The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture May 31, 2013
Marcia Crawford Back in Santa Fe Trunk Show
Friday June 7th
2-6pm Opening Reception
Martin Markinson in association with The Lensic presents
Hershey Felder in
Maestro:The Art of Leonard Bernstein
May 31–June 2
Saturday, June 8th
Fri & Sat 7:30 pm, Sun 2 pm $20–$50
11am - 6pm
Sunday, June 9th noon - 4pm
Hershey Felder, star of George Gershwin Alone, returns to The Lensic in a music-filled performance that brings composer and conductor Leonard Bernstein to life.
Clothing & textiles, Treasure & ornament
“Hershey Felder has the chutzpah to take on Leonard Bernstein and the talent to pull it off!” —Los Angeles Times
T r av e l e r ’s M a r k e t
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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 31 - June 6, 2013
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PASATIEMPO I May 31 - June 6, 2013
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THE SANTA FE NEW MEXICAN
May 31 - June 6, 2013
www.pasatiempomagazine.com
On the cOver 34 Fantasies in graphite When Fay Ku was a young artist, she wanted to emulate the dense chiaroscuro oils of Baroque master Caravaggio. In graduate school, she found her own voice: “I thought I wasn’t supposed to make pencil-on-paper works because it was easy for me.” Asa Nisa Masa, an exhibit of Ku’s unearthly drawings, opens at Eight Modern with a 5 p.m. reception on Friday, May 31. The cover image is Development, a graphite, watercolor, and ink work on paper from 2013.
BOOks
mOving images
12 in Other Words And the Mountains Echoed 24 Black arts The Resurrectionist
46 48 49 50
mUsic and PerFOrmance 14 16 18 20 23
Otherworldly vocals Timothy Hill listen Up Lenny, Lenny everywhere terrell’s tune-Up Thee Oh Sees Pasa tempos CD Reviews Onstage Cheryl Wheeler
calendar 56 Pasa Week
and 9 mixed media 11 star codes 54 restaurant review: sage Bakehouse
art 28 36 40 42
chasing snow Cedra Wood viajes Loose murals new bamboo Tai Gallery space station Martha Russo
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
Apoptosis (detail), by martha russo and katie caron
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art director — marcella sandoval 986-3025, msandoval@sfnewmexican.com
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assistant editor — madeleine nicklin 986-3096, mnicklin@sfnewmexican.com
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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 laurel gladden, robert ker, Bill kohlhaase, Jennifer levin, adele Oliveira, robert nott, Jonathan richards, heather roan-robbins, 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
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Midnight’s Children Frances Ha In the House Pasa Picks
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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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Life is good ...
friends
make it better. Santa Fe Animal Shelter Adopt. Volunteer. Love. 983-4309 • sfhumanesociety.org
Painful Jaw? Hard to chew? Loud clicking? Headaches? You may have “TMJ.” Dr. Wartell has been helping people with jaw, face, and head pain for years. Many dentists, physicians and patients refer people to us. We use conservative methods, without surgery. Visit SantaFeTMJ.com. Call today for an appointment.
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MIXOGRAFIA CAST PAPER PRINTS May 31 through June 21 OPENING RECEPTION: Friday, May 31 from 5 – 7 pm
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desert acadeMy 2013 graduatIng class
Photos © Joshua Sage Photography
c o n g r at u l at i o n s!
In only theIr fIrst year of college, our graduates receIved nearly $500,000 In scholarshIps & fInancIal aId College Destinations Alea Campbell, Cornish College of the Arts Sean Colin-Ellerin, University of Chicago Thomas Dearing, New Mexico Tech Ariadne Ellsworth, Brown University Zoe Gibson, Colorado College Isaac Green, Dartmouth College Grayson Hallmark, Santa Fe Community College Maxine Hart, Washington University in St. Louis
Sara Hartse, Brown University Elise Jansen, University of San Francisco Alden Kokesh, Colorado State University Corrina Leatherwood, Colorado College Sonam Lhamo, Mount Holyoke College Gavin Litchfield, University of New Mexico Sananda Lobe, University of New Mexico Hannah Lochner, New York University Anisa Martinez, Beloit College
Elliot Melk, University of California/Los Angeles Grace Moon, Reed College Micaela Reininga, Drew University Matthew Rohr, Champlain College Eva Silverman, University of New Mexico Auben Taglienti, Columbia College Chicago Felicia Tapia, Middlebury College Lily Tiarks, Northeastern University
Desert Academy College PreParatory grades 6 -12 7300 Old Santa Fe Trail www.desertacademy.org • (505) 992-8284 International Baccalaureate World School
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celebrate the flavor of new mexico!
Lensic Presents
BROADCAST IN HD
THE
AUDIENCE A NEW PLAY BY PETER MORGAN STARRING HELEN MIRREN
santa fe ’s premier food event sunday, june 2, 2013 · 10:00 am – 5:00 pm free to new mexico residents at the museum of international folk art
“Wonderfully funny and genuinely moving” —Daily Telegraph
“Helen Mirren is superb.” —Evening Standard
June 13, 7 pm
$22/$15 Lensic members & students
Daily Telegraph, Evening Standard, The Times
Independent
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
A celebration of creativity on the campus of Santa Fe University of Art and Design. High school workshops are open to rising juniors and seniors; community workshops are open to anyone 18+.
co m m u I Am Trying to Break Your Heart: Flash Fiction with Jon Davis, IAIA Creative Writing Faculty; July 8 - 12
enjoy and explore
Writing Your Life: Mapping a Memoir with Emily Rapp, SFUAD Creative Writing Faculty; July 8-12
• Visit the New World Cuisine exhibition
Southwest Photography Survey with Mary Anne Redding, SFUAD Photography Chair; July 15-19
• Delicious products for sample and sale • Outdoor horno baking demonstrations
African Drumming with Fred Simpson, SFUAD Contemporary Music Contributing Faculty; July 22 - 26 all community workshops are $350
• Book fair with New Mexico authors • Cooking demonstrations by Rocky Durham, Executive Chef of the Santa Fe Culinary Academy • Wine and beer tastings at the Museum Hill Café • For more information, visit DeliciousNM.com By museum admission. New Mexico Residents with i.d. free on Sundays. Youth 16 and under and mnmf members always free.
high sc
hool
Serious Fun: Fiction and Poetry with Dana Levin, SFUAD Creative Writing Co-Chair; July 13; Free ARTLAB with David Leigh, SFUAD Studio Arts Contributing Faculty; July 15 - 19; $285
Film IIntensive with Peter Grendle, SFUAD Film School Contributing Faculty; July 15 - 19; $285
On Museum Hill in Santa Fe · www.InternationalFolkArt.org · (505) 476-1200
to register for an ArtFest workshop, please visit artfestSF.com or call 505-473-6551 *all costs are workshop fees only; housing and meal plans are available at additional cost
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PASATIEMPO I May 31 - June 6, 2013
nity
ShopBabette.com
1 1 0 D O N G A S PA R , S A N TA F E
(505) 989-3435
MIXED MEDIA
Think globally — eat locally On Sunday, June 2, Delicious New Mexico, a nonprofit dedicated to promoting New Mexico food products, presents Savor the Flavor to celebrate the state’s movable feast. Attendees can taste raspberries, chocolates, dipping sauces, bizcochitos, and mustard — all produced regionally. Savor the Flavor is hosted by the Museum of International Folk Art in conjunction with its exhibition New World Cuisine: The Histories of Chocolate, Mate y Más, which chronicles the mixture of comestible goods from the old and new worlds. Delicious New Mexico was founded last September, and Savor the Flavor is its first food fair in Santa Fe. The presentation is farmers market style: about 20 Delicious members will be on hand with samples and food for sale, including heartier fare like tamales. “Come hungry,” advised Vicki Pozzebon, Delicious New Mexico director and a co-founder of the organization. A simultaneous book fair features New Mexico cookbook authors, and the museum’s horno (outdoor oven) will be in operation. From 1 to 4 p.m., Museum Hill Café presents a tasting, where chef and proprietor Weldon Fulton will serve appetizers such as sweet corn custard with poblano cream sauce and grilled pineapple and shrimp skewers paired with wines of the Americas. Admission to the tasting is $20. Savor the Flavor takes place from 10 a.m. to 5 p.m. at the Museum of International Folk Art (706 Camino Lejo, 476-1200). Museum admission fees apply (free to New Mexico residents on Sundays). Visit www.deliciousnm.com. — Adele Oliveira
DONATE. GIVING TO GOODWILL MEANS KEEPING IT LOCAL.
3060 CERRILLOS RD. AT CALLE DEL CIELO 505.424.9726 DONATE 7 DAYS A WEEK
MAKE AN ONLINE DONATION
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9
Santa Fe Community Orchestra
Oliver Prezant, Music Director
Season Finale Rimsky-Korsakov: Russian Easter Overture Grieg: Holberg Suite, Op. 40 Brahms: Symphony No. 1 in C minor, Op. 68 Sunday
June 2nd 2:30 St. Francis Auditorium
pm
Free admission Donations appreciated Friday, May 31: Anatomy of a Symphony Concert Preview Featured work: Brahms Symphony No. 1 6 – 7pm, St. Francis Auditorium
SFCO projects are made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs, the National Endowment for the Arts; the Santa Fe Arts Commission, and the 1% Lodger’s Tax.
Dance!
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PASATIEMPO I May 31 - June 6, 2013
STAR CODES
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Heather Roan Robbins Ask a question this week. Go on. Curiosity engages our souls and can be a real doorway to a fertile and creative world this week as Mercury and Venus shift into deep-feeling Cancer and form a grand trine with intuitive Neptune and structural Saturn and then oppose deep-digging Pluto. If we don’t engage our curiosity, the aspect can leave us passive and moodily paddling about in our inner oceans. We still enjoy the social whirl as the summer season begins. Venus and Jupiter continue to tango and flirt and conjunct in the early-evening western sky. This causes us to want to flirt and tango too, first lightheartedly with Venus in Gemini and then in a more serious way as Venus enters Cancer on Sunday. This lovely Mercury-Saturn-Neptune grand trine can bring the minds (Mercury) and hearts (Venus) to spiritual discipline (Neptune with Saturn). But with the increasing generalized unrest from an ongoing Uranus-Pluto square, it also has a shadow side; it can increase self-protectiveness and cause fractures along religious or philosophical lines. As always, we choose how we live out the symbolic pattern. Bridges continue to be a major concern this month; it’s time to deal with them as Mercury (transportation) trines Saturn (structure) and Neptune (water). With the major aspects to Mercury over the next few weeks, watch the quality of our thinking. We are easily distracted as the week begins and may become obsessive by the week’s end. Let the pools of our minds begin to calm. Friday, May 31: Touchy, easily tweaked feelings can send thoughts scrambling under a sensitive Pisces moon. Interesting news on earlier troubles requires healing rather than discipline. The evening is sensitive. Tonight, help one another recover from the week and look for healing dreams as the moon approaches Chiron.
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Saturday, June 1: It’s a moody morning, and people are motivated to express concerns about recent events. Midday, the mood is generally helpful, but it can leave us affected by the pressure of other peoples’ personalities as the Pisces moon squares Jupiter. Tonight comes alive as the sun sextiles Uranus — we’re open to something different and unique. Sunday, June 2: A pushy, fresh Aries moon speeds up the day and gives people a chip on the shoulder as it squares Mercury and Pluto. Our hearts grow touchier and more protective as Venus enters Cancer. We’re tempted to make sweeping depressive statements. Instead, stay in the present and take positive action. Tend life’s garden. Monday, June 3: There’s a cranky spell early this morning as the moon semisquares Mars, which dissipates after a few choice words. Mercury’s trines could give us nice dreams or bring us important information in practical and intuitive channels. Listen. Look for solutions. Tuesday, June 4: Act early and quickly this morning to follow up on works in progress. Then slow down — our flowers need attention as the moon enters Taurus midday. Slow, steady, and charming wins this race. Tonight if moods are discouraging as the moon opposes Saturn, reconsider the situation in the morning. Wednesday, June 5: The vibe is generally pleasant and progressive on the surface, but the bigger issues of life swirl in the background and need ongoing attention. Enjoy the moment, but don’t drop the ball. Beloveds may begin to talk about odd concerns; don’t take it personally. Thursday, June 6: Much good can be done in simple ways. Stay curious and aware. The mood brightens and speeds up this afternoon as the moon enters Gemini. Tonight, take part in the buzzing conversation. ◀
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11
In Other wOrds And the Mountains Echoed by Khaled Hosseini, Riverhead Books/Penguin, 404 pages Something devastating always unfolds in a novel by Khaled Hosseini, or at least that is the trend the Afghan-born novelist has set with his first three books. In his third novel, And the Mountains Echoed, harrowing plot twists can make the reader wince, gasp, and even sniffle. What sets this novel apart from Hosseini’s other works, The Kite Runner and A Thousand Splendid Suns, are the more tenuous connections between characters. While his famed The Kite Runner carries more or less a single familial theme, the new book features a cast of characters so numerous that a reader can lose track of their relationships. Many of their appearances are like cameos by famous actors in films with otherwise B-list casts. Just when you begin to invest in the emotions and motives of a player, he or she disappears, never to be heard from again. The book is also a slow starter. The first 30 pages are doused in myth and short on plot. Then Hosseini launches into the essence of the tale. His craft is strong enough, however, that these drawbacks don’t detract too much from the story he’s telling. The author excels in combining formative childhood moments and the incomplete thought processes of young minds with the jarring adult subject matter of betrayal by lies and omission, by deliberate acts, and by circumstances beyond one’s control. His writing lacks extra adjectives, and the way he reveals the characters’ motives is artful, slow, and subtle. His dialogue is sparse, and he sparingly employs the interesting device of repeating the same scene several times from the perspective of different characters. Hosseini is the son of an Afghan diplomat and a high school teacher from Kabul. While this book is less centered in Afghanistan than his other works, he does bring in the global reach of conflict in that mountainous country. At the center of the tale is a family in a small rural village in Afghanistan and the tough choices its head must make to offer what he hopes is the best future for his children. Their subsequent paths establish a loose framework for the rest of the story, which spans the years 1942 to 2010. Among many juxtapositions in the work, the author draws bright lines between life in this village and life for Afghans who expatriate and return years later to become spectators. Timur, whom Hosseini describes as the “quintessential ugly Afghan-American,” arrives in war-torn Kabul to rubberneck with his brother Idris, who finds himself powerless to follow through on little things he could do to help the less fortunate people he finds there — or to at least relieve his guilty conscience. Another character is the son of a powerful military leader, presented through the window of his short friendship with a child in very different circumstances. One boy is sheltered, wanting for nothing, and indoctrinated with the politics of conquest. Another lives as a refugee, “in existence rife with trouble, unpredictability, hardship, but also adventure.” The geographic diversity of the book sends the reader jet-setting around the world, hopping from Kabul to Paris to Greece and the United States. Hosseini said in an interview that he wanted to “expand the landscape” for his characters and to surround himself with a few characters who are “nothing like me or the people that I know.” The author began writing his first novel while working as a doctor in Los Angeles, so his insights in the book about hospital conditions in Afghanistan compared to those in the United States come from real-world experience. His work with the United Nations Refugee Agency also factors into elements of the novel that address the shortcomings in basic social services in Afghanistan as well as Taliban extremism. Hosseini’s own family lived in Paris in the late 1970s and was unable to return to Afghanistan because of a communist coup there in 1978. They landed in the United States after his father sought asylum. Now on his book tour, Hosseini addresses the ongoing political instability and international military presence in the nation of his birth. This is serious subject matter. The book contains very little joy and hardly any celebration, furrowing the reader’s brow more often than eliciting a chuckle. Some frayed ends never get tied up, yet for a handful of key characters, there is finally a kind of resolution and completeness — a witness to the imperfection of the story of every family. — Julie Ann Grimm Khaled Hosseini speaks at the University of New Mexico Student Union Building (Ballrooms B&C) in Albuquerque at 7 p. m. Sunday, June 9. Tickets, $28.95, include a copy of “And the Mountains Echoed.”
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PASATIEMPO I May 31- June 6, 2013
book reviews
SubtextS
What price fame? One would think that thanks to A&E’s successful television adaptation of Craig Johnson’s Walt Longmire mystery books — set in Absaroka County, Wyoming, but shot in New Mexico — the author and rancher would be something of a familiar literary, if not household, name. After all, A Serpent’s Tooth, the most recent book in the popular series, has just been published by Viking/Penguin, and the TV show is going over like gangbusters. In a recent interview, Johnson recalled a visit to a small Wyoming café. The cashier recognized the words on Johnson’s cap: “Absaroka County Sheriff’s Department.” Johnson introduced himself: “I’m the one who writes the books.” “What books?” she asked. “The books the TV show is based on.” “I didn’t know there were books.” The series’ main character is a widowed sheriff trying to make sense of law, order, and life in a small ranching community. In A Serpent’s Tooth, Longmire, his deputy Victoria Moretti, and his friend Henry Standing Bear investigate an interstate polygamy organization. Big business and covert American intelligence agencies play a role in the story, which starts when a Mormon youth finds himself in Walt’s jail. Expect the usual dose of suspense, mystery, friendship, and humor. Johnson is in Santa Fe to read from and sign copies of this book (and any others you may wish to bring him) at 6 p.m. Tuesday, June 4, at Collected Works Bookstore (202 Galisteo St., 988-4226). It’s the first point in a publicity tour that will take him to Albuquerque, Dallas, Los Angeles, Tucson, and eventually back home to Wyoming. — Robert Nott
Craig Johnson
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Paul Weideman I The New Mexican
HARMONIC CONVERGENCE T I M O T H Y H I L L’ S O T H E R W O R L D L Y V O C A L P R O W E S S
Matt Cooper
imothy Hill’s version of the 1930 Blind Willie Johnson song “Soul of a Man” is easy and soulful — and “normal” until three minutes in. At that point, Hill temporarily transforms into a singer of abstract sound, which occupies two realms simultaneously: his low voice and a high, spooky “bell tone” that may remind you of a science-fiction movie. It’s called harmonic singing, and it is achieved by altering the resonating cavities in the mouth, sinuses, and throat. Hill has been doing it for decades. Probably the best-known disc that has featured these special vocals is 1983’s Hearing Solar Winds, with Hill performing as a member of David Hykes and the Harmonic Choir. “I’m a singer-songwriter. That was my musical start,” said Hill, who performs at Gig Performance Space on Friday, May 31. “But then I got very curious about the world of music, and I joined David Hykes’ group. I’ve been doing harmonic singing now for more than half of my life. That’s this very abstract field of music. The choir’s music has very little text. “It’s like re-entering a ritual every time we sing together. My own music is still rooted in the American singer-songwriter tradition. For a long time those worlds were separate for me, and then I became interested in trying to bridge them and have this sort of abstract place I can go to. For me that’s where the life of the music is, so very often I’ll start with a normal song, then at some point get into a different realm. 14
PASATIEMPO I May 31- June 6, 2013
“Harmonic singing has become more known, particularly through Tibetan monks, but even though people have heard it, they don’t necessarily know what it is. Like, what was that whistling sound? One of the connotations it has for me is a little bit like the way Dylan uses the harmonica.” He has performed on eight recordings by David Hykes and the Harmonic Choir. He also studied Indian classical music with Pandit Vijay Kichlu and Sheila Dhar. He has worked with singers Katell Keineg and Cathal McConnell and Klezmer clarinetist Giora Feidman and has participated in performances under the direction of composers John Cage and Butch Morris. Hill has done a lot of teaching over the years. Since 2006 he has been a visiting lecturer at Bard College in New York’s Hudson Valley. “They started a graduate program directed by Dawn Upshaw. I’m brought in as a kind of consultant on harmonic singing and other vocal traditions. The way I’m teaching it is not as an exotic technique but as a foundation of how to approach the voice.” And Hill is an authority. In addition to his chops in that eerily beautiful harmonic singing, he possesses a fine voice, a satisfying blend of sweet and husky. His most recent CD, The Other Side, features a few of his own compositions as well as covers of tunes by Blind Willie Johnson and George and Ira Gershwin; the traditional songs “I Looked Down the Line,” “The Water Is Wide,” and “The Lone Pilgrim”; and a wonderful recitation of “Jheeni Jheeni Bini Chadariya” by the mystic poet Kabir.
Hill has a history of involvement in the music of another mystic, the Georgian philosopher G. I. Gurdjieff. “As I understand it, this is music he either composed or remembered from his experiences and then composed it in collaboration with the conservatory-educated composer Thomas de Hartmann. It was a really interesting meeting of Eastern and Western sensibilities, and that’s been a powerful influence on me.” Hill’s biography includes work with jazzmen Jeff Haynes, Doug Weiss, Keith Jarrett, and Bill Frisell. “I played piano in a band with Bill many years ago. I put him in my bio to give people an idea about my musical values. He’s a very influential guitarist, but he’s also a very unusual guitarist. He hears things differently and he plays what he hears. I met Keith the year after I started working with David Hykes. It was a Jarrett workshop in Vermont, and I sang for him and he was interested in that. He came to hear the Harmonic Choir, and we remained friends.” Hill was a musical guest at the recent annual meeting of the Innocence Project, an organization devoted to exonerating people wrongfully convicted of crimes. He performed the Dylan song “I Shall Be Released” and said it was “a pretty incredible experience because there were about 18 honorees, all of whom had served jail time for crimes they didn’t commit.” Another of the singer’s long-term commitments is the Weave Vocal Research Group, now in its 16th year. It’s made up of three current or former members of the Harmonic Choir plus one singer from South India. Hill performs with the Hykes choir again on June 14 in Sweden. But first he comes to New Mexico. May 31 marks his first-ever appearance in Santa Fe. The next day, he hits the Albuquerque Folk Festival. “I’ve been doing the festival for a number of years,” he said. “Usually I do a set of songs and a singing workshop, introducing people to harmonic singing. The festival is fairly eclectic, but most of the people are into more old-timey stuff than what I do, so I try to cater to that. But Gig is a whole evening I have to myself, and they have a really nice grand piano. Usually I accompany myself on guitar, but if there’s a nice piano I play that.” If you’re not familiar with Hill, you may want to visit www.timothyhillmusic.com and listen to samples of his music, including “Soul of a Man” from The Other Side. He made that album in 2012. He is at work on others, although he admitted that “it’s hard to know what any of this means now. Everybody says it’s all going to digital downloads, but I’m still thinking of these things as CD projects.” Hill contributed to the 2013 disc Pete Seeger: The Storm King, a collection of stories and poems by Seeger set to new music created by more than 70 musicians. And 2013 will see the release of David Rothenberg’s book/CD Bug Music, which features a segment of Hill singing with crickets. In this vein, he performed with Rothenberg and accordionist Pauline Oliveros on May 22 in New York City. “David is a jazz clarinetist and a philosophy professor and an author. [Bug] Music is part of a trilogy of books. The first was about birds, and the second about whales. Each has come with a companion CD of him and other musicians playing with the animals, recorded or live. “In preparation for this book, he went somewhere where there were thousands of cicadas, and he played his saxophone covered with cicadas. The music is a little out there. He invited me last summer to go out at dusk and sing in the fields with katydids, and I tried to be musical with them.” ◀
presents
Les Misérables School Edition
6/7/2013 7:00 pm • 6/8/13 7:00 pm • 6/9/13 2:00 pm
At SFUAD, Greer Garson Theater
$15 in advance • $20 at door • $10 student • tickets available online SUMMER CAMP DATES • JULY 1-13, 2013 Call for info 505-946-0488 or www.c-a-m-p.net to register 8p
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2 Locations
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Downtown next to Lensic on Burro Alley
Across from Regal Cinema 14
992-0304
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Variety of Japanese Tapas and $2 Draft Beer all day, everyday
Patio.Dining 326 S. Guadalupe • 988-7008 • www.ziadiner.com
details ▼ Timothy Hill 8 p.m. Friday, May 31 Gig Performance Space, 1808 Second St. $15 at the door; www.gigsantafe.com ▼ Albuquerque Folk Festival Timothy Hill workshop 10:30 a.m., concert 2:30 p.m. (Mt. Taylor Stage), Saturday, June 1 Anderson-Abruzzo Albuquerque International Balloon Museum, 9201 Balloon Museum Drive N.E. Festival tickets $20, $15 in advance, discounts available, workshop no additional charge; see www.abqfolkfest.org
SUMMER SalE! This weekend!
Friday, May 31 • Saturday, June 1 10 to 5 501 Old Santa Fe Trail, next to Kaune’s Market 505-988-5670 • janesmithhome@aol.com
Jane Smith
hOme
PASATIEMPOMAGAZINE.COM
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LISTEN UP
James M. Keller
Ever-present Lenny eonard Bernstein was a legend in his own time, and that was just the beginning. His hyperactive career prepared the way for a posthumous flowering that has been rarely equaled in classical music. This weekend, the Lensic Performing Arts Center hosts a recent offspring of the ongoing Bernstein industry: a one-man show titled Maestro: The Art of Leonard Bernstein, written by and starring Hershey Felder. A Canadian actor and pianist, Felder unveiled his show in 2010, the most recent in a series of similar performance pieces that have so far focused on Gershwin, Chopin, and Beethoven. (Some music lovers may remember his George Gershwin Alone, which he performed at the Lensic in 2005.) In all of these he collaborates with theatrical director Joel Zwick, most widely known for directing the 2002 romantic comedy My Big Fat Greek Wedding. Felder happens to be “common-law married” to Kim Campbell, who served as the prime minister of Canada for about four and a half months in 1993; they were apparently struck by love at first sight when he appeared as a pianist at the Canadian Consular Residence in Los Angeles in 1996. Portraying Bernstein surely presents a challenge that Felder’s other composer shows did not. Every classical music lover of a certain age, as well as many who have not yet reached that age, has a very firm impression of Bernstein, who spent decades as a ubiquitous presence in the media. Yes, there are film clips of Gershwin, but not many; and they invariably seem distant — fleeting home movies or low-tech newsreel footage reaching out from the 1930s. Bernstein, in contrast, was classical music’s leading face in the early years of television and for quite some time beyond. All intellectually curious viewers of the 1950s paid
By 1968, people were already fashioning Leonard Bernstein to their own purposes, and everyone wanted a piece of him.
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PASATIEMPO I May 31- June 6, 2013
rapt attention to his splendid lecture-concerts on the Omnibus program, founded by the Ford Foundation to promote the cultural awareness of the citizenry. Bernstein first appeared on Omnibus in 1954 — indeed, it was his first televised appearance, period — offering a program in which musicians strolled about on a floor-sized rendering of Beethoven’s Fifth Symphony, providing visual assistance as Bernstein explored musical ideas Beethoven had accepted or rejected as he composed the piece. Almost everyone who saw the show remembers it, and its message was further disseminated when all seven of the scripts Bernstein wrote for Omnibus were published in book form as The Joy of Music. Bernstein became even more closely identified with the Young People’s Concerts. He hosted 53 installments of that series on CBS television from 1958 to 1972, and those, too, remain available in print as well as on DVD (as do the Omnibus shows). Other Bernstein writings and commentaries figure in his popular book The Infinite Variety of Music; his stint delivering six Charles Eliot Norton lectures at Harvard in 1981 live on as the book The Unanswered Question and as videos; and we encounter him delivering a lecture in conjunction with a performance of Beethoven’s Ninth Symphony in his 1971 film Four Ways to Say Farewell and then investigating Mahler (and himself) in his bizarre video essay The Little Drummer Boy in 1984. Bernstein did not fall short when it came to documenting himself. is friends and colleagues leapt to fill out the picture with their own reminiscences and eyewitness accounts. In 1968, a year before Bernstein ended his 11-year tenure as music director of the New York Philharmonic, writer John Gruen and photographer Ken Heyman published a book-length photo essay that afforded intimate glimpses of the musician and his family at home and on vacation. When, in 1987, Joan Peyser published Bernstein: A Biography, a groundbreaking book that upset people because it spoke openly of his wide-ranging sex life, she reported that (according to Bernstein’s daughter Nina) “when the [Gruen] book appeared, the whole family was stunned. They did not recognize themselves. Inevitably they had become a piece of fiction.” People were already fashioning Bernstein to their own purposes, and everyone wanted a piece of him. In 1967, Gruen had described the maestro’s green-room scene in the New York World Journal Tribune: “All want to taste the presence, be close to the magnet. In all there is the need to be near the source of excitement, the electricity and glamour that is Leonard Bernstein.” So true. After he died in October 1990, the public’s desire to keep Bernstein near effectively escalated. I remember sitting through a two-day sale at Sotheby’s in 1997: 422 lots of items from his estate that ranged from unremarkable furniture and tchotchkes to the Bösendorfer grand piano from his apartment in the Dakota. I thought I might pick up a cheap souvenir, but it turned out none were to be had. A utilitarian music easel he used for setting scores on was estimated to sell for $200 to $300, but went for $5,750. An ivory baton estimated at $200 to $300 instead brought $8,050. The Bösendorfer, estimated to sell in the $60,000 to $80,000 range, sold for $387,500. Even Sotheby’s had seriously underestimated how much the general public desired “to be near the source of excitement.” Most of his intimates held their tongues until after his death. By 1992 the blueblooded man-about-the-arts Schuyler Chapin (a top executive sequentially at Columbia Masterworks, the Metropolitan Opera, the Columbia University School of the Arts, and the American Symphony Orchestra League) penned his appreciative Leonard Bernstein: Notes From a Friend, and in 1995 writer William Westbrook Burton published his interviews with more than a dozen people close to the action, under the title Conversations About Bernstein. Bernstein’s own staff watched after his legacy with fierce allegiance, lodging complaints when they felt commentators were off base, assisting Humphrey Burton’s officially “unofficial” (yet dull) biography Leonard Bernstein in 1994, watching nervously as Meryle Secrest, the author of revealing smart-celebrity biographies, produced her own book Leonard Bernstein in 1995 without their blessing (it is the best general Bernstein bio to date). One often senses the possessive spirit of the inner sanctum in the 2010 book Working With Bernstein, by his long-time amanuensis Jack Gottlieb, who died in 2011. It’s a goulash of reminiscences and anecdotes and essays and payback commentary, but it does provide interesting insights I hadn’t encountered elsewhere, such as that it was not Bernstein but rather Omnibus co-producer Mary V. Ahearn who dreamed up the idea that the first page of Beethoven’s Fifth should be painted on the floor of the set. And Gottlieb repeats one of the best of all Bernstein jokes: “Two New York dowagers are walking past a Lincoln Center poster publicizing Leonard Bernstein. One says, ‘I hear that Bernstein is gay.’ The other, ‘Is there nothing that man cannot do?’ ”
Bernstein did indeed do his best to cover all the bases, and he achieved ongoing repute as a composer, conductor, pianist, educator, writer, celebrity entertainer, media star, political activist, hard-living lothario, and who knows what else. There are no signs that his popularity is abating. I recently noticed that a five-CD box set (on the Deutsche Grammophon label) of Bernstein conducting the Vienna Philharmonic in Beethoven’s nine symphonies occupied spot number 70 in Amazon.com’s list of top-selling classical recordings, on which roster it had by then spent 814 days. These recordings were captured live in the Vienna Musikverein from 1977 through 1979, and although their current popularity is to some extent a triumph of marketing (and pricing, since the whole set costs just $21.74), it is also a salute to enduring interest in the interpretations. The next day the set had temporarily disappeared from the Amazon bestseller list, which is updated hourly, but two other far-from-recent Bernstein CDs made the cut: Stravinsky’s Rite of Spring and Firebird, plus Prokofiev’s Scythian Suite, with the New York Philharmonic (1957 and 1964) and the London Symphony (1972), in spot number 72; and (in 77th place) Gershwin’s Rhapsody in Blue and An American in Paris, with the New York Philharmonic (1958) and the Columbia Symphony Orchestra (1959), starring Bernstein as pianist as well as conductor. he latest entry into the annals of Bernsteiniana is a slender volume by Jonathan Cott titled Dinner With Lenny: The Last Long Interview With Leonard Bernstein (Oxford University Press). It’s an interesting read, though creepiness occasionally hovers in the fringes when Bernstein seems a bit too interested in his interlocutor, if you catch my drift. In 1988, Cott approached the Bernstein office to request an interview with the maestro on behalf of Rolling Stone. The maestro was officially unavailable for interviews at that advanced point in his career, so Cott had to jump through hoops, providing past materials he had published and going through an “audition lunch” with Bernstein’s manager. After considerable delay, Cott was informed that he was to dine with Bernstein on Nov. 20, 1989, at the maestro’s country home in Connecticut. This is the cleanedup transcript. Thank heavens Cott brought along a large trove of blank cassette tapes, because dinner went on for some 12 hours. He had prepared his interview carefully — though surely he had not imagined he would go through a half-day’s worth of questions — and Bernstein engaged him with respect and enthusiasm. Bernstein, who at that point was within a year of his decease, is the same character the public had by then adored for four decades, by turns brilliant and banal, imperious and charming, narcissistic and seductive, magisterial and familiar. It’s probably fair to say that nothing entirely new pops up in what is essentially a long bull session propelled by alcohol. You get the feeling that he’s reciting observations he had been recycling for quite a while, but his words do sparkle with sincere engagement. He says things that are worth knowing. “In hindsight,” he states, “I realized many years later that the ‘gang call’ — the way the Jets signal to each other — in West Side Story was really like the call of the shofar ... that I used to hear blown in temple on Rosh Hashanah.” He fills in the background to a famous story involving his public disagreement with Glenn Gould about their performance of Brahms’ Piano Concerto No. 1 in 1962 — complicated but enriching. He discusses his enthusiasm for Indian classical music and relates how he took an Indian musician friend to a concert, where the friend fell asleep during Mozart’s G-Minor Symphony out of sheer boredom from all the repetitiveness. He singles out some favorites among his recordings, his most beloved (at least that night) being his orchestral transcription of Beethoven’s String Quartet in C-sharp Minor (op. 131) with the Vienna Philharmonic. Cott’s book is a diverting and unlikely addition to the public record about Leonard Bernstein, and it helps keeps the polish on a cultural icon whose appeal seems perpetually resistant to fading. ◀ “Maestro: The Art of Leonard Bernstein,” written by and starring Hershey Felder, plays at 7:30 p.m. Friday and Saturday, May 31 and June 1, and at 2 p.m. Sunday, June 2, at the Lensic Performing Arts Center (211 W. San Francisco St.). Tickets, $20 to $50 (discounts available), may be purchased by calling 988-1234 and from www.ticketssantafe.org.
Right, Hershey Felder as Leonard Bernstein; photos by Michael Lamont PASATIEMPOMAGAZINE.COM
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TERRELL’S TUNE-UP Steve Terrell
Oh si This year is not even half-cooked yet, so it’s much too early to be declaring an album of the year. But from my very first listen, I knew in my heart that Floating Coffin, the latest CD by Thee Oh Sees,would place high in my annual Top 10 list. Heck, I might have even realized that by the end of the first song, the blaring rocker “I Come From the Mountain,” with its rubbery guitar breaks. This is a San Francisco group that’s been around in one form or another for a decade or so (including a brief period when it used “The” instead of the garage-rock signifier “Thee”). Starting out as a side project for singer and guitarist John Dwyer, who sometimes used Orinoka Crash Suite as a band name on a few of his recordings, Thee Oh Sees evolved into Dwyer’s main musical concern. While he is clearly the frontman, keyboard player Brigid Dawson also sings — and on Floating Coffin, she’s handling a bigger share of the vocal duties. This is a good thing. Although Thee Oh Sees is considered a garage band, that’s just one side of it. You could consider it a psychedelic band as well, but that certainly doesn’t cover it. Sometimes the group’s music reminds me of the sprawling noise rock of Yo La Tengo. I also hear echoes of New Wave in Thee Oh Sees’ sound. Had the group been around in 1984 or so, it would have fit in perfectly on a bill with the Talking Heads. It’s too melodic to be considered punk by most conventional definitions, and it’s too weird to be termed pop. Every album I’ve heard by Thee Oh Sees is different from the last. For instance, I was disappointed in the group’s previous effort, Putrifiers II, which was released last September. Despite punchy rockers like “Lupine Dominus,” Putrifiers had too many slow dreamy numbers for my taste. The group is so prolific that’s it’s pretty safe to say that if you don’t like one album you just have to wait a minute. Floating Coffin is a rocker. Most of the songs have happy, catchy melodies that make you want to sing along. However, just below the
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PASATIEMPO I May 31- June 6, 2013
Thee Oh Sees is too melodic to be considered punk by most conventional definitions, and it’s too weird to be termed pop. surface there seems to be something sinister lurking. Just look at the cover. There’s a bunch of ripe red strawberries — delicious looking, except for vampire teeth and eyeballs peering out. Dwyer has said, “These songs occur in the mind-set of a world that’s perpetually warridden. Overall, it’s pretty dark.” Take the song “Sweets Helicopter” (which features a sizzling Joe Meeks-style organ solo by Dawson). Unless you really listen closely, you might not hear the lyrics, which seem to tell the story of a pilot dropping death on people below. “I look down to see them looking up.” Even more jolting is “Tunnel Time,” in which Dwyer sings, “I’ve been cleaning up bodies/They all look the same to me,” followed by a mocking chorus of “Ha, ha, ha, ha, ha, ha, ha, ha, ha.” And then there’s “Toe Cutter — Thumb Buster,” with its tortured guitar introduction that Neil Young might appreciate and its happy little melody and easygoing tempo. To be honest, as with many Thee Oh Sees songs, I can’t really make out the lyrics (this is one of the few faults of this band). The song’s official video tells a story of a serial killer putting a body in the back of his vehicle. He keeps having to kill witnesses who stumble on his crime scenes. It’s funny in a black-humor, Dexter sort of way. You can find it at http://tinyurl.com/ohseestoe. One of the only mellow songs here is the viola-driven closer, “Minotaur.” It’s the best tune about the mythological creature since The Incredible String Band’s song from 1968’s The Hangman’s Beautiful Daughter. There’s also a fairly gory video for this one (there’s always plenty of blood spatter in those spooky old myths) starring members of the band. They didn’t go broke on the costumes for this video, but it does enhance the song. Check out http://tinyurl.com/ohseeminotaur. So yes, this is my favorite album of the year so far. Maybe another one will come along and knock it off its top position — it may even be by Thee Oh Sees. Visit www.theeohsees.com. Free garage rock downloads: I guess it’s not that surprising that the warped minds behind Adult Swim — the irreverent cartoon and comedy programming that takes over the Cartoon Network after most the kiddies are in bed — would also be fond of garage-punk music. What’s cool is that they persuaded their corporate masters and a sponsor, Dr. Pepper, to give away an album of 15 free downloads featuring some of the “stars” (relatively speaking) of the genre as well as many I’d never heard of. Garage Swim has a song by Thee Oh Sees. Music by The Black Lips and Bass Drum of Death is also included, as is that by King Khan, who appears on two selections. But most exciting is that there’s a new song by The Gories. Although they’ve done a few “reunion” tours in recent years, playing their old stuff, “On the Run” from Garage Swim doesn’t appear in their ’90s catalog. You can find this album at http://video. adultswim.com/promotions/201305_garageswim. ◀
tonight. .april may 31, tonight 26, 2013 2013. .5-7pm 5-7pm
L as t Fr i day a r t WaL k In Santa Fe’s Vibrant Railyard Arts District last friday every month
charLotte jackson Fine art Clark Walding, Flux
david richard gaLLery max almy & teri yarbrow, susan herdman, matthew Kluber
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zane bennett
We are closed for installation today, but visit us June 8-30, for the premier of SiTElab, featuring Marco Brambilla: Creation (Megaplex), a mind-boggling 3d video collage projected in our new project space.
READ ST.
WAREHouSE 21
james keLLy contemPorary stuart arends, New Work
cAmIno DE lA FAmIlIA
El muSEo culTuRAl
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WiLLiam siegaL gaLLery Polly Barton & alison Keogh, Sutras
zane bennett contemPorary art mimmo Paladino, Mixografia Cast Paper Prints
tai gaLLery Emerging Bamboo
mAnHATTAn
cAmIno DE lA FAmIlIA
LeWaLLen gaLLeries marco Petrus, Belle Città
The Railyard Arts District (RAD) is comprised of seven prominent Railyard area galleries and SITE Santa Fe, a leading contemporary arts venue. RAD seeks to add to the excitement of the new Railyard area through coordinated events like this monthly Art Walk and Free Fridays at SITE, made possible by the Brown Foundation, Inc., of Houston. We invite you to come and experience all we have to offer. PASATIEMPOMAGAZINE.COM
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PASA TEMPOS
album reviews
ElEanor Quatuor EbènE FrIEdbErGEr Personal Mendelssohn: Felix and Fanny (Virgin Classics) All Record (Merge records) In 2011, concertgoers know Felix Mendelssohn, Eleanor Friedberger released Last the most astonishing child-prodigy musiSummer, her first album outside of cian of the 19th century, blessed with the Fiery Furnaces, the duo she and genius, wealth, and family encouragement. her brother shared since 2000. Her Less lionized is his sister Fanny. Though solo work ditched the twosome’s she was three years older, they were insepexperimental excursions in favor arably close from childhood. They shared of brief, anecdotal pop songs with a the talent and wealth, but the mores of the time prevented Fanny journal-entry flair (see the latest album’s title). But the thing from pursuing music in the public arena. It’s heartbreaking to think about her lyrics is that the specificity actually helps you form what might have been: the tantalizingly few works she published are connections to your own life. Personal Record doesn’t sound as terrific. The Quatuor Ebène, a French foursome especially acclaimed personal as Last Summer does — and suffers a bit for it. The album for its explorations of classical-jazz crossover, has put together a recital starts out wonderfully — “When I Knew” and “Stare at the Sun” are that comprises the first and last quartets of Felix (op. 13 and op. 80) and both whip-smart, joyful pop songs, and the contemplative “I’ll Never Be the only one by Fanny. They bring red-hot excitement to this repertoire, Happy Again” is among Friedberger’s best work. The record closes just as yielding readings of these pieces that are among the best on CD. Op. 13 strongly with the funky “She’s a Mirror” and “Other Boys,” an ambling, bursts with youthful enthusiasm and op. 80, written by heartbroken gospel-tinged look at open relationships in the touring life. The Felix shortly after Fanny’s sudden death and just before his middle stretch of songs, which are slower and frequently own, becomes a powerful cri de coeur of a sort not widely pull from musical influences as disparate as tango and associated with him. Fanny’s quartet does not quite rival country, sags the album. Regardless, there is always either of the two specimens that surround it on this disc, pleasure to be found Friedberger’s voice. Her impecbut it is a highly laudable achievement in its own right, cable diction and unusual enunciation are as clear Like Bill Evans, displaying more constrained emotion, absolutely secure as a mountain spring and comforting as a hug technique, and a firm grounding in the stylistic models from a loved one. Her albums are not albums, but Frank Kimbrough finds of Bach, Mozart, and brother Felix. — James M. Keller friends. That’s the personal touch. — Robert Ker
the calm center of a tune FranK KIMbrouGH trIo Live at Kitano (Palmetto) CéCIlE MClorIn SalVant WomanChild (Mack Pianist Frank Kimbrough not only has an ear for fine avenue) You’ll never go wrong paying attention to the and then swirls out material, he knows how to make something of it. Here, winners of the Thelonious Monk International Jazz with bassist Jay Anderson and drummer Matt Wilson, he Competition, and that’s certainly true of singer Cécile from there. sandwiches selections from Oscar Pettiford, Paul Motian, McLorin Salvant, the 2010 winner. Of Haitian and French Andrew Hill, and Duke Ellington between intelligent origiheritage, she was trained in classical music growing up in nals that fall in easily with the great company. Kimbrough’s her native Miami, and then studied jazz improvisation in style at the piano is touch sensitive, rhythmically relaxed, France, where she released her debut album. She likes selecting old blues and jazz songs that never achieved “standard” status but and, occasionally mischievous. Like Bill Evans, he finds the which she considers beautiful. Among such songs on WomanChild are calm center of a tune and then swirls out from there. He makes sense two that were popularized by Bessie Smith. One is the opener, “St. Louis Gal,” of Hill’s wily confusion on “Dusk,” keeping the piece’s mellow feel even as he explores strange harmonies and rhythmic progressions. On Pettiford’s in which we hear McLorin Salvant’s soulful, honest voice basically a cap“Blues in the Closest, “ he come out swinging, his left hand singing against pella but with touches of James Chirillo’s guitar. The other is “Baby, Have the bluesy, off-kilter invention of his right. The quietest pieces in the Pity on Me.” The singer does a wonderful version of Rodgers & Hart’s set carry the most emotion. He emphasizes the meditative mood of “I Didn’t Know What Time It Was.” McLorin Salvant has a fresh and Ellington’s “Single Petal of a Rose,” balancing variations of its languid athletic voice not unlike that of another hot young star — Esperanza Spalding, although McLorin Salvant has a lighter touch. Even on melody against Anderson’s string of ascending lines. He strips the the self-penned title track, the singer decoration from Motian’s “Arabesque,” keeps her own parts fairly brief, but leaving naked the theme’s graceful beauty. she has real authority: now childlike, The only standard, “Lover Man,“ is a pure now powerful. Her vocal abilities are lament. Anderson and Wilson are reminiscent of Scott LaFaro and Paul Motian on full display on the 1930s Harry from Evans’ best trio, finding just the Woods song, “What a Little Moonlight right note, placing just the right accent to Can Do.” With pianist Aaron Diehl, complement Kimbrough’s thoughtfulness. bassist Rodney Whitaker, and drumThis is soothing music with a commer Herlin Riley, there’s a lot of good plex message. Take it to heart. musicmaking on WomanChild. — Bill Kohlhaase — Paul Weideman
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PASATIEMPO I May 31- June 6, 2013
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E AN T A F
RAILYARD PARK SUMMER MOVIE SERIES • 8-10:30pm JUNE 7 • Despicable Me
Steve Carrell as Gru, the world’s #1 super-villain. JUNE 21 • The Sound of Music The Hills are alive! Sing along with Julie Andrews. Picnic from Balam de Santa Fe and movie snacks from the Boys & Girls Club. Presented by Heath Concerts www.heathconcerts.org
RAILYARD PLAZA SUMMER CONCERT SERIES JUNE 1 • 7-9pm Los Pinguos
from their hometown of Buenos Aires to LA to Santa Fe! JUNE 9 • 6-9pm Paper Bird a joyful blend of folk, roots, and Americana JUNE 29 • 8-10pm DNumbers closes the Currents Multi-Media Festival with video fun! JUNE 30 • 6-9pm Silent Comedy and their genrebending sound and unique aesthetic Every night: Food Court. Presented by Heath Concerts www.heathconcerts.org Tuesdays -Sundays / SITE Santa Fe Marco Brambilla’s multi-media installation takes the viewer on a mesmerizing journey of mainstream and obscure films. www.sitesantafe.org
JUNE 14 -29 • CURRENTS 2013
Now Open for the Season Saturday, June 1st
Monday through Saturday 10:00 to 4:30 Special Opening Day Discounts on Selected Items
Call 505-986-5949
AT THE
RAILYARD
JUNE 8 -30 • MEGAPLEX
Gift Shop
JUNE
THE RAILYARD
New Media Festival returns Various times / El Museo Cultural Opening and Closing Nights: 8:30pm - Midnight / Railyard Shade Structure & Plaza www.currentsnewmedia.org
JUNE 20-22
LITTLE SHOP OF HORRORS Various Times / Warehouse 21 Presented by Darling Starr Prods Tickets: www.warehouse21.org
JUNE 22 • SANTA FE PRIDE 11am-6pm / Railyard Park Food, music and the annual Pride Parade. Presented by the Santa Fe Human Rights Alliance. www.santafehra.org
JUNE 22
MAKE MUSIC MAÑANA! 4:30-9pm / Railyard Plaza LIVE music with a Global vision Join DADOU & HILARY,TIME OUT FOR BRUBECK, BOOMROOTS COLLECTIVE and AS IN WE. Presented by The SF Music Alliance Visit us on facebook.
JUNE 26 • WH 21 BIRTHDAY! 7-10:30pm / Warehouse 21 Celebrate Warehouse’s 17th birthday. Free jams and cake with Ryan Miera from The Limbos, Alamo Sun & DJ Dirt. www.warehouse21.org JUNE 28 • LAST FRIDAY ARTWALK 5-7pm /All Railyard Galleries Experience the exceptional art galleries in the Railyard. Presented by RAD. CONTINUING… SANTA FE FARMERS MARKET
Tuesdays & Saturdays / 7am -12pm Railyard Plaza & Shade Structure www.santafefarmersmarket.com
SANTA FE ARTISTS MARKET Saturdays 8am-2pm / Railyard Park
www.santafeartistsmarket.com
NM ARTISANS MARKET Sundays 10am-4pm
Farmers Market Pavilion www.artmarketsantafe.com SECOND STREET BREWERY Live Music Thursday-Sunday/6-9 pm Tuesday -Acoustic Open Mic www.secondstreetbrewery.com WAREHOUSE 21 OPEN JAM NIGHT Wednesdays / 7-9pm www.warehouse21.org AXLE CONTEMPORARY PERFORMANCE ART SERIES Fridays & Saturdays Various times and artists • at the Shade Structure • www.axleart.com ALL EVENTS FREE UNLESS NOTED For more information and a printable Railyard map, visit:
WWW.RAILYARDSANTAFE.COM
Exit South Tesuque to Opera Drive 7 miles north of the Plaza off Hwy. 84/285 PASATIEMPOMAGAZINE.COM
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Santa Fe Institute Community Lecture The Brain and the Law: How Neuroscience will Shift Blameworthiness
Tuesday, June4, 7:30 p.m. James A. Little Theater 1060 Cerrillos Rd. Santa Fe Lectures are free and open to the public. Seating is limited.
Insights from neuroscience are challenging longheld assumptions at the core of our criminal justice system. Are all brains really created equal? Is mass incarceration the most fruitful method of dealing with juveniles, the mentally ill, and the drug-addicted? Do emerging technologies such as real-time brain imaging offer new methods of rehabilitation? David Eagleman explains how most behaviors are driven by brain networks that we do not consciously control, and why the legal system will eventually be forced to shift its emphasis from individual blameworthiness to analysis of likely future behavior.
•
www.santafe.edu
•
David Eagleman, is a neuroscientist and writer at Baylor College of Medicine where he directs the Laboratory for Perception and Action and the Initiative on Neuroscience and the Law. He is a graduate of The Albuquerque Academy.
•
Support for SFI’s 2013 lecture series is provided by Los Alamos National Bank.
505.983.5264 thefirebird.com
MEMORIAL DAY SALE
THROUGH JUNE 1 20% OFF EVERYTHING* IN THE SHOWROOM NEW, OpEN bOx & FlOOR MOdElS FROM THESE ExTRaORdINaRY bRaNdS
More about the 2013 Season CONTESTED SPACE at www.sfai.org
cavities and clumps: the psychology and physicality of contested space. An Exhibition and Lecture by Artist Martha Russo. Lecture & Exhibition Opening, Monday June 3, 6pm SFAI. Exhibition runs through July 12.
OPEN MONDAY — SATURDAY • 9 AM — 5 PM 215 N GUADALUPE
505.983.9988
• SANTA FE, NM 87501 • CONSTELLATIONSANTAFE.COM
*Offer excludes current flat-panel TVs. Constellation always matches best local TV pricing.
22
PASATIEMPO I May 31 - June 6, 2013
WWW. S F A I .OR G, 5 0 5 4 2 4 - 5 0 5 0 , I NF O@ S F AI. ORG SANTA FE ART INSTITUTE, 1600 ST.MICHAELS DRIVE, SANTA FE NM 87505 | SANTA FE ART INSTITUTE PROMOTES ART AS A POSITIVE SOCIAL FORCE THROUGH RESIDENCIES, LECTURES STUDIO WORKSHOPS, EXHIBITIONS, COMMUNITY ART ACTIONS, AND EDUCATIONAL OUTREACH FOR ADULTS AND YOUNG PEOPLE. SFAI IS AN ENVIRONMENT WHERE CREATIVITY, INNOVATION, AND CHALLENGING IDEAS THRIVE. PARTIALLY FUNDED BY CITY OF SANTA FE ARTS COMMISION AND 1% LODGER’S TAX AND BY NEW MEXICO ARTS, A DIVISION OF DEPARTMENT OF CULTURAL AFFAIRS
ON STAGE A happy hour or two: Jill Cohn
Seattle-based singer-songwriter Jill Cohn brings her mellow tunes to the Cowgirl BBQ (319 S. Guadalupe St., 982-2565) at 5 p.m. Friday, May 31, for happy hour on the patio. Cohn plays songs from her new album, Beautiful I Love You, her first in nearly five years. Much of the album is composed of bittersweet ballads (with a few toe-tappers interspersed) about trails leading west from Carolina, good and bad times on the road, and, naturally, the elusiveness of true love. The twangy “John Denver’s Ghost” is a charming highlight. The song chronicles Cohn’s imagined relationship with her spectral boyfriend: he’s only there when she wants him to be, doesn’t leave crumbs in the bed, and “never plays around with my head.” Cohn’s breathy register is a natural complement to the soft and slow instrumentals. It’s the kind of music that goes well with a late-afternoon margarita — unobtrusive and ambient — though those who pay attention to Cohn’s lyrics will be rewarded with clever, introspective turns of phrase. There is no cover charge for the show. — AO
THIS WEEK
Mainly Spain: Santa Fe Women’s Ensemble
The Santa Fe Women’s Ensemble, directed by Linda Raney, is planning a tour of Spain this September. The group’s spring program, which receives two go-rounds this weekend, accordingly focuses on music from that nation, including works by Pablo Casals (pictured) and Tomás Luis de Victoria, as well as medieval chants from the Benedictine monastery of Santa Maria de Montserrat in Catalonia. Among other works on the playlist for this wide-ranging concert are two pieces commissioned and premiered by the ensemble in past seasons: Echoes of Assisi by Santa Fe composer Linda Rice Beck and Love All in All by Joel Martinson. Performances take place at 3 p.m. on Saturday, June 1, at the First Presbyterian Church, 208 Grant Ave., and at 3 p.m. on Sunday, June 2, at the Immaculate Heart of Mary Chapel, 50 Mount Carmel Road. Tickets, which cost $25 (discounts available), can be purchased at the door. Call 954-4922. — JMK
santa fe public school records indicate as many as 1,000 homeless or displaced youth in that system. Home work: the travails of homeless youth
According to the New Mexico Coalition to End Homelessness, about 17,000 homeless people live in New Mexico, and Santa Fe is home base for about 1,500 of them. Santa Fe Public School records indicate as many as 1,000 homeless or displaced youth in that system. Most of us probably don’t know their names or remember their faces — and it’s unlikely that we really know their stories. StoryHealers International, working in tandem with Tanya Taylor Rubenstein’s Project Life Stories, attempts to address that with an evening of monologues delivered by homeless young people. The program is part of a double bill that also includes a series of monologues by fathers. (Remember, June 16 is Father’s Day.) The event takes place at 7 p.m. Friday, May 31, at the Armory for the Arts, 1050 Old Pecos Trail. Tickets are $20, and all proceeds go to the school district’s Adelante Program — which provides aid to homeless students and their families — and to Reel Fathers, which helps build strong relationships between fathers and their families. Tickets are available at the door. Call 470-5267 for more information. — RN
Singer, songwriter, sit-down comic: Cheryl Wheeler
A songwriter whose music has been covered by Garth Brooks and Bette Midler is hard to classify as a folk singer. But that’s the most obvious category for Cheryl Wheeler, a tunesmith whose work ranges from lovely ballads such as “Gandhi/Buddha” — a love song dedicated to her partner — to the irreverent “Your God” (you can imagine). In a handful of recordings over the last 27 years, she’s shown herself to be a romantic, a clear-eyed realist, and a razor-sharp satirist. In live performance, she tells stories, cracks jokes, and displays a body of work that pops up only on the concert stage. If we’re lucky, when she appears at the Music Room at Garrett’s Desert Inn (311 Old Santa Fe Trail, 982-1851) on Thursday, June 6, in a show sponsored by Southwest Roots Music, we’ll hear about her collection of cremated pets or the hilarious and touching account of her same-sex marriage. Tickets for the 7:30 p.m. concert cost $25 in advance from www.thirstyearfestival.com or $28 at the door. — BK PASATIEMPOMAGAZINE.COM
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Bill Kohlhaase I The New Mexican
THE STRANGE WORLD OF DR. SPENCER BLACK 24
PASATIEMPO I May 31- June 6, 2013
Writer and illustrator E. B. Hudspeth’s The Resurrectionist is a book you can’t help but start at the second part. Go ahead. Doing so won’t ruin the story and won’t spoil any narrative surprises or unexpected endings. In fact, it will only make “The Life and Writings of Dr. Spencer Black,” a fictional biography that begins the book, more interesting and just a bit more terrifying. The book’s second section, “The Codex Extinct Animalia: A Study of the Lesser Known Species of the Animal Kingdom,” a detailed anatomical work by the doctor, stands alone. Black’s illustrations strip the skin from mythical creatures — the sphinx, minotaur, and siren, among them — moving them toward believability. How is it that the centaur could keep its human half upright? Black is a man as fantastic as the imaginary creatures he draws. Hudspeth’s combination of story and illustration is something of a breakthrough in gothic novels. The first section of the book is the story
of how Black came to reveal the anatomies of 11 creatures that exist in legend and carnival sideshows. It’s also a story of obsession, failed promise, and slow descent into unquestionable madness. In a tale that calls to mind the work of Mary Shelley, Edgar Allan Poe, and H.P. Lovecraft, the author makes horror a byproduct of an all too human story of misapplied brilliance. Black is a prodigy, a recognized scientist in 1870 by the time he is 19. He joins a one-ofa-kind surgery program focused on repairing birth deformities. It’s here that he develops his theory that human “mutations are not accidents; instead they are the body attempting to grow what it once had thousands of years ago.” From here, it’s a short journey to believing that harpies, satyrs, and the elephant-headed Hindu deity Ganesha not only existed but left remains that might yet be discovered. This theorizing makes for an interesting character study on its own. But Black’s strange,
Siren Oceanus illustrations by E.B. Hudspeth; courtesy Quirk Books
even horrific experiences turn it into something much darker. While the book’s title suggests resurrecting the mythic creatures that Black believed we still hold in our genes, it also mirrors a practice that Black was exposed to as a child and continued in his adulthood: digging up corpses. His father, a professor of anatomy, found a need for more cadavers than allowed by law. He took matters into his own hands, dragging his two sons into burial grounds in the middle of the night to unearth the freshest bodies and carting them back to his office. Black’s mother died while delivering him, and the boy grew up fearing his father, who died of smallpox while Black was still a teen. He comes to regard death “as more a curiosity than a tragedy.” These clues cue us in the story’s first pages to further macabre developments. But not right away. The young surgeon is celebrated continued on Page 26
The Resurrectionist, continued from Page 24 And the University of New Mexico English Department host globally acclaimed author
Khaled Hosseini
on tour for his new novel, And the Mountains Echoed
Sunday June 9 • 7PM
UNM Student Union (Ballrooms B & C)
Tickets at: bkwrks.com/khaled-hosseini or at the store. $28.95 includes hardcover copy of And the Mountains Echoed and admission to the event!
T H E W O O D CA R E S P E C I A L I S T A n t i q u e s F i n e F u r n i t u re K i t ch e n s B u i l t - i n C a b i n e t r y !
!
Touch-up
!
Repair
Polishing
CALL BARRY METZGER
505-670-9019
OR VISIT OUR NEW LOCATION
1273-B Calle De Comercio, Santa Fe, NM 87507
www.thewoodcarespecialist.com
Implant Dentistry of the Southwest If you are missing one or more teeth, why not be a part of a study or clinical research? Replace them and save money.
Dr. Burt Melton
2 Locations
Albuquerque 7520 Montgomery Blvd. Suite D-3 Mon - Thurs 505-883-7744
Santa Fe 141 Paseo de Peralta, Suite C Mon - Fri 505-983-2909
Please join us on Saturday, June 1st, 2:00 pm when Lynn MiLLer & LiSa Lenard-Cook discuss their new book:
Find your Story, Write your MeMoir 376 Garcia Street Santa Fe, NM 87501 505-986-01561 505-986-0151
www.garciastreetbooks.com next to Photo-Eye and Downtown Subscription
26
PASATIEMPO I May 31- June 6, 2013
for first separating the fused fingers of a young man and then removing a third, “parasitic” arm from a young girl. He enjoys financial success, marries, and fathers a son. Then things change. A 9-year-old girl with a conjoined, partial twin is painfully lost on the operating table. Black becomes mistrustful of his colleagues and sees them and himself as “butchers and tailors.” He pays a visit to a carnival sideshow where he purchases one of the exhibits, a “fawnchild” preserved in a bottle of alcohol. Dissection of the unfortunate child solidifies his belief that mythic creatures did indeed once walk the earth. Soon, Black himself is something of a sideshow, stitching together body parts to prove his theories and raise money for his studies. His wife’s attempt to put an end to his work results in tragedy, and Black becomes even more possessed in his misguided beliefs. What starts as a simple story of a brilliant mind with a twisted and difficult childhood follows a horrific spiral of bad decisions and luck into an abyss of madness that eventually is passed to the next generation. Along the way, his delusion grows; he believes he has the ability to cure the incurable and the power to grant “sleepless” or everlasting life. His last traveling show — the Human Renaissance — includes living animals sporting cruel grafts designed to prove his theories. Hudspeth tells Black’s tale using diary entries and correspondence to and from colleagues and the doctor’s brother. Black has a talent for illustration and the examples given begin innocently enough: drawings of plants, moths and butterflies, a portrait of his wife, and a touching sketch of his son shortly after birth. They take a dark turn — there are illustrations of the fawn-boy’s dissection, suggesting more gruesome things to come. To his credit, Hudspeth doesn’t show further surgical atrocities. Instead he lets sideshow posters, journal illustrations, and the reader’s own imagination illustrate the depths to which the not-so-good doctor descends. Which brings us to the second part of the book, the place we started, and its anatomical illustrations of creatures we’ve always seen as fantasy, but which Black sees as evolutionary stages and possibly not-yet-extinct species. With its detail and labels, Black’s codex comes 50 years after the publication of Gray’s Anatomy, the text it most resembles, even though its subjects are only vaguely, and sometimes not at all, human. The other text it calls to mind is Jorge Luis Borges’ The Book of Imaginary Beings, a compendium of lore and descriptions of both well-known and obscure fantasy creatures. Black sticks to the most familiar creatures, though he often connects them to less familiar ones. “The siren, nereid, and mermaid are oft confused,” he writes, “... differing only as dogs may differ in breed — albeit significant differences, indeed.” The anatomical drawings reveal the skeletal systems, musculature, and sometime internal organs of these strange creatures. Black provides descriptions of each being. A note before the codex, perhaps by the unnamed fictitious publisher, implies that Black could indeed be right about the creatures’ once and possibly present existence. Not all are humanlike. The three-headed Chimaera incendiarius, Pegasus gorgonis, and the Draconis orientis are represented. It’s implied that Black made his drawings from specimens he acquired or saw at different points in his life. It’s these suggestions that send us to the book’s first part, looking for answers. That such horrific actions were taken by Black based on what at first seems innocent assumption and theorizing holds lessons we should take to our still-beating hearts today. Black’s science made him incredibly wealthy. But it didn’t make him right. Hudspeth seems to suggest either pursuit — money or breakthrough — needs first be measured against the cruelty of its consequences. But that conclusion might just be too serious for a book that’s so much fun in its frightening way. If your eyes can handle it, read it by candlelight. ◀ “The Resurrectionist: The Lost Work of Dr. Spencer Black,” written and illustrated by E.B. Hudspeth, is published by Quirk Books.
This Sunday June 2 - 2:00pm
Free BBQ , Family Sports Day ,Swim & Tennis Sangre de Cristo Racquet Club RSVP 983 7978
1755 Camino Corrales, Santa Fe, NM 87505 www.sangredecristoracquetclub.com
& Children’s Fair!
New Junior Summer Camp June 3 to August 30 ~ 9am to 4pm
$250 full day~~$180 half day Pre-care $50 per week ~After care $75 per week Archery, Tennis, Swimming, Ping Pong NEW: Trampoline, Basketball, Brazilian Jiu-Jitsu Outdoor Art in Nature, Tiny Tots Fairy Gardening Jeff’s Way of the Dragon 8 years and up
Spring Festival
Sky gazing Overnights for kids
Learn to play on clay
Saturday and Sunday, June 1-2, 2013 10:00 am to 4:00 pm
http://www.santafenewmexican.com/newsletters/
S A N TA F E B O TA N I C A L G A R D E N E V E N T S ! 18th Annual Garden Tours & Picnic Lunch June 2 and June 9, 1–4pm Tickets at The Lensic 988-1234, ticketssantafe.org
¡Viva Flora!
PHOTO: flickfair
Treasured Plants of New Mexico, Botanical Art Show Opens June 21, 5–7pm Community Gallery, 201 West Marcy St. Through August, the show includes art classes, lectures and children’s activities. Free and open to the public.
Painting by Jan Denton, New Mexico Evening Primrose
Santa Fe Botanical Garden at Museum Hill Grand Opening Celebration Weekend July 19–21, 715 Camino Lejo Gala Benefit Reception, Members Only Day and Free Community Day with activities for all ages. Gala tickets for sale online at www.santafebotanicalgarden.org.
ADVENTURES IN HISTORY! • Experience such traditional activities as sheep shearing, blacksmithing, bread baking, hide tanning, milling, spinning & weaving and more! • Kids! Join us for archery, arts & crafts, tin stamping, tortilla making and lots of other hands-on activities! • Meet burros, goats, mini horses and a wolf! • Tour the rancho on a horse-drawn wagon! • Browse traditional New Mexican crafts for sale directly from some of the best artists in northern New Mexico! • Enjoy traditional Mexican and New Mexican dancing, and celebrate an outdoor procession and Mass on Sunday!
PHOTO: CHARLES MANN
Adults: $8, Seniors & Teens: $5. Children 12 & Under Always FREE!
505-471-2261 • WWW. GOLONDRINAS.ORG www.santafebotanicalgarden.org • 471-9103 GARDEN TOUR TITLE SPONSOR
GRAND OPENING GALA SPONSOR
GRAND OPENING SIGNATURE SPONSOR
JUST SOUTH OF SANTA FE • EXIT 276 OFF I-25 FOLLOW SIGNS FOR “LAS GOLONDRINAS”
Support provided by the Santa Fe Arts Commission and the 1% Lodgers Tax, the Santa Fe County Lodgers Tax Advisory Board and New Mexico Arts
PASATIEMPOMAGAZINE.COM
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Michael Abatemarco I The New Mexican
ARTIST CEDRA WOOD ABOVE THE ARCTIC CIRCLE 2012, Albuquerque-based artist Cedra Wood took part in an Arctic Circle expeditionary residency program in Norway’s Svalbard Archipelago, located in the Arctic Ocean about midway between the European mainland and the North Pole. Wood was among more than 20 participants on the expedition, which included artists, writers, composers, and scientists on a small ship staffed by eight crew members. Wood, a realist painter who infuses her imagery with a subtle sense of surreality, often explores themes of human interaction with the environment and themes of contemporary life conflated with the past to create an unnerving sense of disjuncture and absurdity. Her adventure in the Arctic Ocean was recorded in a sketchbook that serves as a travelogue and a field study. The project resulted in a series of miniature paintings that became the focus of two solo exhibitions early in 2013. The first was an Alcove Show at the New Mexico Museum of Art in January, and the second was an April exhibition at Albuquerque’s Harwood Art Center. Wood’s miniature paintings are postcard-size visual records of her adventures, with depictions of Arctic landscapes, fellow travelers, and crew. “In a way it was research driven,” Wood told Pasatiempo at her Albuquerque studio. “In part, my paintings depend heavily on unusual imagery. In another way I wanted to create a journal in the style of the early polar explorers, and it gave me a chance to research what they did. That’s essentially what it came down to for me.” The residency program hosts annual interdisciplinary expeditions. Wood visited in September and October. “I was up there for about two and a half weeks, and I then was on my own for another few weeks, still above the Arctic Circle. Most of the tourists had cleared out. We had a specialized kind of boat. It was perfect in terms of that. I think, generally, public access is more popular in summer.” Wood spent evenings on board the ship, where residents shared private cabins. They ventured out to snow- and ice-covered isles during the day, always returning to the ship for lunch. “A couple of times when we came back from lunch there’d be bear tracks around. I saw a bear once from the ship. It was eating a seal. The atmosphere made it impossible to judge distance, but it was close enough that we could see how it was moving. We circled the little island it was on so we could watch it. Three of the crew were not part of the ship but had been hired to be guards. They were armed in case of polar bear appearances — not to shoot fatally but to fire off a flare and scare them away. Every time we went on land we were in this triangular, metaphorically cordonedoff area. They’d go ahead and they’d scout and make sure everything was OK and they’d set up observation points.” Wood incorporates a lot of detail into her paintings. In the case of her miniature work, the details are often merely suggested by her skillful use of paint. “Before I went to grad school, my work was really concentrated like this. It’s a fine line figuring out how to suggest a detail. At a certain level it can’t really be rendered. I’ve always been interested in figurative work. When I was a kid I was really into symmetrical work. But even as a kid I wanted to get really good at believable things so that I could make things that were sort of fantastical but make them credible. I thought about Salvador Dalí and René Magritte a lot.” continued on Page 30 Cedra Wood: Snowfall, 2011, acrylic on panel
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PASATIEMPO I May 31- June 6, 2013
PASATIEMPOMAGAZINE.COM
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Cedra Wood, continued from Page 28 Although Wood’s paintings incorporate landscape elements, rendering snow and ice presented challenges for an artist used to depicting Southwestern terrain. “I mostly do land,” she said, “brown land. I’m drawn to that. I have to wonder if that helped me develop an interest in the northern region without my really knowing it. I don’t see distinctions in blue as clearly as I see them in just about any other color. In addition to the color, the sense of all of these surfaces broken up, all of them refracting, highlights reflecting light and bouncing off each other and casting shadows — it’s a lot of different things to pay attention to.” Wood keeps a journal for all her major travels. In 2011, she participated in an exchange program between the University of New Mexico and Australia National University. “One of the things that stood out when I was traveling was the constant battle against invasive species in Australia. It seems like everywhere you go, there’s some plant that shouldn’t be there. There’s a sense that I was visiting and not feeling like I belonged there really.” One work on paper resulting from her experience in Australia, a pen-and-ink drawing called Kioloa/Invasive #4, references the feeling of not belonging. It is a self-portrait, but Wood’s head and face are obscured by an invasive species of plant. The Australia journal is now in the collection of the Center for Art + Environment at the Nevada Museum of Art in Reno. The Arctic journal will eventually make its way to the same collection. “When I was going to go on this trip, I asked them if they were interested, and they paid for it in advance. They’ll get it as soon as I’m done using it for my practical purposes.” Wood’s paintings represent a merging of images and ideas arranged in juxtapositions that present themselves to her as she looks through her journals. “I shuffle things all around because there are often combinations of things I don’t anticipate working well together but do once I see them together. It’s helpful to have that random serendipity. It’s sort of like having color swatches where you’re matching things. I have elements I know I want to use. Then I flip through the journal, and maybe something jumps out that resonates with that scene. I try to do a sketch and see how it works.” Her paintings of the Arctic expedition are no different. Though the journal was integral to the process, her project would culminate in finished works only later, back in New Mexico. “I’ve never been anyplace so different from the desert that I didn’t feel like I could just integrate it. This first series was just a literal processing of those places, I think.” ◀ Game (detail), 2011, acrylic on panel; top, Cabin, Fever (detail), 2013, acrylic on panel
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PASATIEMPO I May 31- June 6, 2013
June
www.sfcc.edu
calendar Of eventS
1&2
Saturday & Sunday
10 a.m. to 2 p.m., Jemez Rooms carboneconomyseries.com.
6
tHurSday
Respiratory Therapy Open House
Carbon Economy Series: Gardening Like the Forest
505-819-3828
3 to 6 p.m., Room 433 505-428-1723 Applications for fall 2013 accepted until June 10.
Backyard Astronomy
8 to 9 p.m., SFCC Planetarium 505-428-1744 A live presentation of the current skies in the Planetarium followed by outdoor sky viewing, weather permitting.
13
tHurSday
New Mexico Institute for Nursing Diversity Workshop
3 to 4:30 p.m., Jemez Rooms 505-428-1837 “Behind Closed Doors: Perspectives of Women of Mexican Origin Experiencing Intimate Partner Violence.” Nora Montalvo-Liendo, Ph.D., MSPHN, RN, University of Texas at Brownsville
Teacher Certification Program Information Session
5:30 to 6:30 p.m., Kids Campus, Room 4A 505-428-1687 Gain information about SFCC’s Teacher Certification Program for Early Childhood, Elementary, Secondary and Special Education. kidscampus.sfcc.edu
YouthBuild Information Session
5:30 p.m., Room 515 505-428-1144 YouthBuild is a program for 16 to 24 year olds who want to earn a GED and a certificate in Green Building simultaneously.
18
tueSday
Governing Board Meeting 5 p.m., Boardroom
505-428-1744
SPeCIaL and OnGOInG eVentS Registration for Summer and Fall Classes Continues Summer classes begin June 3.
Summer Hours
Through July 28, SFCC’s Main Building is open 8 a.m. to 6 p.m., Mon. through Thurs. and closed on Fri. The Witter Fitness Education Center is open Mon. through Sat., and Kids Campus is open Mon. through Fri.
I-BEST Classes – Important Deadlines for Fall 2013
I-BEST classes allow students to earn a college certificate in Early Childhood Development, Home Health Aide or Culinary Arts while earning a GED. June 11 is the application submittal and writing deadline; June 18 is the GAIN testing deadline. 505-428-1356 Individuals who need special accommodations should call the phone number listed for each event.
Learn more. 505-428-1000 www.sfcc.edu
Helping StudentS Succeed. Serving Our cOMMunity. PASATIEMPOMAGAZINE.COM
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A GreAt educAtion LeAds to Lives of PurPose Congratulations santa Fe PreP Class oF 2013
Prep pays off: 73% of our 2013 graduates were awarded merit or need–based tuition assistance for college.
our GrAduAtes Are AttendinG: Austin coLLeGe cLAremont mcKennA coLLeGe coLby coLLeGe (2) dArtmouth coLLeGe (3) eLon university emory university euGene LAnG coLLeGe the new schooL for LiberAL Arts frAnKLin w. oLin coLLeGe of enGineerinG hendrix coLLeGe Johns hoPKins university KAnsAs city Art institute LoyoLA mArymount university LoyoLA university chicAGo mcGiLL university montAnA stAte university, bozemAn occidentAL coLLeGe (2) sAn dieGo stAte university
the joy of discovery, the power of critical thinking, the thrill of creativity, and commitment to community ensure Prep graduates thrive wherever they land in the world.
schooL of the Art institute of chicAGo seAttLe university sKidmore coLLeGe (2) stAte university of new yorK At ALbAny syrAcuse university the university of texAs, Austin trinity coLLeGe
santa fe Prep is challenging, yes, but we never put a challenge in front of our students without putting everything behind them to succeed.
santa fe Prep is the only secondary school in santa Fe accredited by isas, which requires us to maintain “the highest professional and ethical standards of educational excellence.” isasw.org
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PASATIEMPO I May 31 - June 6, 2013
santa fe Prep is the only school in new Mexico, and 1 of 49 nationally, awarded the Malone Family Foundation’s $2 million endowment scholarship grant for gifted and talented students. malonefamilyfoundation.org
university of denver (2) university of new mexico (3) university of oreGon (2) university of PuGet sound university of vermont university of wAshinGton western wAshinGton university yALe university
santa fe Prep and albuquerque academy are the only two schools in new Mexico awarded membership in the Cum laude society, which “recognizes academic achievement for the purpose of promoting excellence, justice, and honor.” cumlaudesociety.org
learn more at sfprep.org
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Adele Oliveira I The New Mexican Fay Ku’s exhibition Asa Nisa Masa, which opens at Eight Modern on Friday, May 31, takes its title from Fellini’s 8 ½. In the film, protagonist Guido Anselmi, an Italian movie director, remembers magic words he learned as a child to make a painting come alive at midnight — asa nisi masa. In the course of chanting the phrase to herself, Ku remembered nisi as nisa and decided to keep the title based on her altered memory.
MneMonic play Fay Ku
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“It’s mostly an emotional reference,” Ku told Pasatiempo from Brooklyn, where she is based. “When I recently watched 8 ½., I hadn’t seen it for seven years, and I was thinking about how we shed our skin every seven years or how the cicadas come out every seven years or so, too. The first time I watched 8 ½, I wasn’t super happy with my own work, and I thought the film was awful and self-absorbed. But when I watched it again, I thought it was brilliant. Asa nisi masa is such a pivotal memory, and it’s a catalyst for the rest of Guido’s life.”
PASATIEMPO I May 31- June 6, 2013
Ku was born in Taiwan to Chinese immigrant parents, who moved to the U.S. shortly after her birth. After living with her grandmother, Ku joined her parents when she was 3 years old and spent her childhood moving between suburbs in Oklahoma, Texas, Colorado, and Maryland. “My parents weren’t very social, and we were isolated in many ways. Diversity was not cool at all growing up. At home, we spoke Mandarin and ate Chinese food, but it was very different than actual Chinese culture.” Ku’s sense of that culture beyond her own home in overwhelmingly white communities came mostly through stories. “The things that were not actually around me were translated through history, myth, and folklore.” Ku’s work is unearthly and sublime, the stuff of dreams and nightmares. A mixture of watercolor, graphite, and ink on paper, Ku’s drawings focus on figures engaged in surreal interactions with themselves and others. In Birdfight, two figures — half men, half birds — claw at each other with talon-like toenails and fingernails, their teeth bared in fury and pain. Local Weather is more subdued but no less disquieting: five nearly identical women, dressed in yellow raincoats, languish with fishbowls on their heads. Their hair streams around their faces, and we wonder if they are drowning. Luncheon is amusing and odd: here, we see no faces. Six pair of voluptuous legs and bottoms, clad in torn black stockings and vermilion high heels,
are surrounded by about a dozen penises dressed in dapper pastel suits. The male appendages worship at the ankles of the lovely legs, or interact with one another, inclined as though in conversation, as they stroll across the grass. Ku’s line is calligraphic and precise, but if you look at certain pieces (like Rain or Shine) up close, you can see where she erased and started over, or pressed very hard and tore at the paper. “I draw on printmaking paper that’s not actually meant for drawing, and you can’t erase without abrading the surface. It also scars really easily with a hard pencil. Once I get too comfortable [with a material] I have to switch. When you’re not thinking, How do I react to that mark? and wonder what’s happening, you’re not playing with the material. Sometimes I think I’m a little too precious, a little too controlled, and should let go even more.” When Ku first started making art, she wanted to paint like Baroque artist Caravaggio. “I was trained in oils,” she said. “And who wouldn’t want to paint like Caravaggio?” It wasn’t until she got to graduate school at New York’s Pratt Institute that Ku realized she wasn’t supposed to paint like Caravaggio. While the human psychological drama represented in his work still appealed to her, Ku’s mode of expression was very different from Caravaggio’s dense chiaroscuro paintings. “I really resisted drawing at first. I wasn’t very sophisticated about contemporary art, and my notions about art were antiquated. I thought if Caravaggio is valid, then drawing isn’t valid. I thought I wasn’t supposed to make pencil-on-paper works because it was easy for me. But being easy didn’t make it invalid; it was my natural way of working.” After graduate school, Ku moved from residency to residency in locales as diverse as Honolulu and Omaha. She completed two residencies in New Mexico — at the Santa Fe Art Institute in 2008 and Albuquerque’s Tamarind Institute in 2009. Though she’s happy now to be based in one place, moving left its mark on Ku’s work: her materials dwindled, and different landscapes influenced her presentation. “The landscape of the Southwest really speaks to me. It’s like a drawing or it looks like one of my works, with washes of color, sparseness, and light.” When Ku was at the Santa Fe Art Institute, she completed just one painting: the 16-foot-long Women Warriors, a group of fierce, one-breasted Amazonians in colorful Chinese dress riding on robust horses across the canvas into battle. “I hadn’t done animals, much less horses, but suddenly I had the physical horizontal space. I didn’t understand this till years later, but my vision blew wide open, and that happened because I was there.” ◀
Fay Ku: Preen, 2013, graphite, watercolor, and ink on ivory paper Top left, Birdfight, 2013, graphite, watercolor, and ink on ivory paper
details ▼ Fay Ku: Asa Nisa Masa
Top right, Harpy, Late Stage, 2013, graphite, watercolor, and ink on ivory paper
▼ Opening reception 5 p.m. Friday, May 31; exhibition through July 14
Opposite page, Rain or Shine, 2012, graphite, watercolor and ink on paper
▼ Eight Modern, 231 Delgado St., 995-0231
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Viajes Pintorescos y arqueológicos Khristaan D. Villela
Left, Donald Beauregard: sketch for mural Preaching to the Mayas & Aztecs, 1912, watercolor on illustration board, 14.75 x 20 inches; collection of the New Mexico Museum of Art (1155.23P); right, mural design by Beauregard, painted by Carlos Vierra, 1917, oil on canvas; collection of the New Mexico Museum of Art (2009.1.5)
Loose murals: Maya-inspired décor in a Santa Fe museum
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id you ever wonder why one of the murals in the St. Francis Auditorium at the New Mexico Museum of Art shows a gang of ancient Maya men garbed in jaguar pelts and green quetzal feathers? The auditorium murals, Mayas and all, are intimately tied to the history of the building and to a few of the main players in the story of art and culture in Santa Fe a century ago. Enter Edgar Lee Hewett, Southwestern archaeologist and founding director of both the School of American Archaeology and the Museum of New Mexico. In the fall of 1911, Hewett was approached by the San Diego businessman David Collier to organize exhibits for the Panama-California Exposition of 1915, planned to celebrate the opening of the Panama Canal. Among the attractions Hewett and his team eventually created were an Indian village staffed with actual Pueblo and Navajo families, a sham Ancestral Puebloan cliff dwelling, and anthropology exhibits that most famously featured several casts of colossal stone monuments from the Maya ruins of Quiriguá in Guatemala. Hewett also proposed a New Mexico building to highlight the state’s cultural resources. World’s fairs commonly featured exhibits and buildings sponsored by foreign countries, and those held in the U.S., beginning with the 1876 Centennial Exposition in Philadelphia, usually showcased the economic and cultural contributions of each U.S. state. Hewett hired Isaac Hamilton Rapp to design the New Mexico building for the San Diego fair. Rapp had already designed several buildings in Santa Fe, including the Territorial Capitol building (1903) and the governor’s mansion (1908). The
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San Diego project was not Rapp’s first foray into world’s fair architecture, as he designed the New Mexico pavilion at the Louisiana Purchase Exposition, held in 1904 in St. Louis. That building more closely resembled a California mission than New Mexico-style adobe buildings. With the New Mexico building in San Diego, Rapp became a leading figure in the birth of Santa Fe Style architecture. Other players in the story were the archaeologists Sylvanus G. Morley and Hewett, the photographer Jesse L. Nusbaum, and the artist and photographer Carlos Vierra. Enthusiasm for Santa Fe’s adobe architecture began to increase after Nusbaum directed restorations of the Palace of the Governors, beginning in 1909, including replacing the Territorial-style wooden porch with a Spanish Colonial-style adobe portal. In 1910, Morley bought and renovated, with Nusbaum’s help, the old Roque Lovato adobe at 311 Washington St. As discussed in an essay published in 1915 he wrote for Ralph Twitchell’s magazine Old Santa Fe, the renovation aimed to prove that Spanish Colonial style buildings, made of adobe and wood, were both historically interesting and well suited for modern living. In Nov. 1912, Morley also organized the New-Old Santa Fe Exhibition, under the auspices of the Santa Fe Chamber of Commerce and City Planning Board, which viewed Northern New Mexico’s vernacular architecture as good for promoting local culture. So Rapp’s 1915 New Mexico building for the San Diego fair was a continuation of a vigorous cultural phenomenon in Santa Fe. The San Diego building was inspired by the architecture of the mission churches at the pueblos of Acoma, San Felipe and others. For the structure’s auditorium, Hewett envisioned murals that would narrate episodes in the life of St. Francis combined with scenes dealing with the activities of the Franciscan order in Spain, Mexico, and Spanish Colonial New Mexico.
Carlos Vierra working on painting for the 1915 San Diego Exposition, in his studio at the Palace of the Governors, circa 1913, photo by Jesse Nusbaum; courtesy Palace of the Governors Photo Archives (NMHM/DCA), Negative No. 016991; below, New Mexico Building at the Panama-California Exposition, San Diego, 1915; courtesy Palace of the Governors Photo Archives (NMHM/DCA), Negative No. 040697
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ewett’s choice to paint the murals, Donald Beauregard, had accompanied his School of American Archaeology expeditions in 1909 and 1910 as a project artist. A native of Utah, Beauregard trained as an artist in his home state as well as abroad. He traveled to Europe two times to study, the second time for two years beginning in 1911 on a scholarship funded by Hewett’s patron Frank Springer. In a letter he wrote to Hewett in June 1913, preserved in the Fray Angélico Chávez History Library at the New Mexico History Museum and published in Carl Sheppard’s The Saint Francis Murals of Santa Fe: The Commission
and the Artist (1989), Beauregard discusses the preliminary watercolor sketches for the St. Francis murals and notes that he is not certain they will be satisfactory. He returned from Europe in fall 1913 and worked on the murals in a studio in the northwest corner of the Palace of the Governors from December until February 1914, when his deteriorating health forced him to consult a specialist in Denver. He was diagnosed with stomach cancer, had surgery, and returned to his family home in Utah, where he died in early May. Although sketches for all six panels of the St. Francis Auditorium series survive, at his death Beauregard had completed just one section of the panel, titled Renunciation of Santa Clara. The idea was always that the murals would be reinstalled in Santa Fe after the fair, and so they were painted on canvas, rather than on a less portable support. With Beauregard’s death, Hewett had no one to finish the project, and he discussed with Springer whether they should ask the artist Sheldon Parsons if he could do the work. In the end, Springer did not know Parsons’ work, and they also thought his health was precarious. Finally, Hewett suggested that Kenneth Chapman and Carlos Vierra should finish the murals. Both were trusted Museum of New Mexico employees who had some artistic talent. Though the men were already occupied on other fair-related tasks, Hewett hoped that the murals might still be finished and installed in the New Mexico building at the end of 1915, almost a year after the fair opened. That never happened. In an essay in The Maya Image in the Western World (1986), archaeologist Peter Harrison notes that Vierra moved from New York to Santa Fe in 1904 to recover continued on Page 38
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Left, Temple of the Cross, south face, Palenque, Chiapas, Mexico, circa 1871-1907; National Archives and Records Administration; right, Palace House A, stucco ornament on the eastern piers, Palenque, photo by Alfred P. Maudslay, from Biologia Centrali-Americana (1889-1902); courtesy Mesoweb.com
Viajes, continued from Page 37 from pneumonia. The following year he opened a commercial photography studio on the Plaza, and quickly became immersed in the city’s cultural life. He worked with Nusbaum on the restoration of the Palace of the Governors, beginning in 1909. Three years later, for Morley’s New-Old Santa Fe Exhibition, Vierra made both photographs and paintings of adobe houses and churches. Many of his 5 x 7 glass negatives of New Mexico mission churches, held by the Palace of the Governors Photo Archives at the New Mexico History Museum, are difficult or impossible to distinguish from Nusbaum’s images, often taken at the same time. Hewett’s anthropological and archaeological exhibits for the San Diego fair required extensive batteries of visual material, from Edward S. Curtis’ photos of Native Americans and a reconstructed village based on the Zuni and Taos pueblos to casts, sculptures, and paintings of ancient Maya objects and cities. The first issue of El Palacio (published in November 1913 and readable online at www.archives.elpalacio.org) reported that Vierra was at work on eight large paintings of ancient Maya cities to be shown at the fair. He went to Central America in spring 1914 to see Maya ruins firsthand and to participate in the expedition that made casts of several large sculptures at Quiriguá, Guatemala. The Quiriguá cast project has been taken up in this column (see “Casts of Ancient Monuments,” April 27, 2012, online at www.pasatiempomagazine. com), and the results can still be appreciated in the San Diego Museum of Man, itself the old California Building from the 1915 fair. In the end, Vierra completed only six of the projected eight paintings of the ruined cities of Chichén Itzá, Uxmal, Quiriguá, Copán, Tikal, and Palenque. There is no evidence he ever visited any Maya ruins beside Quiriguá — he relied upon printed drawings and photographs. The main book in question was Alfred P. Maudslay’s Biologia Centrali-Americana, published in London from 1889 to 1902, which includes more than 400 photographs, drawings, and maps of ancient Maya ruins. Maudslay was an English explorer of independent means who traveled
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to Mexico and Central America several times beginning in the mid-1870s. The casts, photos, and drawings his team made at Palenque, Copán, Quiriguá, Tikal, and Chichén Itzá would prove invaluable for deciphering Maya hieroglyphic writing. At the same time they established a remarkable corpus of images of the pre-Columbian Maya world that could be and was exploited for popular entertainment, or as we would say today, edutainment. The list of places Maudslay visited and documented nearly matches the cities Vierra chose to paint for the San Diego fair. A photograph by Nusbaum from 1913 or 1914 shows Vierra painting a view of the ruined city of Uxmal, Yucatán, which he likely adapted from William H. Holmes’ Archaeological Studies Among the Ancient Cities of Mexico (1895-1897). Holmes was a senior colleague and advisor to both Hewett and Morley. At the time of the San Diego fair, Holmes was director of the U.S. National Museum, and he sold Hewett casts of Maya monuments that are still on display at the Museum of Man, including stone serpent-shaped columns from Chichén Itzá. The combined library of the School of American Archaeology (which evolved into the present-day School for Advanced Research) and the Museum of New Mexico counted at least one copy of the Maudslay and Holmes volumes in its collection by the time Vierra was working on the San Diego murals, and the Maudslay set he consulted is still in the library of the Laboratory of Anthropology.
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hen the second Legislature of New Mexico (1915-1916) voted to construct an art museum in Santa Fe, Nusbaum was charged with building a modified version of Rapp’s New Mexico Building from San Diego. Chapman and Vierra completed the Beauregard murals in time for the museum opening in 1917. Of the six panels, Beauregard’s initial sketch for Preaching to the Aztecs and Mayas was most altered by Vierra. The original watercolor study shows a group of Spanish soldiers in the left panel of the triptych. The horses march forward and a soldier points a lance at the Natives
Altar Q at Copán, Honduras, 2009; photo by Adalberto Hernandez Vega; right, Chichén Itzá, Casa de Monjas, detached building from the west, 1889; photo by Alfred P. Maudslay; Brooklyn Museum Library Collection
in the right panel. Between them a Franciscan friar, head down, blesses (or menaces?) the Indians with a cross. Beaureagard conveys the idea that his natives are ancient Mexicans by dressing them in loincloths and shields with pre-Columbian Aztec designs, and especially by grouping them around a colossal stone idol. A cactus in the foreground suggests a highland Mexican setting. The large sculpture that anchors the composition at the extreme right is a fairly accurate depiction of a real object from the ruined city of Teotihuacan, which had been moved to the Museo Nacional de México about the turn of the 20th century. At the time, archaeologists thought Teotihuacan was occupied by the Toltec civilization, which preceded the Aztecs in central Mexico. For Beauregard, the monolithic sculpture symbolized both pre-Columbian Mexico and the pagan beliefs the Spanish wished to extirpate in the New World. In Beauregard’s image, a man kneels praying to the deity, while another with a shield answers the aggressive stances of the Spanish soldiers and cleric with an equally bellicose gesture. Just as Hewett’s archaeological and anthropological exhibits at the San Diego fair had a decidedly pre-Columbian Maya slant that matched the efforts of the School of American Archaeology in Mexico and Central America, so did this mural, after Vierra was through with it. He shifted the action from Mexico’s central highlands to the Yucatán Peninsula, dropped the Teotihuacan goddess sculpture, and substituted a building loosely adapted from at least two structures at the ruins of Chichén Itzá: the so-called Iglesia, and one of the many buildings at that site that have columns carved like rattlesnakes, perhaps the Castillo or Upper Temple of the Jaguars. At the right, several figures kneel or stand in front of a circular stone altar that Vierra adapted from Altar Q at Copán. The original sculpture is a rectangular block with images of 16 men on the sides and a long hieroglyphic text on its upper surface. The Maya men who confront the Franciscan are copied from sculptures at yet another ancient Maya city, Palenque in Chiapas, Mexico. Palenque’s Temple of the Sun also served as the model for the building viewed in hazy silhouette.
Vierra’s sources here were the same he used for the earlier San Diego canvases, namely Maudslay and Holmes. It seems likely, as Sheppard thought, that Vierra’s scene refers to the conquest of the Yucatán in 1542. It may also allude to the an incident in 1519, when Hernán Cortéz landed in Cozumel, his first landfall after leaving Cuba on an expedition that would eventually lead, two years later, to the conquest of Mexico. In any case, the scene is an allegorical tableau, loaded with anachronisms that tell us that Hewett, Vierra, and Springer were more concerned with the thematic content of the mural cycle than with historical accuracy. As the architectural historian Chris Wilson notes in The Myth of Santa Fe (1997), altogether the completed murals were a sophisticated allegory combining the history of St. Francis of Assisi, the discovery and conquest of America, the missionization of New Mexico, and the activities of the School of American Archaeology in Mexico and Central America. The Spanish did fight the Maya at the city of Chichén Itzá, but the city was in ruins. Likewise, for a mural entitled Preaching to the Mayas and the Aztecs, the only references to Aztec Mexico in Vierra’s painting are the designs on the shield of the man at the right and also on the back of the cloak of the figure seated before the altar. In the latter case, the artist copied the design from a series of textile designs painted in the Codex Magliabechiano, an Aztec-related manuscript painted after the conquest of Mexico. The codex is now housed in the Biblioteca Nazionale Centrale in Florence, though Vierra may have known it from a facsimile published in 1904 in Rome by the Duc de Loubat. Vierra’s mural for the St. Francis Auditorium marked the high tide for the Museum of New Mexico and School of American Archaeology involvement in Maya archaeology. By the time the murals were dedicated in 1917, the U.S. had entered World War I, and many of Hewett’s Quiriguá staff enlisted. Nusbaum fought in the trenches in France. And Morley, who had left in 1914 to work for the Carnegie Institution of Washington, was in Honduras, scouting for German submarines for U.S. Naval Intelligence. ◀
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Michael Abatemarco I The New Mexican
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eramics, calligraphy, and woodblock printing — all of them among the traditional arts of Japan — have been passed down from generation to generation for centuries. But out of these traditions have emerged a number of contemporary artists whose work is innovative and unique, transforming older art forms from the inside out. The same has occurred with Japanese bamboo basketry. Emerging Bamboo, an exhibition of basketry and sculptural forms on view at Tai Gallery, presents a selection of work by up-and-coming Japanese artists who are redefining the parameters of the difficult medium of bamboo. The work ranges from exquisite vessel shapes and functional baskets to purely aesthetic forms. It is expressive, elegant, and sophisticated in design. The versatility of bamboo is readily seen in the variety of work on display. For centuries, the Japanese have used bamboo to make vessels, buildings, furniture, and a host of everyday objects. Even today, the art of traditional bamboo basket making is passed down from senior basket makers to younger artisans, often within the same family. Although hundreds of varieties of bamboo exist, only a handful, including madake, nemagari, and susudake, are used in basketry. The choice of bamboo depends on a number of factors, including color, texture, and pliability. Most of the artists in Emerging Bamboo work with madake. Fukunishi Ryosei, Shirabe Kimiko, Ebana Misaki, and others craft vessels using thin strips of madake bamboo bound with rattan. Ryosei’s Spring Fragrance in the Air, a bowl form with a woven geometric design at its center, reminiscent of a mandala, took
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PASATIEMPO I May 31- June 6, 2013
months of patience and skill at plaiting to complete. The result is a work of arresting beauty. Yufu Hiroshi’s work stands out from that of Misaki, Ryosei, and other more traditional basket makers because it has a rougher appearance. It is made with wide strips of madake that have been given a dark stain. Hiroshi’s baskets are often accentuated by stout sections of bamboo stalk that contrast with the thinner woven strips. Overall, his work has a raw aesthetic that emphasizes the beauty of the natural, unrefined material, perhaps expressing the Japanese philosophy and aesthetic principle of wabi-sabi, an ideal of imperfect beauty often expressed through the traditional arts. The most sculptural of the pieces on exhibit, Nakamura Tomonori’s Diffused Mood Light and Sprite, are two-toned, intricate geometric designs. Dark outer shells composed of a series of flat, hexagonal pieces surround unstained hexagonal shapes in the interior. Because Tomonori does not make a tight weave, the lighter interiors show through the darker shells. He also plays with negative space, leaving sections open to allow viewers to peer inside. The symmetry of interiors and exteriors forms an engaging interplay. Several artists combine natural bamboo fiber with stained strips of bamboo to achieve decorative motifs and patterns. Ryosei alternates light and dark bands of color in his vessel form Glimmering Snow, for instance, as he does with a similar piece called Gentle Waves. Similarly, Kizaki Kazutoshi sticks to a basic vessel shape with his diaphanous, fragile-looking Seed of Memory, but he leaves the natural bamboo color. Misaki’s Lotus Flower is a complex dodecagon-shaped basket with a soft gold-toned stain that subtly fades as the piece expands outward toward its rim. Another basket by Ryosei, Forever Happiness,
bulges out midway up its body, where a single piece of bamboo runs around its circumference, its decagon shape achieved through heating and bending the material. Most bamboo artists weave from the bottom up. Some combine more than one plaiting technique to add intricacy and complexity to their designs. Traditionally, Japanese bamboo work was left unsigned. In the 19th century, Hayakawa Shokosai I, who was instrumental in elevating bamboo basketry to a fine art form, began to sign his work. Other artisans followed suit. Modern Japanese bamboo artists sign their work by etching their names into the material. (Shokosai’s descendent Hayakawa Shokosai V, a Living National Treasure of Japan, is represented by Tai Gallery.) According to the gallery’s website, fewer than 100 bamboo artists are active in Japan. Learning the craft demands a high level of commitment and a lot of time. It can take years of perfecting basic techniques before artisans begin concentrating on their artistic talents. Most don’t become master craftsmen until they reach their 50s or 60s. The artists in Emerging Bamboo represent the future of bamboo fiber arts in Japan. Tai Gallery already represents more than 30 Japanese bamboo artists and will most likely begin to represent those in the exhibit as well, providing viewers with an overview of the best the art form has to offer. ◀
details ▼ Emerging Bamboo ▼ Opening reception 5 p.m. Friday, May 31; through June 21 ▼ Tai Gallery, 1601-B Paseo de Peralta, 984-1387
Nakamura Tomonori: Diffused Mood Light, 2012, madake and rattan; opposite page, left, Kizaki Kazutoshi: Seed of Memory, 2013, madake and rattan; right, Fukunishi Ryosei: Spring Frangrance in the Air, 2011, madake and rattan PASATIEMPOMAGAZINE.COM
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Martha Russo: Shibumi (detail, installation view), 2011, mixed media including thread, purple Italian grapes, blooming tea blossoms, screws, egg cartons, cardboard nesting packaging for apples, paint rollers, wood ash, a laundry basket, plastic net bags for oranges, cherry tomatoes, avocados, gasket rings, a volleyball, shoelaces, sea sponges, a mango, air, pig intestines, a whisk broom, and many other materials
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Michael Abatemarco I The New Mexican
SPACE STATION he Santa Fe Art Institute continues its exploration of the spaces around us — whether those spaces are physical, political, cultural, or social — with Cavities and Clumps: The Psychology and Physicality of Contested Space. The exhibit offers a selection of Colorado-based sculptor Martha Russo’s site-specific installations, some of which are collaborative, dating from 1999 to the present. The show is the latest in SFAI’s yearlong series of programs on the theme of contested space. Russo’s large-scale sculptural projects call attention to, and transform, the spaces they occupy. They often incorporate space as a medium. The oldest piece in the exhibit, Dissilient, is a multicomponent sculpture with stand-alone elements. Russo made Dissilient with artist friends Elizabeth Faulhaber and Roberta Faulhaber. The newest installation, as yet unnamed, is being made specifically for the exhibit at SFAI. “When I first saw the space, I was really taken by that atrium that goes up 30 feet,” Russo told Pasatiempo. “I wanted to really accentuate the loftiness of the space. The new installation is going to cascade down from the ceiling, and it’s going to be hundreds and hundreds of 12-, 10-, and 8-foot metal rods. The rods will be jet black from firing in a kiln. There will be balls between 1 and 2 inches in diameter at the ends. They’re quite small and they’re white. From the floor I have some forms made out of Paperclay. They have rods going up. They won’t quite meet the rods coming down; there will be this space in between. It’s really from ideas about spores — the way spores travel.” Russo delivers a talk on her work at SFAI on Monday, June 3, at the exhibit’s opening reception. Many of the individual components of Russo’s sculptures have the look of organic forms. One large installation, Shibumi, is composed of a multitude of ceramic objects that call to mind botanical forms, cellular bodies, and dry bones. Shibumi, which has been included in two shows in Denver, will also be part of Cavities and Clumps. The piece has taken different configurations for each show. “I first showed it at the Museum of Contemporary Art in Denver,” Russo said. “It was part of a show called Energy Effects. I had hundreds of pieces that cascaded down this very long hallway and then looked like they got stuck at the end of the hallway. “I’m going to do another form of that at the Santa Fe Art Institute. The piece is going to flow up into the ceiling area. The other installation I’m doing with my collaborator Katie Caron. I’ve been on this spore kick, I have to tell you. I’ve been researching the way spores generate and regenerate. During my research, I was just so appalled by how spores and rugs are best friends. We’re taking some of the components from an installation we did at the Denver Art Museum and mixing them with this new idea. That installation will have about a 50-foot-long indoor/ outdoor carpet that’s going to start outside the gallery and infiltrate in and hug around into one of the small rooms where they show videos normally. The pieces will adhere to the carpet and spill over onto the wall. When you turn the corner into that small space, we’re going to stuff it with lit porcelain forms and cast paper forms that will also be lit.” Russo seldom makes explicit representations of objects for her sculptures, instead embracing a degree of ambiguity that merely suggests certain shapes and forms. One exception is a ceramic human ear, part of a larger work called Trickle. “A lot of my earlier work came from studying developmental biology and psychology when I was an undergrad at Princeton. A lot of what I’m still really interested in are how things filter through you, very subtly and psychologically. I did this series about hearing and listening because that is such a difficult thing to do. Listening is probably the hardest skill we can work at. It’s the most literal thing I’ve ever done, the actual ear. Everything else is more continued on Page 44
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Celebrate at Dos Caminos
Martha Russo, continued from Page 43
Across from the Round House
Saturday June 1st 11:00-2:00
Kaune’s Neighborhood Market Grand Reopening Celebration!
Russo and Katie Caron: Apoptosis (detail), 2010-2011, mixed media; left, Russo: Trickle (detail), 2000, mixed media
Scrumptious samples, giveaways, local DJ Honey Harris, local food celebrities Johnny Vee and Cheryl Jamison and the Santa Fe Fuego team!
Introducing:
abstracted. I really tend toward abstraction because I’m trying to push people a little bit off-center, or off their comfort zone.” Russo’s installations are intended to be sensual rather than idea-oriented works. She often renders them in a large-scale format, with the sheer size of the sculptural forms impacting sensory experience. “My recent work in the last five years has been tending toward installation because I feel like if I can activate space in a way that’s slightly uncomfortable to people, you’re prepared to be more attentive in a way. The scale of the show in Denver, where the pieces were clustered at the end of the hallway, was much bigger than everybody. Scale is superimportant. If something’s bigger, you have to feel more attentive. It depends on the demeanor of the object, of course. But I’m really thinking more about the architecture of where I’m showing work. Making work specifically for that space alerts people to that space.” To talk about spores, organisms, and other subtle visual references in her work on intellectual terms misses the point. Russo seems interested in providing the viewer with a more visceral, immersive experience. “One of the things that really struck me when I was in graduate school was Ann Hamilton came and gave a fabulous talk, and one of the things she said was that she wanted people to experience her work from the feet up and their minds to be the last things to kick in. That has been one of my tenets, trying to get people to really bathe in their senses, really activate their senses like they’re a little kid again. That’s why I’m drawn to abstraction of form and abstraction of material. Having people involved with trying to understand their physical, material world — that’s one of the things I get really excited about.” ◀
details ▼ Martha Russo: Cavities and Clumps: The Psychology and Physicality of Contested Space ▼ Lecture & opening reception 6 p.m. Monday, June 3
$1.00 12oz brewed coffee $2.00 12oz lattes & smoothies (June 1st only specials)
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▼ Santa Fe Art Institute, 1600 St. Michael’s Drive ▼ $10 (discounts available) at the door; 424-5050 ▼ Exhibition free thereafter; through July 12
fiesta de musica concerts
THE LONGEST DAY
santa fe women’s ensemble
JOIN US for The Longest Day®, as together Taos Retirement Village and Taos Living Center honor those living with Alzheimer’s disease and their caregivers. On The Longest Day, employees and friends from both Senior Living communities will be hiking, knitting, bicycling, playing games, etc. to raise awareness and funds for Alzheimer’s research and caregiver support. For people facing Alzheimer’s disease, this challenge is every day. For you, it’s just one. Please call Tammy Updike, 758-8248 or Bonnie Golden, 758-2300 x 232 to find out how you can make a difference (either sign up to be a participant or make a donation). EVENT: THE LONGEST DAY Friday, June 21, 2013 at 5:00 pm at Taos Retirement Village You are invited to attend a talk about Alzheimer’s, offering resources and information. Refreshments will be served.
FIRST PRESBYTERIAN CHURCH :: SATURDAY, JUNE 1, 2013 :: 3PM
IMMACULATE HEART OF MARY CHAPEL :: SUNDAY, JUNE 2, 2013 :: 3PM
General admission: $25 $10 students/military. Accessible seating is available. For tickets, please call (505) 954-4922. WWW.SFWE.ORG info@sfwe.org
T AO S
This project is made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs, and the National Endowment for the Arts. It is partially funded by the 1% Lodger’s Tax and the City of Santa Fe Arts Commission.
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movIng Images film reviews
Partition post partum Jonathan Richards I For The New Mexican Midnight’s Children, drama, not rated, in English, Hindi, and Urdu with subtitles, 2.5 chiles As the stroke of midnight ushers in an independent India on Aug. 15, 1947, two babies are born and laid side by side in a Bombay hospital ward. One is the heir of a rich businessman. The other is the son of a poor itinerant minstrel. A harried nurse, influenced by her revolutionary boyfriend, strikes a dubious blow for social equality by switching the infants. And so the genetically ragtag Saleem (Darsheel Safary as a child; Satya Bhabha as a young man) is raised in the lap of luxury while the blue-blooded Shiva (Siddharth) struggles through the life of a street urchin. Salman Rushdie’s 1980 Booker Prize-winning novel is a sprawling allegory of the growth and partitions of a post-colonial India, and the author has undertaken the screen adaptation with the Toronto-based Indian director Deepa Mehta (Fire, Earth, Water). Rushdie also serves as the film’s narrator, cropping up on the soundtrack from time to time to fill in explanatory connective tissue when things threaten to lose their way. With a two-and-a-half-hour running time, Rushdie and Mehta have been able to stuff a lot of the novel into the film, and while the result is a movie that is often engaging and full of stunning imagery, it never finds a rhythm to enable it to really take off. In the salad days of the studio system, Columbia Pictures mogul Harry Cohn once explained to his minions that he could tell a picture was good “if my
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PASATIEMPO I May 31- June 6, 2013
Trading places: Satya Bhabha and Shriya Saran
fanny doesn’t squirm.” Writer Herman Mankiewicz (immediately prior to becoming unemployed) famously quipped, “Imagine — the whole world wired to Harry Cohn’s ass.” In Rushdie’s story, not the whole world, but the whole population of Indian babies born in that first hour of independence, is wired to Saleem’s oversized nose. These are the midnight’s children of the title, and they share a paranormal bond and an array of superpowers for the nascent India. Saleem discovers that he can hear their voices in his head, and when he twitches his proboscis, he can summon them all to a conference. At these gatherings not much gets accomplished, except that Saleem gets bullied by the dispossessed, truculent Shiva. As embodiments of the fledgling nation’s potential, if that’s what they are, the children never really come into their own. Magical realism is one of the watchwords of this sprawling allegory of modern India, and it seems perfectly at home here. But there’s just too much going on. Considering how much ground they have to cover, the filmmakers’ decision to start with the courtship of the hero’s grandparents may not be wise, although the sequence does contain a visually and metaphorically enchanting scene. Saleem’s maternal grandfather Aadam (Rajat Kapoor), a doctor, is summoned by a wealthy man to examine his daughter. But the man’s old-world prudery forbids the doctor from conducting a full examination. He is only allowed one body part at a time, accessed through a hole in a sheet held up by female attendants to the afflicted area. By the time he has returned a third or fourth time and examined a beautifully rounded breast, he’s in love, and the father is beginning to
look on with an encouraging eye. When the doctor is finally permitted a look at her lovely face, he’s a goner. As a result of all this we are well over a half hour into the film by the time Saleem and Shiva are born, and there are still a couple of hours to go, with an awful lot of family and national history to cover. Saleem grows up, and eventually the secret of his birth is revealed by Mary (Seema Biswas), the nurse who has became his ayah. There is hell to pay from his father (Ronit Roy), who has always felt there was something somehow off about this son of his and now holds the boy criminally responsible for it. Bhabha (Scott Pilgrim vs. the World) and his nose give a good accounting of themselves, but sometimes it feels like he’s trying to act inside a washing machine on spin cycle. The rest of the cast is all good, including a malevolent Sarita Choudhury (Mississippi Masala) as The Lady, aka Indira Gandhi. The only Anglo name among the main credits is an excellent Charles Dance representing the played-out and slightly mad departing British. Rushdie’s narration is welcome, the more so for it being the author’s voice, which lends an insider’s authority to the proceedings. But it may be that his decision to do the screen adaptation himself, along with Mehta, burdened the project with a lack of perspective that overwhelms the picture with clutter and sprawl. In spite of these shortcomings, Midnight’s Children manages to keep things pretty interesting, in a straightforward sort of way, with some good scenes and captivating imagery. But it never takes wing with the soaring possibilities of the novel’s abracadabra magic. Harry Cohn would probably have squirmed. ◀
“One of this year’s outstanding films. Francois Ozon’s diabolical comedy is sinfully delicious!” - Stephen Holden, The New York Times
E XC LU S I V E E NG AGE M E N T
STA RT S TODAY!
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Individual Tickets $25
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movIng Images film reviews
Twenty-sevensomething Robert Ker I For The New Mexican Frances Ha, dramedy, rated R, Center for Contemporary Arts, 3.5 chiles Writer and director Noah Baumbach specializes in portraying underwhelming artists who stubbornly cling to their sense of self-importance, even as middle age engulfs them. Blown opportunities recede further in their rearview mirrors yet remain fully present in their lives, evident in everything from their posture to their interactions with family members. The characters played by Jeff Daniels and Ben Stiller in The Squid and the Whale and Greenberg, respectively, are overgrown men-children who lean on their uniqueness in lieu of honing basic life skills. As their peers settle into stable careers and meaningful relationships, they remain on the outside, allowing a mild air of superiority to obscure just how much life is passing them by. Frances Ha is about a 27-year-old woman (Greta Gerwig, in the title role) who may find herself in a similar position by the time she’s 37. She holds on to a dream of being a professional dancer, despite showing minimal skill. She’s impulsive and consistently makes poor decisions about money, career, and personal relationships. In one scene, she attends a dinner party with people who are not much older than she is but who have nice houses and secure, well-paying, easily defined jobs. These things are so far from Frances’ world that you squirm every time she opens her mouth; it’s as if a child has been invited to sit at the grown-up’s table.
So you think you can dance: Greta Gerwig
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PASATIEMPO I May 31- June 6, 2013
Adam Driver and Greta Gerwig
Fortunately for her, she’s slightly more self-aware and significantly more cheerful than the characters played by Daniels and Stiller in Baumbach’s previous movies. It doesn’t hurt that this brand of semi-eccentric infantilism is often celebrated in onscreen women characters while it is deemed an unattractive quality in any man not played by Adam Sandler. In indie movies such as Garden State, these kinds of women — sometimes called “manic pixie dream girls” by film reviewers — serve to enter the lives of narcissistic, self-pitying, often older males and draw their gazes up from their navels. In their own way, they’re objectified to a greater degree than even Megan Fox in the Transformers films, and rarely have indie filmmakers given any thought as to what makes them tick. Greenberg dug a little deeper with that formula, presenting the potential love interest for the title character as a young, attractive woman who is more optimistic than eccentric. Her strongest feature is how much she has her act together, even though as a recent college graduate in a lousy job market, she has perfectly valid reasons not to. She stands in contrast to Greenberg, who doesn’t have his act together even though, given his age, he should. This potential love interest was played by Gerwig, who became Baumbach’s real-life girlfriend, and together they co-wrote Frances Ha. In this movie, Gerwig’s Frances sees herself as just out of college, with her career in its infancy, despite her age and evidence to the contrary. She even reconnects with her alma mater in a way that comes across as sad and desperate; she fits in on campus no more than she fits in with professionals of her age. Like many people in her generation, she’s not so much an overgrown child as she is caught in a purgatory between childhood and adulthood. She’s mired in a
paradox similar to the one faced by the heroines of HBO’s Girls: New York City is the rare place one can make money in the arts, but it’s not enough money to allow you to actually live in the city. As with Lena Dunham’s protagonist on that show, Frances spends much of the film bouncing between peers who are financially sustained by their parents, delusional about their talents, and oblivious to the fact that not everyone enjoys such support. In such an environment, one laughs to keep from crying. Dunham deploys her self-effacing wit throughout Girls, and Gerwig and Baumbach sprinkle moments of slapstick and goofy humor throughout Frances. They put bittersweet one-liners into the mouths of their characters and employ a score that features upbeat songs by David Bowie and Hot Chocolate, creating a movie that feels sunnier than a glance at the synopsis might suggest. So much of this joy comes from the look of the film, which was shot digitally in black and white yet somehow exudes the celluloid warmth of French New Wave movies or Woody Allen’s Manhattan — clear influences on Baumbach, Gerwig, and cinematographer Sam Levy. This general look imbues the film with a nostalgia that makes it feel more dreamlike than real, allowing you to embrace the characters all the more easily. If the film makes you uncomfortable as it considers the awkward plight of people who struggle to find a place in the world, then it might also remind you of a similar time in your own life, when the future was nothing but options and possibility, and since stability was out of reach, you valued experiences and close friends more than just about anything. It’s a movie that makes you feel good, except when it makes you feel bad, but at least it makes you feel something. ◀
moving images film reviews
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“GORGEOUS.” – STEPHEN HOLDEN, THE NEW YORK TIMES
LUSH AND ENGAGING... ‘RENOIR’ IS CLASSIC FRENCH “
MOVIEMAKING WITH SOME MODERN TWISTS.”
Fabrice Luchini and Kristin Scott Thomas
Literary license
– KENNETH TURAN, LOS ANGELES TIMES
MICHEL BOUQUET CHRISTA THÉRET VINCENT ROTTIERS
‘‘ MIRACLE A OF A MOVIE
...
EFFORtLEss And EFFERVEsCEnt,
hOnEst And Funny.’’ Kenneth Turan
GLORIOus . IRREsIstIbLy LOVELy ’’
‘‘
.
John Anderson
Jonathan Richards I For The New Mexican In the House, thriller, rated R, in French with subtitles, The Screen, 3.5 chiles Sex and menace hover perpetually around the edges of this superior psychological thriller from François Ozon (Potiche, Swimming Pool). Occasionally they even take center stage. Germain (the wonderful Fabrice Luchini) is a failed novelist who teaches literature in a French lycée, and it seems to him that every year the students get duller and dumber. So when a bright kid in his class shows a real talent for writing, Germain is hooked. He assigns his class an essay on “What I Did This Weekend,” an unimaginative topic that doesn’t deserve much better than what he gets from most of the kids (“Saturday I had pizza. Sunday I did nothing.”) But the essay from Claude (Ernst Umhauer) brings him up short. Claude writes about insinuating himself into the home of a classmate, Rapha (Bastien Ughetto), who needs help with his math homework. Claude admits to having cased the house for a year, watching from across the street, wishing he could penetrate the home of his friend who seems so normal. The subject is intriguingly pathological, and the writing is arresting. Rapha’s mother, Esther (Emmanuelle Seigner), is blond, bored, and beautiful, and Claude describes inhaling “the singular scent of a middle-class woman.” On the mantelpiece he notices a photo of the family. Perched next to it is a small ceramic dragon “staring at them hungrily.” Germain works with Claude to develop his writing skills and shares the boy’s provocative stories with his wife, Jeanne (Kristin Scott Thomas), who wonders whether Claude should be seeing a therapist. “They’re just stories,” Germain scoffs. But they both get caught up in the developing intrigue like soap opera addicts. How much of what Claude writes is true? How much is literary license? How much is diabolical manipulation? Umhauer, who bears a slight resemblance to a young Michael York, has a face that can project youthful innocence one minute and sly villainy the next. In the context of the movie, the action Claude describes inside Rapha’s house is played out just like the real-life material, so the line between reality and fiction is often undetectable. At other times Germain injects himself, Woody Allen-like, into Claude’s stories, commenting on the literary merits of the tales as an unseen critical presence. He becomes so caught up in the Scheherazade world Claude is spinning that, rather than risk the source drying up, he allows himself to be talked into a serious moral compromise. Art has consequences, even though as Jeanne tartly observes, “Art in general teaches us nothing.” As story and life become hopelessly muddled, one topping the other in melodrama and dubious dialogue, Ozon herds us toward an ending that he presages with writing advice from Germain to Claude. The secret of a good ending, Germain instructs his prize pupil, is “when the reader says, ‘I didn’t expect that, but it couldn’t have ended any other way.’ ” ◀
A FILM BY
GILLES BOURDOS
Santa Fe Opera presents A FREE SCREENING of WILDE
7:00p Weds June 5 • FREE
Gene Youngblood Presents
Succession from the Broadcast: The Internet and the Crisis of Social Control Special short film and lecture by legendary media theorist Gene Youngblood 7:30p Friday, May 31 in the Studio $5 Suggested donation
Friday May 31 12:00p - Frances Ha 12:30p - Renoir* 2:00p - Frances Ha 2:45p - Renoir* 4:00p - Frances Ha 5:00p - Renoir* 6:00p - Frances Ha 7:30p - Gene Youngblood Event* 8:00p - Midnight’s Children
Sat June 1 12:30p - Renoir* 2:00p - Frances Ha 2:45p - Renoir* 4:00p - Frances Ha 5:00p - Renoir* 6:00p - Frances Ha 7:30p - Renoir* 8:00p - Midnight’s Children
Sun June 2 12:00p - Frances Ha 2:00p - Frances Ha 2:45p - Renoir* 4:00p - Frances Ha 5:00p - Renoir* 6:00p - Frances Ha 7:30p - Renoir* 8:00p - Midnight’s Children
Mon-Tues June 3-4 Cinema Closed for Renovations
Wed June 5 12:30p - Renoir* 2:15p - Frances Ha 2:45p - Renoir* 4:15p - Frances Ha 5:00p - Renoir* 7:00p - SF Opera presents WILDE (free screening) 7:30p - Renoir*
Thurs June 6 12:30p - Renoir* 2:00p - Frances Ha 2:45p - Renoir* 4:00p - Frances Ha 5:00p - Renoir* 6:00p - Frances Ha 7:30p - Renoir* 8:00p - Midnight’s Children
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MOVING IMAGES pasa pics
— compiled by Robert B. Ker
dubious dialogue, Ozon herds us toward an ending that he presages with writing advice from Germain to Claude. The secret of a good ending, Germain instructs his prize pupil, is “when the reader says, ‘I didn’t expect that, but it couldn’t have ended any other way.’” Rated R. 105 minutes. In French with subtitles. The Screen, Santa Fe. ( Jonathan Richards) See review, Page 49.
Fresher prince: Jaden Smith in After Earth, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española
opening this week AFTER EARTH The City of Brotherly Love is well represented in this big-budget sci-fi film, which pairs Philadelphian director M. Night Shyamalan and star Will Smith. However, the film is really a vehicle for Smith’s son Jaden. The two play a father-son astronaut duo who crash-land on a future Earth. The son finds himself fighting for his life as the plants and animals of the planet have wisely evolved to hunt and destroy humans. Rated PG-13. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) FRANCES HA Writer and director Noah Baumbach specializes in portraying underwhelming artists who stubbornly cling to their sense of self-importance as middle age grips them. This movie, shot digitally in black and white, with clear influences of French New Wave films and Woody Allen’s Manhattan, centers on a 27-yearold woman (Greta Gerwig, who also co-wrote) who is sliding down that road with her struggling dance career and loosening relationships. Fortunately, her
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disposition is cheerful and optimistic, and for the most part, so is the film’s mood. Frances Ha nicely captures the awkward plight of those who struggle to find a place in the world and accurately represents floundering in your 20s, when the future is nothing but options and possibilities and when experiences and close friends make adequate substitutes for stability. Rated R. 88 minutes. Center for Contemporary Arts, Santa Fe. (Robert Ker) See review, Page 48. IN THE HOUSE Sex and menace hover perpetually around the edges of this superior psychological thriller from François Ozon (Potiche, Swimming Pool). They occasionally even take center stage. Germain (the wonderful Fabrice Luchini) is a failed novelist who teaches literature in a French lycée, and it seems to him that every year the students get duller and dumber. So when a bright, imaginative kid in his class shows a real talent for writing, Germain is hooked. Claude (Ernst Umhauer) writes about insinuating himself into the home of a classmate, Rapha (Bastien Ughetto), who needs help with his math homework. How much of what Claude writes is true? How much is literary license? How much is diabolical manipulation? As story and life become hopelessly muddled, one topping the other in melodrama and
MIDNIGHT’S CHILDREN Salman Rushdie’s 1980 Booker prizewinning novel is a sprawling allegory of the growth and partitions of a post-colonial India, and the author has undertaken the screen adaptation with the Toronto-based Indian director Deepa Mehta (Fire, Earth, Water). Rushdie also serves as the film’s narrator, cropping up on the soundtrack from time to time to fill in explanatory connective tissue when things threaten to lose their way. Rushdie and Mehta have been able to stuff a lot of the novel into the film, and while the result is a movie that is often engaging and full of beautiful imagery, it never finds a rhythm that enables it to really take off. Not rated. 146 minutes. In English, Hindi, and Urdu with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) See review, Page 46. NOW YOU SEE ME Four people decide that they’ve had enough of corrupt plutocrats and decide to knock them down a peg — with magic! These illusionists (Woody Harrelson, Jesse Eisenberg, Isla Fisher, and Dave Franco) actually do a good job of it and pass stolen cash off to their audiences. Mark Ruffalo plays the FBI agent who’s on to their racket. With Morgan Freeman and Michael Caine. Rated PG-13. 116 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) WHAT MAISIE KNEW Julianne Moore plays a former-rock-star single mother who uses her daughter as a pawn in emotional warfare against her ex. Steve Coogan plays the ex, a narcissistic and equally negligent art dealer, while Onata Aprile plays the poor kid caught in the middle. Based on Henry James’ novel. Rated R. 98 minutes. Regal DeVargas, Santa Fe. (Not reviewed) WILDE It’s going to be a wild Wilde summer in Santa Fe as the opera prepares a premiere of composer Theodore Morrison’s Oscar, an opera based on the life and travails of the brilliant 19th-century Irish writer and aesthete who stood at the pinnacle of English letters when his career was torpedoed by a homosexual scandal. Several local theater groups also
rally to the cause with Oscar-worthy entertainments. In this 1997 film, Stephen Fry captures the elegance and wit and also the deep humanity of this Victorian genius, who might have left the world an even greater literary legacy if his health and spirit had not been broken by disgrace and a couple of years in jail, leading to his early death at 46. For this we have to thank a provocative little tart named Lord Alfred Douglas ( Jude Law), who teased his lover Wilde into a self-destructive lawsuit. Today Wilde is probably the most-quoted author in the English language after Shakespeare, and he’s certainly the wittiest. “The truth,” Wilde wrote in The Importance of Being Earnest, “is rarely pure and never simple.” Presented by Santa Fe Opera; no charge. 7 p.m. Wednesday, June 5, only. Rated R. 120 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards)
now in theaters EPIC International box office has helped make animated films so lucrative that what was once territory belonging almost exclusively to Disney is now crowded with multiple studios — very few of which capture the House of Mouse’s old magic. The latest offender is this limp Avatar rehash by Ice Age director Chris Wedge, about a teenage girl (voiced by Amanda Seyfried) who is shrunk into a secret forest world where she must join friendly plants and animals against an evil dude (Christoph Waltz). There are no palpable stakes, the dialogue is uninspired, the character animation looks straight-to-DVD, Aziz Ansari’s hyper-annoying slug seems worked in as a result of focus-group response cards, and the dichotomy between girly princesses and manly soldiers is so dated that even Disney gave it up decades ago. Rated PG. 103 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. Screens in 2-D only at Storyteller, Taos. (Robert Ker) FAST & FURIOUS 6 Agent Luke Hobbs (Dwayne Johnson) offers professional criminal Dominic Toretto (Vin Diesel) and his crew full pardons if they agree to help him take down an organization led by a former British officer turned criminal mastermind. Paul Walker and Michelle Rodriguez also return to the franchise, which is just as speedy and angry as it ever was, even on the sixth lap around the track. 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 DeVargas, Santa Fe. (Robert Ker) THE GREAT GATSBY Baz Luhrmann’s movie rendering of F. Scott Fitzgerald’s classic American novel is The Great Gatsby the way Jay Gatsby might have directed it. Gaudy, extravagant, and ecstatically excessive, it lights up the screen like a lavish party into which Luhrmann hopes Daisy Buchanan will wander some night — and if not Daisy, then at least the rest of the world, looking for a good time. He’s mounted an ecstatic spectacle, an adrenaline rush of Jazz Age intoxication going at breathless, breakneck speed, and on its own terms it can sometimes be pretty irresistible. That is the quality that distinguishes this movie; when it slows down for the more intimate scenes, it usually fails to convince. Ultimately, like the green light at the end of the Buchanans’ pier, Gatsby is a dream that eludes Luhrmann’s grasp. Leonardo DiCaprio is Gatsby; Carey Mulligan is the lovely, self-absorbed Daisy; and Tobey Maguire plays the narrator, Nick Carraway. Rated PG-13. 143 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D at Regal DeVargas, Santa Fe. ( Jonathan Richards)
spicy bland
medium
mild
heartburn
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THE HANGOVER PART III The Wolf Pack is back for one last bender, so pass around some shot glasses and high-five your bros! Alas — perhaps in response to criticisms that Part II was just a poor copy of the surprise-hit original — director Todd Phillips ditches the “debauchery and recovery” formula in favor of something slightly more serious. When a gangster named Marshall ( John Goodman) kidnaps a member of the Pack ( Justin Bartha), it’s up to the other three (Bradley Cooper, Ed Helms, and Zach Galifianakis) to find Leslie Chow (Ken Jeong) and recover Marshall’s stolen millions. The tone is darker here, as Galifianakis’ character faces down his mental illness and substance abuse, and several animals (roosters, dogs, and even a giraffe) are offed in the unsuccessful pursuit of laughs. As usual with the Hangover franchise, the best moments are those that play with Galifianakis’ outsize, offbeat persona. The rest of the film is so watered down that you won’t even catch a buzz. Rated R. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker) IRON MAN 3 Tony Stark (Robert Downey Jr.), once a cocksure genius ladies’ man, is suffering from anxiety attacks and an inability to relate to his live-in girlfriend, Pepper Potts (Gwyneth Paltrow). That’s when a terrorist 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) and 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. This flick is fun at times, and the special 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. Screens in 2-D at DreamCatcher, Española; Storyteller, Taos. (Laurel Gladden) 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 reunite with his sweetheart (Reese Witherspoon). Meanwhile, the law and continued on Page 52
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we get is a self-hugging valentine to the 5th Avenue shop, a sugary decaf cappuccino with way too much foam. There are some interesting people here, like Bergdorf’s fashion director Linda Fargo and a veteran personal shopper who admits if she weren’t doing what she does, she’d be drinking. It’s also fun to watch the fabulous Christmas windows being designed and executed. There’s a bit of history and an intriguing look at the family apartment that once commanded the top floor. And of course, some of it is pure shopaholic pleasure. But mostly it’s a parade of fashion designers gushing ad nauseam about the store as the pinnacle of their dreams and a chorus of recession-proof conspicuous consumers culled from the population most likely to be taken out and lined up against a wall come the revolution. You have teases of a real movie here, but this feels like an hour-anda-half trailer for it. Rated PG-13. 93 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards)
What Maisie Knew
the irate father of a man he killed are out looking for him. It’s a colorful tale and a cautionary one. 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)
fundamentals of two worlds: the sky’s-the-limit opportunities of the American capitalist system and the poverty, tradition, and unrest of his Pakistani roots. Nair delivers a fascinating exploration of duality and perspective. With Liev Schreiber, Kate Hudson, and Kiefer Sutherland. Rated R. 128 minutes. The Screen, Santa Fe. ( Jonathan Richards)
OBLIVION It’s the year 2077. Earth has been ravaged by a war with aliens. Tom Cruise plays one of the last men left alive. But before he can finally let loose and act completely crazy, he’s summoned into action when he discovers a woman (Olga Kurylenko) in a crashed spaceship and learns — via a character played by Morgan Freeman — that he is mankind’s last hope. Rated PG-13. 125 minutes. Regal DeVargas, Santa Fe. (Not reviewed)
RENOIR A quiet film with emotional depth and good performances, Renoir is a sun-dappled look into the lives of several members of the famous painter’s household. When a free-spirited young woman (Christa Theret) comes to model for Pierre-Auguste (Michel Bouquet), she serves his creative ends and falls in love with his son Jean (Vincent Rottiers). Her character is deliberately ambiguous, and the focus is less on history than on the nature of perceptions. Rated R. 111 minutes. In French with subtitles. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco)
THE RELUCTANT FUNDAMENTALIST Indian director Mira Nair (Monsoon Wedding), based in New York, has taken The Reluctant Fundamentalist, an international bestseller by the Pakistani/British writer Mohsin Hamid, and ramped it up into a psychological and political thriller that is rich in complexity and taut with tension. Riz Ahmed (Trishna) is excellent as Changez, a young Pakistani torn between the 52
PASATIEMPO I May 31- June 6, 2013
SCATTER MY ASHES AT BERGDORF’S This film’s inspired title, from a classic New Yorker cartoon by Victoria Roberts (who is briefly interviewed), might lead us to expect a bit of bracing irony from Matthew Miele’s documentary about the iconic New York fashion mecca. But what
STAR TREK: INTO DARKNESS In the newest installment of the Star Trek film series, director J.J. Abrams, cinematographer Dan Mindel, and a trio of screenwriters up the ante on action and visual effects while honoring franchise creator Gene Roddenberry’s enduring legacy. This film finds Kirk (Chris Pine) and Spock (Zachary Quinto) at odds after a violation of the Prime Directive and the arrival of a genetically enhanced villain (Sherlock Holmes’ Benedict Cumberbatch). Visually stunning in 3-D and overly self-aware of original Star Trek source material, Into Darkness unabashedly steers the U.S.S. Enterprise in new and exciting directions while exploring themes of unjust war and terrorism. Some die-hard Trekkers may scoff at certain plot devices, but the new scientific prospect of alternate universes renders their complaints moot, if not petty. Rated PG-13. 132 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española; Storyteller, Taos. (Rob DeWalt)
other screenings Regal Stadium 14 10 p.m. Thursday, June 6: The Internship. 10 p.m. Thursday, June 6: The Purge. Taos Community Auditorium 133 Paseo del Pueblo Norte, Taos, 575-758-2052 Sunday-Tuesday, June 2-4: One Track Heart. ◀
‘‘A MIRACLE OF A MOVIE... EFFORtLEss And EFFERVEsCEnt, hOnEst And Funny.’’ Kenneth Turan
What’s shoWing Call theaters or check websites to confirm screening times. CCA CinemAtheque And SCreening room
1050 Old Pecos Trail, 982-1338, www.ccasantafe.org Frances Ha (R) Fri. 12 p.m., 2 p.m., 4 p.m., 6 p.m. Sat. 2 p.m., 4 p.m., 6 p.m. Sun. 12 p.m., 2 p.m., 4 p.m., 6 p.m. Wed. 2:15 p.m., 4:15 p.m. Thurs. 2 p.m., 4 p.m., 6 p.m. Midnight’s Children (NR) Fri. to Sun. 8 p.m. Thurs. 8 p.m. Renoir (R) Fri. 12:30 p.m., 2:45 p.m., 5 p.m. Sat. 12:30 p.m., 2:45 p.m., 5 p.m., 7:30 p.m. Sun. 2:45 p.m., 5 p.m., 7:30 p.m. Wed. and Thurs. 12:30 p.m., 2:45 p.m., 5 p.m., 7:30 p.m. Wilde (R) Wed. 7 p.m. regAl deVArgAS
562 N. Guadalupe St., 988-2775 42 (PG-13) Fri. and Sat. 1:10 p.m., 4:10 p.m., 7:10 p.m., 10 p.m. Sun. to Thurs. 1:10 p.m., 4:10 p.m., 7:10 p.m. The Great Gatsby (PG-13) Fri. and Sat. 12:55 p.m., 3:50 p.m., 6:50 p.m., 9:50 p.m. Sun. to Thurs. 12:55 p.m., 3:50 p.m., 6:50 p.m. Mud (PG-13) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 9:55 p.m. Sun. to Thurs. 1 p.m., 4 p.m., 7 p.m. Oblivion (PG-13) Fri. and Sat. 1:20 p.m., 4:20 p.m., 7:20 p.m., 10:05 p.m. Sun. to Thurs. 1:20 p.m., 4:20 p.m., 7:20 p.m. Scatter My Ashes at Bergdorf ’s (PG-13) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 9:45 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m. What Maisie Knew (R) 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 After Earth (PG-13) Fri. to Thurs. 11:05 a.m., 11:30 a.m., 1:40 p.m., 2:10 p.m., 4:30 p.m., 5 p.m., 7 p.m., 7:30 p.m., 9:30 p.m., 10 p.m. Epic 3D (PG) Fri. to Thurs. 1:10 p.m., 4:25 p.m., 7:10 p.m., 10 p.m. Epic (PG) Fri. to Thurs. 11:10 a.m., 1:45 p.m., 4:45 p.m., 7:40 p.m., 10:30 p.m. Fast & Furious 6 (PG-13) Fri. to Thurs. 12:45 p.m., 1:35 p.m., 4:05 p.m., 4:35 p.m., 7:10 p.m., 7:35 p.m., 10:20 p.m., 10:40 p.m. The Great Gatsby 3D (PG-13) Fri. to Thurs. 3:50 p.m., 10:20 p.m. The Great Gatsby (PG-13) Fri. to Thurs. 12 p.m., 7:15 p.m. The Hangover Part III (R) Fri. to Thurs. 11:20 a.m., 1:15 p.m., 2 p.m., 4 p.m., 4:35 p.m., 7:05 p.m., 7:35 p.m., 9:50 p.m., 10:20 p.m. The Internship (PG-13) Thurs. 10 p.m. Iron Man 3 3D (PG-13) Fri. to Thurs. 11:20 a.m. Iron Man 3 (PG-13) Fri. to Thurs. 11:05 a.m., 2:05 p.m., 5:05 p.m., 8:05 p.m., 11 p.m. Now You See Me (PG-13) Fri. to Thurs. 11 a.m., 1:50 p.m., 2:20 p.m., 4:40 p.m., 5:10 p.m., 7:30 p.m., 8 p.m., 10:20 p.m., 10:40 p.m. The Purge (R) Thurs. 10 p.m. Star Trek Into Darkness 3D (PG-13) Fri. to Thurs. 12:30 p.m., 3:45 p.m., 7:10 p.m., 10:15 p.m. Star Trek Into Darkness (PG-13) Fri. to Thurs. 12:50 p.m., 4:15 p.m., 7:40 p.m., 10:45 p.m.
‘‘ ’’ ‘‘HHHH’’ ‘‘HHHH ’’ ‘‘HHHH ’’ HHHH Ann Hornaday
Tom Long
Bill Goodykoontz
Steven Rea
‘‘GLORIOus. IRREsIstIbLy LOVELy.’’ John Anderson
the SCreen
Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, www.thescreensf.com In the House (R) Fri. 2:30 p.m., 7:30 p.m. Sat. and Sun. 12:15 p.m., 2:30 p.m., 7:30 p.m. Mon. to Thurs. 2:30 p.m., 7:30 p.m. The Reluctant Fundamentalist (R) Fri. to Thurs. 4:45 p.m. mitChell dreAmCAtCher CinemA (eSpAñolA)
15 N.M. 106 and U.S. 84/285, 505-753-0087, www.storytellertheatres.com After Earth (PG-13) Fri. 4:45 p.m., 7:20 p.m., 9:40 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:20 p.m., 9:40 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs. 4:45 p.m., 7:20 p.m. Epic 3D (PG) Fri. 4:40 p.m., 7 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:40 p.m., 7 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:40 p.m., 7 p.m. Mon. to Thurs. 4:40 p.m., 7 p.m. Epic (PG) Fri. 4:40 p.m., 7 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:40 p.m., 7 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:40 p.m., 7 p.m. Mon. to Thurs. 4:40 p.m., 7 p.m. Fast & Furious 6 (PG-13) Fri. 4:25 p.m., 5 p.m., 7:10 p.m., 8 p.m., 9:55 p.m. Sat. 1:40 p.m., 2:10 p.m., 4:25 p.m., 5 p.m., 7:10 p.m., 8 p.m., 9:55 p.m. Sun. 1:40 p.m., 2:10 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. The Hangover Part III (R) Fri. 4:50 p.m., 7:25 p.m., 9:45 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:25 p.m., 9:45 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 p.m., 7:25 p.m. Iron Man 3 (PG-13) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:45 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs. 4:30 p.m., 7:15 p.m. Now You See Me (PG-13) Fri. 4:35 p.m., 7:05 p.m., 9:50 p.m. Sat. 2 p.m., 4:35 p.m., 7:05 p.m., 9:50 p.m. Sun. 2 p.m., 4:35 p.m., 7:05 p.m. Mon. to Thurs. 4:35 p.m., 7:05 p.m. StarTrek Into Darkness (PG-13) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:45 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs. 4:30 p.m., 7:15 p.m. mitChell Storyteller CinemA (tAoS)
110 Old Talpa Canon Road, 575-751-4245 After Earth (PG-13) Fri. 4:45 p.m., 7:20 p.m., 9:50 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:20 p.m., 9:50 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs. 4:45 p.m., 7:20 p.m. Epic (PG) Fri. 4:40 p.m., 7 p.m., 9:40 p.m. Sat. 2:05 p.m., 4:40 p.m., 7 p.m., 9:40 p.m. Sun. 2:05 p.m., 4:40 p.m., 7 p.m. Mon. to Thurs. 4:40 p.m., 7 p.m. Fast & Furious 6 (PG-13) call for showtimes The Hangover Part III (R) Fri. 4:50 p.m., 7:25 p.m., 9:45 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:25 p.m., 9:45 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 p.m., 7:25 p.m. Iron Man 3 (PG-13) call for showtimes Now You See Me (PG-13) Fri. 4:35 p.m., 7:05 p.m., 9:50 p.m. Sat. 2 p.m., 4:35 p.m., 7:05 p.m., 9:50 p.m. Sun. 2 p.m., 4:35 p.m., 7:05 p.m. Mon. to Thurs. 4:35 p.m., 7:05 p.m. StarTrek Into Darkness (PG-13) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:45 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs. 4:30 p.m., 7:15 p.m.
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PASATIEMPOMAGAZINE.COM 53
RESTAURANT REVIEW Bill Kohlhaase I For The New Mexican
Flour power Sage Bakehouse 535 Cerrillos Road, 820-7243 Breakfast & lunch 10 a.m.- 2 p.m. Mondays-Saturdays; bakery open 7:30 a.m.-2:30 p.m. Mondays-Saturdays; closed Sundays Counter service Takeout available No alcohol Noise level: fine for conversation Vegetarian options Credit cards, local checks
•
The Short Order Simple breakfasts and lunches are the order of the day at Sage Bakehouse, known for its finely crafted breads and pastries. The basic breakfast basket — slices of toasted pecan-raisin and farm bread with jam and butter — is a good introduction. Open-faced tartines with fresh scrambled eggs or with avocado and serrano ham are wonderful light alternatives. The panini are equally light. You can order salads and soup, including one made with white beans and wilted greens and flavored with swirls of pesto, to balance out the carbohydrates. But the pastries — croissants, muffins, tarts, and tortes — will bring you right back. Sage is a great place to while away the time with a cup of coffee and a piece of flourless torte. Recommended: scrambled egg tartine, spinach and goat cheese tartine, ham and fontina panini, white bean and wilted greens soup, and chocolate gingerbread torte.
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 31- June 6, 2013
There’s nothing like the smell of fresh-baked bread. It’s the first thing you notice entering the Sage Bakehouse, especially early in the day when the loaves — the bakers make up to 4,000 a day — are just out of the oven. Some of those breads — large oval ones with beautiful tan crusts, squat dark ones, others studded with seeds and raisins — are stacked on wire shelves directly in front of you as walk in. To your left is a display case with croissants and other assorted pastries, cookies, muffins, and savories. Small loaves and other baked items sit on top of the case, as does a plate offering samples. All day long, the air is cut with the toasted scent of the flour that dusts the loaves and stays behind in the hot ovens. If you had some butter, it would be easy to construct a meal from just the counter selections — say a small loaf of green chile cheese bread and a chocolate-chip pecan cookie. No need to fret. The bakery added a breakfast and lunch menu last year, complete with butter for your bread. You can enjoy a modest meal, one centered on wheaty bread, maybe with soup or a salad. Pastries? That’s the easy part. There are more than a few day-starting or meal-ending choices. Chalkboards hung above a partition with a narrow view into the kitchen let you know what’s available: a breakfast basket, panini, open-faced sandwiches and tartines made with top-shelf ingredients, soups, salads, and premade sandwiches. Now if you can just find a place to sit. The small shop has a large wooden communal table surrounded by squat stainless-steel stools, and a couple of tiny tables for two are up against the partition. Outside, on a trapezoid of concrete adjacent to the boulevard, are three stainless-steel tables, one crowded with six stools. On a busy Saturday morning, you might need to introduce yourself to the couple sitting there. Simple meals based on quick preparation from first-class ingredients and those finely crafted breads are the program here. It doesn’t get any simpler than the breakfast basket: two wedges each of toasted farm bread and pecan-raisin bread with butter and strawberry jam. The farm bread is the bakery’s workhorse sourdough, and it’s the perfect canvas — light, airy, and hardly sour at all — on which to smear butter and jam. The pecan-raisin bread is chewy and dense with exceptionally sweet raisins. Need some protein? Get the scrambled egg tartine. The eggs, from the Flying E Ranch in Estancia, are done just slightly firm and have that buttery flavor of fresh small-producer eggs. They’re laid on a fingerthick slice of farm bread, which is toasted just so and divided into portions that span the plate and are bordered by green and kalamata olives. A few thin curls of orange peel add visual appeal. Simple, yes — but one of the most satisfying breakfasts you’ll have without stuffing yourself. Another tartine, one with smashed avocado and thinly sliced, mildly cured serrano ham, works at either breakfast or lunch. We made a fine midday meal of a spinach and
goat cheese tartine, which came with a flavorful cup of white bean and wilted greens soup with pesto swirled into its broth. Another time we chose a flaky-crusted ham and Gruyère tartine, the firm cheese, still sweet and young, joining nicely with the slightly sweet ham. The panini are models of balance. One consists of thin, lightly grilled bread pressed together with even thinner layers of buttery fontina and ham. If you’re sporting a hearty appetite, you might want to order two of them — or at least get a bag of Miss Vickie’s chips on the side. The premade sandwiches — we enjoyed a meaty turkey for takeout — almost seem freshly made due to the quality of the bread. We were not able to resist the pastries. The croissants are buttery and solid — not as flaky as those you find at the European shops around town but still light and satisfying. An apple tart was dominated by its thick pastry shell. The apples were firm and barely sweetened; they were fine as far as they went, but we wanted more filling. Best was a round of flourless chocolate gingerbread cake, which was heavy on the chocolate and delicious with a cup of fine coffee. Espresso drinks here are not top-notch. An Americano came cool and without crème, much to our disappointment. Service is surprisingly attentive for a busy bake shop. Once you’ve ordered at the counter, your meal is promptly delivered, and your coffee cup is refilled before it’s empty. Don’t go home without that bread — say a loaf of crisp whole wheat, with its malty-flavored crust and fine, flavorful crumb. And be sure you have plenty of butter. ◀
Check, please
Breakfast for two at Sage Bakehouse: Scrambled egg tartine ............................................ $ 6.00 Ham and Gruyère tartine ....................................... $ 5.50 Chocolate gingerbread torte .................................. $ 6.50 Small coffee ........................................................... $ 1.75 Double Americano ................................................. $ 3.75 TOTAL ................................................................... $23.50 (before tax and tip)
Lunch for two, another visit: Ham and fontina panini ......................................... $ 8.00 Spinach and goat cheese tartine ............................ $ 8.00 with a cup of white bean and greens soup Salad ...................................................................... $ 7.00 Miss Vickie’s potato chips ...................................... $ 1.65 Apple tart ............................................................... $ 5.50 TOTAL ................................................................... $30.15 (before tax and tip)
S R A T S H T R N The Santa Fe New Mexican’s tribute to Northern New Mexico’s top high school athletes and the top moments in high school sports for the 2012-2013 school year.
SATURDAY,
JUNE 1
PASATIEMPOMAGAZINE.COM
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pasa week 31 Friday
rouge Cat Female impersonator Bella Gigante, 8:30 p.m., call for cover. second street Brewery Russell Scharf’s Jazz Explosion, 6-9 p.m., no cover. Tiny’s Guitarist Ben Wright, 5:30-8 p.m.; The Jakes, classic rock, 8:30 p.m.-close; no cover. vanessie Pianist/vocalist Doug Montgomery, classics, 6-8 p.m.; pianist Bob Finnie, 8 p.m.close; call for cover.
gallery/museum openings
David richard gallery 544 S. Guadalupe St., 983-9555. Projected, group show of digital video works, reception 5-7 p.m., through June. eight modern 231 Delgado St., 995-0231. Fay Ku: Asa Nisa Masa, works on paper, reception 5-7 p.m., through July 14 (see story, Page 34). independent artists gallery 102 W. San Francisco St., second floor, 983-3376. Watercolors by P.E. Baldwin, through June 27. a sea gallery 407 S. Guadalupe St., 988-9140. Sculpture With a Punch, work by Robert Ensor, reception 5-7 p.m., through July 1. Tai gallery 1601-B Paseo de Peralta, 984-1387. Emerging Bamboo, group show of basketry and sculptural forms, reception 5-7 p.m., through June 21 (see story, Page 40). William siegal gallery 540 S. Guadalupe St., 820-3300. Sutras, new works by Polly Barton and Alison Keogh, reception 5-7 p.m., through July 6. Zane Bennett Contemporary art 435 S. Guadalupe St., 982-8111. Mixografia prints by Mimmo Paladino, reception 5-7 p.m., through June 21.
1 Saturday gallery/museum openings
iconik Café 1600 Lena St., 428-0996. Hi Tea!, group show, reception 4-7 p.m. mark sublette medicine man gallery 602-A Canyon Rd., 820-7451. Squash Blossom Necklaces: A Resurgence of Style, Navajo and Zuni jewelry, circa 1900-1960. pablita velarde museum of indian Women in the arts 213 Cathedral Pl., 988-8900. A Straight Line Curved, paintings by Helen Hardin, through September, by museum admission. William & Joseph gallery 727 Canyon Rd., 982-9404. Counting on the Sun, new paintings by Jeanne Bessette, through June.
ClassiCal musiC
ClassiCal musiC
TgiF recital Flutist Ruth Singer, bass clarinetist Robert Marcus, and pianist David Bolotin; music of Corelli, Loeillet, and Haydn, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated, 982-8544, Ext. 16.
in ConCerT
Timothy Hill Singer/composer, 8 p.m., Gig Performance Space, 1808-H Second St., $15 at the door, gigsantafe.com (see story, Page 14).
THeaTer/DanCe
Invisible: Journeys Through Homelessness and Father: The Monologues StoryHealers International presents original monologues to raise funding for local nonprofits Adelante and Reel Fathers, 7 p.m., Armory for the Arts, 1050 Old Pecos Trail, $20 at the door, 982-7992. Maestro: The Art of Leonard Bernstein Hershey Felder pays tribute to the composer, 7:30 p.m., the Lensic, $20-$50, discounts available, 988-1234, ticketssantafe.org, through Sunday (see Listen Up, page 16).
Books/Talks
anatomy of a symphony Illustrated concert preview by Oliver Prezant, Santa Fe Community Orchestra musical director, 6 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., no charge, sfco.org.
Pasa’s Little Black Book..........57 Exhibitionism...................... 58 At the Galleries.................... 59 Libraries.............................. 59 Museums & Art Spaces........ 59
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PASATIEMPO I May 31- June 6, 2013
compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com
Paintings by Tom Blazier at InArt Gallery, 219 Delgado St.
santa Fe Women’s ensemble Fiesta de Musica, music of Casals and Victoria and international folk songs, 3 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., $25, discounts available, 954-4922.
in ConCerT gene youngblood Secession from the Broadcast: The Internet and the Crisis of Social Control, short film and lecture, 7:30 p.m., Center for Contemporary Arts, 1050 Old Pecos Trail, 982-1338, $5 suggested donation.
ouTDoors
star party Join Peter Lipscomb, New Mexico State Parks interpretive ranger, for telescopic stargazing on the terrace behind Hyde Park Lodge, 740 Hyde Park Rd., $5 per vehicle.
evenTs
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. yappi Hour Bring your small pooches to Zoe & Guido’s Pet Boutique for socializing and refreshments, 5-7 p.m., 607 Cerrillos Rd., 988-2500.
In the Wings....................... 60 Elsewhere............................ 62 People Who Need People..... 63 Under 21............................. 63 Pasa Kids............................ 63
nigHTliFe
(See Page 57 for addresses) Café Café Los Primos Trio, traditional Latin beats, 6-9 p.m., no cover. Counter Culture Saltanah belly dancers, 7-9 p.m., no cover. Cowgirl BBQ Singer/songwriter Jill Cohn, 5-7:30 p.m.; Broomdust Caravan, juke-joint honky-tonky rock, 8:30 p.m.-close; no charge. el Cañon at the Hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. Hotel santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. la Fiesta lounge at la Fonda Country band Sierra, 8-11 p.m., no cover. The mine shaft Tavern Open-mic night, 7 p.m., no cover. pranzo italian grill Pianist David Geist, 6-9 p.m., call for cover.
los pinguos Buenos Aires-based traditional folk-rock band, 7 p.m., outdoors at the Railyard Plaza, 1607 Paseo de Peralta, part of the free summer concert series, heathconcerts.org.
THeaTer/DanCe
Express Yourself National Dance Institute of New Mexico student showcase (ages 8-17), 2 and 7 p.m., The Dance Barns, 1140 Alto St., $11 and $16, 983-7646. Maestro: The Art of Leonard Bernstein Hershey Felder pays tribute to the composer, 7:30 p.m., the Lensic, $20-$50, discounts available, ticketssantafe.org, 988-1234, concludes Sunday (see Listen Up, page 16).
Books/Talks
gateway to romanticism: rossini’s La Donna del Lago Oliver Prezant, Santa Fe Community Orchestra’s music director, gives a talk on the Santa Fe Opera production, 10 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.
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.
Lynn C. Miller and Lisa Lenard-Cook The co-authors read from and sign copies of Find Your Story, Write Your Memoir, 2 p.m., Garcia Street Books, 376 Garcia St., 986-0151. Rima Miller The author reads from and signs copies of her children’s book With One Kiss/Con Un Beso, 3-5 p.m., Sweetwater Harvest Kitchen, 1512-B Pacheco St., 795-7383.
outdooRs
Cougar smart Phil Carter shares tips for safely enjoying New Mexico’s outdoors, 5 p.m., Cerrillos Hills State Park Visitor Center, 37 Main St., Cerrillos, 474-0196. Fort union National Monument Hike Meet at 8:15 a.m. at the Cornerstones office, 227 Otero St., no charge, call 982-9521 for registration.
eveNts
Pueblo of tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through the year. santa Fe Artists Market 8 a.m.-1 p.m. Saturdays at the Railyard Park across from the Farmers Market through November, 310-1555. santa Fe Farmers Market 7 a.m.-noon, 1607 Paseo de Peralta, 983-4098. the santa Fe Flea at the downs 8 a.m.-3 p.m. Saturdays and Sundays through September, south of Santa Fe at NM 599 and the Interstate 25 Frontage Rd., 982-2671, santafetraditionalflea.com.
d Wine Bar 315 Restaurant an 986-9190 il, 315 Old Santa Fe Tra nch Resort & spa Ra e dg Lo ’s op Bish Rd., 983-6377 1297 Bishops Lodge Café Café 6-1391 500 Sandoval St., 46 ó ay Casa Chim 8-0391 409 W. Water St., 42 ón es M ¡Chispa! at el 983-6756 e., Av ton ing ash 213 W hside ut Cleopatra Café so 4-5644 47 ., Dr o an 3482 Zafar Counter Culture 5 930 Baca St., 995-110 Cowgirl BBQ , 982-2565 319 S. Guadalupe St. Café te yo the den at Co 615 3-1 98 , St. r ate W . W 132 the Pink at the dragon Room a Fe Trail, nt Sa d Ol 6 40 Adobe 983-7712 lton el Cañon at the Hi 811 8-2 98 , St. al ov nd Sa 0 10 spa eldorado Hotel & St., 988-4455 o isc nc Fra n Sa . 309 W el Farol 3-9912 808 Canyon Rd., 98
santa Fe opera Insider days Opera Guild members offer insights into productions and behind-the-scenes processes, Saturdays through Aug. 24; call 986-5900, visit santafeopera.org for complete schedule of community events. spring Festival & Children’s Fair Hands-on children’s activities; sheepshearing and bread-baking demonstrations, 10 a.m., continues Sunday, El Rancho de las Golondrinas, 334 Los Pinos Rd., $8; seniors and teens $5; ages 12 and under no charge, 471-2261.
second street Brewery Alto Street Band, irreverent bluegrass, 6-9 p.m., no cover. second street Brewery at the Railyard Catahoula Curse, Southern gothic, 5-7 p.m., no cover. sweetwater Harvest Kitchen Hawaiian slack-key guitarist John Serkin, 6 p.m., no cover. vanessie Pianist Doug Montgomery, classics, 6-8 p.m.; Stu MacAskie, jazz and the American Songbook, 8 p.m.-close; call for cover.
NIgHtLIFe
2 Sunday
(See addresses below) Café Café Los Primos Trio, traditional Latin songs, 6-9 p.m., no cover. Cowgirl BBQ 20th birthday celebration with Broomdust Caravan, The Bus Tapes, and The Sean Healen Band, noon-close, no cover, 10 percent of receipts benefit Oklahoma tornado victims. 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 Country band Sierra, 8-11 p.m., no cover. the Mine shaft tavern Appalachian-inspired string band Hot Honey, 3-7 p.m. on the deck; Paw & The Clinkers, alt. bluegrass, 7 p.m.-close; no cover. Pranzo Italian grill Pianist David Geist, 6-9 p.m., call for cover.
Pasa’s little black book ill el Paseo Bar & gr 848 2-2 99 , St. teo 208 Galis evangelo’s o St., 982-9014 200 W. San Francisc Hotel santa Fe ta, 982-1200 1501 Paseo de Peral La Boca 2-3433 72 W. Marcy St., 98 ina La Casa sena Cant 8-9232 98 e., Av e lac 125 E. Pa at La Fonda La Fiesta Lounge , 982-5511 St. o isc nc 100 E. San Fra a Fe Resort nt sa de La Posada e Ave., 986-0000 lac Pa and spa 330 E. g Arts Center Lensic Performin St., 988-1234 o 211 W. San Francisc sports Bar & grill the Locker Room 3-5259 47 2841 Cerrillos Rd., the Lodge at ge un Lo e Lodg St. Francis Dr., N. 0 75 at santa Fe 992-5800 the Matador o St., 984-5050 116 W. San Francisc vern the Mine shaft ta 473-0743 d, dri Ma , 14 2846 NM Museum Hill Café lner Plaza, 984-8900 710 Camino Lejo, Mi
Talking Heads
CLAssICAL MusIC
santa Fe Community orchestra Season finale features music of Brahms, Grieg, and Rimsky-Korsakov, 2:30 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., donations appreciated, 466-4879 or sfco.org. santa Fe Women’s ensemble Fiesta de Musica, music of Casals and Victoria and international folk songs, 3 p.m. Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $25, discounts available, 954-4922.
tHeAteR/dANCe
Maestro: The Art of Leonard Bernstein Hershey Felder pays tribute to the composer, 2 p.m., the Lensic, $20-$50, ticketssantafe.org, 988-1234 (see Listen Up, page 16). Summer Daze National Dance Institute of New Mexico student showcase (ages 5-12), 2 and 4 p.m., The Dance Barns, 1140 Alto St., $11 and $16, 983-7646.
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 second street Brewer y at the Railyard 1607 Paseo de Peralta, 989-3278 secreto Lounge at Hotel st. Francis 210 Don Gaspar Ave., 983-5700
Find Your story, Write Your Memoir Co-authors Lynn C. Miller and Lisa Lenard-Cook read from and sign copies of their guide to weaving stories from personal experiences at 2 p.m. Saturday, June 1, Garcia Street Books, 376 Garcia St., 986-0151.
BooKs/tALKs
Nancy udell The host and producer of KSFR Radio’s Santa Fe Stories discusses her podcast, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.
pasa week
continued on Page 61
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 tortilla Flats 3139 Cerrillos Rd., 471-8685 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
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exhibitionism
A peek at what’s showing around town
mimmo Paladino: California Suite 7, AP 4/10 (50 + 10 AP), 2004, mixografia on handmade paper. Zane Bennett Contemporary Art (435 S. Guadalupe St.) presents an exhibition of Mixografia prints by Italian artist Mimmo Paladino. The artist’s prints reference signs and symbols as well as historical objects drawn from Roman and Italian history. In the late 1960s, artists in Mexico City developed the Mixografia process as an alternative to lithography and other printing techniques. The process, which uses handmade paper, allows for greater volume and texture in a print. The reception is Friday, May 31, at 5 p.m. Call 982-8111.
max Almy & teri Yarbrow: Portal 3, 2013, patinated copper, digital waterjet cut, LCD, and projection. David Richard Gallery presents Projected, an exhibition of digital and video work by Susan Herdman, Matthew Kluber, and collaborators Max Almy and Teri Yarbrow. The exhibition is held in conjunction with Currents 2013, the Santa Fe International New Media Festival (June 14 through 30; various venues). The reception for Projected is Friday, May 31, at 5 p.m. The gallery is at 544 S. Guadalupe St. Call 983-9555.
© Wendy McEahern
Polly barton: The Evening’s Burnished Countenance, 2013, silk, metallic thread, pigment, and soy. In the Hindu and Buddhist traditions, a sutra is an aphorism, but the word also means “thread” or “string” in Sanskrit. In the exhibition Sutras, Polly Barton and Alison Keogh apply concepts related to sutras to their art. Keogh presents a series of sumi ink drawings made by coordinating her brushstrokes with rhythmic breathing and positive thoughts, and Barton applies natural dyes to fine threads to create woven paintings. The show is at William Siegal Gallery (540 S. Guadalupe St.) and opens with a 5 p.m. reception on Friday, May 31. Call 820-3300. 58
PASATIEMPO I May 31- June 6, 2013
Jeanne bessette: Counting on the Sun, 2012, acrylic on canvas. Counting on the Sun, an exhibition of paintings by Jeanne Bessette, opens at William & Joseph Gallery (727 Canyon Road) on Saturday, June 1. Bessette’s paintings often combine colorful abstract and figurative imagery with text to convey thoughts and messages. “I never start a painting without having an intention in mind or a message to communicate,” she writes, “even if it’s just a word that motivates me to move the brush and push color around.” The gallery hosts a reception on June 7 at 5 p.m. Call 982-9404.
melanie Yazzie: Blue Corn Girl, 2011, monotype. Melanie Yazzie: An International Voice is on view at Tesuque’s Glenn Green Galleries (136 Tesuque Village Road; 820-0008) through July 20. The exhibition includes Yazzie’s sculptures and works on paper. She often collaborates with indigenous artists from other parts of the world, including New Zealand, Siberia, and Australia. She is one of several Native women artists represented in Stands With a Fist, currently on exhibit at the Museum of Contemporary Native Arts (108 Cathedral Place).
At the GAlleries Axle Contemporary 670-7612 or 670-5854. Splinter Group, sculpture by Debby Young, look for the mobile gallery’s van at Railyard Plaza, 1607 Paseo de Peralta, visit axleart.com for van locations through Sunday, June 2. Chiaroscuro Contemporary Art 702½ and 708 Canyon Rd., 992-0711. Spatial Order, paintings and wall installations by Bebe Krimmer; Daniel Brice’s Works on Paper, through Saturday, June 1. Commissioner’s Gallery — New Mexico State Land Office 310 Old Santa Fe Trail, 827-5762. Gus Pacheco’s photographic exhibit of New Mexico wildflowers, through Friday, May 31. Evoke Contemporary 130-F Lincoln Ave., 995-9902. Figurative paintings by Sean Cheetham and Lee Price, through Friday, May 31. InArt Gallery 219 Delgado St., 983-6537. Spirit of Place, new landscapes by Tom Blazier. Lannan Gallery 313 Read St., 954-5149. Again: Repetition, Obsession and Meditation in the Lannan Collection, through June 16. LewAllen Galleries Downtown 125 W. Palace Ave., 988-8997. Line, Form, and Color: Harmonic Convergence, encaustic paintings by Brad Ellis, through Saturday, June 2. Nüart Gallery 670 Canyon Rd., 988-3888. In a Broken Tongue, paintings by Cecil Touchon, through June 9. Sugarman-Peterson Gallery 130 W. Palace Ave., 982-0340. New paintings by Forrest Solis, through June 20. Waxlander Gallery 622 Canyon Rd., 984-2202. Dynamic Color: The Freedom of Expression, new works by Patrick Matthews and Tracee Gentry-Matthews, through Sunday, June 3.
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. Balancing Signal to Noise, works by Zoe Blackwell, Brandon Soder, and Betsy Emil, Spector Ripps Project Space; Muñoz Waxman front and main galleries: Vector Field, installation by Conor Peterson; The Curve, works by CENTER’s competitionwinning photographers David Favrod and Ignacio Evangelista; through July 7. Gallery hours available online at ccasantafe.org or by phone, no charge. El Rancho de las Golondrinas 334 Los Pinos Rd., 471-2261. Living museum and historic paraje (stopping place) on El Camino Real, the Royal Road to Mexico City. Open 10 a.m.-4 p.m. Wednesday-Sunday through September. $8; seniors and teens $5; ages 12 and under no charge. Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land, through Sept. 8. 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., 983-1666. Facing the Camera: The Santa Fe Suite, photographic portraiture by Rosalie Favell • Stands With a Fist: Contemporary Native Women Artists • For Instance, Look at the Land Beneath Your Feet, video installation by Kade L. Twist • Apache Chronicle, Nanna Dalunde’s experimental documentary on the artist collective Apache Skateboards; through July. 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
Jack and Lois at Canjilon Ranch by edward h. Kemp, from Cowboys Real and Imagined at New Mexico history Museum
Southwestern Native American traditions. Let’s Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month. Open 10 a.m.-5 p.m. TuesdaySunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents no charge on Sundays; free to NM residents over 60 on Wednesdays. Museum of International Folk Art 706 Camino Lejo, Museum Hill, 476-1200. Plain Geometry: Amish Quilts, textiles from the museum’s collection and collectors, through Sept. 2 • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, international collection of toys and traditional folk art. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; no charge for NM residents on Sundays. Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 982-2226. • Stations of the Cross, group show of works by New Mexico artists, through Sept. 2 • 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 free on Sundays. Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Pl., 988-8900. A Straight Line Curved, paintings by Helen Hardin, opening Saturday, June 1, through September. Open noon-4 p.m. FridaySunday. $10 admission. 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. 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. 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
Music on the Hill 2013 St. John’s College’s free outdoor summer concert series opens with Santa Fe jazz vocalist Faith Amour, 6 p.m. Wednesday, June 12, outdoors at the college’s athletic field, 1160 Camino de Cruz Blanca; other performances include 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; visit stjohnscollege.edu for schedule. 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. Sandra Wong, Dominick Leslie, and Ty Burhoe Percussion, nyckelharpa/fiddle, and mandolin trio, 8 p.m. Saturday, June 15, Gig Performance Space, 1808-H Second St., $15 at the door, gigsantafe.com. The Flatlanders Texas country trio, acoustic set 7:30 p.m. Wednesday, June 19, Santa Fe Sol Stage & Grill, 37 Fire Pl., $34, 988-1234, ticketssantafe.org. Santa Fe Bandstand Outside In Productions and the City of Santa Fe present the 11th annual free performance series featuring national and local performers on the Plaza community stage, weekly from June 21 through Aug. 23. Line-up includes Eliza Gilkyson, A Hawk & A Hawksaw, and Max Baca y Los Texmaniacs. Schedule and updates available online at santafebandstand.org. From Darkness to Light: A Kurt Weill Tribute Broadway tunes performed by singer Robert Sinn and pianist David Geist, 7:30 p.m. Sunday, June 23, dessert reception follows, doors open at 7 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20 in advance and at the door, santafehadassah.org. Arlen Asher Santa Fe’s woodwind master is joined by Michael Anthony on guitar, Michael Olivola on bass, and John Trentacosta on drums in KSFR Radio’s concert series, 7 p.m. Thursday, June 27, Museum Hill Café, 710 Camino Lejo, $20, 428-1527. Patty Griffin Singer/songwriter, 7:30p.m. Friday, June 28, Max Gomez opens, Greer Garson Theatre, SFUAD, 1600 St. Michael’s Dr., $46-$62, ticketssantafe.org, 988-1234. The Howlin’ Brothers Nashville-based bluegrass band, 7:30 p.m. Friday, June 28, Gig Performance Space, 1808-H Second St., $15 in advance at brownpapertickets.com, $18 at the door, gigsantafe.com. 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, Christine Brewer in recital, Sunday, Aug. 4; call 986-5900 or visit santafeopera.org for tickets and details on all SFO events. 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. Son Volt Alt-country band, 7:30 p.m. Friday, July 12, Santa Fe Sol Stage & Grill, 37 Fire Pl., $23, 988-1234, ticketssantafe.org. Santa Fe Chamber Music Festival The 41st season ( July 14-Aug. 19) performers include pianists Inon Barnatan and Jeremy Denk, violinists Ida Kavafian and L.P. How, and the Orion and Shanghai String Quartets, for advance tickets call 982-1890, for more information visit santafechambermusic.com. Runa Celtic-roots ensemble, 8 p.m. Saturday, July 27, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com.
THEATER/DANCE
Lady Blue’s Dreams Puppet’s Revenge presents its adaptation of the story of a New Mexico nun, Sor María de Jesús de Ágreda, 7:30 p.m. Friday and Saturday, June 7-8, Teatro Paraguas Studio, 3205 Calle Marie, $15 suggested donation benefits the Solace Crisis Treatment Center’s Women’s Jewelry Collective, seniors and students $12, 424-1601.
Upcoming events 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. Miss Jairus, A Mystery in Four Tableaux Theaterwork presents Michel de Ghelderode’s play, 7:30 p.m. Thursday-Saturday, 2 p.m. Sunday, June 14-23, James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., 471-1799, mail@theaterwork.com. 2013 BUST Circus arts and puppetry troupe Wise Fool New Mexico spotlights its circus-camp participants, 7 p.m. Friday, 2 and 7 p.m. Saturday, June 28-29, 2778-D Agua Fría St., $10-$15 sliding scale, kids 12 and under $5, 992-2588. Deadwood Duet and Love’s Lonely Highway Southwest Rural Theatre Project presents two one-act plays by Brad Gromelski and New Mexico playwright Patricia Crespin’s drama respectively, Deadwood Duet Friday-Sunday, June 28-30; Love’s Lonely Highway Friday-Sunday, July 5-7; Teatro Paraguas Studio, 3205 Calle Marie, $12, discounts available, 424-1601, teatroparaguas.org.
HAPPENINGS
Black & White Party Second annual dance party and silent auction in support of the Santa Fe Mountain Center’s bullying prevention programs, 7 p.m. Friday, June 7, La Posada de Santa Fe Resort & Spa, 330 E. Palace Ave., call 983-6158 for details. Santa Fe Opera benefit Paul Horpedahl, SFO production director, discusses the opera’s season, and former SFO apprentice Carlos Archuleta performs, 4-7 p.m. Saturday, June 8, Misión Museum y Convento, 706 Bond St., Española, contact Gretchen Yost for details, 505-753-8456. SITE Santa Fe events The experimental exhibit series SITElab, presented primarily in the lobby gallery space,
singer/songwriter patty griffin on stage June 28 at greer garson theatre, sFUAD campus
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PASATIEMPO I May 31- June 6, 2013
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 and Jaune Quick-to-See Smith July 16, visit sitesantafe.org for updates. Santa Fe International New Media Festival CURRENTS 2013 features works by international and local artists; exhibits; outdoor video projections, digital dome screenings; panel discussions; and workshops; openingnight receptions and performances Friday, June 14, at Zane Bennett Contemporary Art, David Richard Gallery, El Museo Cultural de Santa Fe, and the Railyard Plaza; festival runs through Sunday, June 30, at various venues, visit currentsnewmedia.org for details. 64th Annual Santa Fe Rodeo Downtown rodeo parade 10 a.m. Saturday, June 15; rodeo 6:30 p.m. Wednesday-Saturday, June 19-22, $10-$37; Chicks ’n’ Chaps, rodeo clinic for women in support of Breast Wishes Fund, 1 p.m. Friday, June 21, $65 early bird tickets; Santa Fe Rodeo Grounds, ticketssantafe.org, 988-1234. 16th Annual Santa Fe Greek Festival Á la carte menu by Santa Fe chefs; music by The Aegean Sounds; folk dances; and an import market; 11 a.m.-9 p.m. Friday and Saturday, June 21-22, Santa Fe Community Convention Center, $3, ages 12 and under no charge, visit santafegreekfestival.com or call 577-4742 for more information. Santa Fe Opera Ranch Tours Extended tours of the grounds with a meetthe-artist component, last Friday of June, July, and August, tour $12, added backstage tour $20, call 986-5900, visit santfeopera.org for a schedule of other community events. 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. ART Santa Fe 2013 Contemporary art expo; vernissage Thursday, July 11, $100; expo Friday-Sunday, July 12-14, $10; Santa Fe Community Convention Center; keynote speaker Robert Wittman, former special agent and founder of the FBI’s art crime team, Saturday, July 13, New Mexico History Museum, 113 Lincoln Ave., $15; ticketssantafe.org, 988-1234. Museum Hill Garden grand opening Santa Fe Botanical Garden hosts a gala with live music, tapas, and tours of the newly planted Meadow Garden, 6-8 p.m. Friday, July 19, $125 in advance, santafebotanicalgarden.org. Behind Adobe Walls House and Garden Tour Santa Fe Garden Club’s annual guided tour of local private residences; noon-5 p.m. Tuesday, July 23 and 30, tour $75, optional pre-tour luncheon $20, call Terry at Westwind Travel, 984-0022 or visit thesantafegardenclub.org for information and reservations.
pasa week
from Page 57
2 Sunday (continued) Robert Covelli The novelist reads from Black Sheep, 3 p.m., Teatro Paraguas Studio, 3205 Calle Marie, no charge, 424-1601.
events
Railyard Artisans Market Live music: multi-instrumentalist Gerry Carthy 10 a.m.-1 p.m.; guitarist Carlos Aguirre 1-4 p.m.; Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, artmarketsantafe.com, 983-4098, market 10 a.m.-4 p.m. santa Fe Botanical Garden tours 2013 1 p.m. self-guided tour of private gardens near Museum Hill (second tour of the Tano Rd. area Sunday, June 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, ticketssantafe.org, 988-1234, call 471-9103 for more information. the santa Fe Flea at the Downs 8 a.m.-3 p.m. Saturdays and Sundays through September, south of Santa Fe at NM 599 and the Interstate 25 Frontage Rd., 982-2671, santafetraditionalflea.com. savor the Flavor Food booths, cooking demonstration with chef Rocky Durham, and book fair, 10 a.m.-5 p.m., presented by the nonprofit organization Delicious New Mexico and the Museum of International Folk Art in conjunction with the exhibit New World Cuisine: The Histories of Chocolate, Mate y Más; Museum of International Folk Art, 706 Camino Lejo, Museum Hill, by museum admission; beer and wine tastings $20, call 476-1200 or deliciousnm.com for more information. spring Festival & Children’s Fair Hands-on children’s activities, sheepshearing and bread-baking demonstrations, 10 a.m., El Rancho de las Golondrinas, 334 Los Pinos Rd., $8; seniors and teens $5; ages 12 and under no charge, 471-2261.
nIGhtlIFe
(See Page 57 for addresses) Café Café Guitarist Michael Tait Tafoya, 6-9 p.m., no cover. Cowgirl BBQ Joe West and Friends, eclectic folk-rock, noon3 p.m.; Third Seven, one-man band, 6-7:30 p.m.; Russell Scharf’s Jazz Explosion, 8 p.m.; no cover. the Den at Coyote Café Speakeasy Sunday with Santa Fe singer Faith Amour, 5:30-8 p.m., call for cover. el Farol Nacha Mendez, pan-Latin chanteuse, 7 p.m., no cover. la Fiesta lounge at la Fonda Old movie night, 6-10 p.m., no cover. la Posada de santa Fe Resort and spa Wily Jim, Western swingabilly, 6-9 p.m., no cover. the Mine shaft tavern Blues band The Barbwires, 3-7 p.m., no cover. second street Brewery at the Railyard The Bill Hearne Trio, classic country, 1-4 p.m., no cover. Upper Crust Pizza Americana singer/songwriter Ray Matthew, 6-9 p.m., no cover. vanessie Pianist/vocalist Doug Montgomery, classics, 7 p.m.-close, call for cover.
3 Monday Books/tAlks
Breakfast With o’keeffe Honoring Georgia O’Keeffe’s Garden, gallery talk with Linda Milbourn of Santa Fe Botanical Garden, 8:30 a.m., Georgia O’Keeffe Museum, 217 Johnson St., by museum admission, 946-1039. Martha Russo The sculptor discusses her exhibit Cavities and Clumps: The Psychology and Physicality of Contested Space, 6 p.m., Santa Fe Art Institute, SFUAD, 1600 St. Michael’s Dr., $10, discounts available, 424-5050 (see story, Page 42). Mysteries & Mysticism in the Arabian Desert: A Journey From the Mountain of Moses to the Mountain of Mercy A Southwest Seminars’ lecture with Majeed Khan, professor/advisor, Saudi Arabia Department of Antiquities, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775.
events
santa Fe opera Backstage tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900, weekdays beginning today, through Aug. 13.
nIGhtlIFe
(See Page 57 for addresses) Cowgirl BBQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover. la Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Agüeybaná, salsa, 7:30-11 p.m., no cover. vanessie Pianist/vocalist Doug Montgomery, classics, 7 p.m.-close, call for cover.
4 Tuesday GAlleRy/MUseUM oPenInGs
santa Fe Art Institute SFUAD, 1600 St. Michael’s Dr., 424-5050. Cavities and Clumps: The Psychology and Physicality of Contested Space, site-specific installations by Martha Russo (see story, Page 42); plus, collaborative pieces with Katie Caron, Elizabeth Faulhaber, and Roberta Faulhaber, through July 12.
Books/tAlks
Craig Johnson The novelist reads from and signs copies of A Serpent’s Tooth: A Walt Longmire Mystery, 6 p.m., Collected Works Bookstore, 202 Galisteo St. 988-4226 (see Subtexts, Page 12). santa Fe Institute Community lecture The series continues with The Brain and the Law: How Neuroscience Will Shift Blameworthiness, with David Eagleman, 7:30 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., no charge, 984-8800.
events
santa Fe Farmers Market 7 a.m.-noon, 1607 Paseo de Peralta, 983-4098. santa Fe opera Backstage tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900, weekdays through Aug. 13.
Sam Scott’s Autumn, Plentiful With Gifts, 1997, at Yares Art Projects, 123 Grant Ave.
nIGhtlIFe
(See Page 57 for addresses) ¡Chispa! at el Mesón Argentine Tango Milonga, 7:30-11 p.m., call for cover. Cowgirl BBQ Indie pop-rock duo Sirsy, 8 p.m.-close, 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 Agüeybaná, salsa, 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 Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; pianist David Geist, 8 p.m.-close, no cover.
5 Wednesday GAlleRy/MUseUM oPenInGs
Photo-eye Gallery 376-A Garcia St., 988-5152. Golden Eagle Nomads, photographs by John Delaney; Means of Reproduction, Svjetlana Tepavcevic’s plant seed studies; through July 12, reception 5-7 p.m., artist talk 6 p.m.
Books/tAlks
olin Dodson The Santa Fe author discusses Melissa’s Gift, 7 p.m., Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona St., 982-9674.
A view on video: Peter sarkisian New Mexico Museum of Art’s weekly docent talks continue with a discussion of Sarkisian’s mixed-media installations, 12:15 p.m., 107 W. Palace Ave., by museum admission, 476-5075.
events
santa Fe Council on International Relations event Buffet dinner followed by a screening and post-film discussion of the drama The Sea Inside, cash bar 5 p.m., dinner 5:30 p.m., La Plancha at La Tienda, 7 Caliente Rd., Eldorado, $35 buffet and film, $15 film only, advance tickets only, 982-4931, sfcir.org. santa Fe opera Backstage tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900, weekdays through Aug. 13.
nIGhtlIFe
(See Page 57 for addresses) Cowgirl BBQ R & B guitarist Terry Diers, 8 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 The Bill Hearne Trio, classic country, 7:30-11 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.-close, no cover. vanessie Bob Finnie, pop standards piano and vocals, 7 p.m.-close, no cover. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM
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6 Thursday
cErrillos
encaustic art institute 18 County Rd. 55-A (General Goodwin Rd.), north of the village of Cerrillos, 424-6487. Wax With Dimension, national group show of mixed media, through June 16.
gallery/museum openings
santa Fe Clay 545 Camino de la Familia, 984-1122. Works by potters Adam Field, Ben Krupka, and Lorna Meaden, reception 5-7 p.m., through July 20.
chimAyó
Chimayó museum 13 Plaza de Cerro, 505-351-0950. Chimayósos: Portrait of a Community, photographs by Don Usner, through July. Open 11 a.m.-4 p.m. Wednesday-Saturday, through October, donations welcome.
in ConCert
Cheryl Wheeler New England songwriter, 7:30 p.m., Music Room, Garrett’s Desert Inn, 311 Old Santa Fe Trail, 982-1851, $25 in advance at southwestrootsmusic.org, $28 at the door.
los AlAmos
books/talks
gallery panel discussion Santa Fe Arts Commission’s series of events continues with a discussion of historical and contemporary artists with Kathryn M. Davis, Carolyn Kastner, and Victoria Rowe, 6 p.m., in conjunction with the group show Cumulous Skies: The Enduring Modernist Aesthetic in New Mexico, Santa Fe Community Gallery, Santa Fe Community Convention Center, 201 W. Marcy St., no charge, 955-6705.
museums/art spaces
bradbury science museum 15th and Central Avenues, 667-4444. Open 10 a.m.-5 p.m. Tuesday-Saturday, 1-5 p.m. Sunday-Monday; no charge. pajarito environmental education Center 3540 Orange St., 662-0460. 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.
events
santa Fe opera backstage tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900, weekdays through Aug. 13.
events/performances
gordon’s summer concerts The weekly series of free concerts continues with Buenos Aires-based traditional folk-rock band Los Pinguos, 7 p.m. Friday, May 31, Ashley Pond, 2132 Central Ave., full schedule available online at gordonssummerconcerts.com.
nightliFe
(See Page 57 for addresses) Cleopatra Café southside Flash mob belly dancing with the Saltanah Dancers, 7-9 p.m., no cover, bring your hip scarves and join in. Cowgirl bbQ Santa Fe guitarist Anthony Leon’s Honky-Tonk 101 session, 8 p.m., no cover. la boca 2013 New Mexico Music Awards winner Nacha Mendez, pan-Latin chanteuse, 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 The Bill Hearne Trio, classic country, 7:30-11 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. second street brewery Joe West Trio, theatrical folk, 5-8 p.m., no cover. steaksmith at el gancho Mariachi Sonidos del Monte, 6:30 p.m., no cover. vanessie Bob Finnie, pop standards piano and vocals, 7 p.m.-close, no cover.
▶ Elsewhere Abiquiú
abiquiú Chamber music series The sixth season opens June 9 with violinist Carmelo de los Santos and pianist Rúbia Santos and continues through September, visit abiquiumusic.com for tickets, directions, and concert schedule, 505-685-0076.
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PASATIEMPO I May 31- June 6, 2013
Collected Works Bookstore shows work by tapestry artist Bengt Erikson, 202 Galisteo St.
abiquiú inn lecture Series opener Two Seasons: The Black Place by Walter W. Nelson, 7 p.m. Thursday, June 6, 21120 NM 84, 505-685-4378 for reservations, no charge.
AlbuquErquE museums/art spaces
516 arts 516 Central Ave. S.W., 505-242-1445. Flatlanders & Surface Dwellers, international multimedia show, through Saturday, June 1. harwood art Center 1114 Seventh St. N.W., 505-242-6367. Original home of the Harwood Girls School (19251976). 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 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. indian pueblo Cultural Center 240112th St. N.W., 866-855-7902. Challenging the Notion of Mapping, Zuni map-art paintings, through August. Open 9 a.m.-5 p.m. daily; adults $6; NM residents $4; seniors $5.50. richard levy gallery 514 Central Ave. S.W., 505-766-9888. Color Matter, abstracts by Xuan Chen; new paintings by Charles Fresquez; through Friday, May 31. unm art museum Center for the Arts Building, 505-277-4001. Open 10 a.m.-4 p.m. Tuesday-Saturday; $5 suggested donation.
events/performance
albuquerque Folk Fest Performances by Timothy Hill, Cathy Faber’s Swingin’ Country Band, and others; FolkMADS contra dance with the Albuquerque Megaband; Friday-Sunday, May 31-June 2, Albuquerque International Balloon Museum, 9201 Balloon Museum Dr. N.E., abqfolkfest.org for tickets and schedule. the sound of stan getz Santa Fe musicians Dave Anderson on saxophone, Bert Dalton on keyboard, Asher Barreras on bass, and Cal Haines on drums, 3-5 p.m. Sunday, June 2, The Bosque Center, 6400 Coors Blvd. N.W., $23, brownpapertickets.com, $25 at the door. sunday Chatter David Felberg, Megan Holland, and Kim Fredenburgh perform Beethoven’s Quartet No. 15, Opus 132, 10:30 a.m. Sunday, June 2; plus, a poetry reading by Michelle Otero, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, chatterchamber.org. Chatter Cabaret The ensemble performs music of Schubert, Debussy, and Saariaho, 5 p.m. Sunday, June 2, Casablanca Room, Hotel Andaluz, 125 Second St. N.W., $20 in advance at brownpapertickets.com, chatterchamber.org. Film & media Festival Movies, student-created digital media, art exhibits, Robert Redford in conversation, and previews of work by Israeli and British filmmakers; Monday-Sunday, June 3-9, Nob Hill District; visit abqfilmexperience.com for schedule of events and ticket information. David Francey Canadian folk singer/songwriter, 7:30 p.m., Tuesday, June 4, Outpost Performance Space, 210 Yale Blvd. S.E., $15 in advance or $18 at the door, 505-268-0044.
mAdrid museums/art spaces
Johnsons of madrid 2843 NM 14, 471-1054. 100 Gallery Artists’ Group Show, multimedia work by Madrid residents, reception 3-5 p.m. Saturday, June 1, through June. madrid old Coal town mine museum 2846 NM 14, 438-3780 or 473-0743. 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. metallo gallery 2863 NM 14, 471-2457. In Microscale, group show of miniatures, through Friday, May 31. tapestry gallery 4 Firehouse Ln., 471-0194. Reductive Architectonics — Plus Additions, new tapestries by Donna Loraine Contractor, through June 20.
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), 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. grand bohemian gallery at el monte sagrado living resort and spa 317 Kit Carson Rd., 575-737-9840. Trucks in Their Natural Habitat, paintings by Elizabeth Jose.
Harwood Museum of Art 238 Ledoux St., 575-758-9826. The Taos art colony is celebrated with four exhibits, Woody Crumbo: The Third Chapter; Jim Wagner: Trudy’s House; R.C. Gorman: The Early Years; and Fritz Scholder: The Third Chapter; through Sept. 8. 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. La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. Open 10 a.m.-5 p.m. Monday-Saturday, noon-5 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge. Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. Retrospective, Altar Screens and Retablos: Catherine Robles Shaw & Family, through July 7. 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. Ribak/Mandelman House 209 Ribak Ln., 575-751-0310. Reckoning With Modernism, works by Santa Fe painter Shelley Horton-Trippe and Taos textile artist Terrie Hancock Mangat, through the summer. 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. Taos Artist Collective 106 Paseo del Pueblo Norte, 575-751-7122. Oil+Water=Emulsion, group show of works by members of the collective, reception 4-7 p.m. Saturday, June 1, through July 5.
Events/Performances
The Couse Foundation Open House Studio and garden tour of E.I. and Virginia Couse and other Taos Society of Artists work spaces, 5-7 p.m. Saturday, June 1, 146 Kit Carson Rd., no charge, 575-751-0369. Taos Chamber Music Group Celebration & Conversation, music of Mozart and Walton, 5 p.m. Saturday and Sunday, June 1-2, champagne reception celebrating TCMG’s 20th year follows, $20, discounts available, taoschambermusicgroup.org. Mumford & Sons English folk-rock band, Michael Kiwanuka and Mystery Jets open, 7 p.m. Thursday, June 6, Kit Carson Park, $62.15 in advance at ticketmaster.com.
truchas
Cardona-Hine Gallery 82 County Rd. 75, 505-689-2253. Twenty-Five Years Later: A Revolution in Art, works by Barbara McCauley and Alvaro Cardona-Hine. Ghost Pony Gallery 1634 NM 76. 505-689-1704. Cowgirl Returns, new work by Trish Booth, through June.
▶ People who need people Artists
La Cienega/La Cieneguilla Studio Tour Artists interested in participating in the annual tour held Thanksgiving weekend can contact Lee Manning for information, 699-6788, lensandpens@comcast.net.
Bystander (detail) shown, by June Lee, international multimedia show at 516 Arts, closing Saturday, June 1, 516 Central Ave. S.W., Albuquerque
New Mexico furniture craftspersons Santa Fe Arts Commission Community Gallery is planning an exhibit of chairs from June through August 2014; traditional, modern, sculptural, and functional pieces considered; submit portfolio to Rod Lambert, Community Gallery manager, P.O. Box 909, Santa Fe, NM, 87504, 955-6705. Pojoaque River Art Tour Area artists are invited to join the 20th annual studio tour Sept. 21-22; call 455-3496 or visit pojoaqueriverarttour.com for information. 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.
Filmmakers/Performers/Writers
Julesworks Follies The monthly variety show series seeks ideas and behind-the-scenes help; contact Jules, 310-9997, srubinfilms@gmail.com. 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 Saturday, June 1; further guidelines and entry forms available online at wordharvest.com.
Volunteers
Birders Lead ongoing bird-watching walks at Leonora Curtin Wetland Preserve, Ortiz Mountains Educational Preserve, and Santa Fe Botanical Garden at Museum Hill; call 471-9103 or email info@santafebotanicalgarden.org for more information. The Hospice Center Work in the office (computer skills desirable) with the bereavement program and help with flower arrangements and delivery for the Flower Angel program; call Mary Ann at 988-2211. Kitchen Angels Drive vans to deliver food for the homebound two hours a week between 4:30 and 6:30 p.m.; 471-7780, kitchenangels.org. People for Native Ecosystems Pitch in with feeding the prairie dog colonies in Santa Fe two or three hours a week; call Pat Carlton, 988-1596. Pet Project Maintain sales floors, sort donations, and create displays at Santa Fe Animal Shelter and Humane Society’s two retail stores, located at Camino Entrada or W. Cordova Rd.; contact Katherine Rodriguez at 983-4309, Ext. 128, or Anne Greene at 474-6300. 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. Santa Fe Women’s Ensemble Always in need of ushers for concerts; email info@sfwe.org or call 954-4922.
▶ under 21 Animal House DJ sets include Dr. Nocturnal, Smoke Circles, and Mickey Paws, 7 p.m.-close Friday, May 31, Warehouse 21, 1614 Paseo de Peralta, $5 in advance, $10 at the door ($5 if in animal costume), 989-4423.
▶ Pasa Kids Flying Cow Gallery Warehouse 21, 1614 Paseo de Peralta, 989-4423. Dragonfly Art Studio student exhibit (ages 5-13), closing Friday, May 31. Santa Fe Children’s Museum open studio Learn to paint and draw using pastels, acrylics, and ink, noon-3:30 p.m. Fridays, 1050 Old Pecos Trail, 989-8359, visit santafechildrensmuseum.org for weekly scheduled events. Santa Fe High School Demonette Basketball Youth Camp For ages 6 years and up; 9 a.m.-3 p.m. Saturday, June 1, lunch provided, Toby Roybal Gymnasium, 2100 Yucca St., $25, call Elmer Chavez, 467-2412. Rima Miller The author reads from and signs copies of her children’s book With One Kiss/Con Un Beso, 3-5 p.m. Saturday, June 1, Sweetwater Harvest Kitchen, 1512-B Pacheco St., 795-7383. Day Out With Thomas: The Go Go Thomas Tour 2013 Ride the Cumbres & Toltec Scenic Railroad train with Thomas the Tank Engine, star of the Thomas & Friends TV series, and enjoy a day of Thomas-themed activities, Saturday and Sunday, June 15-16, Friday-Sunday, June 21-23, 500 S. Terrace Ave., Chama, call 888-286-2737 for ticket prices and details. Dig Into Reading Santa Fe Public Library 2013 Summer Reading Program, toddlers and children up to age 12, visit santafelibrary.org for registration and events schedule, through July 27. ◀ PASATIEMPOMAGAZINE.COM
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64
PASATIEMPO I May 31 - June 6, 2013
5 I-2
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471-8642