they were taken by surprise by the works in the exhibition is erroneous. But the general public and the press were certainly shocked by more than a thousand works in styles that in Europe had unfolded over 50 years, from the Impressionists to the Fauvists and Cubism. Some of the works displayed in the exhibition, like Constantin Brancu¸si’s Sleeping Muse (1910), were at least partly responses to formal aspects of African wood sculpture, especially masks. Before the Amory Show, a handful of collectors and private galleries in New York, especially Alfred Stieglitz’s Little Galleries of the Photo-Secession, or 291, introduced the adventurous to modern art. After the great show, and especially after the outbreak of World War I in the summer of 1914 disrupted the Paris art market, many new galleries opened in New York. All sought to promote the latest trends, including African art. The first U.S. galleries to mount exhibitions of African objects as art were Robert Coady’s Washington Square Gallery and Stieglitz’s 291, both in 1914. According to the Met’s website, artist Max Weber had introduced Stieglitz to African sculpture in 1909. That same year, Stieglitz showed a selection of drawings and caricatures by the Mexican artist Marius de Zayas, who quickly became 291’s chief curator. He traveled to Europe in 1910 in search of art and artists for Stieglitz and recommended that 291 organize an exhibition of African objects. Until the late 1920s, de Zayas was the principal promoter and dealer of African art in New York. De Zayas’ exhibition Statuary in Wood by African Savages: The Root of Modern Art opened at 291 on Nov. 3, 1914, and included 15 wood sculptures sent to New York by the Parisian dealer Paul Guillaume. An installation view, presumably by Stieglitz and published in his journal Camera Work (No. 48, 1916), shows the sculptures either on white plinths or hung on the wall in front of skewed white squares of paper or fabric.
40
PASATIEMPO I April 26 - May 2, 2013
The six objects from the 291 show that have been reunited for the present exhibition speak to the differences in taste for and knowledge about African art from then to now. Two of the works, both from Ivory Coast, were created for the overseas art market and are among several objects lent by Juan and Anna Marie Hamilton, who inherited them from Georgia O’Keeffe. One is a large spoon of indeterminate cultural affiliation (Baule, We, or Dan), and the other is a portrait mask of Baule or Guro manufacture. When interviewed about the show, Biro said that neither object shows the signs of wear or use that today’s curators expect to see in museum-quality African art. Not to say that the works are necessarily fakes or tourist art, but sculptures created for the overseas art market, even a century ago, are considered less desirable by serious collectors and museums. Perhaps neither de Zayas nor the Parisian dealers knew the difference. Biro could not say whether Paul Guillaume, Joseph Brummer, and Charles Vignier were salting their shipments to America with seconds or with works they knew were made for the art market.
P
hotography plays a key role in this exhibition, as it did when Coady, Stieglitz, de Zayas, and others first used the medium to develop awareness of and taste for certain varieties of African art in modernist circles in Europe and the U.S. Later chapters of this phenomenon have been explored in the exhibitions Perfect Documents: Walker Evans and African Art, 1935 ( held at the Met in 2000 and curated by Virginia-Lee Webb) and in Man Ray, African Art, and the Modernist Lens, curated by Wendy Grossman, which traveled to four U.S. venues, including the University of New Mexico Art Museum, beginning in 2009. The photos displayed at the Met include installation views, images of African sculptures singly or in collectors’ homes, and more artistic compositions in which African objects appear. Among several exhibition installation views is a 1915 Stieglitz photograph of a Picasso-Braque exhibit, which 291 mounted right after the African show. The image shows a Kota reliquary from the previous show, hung between the Picasso and Braque works. The African works, as well as a real wasp’s nest and (not visible) pre-Columbian Mexican ceramics, demonstrated (apparently in Stieglitz’s and de Zayas’ eyes) primitive, non-Western, and natural affinities for modern art. Another artifact in the Met show is the last issue of 291 (vol. 12, February 1916), a journal that de Zayas founded with the support and advice of Stieglitz, Agnes Ernst Meyer, and Paul Haviland. The cover shows a different Kota reliquary, also shown in 1914, and the issue contains an important de Zayas essay on why African art was significant for the development of abstraction in general and Cubism in particular. By this point, de Zayas was the director of the Modern Gallery, which he opened in October 1915. The Modern Gallery and its successor, the De Zayas Gallery (until 1921), were the main commercial outlets for African art in this period, and de Zayas built important African art collections for Walter and Louise Arensberg and Eugene and Agnes Meyer. In 1919 he established new record prices for African objects in New York when he sold two Fang reliquary sculptures to the Arensbergs for $1,000 and $3,500; the former was five times the previous high price for any African work sold in New York. The sculptures, which are now held by the Philadelphia Museum of Art, are reunited in the Met exhibition. Although Biro speculates that the astronomical price was owing to the fact that both works were reproduced in Carl Einstein’s Negerplastik (1915), the first book on African art, it seems likely that de Zayas’ efforts to promote African art should also be counted. De Zayas’ Modern Gallery was also the first in New York to give his countryman Diego Rivera a solo show (1916). Rivera’s Cubist composition The Café Terrace, which de Zayas exhibited in a group exhibition earlier in 1916, is included in the Met exhibition. Another collector de Zayas supplied was John Quinn, who by 1920 had amassed the most important African art collection in the U.S. De Zayas hired Charles Sheeler, who is best known for his later paintings, to make documentary and fine art photographs of African
objects. Sheeler made the images for a deluxe 1919 album of Quinn’s collection; several of the images are in the exhibition. African objects are also shown in Stieglitz’s photography, beyond the installation views discussed above. As part of his extended photographic portrait of O’Keeffe, he made the image of her holding the Ivory Coast spoon. As Biro notes, O’Keeffe appears half-dressed, and the way Stieglitz has her holding the spoon charges the composition with erotic energy. In another photograph, from 1921, O’Keeffe holds a small bronze statue by Henri Matisse, itself apparently a response to African sculpture. Both the photograph and the original Matisse sculpture are in the exhibition. By the beginning of the 1920s, institutions rather than galleries began to dominate the discourse about African art in the U.S. In 1919 the University of Pennsylvania Museum was the first to acquire African sculptures as art objects rather than as ethnographic specimens. Although de Zayas closed his eponymous gallery in 1921, he continued to promote African art. Two years later, he curated an exhibition called Recent Paintings by Pablo Picasso and Negro Sculpture for the Whitney Studio Club, the precursor to the Whitney Museum of American Art. After the exhibition, Philadelphia-area physician Alfred Barnes purchased most of the objects for a foundation he established in 1922.
T
Diego Rivera (1886-1957): The Café Terrace, 1915, oil on canvas, 25 x 19.5 inches; © 2012 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. /Artists Rights Society (ARS), New York Right, seated female figure by unidentified Ijo artist, Nigeria, before 1913, wood, 33.5 inches in height; courtesy The University of Pennsylvania Museum, image # 161410 Opposite page, above, spoon by unidentified Bete, We, or Dan artist, Ivory Coast, before 1914, wood; 7.5 x 2 x 2 inches; photograph courtesy the Department of Image Collections, National Gallery of Art Library, Washington, D.C. Opposite page, below, Alfred Stieglitz: Marius de Zayas, 1915, platinum print, 9.5 x 7.5 inches; image courtesy National Gallery of Art, Washington, D.C.
he last section of the Met show deals with the assembly and exhibition of the Blondiau-Theater Arts Collection of African art in 1927. The collection had its genesis in The New Negro, the 1925 anthology by black American philosopher Alain LeRoy Locke, in which he sought to stimulate the artists and writers of the Harlem Renaissance with what he called “our ancestral arts.” With the editors of Theater Arts Monthly, Locke purchased almost 1,000 African sculptures from the Belgian collector Raoul Blondiau. Unlike the sculptures displayed in the earlier New York exhibitions of African art, which were mostly from French colonies, Blondiau’s collection included objects from Belgium’s African possessions, particularly the Belgian Congo, now the Democratic Republic of the Congo. Locke arranged for 500 of the works to be exhibited and offered for sale at the New Art Circle gallery, owned by J.B. Neumann. The idea was to raise funds to establish a Harlem Museum of African Art. Although many of the works were sold, no African museum was established, and the remainder of the collection was displayed for years in the Harlem branch of the New York Public Library. But as Locke hoped, the objects did inspire African-American artists. Malvin Gray Johnson’s Negro Masks (1932) shows two sculptures from the Blondiau-Theater Arts Collection. The fact that these masks, from Nigeria and the Belgian Congo, were made for the art market illustrates the complexities of the production and consumption of these works, since Johnson, an African American seeking to connect with a distant continent, may have considered them to be more authentic than would contemporary scholars. The story of how African art came to New York ends in 1935, with the MoMA exhibition African Negro Art, which included more than 600 objects selected from public and private collections in the U.S. and Europe by critic and museum director James Johnson Sweeney. From this point forward, the history of the study and collection of African art in the U.S. expanded beyond the restricted family of dealers and collectors who characterized its arrival in New York 20 years earlier. The late 1920s through the 1940s saw a new generation of dealers and artists engaging with African art, particularly the Parisian Surrealist circle of André Breton and the gallerist Charles Ratton, the subject of an exhibition currently at the Musée du Quai Branly in Paris. ◀ “African Art, New York, and the Avant-Garde” is on view at the Metropolitan Museum of Art in New York until Sept. 2. PASATIEMPOMAGAZINE.COM
41
Paul Weideman I The New Mexican
TO PROTECT AND PRESERVE
Above, Charles Hannaford leads a Friends of Archaeology tour at Tsankawi Pueblo on the Pajarito Plateau; left, spear with knapped point and a burden basket and tump line
42
PASATIEMPO I April 26 - May 2, 2013
“Ever since I was in kindergarten I knew I wanted to be an archaeologist when I grew up, and I feel privileged that I could pursue a career in this field,” said Charles Hannaford, who is approaching his 35th year of doing archaeology in New Mexico. He is the longtime coordinator of Roads to the Past, the New Mexico Office of Archaeological Studies’ education outreach program, which recently won its second award for excellence in public education from the Society for American Archaeology. On April 12, the state’s Cultural Properties Review Committee nominated Hannaford for an archaeology heritage preservation award. He will accept it at the Heritage Preservation Awards ceremony on Friday, May 10, at the Scottish Rite Center (463 Paseo de Peralta). The annual event, which begins at 2 p.m., is open to the public. (Call 827-4067 for details.) “I’m being selected for this award, but you could go from office to office here and do the same thing,” Hannaford said during an interview at the new Center for New Mexico Archaeology in Santa Fe. “What it’s really centered around is the sharing back of the incredible archaeology knowledge we have.” The Office of Archaeological Studies staff moved late last year into the 34,000-square-foot CNMA, which also houses the state repository of millions of artifacts unearthed since Museum of New Mexico founder Edgar Lee Hewett began excavations in the early 1900s. The OAS education outreach program began in 1991. “We started in Santa Fe at a few elementary schools, the purpose being to share back with the public the inspiration that archaeology brings to your everyday life, and it’s also to emphasize the protection of all these fragile resources around the state. After five or six years, we had done programs in all 33 counties, a tough achievement, and that has been our goal. When we got this last SAA award, we were proud that we had been able to do at least one activity at least once a year in every county in the state for three years running.” Of course, the actual business of doing archaeology — of digging at sites and recording, sometimes collecting, and researching and reporting on what
is found — is the first concern of Hannaford and the others at OAS. Among their current enterprises is a project with Santa Clara Pueblo on the Puye Cliff Dwellings site. “Edgar Hewett did a lot of work there in like 1907, and a lot of the material that Hewett and A.V. Kidder and Jesse Nusbaum were looking at is held here in the repository. This is over 100 years of archaeology now. “New Mexico is unique because we have Native American people still here — 19 pueblos, three Apache groups, and the Diné, the largest tribe in the country — then we have 400 years of history with the Spanish coming in 1540, the opening of the Santa Fe Trail, and coming all the way up to Los Alamos, where I grew up. We have both extremes: the original Folsom and Clovis sites and big science.” The first Folsom Culture projectile points were discovered in northeastern New Mexico in 1926 in association with the bones of a now-extinct bison that were found 18 years earlier by African American cowboy George McJunkin. The bones had been uncovered by a hundred-year flood. “Not too long after that at Blackwater Dam in Clovis, people were mining gravel and seeing fossil bone, and that distinctive Clovis point was discovered. So it’s the first association of human remains with extinct animal remains from the Pleistocene, mostly mammoths, and that’s what really brought out the reality of 14,000 years of human history in New Mexico and in the United States, but it was discovered here.” In a larger room near his office, Hannaford points to shelves loaded with artifacts used in the Roads to the Past programs. Besides the prehistoric materials, there are also historic items, among them antique horseshoes and oxshoes, tin cans and glass bottles from the 1880s. And there are tree rings. “Here’s one from Santa Fe that died in 2005, and if you count the rings down, it was sprouting at the time of the Pueblo Revolt of 1680. “In a place like Santa Fe, where you have just 10 or 12 inches of rain, we get a whole range of artifacts you just don’t get in other states. Even an arrow, where other places you just find the point, here you may also get the sinew and feathers and learn a lot more about the technology and how it was used.” Since 1991, Hannaford, OAS director Eric Blinman, and the agency’s other archaeologists have talked to more than 60,000 New Mexicans. Most of these were students, but professional and civic assemblies and Native American groups are also beneficiaries. One popular core program is a hands-on exhibit of artifacts, which illuminates atlatl spear-throwing, the manufacture of cordage and paintbrushes from yucca, and the warmth of turkey-feather blankets. One morning in mid-April, Hannaford was heading off to Tucumcari to do more than a dozen archaeology talks during the day with some 800 elementary-school students. Two days later, he would be at Puye on Santa Clara Pueblo, talking to the tour guides about prehistoric Native weaponry. On May 4, he is one of the archaeologists involved in a daylong program of demonstrations at the Clovis site: Blackwater Draw, just north of Portales. Part of the state’s calendar of happenings during National Preservation Month, it shows people how to use an atlatl, how to flint knap and work fiber and cook “prehistoric-style.” The event, from 10 a.m. to 4 p.m., is sponsored by Eastern New Mexico University’s Blackwater Draw Museum (call 575-356-5235 or visit www.theclovissite.wordpress.com for information). A microcosm of this whole realm can be held in your hand. Hannaford points to and describes the significance of the sherd of corrugated pottery, the military cartridge, the pieces of purple glass and 1600s Spanish majolica, and the obsidian arrow point. He enjoys the whole spectrum, from prehistoric to historic. But he really loves the atlatl. “It’s one of my favorite artifacts. It’s a great window to the past. You see it in a picture from 30,000 years ago in a French cave. It’s one of those artifacts that you see in Europe and Africa and North America and Australia, so did it arise independently or was the world small enough that people were transmitting that? “We don’t have a Paleo-Indian atlatl, but we have velocity breaks on stone points that really suggest the use of atlatls quite a long time ago. The majority of atlatls that we do have are from Basketmaker III times, about 500 A.D.”
Above, a corrugated jar, potsherds, and other prehistoric ceramics; right, a digging stick and tchamahia (primitive hoe); below, historic artifacts, including horseshoes and ox shoes
continued on Page 44
PASATIEMPOMAGAZINE.COM
43
Theater Grottesco and The Center for Contemporary Arts present
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PASATIEMPO I April 26 - May 2, 2013
Charles Hannaford, continued from Page 43 A common atlatl material was the scrub oak (Quercus dumosa) that is found in Northern New Mexico. It’s a very hard wood, so atlatls could be made thin enough that they actually flex when used to hurl spears (also called darts) — up to 100 miles per hour. That kind of advantage over the standard thrown spear was necessary when hunting mammoths and ancient bison, an animal that was substantially larger than today’s. The business end was a foreshaft about 8 inches long with a knappedstone point fastened with sinew. The foreshaft was fitted snugly into the hollowed-out end of the main dart shaft. The reason for this arrangement is that the main shaft, at least 4 feet long, was difficult to replace. “The hard part was finding pieces of yucca stalk, willow, or cane that were long and straight,” Hannaford said. “This way, when you hit a buffalo, the long shaft comes loose from the foreshaft and you can use it again. “Atlatls are just as fascinating to Native peoples. One of the events we do every year is talk to people who come from all over the world for the Festival of the Cranes in Socorro. I had given a demonstration in one of the schools, and there were a number of Navajo students. The next day a student turned up with his grandparents who spoke no English at all, and he was able to tell them about the atlatl in Navajo. That’s the kind of thing that makes the outreach such a great and powerful experience.” ◀
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Friday April 26, 6-8 pm
Artists compete for $300 People's Choice Award and the Curator's Choice Award, a show in CCA's project space. All works for sale benefitting artists and CCA. Get lucky with great prices and incredible artworks.
Voting ends at 7:30, awards announced at 8pm ccasantafe.org PASATIEMPOMAGAZINE.COM
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MOVING IMAGES pasa pics
— compiled by Robert B. Ker
and dead, drop in to visit, cook, eat, and quarrel. Zak works two jobs, and Molly has lost her job as an astrophysicist. Painted on the walls of their apartment are lists of things they’d like to accomplish before they leave, such as win a Nobel Prize and have anal sex. Filmmaker Jeff Lipsky (Flannel Pajamas) steers his story through intriguing waves of philosophical clarity and doldrums of talky boredom. Not rated. 102 minutes. The Screen, Santa Fe. ( Jonathan Richards) MUD Matthew McConaughey is in top form as Mud, an Arkansas Delta backcountry hothead with a ton of charm who enlists the help of a couple of teenage boys (Tye Sheridan and Jacob Lofland) to help him elude the law and reunite with his sweetheart (Reese Witherspoon). Meanwhile, the law and the irate father of a man he has killed are out looking for him. It’s a colorful tale and a cautionary one. (“Women are tough, son,” one boy’s father tells him, and it could be the mantra for the movie.) Director Jeff Nichols does a good job with style and character, but he lets the story run on too long and loses the handle at the end. With Sam Shepard and Michael Shannon. Rated PG-13. 130 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) See review, Page 52. Knee jerks: Susan Sarandon, Robin Williams, and Robert De Niro in The Big Wedding, at Regal Stadium 14 in Santa Fe
opening this week THE BIG WEDDING Diane Keaton, Susan Sarandon, and Robert De Niro used to be some of the most daring and versatile actors out there, appearing in such edgy, iconic films as Annie Hall, Raging Bull, and The Rocky Horror Picture Show. Now they play the quirky parents in Katherine Heigl rom-coms. In this one, Keaton and De Niro play a divorced couple who, to appease their son, must pretend to be married — much to the frustration of De Niro’s new wife, played by Sarandon. Heigl and Robin Williams co-star. Rated R. 90 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) THE COMPANY YOU KEEP In Robert Redford’s latest directorial effort, he plays Jim Grant, a man enjoying a peaceful life as a lawyer. When a reporter uncovers his connection to the 1960s radical protest group The Weather Underground, Grant must go on the run to avoid arrest and clear his name. Shia LaBeouf, Julie Christie, Susan Sarandon, Nick Nolte, Chris Cooper, Terrence Howard, Stanley Tucci, Anna Kendrick, and Brendan Gleeson co-star. When the Sundance Kid asks you to be in his film, you say yes. Rated R. 121 minutes. Regal DeVargas, Santa Fe. (Not reviewed) 46
PASATIEMPO I April 26 - May 2, 2013
GIMME THE LOOT Writer-director and New York native Adam Leon makes his feature debut with an ’80s-era urban adventure. Bronx graffiti writers Malcolm (Ty Hickson) and Sofia (Tashiana Washington) take on rival “buffs” (tag erasers) by tagging a legendary New York sports venue. To raise the $500 they need to get the job done, Malcolm and Sofia take risks far beyond making their marks on a nearby high-rise. Unfortunately, Leon plays it safe and dabbles in inner-city clichés and racial stereotypes, and almost all sense of danger and thrill is sacrificed in favor of over-sentimentality for the time and place. The acting, however, is solid. Not rated. 79 minutes. Center for Contemporary Arts, Santa Fe. (Rob DeWalt) THE MET LIVE IN HD: GIULIO CESARE David Daniels and Natalie Dessay star in this staging of Handel’s opera, which is broadcast live from the Met. The production is conducted by Santa Fe Opera’s new chief conductor, Harry Bicket. 10 a.m. Saturday, April 27, with a 6 p.m. encore. Lensic Performing Arts Center, Santa Fe. (Not reviewed) MOLLY’S THEORY OF RELATIVITY In their Queens apartment on Halloween night, as Zak (Lawrence Michael Levine) and Molly (Sophia Takal) contemplate starting a new life in Norway, various relatives and friends, living
PAIN & GAIN Mark Wahlberg, Dwayne Johnson, and Anthony Mackie play three steroid-abusing bodybuilders in Miami Beach who engage in kidnapping and extortion to get ahead in life. The action-comedy’s tagline is “their American dream is bigger than yours,” and it’s directed by Michael Bay. This baby has class written all over it. Rated R. 130 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) PERFORMANCE AT THE SCREEN The series of high-definition screenings of performances from afar continues with a showing of Tchaikovsky’s Eugene Onegin from London’s Royal Opera. Simon Keenlyside, Elena Maximova, and Pavol Breslik star. 11 a.m. Sunday, April 28, only. Not rated. 180 minutes, including one intermission. The Screen, Santa Fe. (Not reviewed) THE PICTURE OF DORIAN GRAY MGM’s 1945 film adaptation of Oscar Wilde’s scandalous 1890 novel remains a beautiful looking, atmospheric horror tale of a young British aristocrat (played by Hurd Hatfield) who makes a Faustian bargain: he will never age or physically change, but his portrait will as it depicts his sins of debauchery, betrayal, and murder. Though the film is marred by a sometimes confusing script (minor characters come and go without much explanation as to who they are or what their relationship to Dorian is) and censorship dictates that leave
MOVING IMAGES pasa pics
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THE LORDS OF SALEM Director Rob Zombie returns for his first original horror film since his 2005 cult favorite The Devil’s Rejects. Sheri Moon Zombie (Rob’s wife) plays a radio DJ in Salem, Massachusetts, who receives a wooden box with contents that vividly recall the town’s horrible past and hint at something evil returning for another gory go-around. Rated R. 100 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) LORE Based on material found in Rachel Seiffert’s novel The Dark Room, Lore tells the story of a teenage Bavarian girl of the same name who must protect her siblings from Allied troops in Germany after the fall of the Third Reich. When Lore’s Nazi-sympathizing parents are taken into Allied custody for interrogation, Lore and her siblings begin a harrowing trek across Germany to join their grandmother in Hamburg. Screenwriters Cate Shortland (who also directed the film) and Robin Mukherjee approach the material with grace and panache by turning the Nazi-cinema hunter/ hunted formula on its head. Saskia Rosendahl delivers a hypnotizing performance as Lore. 4:30 p.m. Sunday, April 28, only. Not rated. 108 minutes. In German with subtitles. The Screen, Santa Fe. (Rob DeWalt) NO In 1973, with the CIA’s backing, Gen. Augusto Pinochet ousted Salvador Allende, the democratically elected Socialist president of Chile. For the next 15 years, Pinochet ruled the country with an iron fist. But when his term expired, the Chilean constitution required a referendum for voters to decide whether Pinochet would return to office. The choice would be a simple yes or no. Pablo Larraín’s movie, Chile’s entry in 2012’s foreign language Oscar category, follows the advertising campaigns that helped settle the future course of the country. The film is a lively mix of social satire and political thriller. Rated R. 115 minutes. In Spanish with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) OBLIVION It’s the year 2077. Earth has been ravaged by a war with aliens. Tom Cruise plays one of the last men left alive. But before he can finally let loose and act completely crazy, he’s summoned into action when he discovers a woman (Olga Kurylenko) in a crashed spaceship and learns — via a character played by Morgan Freeman — that he is mankind’s
spicy
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PASATIEMPO I April 26 - May 2, 2013
last hope. Rated PG-13. 125 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) OLYMPUS HAS FALLEN Director Antoine Fuqua (Training Day) delivers an explosionsand-patriotism movie in the mold of the Die Hard franchise. Scottish actor Gerard Butler plays Mike Banning, the Secret Service agent who alone can save civilization when the White House (code name: Olympus) and the president of the United States (code name: Aaron Eckhart) fall into the hands of North Korean terrorists. Most of the other big names in the cast — Morgan Freeman, Angela Bassett, and Robert Forster — can only watch helplessly and make wrong decisions from the Situation Room as Banning works heroically to save the world. Rated R. 118 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. ( Jonathan Richards) OZ THE GREAT AND POWERFUL This flimsy prequel to the 1939 classic opens in black-and-white Kansas, where a seedy magician named Oscar ( James Franco, woefully miscast) breaks women’s hearts between shows. After his hot-air balloon gets caught in a twister, he lands in Oz and meets three witches (Mila Kunis, Rachel Weisz, and Michelle Williams). Local prophecy predicts that a wizard will save the kingdom and become its new ruler. It might be Oscar, but he’s “weak, selfish, slightly egotistical, and a fibber,” so it’s hard to care what happens to him. To distract us from the lack of depth, director Sam Raimi sets everything amid eye-popping CGI landscapes. Rated PG. 127 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Laurel Gladden) THE PLACE BEYOND THE PINES The director (Derek Cianfrance) and star (Ryan Gosling) of 2010’s Blue Valentine reunite for this noir-ish story about a stunt motorcyclist (Gosling) who, when it turns out he needs some extra cash, rides his bike to the wrong side of the tracks to take part in bank robberies. It likely doesn’t end well. Bradley Cooper, Eva Mendes, and Ray Liotta co-star. Rated R. 140 minutes. Regal DeVargas, Santa Fe. (Not reviewed) THE SAPPHIRES It’s the year 1968. Vietnam is being ravaged by a war with the U.S. Social change is enveloping the world. In Australia, the indigenous population is finally granted the right to vote. A scruffy talent scout (Chris O’Dowd) meets four gifted Aboriginal sisters, teaches them to sing in a Motown style, and brings them to Vietnam to entertain the U.S. troops. Full of music and humor and loosely based on a true story, this could potentially be the most feel-good story set during the Vietnam War since Forrest saved Lieutenant Dan. Rated PG-13. 99 minutes. Regal DeVargas, Santa Fe. (Not reviewed)
SCARY MOVIE 5 If the title of this movie — which comes fresh on the heels of the similar horror-spoof A Haunted House — doesn’t clue you in on exactly what to expect, perhaps the fact that Charlie Sheen gets hit in the groin by a ghost numerous times in the trailer will. Lindsay Lohan, Snoop Dogg, Heather Locklear, and Mike Tyson put in appearances. Not rated. 85 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) SILVER LININGS PLAYBOOK After being released from a mental institution, Pat Solatano (Bradley Cooper) moves in with his parents ( Jacki Weaver and Robert De Niro) and vows to win back his estranged wife. When friends invite him to dinner, he meets Tiffany (Best Actress Oscar winner Jennifer Lawrence), who also has a couple of screws loose. She agrees to help him patch things up with his wife — but only if he will agree to be her partner in a dance competition. The finely honed dialogue, attention to detail, and impressive performances make this movie a nearperfect oddball comedy. Rated R. 122 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) TRANCE It’s easy to forget now that Oscar-winning, Olympic-ceremonyplanning director Danny Boyle (Slumdog Millionaire) made his debut in 1994 with a small thriller named Shallow Grave. Trance finds him returning to his roots, rejoining that film’s writer ( John Hodge, who also wrote Boyle’s Trainspotting) for a taut little mind-bender. James McAvoy plays an art auctioneer who participates in the heist of a Goya painting, attempts to double-cross his partner (Vincent Cassel), and suffers brain damage. He then sees a hypnotherapist (Rosario Dawson) to find out where he hid the painting. The plot leaps off and back onto the rails, but no matter. As with any good noir, Boyle and longtime cinematographer Anthony Dod Mantle tell the tale through lights, shadows, and reflections, stylishly weaving more impressions than answers. Rated R. 101 minutes. Regal DeVargas, Santa Fe. (Robert Ker)
other screenings Center for Contemporary Arts 1 p.m. Sunday, April 28: New Mexico Film Office presents Woven Stories: Weaving Traditions of Northern New Mexico. Director Andrea Heckman appears in person. 3:30 p.m. Sunday, April 28: SITE Santa Fe Young Curators present Waking Life. Taos Community Auditorium 133 Paseo del Pueblo Norte, Taos, 575-758-2052 Sunday-Tuesday, April 28-30: Sound City. ◀
What’s shoWing Call theaters or check websites to confirm screening times. CCA CinemAtheque And SCreening room
1050 Old Pecos Trail, 982-1338, ccasantafe.org Gimme the Loot (NR) Fri. 2:30 p.m., 4:15 p.m. Sat. 3:15 p.m., 5:15 p.m., 7:30 p.m. Sun. 5:45 p.m., 7:30 p.m. Tue. 5:15 p.m., 7:30 p.m. Wed. 6 p.m., 7:45 p.m. Thurs. 5:15 p.m., 7:30 p.m. No (R) Fri. and Sat. 1:30 p.m., 6 p.m. Sun. 1:45 p.m., 6:15 p.m. Tue. 6 p.m. Wed. 2:15 p.m. Thurs. 6 p.m. The Picture of Dorian Gray (NR) Wed. 7 p.m. To the Wonder (R) Fri. and Sat. 3:45 p.m., 8:15 p.m. Sun. 4 p.m., 8:30 p.m. Tue. 5:15 p.m., 7:30 p.m. Wed. 4:30 p.m. Thurs. 3:45 p.m., 8:15 p.m. Waking Life (R) Sun. 3:30 p.m. Woven Stories:WeavingTraditions of Northern New Mexico (NR) Sun. 1 p.m. regAl deVArgAS
562 N. Guadalupe St., 988-2775, fandango.com The Company You Keep (R) Fri. and Sat. 1:20 p.m., 4:10 p.m., 7:10 p.m., 9:55 p.m. Sun. to Thurs. 1:20 p.m., 4:10 p.m., 7:10 p.m. Mud (PG-13) Fri. and Sat. 1:10 p.m., 4 p.m., 7 p.m., 9:50 p.m. Sun. to Thurs. 1:10 p.m., 4 p.m., 7 p.m. The Place Beyond the Pines (R) Fri. and Sat. 1 p.m., 3:50 p.m., 6:50 p.m., 9:40 p.m. Sun. to Thurs. 1 p.m., 3:50 p.m., 6:50 p.m. The Sapphires (PG-13) Fri. and Sat. 1:50 p.m., 4:40 p.m., 7:40 p.m., 10 p.m. Sun. to Thurs. 1:50 p.m., 4:40 p.m., 7:40 p.m. Silver Linings Playbook (R) Fri. to Thurs. 1:30 p.m., 7:20 p.m. Starbuck (R) Fri. and Sat. 1:40 p.m., 4:30 p.m., 7:30 p.m., 10:05 p.m. Sun. to Thurs. 1:40 p.m., 4:30 p.m., 7:30 p.m. Trance (R) Fri. and Sat. 4:20 p.m., 10 p.m. Sun. to Thurs. 4:20 p.m. regAl StAdium 14
3474 Zafarano Drive, 424-6296, fandango.com 42 (PG-13) Fri. to Thurs. 1:05 p.m., 1:30 p.m., 4:05 p.m., 4:30 p.m., 7:10 p.m., 7:35 p.m., 10:30 p.m. The Big Wedding (R) Fri. to Thurs. 1:30 p.m., 4:30 p.m., 7:10 p.m., 9:45 p.m. The Croods 3D (PG) Fri. to Thurs. 1:10 p.m., 4:10 p.m. The Croods (PG) Fri. to Thurs. 1:40 p.m., 4:40 p.m., 7:40 p.m., 10:15 p.m. Evil Dead (R) Fri. to Thurs. 1:50 p.m., 4:50 p.m., 7:50 p.m., 10:20 p.m. G.I. Joe: Retaliation 3D (PG-13) Fri. to Thurs. 10:10 p.m. G.I. Joe: Retaliation (PG-13) Fri. to Thurs. 1:45 p.m., 4:35 p.m., 7:25 p.m. Jurassic Park 3D (PG-13) Fri. to Thurs. 1:15 p.m., 4:20 p.m., 7:20 p.m., 10:15 p.m. The Lords of Salem (R) Fri. to Thurs. 10:05 p.m. Oblivion (PG-13) Fri. to Sun. 1 p.m., 1:35 p.m., 4 p.m., 4:35 p.m., 7 p.m., 7:40 p.m., 10 p.m., 10:35 p.m. Mon. to Thurs. 1 p.m., 1:35 p.m., 4 p.m., 4:35 p.m., 7 p.m., 7:40 p.m., 10 p.m., 10:35 p.m. Olympus Has Fallen (R) Fri. to Thurs. 1:20 p.m., 4:25 p.m., 7:45 p.m., 10:25 p.m. Oz The Great and Powerful 3D (PG) Fri. to Thurs. 1:05 p.m., 7:15 p.m., 10:15 p.m. Oz The Great and Powerful (PG) Fri. to Thurs. 4:05 p.m. Pain & Gain (R) Fri. to Thurs. 1 p.m., 4:15 p.m., 7 p.m., 7:30 p.m., 10 p.m., 10:30 p.m. Scary Movie 5 (PG-13) Fri. to Thurs. 2 p.m., 4:40 p.m., 8 p.m., 10:25 p.m.
the SCreen
Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, thescreensf.com Eugene Onegin: London’s Royal Opera (NR) Sun. 11 a.m. Lore (nr) Sun. 4:30 p.m. Molly’sTheory of Relativity (NR) Fri. 5:30 p.m. Sat. 10:30 p.m. Sun. 6:45 p.m. Mon. to Thurs. 5:30 p.m. War Witch (NR) Fri. 3:30 p.m., 7:30 p.m. Sat. 12:30 p.m. Sun. 2:30 p.m. Mon. to Thurs. 3:30 p.m., 7:30 p.m.
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mitChell dreAmCAtCher CinemA (eSpAñolA) 15 N.M. 106 (intersection with
U.S. 84/285), 505-753-0087 42 (PG-13) Fri. 4:30 p.m., 7:10 p.m., 9:50 p.m. Sat. 1:50 p.m., 4:30 p.m., 7:10 p.m., 9:50 p.m. Sun. 1:50 p.m., 4:30 p.m., 7:10 p.m. Mon. to Thurs. 4:30 p.m., 7:10 p.m. The Croods (PG) Fri. 4:45 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:45 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:45 p.m., 7 p.m. Mon. to Thurs. 4:45 p.m., 7 p.m. Evil Dead (R) Fri. 5 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:25 p.m., 5 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:25 p.m., 5 p.m., 7:05 p.m. Mon. to Thurs. 5 p.m., 7:05 p.m. G.I. Joe: Retaliation (PG-13) Fri. 4:50 p.m., 7:30 p.m., 9:50 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:30 p.m., 9:50 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:30 p.m. Mon. to Thurs. 4:50 p.m., 7:30 p.m. Jurassic Park 3D (PG-13) Fri. 4:45 p.m., 7:20 p.m. Sat. and Sun. 2:10 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs. 4:45 p.m., 7:20 p.m. Oblivion (PG-13) Fri. 4:35 p.m., 7:15 p.m., 9:55 p.m. Sat. 1:55 p.m., 4:35 p.m., 7:15 p.m., 9:55 p.m. Sun. 1:55 p.m., 4:35 p.m., 7:15 p.m. Mon. to Thurs. 4:35 p.m., 7:15 p.m. Olympus Has Fallen (R) Fri. 4:40 p.m., 7:15 p.m., 9:45 p.m. Sat. 2:05 p.m., 4:40 p.m., 7:15 p.m., 9:45 p.m. Sun. 2:05 p.m., 4:40 p.m., 7:15 p.m. Mon. to Thurs. 4:40 p.m., 7:15 p.m. Oz The Great and Powerful (PG) Fri. 4:40 p.m., 7:25 p.m. Sat. and Sun. 1:55 p.m., 4:40 p.m., 7:25 p.m. Mon. to Thurs. 4:40 p.m., 7:25 p.m. Pain & Gain (R) Fri. 4:30 p.m., 7:10 p.m., 9:55 p.m. Sat. 1:50 p.m., 4:30 p.m., 7:10 p.m., 9:55 p.m. Sun. 1:50 p.m., 4:30 p.m., 7:10 p.m. Mon. to Thurs. 4:30 p.m., 7:10 p.m. Scary Movie 5 (PG-13) Fri. 4:55 p.m., 7:35 p.m., 9:40 p.m. Sat. 2:15 p.m., 4:55 p.m., 7:35 p.m., 9:40 p.m. Sun. 2:15 p.m., 4:55 p.m., 7:35 p.m. Mon. to Thurs. 4:55 p.m., 7:35 p.m. Storyteller CinemA (tAoS)
110 Old Talpa Canon Road, 575-751-4245 42 (PG-13) Fri. 4:30 p.m., 7:10 p.m., 9:50 p.m. Sat. 1:50 p.m., 4:30 p.m., 7:10 p.m., 9:50 p.m. Sun. 1:50 p.m., 4:30 p.m., 7:10 p.m. Mon. to Thurs. 4:30 p.m., 7:10 p.m. The Croods (PG) Fri. 4:45 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:45 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:45 p.m., 7 p.m. Mon. to Thurs. 4:45 p.m., 7 p.m. G.I. Joe: Retaliation (PG-13) Fri. 4:50 p.m., 7:25 p.m., 9:50 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:25 p.m., 9:50 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:25 p.m. Jurassic Park 3D (PG-13) Fri. 4:55 p.m., 7:30 p.m. Sat. and Sun. 2:10 p.m., 4:55 p.m., 7:30 p.m. Mon. to Thurs. 4:55 p.m., 7:30 p.m. Oblivion (PG-13) Fri. 4:35 p.m., 7:15 p.m., 9:55 p.m. Sat. 1:55 p.m., 4:35 p.m., 7:15 p.m., 9:55 p.m. Sun. 1:55 p.m., 4:35 p.m., 7:15 p.m. Mon. to Thurs. 4:35 p.m., 7:15 p.m. Pain & Gain (R) Fri. 4:30 p.m., 7:10 p.m., 9:55 p.m. Sat. 1:50 p.m., 4:30 p.m., 7:10 p.m., 9:55 p.m. Sun. 1:50 p.m., 4:30 p.m., 7:10 p.m. Mon. to Thurs. 4:30 p.m., 7:10 p.m. Scary Movie 5 (PG-13) Fri. 4:55 p.m., 7:05 p.m., 9:40 p.m. Sat. 2:15 p.m., 4:55 p.m., 7:05 p.m., 9:40 p.m. Sun. 2:15 p.m., 4:55 p.m., 7:05 p.m. Mon. to Thurs. 4:55 p.m., 7:05 p.m.
ffff
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/2
1
– Roger Ebert, ChiCago Sun-TimES
“a CinEmaTiC
”
miRaCLE
that deserves to endure as an artistic landmark.” – Richard Brody, nEW YoRKER
RaPTuRouS.
“
For those on malick’s rarefied wavelength, iT’S a WonDER.” – Richard Corliss, TimE
WonDERFuL.
“
Like love itself, it’s an imperfect thing, yet i wouldn’t have missed the experience for the world.”
– Betsy Sharkey, LoS angELES TimES
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movIng Images film reviews
Lost in love Laurel Gladden I For The New Mexican To the Wonder, impressionistic drama, rated R, in English, French, Spanish, and Italian with subtitles Center for Contemporary Arts, 2.5 chiles Although he has made fewer than a dozen films and his style could easily be described as an acquired taste, notoriously reclusive writer-director Terrence Malick is one of the most highly respected filmmakers working today. His last film, the hotly debated The Tree of Life, earned three Academy Award nominations. Whether or not you like To the Wonder, his newest film, depends on a couple of things. How well do you know Malick’s work? Do you like it? And how important is it to you that a movie have a solid plot; clear, believable dialogue; and interesting, welldefined, well-developed characters? I like “conventional” films as much as the next person — characters, plot, and dialogue usually work for me, entertainment-wise. Malick’s films are different, though. Some people would describe them as impressionistic, perhaps contemplative, elegiac, or even spiritual. Others decry his style as overly artsy, solipsistic, and oblivious of mainstream tastes. If you’re not at least somewhat familiar with his films, To the Wonder is probably not the place to start. If you expect traditional straightforward storytelling, people conversing with each other, and fleshed-out characters you can care about, you’ll be thrown for a loop. Marina (Olga Kurylenko), a divorcée with a young daughter (Tatiana Chiline), and Neil (Ben Affleck), an American on vacation, fall in love in France. They wander through Parisian parks, flirt with each other
Ben Affleck and Olga Kurylenko
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PASATIEMPO I April 26 - May 2, 2013
Ben Affleck and Rachel McAdams
on the train, and visit Mont Saint-Michel, holding hands as they gaze around in amazement. Neil asks Marina and Tatiana to come to the U.S. and live with him. Back in Neil’s cookie-cutter suburb in Oklahoma, their relationship continues to blossom. Tatiana revels in the clean, colorful abundance of American grocery stores and teases Neil about marrying her mother. As time goes by, though, the infatuation fades, and the screaming fights begin. Neil is busy investigating environmental contamination related to nearby oil drilling, and he appears increasingly glum. Marina feels out of place in suburbia and can’t make friends. Her visa expires, and she is forced to return to France. With Marina out of the picture, Neil sparks up a relationship with Jane (Rachel McAdams), a divorced woman struggling to keep her ranch afloat. Meanwhile, Marina hates everything about Paris and wants to come back to America. Neil breaks things off with Jane, flies Marina back to Oklahoma, sets her up in a bedroom of her own, and agrees to a courthouse marriage so she can get her green card. To deal with their troubled relationship, Marina and Neil consult Father Quintana ( Javier Bardem), a local priest who is wrestling with a crisis of faith. The ebb and flow of these relationships and interactions is what amounts to the film’s plot. You won’t learn much about anyone — least of all Neil, who does almost nothing and says even less. Dialogue — by which I mean people speaking to one another — is practically nonexistent, replaced by poetic lines whispered in voice-over. The breathtaking, eye-opening cinematography of Emmanuel Lubezki (with whom Malick worked on The Tree of Life) does the heavy lifting, and Hanan Townshend’s dramatic, hypnotic score makes a good spotter. Malick doesn’t supply much information; he’s more concerned with evoking ideas and emotions. It’s best if you abandon your preconceptions and let the film wash over you.
Even so, you might not like it. The environmental contamination thread, which feels ominous when introduced, never goes anywhere. Malick incorporates far too many scenes of women, mostly Kurylenko, romping and twirling flirtatiously through fields of grass, across suburban lawns, and through half-furnished rooms. After a while, the whispered voice-over grows old and makes To the Wonder feel like a parody of an art film. It’s fine if a filmmaker wants to obey the “show, don’t tell” directive — you can certainly glean meaning from characters’ actions, even if they don’t say much. Inferring significance is harder, however, when characters simply stand and stare off into the distance. Even given that Malick doesn’t often rely on traditional narrative structure, this film still feels flimsy, like a rough draft of a better, grander film. While it introduces thorny questions about the elusive nature of love, paradise lost, and the parallels between mundane human love and divine love, something doesn’t quite click — it feels like someone trying to hot-wire a car and not getting a spark. Two hours of posing the same question over and over begins to feel like philosophical twirling — after a while, you get dizzy or frustrated or both. Nevertheless, I liked To the Wonder. It’s a movie to be felt, explored, and contemplated. It’s participatory cinema — you can’t plop down in your seat and expect to be entertained. It asks questions — Marina wonders, “How had hate come to take the place of love?” for example — but don’t expect Malick to provide answers. As Roger Ebert wrote — To the Wonder was the last film he reviewed before his death on April 4 — “Why must a film explain everything?” What you think of this film depends on what you bring with you. And your answers to those tricky questions will probably be different than mine. But isn’t that kind of wonderful? ◀
moving images film reviews
Evil spirits Rob DeWalt I The New Mexican War Witch, drama, not rated, in Lingala and French with subtitles, The Screen, 3.5 chiles Ten years in the making, Canada-based writerdirector Kim Nguyen’s 2012 Oscar-nominated (for Best Foreign Language Film) War Witch blends news accounts of child soldiers in sub-Saharan Africa with a touch of magical realism to deliver a shocking yet beautiful story of love and the ravages of war. The film follows 12-year-old Komona (Rachel Mwanza), who after having to fatally shoot her parents or watch them die by machete at the hands of ruthless rebels, is kidnapped from her decimated village along with 12 other children and forced into combat. Whisked deep into the jungle, the children are starved, beaten, drugged, and ordered to train with automatic rifles. The rebels remind the children often that their parents are dead — the rifle is mother and father now. As the story progresses, Komona, who serves as the film’s narrator, is turned into a fierce warrior, and her ability to escape battle unscathed and see the enemy approaching through thick brush earns her the position of personal sorceress to the Great Tiger (Mizinga Mwinga), a brutal leader among the rebels. Although the job saves her skin on more than one occasion, it also leads to her rape by the commander of her unit (Alain Lino Mic Eli Bastien) and pregnancy. Like her new comrades, Komona must dig for coltan, a metallic ore and “blood mineral,” a precious commodity that has rebel factions fighting
Rachel Mwanza
Serge Kanyinda and Rachel Mwanza
each other in the Democratic Republic of Congo, where the film was shot. When Komona escapes, she tells her unborn child her story and seeks redemption for killing her parents. Along her journey, Komona is paired in battle with a young albino soldier named Magicien (Serge Kanyinda), who quickly falls in love with his war companion. One of the film’s lighter narrative directions is Komona’s insistence that Magicien capture a white rooster to prove his worthiness as a romantic partner. As the pair enjoys a few days of stolen freedom from their rebel captors, Magicien tries to locate one. It’s a clever device, created by Nguyen to insert a bit of common-ground folklore and positive humanity into a story rightfully weighed down by the atrocities suffered by African child soldiers. Magicien’s uncle — a butcher and former soldier who keeps a bucket nearby because while dismembering livestock he is often visited by nausea and wartime flashbacks — is one of the few allies Komona and Magicien come across during their brief escape. What allows Komona to sense an approaching enemy, and what provides the brunt of magical realism in the film, is a hallucination-inducing white sap secreted from the leaves of jungle trees. Called magic milk by the child soldiers, it causes Komona to envision dead-eyed, ghostly white figures, including her slain parents. Cinematographer Nicolas Bolduc’s wide-angle approach is itself hallucinatory. Shot in elegantly hued high definition, the story affords Bolduc the ability to almost drift within scenes using a handheld camera, which becomes a witness to tenderness and horror. A subtle soundtrack of African pop and folk music further plunges viewers into the realistic scene without distracting from the raw humanness of the story. The sound and sound editing (by Claude La
Haye and Martin Pinsonnault, respectively) match the film’s artful visual approach, creating a completely immersive and sensual narrative experience. The film owes much of its hypnotic charm to Mwanza, whom Nguyen discovered on the streets of Kinshasa. According to Nguyen, Mwanza — who previously appeared in Kinshasa Kids, a Belgian docudrama about children expelled from their homes after being accused of witchcraft — was a natural. Her performance is tightly connected to her own troubled past, and her character exhibits a remarkably captivating subtlety, tenderness, and depth in the face of unimaginable pain and suffering. The performance earned her a Silver Bear for Best Actress at the 62nd Berlin International Film Festival, and she garnered similar awards from the Tribeca Film Festival and the Vancouver Film Critics Circle. Kanyinda also soars as Magicien and took away a Canadian Screen Award for Best Supporting Actor for his carefully considered performance. Nguyen navigated a highly unorthodox approach to shooting (by Hollywood standards), and the risk paid off. Scenes were shot chronologically, and his actors embraced improvisational techniques during each scene. Furthermore, the actors were kept from reading the screenplay before shooting began, and they knew what would be filmed only after they arrived on the set each day. The result is a movie that, while already structured on some level in the writer-director’s mind, unfolds more organically, and thus more realistically, than most. Resonating with authenticity, the film is less a story of regional conflict or political strife and more a harsh, sobering story of resilience and love in the face of human aggression at its very worst. Like the pale ghosts that inhabit its most magical imagery, War Witch is one of those rare beauties that haunts long after it’s gone. ◀
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movIng Images film reviews
The Mud squad Jonathan Richards I For The New Mexican Mud, drama, rated PG-13, Regal DeVargas, 2.5 chiles This is the kind of story where one guy’s name is Mud and another is called Neckbone. The girls have names like Juniper and May Pearl. This is a descriptive note, not a condescending one. A yarn in which a character is named Huckleberry has held up pretty well over the years. Jeff Nichols’ Mud is a coming-of-age story that owes a debt to a lot of other stories, from that Mark Twain classic to Great Expectations (in which a boy meets an escaped convict on a desolate moor and does him a kindness). There’s nothing wrong with that sort of borrowing. Literature is an incestuous bed of intermarriage and bastard children and is all the richer for it. It’s how you handle the material that counts, and Nichols handles it with a nice sense of place and character, which he unfortunately undercuts with a lazy self-indulgence when it comes to story particulars and a running time that meanders a good 20 minutes past its welcome. The Huck Finn of this tale is 14-year-old Ellis (Tye Sheridan, The Tree of Life), a child of the Arkansas delta who lives with his quarreling parents (Sarah Paulson and Ray McKinnon) on a rundown houseboat on a backwater stretch of river. He helps his dad with his fishing business, and in his free time he hangs out with his best friend Neckbone ( Jacob Lofland, who may remind you of River Phoenix in Stand by Me). These kids have a motorbike for land travel and a motorized skiff for the waterways. Life is good. On a remote island, the boys find a boat marooned in a tree by a recent flood. It’s about 20 feet up, securely wedged upright among the branches, and it looks to be a perfect treehouse hideout. But when they climb up to it, they find some groceries and a stack of girlie magazines. The food is fairly fresh, which suggests that there’s someone living there. The girlie magazines presumably suggest an interest in sex. So when a tall dark stranger (Matthew McConaughey) shows up, you have to wonder at first whether he’s the sort that preys on young boys. Not at all. The magazines seem to be a total red herring. When they ask his name, the stranger drawls, “You can call me Mud.” The groceries must be a red herring too, because he asks them to bring him some food, which he wolfs down hungrily. And somehow he always has plenty of cigarettes. He’s trying to make contact with his girl. Her name 52
PASATIEMPO I April 26 - May 2, 2013
Tye Sheridan, Matthew McConaughey, and Jacob Lofland
is Juniper (Reese Witherspoon), and he has loved her since they were kids. But she always manages to get tangled up with the wrong sort of guy, and he has to keep coming to her rescue. The last time he did that, he killed the abusive bastard, and now Mud has got the law on his trail, not to mention the dead man’s father (a vicious Joe Don Baker) and a bunch of hired guns. “There are things you can get away with in this world,” Mud observes laconically, “and things you can’t.” By a great stroke of luck, the boys locate Juniper, whom they recognize from Mud’s descriptions, general (“the most beautiful girl I ever saw”) and specific (“nightingales tattooed on her hands”). They bring him back word of where she is and set about helping the lovers escape. Ellis is a sucker for a love story, partly because his own parents’ marriage is coming apart and partly because his heart has been captured by a high school girl named May Pearl (Bonnie Sturdivant). Ellis defends her honor when she’s harassed by a teenage boy twice his size by punching the kid in the chops. It’s the kind of thing he does, and sometimes it gets him in trouble. Ellis and Mud are cut from the same cloth, hopeless romantics who have to learn and learn again the hard way that girls are nothing but trouble. The movie’s theme song, repeated a couple of times, is the Beach Boys’ “Help Me Rhonda,” with its plea to “Get her outta my heart!”
Boys, bless ’em, have some character flaws as well. The boys swipe a motor for Mud’s treed boat from a junkyard, and Ellis catches hell from his parents for stealing. Mud is a habitual liar as well as a hothead and a murderer. He’s got an old friend (“closest thing to a dad I ever had”) named Tom Blankenship (Sam Shepard), who lives across the creek from Ellis’ houseboat and is a recluse. (“Some people move to this river to work on it,” Ellis’ dad tells him. “Some people move here to be left alone.”) Tom, Mud advises the boys, is a Yalie and former CIA assassin who has “killed more people than y’all probably ever met.” Tom rolls his eyes when he hears this description, but by the movie’s end he’ll be adding a few more notches to the old assassin’s gun. The thing is, Mud is very cool, and McConaughey carves him with a sharp blade. It’s been the year of Matthew McConaughey (Bernie, Magic Mike, Killer Joe, and The Paperboy, all in one burst of career renaissance), and he is in top form again here, an actor who can fill the screen and etch a character with a smoldering physical and mental heat. His director, Nichols, is an indie darling whose Take Shelter (which starred Michael Shannon, who has a small role here) won critical plaudits a year ago. Mud is more mainstream and may indicate the direction Nichols is heading, but for now he still knows how to spin an appealing yarn, even if he doesn’t know when to stop. ◀
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ffff!
“
1/2
Malick, who is surely one of the most romantic and spiritual of filmmakers, appears almost naked here before his audience, a man not able to conceal the depth of his vision. Malick depicts relationships with deliberate beauty and painterly care.”
“WEIRDLY FUNNY AND ROUSING, BOTH INTELLECTUALLY AND EMOTIONALLY.”
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“ELECTRIC AND FUNNY!”
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THE CLASSIC ROMANTIC TRIANGLE MAY NEVER HAVE BEEN SO ETHEREAL.
“
-Joshua Rothkopf, TIME OUT NEW YORK
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Malick’s balletic camera turns the glowing light of the American landscape into a spiritual bounty.”
-Lisa Schwarzbaum, ENTERTAINMENT WEEKLY
Gael García Bernal A film by Pablo Larraín
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The Santa Fe Opera presents
‘‘
HHHH! PINES TOUCHES GREATNESS! ‘
“
’
”
CHICAGO SUN-TIMES
“ONEOFTHEYEAR’SBESTFILMS! ARIVETINGCRIMETHRILLER! BRADLEYCOOPER is superb. RYAN GOSLING is pitch-perfect.
JONATHAN DEMME
1 y, May a d s e n ed 7:00p W
PRESENTS
He and EVA MENDES have palpable chemistry. Brilliantlyacted.”
“AHELLOFARIDE!
RYAN GOSLING is spectacular. BRADLEYCOOPER’S ferocityand feeling pullyou in. Pines stickswithyou. Hold on tight.”
A FILM BY ADAM LEON
a
“HHHH! ATHRILLTOWATCH!
er and O p r CCA o f s 8 r $ e / $10 Memb Guild
3:30p Sunday April 28
RYAN GOSLING electrifies.” RYAN GOSLING BRADLEY COOPER EVA MENDES AND RAY LIOTTA
THE PLACE BEYOND THE PINES #ThePlaceBeyondThePines
FROM THE DIRECTOR OF ‘BLUE VALENTINE’ ThePlaceBeyondThePinesMovie.com BeyondThePinesMovie.tumblr.com
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NOW PLAYING IN THEATRES EVERYWHERE CHECK LOCAL LISTINGS FOR THEATRE LOCATIONS AND SHOWTIMES MOBILE USERS: For Showtimes – Text PINES with your ZIP CODE to 43KIX (43549). Msg & data rates may apply. Text HELP for info/STOP to cancel.
For more on THE PLACE BEYOND THE PINES and other great crime movies: iTunes.com/FocusFeatures
Presented by SITE Santa Fe Young Curators - $5 Friday April 26
Saturday April 27
1:30p - No 2:30p - Gimme the Loot* 3:45p - To the Wonder 4:15p - Gimme the Loot* 6:00p - No 8:15p - To the Wonder
1:30p - No 3:15p - Gimme the Loot* 3:45p - To the Wonder 5:15p - Gimme the Loot* 6:00p - No 7:30p - Gimme the Loot* 8:15p - To the Wonder
* indicates show will be in The Studio at CCA for $7.50 or $6.00 for CCA Members
1:00p Sunday, April 28 Filmmaker Andrea Heckman in person!!
Sunday April 28 1:00p - New Mexico Film Experience: Woven Stories* 1:45p - No 3:30p - SITE Santa Fe: Waking Life* 4:00p - To the Wonder 5:45p - Gimme the Loot* 6:15p - No 7:30p - Gimme the Loot* 8:30p - To the Wonder
Mon April 29
Cinema Closed
Tues April 30 3:45p - To the Wonder 5:15p - Gimme the Loot* 6:00p - No 7:30p - Gimme the Loot* 8:15p - To the Wonder
Weds May 1
Thurs May 2
2:15p - No 4:30p - To the Wonder 6:00p - Gimme the Loot* 7:00p - SFO presents: The Picture of Dorian Gray 7:45p - Gimme the Loot*
3:45p - To the Wonder 5:15p - Gimme the Loot* 6:00p - No 7:30p - Gimme the Loot* 8:15p - To the Wonder
Concessions Provided by WHOLE FOODS MARKET PASATIEMPOMAGAZINE.COM
53
RESTAURANT REVIEW Laurel Gladden I For The New Mexican
Luncheon meet
Saveur 204 Montezuma Ave., 989-4200 Breakfast 7:45-10:30 a.m. Mondays-Fridays; lunch 10:30 a.m.-3:30 p.m. MondaysFridays; closed Saturdays & Sundays Counter service Takeout available Noise level: quiet to boisterous business chatter Vegetarian options Beer & wine Credit cards, local checks
•
The Short Order The create-your-own sandwich option may be the best thing about lunch at Saveur, though it’s hard to say, given that there’s also a lengthy menu of specials, French-style offerings like tender crêpes, daily soups, and a buffet that includes hot and cold dishes. At lunch, people discussing work or politics can lead to a rather boisterous ambience, but mornings are quieter. Co-owner Dee Rusanowski is friendly in a familial way, calling regular customers by name, and the rest of the staff members are helpful if you need them but mostly remain reserved. Recommended: broccoli-cheese soup, French onion soup, crème brûlée, build-your-own sandwich option, and the breakfast Napoleon.
Ratings range from 0 to 4 chiles, including half chiles. This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value.
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PASATIEMPO I April 26 - May 2, 2013
The typical lunch crowd at Saveur — the sweet little French-inspired café at the tip of the quirky triangle where Cerrillos Road and Galisteo Street converge — is primarily businesspeople. That’s easy to understand given the location, a few blocks from the Roundhouse and just in front of the Paul Bardacke and Jerry Apodaca buildings. Big groups of people discussing work or politics over lunch can lead to a rather boisterous ambience. Co-owner Dee Rusanowski rarely seems to leave her post at the register. She’s friendly in a familial way, calling regular customers by name or otherwise referring to them as “dear,” yet she never comes across as obsequious. Cooks sporting chef’s jackets pop in and out of the kitchen regularly. They’re helpful if you need them but mostly remain reserved without seeming stern or aloof. Mornings are quieter. Patrons may stop in for coffee and a pastry; the one I gobbled up was flaky and tender, the fruity reddish-pink cherry filling hitting the sweet spot between tart and cloying. The morning menu also includes omelets and other traditional egg-centric breakfasts, corned beef hash, and fresh fruit bowls. Saveur’s breakfast burrito is hefty and satisfying, packed with potato hunks, scrambled eggs, melted cheese, and green chile with a surprising heat. The breakfast Napoleon consists of fluffy, buttery yellow egg; thinly sliced ham; tangy bright orange cheddar; and green chile on a soft, flaky croissant. This royally indulgent breakfast is what poor Burger King dreams its Croissan’Wich could be. The create-your-own sandwich option may be the best thing about lunch at Saveur. Pick up a bright yellow ordering sheet, choose your sandwich constituents, and hand the paper to whoever’s behind the deli counter. While you wait, take a seat at one of the granite-topped tables in the main dining room or the sunny, warmly hued room at the back. Sure, you could construct a classic ham and cheese, a turkey and Swiss, or a roast beef with green chile, but especially if you’re a vegetarian, this is the chance to create the sandwich of your dreams. There are six cheese choices (including sharp cheddar, smoked gouda and mozzarella, nutty Emmenthaler, and creamy, chalk-white fresh goat), a wide array of “spreads” (everything from mayo and two kinds of mustard to onion marmalade, herby pesto, and briny tapenade), and a “greens and garnishes” section, from which you can select three. Heap on the veggies and create a tasty, towering lunch. Or you can order from the menu, which is hand-written on dry-erase boards inside the door and above the counter. Choices include special sandwiches — the hefty tuna melt panini is chockablock with rich tuna salad and could easily feed two — a half-pound green chile cheeseburger, and French-style dishes like tender crêpes stuffed with fresh, lightly sautéed mushrooms, spinach, and cheese and topped with a velvety béchamel sauce.
On any given day, the buffet, which includes hot and cold dishes, might offer chilled roasted vegetables such as Brussels sprouts, butternut squash, baby bok choy, and artichokes; premade salads (garbanzo bean, Caesar, fruit, and a tomato-, feta-, and red-onion-heavy Greek); and various proteins, such as pink salmon fillets and grilled whole chicken breasts. On one of our visits, the silvery chafing dishes were filled with earthy, delightfully sticky mushroom risotto and tender fingerlike strips of crunchy panko-breaded fried calamari. Be aware, though, that the buffet costs $13.95 a pound. You weigh your selection on a scale by the register, and if you’ve let yourself get carried away, you could end up with a pretty pricey lunch. Soups are available by the bowl or the cup. The justsalty-enough vegetarian cream of broccoli impressed me with its balanced seasoning, fresh broccoli flavor, and light creaminess. The French onion is served in a traditional “lion’s head” bowl; beneath a substantial blanket of stretchy melted cheese and bread lurks a sea of deep, dark, rich broth teeming with soft, sweet onion. Don’t forget about dessert. The “queen’s cake” balances layers of sweet, delicately spongy white cake with lightly tart lemon-curd filling. The crème brûlée sports an umber crust of ideal thickness and burnt-sugar toastiness. Its rich, perfectly smooth custard will make you wonder how vanilla ever became a synonym for plain or ordinary. Sometimes even a no-nonsense business lunch deserves a sweet finish like that. ◀
Check, please
Breakfast for two at Saveur: Breakfast burrito ..............................................$ 6.00 Breakfast Napoleon ..........................................$ 6.50 Americano .......................................................$ 2.50 Cherry pastry ...................................................$ 3.25 TOTAL .............................................................$ 18.25 (before tax and tip) Lunch for three, another visit: Build-your-own veggie sandwich ....................$ 9.00 Cup, cream of broccoli soup ............................$ 4.50 Bowl, French onion soup .................................$ 6.50 Tuna melt panini ..............................................$ 13.00 Canned soda ....................................................$ 1.75 Crème brûlée ...................................................$ 5.50 TOTAL .............................................................$ 40.25 (before tax and tip)
See more Restaurant Reviews @ www.pasatiempomagazine.com
war witch: Fri at 3:30 and 7:30; Sat at 12:30; Sun at 2:30; Mon-thurS 3:30 and 7:30
lore: Sun at 4:30
Molly’S theory oF relavtivity: Fri at 5:30; Sat at 10:30; Sun at 6:45; Mon-thurS at 5:30
EUgENE ONEgiN (The Royal Opera) SUNDAY 11:00AM
Santa Fe’s #1 Movie theater, showcasing the best DOLBY in World Cinema. ®
D I G I T A L
S U R R O U N D •E X
SANTA FE University of Art and Design 1600 St. Michael’s Dr. information: 473-6494 www.thescreensf.com
Bargain Matinees Monday through Friday (First Show ONLY) All Seats $7.50 PASATIEMPOMAGAZINE.COM
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pasa week 26 Friday
THeaTer/DanCe
Dos Cuentos Para la Primavera Interactive bilingual stories for children, 7:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, donations accepted, 424-1601, encores Saturday and Sunday, April 27-28. Invaders of the Heart: Revival Mosaic Dance Company’s annual belly dancing show, 7 p.m., María Benítez Theatre, The Lodge at Santa Fe, 750 N. St. Francis Dr., $25, 986-6164, pomegranatestudio.org. Julesworks Follies The local-talent variety show series continues with Tone Forrest as emcee; Seasoned by Jodi Drinkwater; Digital Edilon by Trent Zelazny; comedian Tom Sibley; Julesworks’ Monty Python Recreation Crunchy Undead Frog Squadron, and others, 7:30 p.m., Santa Fe Playhouse, 142 De Vargas St., $10 suggested donation at the door, 310-9997. Louder Than Words Moving People Dance Theatre’s annual spring show, 7 p.m., 1583 Pacheco St., $15, discounts available, 438-9180, continues through Sunday, April 28. The Mask Messenger Comedy-theater piece presented by Faustwork Mask Theatre, 7 p.m., Center for Contemporary Art and Theater Grottesco’s Eventua series, Muñoz Waxman Gallery, 1050 Old Pecos Trail, $25, students $10, continues Saturday and Sunday, April 27-28, 474-8400 (see story, Page 30). Once on This Island Santa Fe University of Art & Design Documentary Theatre Project students present Lynn Ahrens’ musical, 7 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, 988-1234, ticketssantafe.org, final weekend.
gallery/museum openings
amy Biehl Community school garden 310 Avenida del Sur, 467-2100. Annual showcase of works by area elementary-school students, poetry readings, gift-basket raffle, and light refreshments, 4-7 p.m. Beals & abbate Fine art 713 Canyon Rd., 438-8881. 60/40, sculpture by Gino Miles, reception 5-8 p.m., through May 6. Center for Contemporary arts — spector ripps project space 1050 Old Pecos Trail, 982-1338. Collect 10: Lucky 13, annual fundraising exhibit showcasing New Mexico artists’ works, reception 6-8 p.m., through May 19. gVg Contemporary 202 Canyon Rd., 982-1494. Know Place. Like Home, new paintings by Jennie Kiessling and Lori SchappeYouens, reception 5-7 p.m., through May 17. Hunter-Kirkland Contemporary 200-B Canyon Rd., 984-2111. Three Painters Paint, Peter Burega, Gregory Frank Harris, and Rick Stevens, reception 5-7 p.m., through May 5. independent artists gallery 102 W. San Francisco St., second floor, 983-3376. Photography by Peter Wagner, through May 30. lewallen galleries at the railyard 1613 Paseo de Peralta, 988-3250. Bella Città, architectural urban landscapes by Italian artist Marco Petrus, reception 5:30-7:30 p.m., through June 9 (see story, Page 32). red Dot gallery 826 Canyon Rd., 820-7338. Works by New Mexico School for the Arts senior visual-arts students, reception 5-7 p.m., through May 11. santa Fe art Collector 217 Galisteo St., 988-5545. Bells Are Ringing, work by sculptor Doug Adams, reception 5-7 p.m., through Sunday, April 28. santa Fe Clay 545 Camino de la Familia, 984-1122. The Sum of Its Parts, group show, artist talks 5 p.m., reception 5-7 p.m. a sea gallery 407 S. Guadalupe St., 988-9140. Earth Elements and Healing Gems, work by Elaine Alghani and Matthew Miranda, reception 5-7 p.m. William siegal gallery 540 S. Guadalupe St., 820-3300. Selections, group show of works by gallery artists, reception 5-7 p.m., through May 25. Zane Bennett Contemporary art 435 S. Guadalupe St., 982-8111. European Perspectives: The Radiant Line, group show, reception 5-7 p.m., through May 24.
Pasa’s Little Black Book......... 57 Exhibitionism...................... 58 At the Galleries.................... 59 Libraries.............................. 59 Museums & Art Spaces........ 59 In the Wings....................... 60
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compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com
BooKs/TalKs
El Gancho Racquet Club shows archival pigment prints by Key Sanders, 104 Old Pecos Trail
ClassiCal musiC
music on Barcelona Chamber music and vocal program, 5:30-6:30 p.m., Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., no charge, 424-0994. TgiF piano recital Ron Grinage performs music of Tchaikovsky, Prokofiev, and Scriabin, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated, 982-8544, Ext.16.
Elsewhere............................ 62 People Who Need People..... 63 Under 21............................. 63 Pasa Kids............................ 63 Sound Waves...................... 63
PASATIEMPO I April 26 - May 2, 2013
in ConCerT
Bobby shew Virtuoso jazz trumpeter, with Jim Ahrend on piano, Andy Zadrozny on bass, and John Trentacosta on drums, 7 p.m., KSFR Radio’s Music Café Series, Museum Hill Café, Milner Plaza, 710 Camino Lejo, $20, 428-1527. Joe West’s santa Fe revue The local eclectic folk-rock band celebrates the release of their album Blood Red Velvet, 8 p.m., The Saltine Ramblers open at 7 p.m., Vanessie, 427 W. Water St., $10 at the door, 982-9966.
eve ensler The author reads from In the Body of the World: A Memoir, 7:30 p.m., the Lensic, $30 includes signed copy, students $15, 988-1234. gallery talk Students of SITE Santa Fe’s Young Curators program discuss their works in the exhibit Phantasmagoria, noon, Visual Arts Gallery, Santa Fe Community College, 6401 Richards Ave., 428-1501. mastery of nature in Descartes’ Discourse on Method Lecture by Topi Heikkero, 7:30 p.m., Great Hall, Peterson Student Center, 1160 Camino de Cruz Blanca, no charge, 984-6000. my Favorite poem project Readings by community members including Santa Fe Poet Laureate Jon Davis, Oliver Prezant, and IAIA students, 6 p.m., in celebration of National Poetry Month, Center for Lifelong Education, Institute of American Indian Arts, 83 Avan Nu Po Rd., no charge, 424-2351, iaia.edu (see Subtexts, Page 12).
calendar guidelines Please submit information and listings for Pasa Week
no later than 5 p.m. Friday, two weeks prior to the desired publication date. Resubmit recurring listings every three weeks. Send submissions by mail to Pasatiempo Calendar, 202 E. Marcy St., Santa Fe, NM, 87501, by email to pasa@sfnewmexican.com, or by fax to 820-0803. Pasatiempo does not charge for listings, but inclusion in the calendar and the return of photos cannot be guaranteed. Questions or comments about this calendar? Call Pamela Beach, Pasatiempo calendar editor, at 986-3019; or send an email to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. See our calendar at www.pasatiempomagazine.com, and follow Pasatiempo on Facebook and Twitter.
events
Cambodian orphanage benefit auction Santa Fe Prep hosts its Teen Action Program’s student art and photography auction benefiting Life and Hope Orphanage in Cambodia, 7 p.m., John Gaw Meem Building, 1101 Camino de Cruz Blanca, 982-1829. the Green Gala afterparty Dance party with DJ 13 Pieces, 7 p.m., Eldorado Hotel & Spa, 309 W. San Francisco St., $10 suggested donation at the door, no one turned away, earthcarenm.org. International tai’ Chi Day celebration One-hour class blending Tai’ Chi and Nia techniques, reception with Chinese appetizers follows, 5:45 p.m., StudioNia Santa Fe, 851 W. San Mateo St., $5, 989-1299. Outdoor vision Fest 2013 SFUAD student graphic designers, animators, filmmakers, photographers, and interactive multimedia artists’ works are projected onto the Visual Arts Center accompanied by electro-acoustic music, 8:45-10:45 p.m., 1600 St. Michael’s Dr., no charge, 473-6440. Wesst enterprise Center workshop Geared to individuals ages 50 and older pursuing new job opportunities; job-search options, cover letters, electronic interviews, and help with résumés/interviews, 10 a.m.noon, 3900 Paseo del Sol, Suite 361, no charge, RSVP to Roseanna Perea, rperea@wesst.org.
nIGhtlIFe
(See addresses below) Café Café Los Primos Trio, traditional Latin beats, 6-9 p.m., no cover.
d Wine Bar 315 Restaurant an 986-9190 il, Tra Fe a nt 315 Old Sa shop Betterday Coffee lano Center , So 905 W. Alameda St. nch Resort & spa Bishop’s lodge Ra ., 983-6377 Rd e 1297 Bishops Lodg Café Café 6-1391 500 Sandoval St., 46 ón ¡Chispa! at el Mes 983-6756 e., Av ton ing 213 Wash uthside Cleopatra Café so 4-5644 47 ., Dr o 3482 Zafaran Cowgirl BBQ , 982-2565 319 S. Guadalupe St. o Dinner for tw , 820-2075 106 N. Guadalupe St. at the Pink the Dragon Room a Fe Trail, nt Sa d Ol 6 40 adobe 983-7712 lton el Cañon at the hi 811 8-2 98 , St. al ov nd Sa 0 10 spa eldorado hotel & St., 988-4455 o isc nc Fra n Sa . 309 W el Farol 3-9912 808 Canyon Rd., 98 ill Gr & r Ba o el Pase 2-2848 208 Galisteo St., 99
¡Chispa! at el Mesón The Three Faces of Jazz and friends, featuring Bryan Lewis on drums, 7:30-10:30 p.m., no cover. Cowgirl BBQ Happy Hours with country singer/songwriter Bill Hearne, 5-7:30 p.m.; Felix y Los Gatos, zydeco/Tejano/juke-swing, 8:30 p.m.; no cover. el Cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. hotel santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. la Fiesta lounge at la Fonda Jimmy Stadler Band, Americana/rock, 8-11 p.m., no cover. la Posada de santa Fe Resort and spa Nacha Mendez Trio, pan-Latin music, 6:30-9:30 p.m., no cover. the legal tender Classic rock and country band Tornados, 6-9 p.m., no cover. Revolution Bakery Friday Night Jazz Trio, guitarist Tony Cesarano, percussionist Peter Amahl, and bassist Lenny Tischler, 6-9 p.m., call for cover. Rouge Cat Bella Gigante, one-man show of disco-diva tunes, 8:30 p.m., call for cover. second street Brewery Paw Coal & The Clinkers, string band, 6-9 p.m., no cover. second street Brewery at the Railyard Rocker Stephanie Hatfield and her band, 7-10 p.m., no cover. tiny’s Chris Courtney, 5:30-8 p.m.; The Strange, rock and funk, 8:30 p.m.-close; no cover.
Pasa’s little black book evangelo’s o St., 982-9014 200 W. San Francisc hotel santa Fe ta, 982-1200 1501 Paseo de Peral St., 982-3433 rcy Ma . la Boca 72 W ina la Casa sena Cant 8-9232 98 e., Av e lac Pa E. 5 12 at la Fonda la Fiesta lounge , 982-5511 St. o isc nc Fra n Sa 100 E. a Fe Resort nt sa de da sa Po la e Ave., 986-0000 lac Pa E. 0 33 and spa at the the legal tender eum us M d oa lamy Railr 466-1650 151 Old Lamy Trail, g arts Center in lensic Perform o St., 988-1234 211 W. San Francisc sports Bar & Grill the locker Room 3-5259 47 2841 Cerrillos Rd., the lodge at ge un lodge lo St. Francis Dr., N. 0 at santa Fe 75 992-5800 rider Bar low ’n’ slow low ó ay im Ch l at hote e., 988-4900 125 Washington Av the Matador o St., 984-5050 116 W. San Francisc vern ta t the Mine shaf 473-0743 d, dri Ma , 14 NM 2846
27 Saturday
Talking Heads
GalleRy/MuseuM OPenInGs
Case trading Post —Wheelwright Museum of the american Indian 704 Camino Lejo, Museum Hill, 982-4636. Moderne Classique, Les Namingha’s painted tiles, 10:15 a.m. demonstration, 1:30 p.m. artist lecture. Jane sauer Gallery 652 Canyon Rd., 995-8513. Out of the Blue: Evocative Landscapes, wall panels by fiber artist Judith Content, reception 11 a.m.-4 p.m., through Tuesday, April 30. Revolution Bakery 1291 San Felipe Ave., 988-2100. After Hours: Uncensored Look at Gender Dynamics, paintings by Amina Re, reception 7:30-9:30 p.m., through May 5. santa Fe art Collector 217 Galisteo St., 988-5545. Bells Are Ringing, work by sculptor Doug Adams, reception 10 a.m.-1 p.m. and 3-5 p.m. studio tours: ligia Bouton and Carol anthony The New Mexico Committee of the National Museum of Women in the Arts hosts the event honoring the multimedia artists, 9:30 a.m.-2 p.m., Quail Run Clubhouse, 3101 Old Pecos Trail, $40 includes luncheon, 988-1234, ticketssantafe.org.
OPeRa In hD
the Met live in hD The 2012-2013 season concludes with Handel’s Giulio Cesare,10 a.m. and 6 p.m., the Lensic, $22-$28, student discounts available, ticketssantafe.org, 988-1234.
Molly’s Kitchen & lounge 1611 Calle Lorca, 983-7577 Museum hill Café 710 Camino Lejo, Milner Plaza, 984-8900 Music Room at Garrett’s Desert Inn 311 Old Santa Fe Trail, 982-1851 the Palace Restaurant & saloon 142 W. Palace Ave, 428-0690 the Pantry Restaurant 1820 Cerrillos Rd., 986-0022 Pranzo Italian Grill 540 Montezuma Ave., 984-2645 Pyramid Café 505 W. Cordova Rd., 989-1378 Revolution Bakery 1291 San Felipe Ave., 988-2100 Rouge Cat 101 W. Marcy St., 983-6603 san Francisco street Bar & Grill 50 E. San Francisco St., 982-2044 santa Fe Community Convention Center 201 W. Marcy St., 955-6705 santa Fe sol stage & Grill 37 Fire Pl., solofsantafe.com second street Brewer y 1814 Second St., 982-3030
sIte santa Fe’s young Curators The students discuss their group show Phantasmagoria, noon Friday, April 26, at Santa Fe Community College’s Visual Arts Gallery, 6401 Richard’s Ave., 428-1501. Exhibit closes Tuesday, April 30.
ClassICal MusIC
Canticum novum Chamber Orchestra & Chorus The ensemble concludes its ninth season with music of Boyce, Mozart, Fauré, and le Fleming, vocal soloists include Cecilia Leitner, Deborah Domanski, Javier Gonzalez, and Michael Hix, pre-concert lecture by Oliver Prezant 6 p.m., concert 7 p.m., Cristo Rey Church, 1120 Canyon Rd., $20 and $30, discounts available, ticketssantafe.org, 988-1234, encore Sunday, April 28 (see story, Page 18).
pasa week
continued on Page 61
second street Brewer y at the Railyard Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 989-3278 secreto lounge at hotel st. Francis 210 Don Gaspar Ave., 983-5700 the starlight lounge RainbowVision Santa Fe, 500 Rodeo Rd., 428-7781 stats sports Bar & nightlife 135 W. Palace Ave., 982-7265 steaksmith at el Gancho 104-B Old Las Vegas Highway, 988-3333 sweetwater harvest Kitchen 1512-B Pacheco St., 795-7383 taberna la Boca 125 Lincoln Ave., Suite 117, 988-7102 thunderbird Bar & Grill 50 Lincoln Ave., 490-6550 tiny’s 1005 St. Francis Dr., Suite 117, 983-9817 the underground at evangelo’s 200 W. San Francisco St., 577-5893 upper Crust Pizza 329 Old Santa Fe Trail, 982-0000 vanessie 427 W. Water St., 982-9966 Zia Diner 326 S. Guadalupe St., 988-7008
PASATIEMPOMAGAZINE.COM
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exhibitionism
A peek at what’s showing around town
miquel mont: II, 2002, woodcut and lithograph on Johannot vellum. Zane Bennett Contemporary Art (435 S. Guadalupe St.) presents European Perspectives: The Radiant Line, an exhibition of paintings, neon sculptures, prints, and photographs by eight contemporary European artists, including François Morellet, Tony Soulié, and Miquel Mont. The artists emphasize line, light, and color in their work. The show opens Friday, April 26, with a reception at 5 p.m. Call 982-8111.
Uta barth: Untitled, from nowhere near (nw 19), panel from triptych, 1999, color photograph on panel. Again: Repetition, Obsession, and Meditation in the Lannan Collection is a show of work by Renate Aller, Stuart Arends, Uta Barth, and other artists who deal with repetitive imagery, themes, and materials. The Lannan Gallery is at 309 Read St. and is open from noon to 5 p.m. on the weekends and by appointment. The show runs through June 16. Call 954-5149.
eliza Au: Axis, 2013, ceramic, wax, and metal pins. Eight ceramic artists present their work in The Sum of Its Parts, an exhibit of sculptures composed of multiple parts, at Santa Fe Clay. The show includes work by Eliza Au, Jae Won Lee, and Del Harrow. Abstract pieces, representational work, and functional wares are included. The show opens with a 5 p.m. reception on Friday, April 26. The gallery is at 545 Camino de la Familia. Call 984-1122.
Peter Wagner: Plaza-Blanca, Abiquiú, 2012, photograph. Peter Wagner’s photographs have soft, painterly tones and colors that accentuate the atmospheric quality of his subjects. His work is on view at the Independent Artists Gallery (102 W. San Francisco St., upstairs) from Friday, April 26. There is no reception. Call 983-3376.
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PASATIEMPO I April 26 - May 2, 2013
Josh Zimmer: Untitled (Burma), 2012, photograph. Students have an opportunity to show their work in a gallery setting on Canyon Road: the New Mexico School for the Arts Senior Class Visual Arts Exhibition at Red Dot Gallery opens with a 5 p.m. reception on Friday, April 26. The gallery is at 826 Canyon Road. Call 820-7338.
At the GAlleries Arroyo Gallery 200 Canyon Rd., 988-1002. Selections: Interpretations of Nature, paintings by Pedro Surroca, through Sunday, April 28. Blue Rain Gallery 130-C Lincoln Ave., 954-9902. Invitational Group Show, through Tuesday, April 30. Charlotte Jackson Fine Art 554 S. Guadalupe St., 989-8688. Mindspace, new work by William Metcalf, through Tuesday, April 30. Commissioner’s Gallery — New Mexico State Land Office 310 Old Santa Fe Trail, 827-5762. Landscapes by photographer Woody Galloway, through Tuesday, April 30. El Gancho Racquet Club 104 Old Las Vegas Highway, call 660-3425 for information. Recent Landscapes and Botanicals, archival pigment prints by Key Sanders, through Tuesday, April 30. Evoke Contemporary 130-F Lincoln Ave., 995-9902. Paintings by Pamela Wilson; video installation of the artist’s profile film by Carlo Zanella, through Tuesday, April 30. LewAllen Galleries at the Railyard 1613 Paseo de Peralta, 988-3250. Failure, new work by Kris Cox, through Sunday, April 28. Santa Fe Community College School of Arts and Design Visual Arts Gallery 6401 Richards Ave., call SITE Santa Fe for information, 989-1199. Phantasmagoria, young artist group show, presented by SITE Santa Fe’s Young Curators Program, through Tuesday, April 30. Touching Stone Gallery 539 Old Santa Fe Trail, 988-8072. Tanba Modernism, pottery by Keiichi Shimizu, through Saturday, April 27. Verve Gallery of Photography 219 E. Marcy St., 982-5009. Works by Henry Horenstein, Linda Ingraham, and Brigitte Carnochan, through May 4. William R. Talbot Fine Art, Antique Maps & Prints 129 W. San Francisco St., second floor, 982-1559, Missions & Moradas of New Mexico 1922-2012, modernist and contemporary works, through Saturday, April 27. Zane Bennett Contemporary Art 435 S. Guadalupe St., 982-8111. Unfolding Time, paintings by Michael Freitas Wood, through Monday, April 29.
liBrAries Beaumont and Nancy Newhall Library Marion Center for Photographic Arts, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5052. Open by appointment only. Catherine McElvain Library School for Advanced Research, 660 Garcia St., 954-7200. Open Monday-Friday, call for hours. Chase Art History Library Thaw Art History Center, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 473-6569. Open Monday-Friday, call for hours. Faith and John Meem Library St. John’s College, 1160 Camino de Cruz Blanca, 984-6041. Visit stjohnscollege.edu for hours of operation. $20 fee to nonstudents and nonfaculty. Fray Angélico Chávez History Library Palace of the Governors, 120 Washington Ave., 476-5090. Open 1-5 p.m. Tuesday-Friday. Laboratory of Anthropology Library Museum of Indian Arts & Culture, 476-1264. Open 1-5 p.m. Monday-Friday, by museum admission.
Life Line #1, by Derek No-sun Brown, in the Museum of contemporary Native Arts exhibit Golden
New Mexico State Library 1209 Camino Carlos Rey, 476-9700. Upstairs (state and federal documents and books) open noon-4:30 p.m. Monday-Friday; downstairs (Southwest collection, archives, and records) open 9 a.m.-4:30 p.m. Monday-Friday. Quimby Memorial Library Southwestern College, 3960 San Felipe Rd., 467-6825. Rare books and collections of metaphysical materials. Open Monday-Friday, call for hours. Santa Fe Community College Library 6401 Richards Ave., 428-1352. Open MondayFriday, call for hours. Santa Fe Institute 1399 Hyde Park Rd., 984-8800. Open 1-5 p.m. Monday-Friday to current students (call for details). Visit santafe.edu/library for online catalog. Santa Fe Public Library, Main Branch 145 Washington Ave., 955-6780. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday-Saturday, 1-5 p.m. Sunday. Santa Fe Public Library, Oliver La Farge Branch 1730 Llano St., 955-4860. Open 10 a.m.-8 p.m. Monday-Wednesday, 10 a.m.6 p.m. Thursday-Saturday. Closed Sunday. Santa Fe Public Library, Southside Branch 6599 Jaguar Dr., 955-2810. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday-Saturday. Closed Sunday. Supreme Court Law Library 237 Don Gaspar Ave., 827-4850. Online catalog available at supremecourtlawlibrary.org. Open 8 a.m.-5 p.m. Monday-Friday.
MuseuMs & Art spAces refer to the daily calendar listings for special events. Museum hours subject to change on holidays and for special events. Center for Contemporary Arts 1050 Old Pecos Trail, 982-1338. Collect 10: Lucky 13, annual fundraising exhibit showcasing New Mexico artists’ works, reception 6-8 p.m. Friday, April 26, through May 19, Spector Ripps Project Space • The Big Hoot, large-scale drawings by Larry Bob Phillips and David Leigh, through May 5, Muñoz Waxman Front Gallery. Gallery hours available online at ccasantafe.org or by phone, no charge.
Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Annie Leibovitz: Pilgrimage, through May 5 • Georgia O’Keeffe and the Faraway: Nature and Image, through May 5. Open 10 a.m.5 p.m. Saturday-Thursday, 10 a.m.-7 p.m. Fridays. $12; seniors $10; NM residents $6; students18 and over $10; under 18 no charge; NM residents free 5-7 p.m. first Friday of the month. Museum of Contemporary Native Arts 108 Cathedral Pl., 983-8900. Golden, annual Institute of American Indian Arts student exhibit • Thicker Than Water, lens-based group show • Burial, mixed media by Jason Lujan, all exhibits through May 12. Open 10 a.m.-5 p.m. Monday and Wednesday-Saturday, noon-5 p.m. Sunday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays. Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 476-1250. What’s New in New: Recent Acquisitions, annual exhibit celebrating the gallery’s namesake, Lloyd Kiva New, through 2013 • Woven Identities: Basketry Art From the Collections • Margarete Bagshaw: Breaking the Rules, 20-year retrospective • Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Let’s Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month. Open 10 a.m.-5 p.m. TuesdaySunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents no charge on Sundays; free to NM residents over 60 on Wednesdays. Museum of International Folk Art 706 Camino Lejo, Museum Hill, 476-1200. Plain Geometry: Amish Quilts, textiles from the museum’s collection and collectors, through Sept. 2 • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, international collection of toys and traditional folk art. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; no charge for NM residents on Sundays. Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 982-2226. Metal and Mud — Iron and Pottery, works by Spanish Market artists, through Tuesday,
April 30 • Traditional Southwest-style blanket chest hand-carved by 6th-graders of the Santa Fe Girls’ School, on view 10 a.m.5 p.m. Friday, April 26 • Stations of the Cross, group show of works by New Mexico artists, through Sept. 2 • Filigree and Finery: The Art of Spanish Elegance, an exhibit of historic and contemporary jewelry, garments, and objects, through May 27 • San Ysidro/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, Colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late Colonial period re-creation. Open 10 a.m.-5 p.m. TuesdaySunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays. New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 476-5200. Celebration of the Book, Santa Fe Book Arts Group’s display of hand-made book art, origami, bookmarks, and pop-up cards, 10 a.m.-4 p.m. Thursday-Saturday, May 2-4 in the Meem Community Room, 120 Washington Ave. • Cowboys Real and Imagined, artifacts and photographs from the collection, through March 16, 2014 • Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author, through Feb. 9, 2014. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; no charge for school groups; no charge on Wednesdays for NM residents over 60; NM residents no charge on Sundays; free admission 5-8 p.m. Fridays. New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Mont St. Michel and Shiprock, Santa Fe photographer William Clift’s landscape studies, through Sept. 8 • Back in the Saddle, collection of paintings, prints, photographs, and drawings of the Southwest, through Sept. 15 • It’s About Time: 14,000 Years of Art in New Mexico, through January 2014. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; no charge for NM residents on Sundays. Poeh Museum 78 Cities of Gold Rd., Poeh Center Complex, Pueblo of Pojoaque, 455-3334. Creativity Revisited, silver anniversary of the museum’s permanent collection, through July13. Open 8 a.m.-5 p.m. Monday-Friday; 9 a.m.-4 p.m. Saturday; donations accepted. Rotunda Gallery State Capitol, Old Santa Fe Trail and Paseo de Peralta, 986-4589. New Mexico: Unfolding, group show of mixed-media fiber art, through Aug. 16. SITE Santa Fe 1606 Paseo de Peralta, 989-1199. State of Mind: New California Art Circa 1970, conceptual and avant-garde works of the late ’60s and ’70s • Linda Mary Montano: Always Creative, interactive performance • Mungo Thomson: Time, People, Money, Crickets, multimedia installation; through May 19. Open 10 a.m.-5 p.m. Tuesday-Saturday; 10 a.m.-7 p.m. Friday; noon-5 p.m. Sunday. $10; seniors and students $5; Fridays no charge. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 982-4636. Moderne Classique, tile paintings by Les Namingha, opening Saturday, April 27, 10:15 a.m. demonstration and 1:30 p.m. artist lecture, Case Trading Post. Open 10 a.m.-5 p.m. Monday-Saturday, 1-5 p.m. Sunday. Docent tours 2 p.m. Mondays, Wednesdays, Fridays, and Saturdays.
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In the wings MUSIC
Roshan Bhartia Sitar recital, 8 p.m. Friday, May 3, Gig Performance Space, 1808 Second St., $15 at the door, gigsantafe.com. Borromeo String Quartet Music of Stravinsky, Beethoven, and Dvoˇrák, 7 p.m. Saturday, May 4, Duane Smith Auditorium, Los Alamos, $30, 988-1234, ticketssantafe.org. Darius Brubeck The jazz pianist (son of the late Dave Brubeck) performs with local ensemble Straight Up and vocalist Maura Dhu Studi in a benefit concert for The Humankind Foundation, 4 p.m. Sunday, May 5, the Lensic, $25-$45, ticketssantafe.org, 988-1234. Serenata of Santa Fe The chamber music ensemble in Gate Into Infinity, 6 p.m. Sunday, May 5, Junior Common Room, St. John’s College, 1160 Camino de Cruz Blanca, $20, discounts available, 988-1234, ticketssantafe.org.
HAPPENINgS
Santa Fe Women’s Ensemble Fiesta de Musica, music of Casals and Victoria, and international folk songs, 3 p.m. Saturday, June 1, First Presbyterian Church of Santa Fe; 3 p.m. Sunday, June 2, Immaculate Heart of Mary Retreat and Conference Center Chapel; $25, discounts available, 954-4922. Emmylou Harris and Rodney Crowell The former bandmates reunite in support of their album, Old Yellow Moon, 7 p.m. Saturday, June 15, The Downs of Santa Fe, $40, ages 14 and under $10, 988-1234, ticketssantafe.org. Santa Fe Bandstand Outside In Productions and the City of Santa Fe present the 11th annual free performance series featuring national and local performers on the Plaza community stage June 21, weekly through Aug. 23. Eliza Gilkyson, A Hawk & A Hawksaw, and Max Baca y Los Texmaniacs round out the line-up. Schedules and updates available online at santafebandstand.org.
THEATER/DANCE
Julie Brett Adams on stage may 17-19, at the santa Fe playhouse; © paulo t. photography
Sangre de Cristo aChorale The 45-member chorale presents Celebrating Our Past, Present and Future, 3 p.m. Sunday, May 12, First Presbyterian Church of Santa Fe, 208 Grant Ave., $20, ticketssantafe.org, 988-1234. CrawDaddy Blues Fest Featuring Junior Brown and Mississippi Rail Company, noon-7 p.m. Saturday and Sunday, May 18-19, under the tent at the Madrid Museum Park, 2846 NM 14, Madrid, $15 in advance and at the tent, ages 12 and under no charge, 473-0743. Santa Fe Symphony Orchestra and chorus Orff’s Carmina Burana, 5 p.m. Saturday, May 18, 4 p.m. Sunday, May 19, featuring soprano Mary Wilson, tenor Sam Shepperson, and baritone Jeremy Kelly; pre-concert lectures 3 p.m.; the Lensic, $20-$70, ticketssantafe.org, 988-1234. Lyle Lovett and Robert Earl Keen An acoustic evening with the Texas musicians, 7 p.m. Sunday, May 26, Santa Fe Opera, 301 Opera Dr., $27-$89, santafeopera.org, 986-5900.
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PASATIEMPO I April 26 - May 2, 2013
Upcoming events
Trey McIntyre Project The contemporary dance company presents Arrantza, Pass, Away, and Queen of the Goths, 7:30 p.m. Friday and Saturday, May 3-4, the Lensic, $20-$45, discounts available, ticketssantafe.org, 988-1234. See/Saw The circus-arts troupe Wise Fool New Mexico presents an outdoor event at the Railyard, 8 p.m. Friday, 1 and 8 p.m. Saturday, May 3-4, wisefoolnewmexico.org, donations accepted. Venus in Fur Aux Dog Theater presents the comedy by David Ives, 8 p.m. Friday and Saturday, 6 p.m. Sunday, May 3-5, Teatro Paraguas Studio, 3205 Calle Marie, $15, 505-254-7716. National Theatre of London in HD The series continues with This House, a play about Parliament by James Graham, 7 p.m. Thursday, May 16, the Lensic, $22, student discounts available, 988-1234, ticketssantafe.org. If a Door Opens: a Journey With Frances Perkins Metta Theatre presents the docudrama by Charlotte Keefe, 7:30 p.m. Friday and Saturday, 2 p.m. Sunday, May 17-19, Teatro Paraguas Studio, 3205 Calle Marie, $15, discounts available, 424-1601. Julie Brette Adams One Woman Dancing 2013, 8 p.m. Friday and Saturday, 2 p.m. Sunday, May 17-19, Santa Fe Playhouse, 142 De Vargas St., $20, 986-1801. 8: a reading Santa Fe Performing Arts Adult Company presents a reading of the new play by Academy Award-winning screenwriter Dustin Lance Black chronicling the legal challenge to California’s Proposition 8 state constitutional amendment, 7 p.m. Saturday, May 18, Armory for the Arts, 1050 Old Pecos Trail, $60, preferred seating and admission to after-party $125, 984-1370.
2013 Jewish Arts Festival May 3-5, includes multimedia works, gala reception, and music, Temple Beth Shalom, 205 E. Barcelona Rd., art show and sale no charge, gala reception $10 in advance and at the door, for events schedule and to view the artists’ work visit tbsartfest.org. La Tierra Torture Mountain-bike race; 9 a.m. Saturday, 4- and 9.5-mile courses, May 4, La Tierra open space, for fees, prize information, and registration visit latierratorture.com. Celebrate Wisdom of Many Mothers Appetizer/wine reception, silent auction, and panel discussion moderated by Valerie Plame Wilson, panelists include journalist Anne Goodwin Sides and sculptress Christine McHorse, 4-6:30 p.m. Friday, May 3, Santa Fe Farmers Market Pavilion, $40, 983-5984, manymothers.org. Haute Flea New Mexico Museum of International Folk Art’s 60th anniversary celebration; food and wine, silent auction, and live music, 5:30 p.m. Friday, May 3, $60 in advance at the museum gift shop, 706 Camino Lejo, Museum Hill; Museum of New Mexico Foundation Shops, 877-567-7380; or online at worldfolkart.org. Peter Sarkisian: Video Works 1994-2011 Retrospective exhibit of video and mixed-media installations, free opening reception Friday, May 3, New Mexico Museum of Art, 107 W. Palace Ave., 476-5072. Paws for a Cause Annual fundraiser for the Santa Fe Animal Shelter & Humane Society and the St. Vincent Hospital Foundation; 7 a.m.-1 p.m. Saturday, May 4, outdoor activities for dog owners, pet contests, vendor market, and 10-K run and 5-K dog walk, Bicentennial Park, 1043 Alto St., registration $20 in advance; $25 day of event; kids under 12 no charge; register online at active.com or call 983-4309, Ext. 203. 2013 Institute of American Indian Arts Pow Wow Annual all-day event beginning at 11 a.m. Saturday, May 4, dance and drum contests, and vendor booths; 83 Avan Nu Po Rd., no charge, 424-2300.
Savor the Flavor Nonprofit organization Delicious New Mexico and the Museum of International Folk Art present an event 10 a.m.-5 p.m. Sunday, June 2, in conjunction with the exhibit New World Cuisine: The Histories of Chocolate, Mate y Más; includes food booths, a cooking demonstration with chef Rocky Durham, a book fair, baking demonstrations on an outdoor horno, and beer and wine tastings ($20), Museum Hill, by museum admission, call 505-217-2473 for more information. SITE Santa Fe events The experimental exhibit series SITElab, presented primarily in the lobby gallery space, begins Saturday, June 8 with Marco Brambilla: Creation (Megaplex); other shows are scheduled in November, December, and January 2014. Enrique Martínez Celaya: The Pearl opens July 12; My Life in Art series (held at the Armory for the Arts) begins with Lowery Stokes Sims with Jaune Quick-to-See Smith July 16, visit sitesantafe.org for updates. Santa Fe Opera opening night benefit The opening-night performance of Offenbach’s The Grand Duchess of Gérolstein is preceded by a gala buffet dinner and a talk by Tom Franks, Friday, June 28, Dapples Pavilion, 301 Opera Dr., $80, hosted by the Santa Fe Opera Guild, 629-1410, Ext. 113, guildsofsfo.org. Santa Fe Opera tailgate contest Held opening night Friday, June 28; prizes in several categories, only ticketholders eligible; visit santafeopera.org for information about categories, prizes, celebrity judges, and how to enter. Santa Fe Opera The season opens Friday, June 28, with Offenbach’s The Grand Duchess of Gérolstein; other offerings include the premiere of Theodore Morrison’s Oscar, SFO’s first mounting of Rossini’s La Donna del Lago, and two revivals, Mozart’s The Marriage of Figaro and Verdi’s La Traviata; also, two special concerts honoring Wagner, Britten, and Stravinsky; call 986-5900 or visit santafeopera.org for tickets and details on all SFO events.
mississippi Rail company joins the lineup at the crawDaddy Blues Fest in madrid may 18-19.
pasa week
from Page 57
27 Saturday (continued) in concert
David Berkeley The local author and singer/songwriter performs from his album Some Kind of Cure and reads excerpts from his book 140 Goats and a Guitar: The Stories Behind Some Kind of Cure, 5-7 p.m., Collected Works Bookstore, 202 Galisteo St., no charge, 988-4226. ozomatli The Los Angeles-based Latin-fusion band performs in Santa Fe University of Art & Design’s Artists for Positive Social Change series, opening acts include two student bands beginning at 7:30 p.m., doors open at 6 p.m., 1600 St. Michael’s Dr., no charge, but tickets are required and available at the Lensic, 988-1234. Women’s World of Harmony Songwriters Lisa Carman and Gary Paul Hermes, Earth Heart, and Eryn Bent, 7 p.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $10 at the door, 983-5022.
tHeater/Dance
Dos Cuentos Para la Primavera Interactive bilingual stories for children, 7:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, donations accepted, 424-1601, encore Sunday, April 28. Louder Than Words Moving People Dance Theatre’s annual spring show, 2 and 7 p.m., 1583 Pacheco St., $15, discounts available, 438-9180. The Mask Messenger Comedy-theater piece presented by Faustwork Mask Theatre, 7 p.m., part of Center for Contemporary Art and Theater Grottesco’s Eventua series, Muñoz Waxman Gallery, 1050 Old Pecos Trail, $25, students $10, continues Sunday, April 28, 474-8400 (see story, Page 30). Once on This Island Santa Fe University of Art & Design Documentary Theatre Project students present Lynn Ahrens’ musical, 7 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, 988-1234, ticketssantafe.org, final weekend.
Books/talks
Medea Benjamin The Code Pink activist speaks on Drone Warfare: Killing by Remote Control, 7 p.m., Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., no charge, 982-9674. opera Breakfast lecture Mary Kime discusses Handel’s Giulio Cesare, a pre-opera lecture series in conjunction with The Met at the Lensic season, 8:30 a.m., Collected Works Bookstore, 202 Galisteo St., $5 donation at the door, 988-4226.
events
2013 sustainable santa Fe awards ceremony Recipients include Climate Masters students’ Solarize the Roundhouse project; Santa Fe Citizens Climate Lobby; and urban farm Gaia Gardens; 6 p.m., Eldorado Hotel & Spa gallery space, 309 W. San Francisco St., no charge, call the City of Santa Fe public information/multimedia administrator Jodi McGinnis Porter for details, 955-6045. earth Week and solar Fiesta Santa Fe Community College hosts a variety of free events through Sunday, April 28, 6401 Richards Ave., visit nmsolarfiesta.org for full schedule. the Flea at el Museo 8 a.m.-3 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia, santafeflea.com, 982-2671, final weekend.
Pueblo of tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through the year. santa Fe artists Market 8 a.m.-1 p.m. Saturdays at the Railyard park across from the Farmers Market through November, 310-1555. santa Fe Farmers Market 8 a.m.-1 p.m., 1607 Paseo de Peralta, 983-4098. santa Fe Public library book sale Special books in the Southwest Room and discount books in the Tatum Room, noon4 p.m., Main Branch, 145 Washington Ave., 955-6780, continues Sunday, April 28. spring Garden Fair Plant sale with lectures, clinics, kids activities, and food vendors, 10 a.m.-4 p.m., Santa Fe County Fairgrounds, 3229 Rodeo Rd., details online at sfmga.org.
niGHtliFe
(See Page 57 for addresses) ¡chispa! at el Mesón John Rangel’s jazz quartet, 7:30 p.m.-close, no cover. cowgirl BBQ Bluegrass band Mystic Lizard, 2-5 p.m.; Broomdust Caravan, juke joint honky-tonk and biker bar rock, 8:30 p.m.-close; no cover. el cañon at the Hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. evangelo’s Led Zeppelin tribute band Moby Dick, 9 p.m., call for cover. la Fiesta lounge at la Fonda Jimmy Stadler Band, Americana/rock, 8-11 p.m., no cover. la Posada de santa Fe resort and spa Jazz vocalist Whitney and guitarist Pat Malone, 6-9 p.m., no cover. second street Brewery Roots-rock duo Man No Sober, 6-9 p.m., no cover. second street Brewery at the railyard Hot Honey, singer/songwriters Lucy Barna, Paige Barton, and Lori Ottino, 7-10 p.m., no cover. sweetwater Harvest kitchen Hawaiian slack-key guitarist John Serkin, 6 p.m., no cover. tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m.-close, no cover. vanessie Stu MacAskie Trio, jazz, 7:30 p.m.-close, call for cover.
28 Sunday oPera in HD
Performance at the screen The broadcast series continues with Tchaikovsky’s Eugene Onegin at London’s Royal Opera House, 11 a.m., SFUAD, 1600 St. Michael’s Dr., $20, discounts available, 473-6494.
classical Music
canticum novum chamber orchestra & chorus Music of Boyce, Mozart, Fauré, and le Fleming, vocal soloists include Cecilia Leitner, Deborah Domanski, Javier Gonzalez, and Michael Hix, pre-concert lecture by Oliver Prezant 2 p.m., concert 3 p.m., Cristo Rey Church, 1120 Canyon Rd., $20 and $30, discounts available, ticketssantafe.org, 988-1234 (see story, Page 18).
Blue Rain Gallery shows paintings of Ed Sandoval, 130-C Lincoln Ave.
in concert
Moon river & Me Ken Brown sings the Andy Williams Songbook backed by the Bert Dalton Trio, 6 p.m. today and Monday, April 29, La Casa Sena Cantina, $25, 988-9232.
tHeater/Dance
collected Works open mic Unpublished poets, writers, acoustic musicians, and stage performers, 3-4:30 p.m., sign up at 2:45 p.m. for 10-minute spots, Collected Works Bookstore, 202 Galisteo St., no charge, 988-4226. Dos Cuentos Para la Primavera Interactive bilingual stories for children, 2 p.m., Teatro Paraguas Studio, 3205 Calle Marie, donations accepted, 424-1601. Louder Than Words Moving People Dance Theatre’s annual spring show, 2 p.m., 1583 Pacheco St., $15, discounts available, 438-9180. The Mask Messenger Comedy-theater piece presented by Faustwork Mask Theatre, 4 p.m., part of Center for Contemporary Art and Theater Grottesco’s Eventua series, Muñoz Waxman Gallery, 1050 Old Pecos Trail, $25, students $10, 474-8400 (see story, Page 30). Once on This Island Santa Fe University of Art & Design Documentary Theatre Project students present Lynn Ahrens’ musical, 2 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, 988-1234, ticketssantafe.org.
Books/talks
can our society act to Protect rivers From continued De-watering? Steve Harris discusses the Río Chama Flow Project, 11 a.m., Collected Works Bookstore, 202 Galisteo St., contact JourneySantaFe for details, 474-1457.
events
comfort Food classic Gerard’s House fundraiser; cook-off with local chefs including Rocky Durham and Ahmed Obo; also,
silent auction and raffle, 1-3 p.m., La Posada de Santa Fe Resort and Spa, 330 E. Palace Ave., $50, 424-1800, gerardshouse.org. the Flea at el Museo 10 a.m.-4 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia, santafeflea.com, 982-2671, final weekend. international folk dances 6:30-8 p.m. weekly, followed by Israeli dances 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, beginners welcome. Pueblo of tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com. railyard artisans Market Balladeer Michael J. Combs 10 a.m.-4 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 983-4098, railyardartmarket.com, market 10 a.m.-4 p.m. weekly. santa Fe Public library book sale Bag day in the Tatum Room, 1-3:30 p.m., Main Branch, 145 Washington Ave., 955-6780.
niGHtliFe
(See Page 57 for addresses) cowgirl BBQ Joe West and friends, eclectic folk/gospel, noon-3 p.m.; singer/songwriter Ray Tarantino, 8 p.m., no cover. el Farol Nacha Mendez and guests, pan-Latin music, 7 p.m.-close, no cover. la Fiesta lounge at la Fonda La Fonda Talent Showcase, any music genre, stand-up comedy, and more welcome, $25 to the winners, 7-10 p.m., no cover. second street Brewery at the railyard Bill Hearne Trio, roadhouse honky-tonk, 1-3 p.m., no cover. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM
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29 Monday in concert
Moon river & Me Ken Brown sings the Andy Williams Songbook backed by the Bert Dalton Trio, 6 p.m., La Casa Sena Cantina, $25, 988-9232.
books/talks
art of the Mimbres: What is its Meaning? A Southwest Seminars lecture with anthropology professor Pat Gilman, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775.
nightlife
(See Page 57 for addresses) cowgirl bbQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover. la casa sena cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la fiesta lounge at la fonda Latin band Agüeybana, 7:30-11 p.m., no cover. Vanessie Bob Finnie, pop standards piano and vocals, 6:30 p.m.-close, no cover.
30 Tuesday books/talks
2013 glyph literary Magazine SFUAD literary-award winning students celebrate the annual publication with readings, 7 p.m., O’Shaughnessy Performance Space, 1600 St. Michael’s Dr., no charge, 473-6200. ana Pacheco The Santa Fe author and columnist for The New Mexican reads from and signs copies of Legendary Locals of Santa Fe, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.
eVents
fiesta court competition Contestants vie for the roles of Don Diego de Vargas and La Reina de la Fiesta de Santa Fe, 7:30 p.m., the Lensic, $5, ticketssantafe.org, 988-1234. international folk dances Lesson 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, or 983-3168, beginners welcome.
nightlife
(See Page 57 for addresses) ¡chispa! at el Mesón Argentine Tango Milonga, 7:30-11 p.m., call for cover. cowgirl bbQ Americana/folk-rock singer/songwriter Stephanie Fix, 8 p.m., no cover. el farol Canyon Road Blues Jam, with Tiho Dimitrov, Brant Leeper, Mikey Chavez, and Tone Forrest, 8:30 p.m.-midnight, no cover. la casa sena cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la fiesta lounge at la fonda Latin band Agüeybana, 7:30-11 p.m., no cover. second street brewery at the railyard Acoustic open-mic nights with Case Tanner, 7:30-10:30 p.m., no cover. tiny’s Mike Clymer of 505 Bands’ acoustic open-mic night, 8:30 p.m., no cover. Vanessie Bob Finnie, pop standards piano and vocals, 6:30 p.m.-close, no cover.
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PASATIEMPO I April 26 - May 2, 2013
Commissioner’s Gallery shows photographs by Woody Galloway, closing Tuesday, April 30, New Mexico State Land Office, 310 Old Santa Fe Trail
1 Wednesday
2 Thursday
gallery/MuseuM oPenings
gallery/MuseuM oPenings
carol kucera gallery 112 W. San Francisco St., Suite 107, 866-989-7523. Work by Santo Domingo Pueblo potter Julian Coriz, through May.
in concert
sfuaD student ensembles Contemporary Music Department’s Celtic Ensemble and Acoustic Americana Ensemble, 7 p.m., O’Shaugnessy Performance Space, 1600 St. Michael’s Dr., no charge.
books/talks
artist talk Visiting artists from the Brooklynbased art collective CHERYL discuss their work in conjunction with Center for Contemporary Art and Theater Grottesco’s Eventua series, 4 p.m., Tipton Hall, SFUAD, 1600 St. Michael’s Dr., no charge, call 982-1338 for details. taos society of artists: oscar berninghaus The New Mexico Museum of Art docent talks series continues, 12:15 p.m., 107 W. Palace Ave., by museum admission, 476-5072.
nightlife
(See Page 57 for addresses) ¡chispa! at el Mesón Flamenco guitarist Joaquin Gallegos, 7-9 p.m., no cover. cowgirl bbQ Alt-roots singer/songwriter Sean Ashby, 8 p.m., no cover. el farol Salsa Caliente, 9 p.m., no cover. la fiesta lounge at la fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover. la Posada de santa fe resort and spa Wily Jim, Western swingabilly, 7 p.m., no cover. the Pantry restaurant Acoustic guitar and vocals with Gary Vigil, 5:30-8 p.m., no cover. tiny’s Mike Clymer of 505 Bands’ electric jam, 7 p.m., no cover. Vanessie Santa Fe Songwriter Night, featuring Sean Healen and SFUAD students, 7-11 p.m., call for cover.
galerie Züger 120 W. San Francisco St., 984-5099. Work by Father John Giuliani, reception 4-7 p.m. Meem community room — new Mexico history Museum Fray Angélico Chávez History Library, 120 Washington Ave., Celebration of the Book, Santa Fe Book Arts Group’s display of hand-made book art, 10 a.m.-4 p.m., through May 4, no charge, 476-5200.
in concert
sfuaD student concerts Contemporary Music Department’s Balkan/ Mideast Ensemble and African Drum Ensemble, 7 p.m., O’Shaughnessy Performance Space, 1600 St. Michael’s Dr., no charge.
theater/Dance
Eureka! National Dance Institute New Mexico’s sciencethemed end-of-school event showcasing Santa Fe Public School students; 6 p.m., The Dance Barns, 1140 Alto St., call 983-7661 for tickets, encore May 3-4. Womens Voices II opening night Santa Fe Rep presents a production by local playwrights and actors; also, students of Santa Fe University of Art & Design and New Mexico School for the Arts, 7:30 p.m., Warehouse 21, 1614 Paseo de Peralta, $18, discounts available, 629-6517, sfrep.org, encores Saturday and Sunday, May 4-5.
books/talks
new Mexico arts commission Meeting 1-3 p.m., open to the public, New Mexico Arts, Bataan Memorial Building, 407 Galisteo St., call 827-6490 for a copy of the meeting agenda, no charge.
nightlife
(See Page 57 for addresses) ¡chispa! at el Mesón John Carey and Friends, New Orleans-style jazz and blues, 7-9 p.m., no cover. cowgirl bbQ Antique-pop duo Victor & Penny, ukulele and guitar, 8 p.m., no cover.
evangelo’s Guitarist Little Leroy with Mark Clark on drums and Tone Forrest on bass, 9 p.m.-close, call for cover. la boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover. la fiesta lounge at la fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover. la Posada de santa fe resort and spa Pat Malone Jazz Trio with Kanoa Kaluhiwa on saxophone, Asher Barreras on bass, and Malone on guitar, 6 p.m., Staab House Salon, no cover. the legal tender Buffalo Nickel Two, boot scootin’ tunes, 6-9 p.m., free dance lesson at 7 p.m., no cover. the Matador DJ Inky spinning soul/punk/ska, 8:30 p.m.-close, no cover. steaksmith at el gancho Mariachi Sonidos del Monte, 6:30-8 p.m., no cover. Vanessie David Correa and Cascada, Latin music, 6:30 p.m.-close, call for cover.
▶ Elsewhere albuquErquE Museums/art spaces
516 arts 516 Central Ave. S.W., 505-242-1445. Flatlanders & Surface Dwellers, international multimedia show, through June 1 (see review, Page 36). indian Pueblo cultural center 240112th St. N.W., 866-855-7902. Challenging the Notion of Mapping, Zuni map-art paintings, through August. Open 9 a.m.-5 p.m. daily; adults $6; NM residents $4; seniors $5.50. unM art Museum Center for the Arts Building, 505-277-4001. Speak to Me, annual graduate show, through May 4 • In the Wake of Juarez: Drawings of Alice Leora Briggs • Bound Together: Seeking Pleasure In Books, group show • Martin Stupich: Remnants of First World, inkjet prints, through May 25. Open 10 a.m.4 p.m. Tuesday-Saturday; $5 suggested donation.
events/Performances
new Mexico Philharmonic Celebrating 100 years of Stravinsky’s The Rite of Spring; also, music of Debussy and Copland, 6 p.m. Saturday, April 27, Popejoy Hall Center for the Arts, UNM, $19.50-$68.50, unmtickets.com. sunday chatter The ensemble performs music of Mozart and Schoenberg, 10:30 a.m. Sunday, April 28; plus, a poetry reading by Ken Gurney, The Kosmos, 1715 Fifth St. N.W., chatterchamber.org, $15 at the door, discounts available.
los alamos Museums/art spaces
Mesa Public library art gallery 2400 Central Ave., 662-8250. Underground of Enchantment, traveling group show of 3-D photographs of New Mexico’s Lechuguilla Cave of Carlsbad Caverns National Park, through May 29. Pajarito environmental education center 3540 Orange St., 662-0460. Underground of Enchantment, traveling group show of 3-D photographs of New Mexico’s Lechuguilla Cave of Carlsbad Caverns National Park, through May 29. Exhibits of flora and fauna of the Pajarito
Plateau; live amphibians, an herbarium, and butterfly and xeric gardens. Open noon-4 p.m. Tuesday-Friday, 10 a.m.-1 p.m. Saturday, no charge.
taos Museums/Art Spaces
Harwood Museum of Art 238 Ledoux St., 575-758-9826. Red Willow: Portraits of a Town • Eah-Ha-Wa (Eva Mirabal)and Jonathan Warm Day Coming • Eli Levin: Social Realism and the Harwood Suite; exhibits celebrating Northern New Mexico, through May 5. Open 10 a.m.5 p.m. Tuesday-Saturday, noon-5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday. Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson. Open 11 a.m.-5 p.m. daily, $5; seniors $4; teens $3; ages 12 and under no charge. Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. Open 10 a.m.-5 p.m. daily. NM residents $5; non-residents $10; seniors $8; students $6; ages 6-16 $2; Taos County residents no charge with ID. Taos Art Museum and Fechin House 227 Paseo del Pueblo Norte, 575-758-2690. Director’s Choice: 14 Years at the Taos Art Museum, works from the collection, through June. Open 10 a.m.-5 p.m. Wednesday-Sunday. $8, Taos County residents with ID no charge on Sunday.
Events/Performances
Raptor release at the Gorge Santa Fe Raptor Center releases James Dean, a golden eagle; attended by actors Wes Studi and Marsha Mason, and former New Mexico Governor Bill Richardson, noon Sunday, April 28, Río Grande Gorge area on NM 570, call the center for details, 699-0455. Taos Chamber Music Group The 20th season continues with From the Land, music composed or influenced by Native Americans; performers include flutist/percussionist Robert Mirabal, cellist Sally Guenther, and pianist Paul Fowler, 5 and 7:30 p.m. Sunday, April 28, Arthur Bell Auditorium, Harwood Museum of Art, 238 Ledoux St., $20 in advance and at the door, ages 16 and under $12, 575-758-9826, taoschambermusicgroup.org. Arlen Asher Santa Fe’s woodwind jazz master with pianist Jim Ahrend, bassist Jon Gagan, and percussionist Cal Haines, 7 p.m. Thursday, May 2, Arthur Bell Auditorium, Harwood Museum of Art, 238 Ledoux St., $25 in advance and at the door, 575-758-9826.
▶ People who need people Artists
Santa Fe Public Libraries’ exhibits Month-long exhibits open to local artists; all two-dimensional work considered; no commissions taken, for information call 955-4862 or 955-6784; visit santafelibrary.org for application process details.
Donations
The Horse Shelter’s annual auction Donations of items/gift certificates sought for a fundraiser held at the ranch May 19; call 471-6179.
Filmmakers/Performers
New Mexico Dance Coalition student scholarships Three scholarships awarded to New Mexico residents aged 8 to adults in the amount of $400; application forms and guidelines available online at nmdancecoalition.org; applications accepted beginning Monday, April 29 through Friday, July 26; direct questions to Dyan Yoshikawa at nmdancecoalition@gmail.com. Santa Fe Independent Film Festival Film submissions sought for the Oct.16-20 festival; regular deadline Wednesday, May 1; late deadline July 1; final deadline Aug.1. Visit santafeindependentfilmfestival.com for rules and guidelines.
Volunteers
Early College Charter School Two host families needed for two 16-year-old foreign exchange students attending the master’s program during the 2013 academic year; must have placement by May 15 in order to attend; email Carolyn, santafe43@comcast.net, for details; International Cultural Exchange Services information available online at www.icesusa.org. Santa Fe Community Farm Help with the upkeep of the garden that distributes fresh produce to The Food Depot, Kitchen Angels, St. Elizabeth Shelter, and other local charities; the hours are 9 a.m.4 p.m. daily, except Wednesdays and Sundays; email sfcommunityfarm@gmail.com or visit santafecommunityfarm.org for details.
▶ Under 21 Flying Cow Gallery Warehouse 21, 1614 Paseo de Peralta, 989-4423. D-20, works by Noah Einar Wingren, viewing daily through May 4. Youth x Youthfest 2013 The three-day festival closes Friday, April 26, with a battle of the bands, singer/songwriters, hip-hop/rap artists, and DJs ages 13-20; rock band Thieves and Gypsies perform at the end of the evening, 6-10 p.m., Warehouse 21, 1614 Paseo de Peralta, 989-4423. Un-Freedom Day Concert featuring one-man prog-metal band Michael Lee Ostrander, aDistances, MONO STEREO, and 5 Bucks open, 6:30-10 p.m. Saturday, April 27, Warehouse 21, $5 at the door. Santa Fe Science Café for Young Thinkers Complexity Science: A Guided Tour, discussion for students ages 13-19 led by Melanie Mitchell of the Santa Fe Institute, 6-7:30 p.m. Wednesday, May 1, Georgia O’Keeffe Museum Education Annex, 123 Grant Ave., 982-0121, no charge. Artisan Santa Fe Budding-Artist Fellowship $100 worth of art supplies every month for a year; open to the first 100 applicants ages 13-17; submit three examples of your work with a statement of intent by Wednesday, May 15, contact Ron Whitmore for details, 954-4180, Ext. 111, ron@artisan-santafe.com.
▶ Pasa Kids Dos Cuentos Para la Primavera Interactive bilingual stories for children, 7:30 p.m. Friday-Sunday, April 26-28, Teatro Paraguas Studio, 3205 Calle Marie, donations accepted, 424-1601. Bee Hive Kids Books Puppet show E and Sweet Sleep for ages 8-10, 4 p.m. Saturday, April 27, 328 Montezuma Ave., no charge, 780-8051, beehivekidsbooks.com. ◀
Ice cream, they scream I once described the loud and lovely punk outfit Low on High as “the musical equivalent of a hyperactive child born to postmodernist author Kathy Acker … but raised in the Hotel Chelsea by Romeo Void and The Melvins.” That was back in March 2010, when LOH, aka underground filmmaker/guitarist Jon Moritsugu and actress/ illustrator/bassist Amy Davis, played their debut Santa Fe show at the now-defunct Corazón nightclub. A little more than three years later, and LOH is still using its sonic fearlessness and lightning-bolt angst to bore new and interesting holes into my dented, earworm-riddled cranium. At 8 p.m. Friday, April 26, LOH unveils its newest album, Ice Cream Sex, at The Betterday Coffee Shop (905 W. Alameda St., Solana Center), and it’s going to be one hell of a night for noise lovers of all stripes. Recorded at Frogville Studios over a three-day period in January and mastered and mixed by Jason Reed, Ice Cream Sex packs the guitar punch-crunch of a Germs or Flipper album and the vocal sneer and scream of a low-fi Sleater-Kinney garage show. Moritsugu and Davis work fuzz-inflected magic over their respective strings, and Davis’ powerful screech-enabled voice wails like a dog whistle strong enough to be heard by drooling gutter punks on the other side of the globe. Case in point: “Puppy Madness,” which includes a barkathon breakdown that, at close range, may cause actual puppies to spontaneously combust. At other times, Davis brings her voice down, soft and silky, and the album takes a turn into Breeders territory. It’s seductive, creepy, and worth the album’s occasional down-tempo shift. Moritsugu chimes in now and again with some gritty vocal backup. I swear, that man is possessed. And the music world is so much better for it. Sample the new album at www.amazon.com — but hide the puppies first. Joining LOH on the bill at Betterday are experimental rockers Alamo Sun (Crockett Bodelson of the SCUBA art collective and Meow Wolf mainstay Nicholas Chiarella), garage rock-ettes Gynormica, and The Product Division (aka Red Cell and JC Gonzo). Bonus: local newcomer Lady Gloves debuts its synth-centric noise-band freak show. The show’s $5 at the door and all ages. Has anyone else noticed that Betterday has become the best venue in town lately to see all-ages shows? Shots, Stat! If you missed out on the free Ozomatli tickets for the Nuevo-Latin-groove ensemble’s performance at the Santa Fe University of Art and Design on Saturday, April 27 (see March 29 Sound Waves, “’Matli Crew”), you still may be able to catch a glimpse of the band. Stats Sports Bar & Nightlife (135 W. Palace Ave., 982-7265) is re-launching with new partners at noon on Saturday, and Ozomatli is scheduled to drop by. With any luck, Stats will open its doors to more local bands in the near future. Although the venue has been known in the past as a dance/hip-hop club, its downstairs bar area is prime real estate for some of Santa Fe’s more experimental bands. Duke of rock Speaking of all-ages: In conjunction with Youth x Youthfest, the Boys and Girls Clubs of Santa Fe and Warehouse 21 present a battle of the bands for musicians ages 13-20, from 6 to 10 p.m. on Friday, April 26, at W21 (1614 Paseo de Peralta, www.warehouse21.org). Slated to perform are Exalt, Beyond Fused, All the Wrong Reasons, Nautilus, Moon Ranger, Jovani Dante Griego, Autumn Faulkner, Miriam Kass, Alex Cloud, Sterling Luna (Trip), iNando Palacios, Josue Martinez, and Noah “Holiday” McAllister (DJ Mickey Paws). Thieves & Gypsys closes out the night. Be sure to check out the D20 Art exhibit, featuring work by Noah Einar Wingren and friends, while you’re there. Cover is $8, 19 and under no charge. — Rob DeWalt rdewalt@sfnewmexican,com www.pasatiempomagazine.com Twitter: @Flashpan @PasaTweet
A weekly column devoted to music, performances, and aural diversions. Tips on upcoming events are welcome.
PASATIEMPOMAGAZINE.COM
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