The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture May 10, 2013
SALE
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MOTHER’S DAY
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1000 Siler Park Lane, Suite A Santa Fe, New Mexico 87507-3169 505.471.7272 • Fax 505.471.9232 Hours: Monday-Friday 8am - 5pm Now Open Saturdays 10am - 2pm www.dahllighting.com
“REASONABLE PRICES...HISTORIC SETTING” THIS WEEK’S LUNCHEON SPECIAL
FRIDAY, MAY 10, 5:30–6:30 PM “Wonderlust: Thirty Fearless Years in the Art World” By Linda Durham For more than thirty years, Linda Durham has helped shape the contemporary art scene of Santa Fe through her gallery and projects that meld art and advocacy. In this lively and provocative talk, Durham will share her reminiscences of the New Mexico artists she has worked with and the ups and downs of the Santa Fe art world from the 1970s to today.
NEW MEXICO MUSEUM OF ART 107 W. PALACE AVE | ON THE PLAZA IN SANTA FE | 505.476.5072 | NMARTMUSEUM.ORG |
Nature's Art and Functionals.
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Early Childhood Program Age 3 – Kindergarten
Grandes have fun working on literacy and listening skills
May16, 8:30 8:30-10:30am
Pequenos build their happy home in the Block Center
RSVP 505.983.1621
admission@riograndeschool.org Busy May 16? Schedule a private visit.
A Kindergartener puppeteer and his hippo prepare for the Integrated Arts presentation, celebrating Earth Day
Spots still available for Fall 2013!
FINANCIAL AID AVAILABLE 715 Camino Cabra • Santa Fe, New Mexico 87505
Rio Grande School does not discriminate on the basis of race, color, gender, sexual orientation, gender identity, or national or ethnic origin.
SangredeCristo Sangre de Cristo Chorale 2013 Spring Concert
The Zia Singers, Under the Direction of Karen Marrolli, Invite You to Their 2013 Dessert Concert...
“Celebrating our Past, Present and Future”
Los Alamos: Saturday, May 11 at 5:00 p.m. Bethlehem Evangelical Lutheran Church 2390 North Road 87544 Tickets — Available at the door — Call 505.988.1234 — Visit ticketssantafe.org $20 Adults; $10 Students; Under 18 free if accompanied by an adult
Creating
Santa Fe: Sunday, May 12 at 3:00 p.m. First Presbyterian Church 208 Grant Avenue 87501
Hear the 45-member chorale perform Antonio Vivaldi’s “Gloria” and several other pieces, including a choral drama and a new commissioned work.
Community
Through
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P.O. Box 4462, Santa Fe, New Mexico 87502 | www.sdcchorale.org
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PASATIEMPO I May 10 - 16, 2013
35th Anniversary Season
Join us for an afternoon of pop songs and tasty treats to tempt your sweet tooth.
May 12, 2013 at 4:00 p.m. Mother’s Day Tickets $20, Students Free The Elks Lodge 1615 Old Pecos Trail Santa Fe, New Mexico
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THE SANTA FE NEW MEXICAN
May 10 -- 16, 2013
www.pasatiempomagazine.com
On the cOver 36 the Oliphant in the room Santa Fe resident Patrick Oliphant has enjoyed renown as a political cartoonist for half a century, and he has also achieved an impressive body of work in such media as charcoal drawing, painting, and sculpture. Some of these pieces revisit the political subjects he has caricatured over the years; in others he focuses his gift for capturing wry detail on everyday people. The latter occupied him during a residency last fall at the American Academy of Rome, and many of the works he created then figure in the exhibition Patrick Oliphant: A Survey — Selections From Rome and Other Works, which opens at Gerald Peters Gallery on Friday, May 10. Whether depicting presidents or proletarians, he never pulls a punch, and even when he shocks his viewers, he forces them to smile. On the cover is Oliphant’s Non Apropos, a 2009 ink-on-paper work; image courtesy the artist.
bOOks
mOving images
16 in Other Words James Salter’s All That Is 20 Day tripper Eduardo Galeano 22 Poppy culture David Morrell’s Victorian London
52 Pasa Pics 56 The Angel’s Share 58 André Gregory: Before and After Dinner
mUsic anD PerfOrmance 26 28 31 32 71
calenDar
Pasa tempos CD Reviews terrell’s tune-Up Iggy strikes back Onstage this Week NT Live: This House maxine thévenot Leader of the bands sound Waves Get metallic at W21
63 Pasa Week
anD 13 mixed media 15 star codes 60 restaurant review
archaeOlOgy 34 sounds and shadows Ancient instruments
art 40 42 44 48
art in review Interwoven at SFUAD art in review Cumulous Skies ben katchor Tales of the cities looming large Textiles at the Wheelwright
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 ■
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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chief copy editor/Website editor — Jeff acker 986-3014, jcacker@sfnewmexican.com
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associate art Director — lori Johnson 986-3046, ljohnson@sfnewmexican.com
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calendar editor — Pamela beach 986-3019, pambeach@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 Douglas fairfield, laurel gladden, robert ker, bill kohlhaase, Jennifer levin, robert nott, adele Oliveira, Jonathan richards, heather roan-robbins, casey sanchez, michael Wade simpson, roger snodgrass, steve terrell, khristaan D. villela
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PrODUctiOn Dan gomez Pre-Press Manager
The Santa Fe New Mexican
© 2013 The Santa Fe New Mexican
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Robin Martin Owner
www.pasatiempomagazine.com
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Ginny Sohn Publisher
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aDvertising DirectOr Tamara Hand 986-3007
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marketing DirectOr Monica Taylor 995-3824
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art DePartment DirectOr Scott Fowler 995-3836
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graPhic Designers Rick Artiaga, Dale Deforest, Elspeth Hilbert
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aDvertising sales mike flores 995-3840 stephanie green 995-3820 margaret henkels 995-3820 cristina iverson 995-3830 rob newlin 995-3841 Wendy Ortega 995-3892 art trujillo 995-3852
Rob Dean editor
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Santa Fe Animal Shelter Adopt. Volunteer. Love. 983-4309 • sfhumanesociety.org
Save the Dates
Sunday, July 28th & Monday, July 29th
3rd Annual play it forward
Patio Opens Mother’s Day Call for Mother’s Day Brunch reservations Sunday, May 12 ~ 11:30 am to 3 pm Featuring Compound Classics & Seasonal Specialties
The Compound Restaurant: A Family Tradition 653 Canyon Road Santa Fe 982.4353 compoundrestaurant.com
A benefit for Santa Fe’s Youth Development Programs 100% of proceeds go to yourth development programming, grants and college scholarships
Sunday Reception with Live and Silent Auctions at The Club at Las Campanas Monday morning Golf on Las Campanas’ Sunrise Course www.thefirstteesantafe.org To volunteer, register as a sponsor or player, or to offer items for the auctions, please call Lynn Petrelli at 505-310-2041 or email lynn.petrelli@gmail.com PASATIEMPOMAGAZINE.COM
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A benefit for the Golden Acorns Summer Camp Scholarship Fund
Friday, May 17 Evoke! World Music & Dance Concert 7:30 Pm marketplace 8:00 Pm Performance Universalist Unitarian Congregation 107 w. Barcelona Road Festive international marketplace with offerings from the performers and other vendors.
Award-winning flutist, composers & percussionists
Suzanne Teng & gilberT levy Master drummer Soriba FoFana Master dancer alhaSSane Camara Acclaimed classical Indian dancer
KaviTa nandaKiShore
Tickets $25 • $20 seniors/students Advance tickets & info: 505.795.9079 or goldenacornscamp@gmail.com Tickets also available at the door.
Golden Acorns’ mission is to foster a peaceful, sustainable, and compassionate future for Northern New Mexico’s next generation.www.goldenacornscamp.org
Lensic Presents
BROADCAST IN HD
Join us for Mother’s Day Brunch from 11:30 - 2:30 pm
This House a new play by James Graham
May 16, 7 pm
$22/$15 Lensic members & students
“A funny and moving political epic.” —The Times (UK)
Daily Express
Patio now open! Call for reservations now! 58 S. Federal Place Santa Fe, New Mexico Phone 989.5858 www.osteriadassisi.com
Daily Telegraph
SPECIAL THANKS TO
FOR ONGOING SUPPORT OF THE NT LIVE SERIES
Tickets: 505-988-1234 www.TicketsSantaFe.org SE RVICE CHA RGE S A P P LY AT A LL P OINTS OF P U RCHA SE
t h e l e n s i c i s a n o n p r o f it, m e m b e r- s u p p o rt e d o rga n i zat i o n
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PASATIEMPO I May 10 - 16, 2013
NDI NEW MEXICO WISHES TO THANK OUR 2013 GALA SPONSORS & UNDERWRITERS! ImpresarIo Thornburg Investment management producer Valerie T. & charles diker dIrecTor John Herklotz Innovate + educate Los alamos National Bank rosemont realty united rentals John L. Tishman cHoreograpHer century Bank don chalmers Ford & chalmers capitol Ford Lincoln Franci & Jim crane First National Bank of santa Fe richdale charitable Trust coNducTor madalyn & James Baker coca-cola Bottling co. of santa Fe, Inc. sotheby’s International realty Foundation & shane cronenweth
desIgNer New mexico Bank & Trust rubin Katz ahern Herdman & macgillivray, p.a. Wells Fargo paula & steven Fasken Woods design Builders, Inc. eNTerTaINer Kathy & rick abeles ann N. aceves cindy aloi & Irwin sugarman cynthia & alan coleman del Norte credit union david & Kay duke Ingalls Klinger constructors, LLc Linda dipaolo Love & stephen Love samuel design group Joie singer eileen Wells sasha Wilcoxon TaBLe spoNsors charmay allred & eileen Wells marcia & Ted Berridge sande deitch diane & peter doniger Bill & elinor Fries Leigh moiola & charles dale
Beth & steve moise montgomery & andrews Barbara & chuck moore robert redford & sibylle szaggars-redford shattuck st. mary’s The dan & ashlyn perry Foundation Woods design Builders, Inc. Bishop’s Lodge ranch resort & spa Bouche Bistro medIa parTNers café café comcast classic party rentals KsFr, 101.1 Fm coca-cola Bottling co. of santa Fe, Inc. starline printing galisteo Bistro geronimo gaLa gIFT uNderWrITer La posada of santa Fe c. g. Higgins confections Los poblanos Inn & cultural center Lumenaria HoLLyWood raFFLe prIze Lumenscapes uNderWrITers The dan & ashlyn perry Foundation alcon entertainment Lisa samuel mosaic Hotel Beverly Hills santacafé america Tent rentals, Inc. santa Fe audio Visual Bonanza creek ranch santa Fe BmW ghost ranch education & retreat center shibumi santa Fe airport grill soulstice / absolute entertainment shoot New mexico.com susan’s Fine Wine & spirits Terra at Four seasons resort rancho specIaL supporT & IN-KINd gIFTs encantado santa Fe 315 restaurant and Wine Bar Vivre andiamo Walter Burke catering
Your support strengthens and ENHANCES our community!
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Join Us For Mother’s Day
It’s Not A Basket, It’s A Bridge.
Chef Gharrity Is Featuring A Three-Course Brunch Menu
These baskets hold more than objects, they hold opportunity. With your purchase at the Folk Art Market they become engines of enterprise, empowering folk artists around the world.
International Folk Art Market Santa Fe
The Work of Art
July 12, 13 & 14, 2013 | MuSEuM HIll In Santa fE tICKEtS On SalE nOW: folkartmarket.org 505.886.1251 Museum of New Mexico Shops and Los Alamos National Banks
Santa Fe Trails
In partnership with the New Mexico Department of Cultural Affairs, Museum of International Folk Art, Museum of New Mexico Foundation, and City of Santa Fe. Partially funded by the City of Santa Fe Arts Commission and the 1% Lodgers’Tax and the Santa Fe County Lodgers’Tax. Photo © John Bigelow Taylor
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PASATIEMPO I May 10 - 16, 2013
Saturday, May 12, 2013 from 11:00am – 3:00pm $28 per person and $12 for children under twelve For reservations please call (505) 988-9232 Open Daily 11:00am until 10:00pm 125 East Palace, Santa Fe complete menu at lacasasena.com FOllOw US On FACEBOOk
Mother’s Day brunch at Rio Chama Featuring a Special brunch Menu for Mother’s Day, May 12, 2013 From 11:00am – 3:00pm Call for Reservations: 505-955-0765 Almond Yogurt Pancakes
Traditional Eggs Benedict
Blueberry Flapjacks Seasonal Fruit Plate
Eggs Florentine Prime Rib & Eggs
Trailblazer Omelet Huevos Rancheros
Grilled Salmon Chicken and Waffles
Breakfast Burrito
Chef: Russell Thornton Sous Chef: Chris Tostenson
Open Daily from 11am till closing 414 Old Santa Fe Trail, Santa Fe, NM 87501 955-0765 | RioChamaSteakhouse.com F O l l O w u S O N Fa C e b O O k
The Art of Hospitality LA
P O S A LDAAP O S A D A
DE
S A N TA FE
R ESO RT & S PA
TM
DE
S A N TA FE
R EFe SORT The Art Hotel of Santa
& S PA
TM
Mother’s Day Brunch at Fuego Julia Staab Historic hostess and
Sunday, May 12th • 10:00 am - 2:30 former owner of thepm property that is now La Posada
$55 Per Person - Children 12 and Under $25 Plus tax and gratuity
TheBeginnings Ar t of Fine DiningCarvery Assorted Handcrafted Pastries Upcoming Events
Roasted Leg of Lamb Smoked Salmon Platters Red Chile Molasses Glazed Ham Irishof CutBurgundy” Oatmeal Pollo en Pipian Rojo 16 “Whites Wine Dinner - Saturday, March Arroz del Mar Enjoy a four-course dinner with fine White Burgundies from “Julia’s
Eggs and Waffles Your Way Cellar”. Evening includes commentary by our award-winning chef
and a guest wine expert. Salads Omelets and Eggs Cooked to $225 Order per person* Ensalada de Madres Belgian Waffles “Flamenco en Fuego” Dinner Show - Saturday, Ensalada Caesar withMarch Smoked23 Jalapeno Three-course Flamenco dinner show. $48 per person* Benedicto Verde Anchovy Dressing Poached Eggs and Roasted Pork with Ensalada Espinaca with Crispy Serrano Easter - Sunday, March 31Ham and Jerez Vinaigrette GreenBrunch Chile Hollandaise An extravagant Easter buffet with both traditional and new favorites, a Bloody Mary bar and more. Handcrafted baskets for the children. Assorted Desserts Accompaniments $55 for adults; $25 for children 12 and under*
Apple Wood Smoked Bacon Sizzled Ham Pork Sausage *plus tax andSteaks, gratuity
…Plus Much More
Reservations: 505-954-9670 or visit OpenTable.com 330 E. Palace Avenue, Santa Fe • laposadadesantafe.com
PASATIEMPOMAGAZINE.COM
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PAYNE’S Blooming Plants
NURSERIES for Mother’s Day!
Payne’s South 715 St. Michael’s 988-9626 Payne’s North 304 Camino Alire 988-8011 Spring/Summer Hours
Mon - Sat 8 to 6 Sun 10 to 4 Payne’s Organic Soil Yard 6037 Agua Fria 424-0336 Mon - Fri 8 to 4 Sat 8 to Noon
Flowering plants that last way longer than cut flowers! Choose ready-made hanging baskets, color bowls or create your own! We also have beautiful tropical plants including orchids, bromeliads, geraniums, bonsai plants, bougainvilles and more! Gift wrapping for a small fee. Local delivery available.
Payne’s Discount Coupon
30% OFF
Buddleia & Flowering Almond 5 gallon size
www.paynes.com
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PASATIEMPO I May 10 - 16, 2013
Good at either St. Michael’s Dr. or Camino Alire location. Coupon must be presented at time of purchase. Applies to cash, check or credit card sales only. Limit one coupon per customer, please. Cannot be combined with any other coupon or offer. Good through 5/17/13
MIXED MEDIA
“Holding your hand through the entire process” • Over 20 Years Experience
Expert Personalized | Service & Instruction
• No “Geek Speak”
Home or Office | Onsite Repairs
• Same Day Service
PC or Mac | iPhones & iPads
Open-door policy: Passport to the Arts The Canyon Road Merchants Association has your passport to an art- and culture-filled Mother’s Day weekend. The annual Passport to the Arts is a three-day series of public events, including gallery openings, live music, demonstrations, activities for children, and much more. The events begin Friday evening, May 10, and continue with artist receptions, silent auctions, trunk shows, food, and performances at participating galleries, boutiques, and restaurants. Headline events for Saturday, May 11, include the Artist Quick Draw held at 11 a.m. at several locations: Greenberg Fine Art (205 Canyon Road), Wiford Gallery and Canyon Road Contemporary (both at 403 Canyon Road), Waxlander Gallery (622 Canyon Road), Winterowd Fine Art (701 Canyon Road), and GF Contemporary (707 Canyon Road). More than 50 artists participate in the Quick Draw, which gives them just 90 minutes to start and finish original works of art. A live auction of Quick Draw artwork takes place at Ventana Fine Art (400 Canyon Road) following a 4 p.m. cocktail reception. Bidding requires a reservation, which can be made at Ventana on the day of the event. Also on Saturday, students from Santa Fe public schools perform live music at 16 locations, including Meyer East Gallery (225 Canyon Road), Charles Azbell Gallery (203A Canyon Road), and Vivo Contemporary (725 Canyon Road). Participating schools include Acequia Madre Elementary, Sweeney Elementary, and Capital High School. On Sunday, May 12, the Compound Restaurant (653 Canyon Road) hosts a Mother’s Day brunch beginning at 11:30 a.m. Reservations are required and can be made by calling the restaurant at 982-4353. For a complete list of participating galleries, restaurants, artists, and events, visit the Canyon Road website at www.visitcanyonroad.com/ passport_current.html. Call the Canyon Road Merchants Association at 795-5703 for additional information. — Michael Abatemarco PASATIEMPOMAGAZINE.COM
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The Owings Gallery William P. Henderson | By Descent The Brown Collection May 10 - June 21, 2013 | Opening Tonight from 4 to 6pm
My Dear Mr. BrownI hope the furniture arrived in good shape and looks good to you. The waxing will probably have to be rubbed up after the dust of shipment. Good luck in your new house. –Wm P. Henderson June 15, 1929
120 East Marcy Street | Santa Fe, New Mexico 87501 | 505.982.6244 phone 505.983.4215 fax | info@owingsgallery.com | www.owingsgallery.com
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PASATIEMPO I May 10 - 16, 2013
Eagle Creek 25% Off Sale
STAR CODES
*
Heather Roan Robbins
Mother’s Day is an earthy Taurus holiday we can celebrate by loving mother Earth and being grateful for all who fed us, held us, and nurtured us so we could grow — as well as those who welcome us back at the end of a long day. With the sun, Mercury, and Mars in fecund Taurus, the mood this week is generally tactile, productive, even-paced, and friendly but belligerent when pushed. It’s a richly fertile time to plant anything and everything we want to grow. Over the weekend the moon in verbal, funny Gemini can keep us hopping and keep people talking with less depth and more breadth. A certain nervousness can leave us feeling stretched thin, so let’s not waste energy or overschedule. Sunday and early next week can intensify this; new tough facts or old stories work their way to the surface. We may need to adapt fast as Mercury semisquares Uranus and sesquisquares Pluto. Seedlings have not yet taken root and can still be moved. Our plans are still unfolding and need to be fine-tuned.
* select models
Friday, May 10: Plant! Last night’s new moon in Taurus makes today the most astrologically fertile time of the year. Sow seedlings, habits, or investments and let them take root. Stop weeds and bad habits now. Plant ideas, friendships, and proposals late this afternoon and over the weekend. Talk deep into the evening, but avoid short-sighted social decisions. Saturday, May 11: Volley conversations, share tasks, and network across the back fence. The Gemini moon keeps us a bit scattered, buzzing from one thing to another, but those broken bits of conversation weave deeper understanding with patience and humor. A clear goal helps us tap into the Taurus sun-Mercury conjunction and coordinate our efforts. Tonight the mood is funny with a belligerent streak. Sunday, May 12: An expansive and funny if high-strung moon-Jupiter conjunction in nervy Gemini means we should drop old agendas, tune in to the best memories, and trade funny stories. Tears lingering behind laughter are healing. If our own mothers aren’t around, we can honor good mothering habits throughout the community. Celebrate early, as frayed nerves can make people fractious tonight. Monday, May 13: The next few days are also fertile for planting of all sorts under a watery, emotional Cancer moon. Midday we can get lost in magical thinking; dream purposefully instead as the moon and Venus aspect Neptune. Later, people may be distracted or easily triggered as an illusion breaks and requires processing as Mercury sesquisquares Pluto and semisquares Uranus. Speak and travel with attention.
Mother’s Day! 326 S. Guadalupe • 988-7008 • www.ziadiner.com
Tuesday, May 14: Tend systems of communication and transportation. Concerns may just be old shrapnel working to the surface. Don’t project discomfort onto one another. Small but potentially difficult decisions need to be made now, but avoid sweeping statements about the future. Wednesday, May 15: If relationships test us this morning, let’s drop into the compassionate heart, not take it personally, and pass that test as Venus quincunxes Saturn. People need to feel like they are at the center of our world; we gain when they feel loved. Dwell with intimates in the heart this morning, but contact the larger world this afternoon. Thursday, May 16: Don’t expect people to understand right now. Find a way to share pressing responsibilities. Things may not go as planned and some people may act out as the sun semisquares Uranus. Adapt and adjust. Deeper issues matter tonight as the sun sesquisquares Pluto; let go of the details and tend to the real heart issues. ◀ www.roanrobbins.com
JAPANESE SUSHI
on Op Mo en the 12r’s 9 Da y
Special Menu for
$2 Draft Beer all day, everyday
Mother’s Day Across from Regal Cinema 14 • 438-6222 PASATIEMPOMAGAZINE.COM
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In Other wOrds
book reviews
All That Is by James Salter, Alfred A. Knopf/Random House, 290 pages Near the end of his new novel about a man who spends his life in publishing, James Salter writes, “The power of the novel in the nation’s culture had weakened. It had happened gradually. It was something everyone recognized and ignored.” This comes as the story, which begins near the end of World War II, has settled somewhere in the 1960s. Place those lines against the epigraph — “There comes a time when you realize that everything is a dream, and only those things preserved in writing have any possibility of being real” — and you have a recipe for not only the extinction of fiction but of reality. When the novel dies, Salter seems to suggest, so does truth. Salter may be right, at least in his case. At 87, he’s unlikely to write another novel, especially considering his publisher’s claims that it’s been 30 years since his last. The claim that All That Is is his first novel in three decades isn’t exactly true. He revised his first book, 1957’s The Hunters, and reissued it 40 years later. He rewrote his second, The Arm of Flesh, and published it as Cassada in 2000. The release of All That Is has been accompanied by a raft of articles suggesting that his work goes unread. Also not true. Salter is a writer’s writer, a postHemingway minimalist who suggests much with little, a wordsmith whose craft is the chiseling of fine and finer sentences. This propensity to polish suggests a self-consciousness that’s not true of the best minimalists. But Salter’s writing is neither self-conscious nor, despite the abbreviation of his sentences, minimalist. His work is detailed, both in description and exacting images. For him, like his characters, perfection is an ongoing process. With the exception of his exquisite 1975 tale of a slowly dissolving marriage, Light Years, Salter’s best writing appears in the 1988 collection Dusk and Other Stories. In it, story matters more than craft, and Salter’s ability to fashion complex characters in little space is a marvel. Dusk is the book that All That Is most resembles. This new novel is a collection of short character pieces that surround the ongoing tale of Philip Bowman, a man who survives the Pacific theater of the war to fall into a job as a book editor. Bowman’s life is held together by friendships and serial relationships with an emphasis on intimacy. Love and sex drive the book — not the crude and telegraphed sex of romance novels or detailed uninhibited tell-alls but the intimacy of ears, elbow crooks, and ankles, subtle, like the relationships themselves. Salter is at his best chronicling Bowman’s excitement at the promise of new love and the confusion and hurt at its end. The women are the book’s most interesting characters. They’re presented as little stories in themselves, vignettes that tangle with other vignettes. One chapter begins, “She came into the restaurant alone and stood for a time at the bar continually searching for something in her bag. At last she found it, a cigarette. She put it between her lips. The slowness of her acts was somehow frightening.” The lonely-heart tale that follows, all two-and-a-half pages of it, is wonderful. Later the woman becomes entangled with one of Bowman’s male acquaintances. These men have their own stories. “Palm didn’t have much luck with women though he hadn’t abandoned hope,” begins one. With an invitation like this, readers can’t help but wonder which comes first, luck or abandoned hope. After the time-warping intensity of his experiences in the war, Bowman’s life advances slowly, quietly. As he proceeds through his relationships, he hardens, but almost indecipherably. Chance allows him the opportunity to humiliate a past love who had left him, taking the country house where he spent his happiest years with her. It’s a chance with small, pleasurable consequences. The moral? Gaining revenge is a way to seek forgiveness. The story here that best symbolizes Bowman’s life is the first one Salter tells. Kimmel, Bowman’s cabin mate on a naval vessel, believes in fate and has a life to prove it. He leaps into the sea when a kamikaze plane looks to hit their ship. He’s picked up by a destroyer that is immediately sunk and then rescued by a second destroyer that is “razed to the waterline.” Surviving it all, as hundreds around him die, Kimmel becomes a legend. Bowman tries to trace him after the war but can’t. Then, decades later, they stumble into each other in New York’s Algonquin Room. Since last seeing Kimmel, Bowman has been swept along, abandoned and rescued, his life hinging on impulsive acts and chance meetings. His story might not be legend, but it is about survival, told with the kind of writing that makes experience real. If you don’t know James Salter, introduce yourself through All That Is. — Bill Kohlhaase
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SubtextS Birth certificate In A Guide to Being Born (published by Riverside/ Penguin), Ramona Ausubel delivers 11 short stories — snapshots of ordinary life — each with a twist. Ausubel is the author of one other book, a novel called No One Is Here Except All of Us. In the first story in Born, dozens of grandmothers suddenly find themselves adrift on an ocean liner. Are they already dead? Passing on to the next world? Ausubel is thoroughly at home with ambiguity, and the stories end without answers or pat conclusions. Organized into sections titled “Birth,” “Gestation,” “Conception,” and “Love,” the stories take place during all phases of life and sometimes, as in “Catch and Release” — in which a 12-year-old girl plays baseball with a ghost — beyond the grave. At 6 p.m. on Tuesday, May 14, Ausubel reads from and signs copies of A Guide to Being Born at Collected Works Bookstore (202 Galisteo St., 988-4226). Though the supernatural dimension that Ausubel inserts into some of the stories can begin to feel gimmicky, the emotionality of her characters rings true, and her dialogue reads the way people talk. And Ausubel gets kids: the best story in the book, “Welcome to Your Life and Congratulations,” features a precocious boy who watches his cat Houdini get run over by a car in the street and must confront the aftermath of the death (much of it centered around what to do with Houdini’s body) with his aloof and terrible parents. Ausubel’s young characters are as fully realized as the adults — no small feat, since many writers seem to have forgotten what it’s like to dwell inside the mind of a child. — Adele Oliveira
Mother’s Day Brunch
Song Without Words: Discovering My Deafness Halfway Through Life by Gerald Shea, Da Capo Press/Perseus, 308 pages Life was one big translation. Gerald Shea was a successful corporate lawyer when he finally solved the riddle that had kept his life veiled in mystery. He learned that he was severely hearing impaired. Scarlet fever had attacked Shea’s immune system at age 6, he writes in his memoir Song Without Words, but neither he nor his parents, brothers, or teachers figured out that “the real battle had been waged in the cochlea, the most complex, sensitive, and vulnerable component of the ear.” Shea lived his adolescence and young adulthood behind an invisible curtain, he writes, with a critical loss of hearing at the frequencies occupied by much of human speech. He couldn’t hear consonants and couldn’t distinguish between vowels — leaving a dearth of meaningful sounds. What he accomplishes in this ignorance is amazing. He makes up for the lost audible messages at Yale, then at Columbia Law School, by spending hours with textbooks and garbled classroom notes. “I attributed the problem to a slower intellect,” he writes, “and I considered myself lucky to be at a great university, with a lurking suspicion that I didn’t belong there.” Later, he does the same kind of “passing” when he’s hired by a major New York City law firm. He nods at what seem like the appropriate moments, writes down phrases as best he can for later decoding, and spends double and triple the hours reading and learning the proper names and acronyms that are thrown around conference tables faster than he can comprehend them. For Shea, simple spoken phrases are lost in what he names “lyricals,” a series of similar-sounding words that require decoding. When lyricals “arise in the commerce of necessity,” he writes, “they can be a hellish experience.” He hears, “Well, clearasil sung, Gerry,” when his girlfriend says, “We’re still young, Gerry.” His law school professor asks, “So I just go ahead and publish it?” and he picks up, “So I just doeneck and trouble shit?” The combinations of words he considers between the first impression and the probable meaning take up tremendous amounts of time, a blank stare on his face as he works a thousand ciphers in his brain. Cochlear damage of the kind Shea experienced is the most common form of deafness, he notes, but those on the spectrum between hearing and deaf find themselves in a no man’s land. “We are given incomplete signals for the surviving cells,” he writes. “The brain strives to assemble the message by racing through the possible alternatives, tossing life rafts as we drown in oceans of signals.” Sometimes Shea longs to be deaf instead of nearly deaf. Yet, since his deafness was postlingual — coming after he learned a natural language — finding a new language in sign for him would never be as rich as dealing with even imperfect English. Much of the memoir is a retrospective on deaf education, with discussions about political and social issues involving sign language, oral education, and cochlear implants, and insights into famous deaf figures, including Helen Keller and Emmanuelle Laborit. It also explores some of the prejudicial treatment of the deaf in the not-so-distant past. The struggle alone would make good reading, but it’s Shea’s infusion of his experience with music and his explorations of the very nature of language that make this book cross into fascinating. And since 30 million Americans have some hearing loss, the story is probably closer to home than you realize. — Julie Ann Grimm
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In Other wOrds book reviews The Old Man’s Love Story by Rudolfo Anaya, University of Oklahoma Press, 170 pages While we don’t know what happens on the other side, we do know that death is hard on the living. It leaves a hole on this side, leaves the living to justify their survival, leaves them to choose whether to overcome or to succumb. So death is frequently addressed in the arts — our attempt to breathe understanding into a vacuum of grief. In The Old Man’s Love Story, Rudolfo Anaya turns to his talents to work through the pain of loss, lyrically churning devastation and depression into a deeper appreciation of life’s continual gifts. In the first chapter, Anaya borrows from an 1877 poem by English Jesuit priest Gerard Manley Hopkins. In “God’s Grandeur,” Hopkins writes that the world “will flame out, like shining from shook foil.” Anaya uses the same phrase, framing grandeur as “the pulse of life” that comes, then passes away, touched by “an eternal, universal spirit, God, the Great Mystery. Life ends, like shining from shook foil.” The light of Anaya’s life, his wife Patricia, died in 2010 under hospice care. His foil was dull and wrinkled, balled up in the corner. He lay down next to it and waited. Anaya’s unnamed “old man” comes from his own heart, and the book reads like a sonnet to his beloved. The work, he says in the preface, is his way of thanking family and friends who sustained him through darkness to renewed purpose. “She had not gone away,” he writes. “Maybe the flesh he had loved so well now lay silent in the urn, ashes, a reminder, something symbolic, but not her. Not her essence. The old man began to understand that those one loved dearly don’t disappear. They’re like breath — here, aware. A kind of resurrection he needed to understand.” A writer who has enlightened generations with ancient myth as a way of explaining life, Anaya — and his “old man” — now fights to explain this next step. The old man clings to love, “fired in a celestial forge,” and envisions a marriage that continues in a mystical way — he in body, she in spirit. He is a man learned in the ways of the spirits, but he’s never sure where she is or how this relates to his own position. The short work is full of after-death conversations between the old man and the woman, whose picture he kisses several times a day. The man is still trying to call her fleeting spirit back to his side, “wrestling with the most profound conflict of his life.” This results — in some instances — in passages that the reader must decode. Is the old man imagining every bit of this exchange? Is she really so near? Do his dreams cross into waking? Like nearly every other work from Anaya, this one is grounded in his Northern New Mexico heritage, with visions of fish in the Pecos River, lowriders on Albuquerque’s Central Avenue, and a mesmerizing retelling of how it feels when rain finally touches the ground in a summer monsoon. His 1972 Bless Me, Ultima had a movie premiere this year, but Anaya’s literary recognition has much wider reach. Last year, his novels, plays, children’s books, and other works earned him a lifetime achievement award from The Los Angeles Times. The Old Man’s Love Story, which Anaya penned in his late 70s, has a swan song feel about it. But Anaya alone gets to say when his celebrated career is over. — Julie Ann Grimm
The Durango Collection: Native American Weaving in the Southwest, 1860–1880 May 12, 2013– April 13, 2014 Wheelwright Museum of the American Indian In partnership with the Center of Southwest Studies, Fort Lewis College, Durango, CO
Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill Santa Fe, NM 87505 www.wheelwright.org Made possible in part by the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax; New Mexico Arts, a division of the Department of Cultural Affairs and the National Endowment for the Arts; and several private donors. Photo by Addison Doty
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Casey Sanchez I For The New Mexican
EDUARDO GALEANO’S CONCISE HISTORY Eduardo Galeano calls it “the saddest match in history.” Under the grip of a military junta in 1973, Chile turned its National Stadium into a concentration camp and torture chamber. Yet the country was set to play a World Cup qualifying match against the Soviet Union. So dictator Augusto Pinochet set about transferring the stadium’s prisoners and grooming the fields into an impeccable state. FIFA gave the match its blessing, but the Soviets refused to play ball on the tainted grounds. “Eighteen thousand fans bought tickets and cheered the goal that Francisco Valdés put in the empty net,” Galeano writes. “The Chilean team played against no one.” That vignette comes from the November 21 entry of Galeano’s newly released book, Children of the Days: A Calendar of Human History (published by Nation Books). The famed Uruguayan writer speaks on Wednesday, May 15, at the Lensic Performing Arts Center as part of the Lannan Foundation’s In Pursuit of Cultural Freedom series. With him is Lima-born author Marie Arana. Her book, Bolívar: American Liberator, has just been published by Simon & Schuster. As a Spanish-language writer, Galeano has created an improbable genre, penning lyrical mosaics of Latin American culture and history that call to mind the oral history poetics of ancient Greek historian Herodotus and the caustic political satire of Ambrose Bierce’s The Devil’s Dictionary. Galeano’s work has been translated into more than 28 languages, and inside Latin America he is as close to a household name as a literary writer can be. Regrettably, in English translation, Galeano seems more known for his firebrand leftist politics than for the biting wit and lucid prose that mark his most wellknown works, such as Memory of Fire, a three-volume retelling of the history of the New World from a Latin American point of view, and Upside Down: A Primer for the Looking-Glass World, a scorched-earth account of Third World/First World relations told through sarcastic parables and homilies. In 2009 U.S readers made his Open Veins of Latin America an overnight Amazon.com bestseller after Venezuelan president Hugo Chávez handed a copy of the book to Barack Obama during the opening session of the Fifth Summit of the Americas. The sales triumph of the then nearly 40-year-old book was an unlikely fate for a grim account of the pillaging of Latin America’s wealth of gold and silver, coffee and rubber, by invaders, investors, and dictators. Galeano has since distanced himself from the work, pursuing a line of inquiry with more poetry and sociological complexity. “The book was my departure, not my arrival. Afterwards, I tried to explore reality from other viewpoints, richer in diversity,” Galeano said in an interview with Pasatiempo. The author dismisses claims that his ideological reputation outweighs his writerly one. “I don’t care. I am always myself, in all fields of expression, and my language is always the same. Politics and literature are different names for the same struggle between freedom and fear.” Galeano loosely styled Children of the Days after a medieval book of days, with each page a calendar date. Using each date as a starting point, he deftly reconstructs the stories of heroes whose virtues have been lost to time and villains whose misdeeds have been subject to cultural amnesia. An entry on Mexican independence invites readers to consider women warriors of the Mexican Revolution, such as “Juana Ramona, ‘la Tigresa,’ who took several cities by assault,” and María Quinteras, who commanded a unit of male revolutionaries, her husband among the obedient soldiers. At the same time, in an entry titled “The Left Is the University of the Right,” Galeano writes that as a college student, über-capitalist and media titan Rupert Murdoch “was an admirer of Lenin and a reader of Marx.”
Throughout the book, Galeano remains steadfast in his concern for how biographies actually end and how each country and each land meets its own unique fate. He reminds readers that only a few months after World War II’s end, Gen. George S. Patton’s triumphal career, and life, ended after a car crash on a pheasant-hunting trip. He tells readers that science journalist William Laurence won the 1946 Pulitzer Prize for reporting on the aftermath of the bombing of Hiroshima and Nagasaki, claiming in one piece that the cities were nonradioactive. Galeano quotes Laurence as saying that reports to the contrary were merely “the Japanese continuing their propaganda.” Decades later, it was revealed that Laurence collected paychecks from the U.S. War Department. Born into a middle-class Catholic family in the Uruguayan capital of Montevideo, Galeano left school at 16, working odd jobs in factories and offices. If the young Galeano had any professional ambition, he expected to realize it on a soccer field. “The fact is that like [many] Uruguayan babies, I was born crying ‘Goooooaaaal!’ I grew up trying to be a football player. I was horrible, a man with wooden legs, and I had no choice: I became a writer.” Actually, starting in his late teens, he became a political cartoonist, a reporter, and a newspaper editor. In his early 30s, he became the wildly successful author of Open Veins of Latin America. Yet all this fame was a liability in the political climate of 1970s South America, where military dictatorships spanned the continent. The Uruguayan military government imprisoned him. He fled to neighboring Argentina, where his name was placed on a list of dangerous intellectuals slated for the death squads, so he fled again, spending much of the decade in exile in Spain. Instead of embittering him, the loss of his freedom seemed to humble him. He turned his suffering outward to ponder the displaced populations of long ago and today. “I don’t write history. I am not a historian. I write to celebrate the encounter between the past and the present,” Galeano said. “I feel I may be the compatriot of people born far away from my country and the contemporary of people who lived centuries or millennia ago.” That is to say, a political bite can be felt in all his works, but it is merely a side effect of his larger cultural project: accounting for what happens to human values and actions outside of functioning democratic institutions, where the only relevant categories are friend or foe. But in its account of human foibles, Children of the Days comes closer to a mix of prayer and black comedy than to his customary deadpan mix of politics and satire. Galeano said he is preoccupied not only with the nightmares modern life creates but with the daydreams and visions of the strivers who fight back. “Reality is real not only in vigil, but in dream time,” Galeano said. ◀
details ▼ Eduardo Galeano, speaking about and reading from Children of the Days, followed by a conversation with writer Marie Arana, part of the Lannan Foundation In Pursuit of Cultural Freedom series ▼ 7 p.m. Wednesday, May 15 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $6, $3 seniors & students; www.ticketssantafe.org, 988-1234
Photo courtesy Siglo XXI Editores
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I knew I would have †o use †echniques and devices †ha† were no longer in grea† demand, such as †he full omniscien† voice. Dickens is perhaps mos† associa†ed wi†h †ha†. David Morrell photo Jennifer Esperanza
Bu† I †hough†, since going †o 1854 London was like going †o Mars for mos† people †hese days, I needed †ha† omniscien† narra†or †o explain wha† on ear†h †hese charac†ers were doing. — David Morrell
David Morrell
Rob DeWalt I The New Mexican
D AV I D M O R R E L L E X A M I N E S C R I M E & A D D I C T I O N I N V I C T O R I A N L O N D O N In December 1811, more than 70 years before Jack the Ripper’s Whitechapel murders, the city of London was equally paralyzed by fear. It was near midnight on Saturday, Dec. 7, that someone entered a linen shop at 29 Ratcliffe Highway and savagely slaughtered four people, including a three-monthold infant. Their skulls were smashed with a shipman’s massive hammer, which was recovered at the scene, and their throats were slit with an unidentified object. Twelve days later, three more murders occurred under similar circumstances at the King’s Arms tavern on New Gravel Lane, close to the site of the initial killings. On Dec. 21, a seaman named John Williams was arrested for the crimes, but before he could answer the charges before a magistrate, he was found dead, swinging by the neck from cloth tied around a pipe in his Coldbath Fields Prison cell — presumably an act of suicide. Thomas De Quincey (1785-1859), author of the autobiographical work Confessions of an English Opium-Eater, sensationalized the Ratcliffe Highway murders in an 1854 postscript to his essay titled “On Murder Considered as One of the Fine Arts,” which compared the crimes to the work of a brilliant artist. The murders, and the writings of De Quincey, serve as launching-off points for Santa Fe author David Morrell’s newest thriller, Murder as a Fine Art, recently published by Mulholland Books. Morrell, whose 30-plus books include First Blood, Rambo (First Blood Part II), The Brotherhood of the Rose, and Creepers, discusses and signs copies of his latest novel on Monday, May 13, at Collected Works Bookstore. In Murder as a Fine Art, set in 1854 London, a drug-addled De Quincey and his feisty daughter Emily — along with two Scotland Yard detectives — race to stop a deranged copycat murderer who is fixated on the Ratcliffe Highway terror. De Quincey, himself a suspect in the newest round of bloodshed, soon discovers that the killer’s motives deeply involve him. And thus the hunter becomes the hunted. “When I first discovered this De Quincey character,” Morrell told Pasatiempo, “I was watching a 2010 movie about Charles Darwin called Creation. Darwin was having a mental breakdown and couldn’t understand why. De Quincey is 22
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mentioned only very briefly, and the film doesn’t even give us his first name. I sometimes compare the experience to going down the rabbit hole, because after viewing the film, I started looking into Thomas De Quincey. He completely captivated me.” De Quincey was a prolific scribe, a brilliant thinker, and in many ways a pioneer in the school of psychology. You may think of Sigmund Freud when you hear the word subconscious, but it can in fact be attributed to De Quincey, according to scholar Robert Morrison. “I pored over thousands and thousands of pages of De Quincey’s writings,” Morrell said, “and he came to writing rather late in life compared to many writers from that period. By then, though, his drug of choice, laudanum, had him locked in pretty tight. He married and began having all these children, and out of necessity, he said, Well I guess I better earn some kind of a living. At one point he owed so much money that his landlord held him prisoner for a year and made him write essays and articles nonstop to pay off his debts.” You cannot dismiss the impact of laudanum addiction when you discuss the inner workings of the author’s mind. The drug — a bitter mixture of opium powder and alcohol — could be purchased just about anywhere in London, and it wasn’t prohibitively expensive for working people. It was available from landlords, butchers, grocers, barkeeps, and paperboys and was a common ingredient in patent medications used to relieve pain, quell menstrual cramps, and induce sleep. It was also highly addictive. But in De Quincey’s time, laudanum use was considered merely a nasty habit, something to either rise above or conceal to maintain an overriding sense of Victorian social propriety. “The idea of a chemical dependency wasn’t fully formed in 1854,” Morrell said. “Medical science wasn’t far enough along to understand how the blood and brain enzymes worked. The idea that somebody would be addicted to laudanum, which usually had so much alcohol in it anyway, was uncommon. The reaction to continued on Page 24
Murder May I ? For Morrell, form and content have to go together in a good thriller. If he was going to write about 1854 London, it couldn’t feel like a modern novel.“I knew I would have to use techniques and devices that were no longer in great demand, such as the full omniscient voice. Dickens is perhaps most associated with that. But I thought, since going to 1854 London was like going to Mars for most people these days, I needed that omniscient narrator to explain what on earth these characters were doing. Without understanding the burial practices or laudanum or whatever, you couldn’t understand the narrative, and I couldn’t very well have them all standing around going, ‘Oh, in case you haven’t heard of laudanum, let me tell you all about it.’ “The things that are most intimate in any given society are the things people in that society simply don’t talk about, so an omniscient voice was needed to get inside their heads. One reason that we sometimes have trouble reading Victorian literature is that it doesn’t translate, and in some cases it doesn’t reveal. We don’t automatically know what a dustman or a mudlark was back then.” Morrell, who generally steers clear of sequels, became so enamored with De Quincey and his writings that he is finishing the first draft of a follow-up to Murder as a Fine Art. “I’ve done two or three books related to prior characters, but I only do that if the characters really grab me.” Early readings of the book by the publisher led to a discussion about turning it into a trilogy. Morrell is aware, however, that his readers have come to know and respect him as someone who can dramatically change his writing approach and style from novel to novel. Friend and crime writer Donald E. Westlake, who died in 2008, read an early draft of Morrell’s first runaway hit, First Blood Blood, and gave Morrell plenty of encouragement and advice before the book’s publication. “Don had this theory. Imagine you have 100 books that were published in the past three months. Spread them out on the table. Start looking at the first page of each book. When you’re all done, about 95 of those books would sound like the same person wrote them. The other five would have distinct voices. “The way you have and keep a career in the thriller world is to do things that others are not doing, things that are very hard to replicate. That has more or less always been my mantra. I can almost look through the decades and see how I have grown, evolved, and become fuller as a writer. I remember when I first decided to tackle De Quincey and mentioned it to a writer friend. And I also remember him turning to me and saying, ‘You son of a bitch, you reinvented yourself again!’” — RDW Sketch of Thomas De Quincey; right, painting of De Quincey with members of his family
s 0 0 8 1 d i m d glan n E , n o d n o ofL p a M e s a Davi es C DECEMBER 7,1811 URDERS LIF RATC FE ROAD M
DECEMBER 19,1811 RS MURDE GR NEW AVEL LANE
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David Morrell, continued from Page 22
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Sivan - סיון
The Hebrew month of Sivan begins on Friday, May 10. On the 6th-7th of Sivan, we celebrate Shavuot, and the giving of the Torah. This year, Shavuot begins on Tuesday night, May 14.
Tikkun Leil Shavuot: Egyptian Style
Tuesday, May 14, 8pm - Evening Services, Community Dinner & A Night of Learning. Focusing on the Torah wisdom from the Jewish communities of Egypt. More info on the web; call to register. May you have a blessed & successful month of Sivan! KolBeRamah.org (505) 216-6136 551 W Cordova Rd, Suite F
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WORLD C LASS WATCHES
PASATIEMPO I May 10 -16, 2013
it was generally, For God’s sakes, man, what’s the matter with you? Straighten up! If you couldn’t control the nasty habit you were considered of weaker character.” In the same way that Morrell deftly transports you to the damp, soot-coated shops and cobblestones of Victorian London — and allows you to smell the leavings of his killer’s blood spree — you can almost taste laudanum’s sad and confounding grip on De Quincey. His mind seems to work much more efficiently in the throes of a hefty opium indulgence. For the average person, a tablespoon of laudanum a day was a maximum dose. At the worst of his addiction, De Quincey was drinking 16 ounces of laudanum a day. “The laudanum addiction is a tricky subject for me. I don’t want to suggest that everyone run out and start getting loaded because it’s going to make him or her a great writer or a more serious thinker, because it just doesn’t work that way. But for De Quincey, some strange avenue allowed him to open up the subconscious and write in ways that I find both magical and profound. He had a gift for probing into the nature of the human mind and uncovering the alienness of its many chambers. By all accounts, this little 4-foot-11 guy should have been totally nonfunctional, if not dead, due to his addiction. His daughter Emily frequently had to notify him that his hair was on fire after he had nodded off straight into a lit candle. Still, in my mind, he wrote some of the most brilliant prose of the 1800s.” Victorian society embodied a cultural juxtaposition. It was ever so prim and proper, putting on an appropriate public face for every imaginable occasion, while underneath that facade was a disturbing amount of violence and corruption. De Quincey gave Morrell the opportunity to write about this juxtaposition with both historical accuracy and descriptive flair. Opium is the common denominator of many things in Murder as a Fine Art, and Morrell knew ahead of time that his antagonist would be motivated by his experiences with the East Indian opium trade. Those experiences range from the personal to the political and set the stage for a conspiracy with global implications. “It’s hard to accurately guess the full impact that the opium trade had on the British Empire. ... About three, four years ago I read a book about Theodore Roosevelt’s gunboat diplomacy in Japan and China around the turn of the 19th century. The author was talking about the opium trade in the late 1800s and how fortunes were made because of it. In De Quincey’s time, England’s powerful East India Trading Company smuggled India opium into China against the Chinese emperor’s wishes. The Brits exchanged opium for Chinese tea, which was worth more. In my book, I also posit that it was important to England that other empires kept fighting amongst themselves in order to keep the British Empire at the top of the heap. Perhaps England gave them a little help to keep doing that.” ◀
details ▼ David Morrell, book signing and reading of Murder as a Fine Art ▼ 6 p.m. Monday, May 13 ▼ Collected Works Bookstore & Coffeehouse, 202 Galisteo St., 988-4226
An unconstitutional proposition. An unprecedented decision. An unforgettable evening.
presents
American Foundation for Equal Rights & Broadway Impact’s
Exquisite South Sea Pearls
Now enrolling Two-year-olds through elementary!
S Dragonfly School pring Fair
Silent
Auction
A fundraiser for Dragonfly School
the Jorgeificent Magn
Chicken
Catapult
Toss
Mo Sidectaorrcycle Rides
le
Book Sa
Bingo
Featuring entertainment for the whole family, silent auction (10-12:30), food, crafts, games, book and plant sales. $5 suggested donation at the door.
Saturd1athy May 1
935 Alto Street (Across the river from the Solana Center)
www.dragonflyschool.com
LANB
Creating a better way.
panelists:
Attorney General Gary King, Mayor David Coss, District Attorney Angela Pacheco, Representative Brian Egolf, City Counselor Patti Bushee, Brian Byrnes
One Night Only ~ May 18th, 7:00 pm The Armory for the Arts Theater, 1050 Old Pecos Trail
10-2pm
GOLD
featuring:
Joyce DeWitt, Ali MacGraw, Wes Studi Bailey Chase, Cassidy Freeman, Adam Bartley
SILVER T R A N S F O R M AT I V E
BRONZE
Tickets: $60 Reserved Seating, $125 Preferred Seating including admission to an after-party with cast and panelists.
Reservations & Box Office: 505-984-1370 Proceeds benefit the American Foundation for Equal Rights and its federal lawsuit for marriage equality. | 8theplay.com Sponsored by:
P R AC T I C E
Amelia Roache, Communication and Relations Specialist LAWRENCE FACILITATION & TION & PLANNING
Bonita Medical * James Armijo, State Farm Insurance * Jurassic Pets * Kris & Tiphini Axtell * Mai Ting, MD
PASATIEMPOMAGAZINE.COM
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PASA TEMPOS
album reviews
CrAIg tAbOrn Deerhunter Monomania (4AD) trIO Chants (eCM) Monomania is an elegant home with On “Saints,” the opening track of a mangy, barking dog chained in the Chants, pianist/composer Craig Taborn front yard. Opener “Neon Junkyard,” jumps busily in with a deft touch and a with its scary-movie sounds, and the complex, wandering commentary, with squelching, squealing “Leather Jacket his bandmates adding solid, creative II” are psychedelic teeth-grinders that gestures on cymbals and snares (Gerald seem aimed to keep new fans at bay. Cleaver) and double bass (Thomas (Old fans, however, will lose their minds over the latter track.) Morgan). Taborn, a Minneapolis native, greased his musical Don’t be fooled. Once you tiptoe past the dog and get inside heels playing in the bands of James Carter, Roscoe Mitchell, the house, you’ll find yourself in an opulent, inviting space. The and Tim Berne in the 1990s and early 2000s. His discography as a sharp edges are polished off the songs or discarded entirely, leaving leader goes like this: trio, trio, quartet (with electronics), solo piano, spacious, catchy numbers that chug along pleasantly and come across and now Chants, presented by his trio of eight years. His focused piano like smelly, ragged punks that you can take home to your parents. work may sometimes remind you of Brad Mehldau, but Taborn’s ideas Frontman Bradford Cox and spry guitarist Lockett Pundt work from can inhabit a more repetitive, hypnotic groove, and their intellectual and some 70 years of rock influences. “Pensacola” exhumes an old-time boogie, soul stirrings seem quite different. The heaviness of “Beat the Ground” is while “T.H.M” turns one of Radiohead’s wind-up guitar riffs into a pumping relieved with “In Chant,” a loose game of key plinkings, bass thrummings, and beat and rhythmic breathing exercises. “Monomania,” the first percussion. “Hot Blood” then steams ahead with an off-kilter rhythm, single, is a ferocious rock track that lurches through tempo the three adding new shapes to the CD’s collage. On “All True changes and strikes curious poses before Cox shouts the title Night/Future Perfect,” nearly 13 minutes long, Taborn paints repeatedly over a jet-engine blast of guitars. Not only is the sonic scene in washes of black and dark blue, speckling Monomania a fantastic collection of songs, it also puts the pops of bright yellow here and there. Morgan and Cleaver untouchable cool back in indie rock. The barking dogs take turns stretching Taborn’s nets and adding dimension. Not only is may be there to prove this point: like classic punk and Chants offers insights into concentration, a good variety early indie rock, Deerhunter lives in a house where the of both density and space, and sometimes a sense of the ‘Monomania’ a fantastic freaks and outsiders have all the swagger. — Robert Ker magical. Plus there are fun song names like “Cracking Hearts” and “Silver Ghosts.” — Paul Weideman collection of songs, it also puts VArIOuS ArtIStS Made In Iceland VI (IMX) Made In Iceland VI, the latest in a string of compilation albums VArIOuS ArtIStS Music From Baz Luhrmann’s Film the untouchable cool back celebrating Iceland’s vibrant music scene, is a sample “The Great Gatsby” (Interscope) To match the historical platter worth feasting on. Nineteen tracks traverse a pastiche of his films, director Baz Luhrmann scores in indie rock. broad stylistic range and include some familiar names his movies to pop hits, often mashed up to meet the era along with a handful of lesser-known artists. Album opener he is depicting. In Romeo + Juliet, a boys’ choir launches a “Glow” by Retro Stefson (a septet) takes most of its cues high-church falsetto cover of “When Doves Cry.” Lil’ Kim, from ’90s diva house, with a driving 4/4 beat and plenty of the Pink, and Christina Aguilera vamp their way through a sort of Paris-in-SoCal take on the disco standard “Lady Marmalade” in synth lines that helped define the genre. VI’s most notable tune Moulin Rouge! For The Great Gatsby, the Australian filmmaker tapped is Ghostigital’s “Dreamland,” with David Byrne, originally released on the experimental electronica duo’s 2012 album Division of Culture & Tourism. Jay-Z as producer, seeking to meld the New Gilded Age hip-hop swagger Twerk-worthy and lyrically bizarre, “Dreamland” captures perfectly the to the book’s milieu of fast cars, bootleggers, and roaring jazz music. The Icelandic penchant for mashing multiple styles into a single track. It’s a results are wildly uneven. A duet between Beyoncé and Outkast’s André 3000 should have been a worthy torchbearer for Amy Winehouse’s brilliant collision of esoteric writing and butt-shaking mainstream urban “Back to Black.” Instead the pair come across as undertakers. On dance music. “Cut Out Your Tongue” by the Bloodgroup quartet is a cover of Beyoncé’s “Crazy in Love,” however, the soaring pipes Iceland’s answer to Puscifer weirdness, while Reykjavík-based Pascal of Scottish singer Emeli Sandé and a swing-infused Bryan Ferry Pinon (named after the two-headed Mexican, a sideshow attraction Orchestra convincingly transform the 2003 hit into a flapper song. of the Sells-Floto Circus in the early 1900s) provides the album’s On “Bang Bang” will.i.am sticks to most haunting and atmospheric female the script, latching ragtime trumpets harmonies on “When I Can’t Sleep.” Ólafur Arnalds does, of course, make an to a house beat. Jay-Z’s “100$ Bill” appearance, this time with Arnór Dan emerges as the only truly inspired Arnársson of art pop/math rock outfit noncover effort, joining lyrics about Agent Fresco, on the heart-wrenching trafficking cocaine, partying, and piano ballad “Old Skin.” While only accumulating cash to a slinky beat laced a few tracks here can be considered with crackly horn riffs that seem to new, they’re all worth the effort. have been lifted off a Victrola. — Rob DeWalt — Casey Sanchez
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PASATIEMPO I May 10 -16, 2013
216-7769
Shop Local
955-1700
820-6442
FREE PARKING
500 Montezuma Avenue • www.sanbusco.com Bodhi Bazaar • Chapare • Cost Plus World Market • Dell Fox Jewelry • Eidos Contemporary Jewelry • El Tesoro Café • Get It Together • Kioti • Mercedes Isabel Velarde Fine Jewelry And Art • On Your Feet • On Your Little Feet • Pandora’s • Play Pranzo Italian Grill/Alto • Raaga Restaurant • Ristra Restaurant • Rock Paper Scissor SalonSpa • Santa Fe Pens • SoulfulSilks • Teca Tu – A Paws-Worthy Emporium • The Reel Life • Wink Salon
The New Mexico Performing Arts Society Presents
CHORAL MASTERPIECES WITH A FRENCH CONNECTION
Thursday, May 23, 2013 at 7:00 P.M., in the St. Francis Auditorium / 107 W. Palace Ave.
Charles Gounod
Performed in the orchestral version with Full Choir, Soloists and Orchestra
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
PURCHASE TICKETS: Call 505-988-1234 or in person at the Lensic box office.
More Information: beakspeak@alla-breve.us or 505-474-4513 PASATIEMPOMAGAZINE.COM
27
TERRELL’S TUNE-UP Steve Terrell
The finest old-man rock around One of the most remarkable rock ’n’ roll comeback stories in recent years is that of James Williamson, who was best known — really only known — as the guitarist for Iggy & The Stooges on Raw Power, their last studio album to be released (in 1973) before the group broke up. A few years later, Williamson quit the music industry, went to college, and started a career in Silicon Valley, retiring a couple of years ago as a vice president of technology standards for Sony Electronics. In 2010, Williamson rejoined The Stooges for the first time since the Metallic K.O. days, and now, on Ready to Die, Williamson and Iggy Pop are creating new music together. The two co-wrote every song on the album. It’s the first Stooges studio album with Williamson since Raw Power. But on an unhappier note, it’s the first Stooges album ever without guitarist Ron Asheton, who died in 2009. This is the second album by the reconstituted 21st-century Stooges. The first was 2007’s The Weirdness, in which the brothers Asheton — Ron and drummer Scott — reunited with Iggy, with Mike Watt (Minutemen, Firehose) on bass. The critical consensus was that the album was a disaster and a disgrace to the Stooge legacy. Personally, I didn’t think it was that bad. Heck, it was a lot better that the latest album by the re-formed New York Dolls. But Ready to Die is surprisingly good. Young whippersnappers might smirk that Ready to Die is old-man rock. Well, it is. The band was clearly acknowledging this fact with a defiant chuckle in choosing the title for this record. The truth is,
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PASATIEMPO I May 10 -16, 2013
The image of a stern, shirtless Iggy wearing a suicide belt of explosives on the cover of ‘Ready to Die’ suggests these are geezers with attitude. these are old men who can rock. And the cover image of a stern, shirtless Iggy wearing a suicide belt of explosives suggests these are geezers with attitude. Maybe the music here isn’t blazing new trails like the original Stooges did in the late ’60s and early ’70s. But, with drummer Asheton and bassist Watt providing an invincible rhythm section and old Stooge sax man Steve Mackay back in the fold, this band frightens most younger competitors. The Stooges come out of the chute like a crazy rodeo bull on the opening track, “Burn.” This is followed by the equally scorching “Sex & Money,” (“A darkness is on my mind/When reason is going blind. … I’m looking for a reason to live/ When I’ve only got but two things to give,” Iggy growls. This is followed by a couple of reckless rockers in which the lyrics look outward at contemporary society. “Job” is about underemployment (“I’ve got a job but it don’t pay [excrement]/ I’ve got a job but I’m sick of it,’ Iggy spits. Then on ‘“Gun,” Iggy sings “If I had a [expletive] gun, I could shoot at everyone.” As the song progresses, Iggy takes aim at “Stand your Ground” laws and the place of guns in the American psyche: “Yeah, we killed the Indians. … Watch out for the Mexicans. … Now it’s time to duke it out, nuke it out, and black it out.” Later in the album, there is “Dirty Deal,” a coldeyed indictment of con men in the music industry. (“The system’s rigged to favor crooks/You won’t find that in civics books,” Iggy snarls.) But don’t worry. It’s not all grim politics, as Iggy and crew prove on “DD’s,” a lusty ode to top-heavy women. It’s shamelessly dumb, but it’s the most lighthearted song on the album. Not all the songs are crunching rockers. There are three tunes in which The Stooges slow it down and pretty it up. Something tells me I’ll push the skip button on these in the future. However, the final cut is more than worthwhile. “The Departed” is a sad eulogy for Asheton. As part of the tribute, the song starts and ends with acoustic versions
of his famous “I Wanna Be Your Dog” guitar riff. The song is a sober look at the rock ‘n’ roll life: “The life of the party’s gone/The guests who still remain/Know they’ve stayed a little too long/Party girls will soon get old/Party boys will lie/Both the sexes soon grow cold.” There’s truth in these words. But despite their advancing years, I just can’t look at Iggy & the Stooges as guests who have stayed too long. Check out www.iggyandthestoogesmusic.com. Also noted: ▼ TV Smashing Concert, July 23, 1970 by Figures of Light. I never like to quote record companies hyping their own products. But I have to make an exception here, because Miriam Linna of Norton Records hit the nail on the head. According to the band’s bio on Amazon.com, she told the Figures this LP “makes Metal Machine Music sound like Mantovani.” Of course, she meant that in the nicest possible way. Meanwhile, the blurb for this record on Norton’s website says “be aware that the vocals are buried in the original mix.” Actually it sounds more like the vocals were cremated. I mean that nicely also. Who is this band? Quick recap: the musicians came from New York City, influenced by The Velvet Underground and other pre-punk, postgarage acts of that era. At their first concert in 1970, the group destroyed 15 television sets onstage at Rutgers University. They broke up soon after that, went their separate ways, and the Figures were just a flicker of a memory until the Norton Records crew discovered an ancient 45 of FoL’s only single, “It’s Lame,” and persuaded singer Wheeler Winston Dixon and guitarist Michael Downey to reunite and get back in the studio. No, the fi ain’t hi on this live album, and I staunchly believe that any potential new converts to the Figures cult should start out with their previous albums: 2008’s Smash Hits, which includes old material from the ’70s, live stuff, and songs recorded in the studio shortly its release, and the excellent follow-up, 2011’s Drop Dead. But TV Smashing Concert — the group’s complete debut show, all 26 minutes or so — will have a damn-I wish-I’d-have-been-there effect on those who already are fans of the Figures. At least it did on me. The album is available only in a limited edition of 300 colored vinyl LPs. To paraphrase the Firesign Theatre, if you asked for this record in stores, they’d think you were crazy. But you can find it at http://tinyurl.com/FOLLIVE. ◀
pASSeD horS D’oeUVreS romaine Wrapped Coonridge Goat Cheese With roasted bell peppers Ahi tuna And Shrimp Skewers With “Chimmichurri” Sauce “Corrales White”, riesling, Chardonnay, Sémillon, Sauvignon blanc, new Mexico, n/v
FirSt Grilled trout “Ceviche”, Fried Capers, Meyer lemon Chardonnay, new Mexico, 2008
SeConD Smoked petaluma Chicken Confit, Grilled radicchio, White truffle oil, parmesan reggiano Syrah, new Mexico, 2009
entrée Grilled new Mexico hanger Steak, Smoke-roasted turnip puree, Warm beet Greens Salad, huitlacoche Démi-Glace
Join Us For A Very Special Wine Dinner With Milagro Vineyards CheF GhArrity Will be G r i l l i n G o n t h e pAt i o
May 16, 2013 at 6:30pm $65 per person. For reservations please Call 505-988-9232
Merlot, new Mexico, 2007 (poured from 1.5 liter magnums)
DeSSert Grilled Cape Gooseberries And Chocolate Soup “old Church road Select”, Zinfandel, new Mexico, 2009
open Daily 11:00am until 10:00pm 125 east palace, Santa Fe complete menu at lacasasena.com FolloW US on FACebook
MaY 2013 We’ll be giving aWay three CaDillaC atS in May! Drawings on Saturdays, May 11, 18 & 25 at 6 pm, 7 pm, 8 pm, 9 pm and 10 pm.
q For the discovery of innate wisdom & compassion
See lightning rewards Club desk for complete contest rules and details. eaRn 3x entRies on tuesDaYs & thuRsDaYs!
Daily Meditation Sessions Wednesday Night Dharma Talks Weekly Programs and Retreats -
A workshop that will transform your relationship with money and the life of your non-profit with Lynne Twist, a world-renowned speaker, author, fundraiser, activist
BuffaloThunderResoRt.com
877-T hund er
Player receives one entry for every 30 points earned on their Lightning Rewards card, May 1 through May 25, 2013. Drawings will be simulcast at Cities of Gold. Management reserves all rights.
s a n ta f e , n e w m e x i c o 505-986-8518 w w w. u paya . o r g u paya @ u paya . o r g
PASATIEMPOMAGAZINE.COM
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Seeing new patients in our Santa Fe office! A survey | selections from rome and other works
Appointments scheduled through Los Alamos office: 662-4351 Most insurance accepted! (not contracted with Tricare)
NO GIMMICKS E JUST GREAT CAR
Crosswalk, 2012, conte crayon on paper, 39 1/2 x 27 3/4 inches. © 2013 Patrick Oliphant
May 10, 2013 – June 8, 2013 Opening reception with the artist: Tonight, May 10th from 5:00 – 7:00pm A c At A l o g w i l l b e A v A i l A b l e f o r p u r c h A s e
booksigning: saturday, May 11th at 2pm
Focused
Prep means Prepared. Ready for Anything.
1011 PaseO de PeralTa, sanTa Fe | 505.954.5700
gPgallery.cOM | Find us On FacebOOk + insTagraM
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PASATIEMPO I May 10 - 16, 2013
Mike Multari Director of Admissions mmultari@sfprep.org 505 795 7512
ON STAGE Superb stylist: Meagan Chandler
Sultry, smooth, and sexy only begin to describe the artful and atmospheric sounds of Meagan Chandler. Inspired by everything from jazz noir and reggae to hip-hop and flamenco, Chandler’s debut CD, Sensual, is a delightful detour from pop-music norms. Her varied vocal experience allows her to switch styles on a dime, and her band knows how to back her up nicely. Produced by Santa Fe musician Jeremy Bleich of pop duo GoGoSnapRadio, the album also includes contributions by some of Santa Fe’s finest, such Paul Groetzinger and Milton Villarrubia (drums), pianist John Rangel, and flamenco guitarist Joaquin Gallegos. At 8 p.m. Saturday, May 11, Chandler celebrates the album’s release with a concert at High Mayhem Emerging Arts (2811 Siler Lane, www.highmayhem.org). Tickets are $10 at the door, $5 with the purchase of Sensual ($10 for digital download, $15 for a CD). — RDW
Balanchine, MacLaine & Paris: New Mexico School for the Arts
THIS WEEK
Singer/songwriter Scott Jarrett hits the stage at Gig Performance Space for a solo show at 8 p.m. on Saturday, May 11. A few high points from his career include more than a decade as an instructor at McNally Smith College of Music in St. Paul, Minnesota; founder of Monkey House Recording Studio in Hudson, Wisconsin, and co-designer and chief engineer of ThunderBird Recording Studio (now Third Eye Studios) in Tijeras; a music director of the Broadway hit The Best Little Whorehouse in Texas; coauthor of Music Composition for Dummies; and music-making with the likes of Willie Nelson and Dave Grusin. Jarrett is now instructor of recording arts and music business in the contemporary-music program at Santa Fe University of Art and Design. Tickets are $15 at the door. Gig (www.gigsantafe.com) is located at 1808 Second St. The musician’s CDs Aperçu and The Gift of Thirst will be on sale. — PW
Courtesy image
On Friday, May 10, the New Mexico School for the Arts presents its end-of-year gala, ArtSpring 2013. The party gets started at 5 p.m. at the Georgia O’Keeffe Museum Education Annex (123 Grant Ave.) with an exhibition of artwork by NMSA students. The movable fete then heads to the Eldorado Hotel & Spa (309 W. San Francisco St.) at 5:30 p.m. for a wine-andhors-d’oeuvres reception. At 7 p.m., theater, dance, and music students perform at the Lensic Performing Arts Center (211 W. San Francisco St). Expect some stellar surprises. For instance, the school has been granted rights allowing its dance students to perform excerpts from George Balanchine’s Serenade. Music students perform pop-, rock-, and hip-hop-drenched versions of classical music mainstays. There will also be a short live auction at the Lensic that evening. How about a trip to Paris — or an evening of food, cocktails, and conversation with inimitable screen legend Shirley MacLaine? Tickets are $100 per person (includes all events plus preferred seating). Preferred-seating tickets for the performance are $50. There are also $15 seats available for the performance only, without preferred seating. (Another performance takes place on Saturday, May 11.) Tickets are available by calling 988-1234 and from www.ticketssantafe.org. All proceeds go toward scholarships. Call 982-6124 for more information. — RDW
From the Monkey House to the best little house: Scott Jarrett
Westminster follies: NT Live’s This House
British politics traced a course of turmoil in the 1970s, during which decade factions rose and fell and prime ministers had trouble holding on to their jobs. James Graham’s play This House offers a fictionalized story that unrolls against this turbulent background. It proved a striking success when it was unveiled in London last fall, and the National Theatre Live incentive will offer it to the world through a sort-of-simulcast that reaches the Lensic Performing Arts Center (211 W. San Francisco St.) at 7 p.m. on Thursday, May 16. The burning question is whether the events depicted will prove too nationally specific to survive the transition to audiences unfamiliar with the niceties of the House of Commons. If you prefer the original BBC version of the TV miniseries House of Cards to the American remake, this NT Live installment is surely for you. Tickets ($22, $15 for students) are available by calling 988-1234 and from www.ticketssantafe.org. — JMK PASATIEMPOMAGAZINE.COM
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James M. Keller I The New Mexican
FIAT VOX M US I C DI RECTOR MAXI N E THÉVENOT
Christopher Floyd
onductor and organist Maxine Thévenot holds a notable place in the musical life of Albuquerque, but her profile also increased in Santa Fe last fall when she was named music director of the Sangre de Cristo Chorale, a local amateur chorus now in its 35th season. During the coming week, Thévenot will lead that ensemble in concerts in Santa Fe and Los Alamos, and she will also appear in Santa Fe in a recital with singer-and-pianist Edmund Connolly, her husband, with whom she performs in a duo under the name Air & Hammers. Pasatiempo asked her about her multifarious activities. Pasatiempo: As best we can tell, you have a six-pronged career at this point. In addition to directing the Sangre de Cristo Chorale and performing in the duo Air & Hammers, you are also director of cathedral music and organist at the Cathedral Church of St. John in Albuquerque; you are artistic director of the professional vocal ensemble Polyphony: Voices of New Mexico; you are director of the collegiate women’s chorus Las Cantantes at the University of New Mexico; and you are an active concert organist. I thought there were only 24 hours in a day. Maxine Thévenot: My days are usually pretty long. That’s the way a musician’s life is. I keep a diary, look ahead, chart and plot to make everything fit. I try to include fun projects for myself, try to stay busy and stay challenged. That’s what allows me to grow, and hopefully others around me will glean from that. Pasa: New Mexico seems a long way from your native Saskatchewan. When did you arrive here? Thévenot: I moved here in June of 2005. When I began this journey south of Canada, I never thought I would be in the States this long. I moved to New York in 1999 to do my master’s degree at the Manhattan School of Music, and I figured 32
PASATIEMPO I May 10 -16, 2013
I would go back to Canada after that and continue my life. But then it just took this wonderful detour. Pasa: Your “anchor” position overseeing the music at the Cathedral Church of St. John is unusual in that you are one of only six women to hold such an appointment in the United States. Doesn’t that seem like a low number? Thévenot: It’s a male-dominated profession. Unlike many churches, the Episcopal Church — depending on which wing you’re a part of — is willing to take chances, I guess. I was lucky in my upbringing. In my late teens, I was exposed to the musical tradition of the Anglican Episcopal Church and never looked back. I knew that’s where I would end up. I was able to study in Britain, toured with choirs to Great Britain, and travel there often. St. John’s cathedral choirs have been invited to sing in residency for a week in 2014 at both Winchester Cathedral and Westminster Abbey. Probably about 35 singers will go, including some of our cathedral choristers, our school-age singers. Westminster Abbey is just a such a great space to perform in, and I think it will have a great effect on the children — to be there among the graves of composers like Herbert Howells, [Charles Villiers] Stanford, Elgar … even Handel. Pasa: What do you have for an organ at your church? Thévenot: A large, three-manual pipe organ by Reuter, a builder based in Kansas. It’s the largest instrument in the state, with just under 4,000 pipes. The instrument was renovated in 2002, when an antiphonal division was added. It’s especially fine for the French solo literature, like the organ symphonies of Vierne and Widor, and it accompanies very well for music in the Anglican tradition. Pasa: Not long after you arrived here, you founded Polyphony. What prompted you to do that? Thévenot: It began as just 13 or 14 singers I assembled to perform Britten’s
A Ceremony of Carols in 2006. Almost 400 people showed up at the concert, and on the basis of that it developed into an actual group, which we officially established in 2007. It is a professional chorus, and members have to be residents of New Mexico. The roster is flexible, depending on the repertoire: sometimes women, sometimes men and women, sometimes with instruments, sometimes a cappella. Pasa: You concurrently direct a cathedral choir, a university chorus, a professional vocal ensemble, and an amateur community choir. Do such kinds of groups require very different approaches? Thévenot: I approach them as having different realities, but not necessarily with different expectations, because I always demand really high standards from whatever group I’m directing. My goal is to recognize the point with each ensemble that is as far as I can push them at a specific moment or for a specific work. What’s especially fun for me is that these different approaches serve as an opportunity to explore so much different repertoire. Pasa: What attracted you to add the Sangre de Cristo Chorale to what was already a full schedule? Thévenot: They twisted my arm really hard to come work for them! I thought a lot about taking over an ensemble that had been in existence for a long time — 35 years, with only two previous music directors. I was unfamiliar with the ensemble when they approached me, but it has proved to be a wonderful group of people. I know they have been challenged by some of things I have asked of them, and I will continue to challenge them. Pasa: What will be the high points of the chorale’s spring program? Thévenot: After researching the group’s history, I realized they hadn’t done the Vivaldi Gloria for more than a decade. It is one of the staples for a group like this and probably half of the current members haven’t sung it before. Given the celebratory nature of this anniversary season, it seemed like a great choice. In addition, we’ll be doing Instant Culture, a choral drama by Dan Locklair, for piano, oboe, trumpet, and choir. It divides the choir in two: one supports the “voice of composer,” the other represents the “voice of authority,” the practical, managerial aspect. It’s a sort of right-brain, leftbrain balancing act. And then we commissioned a piece from Andrew Ager, a Canadian composer: Limericks Five for oboe, trumpet, string orchestra, piano, and choir. Some of the limericks are quite naughty. When the choir first read through them, some of the singers said, “We can’t possibly do that!” Pasa: Later in the same week, you’ll perform a recital as half of the wifeand-husband duo Air & Hammers. Can you help decode the name? Thévenot: We explore the repertoire for baritone voice and piano or organ. We were sitting at the table throwing out possible names, and we landed on this idea: singing and the organ are both based on air, and the piano uses hammers to create sound. We tried out various names with friends, and this is the one that provoked the strongest reactions — positive and negative. People either loved it or hated it. So we chose it because it was the one that created the most emotion. Our recital features a song cycle by Gerald Finzi: Earth and Air and Rain to poems by Thomas Hardy. It’s a beautiful song cycle, not heard very much, and it suits Ed’s voice perfectly. He’s got that lyric quality it demands, and he tells a fine story. ◀
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details ▼ Sangre de Cristo Chorale: Maxine Thévenot conducting, pianist Edmund Connolly accompanying 5 p.m. Saturday, May 11 Bethlehem Evangelical Lutheran Church, 2390 North Road, Los Alamos 3 p.m. Sunday, May 12 First Presbyterian Church, 208 Grant Ave., Santa Fe $20 both concerts (discounts available), 988-1234, www.ticketssantafe.org ▼ Air & Hammers: Edmund Connolly, baritone, and Maxine Thévenot, piano and organ 5:30 p.m. Friday, May 17 First Presbyterian Church, 208 Grant Ave., 982-8544 No tickets necessary, donations accepted
Bienvenidos 2013 Summer Guide • May 19
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Paul Weideman I The New Mexican
SOUNDS & SHADOWS ANCIENT INSTRUMENTS OF THE SOUTHWEST
GO FIND A LONG CHUNK OF STONE, HANG IT FROM A TREE OR A VIGA, and strike it with another stone. Will it ring like a bell? It is perhaps hard to imagine, but stone bells used by Pueblo peoples in their underground kiva chambers 600 years ago were “amazingly resonant,” Emily Brown said. The archaeologist gives a talk titled “Instruments of Power: Musical Performance in Rituals of the Ancestral Puebloans of the American Southwest” on Tuesday, May 14. It’s part of the School for Advanced Research series Sparks: Off-Beat New Mexico. “I want to get the word out about kiva bells, because so few people think of stones as musical instruments. At least one ethnographic account tells how kivabell stones are found in places where lightning has struck. The name of one of these locations in the Jemez, translated into English, is ‘the place where they ring the stones.’ ” Brown, a native New Mexican, has a Ph.D. in archaeology from Columbia University. She was formerly employed as an archaeologist for the National Park Service and is now the archaeology project manager and principal investigator for her own consulting firm, Aspen CRM Solutions, based in Santa Fe. One of the weird things that Brown and other researchers have discovered about the ancient history of the Southwest is that Native peoples apparently did not use drums. “At least that archaeologists can see,” she qualified. “Not only have we not found any, but there is no depiction of drums, even in kiva murals, which have so much detail. You can see things in murals like the shell tinklers on [ceremonial] dance sashes and decorative rattles but no drums.” She theorizes that people certainly could have employed clapping and other non-drum techniques to create rhythmic sounds for ceremonial dance and music. Many believe that an individual could dance over a plank-covered hole in the floor of the kiva to make a drumming sound. “Some of these I look at, and I’m a bit skeptical about the sound they could make. But, that said, there are examples at Hopi that were still in use at least in the early 1920s. And if the point was to communicate with ancestors in the underworld, maybe it doesn’t matter if it was quiet.” Another instrument type that people may have used is the bullroarer — basically a flat piece of wood that, whirled around the head on a cord, makes whirring sounds. “The evidence for those is a little scant, although there is one we think is depicted on a Mimbres vessel.” Whether it was used to make music depends on one’s definition of music. Brown’s investigations have included anything that could be used to make a sound. For instance, a turkey-bone whistle may have been used to call turkeys or to play melodies, but it makes sounds, so for her it qualifies as an instrument. Some of the old instruments, like the conch-shell trumpet, could make eerie or awesome sounds and may have been employed by shamans to beckon or repel spirits. “Yeah, at least among the Hopi and Zuni. They see the shell trumpet as the voice of the horned serpent, which is a pretty imposing creature associated with earthquakes and underground caves. Sometimes what the instrument is made of has a symbolic significance, such as a bear-bone instrument used to fight witches. You’re invoking the power of the animal.” Brown does not play any of the instruments she studies, because of concerns about the effect of hot, moist air on the artifacts. But she has made, and played, replicas. The sheer variety of ancient instruments is noteworthy. Joanne Sheehy Hoover listed many of them in “Making Prehistoric Music: Musical Instruments From Ancestral Puebloan Sites,” an article about Brown’s work that appeared in the winter 2004-2005 issue of American Archaeology. In the archaeological record are whistles and flutes made of reed, wood, and bone from geese, swans, eagles, bobcats, and foxes. There are clay bells and copper bells and tinklers — which would be strung on lines — made from walnut shells and seashells, hooves, or pieces of petrified wood. One instrument that seems unlikely 34
PASATIEMPO I May 10 -16, 2013
because of its delicacy is the tiny rattle made from a cocoon or trapdoor-spider nest with bitsy seeds inside. “The other one is the dried deer eye with a single corn kernel inside,” Brown said. “Again, maybe there was some importance in the materials themselves.” Those old meanings are lost. There were anthropologists, beginning in the 1890s, that asked Native people about these things, but the accuracy of a surviving statement depends on many factors. Did the subject answer truthfully? If so, was his conception in agreement with the majority of his people? And is the surviving statement the same as was given on a day long ago, or has it been altered over the years? “If nothing else, we can say that this stuff had to have been loaded with symbolism.” Brown thought of another example of a subtle instrument, this one involving the vocal cords: whisper-singing. “There is a tradition, post-1300s, where you now have large plazas for public ceremonies and kivas to which access seems to have been controlled, including architecturally, so there’s the idea that some ceremonies were very secret. Elizabeth Brandt, who has researched that — particularly at Taos, but it seems to apply to all of the Río Grande pueblos — has found that some ceremonies were considered so powerful that if the wrong people heard them, they could actually be harmed. One of the ways you controlled that was to whisper the words of the song or use a different language.” Like virtually every other archaeologist in the Southwest, Brown is engrossed in the possibilities surrounding the great building projects, and then the abandonment, of the Four Corners communities at Chaco Canyon and Mesa Verde. “The more we look, the more Mesoamerican it looks. Then with the collapse of Chaco and all of the violence that happens in the Mesa Verde region and all of the migrations, what I see is that some instruments seem to have just disappeared.” Among those are huge, beautifully decorated flutes at Chaco. “Even with all the excavations that were done in the big pueblos at Pecos and Bandelier and around the Galisteo Basin, no one has ever found one. It’s pretty much the same with the shell trumpets and copper bells. “So what I see with all of that social change, people were like, this Mesoamerican stuff is not for us, and they do not continue things that were quintessentially Chaco. But then some things, perhaps from the pre-Chaco [flourishing], do persist, so they may have thought, that didn’t work, but what did our ancestors do that worked so well? Let’s bring that back.” If people migrated from Chaco to the Río Grande and rejected the ideas and artifacts from the former (perhaps despised) society such as the shell trumpet and huge flute, what’s new? How about eagle-bone whistles and bone tinklers? Brown said those were among the instruments that first appear in the late Pueblo III and early Pueblo IV times, from about A.D. 1250 to 1350. “From a musical standpoint, that big Chaco flute was very hard to play, and only certain people could play it. These new instruments are easy to play, so more people could do it. Now you have these big pueblos and you have to have ways to integrate everyone. If everyone is praying for rain, you have that shared experience, which is different from standing around watching the elite leaders playing.” ◀
details ▼ Emily Brown lecture: “Instruments of Power: Musical Performance in Rituals of the Ancestral Puebloans of the American Southwest” ▼ 3 p.m. Tuesday, May 14 ▼ School for Advanced Research, 660 Garcia St. ▼ No charge; 954-7200
Shell tinklers
These were made by removing the spine of the shell and drilling a hole in the wall of the shell at the other end, and were most common in the Pueblo IV Period (A.D. 1300-1540).
Kiva bells
These are from the historic plaza at San Lazaro Pueblo in the Galisteo Basin. They range in length from 8 to 12 inches.
Prayer Rock flutes
These Basketmaker Period (A.D. 200-700) flutes were found in Broken Flute Cave in the Prayer Rock District in Arizona. They are some of the earliest examples of instruments in the Southwest and also some of the most sophisticated in their construction and musical capability.
Archaeologist Emily Brown
Decorated gourd rattle
This rattle is from a prehistoric site in Canyon de Chelly, probably from the Pueblo II Period (A.D. 9001150). It was decorated by peeling a thin layer of the rind off squash to reveal a different color underneath. It would have had a handle through the middle.
Scapula rasp
Rasps, like this one found at Tonque Pueblo near San Felipe, were most often made from deer and antelope bones. This one measures 8 inches long by 5 inches wide.
Sapawe whistles These whistles from Sapawe Pueblo are typical of bone whistles found throughout the Southwest.
PASATIEMPOMAGAZINE.COM
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Politics aside
James M. Keller I The New Mexican
it
has been 49 years since Santa Fe resident Patrick Oliphant moved to the United States from his native Australia, and through the decades since he has documented the governmental vagaries of his adopted country with an astuteness that has earned him a place in the pantheon of the greatest political cartoonists. A year after he arrived, his work began to be distributed through national and international syndication, and in 1967 he was awarded a Pulitzer Prize for a mournful frame he drew lamenting the nihilism of the Vietnam War, which was then going at full tilt. Nine presidents have occupied the White House during the Oliphant years — Johnson, Nixon, Ford, Carter, Reagan, Bush, Clinton, another Bush, Obama — and he has skewered them all, assisted by Punk, the alter-ego penguin that speaks truth to power from a corner of his frames.
Patrick Oliphant’s artwork takes a different direction Millions of readers follow his cartoons unswervingly — at the age of 77 he still produces three every week — but few of his fans have had the opportunity to view his artistic work outside that domain. On Friday, May 10, the Gerald Peters Gallery launches a month-long exhibition titled Patrick Oliphant: A Survey — Selections From Rome and Other Works, which casts a light on precisely those efforts in other genres: sculptures, paintings, drawings, prints, and monotypes. A number of the pieces on display are the fruit of his term last autumn as The Roy Lichtenstein Resident in the Arts at the American Academy in Rome. “It was my first sabbatical in 60 years,” Oliphant said as we strolled through the gallery while the show was being installed. “They gave us a huge place to stay, with windows overlooking Rome. We had three months of glorious ‘doing what you like,’ not even thinking about politics. We had the advantage to pretty much ignore the election last fall.” Even though his Rome drawings were captured on the fly, they show the telling detail that also infuses his political work. A viewer may feel practically transported to the moments Oliphant has seized. A man quietly rolls a cigarette, surely unaware that the artist is observing him. A bigwig struts down the street, the center of
his universe. “He was obviously the big man on campus,” Oliphant recalled, “with his secretary and a couple of sycophants dancing alongside him. He paid them no attention.” We nearly collide with an image of a weighty woman who claims the right-of-way, her bulk emphasized by the large scale of these drawings. “This woman was coming across a sidewalk. She must be an American tourist — or at least she was built like one.” How did he capture these fleeting images? “You see it, and you get to a pad and pencil fast. You wouldn’t be able to sketch them when you see them. People would probably be insulted.” “I like working large,” he said, “especially in charcoal, which is such an expressive medium, or conté crayon. Cartooning, after a while, gets you into bad drawing habits. You start to use shorthand — quick solutions to drawing hands or anything. So I’ve always tried to keep up this kind of drawing to balance it, to keep myself honest. I love the feeling, the classicism.” Still, the elegance of the rendering may sometimes take a back seat to the subject matter. Consider, for instance, a large portrait titled Jesus at Fifty. There he sits, smoking a Marlboro and drinking a Bud, clearly the worse for wear. A gold-leaf halo encircles his head (“hard to photograph: it comes out black”), and doleful eyes underscore the caption: “I could have been real big as a preacher once.” Oliphant unveiled the piece in Chicago a half-dozen years ago. “People were scandalized, I suppose. That’s how it goes.” He is not a man to let any subject off easy, and you can’t accuse him of cutting corners when it comes to technique. In fact, the piece really is a classical study: a sacred subject embraced within folds of gracefully flowing cloth. Many of the works in the show, however, depict the same figures Oliphant’s political cartoons have inspected over the years, though here generalized into portraits or sculptures rather than crafted for a specific caption. In truth, they say all that needs to be said, even without accompanying verbiage. One of the earliest of the 10 bronze sculptures in the show depicts Lyndon Baines Johnson in his ten-gallon hat — though here more like thirty-gallon. George H.W. Bush, lean and lanky, is captured in a balletic stretch, about to throw a horseshoe. “It’s a Giacometti-type Bush,” Oliphant
said. “He had a horseshoe court on the White House grounds at the time. I’d met him just previous to that, and he was taller and skinnier than I thought he was, so it suggested that treatment.” The second President Bush is pictured in a jester’s hat perched on a solid steed — a Clydesdale, perhaps — with his vice-president walking alongside, armed with a quail-hunting gun, holding the reins. “That’s the nation,” the artist explained, “a big, friendly horse in the hands of these idiots.” One of the most mesmerizing sculptures is of Barack Obama, who takes the form of an inscrutable Easter Island moai. “There’s a barrier between you and him. There’s a stillness about Obama that’s hard to penetrate.” The secondary cast of politicos is also well represented: Donald Rumsfeld as a Prussian general with a spiked helmet; a bloated Norman Schwarzkopf; Jesse Helms modeled after the Venus de Milo and very close to nude. “At the time, Helms was the enemy of all forms of art, so that suggested to me a classic form, without arms — and a small fig leaf.” Sculptures have now occupied Oliphant for more than three decades, and he considers them an essential part of his oeuvre. “They provide another dimension, and a texture, that drawing does not, and the patina. All the things that are delicious about sculpture you try to pass along in the cartoons, but it isn’t always possible.” One senses, too, that, compared to Oliphant the cartoonist, Oliphant the sculptor or painter relishes being liberated to work at a considerably larger scale. Some of the pieces in the show occupy impressive dimensions, including a conté crayon drawing, titled Marathon, in which more than 400 caricatured runners race in rows across a nearly 4-foot-by-5-foot sheet, and a generously scaled painting in which 11 office denizens are crowded into an elevator, not quite obscuring a sign reading “Limited to 8 Persons.”At the opening of his show, Oliphant will spend some time planted near this painting, producing drawings or, as he put it: “What do you call it? Performance art.”
Pat Oliphant: top left, Elevator, 2010, oil on canvas, 48 x 36 inches Top right, The Patrone, 2012, charcoal on paper, 39 x 27 inches Left, Obama: An Easter Island Figure, 2009, bronze, 19.25 x 8.25 x 7 inches Opposite page, The Adjournment of the Luncheon Party, 2002, bronze, 10 x 7 x 26 inches
continued on Page 38
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Patrick Oliphant, continued from Page 37 Back at his home, he shows off the two rooms that serve as his studios. The more cramped is the inner sanctum, filled with books and cabinets and who knows what. There he produces his political cartoons at a desk laden with pens and bottles of ink, droplets of which have splattered insouciantly onto the wall. One reaches it through a larger room where his non-cartoon works come into being. “I wouldn’t want to say this room is for fine art,” he said, “because cartoons are fine art. It’s all of one thing, really.” In any case, the larger studio is dominated by a huge easel constructed with counterweights that allow it to be easily adjusted, bringing any point in the canvas or paper to eye level for the artist, a boon when he is working on a large-scale painting or drawing. His sculpting wheel sits empty, but that may soon change since he has decided on what his next subject will be. “I want to do Gertrude Stein and Alice B. Toklas, nude. Can’t wait, actually. Right now, I’m just keeping it in mind to see how it turns out in my head. The process starts with composition. I do some sketches to get it into my head but then probably won’t refer to them again. Then I will start forming the wax over the armature. For a long time I worked with pieces that didn’t have a sketch for guidance, but I tore them down because I wasn’t happy with them. You have to do that, to be your own editor.” Some favorite sculptures are sitting around, including one of Richard Nixon in his familiar “victory” pose, a sculpture that sold out immediately back in the day. Asked precisely who it is that wants a sculpture of Nixon as part of their daily surroundings, Oliphant allowed that some of his pieces would seem more for museum collections than for individuals. The LBJ presidential library owns his Johnson sculpture, the Smithsonian owns some of his bronzes, and the National Portrait Gallery possesses 10 — all his presidential sculptures, “except not Obama, yet.” ◀
details ▼ Patrick Oliphant: A Survey — Selections From Rome and Other Works ▼ Opening reception 5 p.m. Friday, May 10; through June 8 (catalog signing with Oliphant at 2 p.m. Saturday, May 11) ▼ Gerald Peters Gallery, 1011 Paseo de Peralta, 954-5700
Top, Marathon, 2012, conté pencil on paper, 55 x 48 inches Right, Bush I: Horseshoes, 1989, bronze, 26 x 8.75 x 36.25 inches Left, The Penitent Sisters, 1994, monotype, 19.5 x 14 inches
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PASATIEMPO I May 10 -16, 2013
frOm 10 amtHe tO 3 pm eXperieNce WOrLd Of art ON caNyON rOad
saturday, OctOber 15 sa saturd
friday, saturday & suNday may 10, 11 & 12, 2013 artist QuicK draW & LiVe auctiON siLeNt auctiONs | myriad speciaL eVeNts
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Greenberg fine art
205 Canyon Road
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Karan ruhlen Gallery
225 Canyon Road
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sa
se se
Karen Melfi Collection
225 Canyon Road
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La Mesa of Santa Fe
225 Canyon Road
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Leslie flynt
225 Canyon Road
Manitou Galleries
225 Canyon Road
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meyer east Gallery
225 Canyon Road
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meyer Gallery
225 Canyon Road
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Jewel mark
233 Canyon Road
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barbara meikle fine art
236 Delgado Street
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Ventana fine art
400 Canyon Road
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mark White fine art
414 Canyon Road
Gaugy Gallery
418 Canyon Road
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sage creek Gallery
421 Canyon Road
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Dominique Boisjoli Fine Art
621 Canyon Road
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Waxlander Gallery
622 Canyon Road
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Brad Smith Gallery
634 Canyon Road
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Jane sauer Gallery
652 Canyon Road
matthews Gallery
669 Canyon Road
Nüart Gallery
670 Canyon Road
Winterowd Fine Art
701 Canyon Road
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beals & abbate fine art
713 Canyon Road
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716 Canyon Road
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Vivo Contemporary
725 Canyon Road
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alexandra stevens fine art
820 Canyon Road
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Last Gallery on the Right
836 Canyon Road
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Ronnie Layden Fine Art
901 Canyon Road
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sa
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GaLLery OpeNiNGs & eVeNts friday & saturday artist QuicK draW saturday | 11 am - 12:30 pm cOcKtaiL receptiON & artist preVieW saturday | 4 pm QuicK draW LiVe auctiON saturday | 5:15 pm mOtHer’s day bruNcH attHe cOmpOuNd suNday | 11:30 am - 2:30 pm GaLLeries OpeN suNday | 11 am
se
bill Hester fine art
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ART IN
REVIEW
Hannah Hoel: Friendship in the Age of Facebook (detail), 2012-2013, 232 transparencies; 232 bracelets made from cotton embroidery thread; background of paper and doilies
Interwoven, Santa Fe University of Art and Design’s Fine Arts Gallery, 1600 St. Michael’s Drive, 473-6500; call for days and times; through Sunday, May 19 Many people with Facebook accounts have “friends” they have never met in person as well as real friends and acquaintances. Hannah Hoel, one of four graduating seniors presenting her work in the Santa Fe University of Art and Design’s senior thesis exhibition Interwoven, considers the impact of social media by presenting a mosaic of the Facebook pages of more than 200 of her online friends. Her piece Friendship in the Age of Facebook is a large panoramic installation arranged chronologically, beginning with grade-school friends, along a wall of the school’s Fine Arts Gallery. Interspersed among the Facebook pages is a running journal by Hoel that details thoughts and experiences she had during the piece’s creation, which she began in the autumn of 2012. What ties it all together, so to speak, is a series of friendship bracelets Hoel designed based on the colors and graphics on her friends’ pages. The bracelets are pinned over the names of those to whom the pages belong, thereby obscuring them and offering a superficial sense of anonymity. More graphically interesting pages get more complex and colorful bracelets, and those whose pages are more quotidian get simpler ones. Although many remember pledges to be best friends forever with people they lost touch with long ago, in their heyday, it seemed as though those friendships would never end. But with Facebook? Not so much. The bracelets reflect an abstracted view of people and personalities because we experience these friendships as abstractions. On Facebook
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PASATIEMPO I May 10 -16, 2013
Detail of Hoel’s Friendship in the Age of Facebook
Georgia O’Keeffe, Black Cross with Stars and Blue, 1929. Oil on canvas, 40 x 30 inches. Private Collection © Georgia O’Keeffe Museum
Elliot Rogers: Vision Pyramid, 2013, video projection onto wooden pyramid
people are reduced to a series of favorite quotes, favorite movies, favorite books, photo albums, random thoughts, and so on; and we self-edit as we go. Hoel gives her Facebook friends a chance to connect on another plane by inviting each of them to visit the gallery and receive their bracelet in person. A number of people have done so, suggesting either a need for a deeper social experience or simply that some Facebook friends are more than mere acquaintances or more than, in Facebook-ese, “friends of friends.” Maybe it’s a little of both. An arresting installation of photographer Cheye Pagel’s self-portraits is included in the exhibit. Pagel’s work is perhaps the most personal of the four projects here. She uses black tape to mask and distort her features, and words painted across her face and arms convey a vivid intensity, as though she is engaged in a kind of self-abuse. In the unblinking focus of her gaze one senses a soul in turmoil, crying out in pain and anger. That the work is so matter-of-fact makes it all the more compelling. A mirror, strategically placed in the center of the wall of photographs, is an invitation for viewers to confront their own inner torments. Evalina Montoya’s minimalist paintings are reductive in terms of imagery and materials, rendered using only gesso. The various-sized rectangular paintings force viewers to think more in terms of texture and pattern rather than image. Their arrangement and depth and the manner in which they jut out from the wall, casting shadows, have a kind of cloudlike feel, as if clouds were pixelated into the most basic abstract forms. They are a sharp contrast to the colorful abstract arrangements of Elliot Rogers’ paintings that hang on an opposite wall. Rogers takes his cue from sacred geometry and fractals, painting something out of visions you might see in the mind’s eye. A remarkably well executed video sculpture by the artist accompanies the show. Vision Pyramid is composed of a sculptural pyramid with several video components projected onto it, making it appear to pulse with movement and energy, like something hurtling through dimensions of time and space. Four artists seems like a good number for a thesis show. As it is, each is well represented and, unlike many college and university group exhibitions, the structure of Interwoven feels right, not haphazard. It is the arrangement that makes it work so well. Each artist’s installation fits in a well-defined space and never seems to crowd or vie with the others for attention. There is good work coming out of Santa Fe University of Art and Design, and it will be interesting to see the direction in which these talents choose to take it from here. — Michael Abatemarco
exhibition opening lecture T H u r S d Ay, M Ay 1 6 , 2 O 1 3 , 6 P M
georgia o’Keeffe in new Mexico: transforming American Modernism in the summer of 1929 Georgia O’Keeffe (1887-1986) made the first of many trips to northern new Mexico. The exhibition Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land, is a story of how her artistic practice and cultural curiosity opened a new chapter in her personal and professional life. Saint Francis Auditorium, new Mexico Museum of Art 107 W. Palace Avenue, Santa Fe, new Mexico Admission $5; Members and Business Partners, FrEE reservations: 505.946.1039 or online at okeeffemuseum.org Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land was organized by the Georgia O’Keeffe Museum. This exhibition and related programming were made possible in part by a generous grant from The Burnett Foundation. Additional support was provided by American Express, the Healy Foundation, Shiprock Gallery, Hotel Santa Fe, the City of Santa Fe Arts Commission 1% Lodger’s Tax Funding. PArTiALLy FundEd By THE CiTy OF SAnTA FE ArTS COMMiSSiOn And THE 1% LOdGErS’ TAx.
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ART IN
REVIEW
Cumulous Skies: The Enduring Modernist Aesthetic in New Mexico, Community Gallery, Santa Fe Community Convention Center, 201 W. Marcy St., 955-6705; through June 7
C
umulous Skies: The Enduring Modernist Aesthetic in New Mexico is a title tailor-made for a doctoral dissertation that could conceivably be fleshed out into a book — a book, I would venture to say, that would find a ready readership. But until that occurs, we have to settle for a rather curious exhibition at the Community Gallery. Curated by Santa Fe artist Lawrence Fodor, Cumulous Skies purports to open our eyes to any number of associative aesthetics established by artists working in a modernist idiom that lived or spent time in New Mexico beginning in the early 20th century, carried through by artists at midcentury, and explored today by contemporary New Mexico artists. As stated by Fodor in the show’s brochure, “Cumulous Skies seeks to expand an understanding of the lasting impacts the modernist movement brought to New Mexico by artists Paul Burlin, John Marin, Andrew Dasburg, Georgia O’Keeffe, Agnes Pelton, Willard Nash, Josef Bakos, Cady Wells, and other important artists of the time. ... These avant-garde frontier artists were drawn to the Southwest by the region’s beauty, its indigenous cultures and out of a strong desire to rebuff traditional painting styles. ... This inventiveness and innovation persisted in a second generation of artists that included Raymond Jonson, Emil Bisttram, William Lumpkins, Ansel Adams, Paul Strand, and Agnes Martin — thus fortifying a strong regional movement ... which continues to exist, thrive, and impact artists working today.” That’s nicely put, but it’s nothing we don’t already know. Artists have long been and always will be inspired by other artists’ concepts, whether they actively work in the same region or not. The current exhibition pairs specific modernist works of art — posted in thumbnail color reproductions — alongside 31 original, contemporary artworks by 32 artists in a variety of media, including painting, sculpture, photography, video, ceramic, pottery, and glass. The contemporary pieces — as suggested by Fodor — share certain commonalities with their historical 42
PASATIEMPO I May 10 -16, 2013
Now...More Than Ever brethren, and it’s up to the viewer to find cognizable relationships. A few works are clearly derivative of their companion pieces, while others are less so; indeed, some of the connections are mighty thin. It is easy to see the common bonds between Mokha Laget’s painting Skybox III (2012) and Bisttram’s encaustic piece Pyramids on a Lake (1939). Both are abstracted landscapes, both share limited color schemes, and each painting is composed of flat, hard-edge geometric shapes in a horizontal format, the aesthetic of which is more decorative than representational. Another pairing that works quite well is Day for Night (2009), a painting by John Andolsek, and O’Keeffe’s painting On the River (1964). Both are executed in vertical formats. Despite titles that imply representational scenes, the paintings are essentially nonobjective and have similar palettes of yellow, blue or purple, and black. The pairing is hardly revelatory. Still another obvious connection can be seen between Johnnie Winona Ross’ painting Lisbon Seeps (2011) and Agnes Martin’s Untitled #6 (1980). No matter that the aesthetic mind-sets of Ross and Martin may be worlds apart, the formal elements of sparing application, limited color, and patterning are clearly used by both artists. One of the more astute and unusual couplings in the show is the video installation Tesuque Wave Form (2013) by Madelin Coit shown with Bisttram’s painting Precipitation (1961). Given their similar modest color schemes, abstract shapes, and spatial effects, one can imagine Bisttram’s piece as an isolated frame taken from Coit’s kinetic piece, which displays graphic sound waves in conjunction with audible sounds of nature. In this particular instance, you have to watch Coit’s video stream as a pathway to thinking about the possible connections with Bisttram’s work, which I appreciated. The forced participation put upon the viewer and the conscious leap from one medium to another is a nice dynamic. Two pairings in the exhibit may cause brain freeze because of their lack of discernible relationships: Susan York’s sculpture Tilted Rectilinear Solid (2008) with Dorothea Lange’s black-and-white photograph The Road West, New Mexico (1938), and Stacey Neff’s glass sculpture Sin Cera Blue Study #10 (2012) with Velorio, an undated painting by James Stovell Morris. The York and Lange coupling is, at best, tenuous. The links that chain together York’s enigmatic, minimalist block of highly polished graphite — exquisite in its handcrafted purity and hermetic constitution — and Lange’s onepoint perspective view of a lone highway elude me. York’s piece is about simplicity and self-containment, whereas Lange’s photo exudes the essence of the open road and that which lies beyond the horizon. Am I overthinking this one? Is it the silvery, black tonalities that bind the two? Or is there a Zen quality about oneness here? Then there’s Neff’s monochromatic blue glass piece that stands 45 inches high on a glass base like a miniature dust devil in arrested development. It is split down the middle and slightly shifted out of alignment. The issue here is to discover the relationship between Neff’s sculpture — which alludes to movement, stasis, and a state of equilibrium — and Morris’ funerary scene in which a group of men and women are gathered at a home, mourning the death of a village member whose body is laid out for visitation. The women are inside the adobe structure, while the men — all dressed in dark suits — are standing outside, engaged in conversation and sharing a bottle. Morris’ narrative portrays a solemn Northern New Mexico ritual, as well as a universal rite of shared feelings of sympathy, kindness, and respect. The only thing that caught my eye to relate the pieces is the beautiful cobalt blue applied to each. Fodor’s thesis is a worthy, if reiterated, attempt at reminding us of how a modernist vocabulary continues to thrive among New Mexico artists. While the comparative aspect of the exhibit is didactic and at times fun, it can also be tedious. A simple celebration of the invited artists and their modernist tendencies may have been just fine. — Douglas Fairfield
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Opposite page, top: Madelin Coit: Tesuque Wave Form (video still), 2013; opposite page, below, Emil Bisttram: Precipitation, 1961, oil on board, 32 x 36 inches PASATIEMPOMAGAZINE.COM
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Bill Kohlhaase I For The New Mexican
Gizmo design Writer-illustrator Ben Katchor imagines a stranger world
Ben Katchor’s world, portrayed in his strangely drawn, strangely told comics, is as much a forgotten place as an imagined one. His newest collection of literate cartoons, Hand-Drying in America and Other Stories, featuring material first published in Metropolis magazine from 1998 to 2012, explores mostly imagined architecture and its accompanying artifices, creations that are only slightly probable yet not completely improbable. The time in which these stories are placed, without being specified, seems of various periods, suggesting the Manhattan of the 1970s, the 1950s, and the late 1930s all rolled into one. The streets are lined with hot-dog shops, cosmetic stores, and newsstands. The sides of buildings carry oversize advertising for madeup coffee companies and “dentifrice” that promises “that specious smile.” There’s not a Starbucks in sight. It’s in this world that the visionary architect Selladore invents a device to free mankind from “the degrading ritual of ‘locking up.’” He designs a deadbolt that is always open until it’s activated by the warmth of a human hand on the door knob. Imaginary problem solved. To quote the inventor, who reveals all his motivations: “The doors of the city can be left unlocked, day and night. People will go to sleep without bolting their doors behind them. Bathrooms will be occupied without shame. A sense of mutual trust will be engendered in the population. Selladore will become a household name.” The complete story comes on a single page. 44
PASATIEMPO I May 10 -16, 2013
Certainly, the locked door can be seen as a symbol of our fear and distrust as well as the social conditions of life in the city. “Why insult our friends and neighbors because a hypothetical drug addict has his heart set on our old stereo tape deck?” asks Selladore while buying a frozen custard from a corner stand. The streets the architect walks while marveling at his invention seem not quite contemporary, the often half-revealed signs in capital letters on the crowded storefronts suggesting goods — HOT SANDWICHES, ESCORT DRUG, and ... URETY, whatever that may be (the beginning is cut off) — and services (24 HOURS All BOROS AIRPORT). Even the sidewalk trash can, half-full and surrounded by detritus that didn’t quite make it in, seems something out of New York pre-Mayor Bloomberg. Selladore is smart enough to realize there are drawbacks to his breakthrough: “Modern man, without a key and chain chafing his thigh, feels naked — another neurosis to be overcome in time.” But the deadbolt advancement’s biggest problem, the almost certain possibility that one will be locked out of one’s own apartment, is seen as an advantage by its designer. Selladore believes that locking oneself out with the new handwarmth-triggered mechanism is a comfortingly familiar experience, one users of the new-style lock will equate fondly with their old key-lock mishaps.
Excerpts from Hand-Drying in America by Ben Katchor; copyright © 2013 by Ben Katchor. Excerpted by permission of Pantheon, a division of Random House, Inc. All rights reserved.
So it goes through this omnibus of 159 examples of capricious design. There’s a spittoon refashioned for the mouth-watering salivary response generated by the visual stimuli of modern print advertising. There are living-room floors laid with strategically located drains that anticipate the inevitable spill. An Italian shoe dealer solves the problem of how to test a new pair of shoes inside a cramped store space by including a walking corridor that trails down a mountainside for three kilometers. A sandwich shop nestled between high-rises is designed to look like a grotto. Its architect tries unsuccessfully to get other businesses to embrace the cave concept. All these things seem absurd. Yet the needs which these solutions meet are real. Mostly. Katchor’s strips have been appearing in offbeat places since the New York Press began serializing his comics about a Manhattan real-estate photographer in 1988. The photographer, who wanders around the city capturing its quirks and disappearing commercial landmarks, has been the focus of a trio of books: Cheap Novelties: The Pleasures of Urban Decay; Julius Knipl Real Estate Photographer: Stories; and Julius Knipl, Real Estate Photographer: The Beauty Supply District. The Knipl books are the perfect Katchor vehicles. The photographer goes around documenting a city that holds, as pictured on the back of Stories, unlikely pockets of strange businesses consisting of self-service cafeterias (advertised above its competitor, the “Regularity
Cafeteria”), the “Beauty Spot,” “Out of Pocket Clothing,” and the “Mother of Mercy Brand Aspirin Hall of Pain” (open to the public). Nearby, a Department of Sanitation street cleaner scours the curbs next to the “Rough Neck Dept” of “Ornulo Brothers.” A sign boasts “All on 7 Floors” but doesn’t say what all is. Katchor’s only true, book-length graphic novel, The Cardboard Valise, leaves Manhattan behind to follow a habitual tourist from Fluxion City who totes a flimsy, oversized suitcase to a pair of destinations. First is the city of Occupatia on the Tensint Islands. After the island is destroyed by the vapors of dry cleaning fluid, he journeys to Outer Canthus. The book is the most complete presentation of Katchor’s worldview, with its emphasis on the material objects we carry through life (and how cheaply made they are) and the false promises of the travel industry — and all industries — contrasted with regional realities. The book itself comes with fold-out handles for easy toting. Those handles are the kind of innovations one finds addressed in abundance in Hand-Drying. Katchor has taken our inventive, patent-happy culture and found advancements that serve only the perceived need of some twisted thinking. You don’t have to look very far to see something continued on Page 46
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Ben Katchor, continued from Page 45 that’s familiar, like the line-herding velvet rope and stanchion, “that most pernicious symbol of corporate greed,” as Katchor labels it, or the ubiquitous riot gates that protect storefront windows after closing. Katchor turns the gates into bits of nostalgia, spurred by the day-marking grind of the their raising and lowering. They’re also visible reminders of the riots that inspired them. Then there are things that actually exist, but for purposes you’ve only suspected, like the fountain in your neighborhood mall. In Katchor’s world, it turns out that the fountains are a national chain of profit sources, seeded each morning with a handful of coins and then, after closing, swept clean of the change those with wishes faithfully toss in. Features familiar to us all become individual obsessions. An architect sees the common, built-in tissue dispenser prevalent in hotel rooms as reason for a crusade. “The sneeze is not a random act of nature, but an event that we can anticipate and address architecturally.” How often do we see this kind of well-meaning thinking forcing its way into our collective consciousness? The list of questionable inventions designed to make money — such as the Popeil Pocket Fisherman — is endless. Katchor has a rough sketchlike drawing style that somehow manages to communicate exact, integrated complexity. His characters are frequently stout and balanced on short-legged centers of gravity. His faces are all of a type, yet vastly different in character and expression. The almost scribbled lines of hair and clothing invite readers to look beyond surfaces, especially when he’s working in black and white. His perspectives constantly change and are framed in ways that suggest a photographer’s point of view — one panel drawn as if seen from the curb, the next focused on a roof’s edge with a plane leaving a contrail overhead. His shading when addressing the backlit world of red exit signs is eerie, and his toning — sometimes in contrasting blues and yellows — brings immediacy to his subjects. Combined with his exacting, blunt, and frequently surprising writing style, his panels imprint us with mental as well as visual images. But he doesn’t stop there. Katchor is hyper-observant and what he sees is further magnified by his imagination. The results are images that aren’t limited by time or practicality. His capturing of commercial trends, marketing signs, and architectural styles serves to reflect on the personalities that live and lived, often happily, under these influences. He knows that our craving for the new and different often leads to foolishness, and he skillfully manipulates our emotions as easily as our emotions manipulate us. In this way, he engages us with a kind of anti-marketing. One story serves to illustrate this effect. It surrounds the book, beginning on the volume’s first inside pages and then picked up again on the endpaper. The investigative reporter Josef Fuss uncovers the labor and environmental outrages that accompany the publishing of a book like Katchor’s. Occasionally, he tells us, a despondent printer will throw himself off the roof. Even ownership of these “luxury printed editions” carries social, physical, and mental costs. By the time we come to the table of contents, there’s a certain guilt associated with reading further. But do read on, especially to discover the fate that awaits Fuss at the end of the book. The story, like almost everything depicted here, makes just enough sense to make us laugh, if uncomfortably. ◀ “Hand-Drying in America” by Ben Katchor was published in March by Pantheon Books/Random House.
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PASATIEMPO I May 10 -16, 2013
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E VA LUAT I O N • T R E AT M E N T • CO N T I N U E D C A R E
Sleep Seminar
Do you having problems sleeping? Are you constantly tired or told you snore? Do you want to learn about sleep disorders and their treatments from a medical perspective?
You are invited to the FREE Southwestern Ear, Nose and Throat Sleep Seminar! SWENT physicians and sleep professionals will explain sleep disorders and the different therapies and technologies used to address these problems.
Wednesday, May 15 from 5:30–7:00 pm Inn and Spa at Loretto • 211 Old Santa Fe Trail
Light snacks and drinks will be provided and parking is free at the hotel.
You must RSVP to attend this event: 505-438-3101. Space is limited!
Learn the facts from a physician and not a salesman!
Southwestern Ear, Nose and Throat is proud to have served the people of northern New Mexico for 25 years with offices in Santa Fe, Española, Las Vegas, and Los Alamos.
www.sleepnm.com PASATIEMPOMAGAZINE.COM
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Michael Abatamarco I The New Mexican
IN
the Southwest, people may be accustomed to seeing a Navajo blanket or a Saltillo serape hanging, as a decoration, on the wall. However, The Durango Collection: Native American Weaving in the Southwest, 1860-1880, opening at the Wheelwright Museum of the American Indian, emphasizes how Spanish, Navajo, and Pueblo textiles were actually used and worn and how different groups exchanged imagery and techniques. “A lot of what the exhibit is about is the cross-cultural issues with weaving in the Southwest,” Jeanne Brako told Pasatiempo. Brako is a curator at the Center of Southwest Studies at Fort Lewis College in Durango, Colorado, which organized the exhibition in partnership with the Wheelwright. “We’re showing more of the Navajo and Puebloan part of the collection, but you can’t show that without showing some of the Spanish influence.” The collection the show is drawn from is broad based, covering about 800 years of weaving in the Americas. Although most of the textiles are from the Southwest region of the United States, it encompasses pieces from Spain, Mexico, and South America as well. “The collection includes any textile that might be part of the story of textile production in the Southwest,” Brako said. “We have a pristine Ancestral Puebloan manta carbon-dated to about 1250 in our collections. A lot of times we start that story with Ancestral Puebloan weaving and then talk about the influence of the Spanish when they brought sheep and wool and moved into the Southwest.” The Wheelwright exhibition is more limited in scope, dealing with factors that influenced textile design from 1860 to 1880, a period of increased trade and exposure. Some of what passed between Spanish and Native American weaving traditions were styles and patterns, although generally the upright looms of Navajo and Pueblo weavers — still used today — and the horizontal looms introduced by the Spanish remained particular to those cultures. “We talk a lot about the serrate diamond motif that crossed over,” Brako said. “But you can always look at the textiles and tell if it was a Navajo weaver, Hopi weaver, or Hispanic weaver because people tend to — even though
The weaving tradition of the American Southwest 48
PASATIEMPO I May 10 -16, 2013
they might adapt other designs, colors, and materials — create things in the structure and with the technology they know about and are most comfortable with. The loom technology from the Spanish was the lesser of what was passed on. The colors and designs were more of what was passed on, incorporated, and utilized in Native American textile production.” Diamond motifs, often seen in Río Grande textiles — historic Hispanic weavings from New Mexico and Colorado — influenced Navajo weaving. “Some of the eye dazzlers come out of the serrate diamond designs being done,” Brako said. The term eye dazzler refers to vibrant, almost-hallucinatory Navajo weavings produced in the latter half of the 19th century. The eye dazzlers generally contain repetitive, dynamic patterns in bright colors. “When the Navajo adapted them, they had a different style of weaving, and the ways they poised the colors created almost a vibration. They really vibrate when you see them on the wall.” One of the challenges for the exhibition was keeping examples of eye dazzler weavings separate, to avoid a visual overload. Influence across cultures also occurred between Pueblo and Navajo peoples and other Native tribes. One shoulder blanket on display would have been worn by a Pueblo woman but appears to be Navajowoven, suggesting manufacture specifically for Pueblo use. “There was a huge amount of trade between Navajo and Pueblo people,” said Wheelwright curator Cheri Falkenstien-Doyle. “Chief blankets were Navajo-woven but traded all over. In the Plains you see Cheyenne and Sioux wearing them. Materials especially were getting traded around a lot. There’s a simple type of striped blanket people were using all the time. When you see historic photos, they’re wearing this type of thing constantly. A more fancy blanket might actually be getting traded out, either through a trading post or through some other channel, and was not necessarily used as a wearing blanket.” But examining photographic evidence showing how textiles were used can be tricky. “One of the things we try to do when looking at historic photos is ask if this is what a woman would have worn, or is it being worn just for the photo, because a lot of those photographs were posed,” Brako said. “We’re constantly going back and forth between the photo records, the textiles, and the history.” continued on Page 50
Above, Navajo small serape, circa 1875, 49 x 32 inches, weft-faced plain weave; hand-spun Native wool in natural white, indigo-dyed blue, and raveled red trade cloth or bayeta; The Durango Collection, Center of Southwest Studies, Fort Lewis College, Durango, Colorado Left, Isleta Pueblo family, 1890; photo Charles Lummis; Kate Peck Kent Collection, Wheelwright Museum of the American Indian Opposite page, left, Navajo man wearing serape, circa 1885; photo Ben Wittick, Washington Matthews Collection, Wheelwright Museum of the American Indian Opposite page, top, Navajo second-phase chief blanket, circa 1870, 70 x 53 inches, weft-faced plain weave; hand-spun churro wool in natural colors with indigo-dyed blue and raveled red trade cloth or bayeta; The Durango Collection, Center of Southwest Studies, Fort Lewis College, Durango, Colorado
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The Durango Collection, continued from Page 49
You’re Invited! Join us for this FREE event.
OPEN HOUSE:
The Grand Duchess of Gerolstein Saturday, May 11 • 10 am to 12 noon Onstage at The Santa Fe Opera Come and explore the fabulous set being created for Offenbach's The Grand Duchess of Gerolstein. This summer's production will feature Susan Graham’s amazing mezzo-soprano, along with her impeccable comedic talents as she portrays the ultimate “cougar.”
Navajo serape, circa 1870, 62 x 47 inches; weft-faced plain weave; hand-spun Native wool with three shades of indigo-dyed blue, vegetaldyed gold, and raveled red trade cloth; The Durango Collection, Center of Southwest Studies, Fort Lewis College, Durango, Colorado
The set for this fun, fabulous production will be onstage along with costumes and props. Production personnel will be happy to share details on what it takes to bring the imaginary world of The Gerolstein Military Academy to life. It will be a perfect setting for the high ruling patroness, the Grand Duchess herself, to pursue one of the many handsome young men she has her eye on! We promise hilarious mayhem will follow in the delightful manner of composer Jacques Offenbach.
Ongoing conflicts between the United States and Native Americans also influenced the direction of textile production. “When the Navajos are in captivity at Bosque Redondo,” Falkenstien-Doyle said, “they are getting allotments of commercial wool so they can keep weaving, because there are not enough sheep, there are not enough resources. Then, once they leave there, they’re getting commercial yarns, tools, and supplies as annuities in exchange for lands the U.S. government has taken from them. But you also get into a thing where, economically, the wool market is good enough that if you have flocks of sheep, you’re better off selling the wool rather than processing it.” Increased travel by coach and by rail opened textile weaving to more and more markets. “That 1880s date, the implication is [the arrival of the] railroad. More stuff, more commodities, more commercial goods,” Brako said. In most cases, historic textiles were unsigned, but there are clues that at least two of the Navajo textiles included in the exhibit were made by the same hand. “The sectional weaving lines are in the same kinds of spots, which is not common, and the colors and the yarns used are very close,” Brako said. “It’s so unusual to pull up two textiles from the 1880s that come from two different places and be able to say that they were made by the same weaver. Even though you hear a lot about Southwestern textiles and they’re exhibited a lot, there’s a lot of gaps in the story.” ◀
Everything has been made right at the Opera, including a magnificent 20 foot long touring car, vintage 1920.
This is a wonderful opportunity to spend a delightful morning right onstage at The Santa Fe Opera— no reservations are needed!
PERFORMANCES 8:30 pm: June 28; July 3, 6, 12, 19 8:00 pm: July 30; August 7, 15, 21, 24
GRAND D UCHESS OF GEROLSTEIN
THE
Buy tickets online now and learn more about the season at SantaFeOpera.org or call 505-986-5900.
details ▼ The Durango Collection: Native American Weaving in the Southwest, 1860-1880 ▼ Opens Sunday, May 12; through April 13, 2014 ▼ Wheelwright Museum of the American Indian, 704 Camino Lejo on Museum Hill ▼ No charge; 982-4636
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PASATIEMPO I May 10 -16, 2013
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STEVEN SMITH CONDUCTS
Mary Wilson soprano
Sam Shepperson tenor featuring
Jeremy Kelly baritone
The Symphony Chorus and the Santa Fe Men’s Camerata plus Britten’s “Four Sea Interludes” from Peter Grimes
SATURDAY, MAY 18, 5:00 PM SUNDAY, MAY 19, 4:00 PM AT THE LENSIC
Pre-concert talk one hour prior to performance $20–$70 • Children 6–14 half price with adult purchase
505-983-1414 www.santafesymphony.org
Concert underwriting by Ann Neuberger Aceves in memory of Roy R. & Marie S. Neuberger. The 2012-2013 season is funded in part by the Santa Fe Arts Commission, and the 1% Lodger’s Tax, New Mexico Arts, a division of the Office of Cultural Affairs, and the National Endowment for the Arts.
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MOVING IMAGES pasa pics
— compiled by Robert Ker
ensemble cast and multiple storylines to expose dark corners of a particular subject. Here, secret affairs are exposed, kids are cyber-bullies, and minors are approached for sex. Jason Bateman, Hope Davis, Alexander Skarsgård, and Paula Patton are among the stars. Rated R. 115 minutes. Regal DeVargas, Santa Fe. (Not reviewed) FREE THE MIND This documentary looks at brain scientist Richard Davidson, who helps veterans recover from PTSD and move beyond the horrors of war through meditation and yoga. Not rated. 80 minutes. The Screen, Santa Fe. (Not reviewed)
It don’t mean a thing if it ain’t got that bling: Carey Mulligan and Joel Edgerton in The Great Gatsby, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española
opening this week ANDRÉ GREGORY: BEFORE AND AFTER DINNER Theater legend André Gregory is profiled in this engaging documentary by his wife, filmmaker Cindy Kleine. The movie chronicles events and accomplishments in his more-than-half-century career and is laced with intriguing aspects of his private life as well, from his love story with Kleine to his distaste for his wealthy, forbiddingly cold parents, whom he describes as “like insane rulers of a little Balkan country.” The title refers to a pivotal event in Gregory’s professional life, the 1981 movie My Dinner With André. Not rated. 108 minutes. The Screen, Santa Fe. ( Jonathan Richards) See review, Page 58. THE ANGEL’S SHARE In this quirky Scottish heist/buddy picture by longtime collaborators Ken Loach (director) and screenwriter Paul Laverty (The Wind That Shakes the Barley), Glaswegian delinquent Robbie (newcomer Paul Brannigan) is sentenced to community service after nearly killing a man. When his guardian, mildmannered social worker Harry ( John Henshaw),
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PASATIEMPO I May 10 -16, 2013
introduces him to the intricacies of fine Scotch whisky, Robbie hatches a plan to steal a priceless cache of the distilled spirit and create a new life with his girlfriend and their baby. Combining goofball comedy with a caper device is certainly nothing new, but Loach and Laverty add enough twists and turns to keep the whole affair funny and interesting. A few clichés and a thinly veiled social message threaten to spoil the barrel, but the laughs and overall sweetness provided here will keep your buzz going through the final credits. Not rated. 106 minutes. In Glaswegian dialect with subtitles. Center for Contemporary Arts, Santa Fe. (Rob DeWalt) See review, Page 56. BLAZE YOU OUT Directors Diego Joaquín Lopez and Mateo Frazier draw from their Northern New Mexico upbringing to tell this Española-set story about a woman named Lupe (Veronica Diaz-Carranza) who must descend into her town’s violent underworld to find her sister. Blaze You Out was picked up by Grindstone Entertainment, a subsidiary of Lionsgate, which signals a promising future for the careers of these local filmmakers. Rated R. 90 minutes. DreamCatcher, Española. (Not reviewed) DISCONNECT This movie aims to do for the internet and social media what Crash did for race relations and Traffic did for the drug world: use an
THE GREAT GATSBY Director Baz Luhrmann (Moulin Rouge!) gives wild, crazy, glitzy, glamorous life to F. Scott Fitzgerald’s great American novel. Leonardo DiCaprio embodies Jay Gatsby, the millionaire who throws elaborate parties on Long Island and ropes Midwesterner Nick Carraway (Tobey Maguire) into his world. Soon enough, Nick suspects that his cousin Daisy (Carey Mulligan) was once romantically involved with Jay. Given the heavy involvement of another millionaire Jay — Jay-Z — with the soundtrack, it seems the parties and the opulence may be the stars of the movie. Rated PG-13. 142 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. Screens in 2-D only at Regal DeVargas, Santa Fe. (Not reviewed) IT’S A DISASTER Eight friends get together in southern California for their monthly couples’ brunch, and the meal becomes awkward when intimate secrets are accidentally revealed at the table. Things devolve even further when dirty bombs are detonated in downtown L.A., leaving the bickering guests and hosts trapped inside the house. When the disaster goes global, the quiche really starts hitting the fan in this quirky, characterdriven dark comedy by writer-director Todd Berger. Starring David Cross as a nerdy newcomer harboring a scary secret and Julia Stiles as his perpetually jilted girlfriend, It’s a Disaster is big on little laughs but lacking in narrative follow-through. The third act has a few surprises worth sticking around for, but unless you think the mispronunciation of “duct tape” is the funniest thing romantic comedies have to offer, you won’t walk away from this cinematic spread feeling fed like a king. Rated R. 88 minutes. Center for Contemporary Arts, Santa Fe. (Rob DeWalt) NATIONAL THEATRE LIVE: THIS HOUSE This staging of James Graham’s play about a particularly lively and competitive hung parliament in 1974 Britain is directed by Jeremy Herrin. Robin Bowerman, Charlie Buckland, and Sarah-Jayne Butler
star. 7 p.m. Thursday, May 16, only. 165 minutes, including one intermission. Lensic Performing Arts Center, Santa Fe. (Not reviewed) PEEPLES Craig Robinson has delighted fans of the U.S. version of The Office and movies such as Pineapple Express, and he finally gets his first starring role. He plays Wade, a man who is eager to propose to his girlfriend (Kerry Washington) and travels to meet her family, win over daddy (Virgil Peeples, played by David Alan Grier), and offer the ring. Good luck with that, Wade: father-in-laws are never nice in the movies, and Peeples are strange when you’re a stranger. Rated PG-13. 95 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) PERFORMANCE AT THE SCREEN The series of high-definition screenings of performances from afar continues with a showing of Puccini’s La Bohème, from the Royal Opera House in London. Dmytro Popov, Maija Kovalevska. and Stefania Dovhan star. 11 a.m. Sunday, May 12, only. Not rated. 165 minutes, including two intermissions. The Screen, Santa Fe. (Not reviewed) STAR TREK INTO DARKNESS Trekkies from all over The Federation rejoiced when director J.J. Abrams slapped a slick, modern coat of paint on Star Trek and rebooted the franchise. He gets another chance to screw it up with this sequel, which pits the Enterprise crew (Chris Pine, Zachary Quinto, Karl Urban, Zoe Saldana, and Simon Pegg) against a mysterious villain (Benedict Cumberbatch) and sends them trekking into darkness. Opens Thursday, May 16. Rated PG-13. 132 minutes. Screens in 3-D only at Regal Stadium 14, Santa Fe. (Not reviewed)
now in theaters 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. 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. The cast includes Shia LaBeouf, Julie Christie, Susan Sarandon, Nick Nolte, Chris Cooper, Terrence Howard, Stanley Tucci, Anna Kendrick, and Brendan Gleeson. When the Sundance Kid asks you to be in his film, you say yes. Rated R. 121 minutes. Regal DeVargas, Santa Fe. (Not reviewed) THE CROODS Here’s a family film about members of a Neanderthal clan (voiced by Nicolas Cage, Ryan Reynolds, Emma Stone, and others) that just needs to get out of the cave. The land they live in is crumbling, so they have to find a new place to live. Rated PG. 91 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) 42 This version of the story of Jackie Robinson — the first African-American player in Major League Baseball — by writer-director Brian Helgeland aspires not to greatness but to merely avoid blowing the opportunity. Helgeland aims for a double, not a home run — his film is formulaic, respectful, and at times too treacly. No big deal: the story itself has all the greatness one could want. In staying the course and paying extraordinary attention to detail, Helgeland has crafted an uplifting and crowd-pleasing movie. Much credit goes to the actors: Chadwick Boseman is every inch the movie star as Robinson, Harrison Ford delights in a rare character-actor turn as Brooklyn Dodgers general manager Branch Rickey, and the supporting cast is as sturdy as a Louisville Slugger. Rated PG-13. 88 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) IRON MAN 3 Tony Stark (Robert Downey Jr.), once a cocksure genius ladies’ man, is suffering from anxiety attacks, insomnia, and an inability to relate to his live-in girlfriend, Pepper Potts (Gwyneth Paltrow). That’s when a terrorist-villain called the Mandarin (Ben Kingsley) starts blowing things up. Meanwhile, a billionaire inventor (Guy Pearce) Stark once dissed at a party has, with the help of one of Stark’s exes (Rebecca Hall), created a drug that regenerates human limbs (side effects include breathing fire and becoming a human bomb); he is plotting to kidnap the president. How’s Stark supposed to handle two baddies at once? Luckily, he has developed an army of Iron Man suits he can summon from afar and control remotely. He also enlists the help of a cute, precocious kid in Tennessee. This flick is fun at times, and the special
Star Trek Into Darkness
effects are eye-popping. But Downey’s typically barbed jabs are dull, the jokes aren’t funny, and the villains’ motivations are muddy at best. There’s too much going on, yet it doesn’t add up to much. Rated PG-13. 130 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Laurel Gladden) JURASSIC PARK 3D Steven Spielberg’s last truly great family adventure was the 1993 blockbuster about a group of scientists and children who get stuck on an island full of real-life dinosaurs. The young kids who flocked to theaters to see the film and were wowed by those velociraptors are now well into their 20s, hopefully flush with disposable income and perhaps feeling nostalgic, so the movie is back in theaters — and the special effects still have the power to wow. This time, it’s in 3-D, so that T-rex stomping on the heroes’ jeep is even closer than he appeared 20 years ago. Rated PG-13. 126 minutes. Screens in 3-D at Regal Stadium 14, Santa Fe. (Robert Ker)
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MOVING IMAGES pasa pics
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MUD Matthew McConaughey is in top form as Mud, an Arkansas Delta backcountry hothead with a ton of charm who enlists 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 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)
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 2-D at Regal Stadium 14, Santa Fe. (Laurel Gladden)
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)
PAIN & GAIN It doesn’t get more blue-blooded American than this movie, which struts out Old Glory, booming bass, muscle cars, Miami beach, numerous lessons about pursuing the American dream, steroid-jackedup weight lifters, and fake-boob-sporting strippers. Furthermore, the film is directed by our leading expert in blowing stuff up good (Michael Bay), and it stars a former rapper and underwear model (Mark Wahlberg) and a former professional wrestler (Dwayne Johnson). What they’ve made is a somewhat ironic, partly satirical telling of a true story about three musclemen who kidnap and extort a businessman (Tony Shalhoub), only to have the plan go wrong. The running time is pumped on ’roids, and sure, it’s a dumb movie. But it’s so colorful and goofy and slyly dark that it would be unpatriotic to hate it. Rated R. 130 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker)
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 last hope. Rated PG-13. 125 minutes. Regal Stadium 14, Santa Fe; Storyteller, Taos. (Not reviewed)
spicy bland
medium
mild
heartburn
Read Pasa Pics online at www.pasatiempomagazine.com
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PASATIEMPO I May 10 -16, 2013
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 probably 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 U.S.
troops. Full of music and humor and loosely based on a true story, this could potentially be the most feelgood 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 doesn’t clue you in on exactly what to expect — yet another run-through of obvious spoofs of popular movies — perhaps the fact that in the trailer, Charlie Sheen gets hit in the groin by a ghost numerous times will. Lindsay Lohan, Snoop Dogg, Heather Locklear, and Mike Tyson put in appearances. Not rated. 85 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) TO THE WONDER If you’re not familiar with the films of esteemed writer-director Terrence Malick, this is probably not the place to start. The “plot” consists of the ebb and flow of interactions between Marina (Olga Kurylenko), a divorcée with a young daughter (Tatiana Chiline); her American lover Neil (Ben Affleck); Oklahoma rancher Jane (Rachel McAdams); and a priest ( Javier Bardem) having a crisis of faith. You won’t learn much about anyone. Dialogue is practically nonexistent and is replaced by whispered voice-over. The breathtaking, eye-opening cinematography of Emmanuel Lubezki (The Tree of Life) does the heavy lifting, with Hanan Townshend’s hypnotic score as a good spotter. Malick asks thorny questions, but don’t expect him to provide answers. Rated R. 112 minutes. In English, French, Spanish, and Italian with subtitles. Center for Contemporary Arts, Santa Fe. (Laurel Gladden)
other screenings Center for Contemporary Arts 8:15 p.m. Friday, May 10: He’s Way More Famous Than You. 11:30 a.m. Saturday, May 11: Youth Creating Change Film Festival. 5:45 p.m. Tuesday, May 14: Santa Fe Jewish Film Festival presents Through the Eye of the Needle: The Art of Esther Nisenthal Krinitz. 7 p.m. Wednesday, May 15: Santa Fe International Folk Art Market presents The Story of Qiu Ju. Taos Community Auditorium 133 Paseo del Pueblo Norte, Taos, 575-758-2052 Sunday-Tuesday, May 12-14: West of Memphis. ◀
What’s shoWing Call theaters or check websites to confirm screening times. CCA CinemAtheque & SCreening room
1050 Old Pecos Trail, 982-1338, ccasantafe.org The Angels’ Share (NR) Fri. to Sun. 4:15 p.m., 6:15 p.m. Tue. to Thurs. 3:45 p.m. He’s Way More FamousThan You (NR) Fri. 8:15 p.m. It’s a Disaster (R) Fri. 2:15 p.m., 6:15 p.m. Sat. and Sun. 2:15 p.m., 8:15 p.m. Tue. 7:45 p.m. Wed. and Thurs. 5:45 p.m., 7:45 p.m. No (R) Fri. 12:45 p.m., 5:15 p.m. Sat. 5:15 p.m. Sun. 12:45 p.m., 5:15 p.m. Tue. 5:15 p.m. Wed. 4:15 p.m. Thurs. 5:15 p.m. The Story of Qiu Ju (NR) Wed. 7 p.m. Through the Eye of the Needle:The Art of Esther Nisenthal Krinitz (NR) Tue. 5:45 p.m. To the Wonder (R) Fri. to Sun. 3 p.m., 7:30 p.m.
Tue. 3 p.m., 7:30 p.m. Wed. 2 p.m. Thurs. 3 p.m., 7:30 p.m. Youth Creating Change Film Festival (NR) Sat. 11:30 a.m. regAl DeVArgAS
562 N. Guadalupe St., 988-2775, fandango.com The Company You Keep (R) Fri. and Sat. 1:20 p.m., 4:20 p.m., 7:20 p.m., 10:10 p.m. Sun. to Thurs. 1:20 p.m., 4:20 p.m., 7:20 p.m. Disconnect (R) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 10 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m. The Great Gatsby (PG-13) Fri. and Sat. 12:50 p.m., 3:50 p.m., 6:50 p.m., 9:55 p.m. Sun. to Thurs. 12:50 p.m., 3:50 p.m., 6:50 p.m. Mud (PG-13) Fri. and Sat. 1:10 p.m., 4:10 p.m., 7:10 p.m., 10:05 p.m. Sun. to Thurs. 1:10 p.m., 4:10 p.m., 7:10 p.m. The Place Beyond the Pines (R) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 10 p.m. Sun. to Thurs. 1 p.m., 4 p.m., 7 p.m. The Sapphires (PG-13) Fri. and Sat. 1:40 p.m., 4:40 p.m., 7:40 p.m., 10:05 p.m. Sun. to Thurs. 1:40 p.m., 4:40 p.m., 7:40 p.m. regAl StADium 14
3474 Zafarano Drive, 424-6296, fandango.com 42 (PG-13) Fri. to Tue. 1:35 p.m., 4:30 p.m., 7:35 p.m., 10:30 p.m. The Big Wedding (R) Fri. to Tue. 1:40 p.m., 4:30 p.m., 7:10 p.m., 9:45 p.m. The Croods (PG) Fri. to Tue. 1:40 p.m., 4:45 p.m., 7:40 p.m., 10:15 p.m. The Great Gatsby 3D (PG-13) Fri. to Tue. 1 p.m., 4:15 p.m., 7:30 p.m., 10:45 p.m. The Great Gatsby (PG-13) Fri. to Tue. 1:25 p.m., 4:40 p.m., 7:55 p.m., 9:30 p.m. Iron Man 3 3D (PG-13) Fri. to Tue. 1:05 p.m., 2 p.m., 4:10 p.m., 5:15 p.m., 7:25 p.m., 8:30 p.m., 10:40 p.m. Iron Man 3 (PG-13) Fri. to Sun. 1:30 p.m., 2:30 p.m., 4:45 p.m., 5:45 p.m., 8 p.m., 9 p.m., 10:55 p.m. Mon. and Tue. 1:30 p.m., 2:30 p.m., 4:45 p.m., 5:45 p.m., 8 p.m., 9 p.m., 10:55 p.m. Jurassic Park 3D (PG-13) Fri. to Tue. 1:15 p.m., 4:20 p.m., 7:20 p.m., 10:15 p.m. Oblivion (PG-13) Fri. to Tue. 1:35 p.m., 4:35 p.m., 7:40 p.m., 10:35 p.m. Oz the Great and Powerful (PG) Fri. to Tue. 1:05 p.m., 7:15 p.m. Pain & Gain (R) Fri. to Tue. 1:20 p.m., 4:20 p.m., 7:20 p.m., 10:20 p.m. Peeples (PG-13) Fri. to Tue. 1:20 p.m., 4:30 p.m., 7 p.m., 11 p.m. Scary Movie 5 (PG-13) Fri. to Tue. 4:05 p.m., 10:15 p.m. Star Trek (NR) Wed. 9 p.m. Star Trek Into Darkness 3D (PG-13) Wed. midnight Thurs. 12:30 p.m., 3:45 p.m., 7 p.m., 10:15 p.m.
the SCreen
Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, thescreensf.com André Gregory: Before and After Dinner (NR) Fri. and Sat. 1:20 p.m., 5:20 p.m. Sun. 2:30 p.m. Mon. 1:20 p.m., 5:20 p.m. Tue. 5:20 p.m. Wed. and Thurs. 1:20 p.m., 5:20 p.m. Free the Mind (NR) Fri. and Sat. 3:40 p.m., 7:40 p.m. Sun. 4:45 p.m., 6:30 p.m. Mon. 3:40 p.m., 7:40 p.m. Tue. 7:40 p.m. Wed. and Thurs. 3:40 p.m., 7:40 p.m. La Bohème: Royal Opera House (NR) Sun. 11 a.m. mitChell DreAmCAtCher CinemA (eSpAñolA)
N.M. 106 and U.S. 84/285), 505-753-0087 42 (PG-13) Sat. and Sun. 1:55 p.m., 4:40 p.m., 7:20 p.m. Mon. to Thurs. 4:40 p.m., 7:20 p.m. Blaze You Out (R) Fri. 4:45 p.m., 7:15 p.m., 9:30 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:15 p.m., 9:30 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:15 p.m. Mon. to Thurs. 4:45 p.m., 7:15 p.m. The Croods (PG) Fri. 4:35 p.m., 7 p.m., 9:45 p.m. Sat. 2 p.m., 4:35 p.m., 7 p.m., 9:45 p.m. Sun. 2 p.m., 4:35 p.m., 7 p.m. Mon. to Thurs. 4:35 p.m., 7 p.m. The Great Gatsby in 3D (PG-13) Fri. and Sat. 4:20 p.m., 7:30 p.m. Sun. to Thurs. 4:20 p.m. The Great Gatsby (PG-13) Fri. 6:55 p.m., 9:50 p.m. Sat. 2:05 p.m., 6:55 p.m., 9:50 p.m. Sun. 2:05 p.m., 6:55 p.m. Mon. to Thurs. 6:55 p.m. Iron Man 3 3D (PG-13) Fri. 4:25 p.m., 7:10 p.m., 9:55 p.m. Sat. 1:45 p.m., 4:25 p.m., 7:10 p.m., 9:55 p.m. Sun. 1:45 p.m., 4:25 p.m., 7:10 p.m. Mon. to Thurs. 4:25 p.m., 7:10 p.m. Iron Man 3 (PG-13) Fri. 4:25 p.m., 5 p.m., 7:10 p.m., 8 p.m., 9:55 p.m. Sat. 1:45 p.m., 2:20 p.m., 4:25 p.m., 5 p.m., 7:10 p.m., 8 p.m., 9:55 p.m. Sun. 1:45 p.m., 2:20 p.m., 4:25 p.m., 5 p.m., 7:10 p.m. Mon. to Thurs. 4:25 p.m., 5 p.m., 7:10 p.m. Pain & Gain (R) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:50 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. Sun. 1:50 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs. 4:30 p.m., 7:15 p.m. Peeples (PG-13) Fri. 4:55 p.m., 7:25 p.m., 9:40 p.m. Sat. 2:10 p.m., 4:55 p.m., 7:25 p.m., 9:40 p.m. Sun. 2:10 p.m., 4:55 p.m., 7:25 p.m. Mon. to Thurs. 4:55 p.m., 7:25 p.m. mitChell Storyteller CinemA (tAoS)
110 Old Talpa Canon Road, 575-751-4245 The Croods (PG) Fri. 4:35 p.m., 7 p.m., 9:45 p.m. Sat. 2 p.m., 4:35 p.m., 7 p.m., 9:45 p.m. Sun. 2 p.m., 4:35 p.m., 7 p.m. Mon. to Thurs. 4:35 p.m., 7 p.m. The Great Gatsby 3D (PG-13) Fri. and Sat. 4:20 p.m., 7:30 p.m. Sun. to Thurs. 4:20 p.m. The Great Gatsby (PG-13) Fri. 6:55 p.m., 9:50 p.m. Sat. 2:05 p.m., 6:55 p.m., 9:50 p.m. Sun. 2:05 p.m., 6:55 p.m. Mon. to Thurs. 6:55 p.m. Iron Man 3 3D (PG-13) Fri. 4:25 p.m., 7:10 p.m., 9:55 p.m. Sat. 1:45 p.m., 4:25 p.m., 7:10 p.m., 9:55 p.m. Sun. 1:45 p.m., 4:25 p.m., 7:10 p.m. Mon. to Thurs. 4:25 p.m., 7:10 p.m. Iron Man 3 (PG-13) Fri. 4:25 p.m., 7:10 p.m., 9:55 p.m. Sat. 1:45 p.m., 4:25 p.m., 7:10 p.m., 9:55 p.m. Sun. 1:45 p.m., 4:25 p.m., 7:10 p.m. Mon. to Thurs. 4:25 p.m., 7:10 p.m. Oblivion (PG-13) Fri. 4:45 p.m., 7:25 p.m., 10 p.m. Sat. 2:10 p.m., 4:45 p.m., 7:25 p.m., 10 p.m. Sun. 2:10 p.m., 4:45 p.m., 7:25 p.m. Mon. to Thurs. 4:45 p.m., 7:25 p.m. Pain & Gain (R) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:50 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. Sun. 1:50 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs. 4:30 p.m., 7:15 p.m.
FROM THE AWARD WINNING TEAM THAT BROUGHT YOU ‘THE WIND THAT SHAKES THE BARLEY’ ‘‘ WINNER
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movIng Images film reviews
To Scotch a thief Rob DeWalt I The New Mexican The Angel’s Share, Scottish caper-comedy, not rated, Center for Contemporary Arts, in thick Glaswegian brogue with English subtitles, 3 chiles Director Ken Loach and screenwriter Paul Laverty, two longtime collaborators responsible for a handful of gritty dramas set in the U.K. — The Wind That Shakes the Barley, My Name Is Joe, Sweet Sixteen, Route Irish — take a detour into comedic territory with their film The Angels’ Share. Set in Scotland, this offbeat caper takes its name from the 2 percent of cask-aged spirits lost to evaporation, but it may also refer to the film’s troubled main character, who, though seeking redemption after years of committing crimes and inflicting violence on others, still possesses the instinct to plan a major heist. When Robbie, played brilliantly by Paul Brannigan, is sentenced to 300 hours of community service after nearly beating a stranger to death, his pregnant girlfriend Leonie (Siobahn Reilly) gives him an ultimatum: clean up your act or risk never seeing your child. Robbie takes her warning to heart and sets out on a path of self-improvement. Having just dodged a hefty jail term, he takes his court-ordered community service seriously — sort of. Along comes Harry ( John Henshaw), a mildmannered social worker in charge of Robbie and a bevy of other delinquents, with a great palate for fine whiskey. When Harry witnesses Leonie’s family members beating the tar out of Robbie in a stairwell,
A real cask master: Paul Brannigan
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PASATIEMPO I May 10 -16, 2013
Brogues gallery: from left, Jasmin Riggins, William Ruane, Paul Brannigan, and Gary Maitland
he takes the bruised Glaswegian under his wing. Harry extends an invitation to Robbie to join him on a tour of a distillery, and the seeds of passion for whiskey are sown. It’s not the sort of passion that leads to falling asleep in a gutter or getting thrown out of a pub, however. Robbie’s interest in the drink is purely academic, and as it turns out, economic as well. Robbie proves to be a natural, an intuitive taster who can pinpoint specific accents of peat, salt, smoke, and leather, allowing him to identify the provenance of certain whiskies. His particular culinary gift catches the attention of Thaddeus (Roger Allam), a mysterious spirits collector who has his sights set on a very special cache of whiskey — one that will surely fetch top dollar at an upcoming auction. What follows is a comedy of errors piled high with a level of buffoonery that borders on unbelievable but still manages to translate into a thrilling storyline. Robbie and a handful of other working-class 20-somethings sentenced to community service hatch a plan to procure the pricey booze using a heist-movie mainstay: the ol’ switcheroo. It’s a tried and true mechanism that Laverty twists to fit the film’s second-half surroundings: a distillery in rural Scotland. This is not a gadget-rich Mission Impossible caper. This is The Pink Panther in ghillies and kilts. Kudos to Brannigan, whose small but sturdy stature and piercing, thoughtful blue eyes lend Robbie an air of vulnerability and sympathy. His performance is played straight, while the heist mates are captivating comic foils. Geek Albert (Gary Maitland), kleptomaniac Mo ( Jasmin Riggins), and daft prankster Rhino (William Ruane) may be bluecollar misfits, but they’re likable misfits who have nothing to lose by helping Robbie make off with the
goods. In fact, each has about £250,000 to gain — as long as they don’t get caught. Loach and Laverty have a penchant for inserting a socially conscious message into their collaborative projects, and this film is no exception. As fun as it is to watch the bumbling and fumbling of the caper’s secondary characters, the writer and director still manage to present commentary about the inequities of urban poverty visited upon Glasgow’s working class. Is such commentary necessary to deliver an engaging and clever picture? Perhaps not, but Laverty and Loach at least make the bitter pill of social inequity go down a little more smoothly. The Angel’s Share is riddled with clichés about Scottish life and culture, and it’s unclear whether Loach means to deliver them wholeheartedly or with tongue comfortably in cheek. The most glaring, and therefore the most annoying, is the use of The Proclaimers’ song “I’m Gonna Be (500 Miles)” when Robbie and his buddies travel to the countryside for the heist. It’s the lazy cinematic equivalent of playing “Who Let the Dogs Out?” to signal the imminent arrival of canines. Despite a few sputters in the joke department, The Angel’s Share is worth imbibing. Loach knows when to play it funny or sweet (cue the baby) and when to ramp up the tension. He’s assembled a stellar cast of newcomers — Brannigan won a BAFTA Scotland Award in 2012, and the film earned the 2012 Cannes Jury Prize the same year. Don’t let the cast’s thick Scottish accents dissuade you from heading out to see this unusual gem. Subtitles take care of the language barrier, although there’s something to be said for the universal language of a damn fine whiskey. ◀
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movIng Images film reviews
Inside job Jonathan Richards I For The New Mexican André Gregory: Before and After Dinner, documentary, not rated, The Screen, 3 chiles If you find André Gregory charming and fascinating, this is an easy movie to like. It’s an inside job, crafted by Gregory’s filmmaker wife of 15 years, Cindy Kleine. Her fly-on-the-wall access makes this documentary an even more intimate, if less artistic, portrait of the legendary director than the benchmark movie to which its title refers: Louis Malle’s classic 1981 symphony of conversation, My Dinner With André. Gregory has been at his career in theater and film for roughly 50 years, with the most important part of his résumé being his work as an avant-garde theater director. He made his name in 1970 with his production of Alice in Wonderland, an underground classic that ran for seven years, in New York and around the world. “Alice,” he says, “ was the portrait of my childhood: an innocent thrust into a crazy world.” But theater is ephemeral, and avant-garde theater, even at its most legendary, raises barely a ripple upon the surface of the broader popular consciousness. If you live beyond the immediate neighborhood of the precincts where an experimental piece of theater struts and frets its days or weeks or months upon the stage and then is heard no more, your chances of ever being aware of it are small. If a piece doesn’t have a robust advertising budget, even the most ecstatic reviews dry into the dust of yesterday’s newspapers. Clippings yellow, still photographs pasted into albums are buried in forgotten piles of memorabilia, and the world moves on. The magic of theater, and its curse, is that it is a thing of the moment, ecstatically alive and quixotically mortal. If popular fame and enduring recognition are to enter into the equation, movies provide a path. And when Gregory and his longtime friend and collabora-
Gregory with his wife, filmmaker Cindy Kleine
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PASATIEMPO I May 10 -16, 2013
Theater director André Gregory
tor Wallace Shawn turned their conversations about Gregory’s life into the memorable My Dinner With André about a decade after Alice, it made Gregory a household name in a whole new demographic. So in the sense that Kleine’s title implies, Gregory’s life can be divided into two eras: before and after Dinner. The film covers the 79 years of his life to date, from his chilly childhood (“I was never touched as a child”) to his current project, a reworking of Ibsen’s The Master Builder. There are Olympic gymnasts and concert violinists who were not yet born when Gregory and Shawn began work on this project. They don’t like to rush things. Their production has been in development and rehearsal for 14 years, with occasional open run-throughs for invited guests. Last year it was filmed by Jonathan Demme (The Silence of the Lambs, Philadelphia, Rachel Getting Married) as Fear of Falling (originally titled Wally and André Shoot Ibsen), and the movie is due for festival release this year. “If anyone had told me 14 years ago that I’d still be working on this, I’d have said they were crazy,” Gregory says, shaking his long elfin face with amusement. The film spends a lot of time on his rehearsal process, during which Gregory likes to give his actors plenty of slack to find their way. “It’s about being, not acting,” he says, a revelation that loses nothing of its essential truth for being a familiar saw. Gregory comes from a wealthy family, which may help to explain his longevity in the profitless world of avant-garde theater, although he has padded his accounts receivable from time to time with acting gigs in such movies as The Mosquito Coast, Demolition Man, and The Last Temptation of Christ. His father was a wealthy Jew who fled Russia, became a successful businessman in Germany, and, Gregory says, “never bothered to inform his children that they were Jews.” Gregory recalls him with a shudder as
“the most frightening person in my life.” He remembers an affectionless childhood, with parents who were “like insane rulers of a little Balkan country.” But the true measure of family horror for Gregory came when one of his brothers called a few years ago with the news that a magazine article identified his father and his uncle as having collaborated with Hitler to destabilize the French franc before World War II. Recounting this to Kleine as they sit in a cemetery searching for family graves, Gregory breaks down in wracking tears. “I believed it so thoroughly I came down with shingles the next day,” he says, and he immediately hired a team of international investigators to try to dig up confirmation one way or the other on the allegation. This investigation is an important thread in Kleine’s film, one that she terms, with a bit of hyperbole, a film noir. Kleine’s major misstep in this otherwise engaging film is her thrusting of herself front and center. A major theme is the Gregory/Kleine love story, which began with Kleine at 39 and Gregory at 65. It seems to be a happy and rewarding marriage, but her extended calculations of how old she was and what she was doing and who she was dating at various stages of her husband’s career feel like a narcissistic digression from the main event. Anecdotes roll absorbingly from the great raconteur, with plenty of self-deprecating humor, and Kleine knits together the different fabrics of the story with considerable skill. The latter stages of the film deal in significant part with his late emergence as a visual artist and with a cancer scare. “One is always nervous about going somewhere,” he tells a class at the New Actors Workshop, addressing their trepidation about heading out into the struggling world of professional theater. “I’m nervous about dying,” he says, and punctuates the statement with a cackle that goes on revealingly long. ◀
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Gael García Bernal A film by Pablo Larraín
MAY 16, 17 & 18 at 8:00 PM At Desert Academy 7300 Old Santa Fe Trail Tickets: $15/adults, $10/students Seating is limited. For reservations call 204-8855.
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Santa Fe Jewish Film Festival presents: THROUGH THE EYE OF THE NEEDLE:
The Art of Esther Nisenthal Krinitz - 5:45p Tues, May 14 - buy tickets at santafejff.org Friday May 10
Sat May 11
Sun May 12
12:45p - No 2:15p - It’s a Disaster* 3:00p - To the Wonder 4:15p - Angels’ Share* 5:15p - No 6:15p - It’s a Disaster* 7:30p - To the Wonder 8:15p - He’s Way More Famous Than You*
11:00a - Youth Creating Change Film Festival 2:15p - It’s a Disaster* 3:00p - To the Wonder 4:15p - Angels’ Share* 5:15p - No 6:15p - Angels’ Share* 7:30p - To the Wonder 8:15p - It’s a Disaster*
12:45p - No 2:15p - It’s a Disaster* 3:00p - To the Wonder 4:15p - Angels’ Share* 5:15p - No` 6:15p - Angels’ Share* 7:30p - To the Wonder 8:15p - It’s a Disaster*
* indicates show will be in The Studio at CCA for $7.50 or $6.00 for CCA Members
Mon May 13
Cinema Closed
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2:00p - To the Wonder 3:45p - Angels’ Share* Tues May 14 3:00p - To the Wonder 4:15p - No 5:45p - It’s a Disaster* 3:45p - Angels’ 7:00p - Folk/Art/Cinema: Share* Story of Qiu Ju 5:15p - No 5:45p - SFJFF: Eye of 7:45p - It’s a Disaster* the Needle* 7:30p - To the Wonder 7:45p - It’s a Disaster*
Thurs May 16 3:00p - To the Wonder 3:45p - Angels’ Share* 5:15p - No 5:45p - It’s a Disaster* 7:30p - To the Wonder 7:45p - It’s a Disaster*
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RESTAURANT REVIEW Laurel Gladden I For The New Mexican
Surf the nets Shohko Café 321 Johnson St., 982-9708 Lunch 11:30 a.m.-2 p.m. Mondays-Fridays; dinner 5:30-9 p.m. Mondays-Thursdays, 5:30-9:30 p.m. Fridays-Saturdays; closed Sundays Takeout available Vegetarian options Beer, wine, sake & sake cocktails Noise level: moderate Credit cards, no checks
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The Short Order The food at Shohko Café is much like the ambience — stylish but free of pretense. You can’t go wrong with sashimi or nigiri, but the menu also includes tempura made with practically anything you want (from avocado and butternut squash to mushrooms, seafood, tofu, and watercress), a handful of noodle dishes, and some excellent rolls, including eight vegetarian ones. Recommended: shrimp-stuffed green chile tempura, pork ramen with pork broth, bluefin high toro nigiri, uni nigiri, David’s Albacore, grilled yellowtail collar, sweet shrimp nigiri, salmon toro nigiri, and rainbow roll.
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 May 10 -16, 2013
The main dining room at Shohko Café is something like a Venn diagram illustrating the peculiar way that minimalist Japanese refinement and classic Santa Fe style overlap. The atmosphere is serene. During the day, sunlight from windows and skylights fills the room, creating an almost otherworldly glow. At night, the light is soft and indirect, with almost no shadows. Either time of day, matte white plaster walls create a marked contrast with the rich umber hues of the ceiling beams and wood window trim. The food is much like the ambience — stylish but free of pretense. Start the meal with some small plates: a tangle of shiny, translucent emerald seaweed with a mouthwatering sesame-based dressing; grilled hamachi kama (yellowtail collar), the moist, tender meat falling off the bone, a touch of sweet ponzu sauce finely contrasting the salty fishiness; or pillowy shrimp-filled shu mai (dumplings) so tender they barely require chewing. Shohko transforms practically anything you want — from avocado and butternut squash to mushrooms, seafood, tofu, and watercress — into lightly crunchy tempura. The green chile is very mild (be sure to dust it with green-tea salt). Better are green chiles stuffed with shrimp, a better-than-the-sum-of-its-parts equation involving crunchy batter, acidic almost-crisp pepper, briny pink meat, and sweet red chile sauce. You can’t go wrong with sashimi or nigiri. The salmon toro nigiri, mango-colored fish laced with pearly white fat, seems like an excellent way to get those omega-3s. The yellowtail toro nigiri is a gorgeous strip of light pink fish that, with its lemon and scallion garnish, almost resembles an exotic flower. The bluefin high toro has a deeper pink hue and a more pronounced fishiness while remaining remarkably delicate. At least once in your life, try uni (sea urchin gonads). Though it looks like a little tongue resting atop a hunk of rice, its light, sweet, briny flavor; delicate structure; and soft, creamy texture make it one unforgettable bite. David’s Albacore is an artfully plated collection of sashimi and avocado scattered with chopped scallion, chile oil, and sesame seeds. Similarly striking was the house sashimi appetizer platter, consisting of eight pieces of jewel-like fish (chef’s choice) arranged with lemon slices, crispy rice noodles, deep-jade kale leaves, pink piles of pickled ginger, and light-green mounds of wasabi. Maybe rolls are more your speed. The spicy tuna roll is often a standard-bearer. Shohko’s, with its cubes of almostruby-colored fish wrapped in minimal rice, doesn’t disappoint. Try the rich, lightly fatty (in a good way) caterpillar roll — freshwater eel topped with avocado — or the rainbow roll, which makes a nice sampler with its tuna, salmon, whitefish, shrimp, cucumber, and avocado. Shohko also offers eight vegetarian rolls as well. The menu features a handful of noodle dishes. Try the ramen with traditional tonkotsu broth and chashu pork. The broth, cloudy, complex, and rich, is deeply satisfying, the way the best miso or finest chicken soup can be. Disks of tender pork float amid ropes of soft-chewy noodles, pungent brightgreen scallion ribbons, and circles of glistening fat. Shohko has an extensive sake list, which includes a helpful numeric sweetness-to-dryness scale. If you’re curious or
indecisive, try one of the five flights. We sampled the First Class flight, which included three sakes served in small clear glasses: the dry but fruity Narutotai “Beautiful Snapper”; the clean, crisp, minerally Taisetsu or “Gardens of the Divine” (my favorite); and the light (almost too much so), crisp, clean Kikusui or “Chrysanthemum Water.” Shohko is experimenting with sake-based cocktails; our citrus-heavy Tom Collins-San was lip-puckeringly sour, though the bartender happily sweetened it. When I’m eating sushi, dessert rarely comes to mind. However, the yuzu sherbet — light, citrusy, and only slightly sweet — is a near-perfect palate cleanser. Also refreshing without being sugary is the petite umeshiso roll, which combines the funky-salty fruitiness of pickled plum paste with shiso leaf’s mild, minty sweetness. Service is somewhat formal and can vary in quality. Especially during the day, servers are fast, efficient, and extremely thorough. At night, if the restaurant’s not full, you’ll get plenty of attention; once the crowds start pouring in, though, servers can get in the weeds quickly. Good thing other staff members, such as the manager, hostess, and bartender, are attentive and willing to lend a hand. ◀
Lunch for four at Shohko Cafe: Green chile tempura ................................................. $ 5.00 Hamachi kama (yellowtail collar) ............................ $ 12.00 Seaweed salad ........................................................... $ 5.00 Salmon toro nigiri ..................................................... $ 6.50 House appetizer ........................................................ $ 19.00 David’s Albacore ....................................................... $ 17.00 Caterpillar roll .......................................................... $ 12.00 Spicy tuna roll ........................................................... $ 8.00 Rainbow roll ............................................................. $ 16.00 Green tea (4) ............................................................ $ 8.00 TOTAL ...................................................................... $108.50 (before tax and tip) Dinner for three, another visit: Shrimp-stuffed green chile tempura ......................... $ 9.00 Special shrimp shu mai ............................................. $ 8.00 Pork ramen ............................................................... $ 16.00 Uni (sea urchin) nigiri .............................................. $ 15.00 Yellowtail toro nigiri ................................................. $ 6.50 Bluefin high toro nigiri ............................................. $ 15.00 Umeshiso roll ........................................................... $ 4.00 Yuzu sherbet .............................................................. $ 7.00 First Class sake flight ................................................ $ 16.00 Tom Collins-San ....................................................... $ 8.00 TOTAL ...................................................................... $104.50 (before tax and tip)
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pasa week
compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com
10 Friday gallery/museum openings
argos gallery/eli levin studio 1211 Luisa St., 988-1814. Jack Sinclair Retrospective: Masterworks in Oil, Pastel and Charcoal, reception 5-8 p.m., through May. David richard Contemporary 130-D Lincoln Ave., 982-0318. Variations: Evolution of the Artist’s Media 1986-2012, work by Richard Anuszkiewicz; Wavelength, paintings by Beverly Fishman, through June 15. eggman & Walrus art emporium 130 W. Palace Ave., second floor, 660-0048. Outside the System, works by Maurice Burns and Billy Soza Warsoldier, reception 5-9 p.m., through June 29. gerald peters gallery 1011 Paseo de Peralta, 954-5700. A Survey: Selections From Rome and Other Works, Patrick Oliphant’s drawings, monotypes, cartoons, and sculpture, reception 5-7 p.m., through June 8 (see story, Page 36). Karan ruhlen gallery 225 Canyon Rd., Suite 18, 820-0807. Paintings by Kevin Tolman, reception 5-7 p.m., through May 23. Kristin Johnson Fine art 323 E. Palace Ave., 699-6576. An Affair With the Muse, group show, artist reception and benefit for the Santa Fe Symphony 5:30-7:30 p.m. meyer east gallery 225 Canyon Rd., 983-1657. Cary Henrie: New Works, reception 5-7 p.m., through May 24. The owings gallery 120 E. Marcy St., 982-6244. William P. Henderson: By Descent, furniture from the Brown collection, reception 4-6 p.m., through June 21. passport to the arts Canyon Road Merchants Association’s annual weekend public-art event at Canyon Rd. galleries and businesses; includes student music performances; silent auctions; live music; artist receptions and demonstrations; 795-5703, details available online at visitcanyonroad.com. pop-up exhibit St. Michael’s Village West, 1624 St. Michael’s Dr. 13 Over 6: Royalty Has Arrived, SFUAD Graphic Design BFA Thesis show, 6-8 p.m., call 473-6440 for information. santa Fe Children’s museum 1050 Old Pecos Trail, 989-8359, Ext. 103. The Science of Cities, a new series of exhibits, no charge for reception 3-6 p.m. scarlett’s antique shop & gallery 225 Canyon Rd., 983-7092, group show, reception 5-7 p.m. silver sun gallery 656 Canyon Rd., 983-8743. Changing Seasons: Landscapes of the West, work by Lee MacLeod, through June 5; jewelry by Shane Hendren, through Sunday; reception 4:30-7:30 p.m.
Pasa’s Little Black Book......... 64 Exhibitionism...................... 66 At the Galleries.................... 67 Libraries.............................. 67 Museums & Art Spaces........ 67 In the Wings....................... 68
LewAllen Galleries at the Railyard shows Marco Petrus’s urban landscapes, 1613 Paseo de Peralta
Winterowd Fine art 701 Canyon Rd., 992-8878. Thaw: Glass Re-imagined, glass sculpture by Karen Bexfield, reception 5-7 p.m., through May 23.
ClassiCal musiC
TgiF string recital Shelley Armer and Emily Owinski perform music of Mozart, Bach, and Le Clair, 5:30 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated, 982-8544, Ext.16.
in ConCerT
peter mugga The SFUAD senior leads Contemporary Music Department students in a program including music of West Africa,
Elsewhere............................ 70 People Who Need People..... 71 Under 21............................. 71 Pasa Kids............................ 71 Sound Waves...................... 71
Uganda, and the Middle East, 7 p.m., O’Shaughnessy Performance Space, 1600 St. Michael’s Dr., no charge, 473-6196.
TheaTer/DanCe
Eureka! National Dance Institute New Mexico’s endof-school science-themed student showcase; 5 and 7 p.m., The Dance Barns, 1140 Alto St., call 983-7661 for tickets, concludes Saturday May 11. Hansel & Gretel Santa Fe Playhouse Children’s Theatre Productions presents the musical, 7 p.m. today and Saturday, 142 E. De Vargas St., $10, student discounts available, 988-4262.
Willy Wonka Jr. Pandemonium Productions’ musical adaptation of the Roald Dahl tale performed by local students ages 6-16, 7 p.m., James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10, children 12 and under $6, 982-3327, for information call 920-0704 or visit pandemoniumprod.org for information, continues Friday-Sunday through May 19.
booKs/TalKs
Dessert With Desirée The local author discusses the Santa Fe Opera’s 2013 season, 7 p.m., United Church of Santa Fe, 1804 Arroyo Chamiso Rd., $20 includes lecture and dessert, proceeds benefit the nonprofit Santa Fe Circle of Friendship Bridge. ▶▶▶▶▶▶▶▶
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. PASATIEMPOMAGAZINE.COM
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John Cohen The photographer signs copies of The High & Lonesome Sound and Pull My Daisy, 5:30 p.m., Photo-eye Gallery, 376-A Garcia St., 988-5152, Ext. 112. Wonderlust: Linda Durham’s Thirty Fearless Years in the Art World A talk by the local art dealer, 5:30 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., no charge, 476-5068.
evenTs
Artspring 2013 gala New Mexico School for the Arts’ year-end gala featuring a visual arts exhibit; dance; theater; music; and a live auction; gala reception 5:30 p.m. at the Eldorado Hotel & Spa; 7 p.m. performance and live auction at the Lensic; $15 and $50 performance only; discounts available; $100 includes gala and performance, 988-1234, ticketssantafe.org, proceeds benefit NMSA art institute scholarships, performances continue Saturday. Institute of American Indian Arts commencement Graduation address given by Joy Harjo; honorary doctorate awarded to artist Tony Abeyta, 11 a.m., 83 Avan Nu Po Rd., 424-2300, iaia.edu. Pop Up santa Fe Local-artisans weekend market; jewelry, gems, minerals, textiles, and gifts, 10 a.m.-5 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, email ask@popupsantafe.com for information, continues Saturday. 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.
d Wine Bar 315 Restaurant an 986-9190 il, 315 Old Santa Fe Tra shop e ffe Co ay rd tte Be Solano Center , St. a ed am 905 W. Al nch Resort & spa Bishop’s Lodge Ra ., 983-6377 Rd e dg Lo 1297 Bishops Café Café 6-1391 500 Sandoval St., 46 ó Casa Chimay 8-0391 409 W. Water St., 42 ón es ¡Chispa! at el M 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. at The Pink om Ro The Dragon a nt Fe Trail, Adobe 406 Old Sa 983-7712 lton el Cañon at the hi 811 8-2 98 , St. 100 Sandoval spa eldorado hotel & St., 988-4455 o isc nc Fra n Sa . W 9 30 el Farol 3-9912 808 Canyon Rd., 98 ill el Paseo Bar & gr 848 2-2 99 , St. teo 208 Galis
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PASATIEMPO I May 10 -16, 2013
nIghTLIFe
(See addresses below) Café Café Los Primos Trio, traditional Latin beats, 6-9 p.m., no cover. ¡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 Guitarist Terry Diers, roots-rock/blues/folk, 5-7:30 p.m.; dance band Jaka, 8:30 p.m.; no cover. el Cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. evangelo’s Classic rock/blues band The Jakes, 9 p.m.-close, call for cover. hotel santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 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 Zenobia & Jay Boy Adams, R & B/pop, 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 The Tornados, 6-9 p.m., no cover. The Mine shaft Tavern Americana artist Lucy Barna on the deck, 5-7 p.m.; open-mic night with Jason, 7-11 p.m., 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 rcy St., 982-3433 La Boca 72 W. Ma ina La Casa sena Cant 8-9232 98 125 E. Palace Ave., at La Fonda La Fiesta Lounge , 982-5511 St. o 100 E. San Francisc a Fe Resort nt sa La Posada de lace Ave., 986-0000 and spa 330 E. Pa at the The Legal Tender eum us M d oa ilr Lamy Ra 466-1650 151 Old Lamy Trail, g Arts Center in rm Lensic Perfo o St., 988-1234 211 W. San Francisc sports Bar & grill om The Locker Ro 473-5259 2841 Cerrillos Rd., The Lodge Lodge Lounge at St. Francis Dr., N. 0 75 Fe at santa 992-5800 rider Bar Low ’n’ slow Low ó ay im Ch l te at ho e., 988-4900 125 Washington Av The Matador o St., 984-5050 116 W. San Francisc vern The Mine shaft Ta 473-0743 d, dri Ma , 14 NM 46 28
second street Brewery Hot Club of Santa Fe, Gypsy jazz, 6-9 p.m., no cover. second street Brewery at the Railyard Americana duo Todd & The Fox, 7-10 p.m., no cover. Tiny’s Rock cover band Chango, 8:30 p.m., no cover. vanessie Paula Rhae McDonald Band, country, ballads, and blues, 7:30-10:30 p.m., call for cover.
Meagan Chandler The local artist performs at her CD-release party for Sensual, 8 p.m., High Mayhem Studio, 2811 Siler Ln., 470-5291, $10 at the door, $5 with album purchase. scott Jarrett Singer/songwriter, 8 p.m., Gig Performance Space, 1808-H Second St., $15 at the door, gigsantafe.com.
11 Saturday
Artspring 2013 gala New Mexico School for the Arts’ year-end student showcase featuring dance, theater, and music, 7 p.m., the Lensic, $15, 988-1234, ticketssantafe.org. Eureka! National Dance Institute New Mexico’s endof-school science-themed student showcase; 3 and 5 p.m., The Dance Barns, 1140 Alto St., call 983-7661 for tickets, concludes Saturday May 11. Hansel & Gretel Santa Fe Playhouse Children’s Theatre Productions presents the musical, 7 p.m., 142 E. De Vargas St., $10, students discounts available, 988-4262. Splendiferous Dance concert presented by Early Street Studios and Santa Fe Performing Arts, 8 p.m., Armory for the Arts, 1010 Old Pecos Trail, $8 at the door, 983-5742. Willy Wonka Jr. Pandemonium Productions’ musical adaptation of the Roald Dahl tale performed by local students ages 6-16, 7 p.m., James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10, children 12 and under $6, 982-3327, for more information call 920-0704 or visit pandemoniumprod.org, continues Friday-Sunday through May 19.
gALLeRY/MUseUM oPenIngs
georgia o’Keeffe Museum education Annex 123 Grant Ave., 946-1039. ArtSpring 2013, works by students of New Mexico School for the Arts’ Visual Arts Department, public opening 5 p.m., through May 28. Museum of Contemporary native Arts 108 Cathedral Pl., 983-8900. Golden, annual Institute of American Indian Arts student exhibit, closing reception 2-4 p.m. Passport to the Arts Canyon Road Merchants Association’s annual weekend public-art event at Canyon Rd. galleries and businesses continues with the Artist Quick Draw held at participating galleries, followed by a 4 p.m. live auction of the works at Ventana Fine Art, 400 Canyon Rd.; also, Santa Fe Public Shools’ music students perform at several locations, details available online at visitcanyonroad.com, or call 795-5703.
In ConCeRT
Madi sato and The Women’s choir Sing for Joy!, 4 p.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, donations accepted, 983-5022.
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
TheATeR/DAnCe
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
books/talks
Patrick oliphant The local political cartoonist discusses his mixedmedia exhibit Patrick Oliphant: A Survey and signs copies of his catalogue, 2 p.m., Gerald Peters Gallery, 1011 Paseo de Peralta, 954-5700 (see story, Page 36).
outdoors
archaeology tour of burnt Mesa at bandelier National Monument Park-archaeologist led four-mile hike to several Puebloan sites; plus a visit to multiple eagle traps, 10 a.m.-12:30 p.m., meet at Burnt Mesa parking lot on NM 4, four miles west of the monument entrance, call Rory Gauthier for information, 672-3861, Ext. 702. birdwatching at Cerrillos Hills state Park Led by Verne Huser, 8:30 a.m., 16 miles south of Santa Fe off NM 14, parking area one half-mile north of the village of Cerrillos, $5 per vehicle, 474-0196. Pajarito Mountain to Valle Canyon hike Moderately difficult hike with an elevation gain of 1,300 ft. and a descent of 2,500 ft. led by Paul Arendt, 9 a.m.-2 p.m., hosted at no charge by Los Alamos’ Pajarito Environmental Education Center, 662-0460, pajaritoeec.org.
eVeNts
20th annual CommuNItY day Celebration (el día de la Gente) Information booths 10 a.m.-3 p.m.; local performers on stage at the Plaza Bandstand noon-10 p.m. Contra dance New England folk dance with live music by Roaring Jelly and calls by Will McDonald, beginner classes 7 p.m., dance 7:30 p.m., Odd Fellows Hall, 820-3535, 1125 Cerrillos Rd., $8, students $4. kindred spirits animal sanctuary spring open House Fundraising event, 10 a.m.-4 p.m., 3749-A NM 14, south of Santa Fe, kindredspiritsnm.org or 471-5366. Pop up santa Fe Local-artisans market; jewelry, gems, minerals, textiles, and gifts, 10 a.m.-5 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, email ask@popupsantafe.com for information. 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 SFUAD Contemporary Music Department’s Acoustic Americana Ensemble in concert, 10 a.m.; market 8 a.m.-1 p.m., 1607 Paseo de Peralta, 983-4098. santa Fe opera open house Explore the set for The Grand Duchess of Gérolstein and learn about costumes, props, and production from opera personnel, 10 a.m.-noon, 301 Opera Dr., no charge, 986-5900. santa Fe university of art & design commencement Commencement address delivered by filmmaker Godfrey Reggio; the ceremony also includes student-produced musical performances, 10 a.m., Greer Garson Theatre, 1600 St. Michael’s Dr., 473-6400. santa Fe Youth Creating Change Film Festival 2013 Local young filmmakers’ showcase; also, live hip-hop and spoken-word performances, and food, 11:30 a.m., Center for Contemporary Arts, 1050 Old Pecos Trail, $10 suggested donation, youths no charge, presented by Earth Care, 983-6896, and Santa Fe Public Schools’ Adelante Program.
NIGHtlIFe
(See Page 64 for addresses) ¡Chispa! at el Mesón Russell Scharf’s Jazz Explosion, 7:30 p.m.-close, call for cover.
Peyton Wright Gallery shows paintings by Al Loving (1935-2006), 237 E. Palace Ave.
Cowgirl bbQ Americana duo Miss Shevaughn & Yuma Wray, 2-5 p.m.; Country Blues Revue, 8:30 p.m.; no cover. el Cañon at the Hilton Gerry Carthy, tenor guitar and flute, 7-9 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 Zenobia & Jay Boy Adams, R & B/pop, 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. the legal tender E. Christina Herr & Wild Frontier, alt-country/ rock ’n’ roll/Americana blend, 6-9 p.m., no cover. the Mine shaft tavern Rock ’n’ roll band TV Killers’ CD-release party with Bill Palmer, Stephanie Hatfield, and special guests, 8 p.m., call for cover. Pranzo Italian Grill Geist Cabaret with David Geist, 6-9 p.m., call for cover. second street brewery Railyard Reunion, bluegrass, 6-9 p.m., no cover.
second street brewery at the railyard Roots-rock duo Man No Sober, 7 p.m.-close, no cover. stats sports bar & Nightlife DJ Dawn Quiyote and special guest DJ Erin E, 10 p.m.-close, call for cover. tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m.-close, no cover. Vanessie Ryan Finn Trio, Caribbean-style jazz, 7:30 p.m.-close, call for cover.
12 Sunday GallerY/MuseuM oPeNINGs
Passport to the arts Canyon Road Merchants Association’s annual weekend public-art event at Canyon Rd. galleries and businesses continues with a Mother’s Day brunch 11:30 a.m., The Compound Restaurant, 653 Canyon Rd., details available online at visitcanyonroad.com, or call 795-5703. Wheelwright Museum of the american Indian 704 Camino Lejo, Museum Hill, 982-4636. The Durango Collection: Native
American Weaving in the Southwest, 1860-1880, through April 13, 2014 (see story, Page 48).
ClassICal MusIC
Música antigua de albuquerque A Florentine Tapestry, 4:30 p.m., Christ Lutheran Church, 1701 Arroyo Chamiso, $16, discounts available, 505-842-9613. sangre de Cristo Chorale Celebrating Our Past, Present and Future, 3 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., $20, discounts available, ticketssantafe.org, 988-1234 (see story, Page 32).
IN CoNCert
Young singers of the santa Fe opera Members of the opera’s Young Voices Program perform opera selections, musical-theater numbers, and songs by Ives, Purcell, and Britten, 4 p.m., United Church of Santa Fe, 1804 Arroyo Chamisa, no charge, santafeopera.org. Zia singers Sweet Nothings, 4 p.m., Elks Lodge of Santa Fe, 1615 Old Santa Fe Trail, $20 in advance or at the door, students no charge, 225-571-6352.
pasa week
continued on Page 69
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exhibitionism
A peek at what’s showing around town
Kevin tolman: Inhale Moonlight II, 2013, acrylic and mixed media on canvas. Albuquerque artist Kevin Tolman celebrates 16 years at Karan Ruhlen Gallery with an exhibition of recent mixed-media paintings on canvas and works on paper. Tolman creates an illusion of depth in his gestural abstractions with references to organic forms in nature. There is a 5 p.m. reception on Friday, May 10. The gallery is at 225 Canyon Road. Call 820-0807.
Jack sinclair: Airport, 1995, oil on canvas. Argos Studio/Gallery (1211 Luisa St.) presents an exhibition of paintings by Jack Sinclair. The retrospective, featuring works in oil, pastel, and charcoal, opens Friday, May 10, with a reception at 5 p.m. Sinclair’s realist oeuvre encompasses still lifes, landscapes, portraits, nudes, and erotica. Call 988-1814.
Karen bexfield: Prose, 2012, kiln-formed glass. Winterowd Fine Art (701 Canyon Road) presents Thaw: Glass Reimagined, the gallery’s premier exhibition by glass artist Karen Bexfield. Her work appears delicate and brittle, evoking melting ice. Bexfield is a 2013 NICHE Magazine award-winning artist. The reception is Friday, May 10, at 5 p.m. Call 992-8878.
maurice burns: Jazz for Linda, 2009, oil on canvas. Outside the System, an exhibition of work by Maurice Burns, opens with a 5 p.m. reception on Friday, May 10, at Eggman and Walrus (130 W. Palace Ave., 2nd floor). Burns, a one-time computer and electrical engineer, became a painter after having an epiphany while walking along Lake Michigan. A selection of new work by Institute of American Indian Arts alumnus Billy Soza Warsoldier is also on view. Call 660-0048.
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PASATIEMPO I May 10 -16, 2013
marvin Lipofsky: Pilchuck Summer Series 1988-1989 #10, 1989, blown glass. Kristin Johnson Fine Art (323 E. Palace Ave.) shows a large selection of work by local and internationally recognized artists in An Affair With the Muse, an exhibition to benefit the Santa Fe Symphony (donations at the door appreciated). Artists include Marvin Lipofsky, Darren Vigil Gray, and Frank Ettenberg. Members of the symphony perform at the 5:30 p.m. reception on Friday, May 10. Call 699-6576.
At the GAlleries Carol Kucera Gallery 112 W. San Francisco St., Suite 107, 866-989-7523. Work by Santo Domingo Pueblo potter Julian Coriz, through May. Eight Modern 231 Delgado St., 995-0231. Dogs Are Forever, mixed-media work by Nancy Youdelman, through May 18. Independent Artists Gallery 102 W. San Francisco St., second floor, 983-3376. Photography by Peter Wagner, through May 30. Peyton Wright Gallery 237 E. Palace Ave., 989-9888. Postwar American Abstraction: Downing, Loving, and Pollock, through June 25. Santa Fe Art Institute Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5050. Earth Chronicles Project — The Artist’s Process: New Mexico, group show, through May 17. Santa Fe Arts Commission Community Gallery Santa Fe Community Convention Center, 201 W. Marcy St., 955-6705. Cumulous Skies: The Enduring Modernist Aesthetic in New Mexico, group show, through June 7 (see review, Page 42). Santa Fe Clay 545 Camino de la Familia, 984-1122. The Sum of Its Parts, group show, through June 1. Santa Fe University of Art & Design Fine Arts Gallery 1600 St. Michael’s Dr., 473-6500. Interwoven, senior-thesis exhibit, through May 19 (see review, Page 40). Vivo Contemporary 725-A Canyon Rd., 982-1320. An-thol-o-gy, collaborative exhibit of works by Ro Calhoun, Ann Laser, and Patricia Pearce, through Monday, May 13. William Siegal Gallery 540 S. Guadalupe St., 820-3300. Selections, group show of works by gallery artists, through May 25. Zane Bennett Contemporary Art 435 S. Guadalupe St., 982-8111. European Perspectives: The Radiant Line, group show, through May 24.
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. $40 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. 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: Lucky13, annual fundraising exhibit showcasing New Mexico artists’ works, through May 19, Spector Ripps Project Space. Gallery hours available online at ccasantafe.org or by phone, no charge. Georgia O’Keeffe Museum 217 Johnson St., 946-1000. ArtSpring 2013, works by students of New Mexico School for the Arts’ Visual Arts Department, public opening 5 p.m. Saturday, May 11, through May 28. Open 10 a.m.-5 p.m. Saturday-Thursday, 10 a.m.-7 p.m. Fridays. $12; seniors $10; NM residents $6; students 18 and over $10; under 18 no charge; no charge for NM residents 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, closing reception 2-4 p.m. Saturday, May 11 • Thicker Than Water, lens-based group show • Burial, mixed media by Jason Lujan, all exhibits through Sunday, May 12. Open 10 a.m.-5 p.m. Monday and WednesdaySaturday, 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;
New Mexico Museum of Art shows William clift’s landscapes in Shiprock and Mont St. Michel
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. 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 • Metal and Mud — Out of the Fire, works by Spanish Market artists, through August • 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. Tuesday-Sunday. $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. 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. Peter Sarkisian: Video Works 1994-2011, mixed-media installations, through Aug.18 • 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. TuesdaySunday; 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; NM residents no charge 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. The Durango Collection: Native American Weaving in the Southwest, 18601880, opening Sunday, May 12, through April 13, 2014 (see story, Page 48). 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
Laura Cortese Folk-rock fiddler, 7:30 p.m. Friday, May 17, Mariel Vandersteel opens, Music Room, Garrett’s Desert Inn, 311 Old Santa Fe Trail, 982-1851, $15 in advance, $18 at the door, brownpapertickets.com. Primus 3D Rock band, 7:30 p.m. Friday, May 17, doors open at 6:30 p.m., Santa Fe Community Convention Center, 107 W. Marcy St., $38, 988-1234, ticketssantafe.org. CrawDaddy Blues Fest Featuring Junior Brown and Mississippi Rail Company, noon7 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, 4 p.m. Sunday, May 19, featuring soprano Mary Wilson, tenor Sam Shepperson, and baritone Jeremy Kelly; pre-concert lecture 3 p.m.; the Lensic, $20-$70, ticketssantafe.org, 988-1234. New Mexico Bach Society John Donald Robb’s Requiem and Gounod’s St. Cecilia Mass, 7 p.m. Thursday, May 23, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$55, 988-1234, ticketssantafe.org. 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. Joy Kills Sorrow Americana ensemble, 7:30 p.m. Tuesday, May 28, Gig Performance Space, 1808-H Second St., $15 in advance, $18 at the door, southwestrootsmusic.org. Joshua Breakstone KSFR Radio’s Music Café series continues with the jazz guitarist joined by Earl Sauls on bass and John Trentacosta on drums, 7 p.m. Thursday, May 30, Museum Hill Café, Milner Plaza, 710 Camino Lejo, $20, 428-1527. 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. Cheryl Wheeler New England songwriter, 7:30 p.m. Thursday, June 6, Music Room, Garrett’s Desert Inn, 311 Old Santa Fe Trail, 982-1851, $25 in advance, $28 at the door, southwestrootsmusic.org. 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. Music on the Hill 2013 St. John’s College’s free outdoor summer concert series; featuring Santa Fe Great Big Jazz Band with vocalist Joan Kessler; Straight Up with J.Q. Whitcomb, Brian Wingard, and John Trentacosta, and John Proulx’s quartet; concerts begin at 6 p.m. outdoors at the college’s atheletic field June 12, visit stjohnscollege.edu for schedule. 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. 68
PASATIEMPO I May 10 -16, 2013
Upcoming events THEATER/DANCE
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. Portugal. The Man Portland-based rock band, 7:30 p.m. Tuesday, July 2, Santa Fe Sol Stage & Grill, $21, 988-1234, ticketssantafe.org. Santa Fe Desert Chorale 2013 Summer Festival The thirty-first season, July 11-Aug.19, features Romance to Requiem with Susan Graham and an evening of cabaret with Sylvia McNair, Santa Fe and Albuquerque, advance tickets available at the box office, 311 E. Palace Ave., 988-2282, or online at desertchorale.org. New Mexico Jazz Festival The eighth annual event takes place in Santa Fe and Albuquerque July 12-27; includes Stanley Clarke Band, Lionel Loueke Trio, Terence Blanchard Quintet, and Catherine Russell, $20-$50, tickets available online at the Lensic box office, ticketssantafe.org, 988-1234. Santa Fe Chamber Music Festival The 41st season (July 14-Aug. 19) includes performances by pianists Inon Barnatan and Jeremy Denk, violinists Ida Kavafian and L.P. How, and the Orion String and Shanghai Quartets, call 982-1890 for advance tickets, for more information visit santafechambermusic.com.
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. Stand Up Revolution Tour Comedians Dillon Garcia, Shaun Latham, Alfred Robles, and Edwin San Juan on stage in support of the Santa Fe Fiesta Council, 7:30 p.m. Saturday, May 18, Santa Fe Community Convention Center, 201 W. Marcy St., $22-$44, 988-1234, ticketssantafe.org. Maestro: The Art of Leonard Bernstein Hershey Felder pays tribute to the composer, 7:30 p.m. Friday and Saturday, 2 p.m. Sunday, May 31-June 2, the Lensic, $20-$50, 988-1234, ticketssantafe.org. National Theatre of London in HD The series continues with The Audience, starring Helen Mirren, 7 p.m. June 13, the Lensic, $22, student discounts available, 988-1234, ticketssantafe.org. Chapter Two Santa Fe Playhouse presents Neil Simon’s comedy, 7:30 p.m. Thursday-Saturday, 2 p.m. Sunday, June 14-30, 142 E. De Vargas St., $20 at the box office, discounts available, santafeplayhouse.org, 988-4262. Miss Jairus, A Mystery in Four Tableaux Theaterwork presents Michel de Ghelderode’s play, 7:30 p.m. Thursday-Saturday, 2 p.m. Sunday,
emmylou Harris and Rodney crowell on stage June 15, at the Downs of santa Fe.
June 14-23, James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., 471-1799, mail@theaterwork.com. Juan Siddi Flamenco Theatre Company The season opens July 2 running 8 p.m. Tuesdays-Sundays through Sept. 1, The Lodge at Santa Fe, $25-$55, discounts available, 988-1234, ticketssantafe.org.
HAPPENINgS
Native Treasures Indian Arts Festival Traditional and contemporary works by more than 200 artists, Memorial Day weekend Saturday and Sunday, May 25-26, Santa Fe Community Convention Center, Saturday: early birds $20, general admission $10 (all tickets available at the door), Sunday: no charge, 982-7799, Ext. 3, nativetreasures.org. Creating an Opera Season Brad Woolbright, Santa Fe Opera’s director of artistic administration, explains the opera’s selection process, 5:30 p.m. Wednesday, May 29, Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., $10, presented by the Santa Fe Opera Guild, 629-1410, Ext.123. 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 information. Santa Fe Botanical garden Tours 2013 Pre-tour luncheon (private venue) Sunday, June 2, $25, registration deadline May 30; self-guided tours Sunday, June 2 and 9, $35 for one day; $65 for both days; tickets on tour days $40 for one day; $75 for both days; advance tickets available at the Lensic box office, 988-1234, ticketssantafe.org, call 471-9103 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. 64th Annual Santa Fe Rodeo Downtown rodeo parade 10 a.m. Saturday, June 15; rodeo 6:30 p.m. Wednesday-Saturday, June 19-22, Santa Fe Rodeo Grounds, $10-$37, 988-1234, ticketssantafe.org. Santa Fe Wine Festival New Mexico wine samples and sales, music, food booths, and arts & crafts, noon-6 p.m. Saturday and Sunday, July 6-7, El Rancho de las Golondrinas, 334 Los Pinos Rd., $13 includes wine glass for adults 21+, youth discounts available, 471-2261. 2013 Santa Fe International Folk Art Market More than150 artists offer goods at the 10th annual event hosted by the Museum of International Folk Art; pre-market events begin July 10-11, opening party July 12, market July 13-14, visit folkartmarket.org for schedule and ticket information.
pasa week
from Page 65
12 Sunday (continued) theater/dance
Willy Wonka Jr. Pandemonium Productions’ musical adaptation of the Roald Dahl tale performed by local students ages 6-16, 2 p.m., James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10, children 12 and under $6, 982-3327, call 920-0704 or visit pandemoniumprod.org for more information, continues Friday-Sunday through May 19.
books/talks
kathleen dudley The community organizer in conversation on the New Mexico Coalition for Community Rights, Drilling Mora County, and The Democracy Schools, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226, presented by JourneySantaFe.
events
Mother’s day historic house tour The Historic Santa Fe Foundation hosts its annual self-guided tours focusing on the Plaza area; Tudesqui House, 135 E. De Vargas St.; Olive Rush’s New Deal murals in the foyer of the old Santa Fe Public Library, 120 W. Washington Ave.; Felipe B. Delgado House, 124 W. Palace Ave.; and the Oliver P. Hovey House, 136 Grant Ave.; start at any location to purchase a $5 ticket and pick up a map, 983-2567. 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.
nIghtlIFe
(See Page 64 for addresses) café café Guitarist Michael Tait Tafoya, 6-9 p.m., no cover. casa chimayó Sunday in Havana with Ramon Calderon, 6-8 p.m. on the patio, call for cover. cowgirl bbQ The Hank Williams tribute brunch with Cathy Faber’s Swingin’ Country Band, noon-3 p.m.; Tricia Parish, vocalist/guitarist, 8 p.m., no cover. el Farol Nacha Mendez and guests, pan-Latin music, 7 p.m.-close, no cover. la casa sena cantina Best of Broadway, piano and vocals, 6-10 p.m., 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. Pranzo Italian grill Classical pianist Kelvin McNeal, 6-9 p.m., call for cover. second street brewery at the railyard Joe West’s Santa Fe Revue, eclectic folk-rock, 1-4 p.m., no cover. the Underground at evangelo’s Prog. rockers As In We, Small Leaks Sink Ships, and Thieves and Gypsys, 8 p.m., call for cover. vanessie Sunday Open Mic with pianist David Geist, 5-7 p.m.; Bob Finnie, piano and vocal classics, 7 p.m.-close, no cover.
Tune Up Café shows mixed-media works by Brian Arthur, 1115 Hickox St.
13 Monday books/talks
ancient beer and Modern brewers: ethnoarchaeology of chicha Production on the north coast of Peru A Southwest Seminars lecture on maize beer by Frances Mariko Hayashida, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775. david Morrell The author reads from and signs copies of Murder as a Fine Art, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see story, Page 22). guardians of crypto-Jewish traditions: a historical and geneaological Journey A talk by Isabelle Madina Sandoval, 2 p.m., Museum of Spanish Colonial Art, 750 Camino Lejo, $10, 982-2226.
events
Weekly all-ages informal swing dances Lesson 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., dance only $3, lesson and dance $8, 473-0955.
nIghtlIFe
(See Page 64 for addresses) cowgirl bbQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover. el Farol Geeks Who Drink Trivia Night, 7 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 Country band Danny Duran & Slo’ Burnin’, 7:30-11 p.m., no cover. vanessie Bob Finnie, pop standards piano and vocals, 7 p.m.-close, no cover.
14 Tuesday In concert
st. Michael’s high school choir, theater arts class, and band 6 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., no charge, 660-3187.
books/talks
Instruments of Power: Musical Performance in rituals of the ancestral Puebloans of the american southwest A talk by archaeologist Emily Brown presented by the School for Advanced Research, 3 p.m., SAR Boardroom, 660 Garcia St., no charge, 954-7200 (see story, Page 34). ramona ausubel The author reads from and signs copies of A Guide to Being Born, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see Subtexts, Page 16).
events
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. santa Fe Farmers Market 8 a.m.-1 p.m., 1607 Paseo de Peralta, 983-4098.
nIghtlIFe
(See Page 64 for addresses) ¡chispa! at el Mesón Argentine Tango Milonga, 7:30-11 p.m., call for cover. cowgirl bbQ Old-school rockabilly band Rob-A-Lou, 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 Country band Danny Duran & Slo’ Burnin’, 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, 7 p.m.-close, no cover.
15 Wednesday books/talks
becoming st. kate: st. catherine Indian school Noon-12:45 p.m., monthly Brainpower & Brownbag lecture series, Meem Community Room, Fray Angélico Chávez History Library, 120 Washington Ave., no charge, 476-5090. Bring your lunch. eduardo galeano The journalist/activist in conversation with Marie Arana, 7 p.m., Lannan Foundation Pursuit of Cultural Freedom lecture, the Lensic, $6, discounts available, ticketssantafe.org, 988-1234 (see story, Page 20). Mont st. Michel and shiprock: William clift The New Mexico Museum of Art docent talks series continues with an overview of the Santa Fe photographer’s landscape study, 12:15 p.m., 107 W. Palace Ave., by museum admission, 476-5072.
events
assistance dogs of the West graduation 6 p.m., Greer Garson Theatre, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $10, 988-1234, tickestssantafe.org. rivers run through Us A series of free events along the Santa Fe River beginning today and continuing through May 19; celebrate Randall Davey Audubon Center’s 30th anniversary with refreshments, birds from Santa Fe Raptors, and a nature walk and native species performances by Río Grande School’s science and art teachers and students, 1 p.m., 1800 Upper Canyon Rd., presented by the nonprofit Littleglobe, littleglobe.org.
nIghtlIFe
(See Page 64 for addresses) ¡chispa! at el Mesón Americana/blues guitarist Jim Almand, 7-9 p.m., no cover. cowgirl bbQ Rockabilly band Dead Bundy and The Neat Neat Neats, 8 p.m., no cover. el Farol Salsa Caliente, 9 p.m., no cover. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM
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La Fiesta Lounge at La Fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 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 Bob Finnie, pop standards piano and vocals, 7 p.m.-close, no cover.
misión museum y Convento 1 Calle de los Españoles, 505-747-8535. A replica based on the 1944 University of New Mexico excavations of the original church built by the Spanish at the San Gabriel settlement in 1598. Open noon-4 p.m. Wednesday-Friday, 11 a.m.3 p.m. Saturday; no charge.
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.
16 Thursday gaLLeRy/museum oPenings
Harry’s Roadhouse 96 Old Las Vegas Highway, 989-4629. Work by textile artist Candace Kenyon, through June 26. santa Fe Community College, school of arts and Design Visual arts gallery 6401 Richards Ave., 428-1501. End-of-year student exhibit, reception 4:30-6 p.m., through Aug. 15.
THeaTeR/DanCe
national Theatre of London in HD The broadcast series continues with This House, a play about Parliament by James Graham, 7 p.m., the Lensic, $22, student discounts available, 988-1234, ticketssantafe.org.
events/Performances
Demetria martinez The author reads from and signs copies of The Block Captain’s Daughter, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.
Los alamos symphony orchestra Music of Dvoˇrák, Rimsky-Korsakov, and Brahms, 7 p.m. Friday, May 10, Crossroads Bible Church, 97 East Rd., donations accepted, 662-7435. Recent Discoveries in new mexico Caves Illustrated presentation by local cavers James Hunter and John Lyles in conjunction with the exhibit Underground of Enchantment, 7 p.m. Tuesday, May 14, Upstairs Rotunda, Mesa Public Library, 2400 Central Ave., no charge, 662-8250.
eVenTs
madrid
books/TaLks
Fashion showcase 2013 Santa Fe Community College’s student fashion show, 6:30 p.m., doors open at 6 p.m., Jemez Room, SFCC, 6401 Richards Ave., $8 in advance, $10 at the door, youth discounts available, 428-1358. Rivers Run Through us A series of free events along the Santa Fe River continuing through May 19; The Reimagining of Bishop’s Pond and The Río Chiquito, walking performances of stories and songs, 11:15 a.m., Paseo de Peralta and E. Alameda St., presented by the nonprofit Littleglobe, littleglobe.org.
nigHTLiFe
(See Page 64 for addresses) ¡Chispa! at el mesón Jazz pianist Chris Ishee, 7-9 p.m., no cover. Cowgirl bbQ Chava & Paid My Dues Rhythm & Blues, 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, 6 p.m., Fuego Restaurant, 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 p.m., no cover. Vanessie Bert Dalton Duo, jazz, 7 p.m.-close, call for cover.
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PASATIEMPO I May 10 -16, 2013
Aspens, by Gale Oppenheim-Pietrzak, in the State Capitol Rotunda Gallery’s exhibit New Mexico: Unfolding
▶ Elsewhere albuquErquE museums/art spaces
516 arts 516 Central Ave. S.W., 505-242-1445. Flatlanders & Surface Dwellers, international multimedia show, through June 1. Harwood art Center 1114 Seventh St. N.W., 505-242-6367. I Have a Question and There’s No One Left to Answer It, encaustic paintings by Evey Jones and Harriette Tsosie, through May 30. Original home of the Harwood Girls School (1925-1976). Open 10 a.m.-4 p.m. Monday-Friday, no charge. Holocaust and intolerance museum of new mexico 616 Central Ave. S.W., 505-247-0606. Disturbing, but Necessary, Lesson, scale model of a WWII prisoner transport to Auschwitz • Hidden Treasures, 158-year-old German-Jewish family heirloom dollhouse belonging to a family that fled to the U.S. and settled in New Mexico. Open 11 a.m.3 p.m. Tuesday-Saturday, donations accepted. inpost art space Outpost Performance Space, 210 Yale Blvd. S.E., 505-268-0044. Near & Far, photographs by Erin Parker. Richard Levy gallery 514 Central Ave. S.W., 505-766-9888. Color Matter, abstracts by Xuan Chen; new paintings by Charles Fresquez; reception 4-6 p.m. Saturday, May 11, through May.
unm art museum Center for the Arts Building, 505-277-4001. 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
southwest book Fiesta Readings, demonstrations, and seminars by national and regional authors, 9 a.m.-6 p.m. Friday and Saturday, 9 a.m.-5 p.m. Sunday, May 10-12, Albuquerque Convention Center, $8 in advance; $10 at the door; $20 three-day pass; ages 12 and under no charge, a portion of proceeds benefits local libraries, literacy programs, and New Mexico PBS, tickets and details available online at swbookfiesta.com. sunday Chatter David Felberg and Judith Gordon: violin and piano recital, music of Bach, Hindemith, and Ravel, 10:30 a.m. Sunday, May 12; plus, a poetry reading by Michael C. Ford, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, chatterchamber.org.
Española
bond House museum 706 Bond St., 505-747-8535. Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). Open noon-4 p.m. Tuesday-Saturday, no charge.
madrid’s 40th Rebirth-Day Celebration Exhibit openings, entertainment, and scheduled events every weekend through May, details available online at visitmadridnm.com. madrid old Coal Town mine museum 2846 NM 14, 438-3780 or 473-0743. Author Laurie Evans Frantz signs copies of The Turquoise Trail, 1 p.m. Saturday, May 11. Madrid’s Ghost Town Past, new display celebrating Madrid’s 40th Rebirth Day, through October. Steam locomotive, mining equipment, and vintage automobiles. Open 10:30 a.m.-4:30 p.m. daily. $5, seniors and children $3. Circus burlesque & unusual Talents Staged performance by local talent, 9 p.m. Saturday, May11, Engine House Theatre, 2846 NM 14, $15, 473-0743.
taos museums/art spaces
203 Fine art 203 Ledoux St., 575-751-1262. Paintings, Monotypes & Sculpture From the ’80s, work by Bill Gersh (1943-1994), reception 5-8 p.m. Saturday, May 11, through June 8. e.L. blumenschein Home and museum 222 Ledoux St., 575-758-0505. Hacienda art from the Blumenschein family collection, European and Spanish Colonial antiques. Open 10 a.m.-5 p.m. Monday-Saturday, noon-5 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge; Taos County residents no charge on Sunday. Harwood museum of art 238 Ledoux St., 575-758-9826. 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.
▶ People who need people Artists
Nominations for the 2013 Mayor’s Awards for Excellence in the Arts Any member of the public may nominate an artist, writer, performer, philanthropist (individuals ages 21 and older), or an organization or business for consideration; also, nominations for the Melissa Engestrom Youth Arts Award are being accepted (ages 21 or younger); information and forms available online at santafeartscommission.org or call 955-6606; deadline is 5 p.m. Friday, May 31. Pojoaque River Art Tour Area artists welcome to join the 20th annual studio tour Sept. 21-22; call 455-3496 or visit pojoaqueriverarttour.com for information. Rare Earth Santa Fe Community College and art collective Scuba invite artists to create works inside a provided 9 oz. glass jar containing earth collected from one of 33 New Mexico counties for the Red Dot Gallery exhibit May 24; email hiscuba@gmail.com for details, entry deadline Monday, May 12. 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.
Contest
Santa Fe Opera’s tailgate contest Visit santafeopera.org for information about categories, prizes, celebrity judges, and entry details for the June 28 opening-night event; entries accepted after June 1 by emailing tailgatecontest@santafeopera.org; include name, email address, phone number, and approximate number in your group.
Donations/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 Wednesday, May 15 in order to attend; email Carolyn, santafe43@comcast.net, for details; International Cultural Exchange Services information available online at www.icesusa.org. The Horse Shelter’s annual auction Donations of items/gift certificates sought for a fundraiser held at the ranch May 19; call 471-6179. The Hospice Center Work in the office with the bereavement program (computer skills desirable) and help
with flower arrangements and delivery for the Flower Angel program; call Mary Ann at 988-2211. 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.
Filmmakers/Performers/Writers
Santa Fe Independent Film Festival Submissions sought for the Oct.16-20 festival; deadline July 1; final deadline Aug. 1. Visit santafeindependentfilmfestival.com for rules and guidelines. Tony Hillerman best first mystery novel contest Publishing contract with St. Martin’s Press and $10,000 advance offered to the winner; only authors of unpublished mysteries set in the Southwest may enter; manuscripts must be received or postmarked by June 1; further guidelines and entry forms available online at wordharvest.com.
▶ Under 21 Warehouse 21 metal concert Anomaly headlines, with Gutwrench, Colossal Swan Dive, and Exalt, 7 p.m., 1614 Paseo de Peralta, $5 at the door, 989-4426. Santa Fe Youth Creating Change Film Festival 2013 Local young filmmakers’ showcase; also, live hip-hop and spoken-word performances, and food, 11:30 a.m. Saturday, May 11, Center for Contemporary Arts, 1050 Old Pecos Trail, $10 suggested donation, youths no charge, presented by Earth Care, 983-6896, and Santa Fe Public Schools’ Adelante Program. 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 Santa Fe Children’s Museum 1050 Old Pecos Trail, 989-8359, The Science of Cities, a new series of exhibits, no charge for grand-opening reception 3-6 p.m. Friday, May 10. Hansel & Gretel Santa Fe Playhouse Children’s Theatre Productions presents the musical, 7 p.m. Friday and Saturday, May 10-11, 142 E. De Vargas St., $10, student discounts available, 988-4262. Willy Wonka Jr. Pandemonium Productions’ musical adaptation of the Roald Dahl tale performed by local students ages 6-16, 7 p.m. Friday and Saturday, 2 p.m. Sunday, May 10-19, James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10, children 12 and under $6, 982-3327, for more information call 920-0704 or visit pandemoniumprod.org. Santa Fe Opera open house Explore the set for The Grand Duchess of Gérolstein and learn about costumes, props, and production from opera personnel, 10 a.m.-noon Saturday, May 11, 301 Opera Dr., no charge, 986-5900. Bee Hive Kids Books Presentation and signing with local children’s books illustrator Felicia Bond, 4 p.m. Saturday, May 11, 328 Montezuma Ave., 780-8051. ◀
A week (almost) in rock It isn’t just an anomaly — or is it? If you’re a fan of metal, be at Warehouse 21 (1614 Paseo de Peralta, www.warehouse21.org) on Friday, May 10, at 6 p.m. for an all-ages showcase. Headliner Anomaly, which has a few New Mexico connections, hails from Phoenix and carries a huge torch for both prog metal Dead Bundy and the and mathcore — Tool and The Dillinger Escape Plan Neat Neat Neats are heavy influences. Española’s Gutwrench hits a little harder, with nods to Mudvayne and Anthrax. The fourpiece is fast making a name for itself in the local metal scene. Santa Fe’s Exalt slams down some decent experimental metal, while Colossal Swan Dive remains an enigma. It appears nothing has been recorded by the band and nothing biographical is available online. If you like solving a good mystery or just want to shame Colossal Swan Dive into pinning a bio to is social-media presence, go check them out. The cover’s $5. Groove tube Before press time, I wasn’t able to get my filthy mitts on a copy of the debut T.V. Killers album, which is being released at the band’s concert in Madrid at 8 p.m. on Saturday, May 11. Front man/guitarist/songwriter Bill Palmer, Frogville Records’ whiz-bang engineer, joins his band mate and better half Stephanie Hatfield (vocals, guitar), bassist Matt McClinton, and drummer Mikey Chavez for a night of serious rock ’n’ roll at the Mine Shaft Tavern (2846 N.M. 14, 473-0743). There’s a small cover at the door, and the album will be available for purchase. Homecoming? Dance! Help celebrate the triumphant return of local math-rock outfit As In We, which recently finished up an intense recording session in Portland, Oregon. A new album is in the mix/ master stage, and a sneak peek should be available on the band’s Facebook page in a matter of weeks. Catch As In We and others live at The Underground at Evangelo’s (200 W. San Francisco St., 577-5893), 8 p.m. Sunday, May 12. Joining the quartet is experimental-rock five-piece Small Leaks Sink Ships. Formed from the ashes of Mesa, Ariz. band Beyond Analog, SLSS crafts intricate rhythms and melodies in the spirit of bands like Minus the Bear and The Mars Volta. It isn’t unusual to see band members trading instruments during their set — and at times, even during a song. Also on the bill is local indie retro-garage-rock band Thieves and Gypsys, which swears stylistic allegiance to the likes of Glasgow, Scotland, band The Fratellis and New Zealand’s The Datsuns. There’s a $5 cover for the show, and this one’s 21-and-over. ’Billy clubbin’ I can predict that a good time will be had at Cowgirl BBQ (319 S. Guadalupe St., 982-2565) on Wednesday, May 15, simply by the name of the band performing that night. Minnesota rockabilly outfit Dead Bundy and the Neat Neat Neats is in the middle of a short tour, and thankfully, the quartet’s stopping in Santa Fe to shake a few floorboards loose. Matthew “Sprinkles” Spraungel, Chris Wilson, Cody Hillyard, and Matt Kalsnes brew the kind of eight-cylinder psychobilly that forces both country and punk crowds to their feet, and their live shows are some of the most frenzied music events I’ve had the pleasure of attending. Touring in support of Train to Paradise, a new album released May 9, DB&NNN strings together serious and silly tales of love and horror (“Don’t Go In the Basement,” “Werewolf in a Girl’s Dormitory”) and frequently bring the witchy-woman narrative to the mix (“She’s a Hellcat,” “Bruja”). Comparisons to the UK’s Frantic Flintstones and Dutch outfit Batmobile are warranted, but Spraungel’s sneering voice is grittier than that of most psychobilly frontmen. Think Darby Crash gurgling cedar mulch. There’s no cover for the 8 p.m. 21-andolder show. — Rob DeWalt rdewalt@sfnewmexican.com A weekly column devoted to music, www.pasatiempomagazine.com Twitter: @Flashpan performances, and aural diversions. Tips on @ PasaTweet upcoming events are welcome.
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