The The New New Mexican’s Mexican’s Weekly Weekly Magazine Magazine of of Arts, Arts, Entertainment Entertainment & & Culture Culture
December 14, 2012
Santa Fe Desert Chorale Winter Festival 2012
Now Taking Holiday Reservations Open Christmas Christmas Eve Eve & & Day Day Open New Year’s Year’s Eve Eve & & Day Day New
CELEBRATE THE HOLIDAYS WITH US!
Inspired Lunch Lunch menu Menu Inspired Starting at at 99 dollars dollars Starting Served Tuesday Tuesday –– Friday Friday Served
Christmas Eve - 4pm–10pm Christmas Day - 3pm–9:30pm New Year’s Eve - 5pm–11pm New Year’s Day - 5pm–10pm RISTRA GIFT CERTIFICATE, THE PERFECT HOLIDAY PRESENT
$4 LUNCH GIFT CERTIFICATE Present certificate Tues. - Sat., 11:30 - 2:30 through January 5 One certificate per person 548 Agua Fria / Santa Fe, New Mexico / 505-982-8608 R i s t r a R e s t a u r a n t . c o m
G I V E G I F TS W I T H A M E A N I N G F U L M E S SAG E YO U A R E L O V E . PA S S I T O N .
231 washington ave. 505
984
1788
Après Ski for Light Fare & Cocktails! appetizers & full menu available at our bar Come on in – we’re on the route to the Ski Basin: Corner of Paseo de Peralta & Bishop Lodge Rd. Next to Wells Fargo BankÖ
Open for Lunch & Dinner Everyday (always a la carte!)
OngoingÖ
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dinner special – 3 courses for $35. – from 5:30 p.m. this week’s lunch special – from 11:30 a.m. ½ Green Chile Meatloaf Sandwich
YA N T R A CO L L EC T I O N
free wi–fi & takeout available
Amy Conway 505≠ 992≠ 1041 ï www.amyconway.com
Our Wines – by – the – Glass from $6.00
for ‘Instant Gift Certificates’ go to: www.santacafe.com Open Christmas Eve & Day / New Year’s Eve & Day
OUR HOLIDAY HOURS ON:
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IN N E R V I SI O N , B A L A N C E, A N D PO I N T S O F L I G HT B A N G L ES
w/ Cup of Sweet Potato – Chipotle Bisque & Small Salad – 10.00
December 14-20, 2012
Desert Son of Santa Fe ï 725 Canyon Rd. Santa Fe, NM 87501
ORIGINS® IS A REGISTERED TRADEMARK USED UNDER LICENSE. ©2012 MARGOLIS, INC
SALE
Gift Certificates Available
rigins Origins Æ
A World of Beauty and Benefit
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DR . M A R K BOT W I N DR . JON ATH A N BOT W I N DR . J E R E M Y BOT W I N
Optometric Physicians
444 St Michaels Drive
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Santa Fe
Desert Chorale Joshua Habermann Music Director
Celebrate Your Holidays with Glorious Music WINTER FESTIVAL DECEMBER 14-31, 2012
Santa Fe Carols and Lullabies Cathedral Basilica of St. Francis Dec 14, 18, 20, 21, 22 8pm
The Big Holiday Sing with the University of New Mexico Concert Choir & the Rio Grande Youth Chorale Cristo Rey Church Dec 15 2pm
The Lighter Side of Christmas Reception, Silent Auction, and Performance of Music from Memorable Christmas Movie Musicals LewAllen Gallery-Downtown Dec 19 5:30pm
A Toast to the New Year Loretto Chapel Dec 28, 29, 30, 31 8pm Church of the Holy Faith Dec 29, 30 4pm Dec 31 6pm
Albuquerque The Big Holiday Sing Immanuel Presbyterian Church Dec 16 4pm
Carols and Lullabies Immanuel Presbyterian Church Dec 23 4pm
S a n t a Fe
DESERT CHORALE Glorious Voices. Timeless Music.
www.desertchorale.org Online tickets: www.ticketssantafe.org Tel 505 988 1234 Winter Festival 2012 is made possible, in part, by the National Endowment for the Arts; New Mexico Arts, a division of the Department of Cultural Affairs; and the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax.
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December 14-20, 2012
in g!
FR pa EE rk 2ho ur
Lift Up Your Hearts
Please join the Monks from the Monastery of Christ in the Desert
Saturday, December 15th 11am - 1pm at
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THE SANTA FE NEW MEXICAN
December 14 - 20, 2012
ON THE COVER 40 Harmony for the holidays Singers from various parts of the U.S. make time apart from teaching positions and commitments with different ensembles to travel to New Mexico and perform with the Santa Fe Desert Chorale. Now in its 30th year, the chorale presents a full slate of holiday-season concerts that begins with a Friday, Dec. 14, concert of wide-ranging repertoire at the Cathedral Basilica of St. Francis of Assisi. Cover photo by Blue Rose Photography; photo illustration by Marcella Sandoval.
BOOKS
MOVING IMAGES
16 In Other Words The $200 Big Mac 54 Edward S. Curtis The vanishing photographer
60 Pasa Pics 64 Holy Motors 66 Hitchcock
MUSIC 20 23 24 28 30 32 34 79
CALENDAR
Magical mystical tour Tibetan music and dance Pasa Reviews Conor McPherson’s The Weir Round Mountain Brothers, where art thou? Pasa Reviews The Romeros Terrell’s Tune-Up Dark folk from Rachel Brooke Onstage This Week Holiday concerts aplenty Pasa Tempos CD Reviews Sound Waves Suzuki methodologists
71 Pasa Week
AND 13 Mixed Media 15 Star Codes 68 Restaurant Review
DEAR ABBEY 38 Downton Abbey Dangerously addictive
ART 44 46 50 51 52
Miguel Arzabe Unidentified orange circles Landfall Press 8 tons of fun Pasa Reviews Siobhan McBride Pasa Reviews Max Cole Ceramic cycle Figurative work at Santa Fe Clay
ADVERTISING: 505-995-3819 santafenewmexican.com Ad deadline 5 p.m. Monday
Pasatiempo is an arts, entertainment & culture magazine published every Friday by The New Mexican. Our offices are at 202 E. Marcy St. Santa Fe, NM 87501. Editorial: 505-986-3019. Fax: 505-820-0803. E-mail: pasa@sfnewmexican.com PASATIEMPO EDITOR — KRISTINA MELCHER 986-3044, kmelcher@sfnewmexican.com ■
Art Director — Marcella Sandoval 986-3025, msandoval@sfnewmexican.com
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Associate Art Director — Lori Johnson 986-3046, ljohnson@sfnewmexican.com
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STAFF WRITERS Michael Abatemarco 986-3048, mabatemarco@sfnewmexican.com Rob DeWalt 986-3039, rdewalt@sfnewmexican.com James M. Keller 986-3079, jkeller@sfnewmexican.com Paul Weideman 986-3043, pweideman@sfnewmexican.com
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CONTRIBUTORS Doug Fairfield, Laurel Gladden, Robert Ker, Bill Kohlhaase, Jennifer Levin, Adele Oliveira, Robert Nott, Jonathan Richards, Heather Roan-Robbins, Casey Sanchez, Michael Wade Simpson, Roger Snodgrass, Steve Terrell, Khristaan Villela
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PRODUCTION Dan Gomez Pre-Press Manager
The Santa Fe New Mexican
© 2012 The Santa Fe New Mexican
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Robin Martin Owner
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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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Christmas Eve Dinner 5:30-10:30pm
Enjoy a special Christmas Eve dinner menu from the Old House Restaurant with entrees that include crab stuffed lobster and pan roasted pheasant. Then head over to Canyon Road and enjoy farolitos and luminarias at Santa Fe's favorite Christmas Eve tradition- the Canyon Road walk.
Christmas Day Brunch 10am-2:30pm
Celebrate the Christmas Day holiday with a decadent buffet perfect for the holiday. Our delicious Christmas Day buffet menu features breakfast selections, glazed pit ham and slow roasted prime rib of beef and a decadent dessert station.
Christmas Day Dinner 3-9pm
Rejoice this Christmas with a dinner fit for the holiday. This special menu from the Old House Restaurant includes entrees such as venison medallions and pan roasted salmon.
New Year’s Eve Dinner 5:30-10:30pm
Greet the New Year with a very special four course menu from the Old House Restaurant with entrĂŠe choice of filet mignon, venison tenderloin or pan roasted scallops. Special wines are perfectly selected to complement every course.
To make reservations please call 505.995.4508. Located at Eldorado Hotel & Spa 309 W. San Francisco Street EldoradoHotel.com
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25% Off All Sleepwear, Robes & Loungewear
Free Parking Thanksgiving weekend in the garage
150 Washington Ave ï 983≠ 9103 Mon. through Sat. 10-5:30, Sun. 12-4 Free Parking on Saturday and Sunday in the Garage
ANTIQUES + INTERIORS ON GRANT
HOLIDAY OPEN HOUSE CHEER AND SEASONAL SALE BEGINS Friday, December 14, 1 ñ 6pm
Abeja ï Buffalo Tracks Gallery ï Claiborne Galleries Coulter≠B rooks Art & Antiques ï House of Ancestors Antiques JP Fabricman ï Kania≠F errin Gallery ï Lana’s House Gloria List ï Objects from Teal McKibbení s Collection Santa Fe Scout Collection/ Dana Waldon ï Sparrow Antiques The Standard Art & Antiques Co. 136 Grant Avenue 8
December 14-20, 2012
983-0075
Free customer parking
Lensic Presents T H E S A N TA F E A S T R O L O G Y C I R C L E
Arielle Guttman, Heather Roan-Robbins & Azlan White
2013:
The world-renowned Chinese acrobats launch their 2013 national tour at The Lensic, with a new production featuring colorful costumes, spectacular sets, and amazing feats that will thrill the entire family.
HEART OF THE
METAMORPHOSIS How Do We Nourish Ourselves amidst Radical Shift Energy?
December 20, 21 & 22
Thursday & Friday 7 pm Saturday 1 pm & 7 pm
$20–$35
Navigating Important Astrological Alignments of 2013
Discounts for Lensic members and students
Tickets: 505-988-1234 www.TicketsSantaFe.org
PERFORMANCES SPONSORED BY
S E R V I C E C H A R G E S A P P LY AT A L L P O I N T S O F P U R C H A S E
t h e l e n s i c i s a n o n p r o f i t, m e m b e r - s u p p o r t e d o r g a n i z at i o n
Working the Uranus-Pluto Square with Help from a Saturn-Neptune Trine
Friday, December 14, 6:45pm The Center for Spiritual Living 505 Camino de los Marquez, Santa Fe Tickets ($18 - 25) on our website or at Ark Books Join us for magic, wisdom and sharing on 2013 in 5 different events, December 12 - 21 Info: TheSantaFeAstrologyCircle.org or 920-0199
PASATIEMPO
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Painting and Drawing Kevin Gorges 9:30 am - 12:30 pm 10 weeks $209.95 Jan. 7 - March 11
Watercolor & Oil Lee Rommel 9:30 am - 12:30 pm 10 weeks $209.95 Jan. 8 - March 12
Portrait
Drawing & Painting
Roberta Remy 9:30 am - 12:30 pm 10 weeks $209.95* Jan. 9 - March 13
Watercolor & Oil
AFTERNOON
EVENING
Figure Drawing
Beginning & Intermediate
Kevin Gorges 1:30 pm - 4:30 pm 10 weeks $209.95* Jan. 7 - March 11
Oil Painting
Watercolor & Oil
Watercolor
Expression Through Watercolor
James Roybal 1:30 pm - 4:30 pm 10 weeks $209.95 Jan. 9 - March 13
Mixed Media Collage
Oil Painting
Intro Figure Painting
Pastel Painting
Watercolor
Richard Guzman 9:30 am - 1:30 pm 8 weeks $209.95 Jan. 12 - March 2
Richard Guzman 6:00 pm - 8:30 pm 10 weeks $209.95 Jan. 7 - March 11
Must have figure experience
Michael McGuire 1:30 pm - 4:30 pm 10 weeks $209.95 Jan. 10 - March 14
Mell Feltman 9:30 am - 12:30 pm 10 weeks $209.95 Jan. 11 - March 15
Drawing
Michael McGuire 1:30 pm - 4:30 pm 10 weeks $209.95 Jan. 8 - March 12
Lee Rommel 9:30 am - 12:30 pm 10 weeks $209.95 Jan. 10 - March 14
FRIDAY
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TUESDAY
! " # ! $ %& & % ' '
8-10 WEEK MORNING CLASSES
Darlene McElroy 1:30 pm - 4:30 pm 10 weeks $209.95 Jan. 11 - March 15
Register NOW for SUMMER ART WORKSHOPS ValdesArtWorkshops.com
Kevin Gorges 6:00 pm - 8:30 pm 10 weeks $209.95* Jan. 8 - March 12
Lee Rommel 6:00 pm - 8:30 pm 10 weeks $209.95 Jan. 9 - March 13
Christy Henspetter 6:00 pm - 9:00 pm 10 weeks $209.95 Jan. 10 - March 14
* + Model Fee All Class Fees + Tax Enroll Early!
10% Student Discount on
Art Supplies
Art Supplies ï Art Classes 1006 Marquez Place ï Santa Fe 87505 (505) 982≠ 0017 valdesartschool@qwestoffice.net
WINTER ART CLASSES 2013
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Building strong relationships in our community In 2012 we donated more than $124,000 and 975 hours to nonpro ts and schools in Santa Fe The opportunity to show our commitment to our communities across Santa Fe means a lot to us. What each of us contributes can, together, make life better for everyone. We are proud to be a part of the Santa Fe community
Back: Habitat for Humanity Executive Director Ted Swisher, Wells Fargo team members Lupe Martinez, Sarah Edwards, Jessie Standridge, Bob Ortega, and Bryon Grant. Front: Wells Fargo team members Taryn Sandford, Robin Edwards, Jamie Standridge, Chris Moreno, and Onyka Villa.
wellsfargo.com © 2012 Wells Fargo Bank, N.A. All rights reserved Member FDIC. (763707_07084)
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December 14-20, 2012
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t o m m e Chef Joseph Wrede of acclaimed restaurant Joseph’s Table now behind the line at Tomme.
Bishop’s Lodge has been celebrating the Holidays with Families for 95 years. We invite you to continue this tradition Back at the Ranch with these festivities:
Now Open For Sunday Dinner
DEC. 20 - Twelve Days of Christmas Celebration, Call for Daily Activities DEC. 31 - Special New Year’s Eve on New York Time • Dinner for Two DEC. 31 - MANZANARES • Santa Fe’s Hottest Latin Band’s CD Release Party
S o m e i t e m s f ro m o u r N e w Ye a r ’s E v e M e n u
EVERYDAY - $34 • Three-Course, New Mexico Resident Dinner Special
Pan Seared Foie Gras on Blini with Quince Gastric Lobster Bisque and American Caviar Local Lamb Shank with Honey Apple Glaze Peppered Elk with Local Mushrooms Duck Cassoulet Italian Meringue Cake Chocolate Bistro Cake with Chantilly Cream
visit bishopslodge.com
Reservations recommended.
229
galisteo
820.2253
ï
at
505.819.4035
alameda
tommesf.com
Open Every Day from 5:30≠ 9pm
1297 Bishop’s Lodge Rd.
BUY a $100 Gift Certificate & receive a FREE bottle of Bishop’s Lodge Heritage Merlot Wine ($28 value).
De Bella Collectibles Buying
Your Personal Jeweler
DISCREETLY, CONFIDENTIALLY BUYING YOUR Gold, Platinum, Silver, Diamonds, Precious Stones, and Vintage & Heirloom Jewelry & Silver ï At a fair value with immediate payment ï Appointments in the safety of your home or in our office
Selling Recent Acquisitions now available for purchase: ï 1,500 carat, Natural Sapphire Crystal ≠ $1,500.00 ï 18 carat Diamond (GIA graded Fancy Intense Deep Yellow Brown) ≠ call for price ï Rolex Milgaus Green Sapphire Crystal new in the box ≠ $7,500.00
The
Candyman strings & things
Santa Fe’s Community Music Center
851 St. Michael’s Drive Santa Fe, NM 87505 505-983-5906 candymanstringsandthings.com
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December 14-20, 2012
ï 2 carat Round Diamond ≠ $6,700.00 ï 3/4 carat Marquies Diamond Wed ≠ $1,000.00
By Appointment Only Contact Joe De Bella, Graduate Gemologist at 505.231.5357 or joseph.debella505@gmail.com
10% of all profits until the end of 2012 will be donated to Santa Fe Youth Shelters
MIXED MEDIA
Discount Home Supplies A fund raiser for Habitat for Humanity.
Donate your gently used furniture, appliances, books, doors, windows, new and used building materials to the ReStore.
WE PICK UP! Geoffrey Gorman: Velutina; below, Carlos Carulo: Untitled
Call 505-473-1114 to schedule a pick up 2414 Cerrillos Road Monday - Saturday 9 - 5 www.santaferestore.org
Cashmere Cashmere Cashmere Sweaters 20% off
Kevin Avants 505 982 2892, cell 505 780 1061 1061 Pen Road, Santa Fe Artist to artist to artist Founded in the late ’90s by Armond Lara to help fellow professional artists without health insurance tackle mounting medical costs, the Santa Fe Artists’ Emergency Medical Fund has raised and distributed more than $60,000 to pay for local artists’ medical bills. Each year — except for 2011, when fund administrators at the Santa Fe Community Foundation took a year off to regroup in the face of a struggling economy — the Santa Fe Artists’ Emergency Medical Fund holds a greetingcard exhibit and auction to further its cause. (The organization defines professional artists as people who make at least half of their income from art sales and/or a person who has had one gallery show in the past five years.) From 4 to 7 p.m. Sunday, Dec. 16, Yares Art Projects (123 Grant Ave., 984-0044) hosts the fund’s 11th auction and exhibit. More than 100 artists were invited to participate this year. Each artist contributes an original 6 x 6-inch two-dimensional work or a sculpture for the auction, and on Friday, the works are on display at the gallery. Sets of greeting cards created by participating artists are also be available for purchase, and to make the wallets a little looser, bubbly will be within easy reach. There is no charge to attend. — Rob DeWalt
Expert installation of Driveways - Walkways - Patios
PORPHYRY SALES - PORPHYRY SPECIALISTS avantsstone.com | GB98 #83938
The Mystical Arts of Tibet Sacred Music Sacred Dance Performance The famed multiphonic singers from Tibet’s Drepung Loseling Monastery will perform traditional temple music and mystical masked dances.
December 15th ï 7:00 p.m
James A. Little Theater ï 1060 Cerrillos Rd Tickets available at the Ark Book Store, Seretí s Gallery, Project Tibet and at the door.
Adults: $20 ï Seniors & Children under 12: $15 ï Children under 5: FREE PASATIEMPO
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Book your Holiday Party Now!
Santa Fe Women’s Ensemble
Winter Festival of Song 2012 Loretto Chapel at 7:00pm Friday, December 7 Sunday, December 9 Friday, December 14 Tickets: $20-35; $16 students/military Immaculate Heart of Mary Chapel at 3:00pm Saturday matinee, December 15 Carmelite Retreat Center Chapel 50 Mount Carmel Road, Santa Fe General Seating $25; $10 students/military Accessible seating is available For tickets, please call (505) 954-4922 www.sfwe.org ~ email: info@sfwe.org
Contact us today 505.988.2355 or info@tantiluce221.com 221 Shelby St. ï Santa Fe
50%-70% OFF All weather down jacket
Regular Price: $199 Sale Price: $49.99
All weather quilted jacket Regular Price: $199 Sale Price: $49.99
All weather faux fur jacket Regular Price: $299 Sale Price: $99.99
All gloves, hats & scarves: 50%OFF All leathers & shearlings: 50%OFF All Furs: 50%OFF On the Plaza in the Plaza Galeria Santa Fe’s Exclusive designer & master furrier. Fur storage, repair, restyling, cleaning & glazing 14
December 14-20, 2012
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. Partially funded by the 1% Lodger’s Tax and the City of Santa Fe Arts Commission.
STAR CODES Heather Roan Robbins
Holiday Sale
VAJRA Foundation Fundraiser
antique asian furniture elegant accents
50% to 75% off Look for the miraculous in everyday life this week. We can flirt with possibilities and explore our options as mental Mercury forms a supporting trine to ingenious Uranus. Moods become more flexible, and this can give us room to move as Venus leaves Scorpio on Saturday and joins the sun and Mercury in Sagittarius. This weekend we’re encouraged to go where our mind hasn’t gone before and to synthesize disparate information into an integrated whole. While we need to keep common sense and safety firmly in mind, it’s time to open the portals. With this line-up in truth-speaking Sagittarius we may have to say something we’ve been holding back. But let’s not take it wrong if relatives do the same, asking difficult questions and perhaps offering infuriating opinions. Feelings can get hurt because our attention suddenly turns from those close to us to the community, from inner reflection to outer engagement. Holiday parties take on a new festivity, community action and changeoriented groups have a fresh influx of energy, but we can forget the needs of those nearest and dearest in the process. The mood is poetically romantic as Venus squares dreamy Neptune this weekend and then trines eccentric Uranus as the week progresses. We can be healed by beauty. Even though ice glints outside, some emotional blocks may thaw around negotiations, work, or old family dynamics. Stay alert to those possibilities. When openings occur, make the best of them.
everything
find the perfect gift Saturday, Dec 15th noon ≠ 4pm 800 Juniper lane 505 ≠ 670 ≠ 1378
from De Vargas mall: left on Paseo ≠ left on Griffin
Jennie Cooley Gallery Presents:
CIRQUE de COOLEY Fine Art at Studio Prices, seven days a week till Christmas Dennis Larkins, Esteban Bojorquez, Joe Buffalo Nickels, Holly Wood, Mark West, Don Kennell, Michael Sharber, Gilbert Candelaria, Michael Stone, Kathleen O’Neill, Pamela Frankel Fiedler, Leah Saulnier, Jennie Cooley and Stan Solomon Grateful Dead Artist Dennis Larkins will be signing his new Rock n’ Roll posters, along with new work by other artists: Friday, December 14, 5pm - 7pm
Gallery open 10am - 5pm, Sunday - Thursday & Saturday; 10am - 7pm Friday Lucky Bean Cafe, Sanbusco (formerly Borders)
Friday, Dec. 14: It’s a can-do day, with big ideas and mind-changing possibilities. This morning we look to old connections for comfort. Adjust rather than resist on this unsettled afternoon. Tonight, take a different perspective and watch how the pattern shifts. Saturday, Dec. 15: The morning is productive with a few control issues midday. We may feel like we have to choose between being efficient or walking our talk, but these are one and the same. Evening is sociable and collaborative if not intimate as the moon enters Aquarius and Venus enters Sagittarius; take the pressure off close relationships. Sunday, Dec. 16: The mood is optimistic and enthusiastic as the moon trines Jupiter this morning. The world speeds up at midday as Mercury semisquares Mars. People’s pacing differs; we need patience. Some difficult decision may require one thing to be cut so others can grow. Later, be called to the heart and look for grounded magic as Venus squares Neptune. Monday, Dec. 17: We tend to push the limits today as Mercury opposes Jupiter. Remember to listen with the heart as well as the head midday, and then listen with the head as well as the heart later when the moon enters Pisces. Find the magic here and now. Tuesday, Dec. 18: The mood may be sensitive but we are willing to fight for beliefs. Catch hasty assumptions before they become a problem as Mars sesquisquares Jupiter. Move the body to relieve emotional stress. Wednesday, Dec. 19: Decorate, relate, and create as Venus trines Uranus; we don’t want things to stay the same and are willing to experiment. Holiday excitement and humor help us release the inner Scrooge and enjoy one another. Enticement moves more than guilt. Scattered energies need to be focused; make a list to check off. Thursday, Dec. 20: The mood is upbeat and proactive as the moon enters Aries and conjuncts Uranus. This is a dynamic day until we hit a snag. Remember that people matter more than any material outcome. A lot can be accomplished if we pace ourselves. Kids and overworked adults need safe places to act out. ◀ www.roanrobbins.com
SAMPLE SALE
up to
35%
off jewelr y in stock
through December 21
contemporar y jewelr y ï sanbusco market 500 montezuma st ï santa fe ï 992.0020 www.eidosjewelr y.com
PASATIEMPO
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IN OTHER WORDS Double Entry: How the Merchants of Venice Created Modern Finance by Jane Gleeson-White, W.W. Norton & Company, 294 pages What do the 2008 failures of giant banking firms like Lehman Brothers and accelerating environmental crises such as climate change and shrinking biodiversity have in common with a 15th-century Italian monk named Luca Pacioli, a math teacher and a friend of Leonardo da Vinci? The answer is the accounting system referred to as double-entry bookkeeping, according to a new book by Gleeson-White, a Ph.D. candidate in literature who also holds degrees in economics and accounting. Her unique combination of interests has led her to write a remarkably readable history. But lest you think only accountants might be interested, consider this: “Accounting’s use of numbers gives it an air of scientific rectitude and certitude, and yet ... accounting is as subjective and partial as the art of storytelling, the other meaning contained in the word ‘account.’” In fact, what may be most significant about double-entry accounting is what it doesn’t account for, which often includes almost everything really important. The book reveals how Pacioli came to definitively document the accounting method used by Venetian merchants, benefiting from the recent invention of the printing press to create a Renaissance bestseller. Gleeson-White follows the spread and eventual worldwide adoption of double-entry accounting to the point where economists driven by the 1929 stock-market crash adapted it to a much different purpose: to develop measures of the health and success of a nation: the gross national product (GNP) and the gross domestic product (GDP). This stunning leap — from merchant accounting to the measure of a nation — should give us all pause. It certainly did Robert F. Kennedy, whose 1968 speech regarding the GNP concluded: “It measures everything, in short, except that which makes life worthwhile.” A Big Mac’s real cost, as one economist cited in the book estimates, is $200 when environmental impacts and the health costs of dietrelated illnesses are included. But most of these costs are hidden because environmental, onmental, health, and societal repercussions are dismissed as “externalities” in a modern market economy ruled by corporations. In other words, the books are cooked. But somebody — all of us, in fact — ultimately pays these hidden costs. Ford’s risk-benefit analysis showed that significant savings resulted by omitting an $11 part from the Ford Pinto. In just six years, 500 people burned to death in that car as a result. Or consider that the true value of a forest that sequesters carbon and produces oxygen is greater than the value of its timber, but typically a country values only the timber aspect of its forests in its GDP. Gleeson-White quotes a Cambridge economist: “Indeed, focusing just on GDP actually creates incentives to deplete capital stocks [such as a forest] because the returns are treated as income. Ultimately, not recording the cost of reinvestments to sustain healthy ecosystems creates and conceals ecological liabilities.” The assumption is that nature’s services are free — whether it’s flood control by coastal wetlands, pollination of crops by bees, watershed protection and carbon absorption by forests, mangrove swamp fish nurseries, or coral-reef coastal defenses. Even if we could replace these services artificially, the price would be enormous. The cost of the Earth’s degraded ecosystems currently amounts to $47 trillion, according to one estimate. Gleeson-White, in this thoroughly researched and referenced book, cites international initiatives endorsed by such bodies as the U.N. and the G20 to change the way nations measure health and success. Spanning 500 years of history, Double Entry goes far beyond a mere historical account of accounting. It is a compelling argument that a Renaissance bookkeeping method should not be used as the primary measure of the financial health of multinational corporations and the wealth of nations, since it’s unable to reveal massive corporate failure, warn of national economic collapse, or acknowledge accumulating ecological disaster. Gleeson-White notes that after 500 years, the mind-set that Pacioli and his landmark text were key in developing has become completely ingrained: we can measure and put a dollar value on everything to determine what is profitable. Some say that double-entry accounting may be adapted yet again — this time to account for nature — but if double-entry accounting couldn’t reveal the skewed balance sheet of Lehman Brothers or the malfeasance of Enron executives, how successfully will it account for the nearly infinite complexities, most of which are unknown to us, of nature? Whether Venice slowly sinking into a rising sea — a casualty of the system it gave the world — can be saved is another question. — Susan Meadows
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December 14 -20, 2012
book reviews
SUBTEXTS Tricolor paths A trilogy of new books, peppered with hundreds of family photos and reproductions of artwork, treats the lives of painters Pablita Velarde (1918-2006); her daughter, Helen Hardin (1943-1984); and Helen’s daughter, Margarete Bagshaw. “A lot has been written about my grandmother and mother, and a lot of it has been either inaccurate or inadequate,” Bagshaw said. “In some ways, these books are setting the record straight; in other ways, they simply tell crazy tales of our lives together.” Shelby Tisdale, former director of the Museum of Indian Arts & Culture and now vice president of curatorial and exhibitions at the Autry National Center in Los From Pablita Velarde: Angeles, wrote Pablita Velarde: In Her Own Words In Her Own Words. She tells the story of the groundbreaking Native artist, with great detail about Velarde’s stormy relationship with her rebellious daughter, her unhappiness about the new Institute of American Indian Arts taking the place of her beloved Santa Fe Indian School, and her distress over attacks on her former teacher and mentor Dorothy Dunn. Kate Nelson, a journalist and marketing project manager for the Palace of the Governors/New Mexico History Museum, is the author of Helen Hardin: A Straight Line Curved. The character of this artist, whose big, bright eyes were closed early in life by cancer, is glimpsed in a 1970 New Mexico Magazine cover story. Nelson writes, “The article included images that showed the range of her evolving style: the primitive symbolism of Petroglyph; the psychedelic Chief’s Robes; and Courtship of Yellow Corn Maiden, which used traditional imagery of a Buffalo Dance that might have been found in one of Pablita’s paintings. Helen’s version reinterpreted the dancers in a cubist format. ... Jagged and angular, it signals another growth spurt in Helen’s attempt to blaze her own path.” The book project was conceived by modernist painter Bagshaw — who tells her own story in M. Bagshaw: Teaching My Spirit to Fly — and her husband, Dan McGuinness. The two run Golden Dawn Gallery in Santa Fe, and the volumes are available through the company’s affiliate, Little Standing Spruce Publishing. The three authors read from the books and sign copies at 2 p.m. Sunday, Dec. 16, at the New Mexico History Museum auditorium, 113 Lincoln Ave. There is no charge. For information call 988-2024. — Paul Weideman
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Probates & Wills: Santa Fe, New Mexico, 1774-1896, compiled and edited by Henrietta M. Christmas and Patricia S. Rau, Rio Grande Books, 104 pages New Mexicans prepared for death one and two centuries ago by taking account of what they owned and dividing it among their heirs, often down to different rooms in the same house. Sometimes the care they took to avoid hitches in the disposition of their meager possessions seems sadly comical. Take, for example, the 1887 will of Juan Christoval Trujillo of Pojoaque. He declares that his wife previously had inherited “two mares, a pony, nine sheep, three male sheep and fourteen pesos — none of which exist. The mares and pony were poisoned with weeds and the rest my family and I consumed.” In some ways, 18th- and 19th-century wills were similar to modern wills. Many people called for settling debts — both their own and those owed to them. Most prescribed how they were to be dressed in death and where they were to be buried — sometimes calling for the sale of property to pay for funeral expenses. Almost all dictated their wills from their deathbeds. One protested his death. Juan José Montoya (incorrectly called Juan José Romero in the introduction) says that while he believes in the teachings of the Catholic Church, “I still protest the termination of life because of my lack of understanding of God’s will and that I wish that everything would be declared null and void. I wish to leave this miserable earth and be with God his Redeemer but because of lack of confidence and my sins and I am fearful not to be with God.” What’s missing from this volume of text, translated verbatim from Santa Fe records housed at the New Mexico State Records Center and Archives, is context. Too many questions raised here beg for answers — at least an attempt. For instance, I have been led to believe that formal slavery never existed in New Mexico. But as he lay dying in 1814, Miguel Ortiz clearly referred to Andres and Matilde Sandoval as his slaves. He willed Andres “my ranch in Rio Arriba in this city, two working fields by the place of said river, the land where the house is, a pair of oxen, a cloth and all the provisions along with three pairs of straight edges (knives), three combs, crowbar, and a pair of cards for holding wool and his freedom, giving him the papers of manumission of slavery and not to dispose of him in any other way.” Matilde, too, was to be “given her liberty.” Who were the Sandovals? Husband and wife? Brother and sister? Father and daughter? Navajos captured in a raid? Blacks smuggled in from the East? Hispanicized New Mexicans under indentured servitude? How had they been enslaved? There’s more to this story. What we need here is another book. — Tom Sharpe
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Loretto Chapel Thursday, December 20 through Monday, December 24 at 6pm & 8pm each evening
Santa Fe Pro Musica Baroque Ensemble | Deborah Domanski, mezzo soprano Alternating performances with Liesl Odenweller, soprano
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St. Francis Auditorium NM Museum of Art Saturday, December 29 at 6pm Sunday, December 30 at 3pm
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Santa Fe Pro Musica Orchestra | Thomas Oí Connor, conductor Stephen Redfield, violin | Kimberly Fredenburgh, viola | Kathryn Mueller, soprano
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Attend both and receive a 10% discount! $20≠ $65. Christmas eve $25≠ 70. Santa Fe Pro Musica Box Office: 505.988.4640 (ext.1000) 800.960.6680 | Tickets Santa Fe at the Lensic: 505.988.1234 For complete season concert listing visit www.santafepromusica.com
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December 14-20, 2012
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PASATIEMPO
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Michael Abatemarco I The New Mexican
Sacred music and dance fromTibet
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December 14 -20, 2012
ichly ornamental robes and exotic imagery bedeck the monks of Drepung Loseling Monastery as they perform the Shanak Garcham, or Dance of the Black Hat Masters. The monks hold daggers and skull cups, and each dancer has an image of a human skull atop his hat. Above the skull is a symbol called a vajra, wreathed by a circle of flames. The monks come to Santa Fe to perform Sacred Music, Sacred Dance, a program of traditional masked temple dances, music, and chants, on Saturday, Dec. 15, at the James A. Little Theater and on Dec. 22 at the Taos Center for the Arts. The Dance of the Black Hat Masters, one of several dances the monks perform, is layered with meaning. “The Buddhist sacred dances all have rich symbolism,” Geshe Lobsang Tenzin Negi told Pasatiempo. Geshe is the founder and spiritual director of Drepung Loseling Monastery in Atlanta, which overseas the Mystical Arts of Tibet tour, of which Sacred Music, Sacred Dance is a part. “Besides the very colorful and elaborate costumes of the Dance of the Black Hat Masters and the symbols that monks hold, like the dagger, the skull cup, and the hat with the blazing fire, the understanding of the Black Hat Master is the embodiment of enlightened wisdom,” Geshe said. “The hat represents the fire of wisdom that consumes ignorance. The vajra is the symbol of that indivisible wisdom and bliss that characterize the nature of the enlightened mind. In that
way, the Black Hat Master is the embodiment of that bliss and wisdom. The dagger the Black Hat Master holds is to pierce through the veil of ignorance. The dance is performed as a way of transcending our trivial or ignorant state of mind and all the suffering that unfolds from the misconceived state of the mind. In the tantric tradition, it is maintained that the primordial or authentic nature of the mind, being free from mental corruption, is blissful. The skull cup represents that blissful state of the mind.” The performers of Sacred Music, Sacred Dance are practitioners of the Buddhist faith. At the Drepung Loseling Monastery in Karnataka, India, they develop skills in meditation, visualization, and the recitation of mantras. These spiritual practices are extended to dance forms. “The Black Hat Master, for example, engages in practice to develop an understanding into ultimate reality, that everything is interdependent and interrelated and, therefore, devoid of any intrinsic, fixed identity. “That is why it’s called emptiness. The practitioners, in an ideal setting, would want to become attuned to that reality. On a personal level that becomes a force of transformation for themselves, but enacting such a ritual in dance forms is done with the intention to clear the obstacles and negativity that may unfold from afflictive mental states.” The original Drepung Loseling Monastery in Tibet, a centuries-old institution and once the spiritual home of thousands of monks, was destroyed by the Chinese after the Communist takeover in 1959. “The
monastery was dismantled along with 6,000 other small and big monasteries, nunneries, and temples,” Geshe said. “Three hundred or so of its over 10,000 monks managed to escape Tibet into India, following the Dalai Lama. These monks reestablished the monastery in South India.” In 1991 Geshe founded the North American seat of the monastery, which became academically affiliated with Emory University in 1998. Geshe, who first studied at a private school run by Tenzin Gyatso, the 14th Dalai Lama, in Dharmsala, India, entered into monastic studies at Drepung Loseling in Karnataka in 1985. The aim of the U.S. seat of the monastery is to provide training in Tibet’s scholarly traditions for Western students and to preserve the culture of Tibet. At the Dalai Lama’s request, Geshe completed his Ph.D. at Emory, where he now teaches in the Department of Religion. The monks who perform Sacred Music, Sacred Dance are primarily members of a wave of refugees who poured into India from Tibet in the 1980s. “Up until the early 1980s,” Geshe said, “the border between India and Tibet was completely sealed. Then some policies changed in China, and there was some relaxation in Tibet, and that gave opportunity for many families to smuggle their children into India, where they can get proper education, particularly in Tibetan language and Buddhism, and find that freedom they did not have in Tibet. Drepung Loseling, being one of the very prestigious monastic institutions of Tibet,
attracted many of them, particularly if they came to India with the goal of pursuing spiritual education.” Geshe came to the United States as a touring member of Sacred Music, Sacred Dance. “I traveled primarily as a spokesperson but also took part in performances. In 1988 Drepung Loseling began its first tour to share Tibet’s sacred culture and traditions as a way to promote peace and healing in the world and partly to raise awareness of the Tibetan situation — the human rights abuses and the prosecution under the Chinese — in hope that increased awareness will translate into international support to put pressure on China to solve Tibetan issues peacefully, and thirdly to raise funds to provide basic education, food, medication, and so forth for the growing population of monks at the monastery.” Geshe delivers two talks in Santa Fe as part of the Mystical Arts of Tibet tour. The first, “The Healing Power of Compassion,” on Wednesday, Dec. 19, presents results of his research at Emory into meditation and its effects on physical and mental well-being. A second talk, “Spirituality for the New World,” is scheduled for Dec. 21 and was inspired by fears about the end of the world this month, which some people believe is prophesied in the Mayan calendar. “There seems to be a lot of anxiety about that,” Geshe said. “I don’t know anything in particular about the Mayan calendar other than what I hear on television or read here and there. When our friends in Santa Fe asked me talk about spirituality for the new world, for me
that idea touches on some of the things in today’s world worth paying attention to, such as compassion, empathy, and developing greater capacity for mindfulness. They’re basic human values, really, for our personal and communal well-being and survival. That’s how I see it.” ◀
details ▼ Sacred Music, Sacred Dance 7 p.m. Saturday, Dec. 15 James A. Little Theater, 1060 Cerillos Road $20 (discounts available); tickets may be purchased at the Ark Bookstore (133 Romero St., 988-3709), Seret and Sons Gallery (121 Sandoval St., 988-9151), Project Tibet (403 Canyon Road, 982-3002), and at the door 7 p.m. Saturday, Dec. 22 Taos Center for the Arts, 133 Paseo Del Pueblo Norte, 575-758-2052 $20 (discounts available); tickets in advance (call 575-758-2052) and at the door ▼ “The Healing Power of Compassion,” talk by Geshe Lobsang Tenzin Negi 5:30 p.m. Wednesday, Dec. 19 Upaya Zen Center, 1404 Cerro Gordo Road, 986-8518 Donations appreciated ▼ “Spirituality for the New World,” talk by Geshe Lobsang Tenzin Negi 5:30 p.m. Dec. 21 Seret and Sons Gallery, 121 Sandoval St., 988-9151 $15 suggested donation
Images courtesy Drepung Loseling Monastery, Inc.
Monks of the Drepung Loseling Monastery
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December 14-20, 2012
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Going for brogue ublin playwright Conor McPherson isn’t one for high drama. His body of work floats on a steady current of colorful conversation and monologue that has little to do with the spectacular and everything to do with shared human experience — with occasional hints of the supernatural. Set in a pub in rural Ireland, McPherson’s 1997 The Weir finds four men and a young woman sharing libation and a few stories by the glow of a wood stove. Barfly and mechanic Jack (Kerry Kehoe), barkeep Brendan (Garth FitzPatrick), handyman Jim ( Justin Golding), and businessman Finbar (Liam Lockhart) have two things in common: drink and a growing curiosity about a newcomer to town, a Dubliner named Valerie (Carey Leigh Cox). Married Finbar is the appointed escort for Valerie at the pub. Before the arrival of Finbar and Valerie, the conversation is pure bluster: an ages-old ritual of lads cutting each other down, right to the edge of the precipice of hurt feelings. When Finbar and Valerie arrive, however, the casual banter takes a decidedly serious turn. And when Valerie finally pipes in to explain why she is there, no amount of whiskey can diminish the profound emotional weight she carries on her shoulders. It’s unfortunate that Cox seemed uncomfortable in Valerie’s skin at the very moment it was so important to inhabit it snugly. She met her cues, but her visible anticipation of line delivery overrode her performance. Director Matt Sanford, a veteran of the Santa Fe theater scene, may have had an uphill battle going into this production. McPherson’s dialogue demands a strong understanding of across-the-pond conversational pace and a command of country-Irish dialect, which was lost on every male cast member except Kehoe, a native Irishman. The rest of the male actors were also unconvincing as pub friendlies, stumbling over one another’s lines in a manner that could never be mistaken for natural interruption. Cox adapted as best she could, but her effectiveness in the role suffered nonetheless. Set designer Chadney Everett presents an appropriately sparse and airy atmosphere, with hardwood furnishings and Irish-pub accoutrements that eschew stagey kitsch. Working against this aesthetic, however, is lighting designer Skip Rapoport’s multicolored gel palette, which at times makes the quaint wood stove look more like a disco ball at a nightclub. Given the play’s bleak narrative, perhaps less garish lighting is more. The production is dedicated to the memory of Sanford’s brother, who died earlier this year. In McPherson’s narratives, ghosts exist at the periphery of human existence. The apparitions that weigh on Sanford’s head and heart are worthy of the stage — but in his own words. The Weir seems like a gateway to that end. For that reason, Sanford’s cast should buckle down. — Rob DeWalt “The Weir” plays at 7:30 p.m. Friday, Saturday, and Thursday, Dec. 14, 15, and 20; and 2 p.m. Sunday, Dec. 16. It continues Dec. 21-23 at Santa Fe Playhouse, 142 E. De Vargas St. Tickets are $20, $10 on Thursday (discounts available); call 988-4262 or visit www.santafeplayhouse.org.
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©Jennifer Esperanza
Char and Robby Rothschild
Bill Kohlhaase I For The New Mexican
O brothers, where art thou? IT’S
the first Sunday in December, and the Betterday Coffee Shop is packed. At the far end, a crowd — some sitting on the floor, some standing — faces a small bandstand, where two men perch among a thicket of instruments. The heads of some of those standing in the audience come no higher than the heads of those sitting. Little ones are fidgeting in adult laps. The two-man band Round Mountain is doing its annual family show, and the preschool set is getting edgy. Suddenly, Char Rothschild, who earlier had taken a trumpet solo while accompanying himself on accordion, pulls out a gaida, a sort of Bulgarian bagpipe made from a goatskin. The whine of the instrument turns the heads of the distracted. Some of them clap with glee as Char’s cheeks puff. His brother, Robby Rothschild, introduces the next song and asks for clapping, but not in the usual sense. It’s a uniquely timed clap he wants, something he calls the Ali Farka Touré clap, named for the Malian guitarist. One graying gentleman can’t seem to get it right. No problem. A young lady wearing a denim jumper who can’t be more than 4 years old, her hair pulled back in a tight knot, cues him perfectly. Family concerts come naturally to Round Mountain. The Rothschilds have been playing together in bands for more than two decades, and their musical connection goes back to childhood. In a phone call after the Betterday appearance, Robby explained the significance of the duo’s name and its ties to the brothers’ shared experience. “Our parents used to drive us up to the Jack’s Creek campground in
the Pecos Wilderness, and we’d hike up to the threshold of the high country there on Round Mountain, have lunch in the big grassy meadows. It’s a very peaceful place and for kids has a magical quality. Mom and dad would lie down after lunch, and we’d go explore and find bones and stuff. The whole experience had a kind of resonance for us. Later as we started making this music, Round Mountain seemed the perfect shrine, a metaphor for the kind of musical exploration we do.” “As children, we were lucky to have parents who were interested in music and encouraged us,” Char said. “The idea of family really has a full connection for us. It’s our way of being. Now we have children of our own — we’re fathers, and we have our own set of experiences when we write music. The family has really helped me understand who I am, both in the sense of the nuclear family and how I relate to the rest of the world. That’s where our interest comes, in the different traditions from around the world, musically, of course, and in a larger sense, how we’re connected and what effect [those traditions] have on us.” The influence of worldwide musical traditions on Round Mountain is apparent when you see the brothers on the bandstand. It’s cluttered with various percussion instruments, including a hi-hat cymbal and djembe, an African pedestal drum. A trumpet stands at upside-down attention on a stand, and there’s an accordion at the ready on the floor. Various string instruments — guitar, bouzouki, kora — are clustered around. Somewhere nearby is the small gaida. The brothers attribute
The music of Round Mountain captures local and global influences 24
December 14 -20, 2012
their pan-global approach to a combination of local Santa Fe musical influences and their travels around the world. “There was a great moment in our history,” Robby said, “where we met up in Ireland after all of our travels. My wife and I had gone to Mali to do some study. Char was traveling around the Balkans and the Middle East. He had left with this backpacker guitar, and when we next saw him he had been transformed. He was traveling with a saz [a Turkish string instrument] and had this cool haircut that he’d gotten in Turkey. In a way it was a very symbolic meeting. We’d been doing this traveling, and we thought, let’s do this musically now. Let’s do this form of musical travel.” Describing the brothers’ music isn’t as easy as calling it world beat or placing it in some all-embracing instrumental category. Its roots are in American folk, and its beats can reflect American pop and funk as well as more exotic rhythms. Robby claimed that a Muppet drum set given to him at 4 was his first instrument. Char took up trumpet in the fifth grade and studied it through college. Both took piano lessons from a grandmother who often served as an accompanist around town. The brothers participated in African drumming for dance classes and busked together around the old Farmers Market site. Robby spent time as a percussionist with rock guitarist Kip Winger — you can hear him on Winger’s 1998 recording, Down Incognito — and both brothers toured Australia with Americanborn Afro-pop star Chris Berry and his band Panjea. Locally, they’ve appeared with funk and soul band Rev. Karol King Kong. While in Tokyo working with a circus in 1997, Char gained valuable professional experience and acquired the ability — through need — to play more than one instrument simultaneously. “I’d play the trumpet and get a horn section sound from the keyboard. Later, I realized accordion would be the perfect instrument to play with trumpet because the left hand can do the bass and chords while the other hand plays the horn.” Char said that their mix of musical influences has advantages and disadvantages. Their interests have bounced from Appalachian and old-time music to Turkish and Bulgarian traditions, and their studies of these influences have often overlapped. “Being from a different culture and being interested in many styles means I haven’t been able to travel as far into any one style as I might like,” Char said. “Not knowing these traditions completely, I have to take the music to a deeper level where I can try to understand the dialect of what’s being said in a particular culture’s music. By doing that, I can work those different musical directions together in our own music.” Writing music is mostly a collaborative process for the brothers. “I do have an easier time writing words than I do melodies,” Robby said, who’s something of a poet, even when speaking. “But it’s great working with Char — I’m constantly learning something from him. He holds the flaming torch as we enter the dark mineshaft of music, and I follow him. We’ve spent hours together in our truck, writing words, sitting with a song and getting it closer and closer.” Added Char, “There’s no real formula as to how we do things. We each have totally different styles of writings. I have tons of fragments, tons of ideas, kicking around. One will come to the forefront, and we’ll hammer a song out of it. Sometimes I’ll finish it myself, especially if it’s something I feel superconnected to. Other times it’s calling out for some help from Robby.” Landscapes are a big source of inspiration for the two. “When we’re touring and driving for seven hours, the highway and the land can move us, reveal something of its spirit that suggests a song or helps finish one,” Char said. “When we were in Australia, we learned the Aborigines sang the songs of their ancestors and the music served as maps. They believed the land was created by these ancient songs as their ancestors sang them. We’ve thought about arranging some kind of song lines about our travels like that. We have West Coast songs and East Coast songs and a Colorado song line, all different. It’s amazing how much of a place can fall into the music when you’re writing.” The brothers are working on a recording tentatively set for release next summer. Its working title is The Goat. Robby revealed that part of the title’s inspiration comes from the fact that he and his wife keep a pair of Nigerian dwarf goats at home. Could he be thinking of making new bags for brother Char’s gaida? “No,” he laughed. “They’re just for milk and making cheese.” ◀
details ▼ Round Mountain ▼ 7:30 p.m. Saturday, Dec. 15 ▼ Gig Performance Space, 1808-H Second St., www.gigsantafe.com ▼ $15 at the door
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ANTA FE
...bringing great music to life
Gregory Heltman, General Director ï
Steven Smith, Music Director
BEETHOVEN’S
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BIRTHDAY BASH Incidental Music from Egmont Triple Concerto Symphony No. 7
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Steven Smith Conducts featuring the
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WEISS-KAPLANNEWMAN TRIO
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Three strong voices, locked in sequence.” —The New York Times "
SUNDAY DECEMBER 16, 4:00 PM Preview talk at 3:00 pm F at The Lensic F $20 – $70
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505-983-1414 www.santafesymphony.org
SPONSORED IN PART BY
The 2012-2013 season is funded in part by the Santa Fe Arts Commission, and the 1% Lodger’s Tax, New Mexico Arts, a division of the Office of Cultural Affairs, and the National Endowment for the Arts.
PASATIEMPO
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Serving New Mexico’s Seniors for 27 Years We are a NON-PROFIT organization specializing in home light maintenance, yard work, errands, housekeeping, and general “around-the-house” help
PASA REVIEWS
Let us help you too! The Romeros with Concerto Málaga St. Francis Auditorium, Dec. 10
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December 14 -20, 2012
Fathers and sons ther than bells, is there an instrument more associated with Christmas music than the guitar? The instrument’s delicate timbre seems perfect for the holiday. That most famous carol, “Silent Night,” was originally written for it. The Romeros, a familial guitar quartet with a 50-plus-year history, would seem the perfect ensemble for exploiting the season’s music. This presumption is supported by last year’s release of the excellent Christmas With Los Romeros, a disc that includes the 13-piece string ensemble Concerto Málaga. The recording’s highlight is the X’mas Suite, written especially for the Romeros and the ensemble by Málaga’s director, Massimo Paris. That recording made us as expectant for this concert as — dare we say it? — children on Christmas Eve. But the evening’s biggest surprise was disappointment — the sort a child feels when opening a Christmas gift and discovering a pair of pajamas. Sure, we’re glad to have the pajamas. But they weren’t what we expected. We expected holiday spirit, but spirit was often missing here. The carols played alone by the quartet and the combined work of the guitars and the string ensemble frequently lacked the flare and polish of the recording. The pieces that did deliver, including the medley of “O Christmas Tree,” “We Wish You a Merry Christmas,” and, yes, “Silent Night,” came with a warmth, crispness, and enthusiasm that served to demonstrate what the other works lacked. Maybe it was the weather. (First guitarist Angel Romero announced that this was the sixth stop on the group’s American Christmas tour, but the first with snow.) Opening without the Romeros, Concerto Málaga, under the direction of Paris and minus its harpsichordist, was slow to warm to Enric Morera’s beautiful “Andante religioso,” the violins working to find unison, the cellos on tempo against everyone else. By the time the guitarists came to the stage, the string orchestra had reached its stride, bringing a vibrancy to the “a child is born” section of Handel’s Messiah that the guitarists struggled to match. Paris’ five-piece X’mas Suite was equal parts solemnity and exuberance, with rhythms that ranged from stately to festive. Here the Romeros seemed more inspired, though their efforts were sometimes lost among the shifting dynamics of the orchestra. On their own, the guitarists were best doing what they’ve done over time. This was a fathers and sons edition of the quartet. Angel Romero, a son of quartet founder Celedonio, was joined by his son Lito, brother Celin, and Celin’s son Celino. Their performance of the opening allegro movement of Antonio Vivaldi’s Concerto in D Major RV 93, was tight and alive — even frisky. Their sensitivity came through on the J.S. Bach/Charles Gounod “Ave Maria” — more so than on the familiar Franz Schubert “Ave,” which they performed with the orchestra earlier in the program. The most unusual number of the night was jazz pianist Vince Guaraldi’s “Christmas Time Is Here,” written for the 1965 animated special A Charlie Brown Christmas. The tune’s melancholy feel was heightened by slightly off-kilter harmonics and Lito’s winsome, repeated figures. Not naughty, but nice. — Bill Kohlhaase
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F R E E PAR K I N G
Play Pranzo Italian Grill/Alto Raaga Restaurant Ristra Restaurant Rock Paper Scissor Salonspa Santa Fe Pens SoulfulSilks Teca Tu – A Pawsworthy Emporium The Reel Life Wink Salon World Market Cost Plus
Join Us for The Holidays on
Galisteo Street Special Events on
Saturday, December 15 Santa Fe Weaving Gallery:
Featuring the felted wool garments of local artist, Maggy Pavlou, with refreshments 10-5PM
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The Galisteo Street District – all the variety of Santa Fe on one street PASATIEMPO
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TERRELL’S TUNE-UP Steve Terrell
Our Miss Brooke I was afraid that there was no way Rachel Brooke’s new album, A Killer’s Dream, could live up to her previous one, Down in the Barnyard. I was correct in thinking that the new one would be a lot different from Barnyard. But my fears were for naught. The new album is just as good if not better than her earlier effort. Brooke’s previous albums have mostly been acoustic affairs. On her new one, a lot of the songs feature the sweet-voiced Michigan country singer backed by a Florida group called Viva Le Vox. The band gives her sound heft, and Brooke gets the opportunity to rock and even strut. Together they do a creditable version of a Fats Domino song, “Every Night About This Time.” When I reviewed Down in the Barnyard a couple of years ago, I called Brooke the “Wednesday Addams of country music,” because, despite her innocent-sounding voice and her pretty melodies, her lyrics reveal a dark, spooky side and are full of stories of murder, violence, vengeance, and all the things that make American folk music — real folk music, not the watered-down stuff too many people think is folk music — the deep, mysterious force it is. The lyrics of the new album aren’t quite as violent as those on Barnyard, but there are still plenty of dark corners. The song “Serpentine Blues” opens with Brooke singing, “I had a dream last night, a big black rat in my bed.” Spookier still is a tune called “The Black Bird,” in which she explores the paranoia prompted by forbidden love. “Fox in the Hen House” sounds like an easygoing blues tune, but by the end of the song Brooke is threatening her romantic rival with a firearm.
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December 14 -20, 2012
The lyrics of Rachel Brooke’s new alburm, ‘A Killer’s Dream,’ aren’t quite as violent as those on her previous CD, but there are still plenty of dark corners. For this album Brooke rerecorded a couple of songs from an acoustic EP she released earlier this year. Personally, I like the new versions of “Late Night Lover” and “Ashes to Ashes” better. Both feature a sleazy sounding trumpet, while “Late Night Lover” also has an uncredited musical saw — or at least something that sounds like a saw. You might think it’s a torch song from another planet. The most emotional song here is “Old Faded Memory,” a duet with a guy named Lonesome Wyatt (from the band Those Poor Bastards). This a melody that could be straight out of the 1890s. It’s a story of two elderly people, once a couple, separated by the decades, pining for each other. “And with my last breath unto death may I stare/I’ll remember the life that we never shared,” Brooke sings. It’s sentimental, but it packs a punch. Visit www.rachelbrookemusic.com. Also recommended: ▼ Sunday Run Me Over by Holly Golightly and The Brokeoffs. For the past five years or so, British-born singer Holly Golightly and her partner, “Lawyer Dave” Drake, have quietly cranked out some of the most enjoyable country-soaked, devil-fearing blues-inspired rock ’n’ roll records you’ll find anywhere. These albums seemingly pop out of the soil of the couple’s Georgia farm like misshapen pumpkins or oversized zucchinis that look like Dick Nixon. Golightly clearly loves the roots music of her adopted land, and she and Drake play it in an irresistibly irreverent way. Their latest album is an unmitigated joy. Golightly is a protégée of English garage-rock renaissance man Billy Childish. If you haven’t heard Holly’s old band Thee Headcoatees, an all-girl auxiliary of Childish’s Thee Headcoats, that’s your next assignment. One of the tunes here, a swampy stomper called “This Stuff Is Gold” (OK, I Joe-Bidenized the title to get it into this family newspaper) actually reminds me of Holly’s Childish days. Sunday Run Me Over kicks off with “Goddamn Holy Roll,” an urgent gospel-infested rocker with some devilish slide guitar from Lawyer Dave. It’s followed by the slow, menacing
“They Say,” another showcase for Dave’s slide. And this is followed by “Tank” — with some chicken-scratching lead guitar that sounds as if Jerry Reed has risen from the dead. “One for the Road” is a clunky-funky waltz that has echoes of vaudeville or English music hall songs. While Golightly wrote most of the songs here, The Brokeoffs also do some wonderful covers. “I Forgot More” is a sad, sweet country tune made famous by The Davis Sisters (though I first heard it done by Johnny Cash in the ’60s). Lawyer Dave steps out front to sing a hilarious take on an old Mac Davis novelty, “It’s Hard to Be Humble.” (Involuntary flashback: back when I was a substitute teacher about 30 years ago, I overheard a girl at a local junior high talking to her friend say, “Did you see Mac Davis on TV last night? He sang the most conceited song!” Irony deficiency is a most tragic condition.) The most subversive cover song I’ve heard lately is The Brokeoffs’ rewrite of Wayne Raney’s finger-wagging classic, “We Need a Lot More of Jesus (And a Lot Less Rock and Roll).” Golightly has retitled it, “A Whole Lot More …” and, true to her punk-rock heritage, basically reversed the sentiment, singing “We need a whole lot less of Jesus and a lot more rock ’n’ roll.” The couple harmonizes, “You can read it in the morning paper, hear it on the radio/Christ has taken the nation, and we don’t all want to go.” I hope their neighbors in rural Georgia understand. Learn more at www.hollygolightly.com. ▼ Queen of the wild frontier: E. Christina Herr and her band Wild Frontier are having a CD-release party for her hot-off-the-presses album Americana Motel at Cowgirl BBQ (319 S. Guadalupe St., 982-2565) on Saturday, Dec. 15, at 8:30 p.m. There is a $5 cover. Herr is an Albuquerque singer who has a warble in her voice that may remind you of Chrissie Hynde. A follow-up to her 2009 album Lullabies & Cautionary Tales, Americana Hotel is a collection of 11 original songs, plus one impressive drum-heavy cover of Bruce Springsteen’s “State Trooper.” Hopefully she’ll be doing this one on Saturday, as well as the title song and “Townes,” which may or may not be a tribute to the late Mr. Van Zandt. Check out www.christinaherr.com. ◀
Santa Feâ&#x20AC;&#x2122;s Living Room... a holiday tradition
innatloretto.com
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ON STAGE THIS WEEK
A little light music: New Mexico Gay Men’s Chorus The New Mexico Gay Men’s Chorus returns to Santa Fe for its annual holiday concert with a performance at 7:30 p.m. Friday, Dec. 14, at Greer Garson Theatre on the campus of the Santa Fe University of Art and Design (1600 St. Michael’s Drive). This year’s performance, dubbed Lights in the Night, is divided into two acts: the “light” section, which celebrates tolerance and happy times, and the “spreading our light into the night” section, which NMGMC artistic director Aaron Howe describes as a recognition that light cannot exist without darkness. The program offers a diverse selection of religious and secular tunes such as “Pure Imagination,” from the Willie Wonka and the Chocolate Factory film; “What a Wonderful World”; French favorite “Petit Papa Noël”; and “Candlelight,” an ode to Hanukkah. Guest artists include singer-songwriter Cathryn McGill, Seth Sanchez, and the Encantada Wind Ensemble. Tickets are $20, discounts available; visit www.nmgmc.org. (Performances in Albuquerque are on Saturday and Sunday, Dec. 15 and 16.) In the spirit of the season, bring a new, unwrapped toy to support the chorus’ annual holiday toy drive.
16th- and 17th-century music revisited: “A Baroque Christmas” The Santa Fe Pro Musica Baroque Ensemble puts on “A Baroque Christmas” at Loretto Chapel (207 Old Santa Fe Trail) from Thursday, Dec. 20, to Monday, Dec. 24, at 6 and 8 p.m. each evening. The concerts include music by Purcell (Suite From “The Fairy Queen”), Vivaldi, and Corelli (Concerto grosso in G Minor) as well as traditional carols. Soloists are soprano Liesl Odenweller and mezzo-soprano Deborah Domanski, who take turns in the spotlight. Tickets are $20 to $65 ($25 to $70 on Christmas Eve) and can be purchased through Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org), by calling 988-4640, and from www.santafepromusica.com
It’s in the stars: Busy McCarroll It’s Busy McCarroll’s annual birthday concert and “Hipster-Pop Sagittarians Unite Celebration” (although persons born under the other 11 signs will be just as fiercely and joyously participating) at 8 p.m. on Friday, Dec. 14. And it is a holiday tradition — the first such birthday gig was held 32 years ago at the old Line Camp roadhouse in Pojoaque. The singer/guitarist appears at The Mine Shaft Tavern (2846 N.M. 14, in Madrid, 473-0743) with The Ambassadors Of Pleasure — Kevin Zoernig, Baird Banner, Justin Bransford, and Susan Holmes — plus special guests. The $5 suggested admission includes a piece of birthday cake.
Teatro Paraguas: double vision In the weeks leading up to Christmas, Teatro Paraguas, a bilingual performance-based organization that promotes and performs classic and contemporary Hispanic and Latino poetry, literature, and theater, presents A Musical Piñata for Christmas, a holiday program rich in regional holiday traditions. Musical director JoJo Sena de Tarnoff assembles a multigenerational cast that performs a wide array of tunes and theatrical vignettes, including a bilingual version of playwright Oscar Hijuelo’s short comedy Fantasía de Navidad. Performances are 4 p.m. Saturday, Dec. 15 and 22, and 6 p.m. Sunday, Dec. 16 and 23, at Teatro Paraguas Studio, 3205 Calle Marie; call 424-1601 for reservations. Admission is by donation. 32
December 14 -20, 2012
Balanced performances: Golden Dragon Acrobats
Sa nta
and B t r e Fe Concholiday performance
As you juggle gift shopping with work and family this season, remember that it’s probably not as difficult as juggling tables — with your feet. Established in 1967, the Golden Dragon Acrobats have become a holiday tradition in Santa Fe, right up there with The Nutcracker, tamales, and drought. Juggling, contortionism, plate-spinning, hoopjumping, balancing acts, and feats of aerial fancy have been Chinese traditions for thousands of years, and few do it with more grace and aplomb than the Golden Dragon Acrobats. Catch their dazzling act at the Lensic Performing Art Center (211 W. San Francisco St.) at 7 p.m. Thursday and Friday, Dec. 20 and 21, and 1 and 7 p.m. Saturday, Dec. 22. Tickets, $20 to $35 (discounts available), may be purchased by calling 988-1234 and visiting www.ticketssantafe.org.
Band of insiders: Santa Fe Concert Band
Baumann’s legacy for strings
The Santa Fe Concert Band presents its annual holiday performance at Santa Fe Place (4250 Cerrillos Road) at 4 p.m. on Saturday, Dec. 15, and at the Lensic Performing Arts Center (211 W. San Francisco St.) at 7 p.m. on Monday, Dec. 17. Directed by Greg Heltman since 1983, the band has been in existence for about 140 years. It is made up of volunteer musicians from the community (go to www.santafeconcertband.com for more information about joining the band if you want to put the trombone lessons great-aunt Ethel insisted you take to good use). There is an auction that evening for two honorary positions in the band in the 2013 Fourth of July performance. The performances are free so bring the kids and great-aunt Ethel (if she’s still around) to enjoy an evening of family entertainment.
Since the 1930s, the Gustave Baumann marionettes have delighted children of all ages with Christmas-themed performances. From 1 to 4 p.m. Sunday, Dec. 16, at St. Francis Auditorium in the New Mexico Museum of Art (107 W. Palace Ave., 476-5072), the marionettes and their trained handlers present a series of seasonal sketches, and activities for the whole family take place throughout the museum. Kids can make their own stick puppets, parents and grandparents can get a choice photo op of their little elves with the Baumann Santa Claus marionette, and refreshments will be served. This year, in honor of New Mexico’s centennial, the museum is giving kids a chance to add their dreams and hopes for the next 100 years to a huge paper chain. Admission is free, but the museum requests that you bring nonperishable food items to donate to a local food bank.
To the day: Santa Fe Symphony honors Beethoven
File photo
Jesus Christ isn’t the only bigwig whose birthday is celebrated this month. Ludwig von Beethoven was probably born on Dec. 16, 1770. Two-hundred and fortytwo years later, the Santa Fe Symphony celebrates with a “Birthday Bash,” an allBeethoven concert at the Lensic Performing Arts Center (211 W. San Francisco St.) at 4 p.m. Sunday, Dec. 16. A 3 p.m. pre-concert lecture is free to ticket holders. On the program is the Triple Concerto featuring the Weiss-Kaplan-Newman Trio, whose repertoire includes the composer’s entire cycle of piano trios. Tickets are $20 to $70, available by calling 988-1234 and from www.ticketssantafe.org or through the symphony (983-1414).
Mass appeal: Schola Cantorum The a capella sacred-music ensemble, Schola Cantorum, under the direction of Billy Turney, performs a few concerts for the Christmas season before heading off on a tour of Italy, which will include singing at a papal Mass at the Vatican in January. At 7 p.m. Monday, Dec. 17, the group performs at Loretto Chapel (207 Old Santa Fe Trail) with a concert preview at 6:30 p.m. The program includes Gregorian chants, Christmas music from the Renaissance, and a section featuring music arranged by Michael McGlynn, director of Anúna, Ireland’s national choir. Tickets are $20 (discounts available) and can be purchased through www.schola-sf.org and at the door. On Sunday, Dec. 23, the ensemble presents a free concert at Our Lady of Guadalupe Shrine (417 Agua Fría St.) at 7 p.m. This performance features ancient chants and alabados of Northern New Mexico, along with a capella settings of Christmas carols. PASATIEMPO
33
PASA TEMPOS
album reviews
VARIOUS ARTISTS Festivus (Highline Records) Maybe you woke up on the wrong side of the menorah. Maybe you think Rudolph would look fantastic with an apple in his mouth and a stainless-steel spit sitting parallel to his rosemary-studded spinal column. Whatever your reasons for being in a not-so-cheery holiday mood, there’s one thing you can’t escape: Christmas music. It’s everywhere, digging its treacly, tinsel-reinforced tentacles into every space imaginable, from the service department at your favorite car dealership to your fleeting gamma sleep cycle. Rod Stewart, Justin Bieber, Cee Lo Green — take your pick. They’re all out to get you this December. But know this: there are alternatives, such as Highline Records’ recently released Festivus, a compilation album whose title derives from a secular, noncommercial holiday called Festivus (you may remember it from a Seinfeld episode), created by writer Dan O’Keeffe in 1966 and celebrated each year on Dec. 23. Much like the holiday, the 15-song collection is a mishmash of ideas. It includes everything from cowpunk (The Werewandas’ “I Love You Santa Claus”) to ’70s glam rock (Glam Chops’ “Countdown to Christmas,” featuring Art Brut singer Eddie Argos). Unfortunately, sleigh bells still find their way into some of the titles, such as The Birthday Kiss’ “Sentimental Christmastide” and The Real Tuesday Weld’s creepy jazz-waltz “Song of December,” which contains the mournful phrase, “We’re drowning in a sea of stuff we’ll never need … I hope that we’ll still value the things that matter.” It is, however, Hunks & Friends’ “The Magic of Christmas” that cynically sums up the album’s overriding theme when an English boy says to his father, “Daddy, what’s this?” and his father replies, “It’s a Christmas song!” “But it sounds just like every other Christmas song,” the boy says. And then daddy reveals, “That’s the magic of Christmas!” — Rob DeWalt JOHN TRAVOLTA & OLIVIA NEWTON-JOHN This Christmas (Hip-O) This album of friendly, happy Christmas songs features the two stars of the 1978 movie musical Grease, and the proceeds go to their charities: the Olivia Newton-John Cancer and Wellness Centre and the Jett Travolta Foundation. You know the album’s tone by the cover and liner photographs of the two with mugs of cocoa, red-bowed gifts, and big smiles. The old friends start off with a bubbly, fun take of “Baby It’s Cold Outside.” John insists to “Liv” that he has to go, and she sings about how deep the snow is outside and even gushes, “Gosh, your lips are delicious.” Does he relent? Uh huh. The vocals kick up a few notches with guest Barbra Streisand on “I’ll Be Home for Christmas” and British pop star Cliff Richard on “Have Yourself a Merry Little Christmas.” Newton-John is radiant on “Silent Night,” and Travolta does a pretty good job throughout. Two other highlights are “Winter Wonderland,” abetted by Tony Bennett (with his quartet, including pianist Monty Alexander) and the Count Basie Orchestra, and “Deck the Halls” with James Taylor — arranged and produced by Taylor and Dave Grusin. Other guests, including Chick Corea (Fender Rhodes), Kenny G and Dan Higgins (saxophones), Bob McChesney (trombone), and Charlie Bisharat (fiddle), brighten the proceedings on particular tunes. — Paul Weideman BENEDICTINES OF MARY, QUEEN OF APOSTLES Advent at Ephesus (De Monfort Music) The four weeks of Advent, marked by the four Sundays preceding Christmas, are literally the darkest of the year. Traditionally a period of anticipation, it’s also a time of contemplation for nonbelievers as well as the faithful. (Witness all those New Age solstice concerts that strike the season with a musical chill.) Advent carols traditionally involve a certain mellowness and minor-key melancholy. But they can also harbor a sense of restrained, major-key joy. The sisters at the Priory of Our Lady of Ephesus emphasize the latter in this collection of 16 known and not-so-known hymns and traditionals. The season calls for angelic heralds, and the sisters fit the bill, their voices sweet, chaste, and harmoniously mixed. Sweetest are the melodic unisons, as on “Regnantem Sempiternan,” a thousand-year-old chant in which their combined voices ring not as one but blended in tones that are warm and attractive. That kind of treatment may cause purists discomfort, as the voices swing and slide in the style of modern chorales. Familiar tunes — “O Come, O Come Emmanuel” — reveal a blur of enunciation. But this is music whose imperfections are somehow endearing. Those looking for historical authenticity should seek out one of a handful of seasonal collections from Anonymous 4 — A Star in the East: Medieval Hungarian Christmas Music being a personal favorite. — Bill Kohlhaase THE POLYPHONIC SPREE Holidaydream (Kirtland Records) It’s surprising that The Polyphonic Spree has taken so long to record a holiday album. The outsized Dallas band arrived in 2000 like a group of carolers, wearing robes, playing violins and flutes, and singing in unison. Bandleader and singer Tim DeLaughter played the role of Pan out front, bouncing about and conducting odes to joy. On Holidaydream, the band’s lush, imaginative arrangements suit the yule well, particularly the extended rendition of “Silver Bells” and the alluring, mysterious take on “Do You Hear What I Hear?” DeLaughter — who often sounds uncannily similar to The Flaming Lips’ Wayne Coyne — struggles at times with carols that are clearly not written for his particular range and tone, but he rarely has to go it alone. The communal spirit is the most compelling aspect of the band, so the strongest parts of the album are the ones in which we hear the efforts of many people pulling together to make something magical, not unlike the Whos of Whoville joining hands and belting away the Grinch’s blues. The best song by far is the cover of John Lennon’s “Happy Xmas (War Is Over),” in part because it’s fresh. Also, Lennon knew a thing or two about psychedelic influences in music and how to write rock choruses big enough for bands like The Polyphonic Spree. — Robert Ker
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December 14 -20, 2012
It’s our differences that make us great. No matter what you value, we’re here to protect it with respect and professionalism. Like a good neighbor, State Farm is there.® CONTACT AN AGENT TODAY.
Garrett Seawright, Agent Bus: 505-982-5433 www.theseawrightagency.com
James Armijo, Agent Bus: 505-982-4412 www.jamesarmijo.com
Wayne Steen, Agent Bus: 505-820-7926 www.waynesteen.com
Belinda Maez-Ferrero, Agent Melissa Pessarra Ins Agcy Inc Melissa Pessarra, Agent Bus: 505-471-1313 Bus: 505-471-5700 www.belindaferrero.net www.melissapessarra.com
Ron Cowles, Agent Bus: 505-982-3604 www.rjcowles.com
Robert Maldonado, Agent Bus: 505-471-0308 www.robertmaldonado.com
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The Perfect Venue for Your Next Office, Family or Holiday Party! Book Now for Your Next Holiday Event!
What’s happening contemporary conversations continue
Alcove 12.7 Tonight Gallery Conversations
We will be offering a Christmas and New Years menu. There will also be the option for ordering ala carte.
www.osteriadassisi.com 58 S. Federal Place Santa Fe, NM 986-5858
december 14 friday
Join us for insights into artistic practice with the artists of Alcove 12.7 as they discuss their work in an informal conversation. Meet Marc Baseman, Matthew Chase-Daniel, Eric Garduno, Jeanette Pasin Sloan and Jared Weiss. The Alcove 12.0 project presents art being made in New Mexico right now with five new artists showing every five weeks. 5:30–7 p.m. Free.
This weekend Holiday Open House
december 16 sunday
Seasonal merriment for all the family with performances by the renowned Gustave Baumann marionettes, photo opportunities with Baumann’s Santa Claus, hands-on art activities for children, a treasure hunt to find Freckles in the galleries. Also, children can add their dreams for the next 100 years of New Mexico to a statewide Centennial paper chain. Plus music and light refreshments. 1–4 p.m. Free.
NEW MEXICO MUSEUM OF ART
107 WEST PALACE AVENUE · ON THE PLAZA IN SANTA FE · 505.476.5072 · NMARTMUSEUM.ORG PASATIEMPO
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FREE PARKING 3 Saturdays, December 8, 15 and 22 There will be TWO HOURS of free parking three Saturdays before Christmas. Eleven hundred meters in downtown Santa Fe and Guadalupe street will be FREE! Free parking downtown brought to you by these participating merchants.
Aaron Payne Fine Art Allan Houser Inc. Back At The Ranch Barker Properties Blue Rain Gallery Cafe Pasqual’s Charlotte Corsini Cowgirl BBQ Collected Works Bookstore Paul DeDomenico Dressman’s Gifts Design Warehouse Doodlet’s Ecco Espresso and Gelato Brian Egolf Evoke Contemporary Fairchild and Company Full Bloom
Goler Fine Imported Shoes Harry’s Clothing Il Piatto Izmi Sushi Restaurant James Reid Jett Keshi La Boca/Taberna La Fonda Laura Sheppherd Legends Santa Fe Marcy Street Card Shop Mira Native Jackets Etc. The New Mexican Origins Packards on the Plaza Patina Gallery Otero Street
More FREE PARKING At the Otero and Marcy Street lot, across from The Santa Fe New Mexican.
Plaza Restaurant Rainbow Man Rippel and Company Santa Fe Dry Goods Sign of the Pampered Maiden Santa Fe Hemp Santa Fe Reporter Santa Fe Weaving Gallery Shiprock The Shop A Christmas Store Spirit Things Finer Verve Uli’s Boutique Wear Abouts Windsor Betts Art Brokers
Marcy Street
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December 14-20, 2012
Bring in the New Year with La Cantina. Join us for our special show “A New Year’s Eve Carol” on December 30th & 31st. For show times and reservations please call 505 988 9232
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Offering Special Holiday Menus. Visit our website for complete menus
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Open Christmas Eve!
Open Christmas Day!
Dinner at La Casa Sena from 5pm - 9:30pm Regular service at La Cantina starting at 6pm
La Casa Sena from 5pm - 9pm La Cantina, one seating at 6:30pm
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Open Daily 11am until 10pm ï 125 East Palace, Santa Fe 505-988-9232 ï www.lacasasena.com
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New Year’s Day Foods
OYSTER PERPETUAL EXPLORER II
On the PLaza, Santa Fe 61 Old Santa Fe Trail ï 505 ï 983 ï 9241
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oyster perpetual and explorer are trademarks.
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Mind your
Adele Oliveira I The New Mexican
The addictive world of Downton Abbey
he television series Downton Abbey tends to inspire steadfast, occasionally obsessive devotion. So much so that if you can’t wait for the Jan. 6 U.S. premiere of the show’s third season, there’s an app for that. Available for $1.99, the Downton Abbey app is a super fan’s dream. The theme music (forlorn piano and insistent strings) plays while the app updates content, which includes lots of streaming video clips (including fun behind-the-scenes footage and deleted scenes), a floor plan of the house, and detailed history lessons about life in Edwardian England (including a colorful and sad segment about “fallen women”). It’s enough to keep American devotees entertained until we can pick up where we left off. Downton Abbey is a period drama set in the early 20th century. The show is produced in Britain and airs on PBS here as a presentation of Masterpiece Classic (formerly Masterpiece Theatre). Broadly, it focuses on the swiftly changing cultural mores of the time, as seen through the lens of an old aristocratic family, the Crawleys (headed by Lord Robert and Lady Cora Grantham) and their battalion of servants. In the tradition of Upstairs, Downstairs and Brideshead Revisited, Downton Abbey explores social upheaval, a changing class system, and world events through the relationships of the family and their staff. The show was created by House of Lords member Julian Fellowes, perhaps best known in this country for his screenplay for Robert Altman’s 2001 film, Gosford Park, which takes place over one weekend in a similarly grand British country house in the 1930s. Downton visually leads the pack of gorgeous TV shows: it’s sumptuously shot, with a Mad Men-level attention to period detail. The posh accents (and the rougher ones downstairs) are spot on; scenes of characters dressing for dinner and the many courses that follow are appropriately ceremonious and elaborate. Downton is the sort of show you turn to when you want to forget where you are and look at something very pretty. (The World War I battle scenes at the beginning of the second season, though equally transporting, are an exception.) The first episode of the third season is set in the spring of 1920. About two minutes into both the first and third seasons, we get nearly the same shot, of the house itself from the long gravel drive. Played by Highclere Castle (which you can rent for weddings and parties) in real life, Downton is a square mass of tawny stone, dominated by rows of tall windows and topped by tightly bunched spires. As the emotional and visual center of the show, the house is almost improbably huge, rising 38
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high above the tops of ancient trees. In the U.S., we have stately houses from our own comparatively short Gilded Age, but they’re not imbued with the history that Downton is, with its generations of landed gentry and their servants. “You do not love the place yet,” Lord Grantham (Hugh Bonneville) says to Matthew (Dan Stevens), his distant cousin and heir, in the first season. “You see a million bricks that may crumble, a thousand gutters and pipes that may block and leak, and stone that will crack in the frost. ... I see my life’s work.” The world has changed since the show’s premiere episode, set in April, 1912, right after the sinking of the Titanic. Season three finds the Crawley family and staff on the other side of World War I, several tragic deaths, messy love affairs, and wrongful imprisonments later. The intrigue of Downton’s epic betrayals and whispered secrets overheard in corridors is part of why viewers love the show — it’s a soap opera in period dress. Scheming lady’s maid O’Brien (Siobhan Finneran), strident chauffeur and Irish revolutionary Tom Branson (Allen Leech), and delightfully sour middle daughter Lady Edith (Laura Carmichael) match the characters of any telenovela for drama and antics, but because of the show’s setting and high production value, it’s easy to brand it as good-for-you TV, which Masterpiece does handily. Downton features “some of the greatest romances ever portrayed on public television,” Angela Lansbury enthused on a season-three preview aired on PBS. Despite efforts at educational branding, Downton isn’t the oatmeal of the nighttime drama set. It’s more like fancy licorice, or artisanal candy canes — an indulgence, but nothing to be ashamed of. Downton appeals to multiple sensibilities, and it is
compulsively watchable. The presentation is without irony — except perhaps when Maggie Smith’s Lady Violet uttered the first-season crowd-pleaser: “What is a weekend?” Downton is unabashed in its dramatic, sentimental presentation. Though the series often romanticizes the past, the tension between innovation and tradition is an important theme, and it is played out marvelously in season three when Lady Cora’s American mother, Martha Levinson (a red-lipsticked and outspoken Shirley MacLaine), comes to Downton. Martha is an ideal foil for Smith’s Lady Violet — they’re both saucy old ladies, but with different ideas about how the world should work. Violet is the essence of propriety and the old guard, while Martha takes pleasure in doing things the newfangled way just for the hell of it. In spite of its tendency towards melodrama, Downton achieves real poignancy. There’s plenty of sardonic TV today (and many of Downton’s characters regularly deliver cutting wit), but sincerity done well is in short supply. The show is especially earnest when presenting modern social developments, like women’s suffrage and workers’ rights. The action balances a commitment to duty and tradition while artfully portraying the vanguard: when Lady Sybil ( Jessica Brown Findlay) marries the revolutionary chauffeur, the family members (particularly the women) figure out how to adapt. Lady Edith also grows into something of an early feminist in the third season. We will always live in turbulent times. But it can be comforting to look back on people struggling with the challenges of their age, knowing that they’ll emerge on the other side. Downton’s viewers have the benefit of hindsight, and we may see ourselves in the characters’ triumphs and missteps. Though the series’ cultural moment is unlike our own (and almost none of us are lords or butlers), we all must engage with change and meet what’s to come. ◀
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Photos Š Carnival Film & Television Limited 2012 for Masterpiece
Michael Wade Simpson I For The New Mexican
Harmony for the holidays erhaps the busiest musical organization in town during the holiday season is Santa Fe Desert Chorale. Under the direction of Joshua Habermann, who became director of the Desert Chorale in 2008 and has been at the helm of the Dallas Symphony Chorus since July, 2011, the group has expanded its offerings to include more than a dozen performances with four different programs in a variety of settings, including a couple of engagements in Albuquerque. New this year is The Big Holiday Sing, involving approximately 100 singers, including members of the Río Grande Youth Chorale, conducted by Susan Byo Passell, and the UNM Concert Choir, directed by Bradley Ellingboe. The groups perform individually and combine forces for several pieces, with Deborah Wagner on organ. Designed as
Santa Fe Desert Chorale a family program that features an audience singalong, the performance offers an opportunity for Desert Chorale to build on the educational programming it has begun to develop. “We want to train the next generation of singers,” Habermann said. “By including elementary, middle-school, college students, and professional singers in this program, we’re trying to get across the idea that participating in choral music is great at every stage of life.” Performances are Saturday, Dec. 15, in Santa Fe, and Sunday, Dec. 16, in Albuquerque. Carols and Lullabies is the chorale’s main musical event of the season, featuring a program of mostly a-cappella works including ancient music, Spanish-language pieces, American spirituals, and familiar Christmas standards presented in nontraditional arrangements. “It’s a collection of things somewhat familiar — great art music and new music,” Habermann said. Opening the program is “O Come, O Come, Emmanuel,” sung in the style of a chant. “Alilo,” from the Eastern European country of Georgia, has a “folkish, blazing, let ’er rip” quality to it, while the third piece, William Mathias’ “Hodie Christus Natus Est,” is a new English setting of this work.
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Members of Santa Fe Desert Chorale Joshua Habermann
A grouping of pieces with the theme The Mother includes Wolfgang Buchenberg’s “Magnificat,” the American spiritual “Mary Had a Baby,” and “Ave Maria” by Franz Biebl. “It’s the one piece Biebl wrote that really connects with people,” Habermann said. “Plus, it gives us a chance to show off our soloists.” The Angels and the Shepherds and The Great Mystery are themes for the next two sections of the concert. Healey Willans’ “The Three Kings” and Ken Berg’s “While Shepherds Watched” are in the style of English choral music. “O Magnum Mysterium” includes violin accompaniment. “Every year we sing a different ‘Magnum Mysterium,’ ” Habermann said. This year’s is the work of a Norwegian composer, Ola Gjeilo. “It’s like a symphonic tone poem.” continued on Page 42
A singer’s life
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he singers who travel from various parts of the country to perform with Santa Fe Desert Chorale for the holiday season are not only leaving behind loved ones, Christmas parties, and family traditions, but, in many cases, full-time jobs. Some of the performers also work as college professors, choir directors, or music teachers in their home cities. Others are freelance choral singers. Some tour the world as soloists. “When I come to Santa Fe, I’m no longer responsible for everything,” said Michael Boswell, a tenor from Terre Haute, Indiana, who has been singing with the chorale since 2004. He is a professor at St. Mary-of-the-Woods College, where he directs the choirs and teaches voice. “It’s nice to just be in this choir and absorbing. It’s personally fulfilling. It’s a tight-knit group of people. I learn a lot every time — from the other musicians and from Josh [music director Joshua Habermann].” “It revives your soul,” said Kathlene Ritch, who recently moved to Santa Fe from Austin. She travels as a freelance singer when she’s not busy accompanying the chorus at Santa Fe High and running the musical theater program there. Last month she
went to France on tour with the Austin-based group Conspirare. “I’m a musical-theater girl,” she said, “but I got tired of cattle-call auditions in New York. I’m 5 foot 10 inches with red hair, and they didn’t know what to do with me.” The good thing about singing in a chorus is being part of a whole. It’s a singer’s way of being in an orchestra. “I thrive on sharing my voice for a bigger purpose. It’s not just about music; it’s about connecting with the audience. Some choirs just offer a presentation of pieces. Joshua [Habermann] wants the audience to have an experience — to connect with the ideas and themes of the different types of music we sing. If you can’t connect with the audience — what’s the point?” Some musicians dread Christmas because of the scheduling involved in working with several organizations, often in different cities. Not Andrea Pressley. “I’m a Christmas fanatic,” she said. Although she is now based here, she commutes regularly to L.A., leaving behind a husband and 1-year-old child. As a member of the Los Angeles Master Chorale, she has had the opportunity to sing with the Los Angeles Philharmonic and will head out on tour with the orchestra this spring, taking John Adams’ The Gospel According to the Other Mary to New York, London, Paris, and Lucerne, Switzerland. She also works in the film industry, having brought her alto voice to
Avatar, Fright Night, and the Disney films Beauty and the Beast and Aladdin. On a film there is a lot of pressure to sight-read instantly. “You walk into the room, your music is on a stand, there is no rehearsal, and they just start rolling.” In the case of the Desert Chorale, the singers are sent the music ahead of time. “We don’t rehearse actual notes, we just run things and polish. A lot of people don’t realize what fantastic musicians the members of the Desert Chorale are.” Estelí Gomez said, “I’ve been living out of my suitcase for two years.” Originally from California, Gomez attended graduate school in Montreal and then began a freelance life, as a soloist in oratorios, operas, and early music. Before heading to Santa Fe for the December engagement with the chorale, she had been in Poland, Berlin, London, and Amsterdam. In January, she performs with the chamber chorale Seraphic Fire in Miami and then heads to Atlanta to fill in for a member of the early-music trio Harmonia Celeste. Somewhere in there she will find the time to sing at a college roommate’s wedding. “I like this lifestyle. I have so many friends all over the world. Just to stay in New York or Boston would seem so limiting at this point.” There are trade-offs, however. “I love to cook and I have no kitchen.” — M.W.S.
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Desert Chorale, continued from Page 40
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Habermann has worked as a Spanish teacher. That’s one reason he enjoys hunting for different works from the Spanish-speaking world. “A la Nanita Nana” is a lullaby, while “De la Montañas Venimos,” and “Ya Viene la Vieja” are among the works sung in Spanish. The familiar “Have Yourself a Merry Little Christmas” was arranged for the Los Angeles Master Chorale in a “rich 1940s chromatic style,” Habermann said. “Glory Hallelujah to the Newborn King,” was arranged by Moses Hogan, a well-known composer and arranger of American spirituals. The program’s closing pieces are “Silent Night” and “We Wish You a Merry Christmas.” The performances begin on Friday, Dec. 14, in Santa Fe and run through Dec. 22, with an Albuquerque performance on Dec. 23. In the midst of all this, a one-night-only fundraising performance for the chorale features a smaller contingent of singers directed by Kathlene Ritch, performing at LewAllen Galleries Downtown on Wednesday, Dec. 19. The program, called The Lighter Side of Christmas, includes popular and novelty songs. After the performance, champagne and hors d’oeuvres are served, and a silent auction benefits the chorale’s education program. Another series of concerts, beginning Dec. 28, features music specially chosen to celebrate the New Year. For this event, the chorale has invited former music director Linda Mack Berven to lead eight singers in a program including Shaker music, Sephardic folk songs, French art songs and, of course, a rendition of “Auld Lang Syne.” ◀
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The Lighter Side of Christmas 5:30 p.m.Wednesday, Dec. 19, LewAllen Galleries Downtown, 125 W. Palace Ave. $80 (includes champagne and hors d’oeuvres), advance tickets only AToast to the New Year 8 p.m. Friday-Sunday, Dec. 28-30, Loretto Chapel, 207 Old Santa Fe Trail 4 p.m. Saturday & Sunday, Dec. 29 & 30; 6 p.m. Monday, Dec. 31, Church of the Holy Faith, 311 E. Palace Ave. $25-$45 Tickets for all performances are available from Tickets Santa Fe at the Lensic, 988-1234, www.ticketssantafe.org.
Early Childhood Program
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The Gustave Baumann Marionettes present “A Party for Papa Gus” 1–1:30pm. Repeats 2:30–3pm. Juan, Rosina, and Miguelito try very hard to get ready for a party, except for that rascally Warts...! St. Francis Auditorium.
Funded by the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax.
Now Accepting Fall 2013 Applications for Age 3 – Kindergarten
Make Your Own Stick Puppet 1–4pm. Take A Picture with Santa marionette on YOUR Lap 1:30–2pm. Repeats 3–3:30pm. Find Freckles Gallery Game 1–4pm. “Connecting a Century of Dreams” Paper Chain Project 1–4pm. Children have a chance to write their dreams for New Mexico’s next 100 years, creating a link in a paper chain with kids all over the state. A Little Chat with the Marionettes 2–2:30pm. Say Good Night to the Marionettes 3:30–4pm.
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barbara_bentree@riograndeschool.org 715 Camino Cabra ï Santa Fe, New Mexico 87505
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Holiday music performed by Barbershop Sounds, a women’s a cappella quartet.
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with Shinzan Palma and Ray Olson J A N UA RY 1 2
with Shinzan Palma, Peg Reishin Murray, and Brian Joshin Byrnes J A N UA RY 1 7 - 2 3
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with Sensei Kazuaki Tanahashi and Do-On Robert Thomas J A N UA RY 2 5 - 2 7
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Michael Abatemarco I The New Mexican
Unidentified flying orange circles THE ART OF MIGUEL ARZABE
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Miguel Arzabe: Weaving, 2012, found ’80s-era Santa Fe art posters; below, still from I Will Dream We Tried to Catch Our Dream-Catcher, 2012, video of live performance
an Francisco-based artist Miguel Arzabe works in a variety of mediums, including painting and video. Circle imagery is a common motif in his work. While rendered abstractly in his paintings, in his videos, circles are included as objects — fruit, ping-pong balls, and a circular kite are among them, all of them orange. In the videos, these objects sometimes mimic the sun in the sky, or are used in conjunction with human actions — being thrown into the air or pushed over a hill. “Many artists have used orange circles,” Arzabe told Pasatiempo,, “most famously the Californian John Baldessari in his Throwing Three Balls in the Air to Get a Straight Line (Best of Thirty-Six Attempts),, 1973, to which my video work owes a big intellectual and formal debt. But perhaps on a more primal and personal level, my roots come from Bolivia, and the Incas worshipped the sun god Inti, and that makes sense to me.” Arzabe was selected for a three-month residency at the Santa Fe Art Institute. “I am interested in the process of art making and how it relates to perception, cognition, and how we come to understand systems greater than ourselves,” said the artist, whose current project relates to a fellowship he received to attend the Vermont Studio Center in Johnson, Vermont. Arzabe spent his time there working on a series of paintings made in response to an article in Art Forum by Benjamin Buchloh, an art historian at Harvard University. The article is “about color, specifically how the liberating subjective qualities of color have been co-opted by power throughout the history of modern art and how Gerhard Richter’s approach to color has been to oppose this tendency by paradoxically addressing it self-consciously. I found the article very informative yet dense. I spent the residency translating the text from jargony artspeak to plain English and creating my own painting relating to the ideas on Richter’s work.” The result is an interactive PDF document called The Chance Ornament, Concise Truths on Gerhard Richter’s Paintings (After Buchloh). The reader can mouse over the PDF, available on Arzabe’s website, www.miguelarzabe.net, and see the textual changes and supplemental images Arzabe added to Buchloh’s original. Continuing an exploration of autumn colors that began in Vermont, he has been spending time in New Mexico looking at aspens. “I was still obsessed with color, so I went up to the mountains to see the aspens four times in one week. I’ve been flying a kite that is in the shape of a circle and filming it in different
locations throughout the country ... I flew it up in the yellow aspen forest a bunch of times.” Arzabe then projected a recording of the kite on a wall at the institute and filmed his shadow trying to catch the kite. “The piece is called I Will Dream We Tried to Catch Our Dream-catcher. The work is a live performance with a video projection of previous performances, layered meditations in time and space, a meditation on the nature of reality through a primal yet self-reflexively contemporary and technological dance.” His shadow’s hopeless attempts at trying to catch the kite reflect Arzabe’s interest in the absurd. His video Pushover, for example, depicts a Sisyphus-like figure pushing a large orange ball up a hill. Physical forces such as gravity play a significant role in Arzabe’s video work. “They are important because they epitomize those things that constitute the unseen mechanisms of reality, through which humans have sought to come to a rational understanding of the material world in order to dominate and transcend it,” he said. “With every new understanding we learn how little we know. We try to know more but do we question the methods or intentions through which we try to achieve understanding? There is poetry in the failure to completely comprehend something through rational means.” Work produced by artists in residence at SFAI can be seen in monthly open studios. The next open studio when the results of Arzabe’s residency are presented is Thursday, Dec. 20. In addition to I Will Dream We Tried to Catch Our Dreamcatcher, Arzabe is working on two other projects. The first is a sculptural piece made from the cut-up pieces of a set of posters used to advertise a 1980s-era Santa Fe art exhibit. He found the posters in a thrift store. “They are cliché Southwestern images of Native Americans on horseback in the desert, in pastel colors and gold with a deep mauve border — very commercial art. I thought it would be interesting to use the art prints as raw material with a nod towards traditional Native craft techniques, so I have been using a mat cutter to cut the prints into strips and weaving them into a large textile-like construction. It’s meditative, abstract, and intuitive, a bit ritualistic. I am not trying to create a specific product or design.” Then there is Snowflake, a video project based on how snowflakes form, with water molecules collecting around small particles in the atmosphere. Arzabe covered the floor and adjoining walls of a corner in his studio with white paper. After painting a cube in that corner, its center at the intersection of the two walls and the floor, he positioned himself inside the cube and began shooting. “Paint a line around the center, get in the center cube, take a photo. Repeat over and over again and what you get is a stop-motion animation of a snowflake forming,” he said. “I put on a white shirt and white pants resembling the uniform of the other type of painter, the humble laborer who paints buildings, and became the particle that gives birth to the snowflake.” Arzabe holds a degree in environmental fluid dynamics from Arizona State University. While science and art making both involve experimental processes, Arzabe is not interested in their categorical distinctions. “Science is another way for understanding the world, and my art uses aspects of that method — creating idealized models of systems by reducing the number of variables, inserting an intention into the physical world and eliciting feedback, trying to repeat results,” he said. “It’s more important that there is poetry in the process, whether it asks interesting questions, than whether it is science or art.” ◀ Miguel Arzabe’s artwork can be seen as part of Santa Fe Art Institute’s open-studio event at 5:30 p.m. on Thursday, Dec. 20. SFAI is at 1600 St. Michael’s Drive. Call 424-5050 for information. There is no charge.
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Paul Weideman I The New Mexican
ARTISTIC INK-RONICITY L
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hey don’t make them like this anymore. A recently acquired gem at Landfall Press, up and running since April, is a 150-year-old self-inking Marinoni Voirin lithography press. Weighing 8 tons and made of tremendously thick steel, the press is virtually indestructible. Jack Lemon, Landfall’s founder, president, and master printer, said that if a part somehow breaks, they will have to have a new one custom-made. There is no operating manual. “And if there was, it would be in French, and really old French.” Lemon said that the press, initially steam-driven but long ago converted to run on electricity, was originally at a printing shop in Paris. It was brought to the U.S. with several lithography presses in the early 1970s for the opening of a shop in New York. When the shop closed, a friend of Lemon’s bought it. “He moved to Las Vegas and was scaling down his operation. He said if you take it out of here, you can have it. We found a company that got it on a flatbed truck, and we got an Albuquerque company to install it here.” In early October, Lemon and Landfall Press director Steven Campbell pointed to the result of their first endeavor on the Marinoni, a stack of beautiful prints by Peregrine Honig. It took 40 minutes to make the 125 prints. “I worked on a bigger one in Las Vegas,” Lemon said. “We could do 300 in the morning, then in the afternoon we could throw another color on and do another 300.” The Marinoni can make prints up to poster size, about 30 by 40 inches. It prints just one color at a time, and you have to feed it, but it does dampen the plate and ink the plate. You add the ink at the front and a series of rollers distribute 46
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it and smooth it out. “It prints beautifully. And it’s so much fun to work on,” Lemon said. “It’s kind of a team effort. Anna [Booth, press assistant] works in the back. She’s the one who takes the sheets off, because she’s six-foot-three. I feed the paper because I’m the shortest, and Steve runs the ink in the front. “The oil-based ink is really thin. Before we had this machine, when we printed by hand, we really prided ourselves on not laying down a lot of ink. We kept it really thin, like it was machine-made. I’ve been really particular about that, and about that look.” During a visit at the end of May, they got the big, old press going. It ran like a dream, all the heavy parts softly clanking, clonking, and moving like butter because they’re so perfectly engineered. It can take 50 to 100 prints to get everything just right, and then they start using the good paper. The artist typically checks the proofs but isn’t there during the actual print run. “Judy Chicago is coming in Monday, and she’ll stay for maybe three days and proof by hand,” Lemon said on May 31. “We’re doing a portfolio that she calls ‘a retrospective in a box.’ She checks and corrects every color until she signs off on the finished proof, then we make the edition, and they have to correspond to that proof. We’re publishers. In most cases, we select the artists, then pay them to come in and make the images. We’ve been working on this with Judy for two years. Usually she works on the drawings in her studio and finishes them up here.” continued on Page 48
THE 150-YEAR-OLD SELF-INKING MARINONI VOIRIN LITHOGRAPHY PRESS
Above, Landfall Pressâ&#x20AC;&#x2122; Steven Campbell and Jack Lemon working on the Marinoni Voirin; left, Jeanette Pasin Sloan: Wave Cups II, 2012, lithograph printed by Landfall Press; opposite, Campbell working with artist Terry Allen
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Landfall Press, continued from Page 46 Pix of the Week Museum Art You Can Own
143 Lincoln @ Marcy 820.1234 R.C. Gorman ( 1931-2005 ) “Watermelon Lady” Oil Pastel 27 x 21
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& Peregrine Honig: Buttons, Buckles & Bows, 2012, lithograph printed by Landfall Press
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Landfall Press, founded in 1970, collaborates with artists to produce lithographs as well as etchings, woodcuts, and sometimes three-dimensional works. Landfall was the first publisher to add 3-D collage elements (to prints by Christo) and worked with Lesley Dill on a sculptural lithograph titled Rapture’s Germination. Landfall is currently working with Jiha Moon on a piece based on a Chinese-food carryout box. On Oct. 3, the printers showed the finished design to Moon, and said she was going to have it laser-cut the next day. The final prints, to be done on the Marinoni, will be on a paper that can be folded into a box or left flat. Landfall’s workshop on Siler Park Lane was designed by artist Michael James Plautz. There are curatorial, storage, and office spaces in a loft, and room for several litho and etching presses on the main floor. Artists who work with the printers at Landfall often come in with ideas, then begin sketching with a stylus or burnisher on a copper plate — or they may choose the aquatint process, using powder and acid. Another current project is a portfolio by Al Ruppersberg, an artist who works with old snapshots he has collected in junk stores. He picked 10 of them and had them digitally printed by Peter Ellzey, Landfall’s digital director. A litho press was then used to produce the colorful prints, featuring what’s called a “blended roll,” in this case with three colors blending like adjacent colors in the rainbow. The colors go right across one print, which is based on a photograph of a woman in a flower-print dress holding a picture of a house. Santa Fe’s Terry Allen is one of the artists who conceives projects at Landfall, rather than bringing in finished concepts. “Terry hardly brings anything with him except his sketchbook, and he kind of puts everything together when he’s here,” Lemon said. “We’re doing a set of prints that goes with his new [music] album, Bottom of the World, which will be included in the portfolio. I think he’s done six, and there will be 10 total.” Allen’s techniques include working with a tusche wash and blending digital elements. The Bottom of the World prints incorporate mapping, music notation (including in the shape of a chair), and images of John Wayne — that one fits right in with Landfall’s interior design: the walls are decorated with a great collection of original Wayne movie posters. Among the other artists who have collaborated with Landfall are Robert Arneson, Vernon Fisher, Luis Jimenez, Kara Walker, and Joel-Peter Witkin. Many of these were featured in A Singular Vision: Prints From Landfall Press, an exhibition at the Museum of Modern Art in New York in early 1997, for Landfall’s 25th anniversary. If you’re interested in the processes and machines employed by the press, check out the Landfall Institute of Graphic Arts. “Steve and I got this idea,” Lemon said. “I’ve had several print places call me regarding needing printers or helpers and there just aren’t any. Since I went to the Kansas City Art Institute, we started it with them.” The institute accepts applications from printers and other artists for threemonth apprenticeships. The result is a certificate in graphic process. See www.landfallpress.com or call 982-6625 for information. ◀
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A Season of HOPE. A Time of NEED. For more than three decades, the Empty Stocking Fund has served as a critical safety net for those experiencing financial challenges in the community. The Empty Stocking Fund provides support of housing assistance, car repair, home heating, utility bills, and more, to help our friends and neighbors experience a holiday season that is truly merry and bright. For details on donating funds or services, visit www.santafenewmexican.com/emptystocking
Empty
TO DONATE Make your tax deductible donation online at www.santafenewmexican.com/emptystocking or you may mail a check to: The New Mexican’s Empty Stocking Fund c/o The Santa Fe Community Foundation, P.O. Box 1827, Santa Fe, NM 87504-1827. If you can provide a needed service such as roofing, car repair, home repairs, etc. contact Roberta at Presbyterian Medical Services at 505-983-8968. If you can contribute food, clothing toys, housewares or furniture in good condition or other items or services, please contact The Salvation Army at 505-988-8054.
Founded by The Santa Fe New Mexican and jointly administered by
stocking NA fund ®
PASATIEMPO
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ART IN
REVIEW
Siobhan McBride: Strong Winds May Exist, Eight Modern, 231 Delgado St., 995-0231; through Jan. 5
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Top, left to right, Siobhan McBride: Overpass, 2010, gouache on paper on panel, 12 x 16 inches; Ball, 2010, gouache on paper on panel, 12 x 16 inches Above, Cave, 2012, gouache on paper on panel, 8 x 10 inches
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magine seeing moments from different realities in a single picture. Or think of snippets of memories pieced together to create peculiar juxtapositions of mundane objects situated in seemingly normal surroundings. Dream imagery? This is what comes to mind looking at Siobhan McBride’s gouache paintings in Strong Winds May Exist, her inaugural solo exhibit at Eight Modern, which showcases her work from 2010 to 2012. In 22 diminutive works on paper mounted on wood panels — the majority of which are no larger than 12 x 16 inches — McBride’s work imports numerous narratives. Some scenes feel familiar while others are a bit skewed or just too personal to comprehend. None has any distinguishable beginning or end. The collagelike imagery — painted for the most part in flat, somber colors — tells of something to come or of something that just occurred, challenging viewers to fill in the before and after, not unlike the joined yet disconnected imagery seen in many David Salle paintings. But McBride’s paintings lack the slickness of Salle’s work, and she does not populate her pieces with the human figure. Nor do her paintings exude the sexual overtones associated with Salle’s work. I see in McBride’s style some connection to David Hockney’s technique in the 1960s — precise brushstrokes with dashes of expressive markmaking — but, again, minus the human figure. McBride’s imagery confronts viewers by way of unoccupied rooms and unpopulated landscapes, yet both bear the presence of human activity. Depending on how much effort viewers care to put into her pictures, they may choose to ignore the underlying psychological implications or take to armchair analysis — which might reveal more about them than the artist. That’s what makes McBride’s work intriguing and fun. In Cave — one of the smaller pieces at 8 x 10 inches — viewers are presented with an interior consisting of two rooms. The room to the right is lined with wallpaper in a yellow floral motif, while the other is barren, with blank white walls. In the former there is an armchair with cushioned seat and back and a decorative
runner on the floor. In the adjoining room is a freestanding, makeshift cave — think partially constructed igloo — conceived of wooden armature and papier-mâché and what appears to be a rock inside. A simple wooden stool silhouetted in tan serves as a visual transition from one room to the other. The question is: In what seat or space would we be most comfortable, most protected? Seated in one room, we may be obligated to be sociable or become complacent; sitting on the stool we may be too exposed and vulnerable; positioned in the cave — or the womb? — we’re safe and unencumbered by the outside world. Little House on the Prairie Marathon is another interior setting, and it is most likely McBride’s studio. The room — unoccupied and seemingly being repainted in mauve and pink — consists of a chair and table with two work lamps. Propped up on the paint-stained tabletop is an unfinished painting of a house. On the back wall to the left of two windows is a larger painting — a mural in the making? — of a house in wooded terrain. And in the lower right foreground is an indistinguishable object painted in dark tones of purple and black. Everything is in a state of becoming. The room is being painted, and the small painting on the table has yet to be completed, as is the mural on the wall. The mysterious abstract shape could be anything. Even the painting itself could be considered unfinished. The chair is only partially painted, revealing McBride’s initial pencil marks that delineate its back support. And the title? Are viewers to believe the artist’s guilty pleasure is watching reruns of Little House on the Prairie at the expense of working in the studio? Some of McBride’s other titles are simply confusing. Take for example, Alligators All the Time and Rabbit Tattoo — neither of which contains an alligator, a rabbit, or a tattoo. The paintings to which I kept returning are what I interpret as suburban landscapes featuring freeway constructs: Overpass and Ball, both from 2010. The former puts viewers beneath two converging concrete roadways. The main thoroughfare is to the left and is equipped with three streetlights; to the right is what appears to be an on-ramp curving inward to merge the two. Below is a field of green grass abutted in the distance by a line of trees — all quite normal looking. But what catapults this image into the realm of odd is the off-kilter outbuilding perched in the foreground like the tip of an iceberg and cropped from the attic window upward, with the most improbable roofline trimmed in powder blue. Floating behind it are pieces of paper that lead the eye up to the on-ramp. Are we standing in a landfill bordering a quiet neighborhood beyond the tree line? And where does the highway lead? In Ball, a fragment of highway cuts into the uppermost portion of the composition from the right and abruptly ends midway in a dead-end roundabout. The elevated roadway towers over a sand dune spotted with tufts of beach grass and treetops beyond. The visual kicker is not only the inaccessible highway above but the big striped ball in the lower right corner surrounded by — or engulfed in — a large, dark red void that takes up one-third of the picture. The size differential between the latter components and the abstract nature of the void compared with everything else keeps us off balance as to the when, where, and why of it all. And with nary a human in the mix — not even footprints in the sand — the silence of the scene is deafening. There is nothing quite like McBride’s work in Santa Fe right now. I commend director Jaquelin Loyd and co-director Margo Thoma for spotlighting emerging talent such as McBride. — Douglas Fairfield
Max Cole: Somerset Fall I, 2012, acrylic on linen, 52 x 62 inches
Max Cole: Beyond, Charlotte Jackson Fine Art, 554 S. Guadalupe St., 989-8688; through Dec. 30 There’s a surprising amount of variation in the body of new work by Max Cole at Charlotte Jackson Fine Art, especially considering that the artist is working within a limited range of form and color. Cole, like Taos artist Johnnie Winona Ross, achieves a smooth luster in his work by layering successive applications of lines with acrylic paint. This obsession with process results in a fine, polished surface. Cole’s meticulous line work is an exploration of one of art’s most basic compositional elements. The resulting images are minimalist in terms of their elements — each painting in Beyond is an interplay of vertical and horizontal lines — but intricate in terms of the finished effect. It is noteworthy that the lines in Cole’s paintings, though repetitive, are often imprecise and vary in terms of straightness. Some paintings with vertical lines — painted so thick they are more accurately described as bands — seem to convey a sense of mechanical precision when viewed from a distance. In some work, such as Cole’s Perry Creek and Amador, thin, dark lines run mostly straight but slightly wavy from one side of the canvas to the other. The mind is frustrated when attempting to read the lines as straight. Cole varies the thickness of the horizontal lines from thin to wide, but his vertical lines are of a slightly different order. The vertical lines are all on the thinner side, closely spaced and, like the horizontal, approximate the straightness of a mechanical line that might be made with a straight edge, but they allow for the imperfection of hand-drawn marks. They might be considered secondary to the generally broader bands that run horizontally because, where they appear, they fill in the lighter colored, horizontal bands like a pattern. Cole’s Lacuna and the Somerset Fall series are good examples. Color is another aspect of Beyond in which Cole limits his palette, with multifarious results. White, tan, black, and gray are the only apparent colors. Cole achieves a range of tonality by varying the density of the vertical line patterns in the horizontal bands. Color and line are inseparable elements of the work. Within a single canvas, Cole establishes a series of relationships. The thinner lines, for instance, suggest drawing, although, like the broader bands, they are rendered in paint, creating a dialogue between mediums. There is even a suggestion of weaving, as the compositions recall banded textile designs. The work in Beyond pulls you in with its reductive but bold and graphic imagery and bears intensive scrutiny, holding your attention with the distinctiveness of each piece. — Michael Abatemarco PASATIEMPO
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CERAMIC CYCLE Figurative imagery of Christine Golden, Clayton Keyes, and Aisha Harrison
Michael Abatemarco I The New Mexican
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Aisha Harrison: It Comes in Threes, 2012, earthenware, stoneware, wax, and paint; figures 21 x 13 x 21 inches, birds 15 x 11 x 12 inches
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rtists who work with ceramics often discuss the medium in terms of its malleability and its sensual, tactile qualities, all of which make clay a good medium for rendering the human form. Beginning to End, a ceramic exhibition at Santa Fe Clay, presents pieces by three artists working with figurative imagery. “I love clay for its aliveness,” sculptor Aisha Harrison told Pasatiempo. “If you make a figure and then you push on the shoulder it kind of moves like a body. It has the same kind of mass or something. I love faces and the expression I can get with clay and the directness I can get with clay. There’s something so physical about it.” Harrison’s work is in Beginning to End along with that of Christine Golden and Clayton Keyes. One aspect most of the pieces in the exhibit share is an allegorical or narrative sense, relating the figurative imagery to everyday experiences. “I always start with a story in my head,” Harrison said. “I’m thinking about stages in life where impending things are going to happen. You have this idea that you’re in transition, maybe, or you have this future that you imagine for yourself, then you think about all the things that could happen, or you want to see into the future to know if what you
imagine is really going to happen. That feeling is what I was trying to get through in these pieces.” Several of Harrison’s sculptures depict people attempting to negotiate their way through life despite blindfolds over their eyes. If Only shows a man lifting his blindfold slightly to regard a seashell and sand in his hand, and another, similar piece, shows a person painting eyes onto his blindfold. “I was using sight as a metaphor, but the blindfolds are sort of self-inflicted. It’s this idea that we’re compelled to see into the future to feel like we’re OK, to have control.” Harrison, Golden, and Keyes planned the exhibition together, recognizing the common themes in one another’s work, such as life cycles from birth to death and complex personal relationships. “I am interested in the individual in society and how we view ourselves within the different groups that we belong to or don’t belong to,” Harrison said. “I think all of our work is didactic in a way,” Golden said. “It is about human interaction and manifestations of life stories. Relationships are a part of that.” Like Harrison, Golden and Keyes have included sculpture in the round and ceramic wall hangings. “My ideas have, for a long time, been about the human condition,” Golden said. “I know that’s a really large, encompassing term. In particular, there’s a lot of themes surrounding sex and death. There’s so many choices we make surrounding these two ideas, and they effect our entire lives.” Golden’s wall hanging, Flying With Waxed Wings, depicts a heady, Dionysian scene of carnality with decals of pictures of consumer culture including stacked pigs and lines of cars and sculpted imagery of a cow, poultry, fruit, and corn surrounding three figures. “Flying With Waxed Wings had a more specific concept. It was based on [psychologist Abraham] Maslow’s ‘hierarchy of needs’ theory. Food, shelter, and water are the basic needs, and it goes up from there. I was thinking about that when I made that piece and how in our modern civilization, the United States in particular, a lot of people have most of their basic needs met. What do we do when have those needs met? That piece is about the environment, our overuse of natural resources, and excesses in general.” Together, another piece by Golden, captures a sense of power dynamics in sexual relations. Two partial figures grasp and pull at each other, their faces semiobscured by draped cloths. “Together is about how we can mask or cover up ourselves or have motives for certain relationships,” Golden said. “I was thinking particularly about duplicitous actions when I made that piece. I wanted to have the fragmentation of the figure. That was about not revealing an entire self.” Together is thematically similar to Conflict Resolution, a sculpture by Keyes that explores the tensions in human bonds. “The piece deals with the possible death of a relationship, where one person is trying to sew things back together and the other one is trying to break himself from it and end it,” Keyes said. Conflict
Resolution shows this struggle in literal terms: two figures, back to back, one with needle and thread attempting to tie the two together, and the other with scissors, cutting them loose. “Historically, my work has addressed ideas of oppression and our treatment of other beings in the world. I’m wanting other people to experience the feelings of the oppressed and have sympathy for those feelings. When people are confronted with something they don’t feel comfortable with, it turns them off. But I’ve tried to make a figure that’s rendered in a way that is alluring. So it’s kind of like repelling and attracting at the same time. I think that a lot of my work earlier on was very in your face, unapologetically shocking at times — it’s becoming less so as I become a more mature artist — because I was rebelling against this self-censorship that I put myself in growing up in a non-hetero normative lifestyle. It’s been a theme in my life where I’m very aware of how people that are part of a, quote unquote, fringe, or nonnormative community and how they’re oppressed.” Keyes’ wall hanging, Seasons, like Golden’s Flying With Waxed Wings, portrays three human faces, but that is where the similarities end. The sculpture shows the faces at various life stages — youth, middle age, and old age — the title being a reference to the seasons of a life. A related piece, also a wall hanging, is a face divided in half. One side is light, surrounded by the detritus of youth, and the other dark, surrounded by things that belong to the adult world. “It’s a pretty literal interpretation of early life and later life,” Keyes said. “I actually used a mold of my own face from when I was 18 years old.” The same mold was used for the three faces of Seasons. Keyes aged the masks by adding wrinkles with clay. “The figure is just the language that I speak, because I’m talking about emotions, usually, and trying elicit human emotion.” ◀
details ▼ Beginning to End, work by Aisha Harrison, Christine Golden & Clayton Keyes ▼ Opening reception 5 p.m. Friday, Dec. 14; through Jan. 19 ▼ Santa Fe Clay, 545 Camino de la Familia, 984-1122
Top, Christine Golden: Kids in the Garden, 2012, ceramic and resin; 16 x 11 x 13 inches; bottom, Clayton Keyes: Conflict Resolution, 2012, 24 inches high, stoneware
PASATIEMPO
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Khristaan D. Villela I For The New Mexican
IN & OUT OF THE SHADOWS E D W A R D he great American photographer Edward S. Curtis, dubbed the “Shadow Catcher” by some of his Native American subjects, died at his daughter Beth’s home in Whittier, California, on Oct. 19, 1952, penniless and essentially forgotten. Decades earlier, when Curtis was lost at sea off British Columbia’s Queen Charlotte Islands in 1914, The New York Times ran a long obituary. When the Shadow Catcher really died, he merited just 76 words in the Times. How could the genius behind one of the greatest undertakings in American publishing, the 20 volumes of The North American Indian, have virtually disappeared from the cultural radar? Timothy Egan answers this question in Short Nights of the Shadow Catcher: The Epic Life and Immortal Photographs of Edward Curtis. A resident of Seattle, where Curtis first won recognition, Egan writes for The New York Times and was among a team at the paper that won a Pulitzer Prize in 2001 for work on a series of articles on race in America. He has also published significant works of popular history, such as The Worst Hard Time (2006), his National Book Award-wining chronicle of the victims of the Dust Bowl during the Great Depression. Egan’s admiring life of Curtis begins with the photographs he made in 1896 of Princess Angeline, the last surviving child of Chief Seattle, on whose Dkhw’Suqw’Absh (Duwamish) tribal lands the city of Seattle was built. Kickisomlo was called Angeline by Catherine Maynard, wife of “Doc” Maynard, a founder of Seattle. She lived in penury in a shack by the Seattle waterfront, near where Pike Place Market is now, and supported herself by digging and selling clams, doing laundry for hire, and selling handmade baskets. Angeline was a curiosity in Seattle, because, by the terms of the Point Elliott Treaty of 1855, Native Americans were forbidden to live in the city. Angeline refused to leave, and although it seems unlikely, she was said to be only Native resident of Seattle
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C U R T I S
at the end of the century. By 1896, Curtis was the proprietor of a successful photography studio specializing in society portraiture. He was married to his childhood sweetheart, Clara Phillips, and had a handsome home. But he had risen from almost nothing, like a character in a Horatio Alger novel. Curtis was born near Whitewater, Wisconsin, in 1868, the son of a Union Army private and chaplain. The family moved to the Seattle area in 1887, in search of a better life. Curtis’ father was sickly and unable to provide for his family. As a teenager Edward supported the household by doing odd jobs as well as by hunting and fishing in the nearby Puget Sound. He bought his first camera from a man trying to raise money to travel to the Yukon gold fields and soon taught himself photography. He entered into a partnership with two different photographers before starting his own studio. No one knows why Curtis decided to photograph Angeline, but she was a well-known figure in Seattle and had sat for other photographers, especially for picture postcards, so beyond any interest in Native Americans, there was probably a profit motive. Angeline was suspicious of Curtis, and he was only able to persuade her to sit for a portrait after he offered her money. He also made photographs of her digging for clams and gathering mussels near her hovel. Angeline told Curtis of other Duwamish and related Suquamish who were living on a nearby reservation, and the photos he made of those people going about their daily lives set him on the path that would eventually lead to The North American Indian. His Indian photographs sold well. They delivered the romantic image of Native America that white Americans in the early 1900s desired to see: Indians dressed as they might have been before contact with Europeans, engaged in traditional activities. continued on Page 56
All photos by Edward S. Curtis from The North American Indian, courtesy Northwestern University and the Library of Congress, unless otherwise noted: above, images like The Vanishing Race — Navajo (left), circa 1904, helped reinforce Curtis’ idea that Native Americans would soon become extinct; Curtis’ photography conforms to a stlye called pictorialism, which evokes painting aesthetics, as seen in The Pool — Apache (right), 1906 54
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Will the real
EDWARD CURTIS please stand up?
Curtis’ photos of Native Americans are caught between scholarly and critical skepticism and popular adulation. On the one hand, many critics have objected to Curtis’ practice of removing all traces of modernity from his images. There is a famous photo taken in 1900 of two Piegan Blackfeet men in a tipi, where a clock can be seen amid their possessions. When the image was published, Curtis removed the clock. Indians don’t tell time. They do not get to own modern conveniences. Or, at least, Curtis and his audience wished to see Native peoples uncontaminated by modern devices, clothes, cars, umbrellas, etc. Likewise, the photographer’s attitude that Native peoples were disappearing and that it was his duty to record them seems paternalistic at a century’s remove, even if it was a common sentiment at the time. Whatever the scholars and critics say about Curtis’ methods and agendas, there is no doubt that he was a master of his craft. Many of the images are breathtakingly beautiful, even if they were carefully composed. It should also be noted that although basically all we remember about The North American Indian and Curtis are the 1,500 photogravures, the majority of the 20 volumes are composed of carefully collected and edited (by the anthropologist F.W. Hodge) texts about the tribes pictured. Prominent Native writers have praised Curtis’images of American Indians. In an essay written in 2000 and published on a web page at the Library of Congress devoted to Curtis’ North American Indian project, Gerald Vizenor, who is Distinguished Professor of American Studies at the University of New Mexico, noted (from anecdotal evidence?) that Native Americans prefer Curtis’ images based upon aesthetic considerations, rather than on whether they are ethnographically accurate. Many of the costumes, rites, and lifeways captured by Curtis really have disappeared. There have been several recent Curtis biographies, for example by Joanna C. Scherer, and Anne Makepeace’s documentary and book Coming to Light. The gallerist Christopher Cardozo has published anthologies of Curtis images, in collaboration with Makepeace and Native writers and scholars, including N. Scott Momaday, Louise Erdrich, George Horse Capture, and Hartman H. Lomawaima. But Egan’s is the most comprehensive Curtis biography to date. Whatever objections one might have about Egan failing to interrogate Curtis’ methods and attitudes and how they were reflected in his images, the Shadow Catcher’s amazing life is beautifully told. Get your copy before it vanishes. — K.V.
Complete sets of The North American Indian are very rare. One recently sold at auction for $1.4 million. Self-portrait of Curtis, 1899, courtesy photo Kickisomlo, or Princess Angeline of Seattle’s Duwamish tribe was probably Curtis’ first portrait of a Native American, 1899. Top, Curtis’ photo of the Nez Perce Chief Joseph, 1903, convinced President Roosevelt to support his project. PASATIEMPO
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Edward S. Curtis, continued from Page 54
C
urtis’ growing archive of Indian photos, initially conceived for amusement and profit, took a turn after his discussions with the anthropologist and naturalist George Bird Grinnell. Curtis met Grinnell in 1898, when he rescued a climbing party on Mount Rainier that included eastern scientists. When members of the group later visited the Curtis studio they were impressed by his images of Native Americans, as well as by the grade-school dropout’s depth of anthropological knowledge. He was invited to take photographs of the landscape and Natives on the Harriman Alaska Expedition of 1899. Grinnell was on the expedition, and subsequently asked Curtis to spend the summer of 1900 with him among the Blackfeet Nation in Montana. Grinnell also suggested to Curtis that he should plan a publication or exhibition to showcase his photographs and firsthand knowledge of Native Americans. The summer in Chief White Calf’s Piegan Blackfeet tipi encampment changed Curtis’ life and fixed the mythology of the “vanishing race in his psyche.” Grinnell explained to his friend that disease, poverty, the poor treatment by corrupt and exploitative U.S. government Indian agents, as well as ceaseless proselytizing by Protestant missionaries had taken a severe toll on traditional Blackfeet culture. Things were different when Grinnell first traveled among and studied the Plains Indian tribes 30 years earlier. In 1872, he participated in the last great buffalo hunt with the Pawnee in Nebraska and Kansas. At the time, many Plains tribes still celebrated the Sun Dance, a significant ritual outlawed in 1883 with the passage of the Indian Religious Crimes Code. The same law outlawed Navajo sand-painting rites and Apache dances in the Southwest and the famous Potlatch rites of the Northwest coast tribes. By the end of the summer, Curtis told Grinnell that he was ready to start an ambitious project to photograph every Native American tribe in the U.S. and Alaska that was still intact. Presumably the term “intact” was Curtis’ and not Egan’s, but the biographer lets this absurd notion pass without comment; there were no intact Native Americans in the Americas in 1900. Even the supposedly unknown tribes photographed last year in Brazil had almost certainly been affected, and probably decimated centuries ago by European infectious diseases. Now that Curtis had fixed on his life’s work, he invested every dollar the Seattle studio earned into the Indian project. Spending most of his time away from home and family, he made photos among the
Nez Perce of Washington State, the Hopi and Apache in Arizona, and other tribes. Everywhere he was obsessed with getting the Natives to reveal their secrets, usually esoteric religious knowledge, songs, chants, and dances, which he recorded in notebooks, on wax cylinders, photographs, and later early moving-picture cameras — the project was to be a study in words as well as images. At home in Seattle, Clara managed the studio and decided to enter a photograph Curtis had made of a local girl in a contest sponsored by Ladies’ Home Journal to find the prettiest child in America. When Curtis’ image won, he was invited by President Theodore Roosevelt to photograph his children. Curtis visited the first family at its home on Oyster Bay and found in Roosevelt a kindred spirit. They shared stories of western travel and adventure. Curtis pitched his Indian project, and apparently his portrait of Chief Joseph of the Nez Perce secured Roosevelt’s sponsorship; the relationship would prove invaluable because of the doors it opened for Curtis. The photographer was soon meeting wealthy potential donors, who in turn introduced him to further prospects. One place he found no support was at the Smithsonian Institution; its Eastern establishment scientists were unimpressed by Chief Joseph and were not about to support someone who had good connections but no credentials. Curtis finally hit pay dirt in 1906 when he scored an appointment with J.P. Morgan, one of America’s richest men and an art collector with seemingly bottomless pockets. But Morgan’s patronage up to the date involved neither Native Americans nor photography. Curtis’ self-mythologizing account of the meeting is that Morgan was on the verge of throwing him out when he opened his portfolio of photographs. The financier changed his mind when he saw Curtis’ photo of a Mohave girl named Mosa. Morgan stated that he liked a man who attempted the impossible. It is also likely that he was impressed by Curtis’ foolish offer to work without a salary. In the event, Morgan became the principal underwriter of The North American Indian, which Curtis projected would extend to 20 volumes and take him to every corner of the U.S. The deal was that Morgan would put up $75,000 over six years to underwrite the fieldwork, travel, and materials of the photographer and his team. Curtis agreed to raise the funds to print 500 sets, priced at $3,000 each. Morgan would receive 25 sets and 500 original prints. The Morgan funds never covered the entire cost of fieldwork — Curtis could not do the project he envisioned for that sum. And Morgan’s patronage was both a boon and an impediment. Time and again potential donors questioned why Morgan’s protégé was seeking more funds. Wasn’t Morgan paying for everything?
Although the Plains Indian Sun Dance (left) was technically still illegal in 1900 under U.S. law, Curtis convinced the Piegan Blackfeet to stage the rite. Curtis regularly removed evidence of the modern world from his final photos, like the clock in this 1910 portrait (right) of the Piegan Blackfeet Little Plume and Yellow Kidney. Toward the end of the project, Curtis spent time in the far north and took portraits on the Island of Nunivak, such as this 1929 image (top) of a woman and a child. 56
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Barry Wong
G N I Y A T S E ’R E W Timothy Egan
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he first volume of The North American Indian, on the Apache and Navajo, appeared in 1907, followed by volumes covering the Pima, Papago, Qahatika, Mohave, Yuma, Maricopa, Walapai, Havasupai, Teton and Yanktonai Sioux, Assiniboin, Crow, Hidatsa, Manda, Arikara. Atsina, Piegan Blackfeet, Cheyenne, Arapaho, Yakima, Klickitat, Salish tribes of the interior, the Kutenai, Nez Perce, Wallawalla, Umatilla, Cayuse, and Chinookian tribes. Each volume was illustrated with 80 to 100 photogravures printed from copper plates prepared from Curtis’ glass-plate negatives. Each volume was also accompanied by a portfolio of larger photogravures. The first plate in the first volume is entitled The Vanishing Race — Navajo, and epitomizes the photographer’s quest to get his images before all of Native America followed the buffalo into the sunset. Curtis told Morgan that the 20 volumes could be completed in six years. Seven years later, in 1913, the project almost foundered when Morgan died, just prior to the release of the ninth volume. It was by no means certain that Morgan’s son would continue the funding. It looked doubtful, but in the end J.P. Jr. decided that the family would see the project through to its completion. Curtis would continue to receive no salary. But the Morgan Library and the trustees of the project would assume the responsibility of selling subscriptions to offset printing costs. By this point Curtis was in debt to Morgan. He had borrowed above and beyond the agreement and had no foreseeable way of paying Morgan back. He was forced to sign over the rights to the images in The North American Indian. The final volume, No. 20, on the Eskimo, appeared in 1930, three decades after that first summer Curtis spent with Grinnell among the Piegan Blackfeet. In 1934, the Morgan estate sold the rights and all of its remaining Curtis material to Lauriat and Co., a Boston book dealer, for $1,000. The haul included 22 sets of The North American Indian, thousands of loose photogravures, original prints, copper printing plates, and some glass negatives. Many thousands more glass negatives were destroyed by Curtis’ daughter in 1919, to keep them out of the hands of her mother, who had gained control of the Curtis Studio and its properties when she divorced Curtis on grounds of abandonment. After his magnum opus was completed, Curtis tried to revive his career and worked in Hollywood taking film stills. He eventually moved in with Beth and died in 1952. In Boston, Lauriat and Co. sold as many sets of The North American Indian as it could. A set bound by the firm was sold in October by Swann auctions for $1.4 million. In 1973, Lauriat’s remaining Curtis stock, still numbering tens of thousands of items, was rediscovered and purchased by a Santa Fe photography collector. Since that time, the collection has passed through many hands and is gradually being sold piecemeal by several galleries. There is a great mass of Curtis material scattered in public and private collections and on the market now. The Photo Archives at the New Mexico History Museum has more than 300 original Curtis items, including nitrate and glass negatives and original prints. Some of the material was probably collected by Edgar Lee Hewett, the Museum of New Mexico’s founding director, who was a friend and admirer of Curtis. There was an exhibition of Curtis Indian photographs, organized by Hewett, on display at the Anthropology Building at the Panama California Exposition, held in 1915 in San Diego. ◀ “Short Nights of the Shadow Catcher: The Epic Life and Immortal Photographs of Edward Curtis” by Timothy Egan was published by Houghton Mifflin Harcourt in October. Curtis’ “The North American Indian,” including the more than 1,500 photogravures printed and the 700 plates from the accompanying 20 portfolios, can be seen at http://curtis.library.northwestern.edu.
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December 14-20, 2012
Special thanks to Saint Johní s Abbey and University, Collegeville, MN; New Mexico Humanities Council; Scanlan Family Foundation; MNM Foundation
Winter Art Scene Celebrate the Winter Season Exhibition of Contemporary Art at Red Dot Gallery 826 Canyon Road December 14, 2012 through February 17, 2013 Public Reception: Friday, December 14, 2012 4:30 to 7:30 p.m. Learn more. Call 505-820-7338 www.red-dot-gallery.com Santa Fe Community College’s Red Dot Gallery is made possible through the generous support of Zane Bennett Contemporary Art.
Red Dot Dot Gallery Red PASATIEMPO
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MOVING IMAGES pasa pics
— compiled by Robert Ker
HOLY MOTORS Teaming up once again with actor Denis Lavant, writerdirector Leos Carax (Pola X) embraces the digital filmmaking format to lament the onslaught of ... digital filmmaking. Carax creates almost a dozen different scenes set in Paris, starring Lavant as multiple characters, with the persona of Monsieur Oscar serving as the film’s constant. Oscar, an actor by trade, jumps from one life to the next and has adapted a stretch limo to serve as his changing room and rehearsal space. He transforms into an assassin, a father, a beggar, a motion-capture artist, a sewerdwelling troll, an accordionist, and other characters for an audience that no one — not even the actor himself — can see. The film is at its best when Carax allows his more blatant homages to traditional filmmaking to take a back seat to his singular cinematic touch and to Lavant’s amazing depth and dexterity as a film actor. Rated R. 115 minutes. In French with subtitles. The Screen, Santa Fe (Rob DeWalt) See review, Page 64. Bring me a Shire love: Martin Freeman in The Hobbit: An Unexpected Journey, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española
opening this week BROOKLYN CASTLE Katie Dellamaggiore’s documentary is much like the game of chess: slow, deliberate, determined, and something that requires a lot of patience. And no wonder, as it follows the paths of five junior-high students who need to plan their every move, both as chess players at I.S. 318, an inner-city Brooklyn school, and as young dreamers who want a shot at a good life. The underlying theme is the importance of after-school programming and how budget cuts can affect the well-being of participants in such programs. Perhaps realizing a game of chess is hardly a dramatic event, the filmmakers veer all over the place, which leads the picture to lose focus. Rated PG. 101 minutes. Center for Contemporary Arts, Santa Fe. (Robert Nott) CHAPLIN SHORTS The holiday celebration of the work of Charlie Chaplin continues with a program of short films that includes Sunnyside, Idle Class, and Pay Day. Not rated. 83 minutes total. Center for Contemporary Arts, Santa Fe. (Not reviewed) THE GUILT TRIP If you’re one of the few people who fall into the center slice of the Venn diagram of Seth Rogen fans and Barbra Streisand fans, then you’re in luck. In this comedy, the two actors play a lovingly bickering mother-son duo who take a cross-country 60
December 14 -20, 2012
road trip and bond over outlandish adventures. Opens Wednesday, Dec. 19. Rated PG-13. 96 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) HITCHCOCK Anthony Hopkins dons a fat suit to play the Master of the Macabre at a critical moment in Hitchcock’s career, the making of Psycho (1960). Nobody liked the idea — the studio wouldn’t finance it — so Hitch mortgaged his house, and went a little crazy making what many consider his masterpiece. Was this the real Hitchcock? Nobody seems to have known him very well. In the end what matters is how well this movie makes its case. For the most part the movie entertains. But there are lapses in judgment, timing, and artistry that keep reminding us that great moviemaking isn’t as simple as it looks. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) See review, Page 66. THE HOBBIT: AN UNEXPECTED JOURNEY After Peter Jackson’s Lord of the Rings trilogy grossed a pile of gold coins (and gold statuettes) to rival the stash of the dragon Smaug, the fact that prequels are here is the most expected journey possible. Jackson returns to Middle Earth to tackle J.R.R. Tolkien’s childrens novel, which is inexplicably split into three films. Martin Freeman plays Bilbo Baggins, and many actors from the original trilogy return to their roles. Rated PG-13. 169 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed)
THE MET LIVE IN HD: AIDA Olga Borodina, Liudmyla Monastyrska, and Roberto Alagna star in this staging of Verdi’s opera, which is broadcast live from the Met. 11 a.m. Saturday, Dec. 15, with a 6 p.m. encore showing. Lensic Performing Arts Center, Santa Fe. (Not reviewed) MONSTERS, INC. Pixar’s 2001 outing — about two beasts (voiced by John Goodman and Billy Crystal) who accidentally bring a young girl (Mary Gibbs) into their monster world — lacks the instant-classic charm of some of Pixar’s more beloved films. But it’s had staying power, in part because of the plush-toy-ready design of the creatures and the loving tribute to movie magic, which is evoked through the monsters’ scare factory. This rerelease expands that magic to three dimensions. Opens Wednesday, Dec. 19. Rated G. 92 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. (Robert Ker) PERFORMANCE AT THE SCREEN The series of high-definition screenings of performances from afar continues with an encore showing of the ballet The Pharaoh’s Daughter, choreographed by Pierre Lacotte and danced by members of Moscow’s Bolshoi Ballet. Svetlana Zakharova and Ruslan Skvortsov star. 11 a.m. Sunday, Dec. 16, only. Not rated. 175 minutes (including two intermissions). The Screen, Santa Fe. (Not reviewed) WAGNER & ME British actor Stephen Fry, who adores Wagner’s operas, invites viewers to join him on a pilgrimage to the theater the composer opened in 1876 in Bayreuth, Bavaria — the holiest of Wagnerian shrines — and watch him exude
the besotted awe of a schoolboy in love. He shakes the hand of Eva Wagner-Pasquier, the composer’s greatgranddaughter and current co-director of the Bayreuth Festival, and notwithstanding her palpable indifference toward him, we can be pretty sure he hasn’t washed his hand since. Fry affords a generally interesting glimpse into the theater — the backstage as well as the parts designed for the audience — but drops occasional factual inaccuracies that will drive devoted Wagnerians crazy. The ostensible topic is how Fry balances the fact that he is Jewish and lost family in the Holocaust with his veneration of the music of a virulent anti-Semite whose operas were lionized by the Third Reich. In the end, sitting beneath the platform where Hitler delivered his speeches to rabid crowds in Nuremberg, Fry can only shrug his shoulders with uncertainty. Wagner & Me is pleasant enough as a travelogue, but don’t expect more than that. Not rated. 89 minutes. Center for Contemporary Arts, Santa Fe. ( James M. Keller)
now in theaters ANNA KARENINA This is not like any Anna Karenina you’ve ever seen. Director Joe Wright (Atonement) and screenwriter Tom Stoppard have reimagined and restructured the classic story with a stunningly original vision that treads the border between triumph and disaster and manages to keep miraculously to the side of the angels. An Anna Karenina soars or sinks with its heroine, and while Keira Knightley can charm, swoon, and rage, when it comes to plumbing the depths of Tolstoy’s tragic heroine, she shows the strain of acting. She hits all the notes, but she doesn’t manage to play between the notes. Rated R. 129 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) ARGO Ben Affleck takes a true story by the throat and delivers a classic seatsquirming, pulse-pounding nail-biter. In 1980, as the world watched the hostages in the U.S. embassy in Tehran, a small group of Americans made it to the Canadian ambassador’s residence and hid out there while the White House and the CIA desperately tried to figure out how to spirit them out of the country. The plan? Pretend to be making a sci-fi film and disguise the Americans as members of a Canadian location-scouting crew. A terrific cast is headed by Affleck as the CIA operative, with Alan Arkin and John Goodman at the Hollywood end. Rated R. 120 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) CLOUD ATLAS If you see only one film this year, perhaps it should be Cloud Atlas — not because it’s the best movie, but
because it’s six movies for the price of one. It serves up some of your favorite actors, sometimes heavily disguised, in a half dozen different roles apiece. David Mitchell’s centuries-spanning 2004 bestseller is a complex challenge that the author thought could never be translated into a movie, and as he himself recently admitted, “I was half right.” Still, there’s no denying the film’s entertainment value and its technical accomplishment. Rated R. 172 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) DIANA VREELAND: THE EYE HAS TO TRAVEL The legendary Diana Vreeland — fashion editor for Harper’s Bazaar and longtime editor-in-chief of Vogue — is the focus of this entertaining, reverential documentary, written and directed by Bent-Jorgen Perlmutt, Frédéric Tcheng, and Lisa Immordino Vreeland (the subject’s granddaughter-in-law). Vreeland was born in 1903 and died in 1989, and any story about her life also ends up being a chronicle of significant 20th-century cultural events. The film is full of interviews with designers, models, photographers, and celebrities — so many it begins to get dizzying. Anyone who is not familiar with Vreeland or who questions her impact on popular culture should watch and listen closely. Rated PG-13. 86 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) KILLING THEM SOFTLY A criminal (Vincent Curatola) hires two simple-minded thugs to rob his rivals’ card game. They succeed at first, but this being a movie, things eventually go wrong. Ray Liotta and Brad Pitt play two of the rivals aiming to get their money back. Rated R. 97 minutes. DreamCatcher, Española. (Not reviewed) LIFE OF PI Ang Lee’s adaptation of Yann Martel’s best-selling novel is an intriguing exercise in going toward, intense being, and going away. The first and last are the frame in which the story, of a boy on a lifeboat with a man-eating Bengal tiger in a wild ocean, is set. That middle part is a fabulous creation of imagination and CGI, and it is riveting. The lead-in sets it up with a promise of a story “that will make you believe in God.” The recessional discusses what we have seen, what it means, what may or may not be true, and what we’ve learned. Whether or not it makes you believe in anything is up to you. Suraj Sharma and Irrfan Khan play Pi, young and older. The real star is a collection of electronic impulses that will make you believe in tigers, at least. Rated PG. 127 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. ( Jonathan Richards) LINCOLN Steven Spielberg’s Lincoln is a surprisingly small film, considering its subject. With the Civil War as background, it focuses on the passage of the 13th Amendment to
The Guilt Trip
the Constitution and what was required, politically, to achieve it. The president deals with the false choice of ending the war and ending slavery, criticism from his political enemies, and dysfunction in his own family. Daniel Day-Lewis looks and sounds the part of the 16th president, though sometimes his words and the cadences at which they come feel self-conscious. Sally Fields as Mary Todd Lincoln and Tommy Lee Jones as abolitionist Thaddeus Jones stand out from the ensemble cast. Rated PG-13. 149 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Bill Kohlhaase) PLAYING FOR KEEPS Gerard Butler plays George, a hunky former soccer pro who ends up coaching a youth team in the suburbs, where local single housewives (played by Uma Thurman, Jessica Biel, Judy Greer, and Catherine Zeta-Jones) hope to score a gooooooal! But can George get his act together and settle down? Oh, the problems he faces. Rated PG-13. 106 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) RED DAWN This revamp of John Milius’ 1984 film is a serviceable action flick, but that doesn’t mean it needed to be made. When North Korean forces invade Spokane, Washington, continued on Page 62
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a group of teens, led by Iraq War veteran Jed (Chris Hemsworth) organize as a ragtag group of guerilla fighters, calling themselves the Wolverines. The performances are mostly fine, but there are unsettling racist and pro-citizens-militia undertones. Rated PG-13. 93 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Laurel Gladden) RISE OF THE GUARDIANS This animated adventure stars a super team made up of Santa Claus (Alec Baldwin), the Easter Bunny (Hugh Jackman), the Tooth Fairy (Isla Fisher), and the Sandman. They join together with newbie Jack Frost (Chris Pine) to combat an evil spirit named Pitch ( Jude Law). The plot is tightly woven, the jokes hit, the animation is captivating, and the world is realized with great depth and wonder. I would even say the film is magical — for adults and children alike. If you’re open to a swordwielding Santa this holiday season, you’ll be won over by this fable. Rated PG. 97 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker) A ROYAL AFFAIR In the 1760s, well-read English princess Caroline Mathilde (Alicia Vikander) is betrothed to Christian VII (Mikkel Boe Følsgaard), the mentally unstable king of Denmark and Norway. Christian hires a German physician, Johann Friedrich Struensee (Mads Mikkelsen), who comes to court, tends to the king’s health, and (ahem) cures what’s ailing the queen as well. This is an exemplary — if not gripping — period melodrama, with dewy-complexioned women, steely-eyed heroes, and a sweeping score. Rated R. 137 minutes. In Danish, German, and French with subtitles. The Screen, Santa Fe. (Laurel Gladden) SAMSARA This documentary’s narrative and message are conveyed by director Ron Fricke’s sequence of images, filmed in 70 mm and gathered from 25 countries on five continents. The visuals are extraordinary, but much of the time you may find yourself wondering where you are, even as you bathe in the beauty of nature’s abundance and culture’s triumphs or squirm at the robotic cruelty and soullessness of the modern world. Rated PG-13. 99 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards)
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SEARCHING FOR SUGAR MAN Malik Bendjelloul’s film about the search for a talented musician named Sixto Diaz Rodriguez is a portrait of a humble man, a rock documentary, and a detective story all in one. It follows the triumphs and frustrations of a journalist and a record-store owner in their efforts to shed light on the mystery surrounding Rodriguez, a superstar in South Africa but virtually unknown in his native United States. The film packs an emotional wallop. Rated PG-13. 85 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) THE SESSIONS Mark O’Brien ( John Hawkes), a West Coast poet and journalist, has spent most of his life confined to an iron lung. He has a working head attached to a useless rag doll of a body, and he decides at the age of 38 to experience sex with a woman before his use-by date runs out. This movie tells the true story of his sessions with a sex surrogate (Helen Hunt) and recalls, with wry humor and touching tenderness, something of the extraordinary bond of connection and self-awareness that the sex act can access. Rated R. 95 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) SILVER LININGS PLAYBOOK This story centers on Pat Solatano (Bradley Cooper), who after being released from a mental institution moves in with his parents ( Jacki Weaver and Robert De Niro) and vows to win back his estranged wife. When friends invite him to dinner, he meets Tiffany ( Jennifer Lawrence), who also has a couple of screws loose. She agrees to help him patch things up with his wife — but only if he will agree to be her partner in a dance competition. The story swerves hilariously around clichés, and finely honed dialogue, attention to detail, and impressive performances make the film perfect oddball comic relief for the holiday season. Rated R. 122 minutes. Regal Stadium 14, Santa Fe. (Laurel Gladden) SKYFALL In Daniel Craig’s third outing as James Bond, a terrorist declares war on MI6, and the agents go underground, holing up beneath the streets of London. Javier Bardem makes for a memorable, if campy, villain, and the acting from the British cast (including Judi Dench, Ralph Fiennes, and Ben Whishaw) is superb, but the crisp dialogue holds up better than the overall plot. Cinematographer Roger Deakins gives the film a polished, sumptuous look. Rated PG-13. 143 minutes. Regal Stadium 14, Santa Fe; Storyteller, Taos. ( Jeff Acker) SMASHED Solid performances illuminate an unflinching but unsurprising script in this Days of Wine and Roses tale of a young couple whose good times are fueled by alcohol. Kate
(Mary Elizabeth Winstead) is a grade-school teacher by day and an increasingly out-of-control party girl by night, carousing with husband Charlie (Breaking Bad’s Aaron Paul). When she hits bottom, a caring (perhaps too caring) colleague (Nick Offerman) steers her into AA, but Charlie doesn’t follow. A firstrate supporting cast includes Octavia Spencer, Mary Kay Place, and Megan Mullally, but the story runs through paces as predictable as a 12-step program. Rated R. 85 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) THE TWILIGHT SAGA: BREAKING DAWN — PART 2 With this final installment of “As the Vampire Turns,” we can finally put the Twilight franchise in its grave. Our newly bloodsucking heroine Bella (Kristen Stewart) learns to hunt and discovers that her werewolf pal Jacob (Taylor Lautner) has “imprinted” on her newborn daughter, which means they will be mates for life. Twi-hard fans will appreciate the film’s fidelity to the novel and Lautner’s obligatory removing-ofthe-clothes moment. The rest of us should thank our lucky stars for the levity screenwriter Melissa Rosenberg injects into the story and a gripping battle scene. Rated PG-13. 115 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Laurel Gladden) WRECK-IT RALPH With its many nods to old-school video games, Wreck-It Ralph initially seems like a cartoon that panders to ex-geek parents. And then the story — about a villain (the title character, voiced by John C. Reilly) who breaks out of his video game to become a hero — kicks in. The action shifts to the fictional “Sugar Rush” racing game, and the film becomes a psychedelic swirl of adventure and imagination. Wreck-It Ralph may be too long, but it racks up a high score when it comes to heart, cleverness, and humor. Rated PG. 120 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker)
other screenings Center for Contemporary Arts 3:30 p.m. Sunday, Dec. 16. The Flat. Presented by the Santa Fe Jewish Film Festival. Taos Community Auditorium 133 Paseo del Pueblo Norte, Taos, 575-758-2052 7 p.m. Sunday, Dec. 16: The Milagro Man — The Irrepressible Multicultural Life and Literary Times of John Nichols. Sunday-Thursday, Dec. 16-20: The Master. ◀
™
WHAT’S SHOWING
ONE OF THE YEARí S BEST PICTURES!
Keira Knightley embodies Anna. Exhilarating. A triumph.∫
Call theaters or check websites to confirm screening times. CCA CINEMATHEQUE AND SCREENING ROOM
1050 Old Pecos Trail, 982-1338, www.ccasantafe.org Brooklyn Castle (PG) Fri. 2 p.m., 4:15 p.m. Sat. 10 a.m., 1 p.m., 3:15 p.m. Sun. 3 p.m., 5:15 p.m. Tue. to Thurs. 5 p.m. Chaplin:The Shorts (NR) Sat. and Sun. 12:30 p.m. Tue. 8 p.m. The Flat (NR) Sun. 3:30 p.m. Samsara (PG-13) Fri. 8:15 p.m. Sat. 5:30 p.m. Sun. 7:30 p.m. Searching for Sugar Man (PG-13) Fri. 1 p.m., 3 p.m., 5 p.m. Sat. 2:15 p.m., 4:15 p.m., 6:15 p.m., 8:15 p.m. Sun. 6 p.m., 8 p.m. Tue. 4 p.m., 8 p.m. Wed. and Thurs. 4 p.m., 6 p.m., 8 p.m. Wagner & Me (NR) Fri. 7:30 p.m. Sat. 7:45 p.m. Sun. 1 p.m. Tue. to Thurs. 7:15 p.m. REGAL DEVARGAS
562 N. Guadalupe St., 988-2775, www.fandango.com Anna Karenina (R) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 9:45 p.m. Sun. to Thurs. 1 p.m., 4 p.m., 7 p.m. Argo (R) Fri. and Sat. 1:20 p.m., 4:20 p.m., 7:10 p.m., 9:55 p.m. Sun. to Thurs. 1:20 p.m., 4:20 p.m., 7:10 p.m. Cloud Atlas (R) Fri. to Thurs. 12:50 p.m., 4:15 p.m., 7:40 p.m. Diana Vreeland:The Eye Has to Travel (PG-13) Fri. to Thurs. 3:15 p.m., 5:20 p.m., 7:25 p.m. Hitchcock (PG-13) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 9:50 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m. The Sessions (R) Fri. and Sat. 12:55 p.m., 3:10 p.m., 5:25 p.m., 7:50 p.m., 10:05 p.m. Sun. to Thurs. 12:55 p.m., 3:10 p.m., 5:25 p.m., 7:50 p.m. Smashed (R) Fri. and Sat. 1:10 p.m., 10 p.m. Sun.to Thurs. 1:10 p.m. REGAL STADIUM 14
3474 Zafarano Drive, 424-6296, www.fandango. com The Guilt Trip (PG-13) Wed. and Thurs. 11:45 a.m., 2:15 p.m., 4:45 p.m., 7:15 p.m., 9:50 p.m. The Hobbit:An Unexpected Journey 3D (PG-13) Fri. to Tue. 10:15 a.m., 11 a.m., noon, 3 p.m., 4 p.m., 6 p.m., 7 p.m., 8 p.m., 10 p.m. The Hobbit:An Unexpected Journey (PG-13) Fri. 11:30 a.m., 2 p.m., 3:30 p.m., 7:30 p.m. Sat. to Tue. 11:30 a.m., 2 p.m., 3:30 p.m., 7:30 p.m., 9:30 p.m. Jack Reacher (PG-13) Thurs. midnight Life of Pi (PG) Fri. to Tue. 10:45 a.m., 1:45 p.m., 4:45 p.m., 7:45 p.m., 10:45 p.m. Life of Pi 3D (PG) Fri. to Tue. 10:20 a.m., 1:15 p.m., 4:15 p.m., 7:15 p.m., 10:15 p.m. Lincoln (PG-13) Fri. to Tue. 12:10 p.m., 3:45 p.m., 7:10 p.m., 10:30 p.m. Monsters, Inc. (G) Wed. and Thurs. 11:30 a.m., 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Monsters, Inc. 3D (G) Wed. and Thurs. noon, 2:30 p.m., 5 p.m., 7:30 p.m., 10 p.m. Playing for Keeps (PG-13) Fri. to Tue. 11:40 a.m., 2:20 p.m., 5 p.m., 7:45 p.m., 10:10 p.m. Red Dawn (PG-13) Fri. to Tue. 11:50 a.m., 2:35 p.m., 5:15 p.m. Rise of the Guardians (PG) Fri. to Tue. 11:45 a.m., 2:40 p.m., 5:10 p.m., 7:40 p.m., 10:10 p.m. Silver Linings Playbook (R) Fri. to Tue. 11:15 a.m., 2 p.m., 4:45 p.m., 7:40 p.m., 10:25 p.m. Skyfall (PG-13) Fri. to Tue. 10 a.m., 12:55 p.m., 4:10 p.m., 7:35 p.m., 10:40 p.m. This Is 40 (R) Thurs. midnight The Twilight Saga: Breaking Dawn - Part 2 (PG-13) Fri. to Tue. 11 a.m., 1:40 p.m., 4:30 p.m., 7:45 p.m., 10:30 p.m. Wreck-It Ralph (PG) Fri. to Tue. 10:50 a.m., 1:45 p.m., 4:20 p.m., 7:10 p.m., 9:45 p.m.
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HHHH! INTOXICATING!∫
The Pharaoh’s Daughter: Bolshoi Ballet 11 a.m. Sun. A Royal Affair (R) Fri. to Tue. 2 p.m. Thurs. 2 p.m. STORYTELLER DREAMCATCHER CINEMA (ESPAÑOLA)
15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.storytellertheatres.com The Hobbit:An Unexpected Journey 3D (PG-13) Fri. 3:20 p.m., 7:15 p.m. Sat. 11:45 a.m., 3:15 p.m., 7:15 p.m. Sun. 11:45 a.m., 3:15 p.m. Mon. and Tue. 3:15 p.m., 7:15 p.m. The Hobbit:An Unexpected Journey (PG-13) Fri. 2:50 p.m., 6:30 p.m., 10 p.m. Sat. 11:15 a.m., 2:50 p.m., 6:30 p.m., 10 p.m. Sun. 11:15 a.m., 2:50 p.m., 6:30 p.m., 7:15 p.m. Mon. and Tue. 2:50 p.m., 6:30 p.m. KillingThem Softly (R) Fri. 4:20 p.m., 7:10 p.m., 9:20 p.m. Sat. 12:20 p.m., 4:20 p.m., 7:10 p.m., 9:20 p.m. Sun. 12:20 p.m., 4:20 p.m., 7:10 p.m. Mon. and Tue. 4:20 p.m., 7:10 p.m. Life of Pi (PG) Fri. to Tue. 3:50 p.m. Life of Pi 3D (PG) Fri. 6:40 p.m., 9:25 p.m. Sat. 1 p.m., 6:40 p.m., 9:25 p.m. Sun. 1 p.m., 6:40 p.m. Mon. and Tue. 6:40 p.m. Lincoln (PG-13) Fri. 3:45 p.m., 6:45 p.m. Sat. and Sun. 12:40 p.m., 3:45 p.m., 6:45 p.m. Mon. and Tue. 3:45 p.m., 6:45 p.m. Playing for Keeps (PG-13) Fri. 4 p.m., 6:35 p.m., 9:05 p.m. Sat. 12:50 p.m., 4 p.m., 6:35 p.m., 9:05 p.m. Sun. 12:50 p.m., 4 p.m., 6:35 p.m. Mon. and Tue. 4 p.m., 6:35 p.m. Red Dawn (PG-13) Fri. 4:05 p.m., 7 p.m., 9:30 p.m. Sat. 1:05 p.m., 4:05 p.m., 7 p.m., 9:30 p.m. Sun. 1:05 p.m., 4:05 p.m., 7 p.m. Mon. and Tue. 4:05 p.m., 7 p.m. Rise of the Guardians (PG) Fri. 4:25 p.m., 6:55 p.m., 9:45 p.m. Sat. 1:15 p.m., 4:25 p.m., 6:55 p.m., 9:45 p.m. Sun. 1:15 p.m., 4:25 p.m., 6:55 p.m. Mon. and Tue. 4:25 p.m., 6:55 p.m. The Twilight Saga: Breaking Dawn - Part 2 (PG-13) Fri. 3:40 p.m., 6:50 p.m., 9:15 p.m. Sat. 12:55 p.m., 3:40 p.m., 6:50 p.m., 9:15 p.m. Sun. 12:55 p.m., 3:40 p.m., 6:50 p.m. Mon. and Tue. 3:40 p.m., 6:50 p.m. Wreck-It Ralph (PG) Fri. 4:10 p.m., 7:05 p.m., 9:35 p.m. Sat. 1:10 p.m., 4:10 p.m., 7:05 p.m., 9:35 p.m. Sun. 1:10 p.m., 4:10 p.m., 7:05 p.m. Mon. and Tue. 4:10 p.m., 7:05 p.m.
! A ' $ " # % # M# 6 (8
) FAN' AN O & 6 8
ONE OF THE BEST FILMS OF THEYEAR!”
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BRADLEY
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110 Old Talpa Canon Road,Taos, 575-751-4245 The Hobbit:An Unexpected Journey 3D (PG-13) Fri. 4:30 p.m., 7 p.m., 8 p.m. Sat. 2:15 p.m., 4:30 p.m., 7 p.m., 8 p.m. Sun. 2:15 p.m., 4:30 p.m., 7 p.m. Mon. and Tue. 4:30 p.m., 7 p.m. The Hobbit:An Unexpected Journey (PG-13) Fri. 4:30 p.m., 7 p.m., 8 p.m. Sat. 2:15 p.m., 4:30 p.m., 7 p.m., 8 p.m. Sun. 2:15 p.m., 4:30 p.m., 7 p.m. Mon. and Tue. 4:30 p.m., 7 p.m. Life of Pi (PG) Fri. 4:35 p.m., 7:10 p.m., 9:50 p.m. Sat. 1:50 p.m., 4:35 p.m., 7:10 p.m., 9:50 p.m. Sun. 1:50 p.m., 4:35 p.m., 7:10 p.m. Mon. and Tue. 4:35 p.m., 7:10 p.m. Life of Pi 3D (PG) Fri. 4:35 p.m., 7:10 p.m., 9:50 p.m. Sat. 1:50 p.m., 4:35 p.m., 7:10 p.m., 9:50 p.m. Sun. 1:50 p.m., 4:35 p.m., 7:10 p.m. Mon. and Tue. 4:35 p.m., 7:10 p.m. Lincoln (PG-13) Fri. 4:45 p.m., 7:50 p.m. Sat. 1:45 p.m., 4:45 p.m., 7:50 p.m. Sun. 1:45 p.m., 7:25 p.m. Mon. and Tue. 4:25 p.m., 7:25 p.m. Playing for Keeps (PG-13) Fri. 4:50 p.m., 7:20 p.m., 9:40 p.m. Sat. 2:05 p.m., 4:50 p.m., 7:20 p.m., 9:40 p.m. Sun. 2:05 p.m., 4:50 p.m., 7:20 p.m. Mon. and Tue. 4:50 p.m., 7:20 p.m. Rise of the Guardians (PG) Fri. 4:40 p.m., 7:15 p.m., 9:30 p.m. Sat. 2 p.m., 4:40 p.m., 7:15 p.m., 9:30 p.m. Sun. 2 p.m., 4:40 p.m., 7:15 p.m. Mon. and Tue. 4:40 p.m., 7:15 p.m. Skyfall (PG-13) Fri. 6:50 p.m., 9:45 p.m. Sat. 2:20 p.m., 6:50 p.m., 9:45 p.m. Sun. 2:20 p.m., 6:50 p.m. Mon. and Tue. 6:50 p.m.
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Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, www.thescreensf.com Holy Motors (NR) Fri. to Tue. 4:45 p.m., 7:10 p.m. Wed. 7:10 p.m. Thurs. 4:45 p.m., 7:10 p.m.
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63
MOVING IMAGES film reviews
And the Oscar goes to ... Rob DeWalt I The New Mexican Holy Motors, fantasy drama, rated R, in French with subtitles, The Screen, 3.5 chiles In the opening scene of Holy Motors, a man leaves his expensive-looking home and steps into the back of a white stretch limousine bearing license plate number 202 DXM 95. It is undoubtedly pure coincidence that DXM is shorthand for dextromethorphan, an ingredient in cough suppressants that can lead to wild hallucinations when abused. There is plenty of hallucinatory-like revelation in Holy Motors, and while there are hints of emotional suppression in the film’s strange plot meanderings, French filmmaker Leos Carax (Pola X) makes sure those moments are framed to serve the bigger picture. And what a picture it is. Teaming up once again with French actor Denis Lavant, who has starred in most of Carax’s films, the writer-director creates almost a dozen different scenes set in Paris, starring Lavant as multiple characters, with the persona of Monsieur Oscar serving as the film’s constant. Oscar, an actor by trade, jumps from one life to the next and has adapted the stretch limo to serve as his changing room and rehearsal space. Using a bulb-lined actor’s mirror and trunks filled with clothes and latex makeup, Oscar transforms himself into an assassin, a father, a beggar, a motion-capture artist, a sewer-dwelling troll, an accordionist, a highfinance hustler, and a dying old man. If he’s acting, though, where are the cameras? And the audience is nowhere to be seen, either, aside from his faithful limo driver, Céline, played confidently and with an oddly charming mix of empathy and detachment by Édith Scob, best known as the disfigured daughter in Georges Franju’s 1960 masterpiece Eyes Without a Face.
Face without eyes: Édith Scob
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December 14 -20, 2012
Down the (grimy) rabbit hole: Denis Lavant
(There are a number of tributes to French cinema here, and specifically to Franju’s work.) “I miss the cameras,” Oscar tells the sole visitor to his roving rehearsal hall — a person known only as The Man With the Birthmark, played by veteran French actor Michel Piccoli. “They [the cameras] used to be heavier than us. Then they became smaller than our heads.” Oscar’s words hint that Holy Motors is in many ways a lament — an art-house adieu to the days of classic filmmaking and celluloid, which Carax has purposefully set in France, the birthplace of cinema. It is, after all, the right time and place to mourn the world’s near-full embrace of digital filmmaking. So what is it, Piccoli’s character asks Oscar between his theatrical “assignments,” that makes the actor carry on? “What made me start,” Oscar responds. “The beauty of the act.” The film is at its best when Carax allows his more blatant homages to traditional filmmaking to take a back seat to his singular cinematic touch and to Lavant’s amazing depth and dexterity as an actor. It’s evident early on that Carax is setting up his audience for something emotionally dense but weird. The film begins with the director himself opening his bedroom wall to reveal a movie theater packed with what appear to be sleeping patrons or apparitions, a dog, and a wayward toddler. Despite the surreal nature of it all, Lavant’s Oscar is reason enough to keep watching. In the film’s most expertly crafted and bizarre scene, Oscar morphs into a beastly, troll-like character named Merde (based on a character Lavant debuted in the 2009 anthology film Tokyo!, with work by Michel Gondry, Carax, and Bong Joon-ho) and then crashes a fashion photo shoot inside Paris’ sprawling Père Lachaise cemetery — where French New Wave film director Claude Chabrol and illusionist/filmmaker Georges Méliès, a technical pioneer in the early days of French cinema, are buried. At the cemetery, Merde, the hair-eating
troll, bites the fingers off a woman’s hand, kidnaps a supermodel played by Eva Mendes (the part was originally slated for Kate Moss), and whisks her away to the tunnels beneath Paris. What happens next is a shocking and absurdist commentary on the subjective nature of human attractiveness. “I don’t like the world that I live in,” Carax confessed in an Oct. 22 interview with Filmmaker Magazine. “I like the invisible world that inhabits me.” That world, as troubling and desperate as Carax makes it out to be at times, is also a place of immeasurable beauty, and he has the right people in his corner to help him share it with us. Caroline Champetier’s magical cinematography is a thing to behold, as is Florian Sanson’s bold production design. Carax says he used digital technology in the making of Holy Motors because he wanted to make a film on the cheap that would keep him relevant on the international film scene. “Holy Motors,” he explains on the film’s website, “was born of my incapacity to carry out several projects, all of them in another language and another country. They all ran into the same two obstacles: casting and cash. ... I commissioned myself to make a project under the same conditions, but in France — [to] come up with an inexpensive film, quickly, for a pre-selected actor. All of it [was] made possible by digital cameras, which I despise (they are imposing themselves or being imposed on us), but which seem to reassure everyone.” As Oscar’s mysterious visitor says in the film, beauty is in the eye of the beholder, and even in its most startling scenes of ugliness, Holy Motors has plenty of beauty to spare. Carax mourns humankind’s retreat into the computer, where he believes much beauty is corrupted or ignored. The computer has, he suggests, replaced the home, the cinema, and the need for an actual audience. What is the point of the film, or of the act, Carax asks through Oscar, “if there’s no more beholder?” ◀
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65
MOVING IMAGES film reviews
A madness to the method Jonathan Richards I For The New Mexican Hitchcock, biopic, rated PG-13, Regal DeVargas, 2.5 chiles Good evening. Poor Alfred Hitchcock. The Master of the Macabre has been pushing daisies for three decades, but people won’t let him rest in peace. First HBO served him up as a dirty old man in The Girl, a psychodrama about the making of The Birds (arguably his last great film) and the tormenting of its star, Tippi Hedren (arguably Hitchcock’s last great blonde discovery). Hedren, whose career Hitchcock made and allegedly destroyed, is still around and remembers him as a “sad character ... evil and deviant, almost to the point of dangerous.” Toby Jones plays the director in that one. ( Jones’ fate seems to be to star in the also-ran version of the big biopic: in ’05, when Philip Seymour Hoffman won an Oscar for Capote, Jones was playing the writer of In Cold Blood in the less-successful Infamous.) Whether or not the real man was much like Hedren’s memories of him, Jones nails the physical Hitch. Ten minutes into The Girl, you forgot the impersonation and bought the illusion. Not so with Anthony Hopkins in Hitchcock. Inflated with a fat suit and facial prosthetics, his belt line resting at his breastbone, the great Sir Anthony remains the great Sir Anthony throughout. Hitchcock turns its lens on what many consider the master’s masterpiece, Psycho (although a recent international critics’ poll in the British Film Institute-published Sight and Sound unaccountably chose Vertigo as the Greatest Film of All Time, bumping Citizen Kane from what had come to be considered its birthright). As conceived by director Sacha Gervasi (Anvil: The Story of Anvil) and screenwriter John J. McLaughlin (among the writers
Scarlett Johansson
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December 14 -20, 2012
Partners in crime: Helen Mirren and Anthony Hopkins
of Black Swan), Hitchcock borrows the format of an episode of the master’s popular TV series Alfred Hitchcock Presents, with Hopkins’ Hitchcock introducing the story of Ed Gein, the real-life killer who was the model for Norman Bates. The movie then jumps to the 1959 premiere of Hitchcock’s hugely successful North by Northwest. Emerging from the theater, Hitch is greeted by a shouted question from a reporter behind the rope line: “Mr. Hitchcock — you’ve directed more than 40 movies. You’re the most famous director in the history of the medium. But you’re 60 years old. Isn’t it time you retired?” This is perhaps the most unlikely line ever to be shouted from behind a rope line at a premiere, but it strikes home with Hitchcock. Nettled by the suggestion that at 60 he has reached his use-by date, he decides to show them all by doing something completely different. Nobody likes his choice of Psycho, Robert Bloch’s 1959 novel based on Gein’s grisly murders. The idea. Paramount refuses to bankroll it, so Hitch puts up his own money. The censor hates it. (“No American movie has ever found it necessary to show a toilet!”) Even his loyal wife, Alma (Helen Mirren), demurs. She wants him to do a script by their friend Whitfield Cook (Danny Huston), who helped pen Strangers on a Train. But Hitch has the bit between his teeth, and he mortgages their house to finance the picture. It’s no secret that some directors can go a little crazy under the pressure of making a picture. But the filmmakers’ conceit here seems to be that Hitchcock had to be a little crazy to make the movies he made. As Alma gets involved with the smarmy Cook on a screenplay, and Hitch suspects (not unreasonably) a romantic intrigue, we see him eyeing her neck with apparently homicidal fantasies. He’s tormented by nightmares of Gein (played in the film by Michael Wincott). He flips out during the filming of the famous Psycho shower scene.
We meet many of the Psycho cast and crew, including super-agent Lew Wasserman (Michael Stuhlberg), assistant Peggy Robertson (an underused Toni Collette), Vera Miles ( Jessica Biel), Tony Perkins ( James D’Arcy, who projects a good physical resemblance), and Janet Leigh (Scarlett Johansson, who does not but is warm and appealing). But the central characters are Hitch and Alma, and the movie makes the case that it was their personal and working relationship that enabled the master to function. The best scene in the movie is one in which Alma, pushed a little too far, turns on her husband and gives him a dressing-down that twists the knife in every vulnerable tissue of his ample body. Mirren is fierce, and Hopkins shows the pomposity draining from beneath his prosthetic face. Suitable chastened, he eats his dish of humble pie, and together they go on to rescue the troubled production and turn Psycho from a disaster into the greatest hit of Hitchcock’s career. Was this the real Hitchcock? Was he the cruel sexual predator of The Girl? Nobody seems to have known him very well. He had a reputation for being hard on actors, although he once disarmingly protested, “I never said actors are cattle; what I said was actors should be treated like cattle.” The critic Richard Schickel, who knew him a little, described him as “childlike” and “unworldly” while admitting that he could get a little weird about blondes. In the end what probably matters most is not who the real Hitchcock was but how well this movie makes its case. And it doesn’t manage it very well. The look, by production designer Judy Becker and director of photography Jeff Cronenweth, captures the exuberance of a ’50s Technicolor feature, and for the most part the movie entertains. But there are lapses in judgment, lapses in timing, and lapses in artistry that keep reminding us that great moviemaking isn’t as simple as it looks. Alfred Hitchcock knew that. ◀
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RESTAURANT REVIEW Bill Kohlhaase I For The New Mexican
Hola, granola
Tree House Pastry Shop and Café 163 Paseo de Peralta (inside the DeVargas Center), 474-5543 9 p.m.-5 p.m. Mondays, 8 a.m.-5 p.m. Tuesdays-Saturdays (breakfast served until 4 p.m.); closed Sundays Takeout & catering Vegetarian only, vegan & gluten-free options Noise level: a murmur Credit cards, local checks
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The Short Order The Tree House Pastry Shop and Café’s unlikely new location in the DeVargas Center makes it something of a mall-walk café. A few tables inside and several out in the corridor host diners tucking into hearty homemade pastries and vegetarian breakfasts and lunches. Omelets and quiches share the menu with vegan-friendly tempeh scrambles and cheese-and-bean-stuffed pupusas. Nearly everything, including the tempeh, is made in-house from organic, locally accessed ingredients and is attractively presented. Service — you order inside at a small counter — can be slow, since everything is made to order. Lunches might not be as stellar as breakfasts, but that doesn’t matter. You can get breakfast nearly all afternoon. Recommended: house-made granola, chilaquiles, pupusas, and scones.
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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December 14 -20, 2012
The Tree House Pastry Shop and Café’s former location wasn’t easy to track down. Its new digs are a bit easier to find, even if the last leg of the journey is by foot. Located off a quiet corridor inside the DeVargas Center, it’s something like a street café dropped into a mall. Diners who don’t crowd into the few tables actually inside the spot spill out to tables scattered in the hallway where they can watch shoppers exit the Outdoorsman of Santa Fe with boxes of ammo, soft body armor, or other necessary hunting accessories. We’ve never seen evidence of someone leaving the Outdoorsman and sitting down to a gluten-free cupcake and a mug of chai, though our server said the store’s staff occasionally stops by. The Tree House’s baked goods and entree selections are right out of that post-hippie, back-to-the-land, wholewheat craze that took off in the ’70s. The movement’s vegetarian, organic, make-it-from-scratch advocates were dubbed “Granolas” by those not inclined to jump on that hand-cobbled bandwagon (and by some who did, me included). The movement has since evolved over the years to include vegan restaurants and gluten-free bakeries, places that sometimes lose sight of their original low-fat, less-refined-sugar roots. The Tree House, championing locally accessed and organic ingredients, is all-Granola. It offers a number of dishes that can be had vegan or gluten-free, or not, as you choose. Occasionally, as a special it offers its own seitan, a protein-rich meat substitute that’s made almost entirely of wheat gluten. Of course, the café make its own granola: a slightly toasted, barely sweetened mix of oat flakes and a few stray walnuts topped with berries and served with soy milk or Nancy’s-brand whole-milk yogurt (one of the few things that isn’t café-made). Nothing like those overly sweetened, oil-rich cereals sold on the grocery shelves, it reminded us of the first granolas we made using recipes pulled from Frances Moore Lappé’s Diet for a Small Planet or Laurel’s Kitchen. And we knew it was good for us. Of course, there’s no shortage of health-conscious, organic-emphasis, gluten-free cafés around these days. Somehow the Tree House seems more authentic and more sincere than most of them in the way it prepares and presents its dishes and baked goods, with wheat and gluten or without. Their croissants aren’t the flaky, puffed-up and glistening-with-butter sort, but they are solid, substantial, and wheaty-flavored. The scones are hearty, studded with berries, and as good as any you might make at home. And those cupcakes, heaped with a dollop of whipped frosting, aren’t overly sweet. Gluten-free? Well, you could have fooled us. These are pastries that demand beverage accompaniment, and the cappuccino we took with our scone — made with organic coffee, of course — rivaled those had at the better coffeehouses around town. Breakfast is the meal of choice here. You walk up to a counter to order, which gives you a chance to peruse what’s left in the pastry display. Then you retreat to a table
and wait, sometimes for longer than you’d like, depending on what you’ve ordered and how busy things are. This is a good time to remember that nearly everything is made from scratch. The café offers the usual egg and potato choices, including omelets and a croissant sandwich. Vegan and gluten-free choices are numerous, and housemade tempeh — that chunky, contrastingly textured fermented soybean product — can substitute for the eggs. The chilaquiles — with strips of corn tortilla in a warm, complex red chile sauce — was an eye opener, both in appearance and spiciness. Topped with a saucer-shaped fried egg, crimson slaw, and leggy deep-green radish sprouts, the dish was eye candy when brought to the table and satisfying when hurriedly consumed. Two cheese-and-bean-stuffed pupusas, the inside creamy and the outside perfect off the griddle, were also topped with those sensual sprouts. The plump breakfast burrito — like the pupusas, served with rich black beans — was disappointing only in the light smother of that savory red chile. More sauce, please. While we were bowled over by the granola and other breakfast items, lunch here was less infatuating. A large steaming bowl of Thai coconut basil curry — heavy with sliced potatoes and carrots, limp leaves of basil, and sunken brown rice — was timid and reserved, the broth watery, with only a trace of curry, and the basil cooked clean of its flavor. In a grilled sandwich of thick mozzarella, spinach, and an intriguing red chile pesto, the wonderful insides were tempered by overgrilled bread that smelled burnt, a disappointment considering how wonderful that house-made bread is. We had one other disappointment of this sort: a dark, promising slice of spiced pumpkin Bundt cake, its sweetness taking a back seat to its assertive nutmeg and ginger. If only it hadn’t been so dry! But that’s what can happen when you reduce fats and oils in recipes in an attempt to make baked goods healthy. ◀
Check, please Breakfast for two at Tree House Pastry Shop and Café: House-made granola ...............................................$ 6.95 Chilaquiles .............................................................$ 6.95 Scone ......................................................................$ 2.95 Double cappuccino .................................................$ 3.75 TOTAL ....................................................................$20.60 (before tax and tip) Lunch, another visit: Thai coconut basil curry .........................................$10.25 Mozzarella sandwich ..............................................$ 7.95 TOTAL ....................................................................$18.20 (before tax and tip)
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51% 45 4
Funding school at Tierra Contenta could delay work at other sites By Robert Nott
Santa Fe Public Schools is considering a plan to build a new elementary school on the south side of town as the cityí s population continues to grow in that area, but funding the project could affect renova≠ tions and expansions planned at other school sites. The district would pay for the $19 million project with funds from current general obligation bonds. The Board of Education is scheduled to vote Tues≠ day on a recommendation by the districtí s Citizens Review Committee ó an advisory board comprising 11 citizens ó that would re≠ prioritize the financing of some current school≠ construction projects to pay for the new building. The new site would ease overcrowding at south≠ side elementary schools, eliminate most of the por≠ tables on south≠ side campuses and diminish the need to expand other sites. ì It will relieve overcrowding in a part of the district that has needed a new facility, and it should have a cascading impact on the school population and den≠
55% 45
STATE HOUSE DISTRICT 43
By Staci Matlock
Fired cop: City manager, U.S. rep linked to federal cocaine probe Romero, Luj· n deny allegations by ex≠ detective at arbitration hearing By Tom Sharpe
A former Santa Fe police detective says he believes he was fired because he was working on a federal investigation into cocaine involving City Manager Robert Romero and U.S. Rep. Ben Ray Luj· n, D≠ N.M. Romero and Luj· n, who both grew up in the Pojoaque Valley, denied the allegations, saying they know of no such investigation and believe it is a ruse to distract the public from the former detectiveí s problems. James Vigil, 31, made the allegations at a Tuesday arbitration hearing at which he seeks reinstatement as a police detective. The off≠ duty officer was charged with driving while intoxicated after he was stopped by a state police officer for swerving between lanes on N.M. 599 on May 29, 2010. His blood alcohol level was tested at 0.15 ó nearly twice the legal limit for driving.
Please see PROBE, Page A≠ 5
Index
Calendar A≠ 2
Classifieds B≠ 6
Comics C≠ 6
Crowded south side may get new K≠ 6 The New Mexican
Griego (D) Dunn (R)
Garcia Richard (D) Hall (R) Elida Tarango of Santa Fe, center, sister≠ in≠ law of Patricia Cisneros, is comforted Tuesday by friends and family outside Casitas de Santa Fe mobile≠ home park. Police say Cisneros was shot and killed early Tuesday by her ex≠ boyfriend. LUIS S¡ NCHEZ SATURNO/THE NEW MEXICAN
By Geoff Grammer and Sandra Baltazar MartÌ nez The New Mexican
P
atricia Cisneros celebrated her 34th birthday on Monday night. The working mother of three spent the evening out with family and then enjoyed a snack of red≠ chile enchiladas ó her favorite dinner prepared by her mother ó early Tuesday morning in her home off Airport Road. It was her last meal. Police say her ex≠ boyfriend, JosÈ MelÈ ndez≠ Trillo, 39, an undocumented immigrant from Mexico who used the name Jose Soto when working around Santa Fe and on his state≠ issued driverí s license, shot and killed Cisneros around 3 a.m. Tuesday. Her family says the shooting caught them off guard, as MelÈ ndez≠ Trillo was having a conversation with Cisneros ó who had been
Pasapick Faust Gounodí s Romantic≠ era opera, 8 p.m., Santa Fe Opera, 7 miles north of Santa Fe off U.S. 84/285, tickets start at $35; family nights at the opera, $25, kids $12; 986≠ 5900, santafeopera.org. More events in Calendar, A-2 and Fridays in Pasatiempo
at her home, watching their three children for the evening ó when he walked out to his truck, retrieved a rifle and returned to shoot the woman before abducting their 5≠ year≠ old son, CÈ sar. ì In a second he came back in [the home] with a rifle and shot her,î said Josefina Dur· n, Patriciaí s mother. ì Oh God, it was awful. I froze and saw my daughter fall to the ground, covered in blood.î An arrest warrant charging one open count of murder has been issued for MelÈ ndez≠ Trillo. Santa Fe County Sheriffí s Lt. Adan Mendoza admits investigators are still trying to pinpoint a motive for the shooting, as MelÈ ndez≠ Trillo has no known criminal history and the family mem≠ bers report they are unaware of any physical harm he has committed in the past. Cisneros and MelÈ ndez≠ Trillo are both from
Please see KILLED, Page A≠ 6
Dolores M. Archuleta, Santa Fe, Aug. 22 Jacob ì Jake the Snakeî T. Chavez, 38, Aug. 20 Elmer J. Sanches, 73, Santa Fe, Aug. 21 Lucille S. Whitehead, 89, Las Cruces, July 31 PAGE A≠ 10
A platinum season For 75 years, the Santa Fe Concert Association has brought the best in music, dance and theater to Santa Fe. Discover whatí s happening at the con≠ cert association with the Santa Fe Con≠ cert Association special publication.
!"#$" %&
Opinion A≠ 11
By Deborah Busemeyer For The New Mexican
Easley (D) Miller (R)
By Melanie Mason, Richard Simon and Tina Susman Chicago Tribune
Partly sunny with a chance of thunderstorms in the afternoon. High 92, low 63.
MINERAL, Va. ó Buildings emptied, monuments closed, trains and planes were halted, and people ran in terror into the streets after a rare earthquake mea≠ suring 5.8 jolted the Eastern United States, stunning millions who consider temblors a California problem and who, in many cases, simply couldní t believe what was happening. ì This is an ACTUAL EARTHQUAKE ALERT,î read a notice posted on New Yorkí s emergency man≠ agement website minutes after the quake sent the cityí s high≠ rises and bridges swaying and prompted rumors that the Washington Monument was tilting. ì Simply not correct,î said Bill Line of the National Park Service, which closed the monuments on Wash≠ ingtoní s National Mall just in case. But late Tuesday
'(#'&)$ "!!('*"$*(# 234+56726
Please see JITTERY, Page A≠ 4
+, -&")! ./"$*#01 !&"!(#
INSIDE u Trinidad, Colo., residents shaken by quake. PAGE A≠ 4
Police notes A≠ 10
Managing editor: Rob Dean, 986≠ 3033, rdean@sfnewmexican.com Design and headlines: Brian Barker, bbarker@sfnewmexican.com
Sports B≠ 1
Time Out C≠ 5
Travel C≠ 4
Main office: 983≠ 3303 Late paper: 986≠ 3010
A
56% 44
CONSTITUTIONAL AMENDMENTS Cisneros, a mother of three, cel≠ ebrated her 34th birthday on Monday night. COURTESY PHOTO
Today
PAGE B≠ 12
INSIDE TODAY
Lotteries A≠ 2
Desiree Romeroí s bridesmaids help her prepare for her wedding day at her motherí s home in Tesuque. Desiree and Ryan Hanson, who both have Down syndrome, were married Sept. 3 at the Cathedral Basilica of St. Francis of Assisi. Hanging on the wall to the left are three of the 100 Special Olympics medallions Desiree has won over the last 18 years. PHOTOS BY NATALIE GUILL… N/THE NEW MEXICAN
East Coast jittery after rare temblor
Obituaries
Please see SCHOOL, Page A≠ 4
50% 49
STATE HOUSE DISTRICT 50
Three sections, 30 pages
Amendment 1 Yes 60% No 40% Amendment 2 Yes 81% No 19% Amendment 3 Yes 51% No 49% Amendment 4 Yes 51% No 49% Amendment 5 Yes 61% No 39%
STATE BONDS Bond A Yes 63% Bond B Yes 62% Bond C Yes 61%
No 37% No 38% No 39%
COUNTY MEASURES Fire Excise Tax Yes 69% No 30% Bond Question 1 Yes 69% No 30% Bond Question 2 Yes 70% No 29% Bond Question 3 Yes 64% No 35% UNOFFICIAL RESULTS
President Barack Obama greets supporters as he walks on stage with first lady Michelle Obama and daughters Malia, right, and Sasha at his election night party early Wednesday in Chicago. Obama defeated his Republican challenger, former Massachusetts Gov. Mitt Romney. CAROLYN KASTER/THE ASSOCIATED PRESS
By David Espo
The Associated Press
W
ASHINGTON ó President Barack Obama rolled to re≠ election Tuesday night, van≠ quishing former Massachu≠ setts Gov. Mitt Romney despite a weak economy that plagued his first term and put a crimp in the middle≠ class dreams of millions. In victory, he confidently promised better days ahead. Obama spoke to thousands of cheering supporters in his hometown of Chicago, praising Romney and declaring his opti≠ mism for the next four years. ì While our road has been hard, though our journey has been long, we have picked ourselves up, we have fought our way back and we know in our hearts that for the United States of America, the best is yet to come,î he said. Romney made his own graceful con≠ cession speech before a disappointed crowd in Boston. He summoned all Americans to pray for Obama and urged the nightí s political winners to put parti≠
san bickering aside and ì reach across the aisleî to tackle the nationí s problems. Still, after the costliest ó and one of the nastiest ó campaigns in history, divided government was alive and well. Democrats retained control of the Sen≠ ate with surprising ease. Republicans did the same in the House, ensuring that Speaker John Boehner of Ohio, Obamaí s partner in unsuccessful deficit talks, would reclaim his seat at the bargaining table. At Obama headquarters in Chicago, a huge crowd gathered waving small American flags and cheering. Supporters hugged each other, danced and pumped their fists in the air. Excited crowds also gathered in New Yorkí s Times Square, at Faneuil Hall in Boston and near the White House in Washington, drivers joy≠ fully honking as they passed by. With returns from 84 percent of the nationí s precincts, Obama had 53.7 mil≠ lion, 49.6 percent of the popular vote. Romney had 53 million, or 48.9 percent.
Please see OBAMA, Page A≠ 6
ELECTORAL COLLEGE
POPULAR VOTE
303 206 50% 49% Obama
Romney
Obama
Romney
56,129,652
54,674,214
s young children, Desiree and Ryan Hanson both dreamed of finding love and getting married. Yet, when each was born, doctors provided little hope for the childí s future, let alone for dreams. It was the norm back then to expect that a child born with Down syndrome would never walk or talk. In 1983, the year Desiree was born, the life expectancy for a person with the disorder was only 25. With the support of their families, how≠ ever, the newly married Desiree, 28, and Ryan, 25, are looking forward to a long future together. When Ryan talks about Desiree, words arení t enough. He clutches his chest, squeezes his hands into fists and pumps the air. He looks at her adoringly, holds her hand in both of his, then strokes her arm. ì She lets my soul come out,î he says. Desiree and Ryaní s wedding has served as an inspiration for parents who have children
INSIDE ◆ Motherí s age is only known risk for child to be born with Down syndrome. PAGE A≠ 5
Ryan helps Desiree with her dress before they take their wedding vows at the cathe≠ dral. Their ceremony, attended by about 700 people, was followed by a reception at the Buf≠ falo Thun≠ der Resort & Casino in Pojoaque.
with Down syndrome, such as Gay Romero, a friend of Desireeí s mother, Magdalena Romero. ì The wedding is more of an illustration that these things are possible and to not let some≠ one else tell us or tell her that her dreams and ambitions are limited,î Gay Romero said of her 11≠ year≠ old daughter, Elena.
Star with a winning streak
INSIDE u Democrats pick up two seats in the Senate as Akin, Mourdock lose. PAGE A≠ 3 u New Mexico voters sound off about who they voted for and why. PAGE A≠ 4 u Heinrich comfortably tops Wilson to replace Bingaman in U.S. Senate. PAGE A≠ 5 u New Mexico Senate faces leadership shake≠ up after Jennings loses. PAGE A≠ 5 u Santa Fe County voters approve three bond questions, fire excise tax. PAGE A≠ 8
162nd year, No. 236 Publication No. 596≠ 440
Beating the odds by defying the doctor When a doctor told Magdalena Romero that her newborn, Desiree, had Down syn≠ drome, she had never heard of the condition.
Brad Pitt speaks on life with Angelina, private pain, and the les≠ sons heí s learned from his kids.
Pasapick More events in Calendar, A≠ 2
Index
Calendar A≠ 2
Lannan Foundation literary event Scientist David Suzuki speaks on climate change with indigenous≠ rights activist Clayton Thomas≠ M¸ ller, 7 p.m.; Lensic Performing Arts Center, 211 W. San Francisco St.; $3 and $6; 988≠ 1234, ticketssantafe.org.
Classifieds D≠ 4
Comics B≠ 6
Lotteries A≠ 2
Opinion A≠ 7
Police notes C≠ 2
Editor: Rob Dean, 986≠ 3033, rdean@sfnewmexican.com Design and headlines: Brian Barker, bbarker@sfnewmexican.com
Alfredo Archuleta, 83, Santa Fe, Nov. 2 Jerre King
Sports B≠ 1
Bowles, 91, Santa Fe, Nov. 4 Thomas Ilg, Los Alamos, 54, Nov. 2 Judge William
Time Out B≠ 5
Wayne Kilgarlin, 79, Nov. 5 Frank H. Rooms, 85, Santa Fe, Nov. 3 PAGE C≠ 2
Taste D≠ 1
Main office: 983≠ 3303 Late paper: 986≠ 3010
Dems say proposal meets rules for population, minority strength By Barry Massey
The Associated Press
Republicans are lining up against a Democratic≠ backed proposal for redistricting New Mexicoí s utility regulatory agency. Republicans complained Saturday that proposed district boundary changes for the Public Regulation Commission will make it harder for GOP candidates to compete in some parts of the state. The House Judiciary Committee endorsed the pro≠ posal on a party≠ line vote and sent it to the full House for consideration. Speaker Ben Luj· n said the House may debate the measure on Sunday. Two Republicans and three Democrats currently serve on the PRC, which regulates utilities, telecom≠ munications and insurance. ì I believe quite firmly that we should make it pos≠ sible for voters to elect their elected representatives and not have elected representatives basically pre≠ determine the outcome,î said Rep. Cathrynn Brown, R≠ Carlsbad. ì I really believe there could have been an effort, if there had been a spirit to do it, of making
Pasapick Second Annual Native Treasures Collectorsí Sale Native American art from private collections; 9 a.m. to 4 p.m., Meem Auditorium, Museum of Indian Arts & Culture, Museum Hill, no charge. More events in Calendar, Page A-2 and Fridays in Pasatiempo
INSIDE
Index
GOP: Plan for PRC districts shuts party out
Please see ROMANCE, Page A≠ 6
Fair with a Spanish flair The fourth annual Renaissance festival at El Rancho de las Golondrinas showcases a mix of bygone eras. LOCAL NEWS, C≠ 1
Please see PRC, Page A≠ 4
Obituaries Bertie Vanwelt, 81, Santa Fe, Sept. 14 Estus ì Alî Younger, 79, Santa Fe, Sept. 3 PAGE C≠ 2
Today Mostly sunny. High 78, low 50. PAGE D≠ 8
Calendar A≠ 2
Classifieds E≠ 7
Lotteries A≠ 2
Neighbors C≠ 7
Opinion B≠ 1
Police notes C≠ 2
Managing editor: Rob Dean, 986≠ 3033, rdean@sfnewmexican.com Design and headlines: Cynthia Miller, cmiller@sfnewmexican.com
Obituaries
Real Estate E≠ 1
Sports D≠ 1
Time Out/puzzles D≠ 7
Main office: 983≠ 3303 Late paper: 986≠ 3010
Six sections, 76 pages 162nd year, No. 261 Publication No. 596≠ 440
Today Partly cloudy. High 68, low 38. PAGE C≠ 6
Four sections, 28 pages 163rd year, No. 312 Publication No. 596≠ 440
When we say, ì Ití s all for you,î we mean it. If it looks like weí re trying to impress youÖ ití s because we are. Why? Youí re the reason we come to work every day. 2012 has been an amazing year for us at The New Mexican, and we express our heartfelt gratitude to the loyal readers and subscribers who allow us to pursue the production of quality journalism in service to the Santa Fe community. Thank you, Santa Fe.
You turn to us.
www.santafenewmexican.com | 505≠ 983≠ 3303
Prescription ë epidemicí becomes New plan would change playing a bigger killer than cars Page C-6 field for private schools Sports, D-1
The New Mexican
On opposite sides of the broad basin between the Sangre de Cristo and Jemez mountain ranges, Nambe Pueblo and Bandelier National Monument are dealing with the aftermath of summer wildfires and recent floods. Rains in the last couple of weeks sent tons of massive logs, whole trees, ash and branches into Nambe Lake, the 56≠ acre reservoir in the Sangre de Cristo Mountains. The reservoir is owned by the pueblo and provides water for more than 700 downstream irrigators. A thunderstorm in the Jemez Mountains over the weekend sent a wall of water down Frijoles Canyon, turning over concrete barriers and threatening to flood into the Bandelier National Monument visitor center. Crews were at both places Tuesday, removing debris, taking stock of the damage and trying to pre≠ pare in case another deluge arrives.
The New Mexican
DAILY NEWSPAPER CLASS E
www.santafenewmexican.com
Bandelier: Visitors center spared from Sunday flash flooding
Please see RAIN, Page A≠ 6
BEST NEWSPAPER
Wednesday, November 7, 2012
STATE SENATE DISTRICT 39
Nambe Reservoir: Pueblo pulls out debris, but fishing takes hit
ON THE WEB
2012 Local Media Association National Award for General Excellence/
Police are looking for JosÈ MelÈ ≠ ndez≠ Trillo, aka Jose Soto, and his son, CÈ sar, 5.
Lake, park clean up, brace for more rain
u To watch video of the cleanup, go to www.youtube.com/watch?v=U2VrulSmv_w
— R U N N E R - U P —
SUSPECT FLEES WITH 5≠ YEAR≠ OLD SON; MOTHER KILLED AFTER CELEBRATING 34TH BIRTHDAY
75¢
OBAMA! Locally owned and independent
Malbec, the next great wine Taste, C-1 Horsemen football preview Sports, B-1
!!! !!
pasa week 14 Friday
Meet the Artists of Alcove 12.7 Marc Baseman, Matthew Chase-Daniel, Eric Garduño, Jeanette Pasin Sloan, and Jared Weiss, discuss their works in the New Mexico Museum of Art exhibit, 5:30 p.m., 107 W. Palace Ave., no charge, 476-5072. ‘Wagner & Me’ Screening of Stephen Fry’s documentary, 7:30 p.m., conversation and dessert reception with Bernard Rubenstein, Craig Barnes, and Rabbi Marvin Schwab follow, Center for Contemporary Arts, 1050 Old Pecos Trail, $10 in advance at ccasantafe.org, 982-1338.
GALLERY/MUSEUM OPENINGS Art Exchange Gallery 60 E. San Francisco St., Suite 210, 603-4485. 20th Anniversary Celebration Show and Sale, group show, reception 4-6 p.m., through January. Center for Contemporary Arts — Spector Ripps Project Space 1050 Old Pecos Trail, 982-1338. Forget Your Perfect Offering, installation (and rotating performance series) by Sydney Cooper and Edie Tsong, reception 6-8 p.m., through Jan. 27. Ed Samuels Gallery 924 Paseo de Peralta, Suite 3, 986-3968. New paintings by Samuels, reception 4-8 p.m. GF Contemporary 707 Canyon Rd., 983-3707. Small Works Holiday Group Show, reception 3-5 p.m. Giacobbe-Fritz Fine Art 702 Canyon Rd., 986-1156. Small Works Holiday Group Show, reception 3-5 p.m. Hill’s Gallery Remix: Then & Now 217 Galisteo St., 989-2779. Group retrospective exhibit honoring Hill’s Gallery, reception 5-7 p.m., through Jan. 3. Lucky Bean Café 500 Montezuma Ave., Sanbusco Center, for information call Jennie Cooley, 490-1155. Cirque de Cooley Act IV, pop-up group show, reception 5-7 p.m. Mark Sublette Medicine Man Gallery 602-A Canyon Rd., 820-7451. Navajo Saddle Blankets circa 1890-1930, through Jan. 4. Michelle’s Closet 711 Don Diego Ct., 577-1922. Christmas Cheer, group show of paintings and ceramics, reception 6-9 p.m. NoiseCat on Canyon 618 Canyon Rd., 412-1797. Traditional Athabaskan work by Glenda McKay; sculpture and jewelry by Nelda Schrupp, reception noon-6 p.m. Red Dot Gallery 826 Canyon Rd., 820-7338. Winter Arts, group show, reception 4:30-7 p.m. Santa Fe Clay 545 Camino de la Familia, 984-1122. Beginning to End, works by Christine Golden, Aisha Harrison, and Clayton Keyes, reception 5-7 p.m., through Jan. 19 (see story, Page 52). Selby Fleetwood Gallery 600 Canyon Rd., 992-8877. Winter Gathering 2012, group show, through Jan. 7. Tina Davila Pottery 933 Nicole Pl., 986-9856. Holiday studio sale, noon-7 p.m., continues Saturday, Dec. 15.
CLASSICAL MUSIC Santa Fe Desert Chorale Carols and a, 8 p.m., Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Pl., $15-$55, ticketssantafe.org, 988-1234, encores Dec. 18, 20, 21-22 (see story, Page 40).
Pasa’s Little Black Book......... 72 Exhibitionism...................... 74 At the Galleries.................... 75 Libraries.............................. 75 Museums & Art Spaces........ 75 In the Wings....................... 76
compiled by Pamela Beach, pambeach@sfnewmexican.com
EVENTS Santa Fe Alternative Gift Market Third annual sale of tax-deductible gifts in support of local and international humanitarian organizations; grand celebration with a ribbon cutting by honorary chair Ali MacGraw and Mayor David Coss, 5-7 p.m., DeVargas Center, 564 N. Guadalupe St., 982-2655, continues Saturday and Sunday, Dec. 15-16. Santa Fe Children’s Museum toy sale preview New and gently used toys and books, 3-6 p.m., 1050 Old Pecos Trail, $5 or free with museum admission, 989-8359, continues Saturday, Dec. 15. Santa Fe High School’s Winter-Fest and Winter Art Show Open House with the SFHS String Quartet, refreshments, and carolers, 5-7 p.m., Visual Arts Building, 2100 Yucca St., 467-2400.
NIGHTLIFE In the Autumn, by Brigitte Carnochan, Verve Gallery of Photography, 219 E. Marcy St.
Santa Fe Women’s Ensemble A Winter Festival of Song 2012, 7 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $20-$35, discounts available, 954-4922. TGIF recital The Endless Summer String Orchestra performs music of Corelli and Handel, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated, 982-8544.
IN CONCERT New Mexico Gay Men’s Chorus Lights in the Night, annual holiday concert, 7:30 p.m., Greer Garson Theatre, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $20 in advance online at nmgmc.org, discounts available, bring a new/unwrapped toy for the chorus’ annual toy drive.
THEATER/DANCE ‘The Weir’ Santa Fe Playhouse presents Conor McPherson’s Irish ghost story, 7:30 p.m., 142 E. DeVargas St., $15 and $25, 988-4262, Thursday-Sunday through Dec. 23 (see review, Page 23).
Elsewhere............................ 78 People Who Need People..... 79 Under 21............................. 79 Short People........................ 79 Sound Waves...................... 79
BOOKS/TALKS 2013: Heart of the Metamorphosis Astrologers Heather Roan Robbins, Arielle Guttman, and Azlan White speak, 6:30 p.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, reserved seats $25; open seating $18 ($22 at the door); advance tickets available at Ark Books (988-3709); details and tickets available online at thesantafeastrologycircle.org; a percentage of the proceeds benefits Global Relief Resources and New Mexico Coalition for Literacy, 920-0199. James Koskinas The filmmaker/author reads from his new book-in-progress and from his script for his film-in-progress, The Twilight Angel, 5-8 p.m., Selby Fleetwood Gallery, 600 Canyon Rd., 992-8877. John Fincher The author signs copies of his autobiography, John Fincher, 5-7 p.m., Paladino, 839 Paseo de Peralta, Suite N, 954-1024, proceeds benefit palliative-care services in the region.
(See Page 72 for addresses) ¡Chispa! at El Mesón The Three Faces of Jazz and friends, featuring Bryan Lewis on drums, 7:30 p.m., no cover. Club 139 at Milagro DJ Alchemy, sol therapy and Chicanobuilt, 9 p.m., $5-$7 cover. Cowgirl BBQ Acoustic guitarist J. Boor, 5-7:30 p.m., no cover. Country Blues Revue, 8:30 p.m., $5 cover. El Cañon at the Hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. El Farol Boom Roots Collective, reggae, 9 p.m., $5 cover. Evangelo’s Classic rock band The Jakes, 9 p.m.-1 a.m., $5 cover. Hotel Santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. ▶▶▶▶▶▶▶▶
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. Follow Pasatiempo on Facebook and Twitter.
PASATIEMPO
71
Talking Heads
2013: Heart of the Metamorphosis Astrologers Heather Roan Robbins, Arielle Guttman, and Azlan White speak at 6:30 p.m. Friday, Dec. 14, at the Santa Fe Center for Spiritual Living, 505 Camino de los Marquez. Bring your chart to reference aspects of 2013. Limited chart printing available 5:456:30 p.m. for $5 (bring birth data). Visit thesantafeastrologycircle.org for details and ticket prices. La Fiesta Lounge at La Fonda Blues band Night Train, 8-11 p.m., no cover. La Posada de Santa Fe Resort and Spa Nacha Mendez Trio, pan-Latin rhythms, 6:30-9:30 p.m., no cover.
PASA’S LITTLE BLACK BOOK d Wine Bar 315 Restaurant an 986-9190 il, Tra Fe a 315 Old Sant nt & Bar Anasazi Restaura Anasazi, the Rosewood Inn of e., 988-3030 113 Washington Av nch Resort & Spa Bishop’s Lodge Ra ., 983-6377 Rd 1297 Bishops Lodge ón es M El at ¡Chispa! e., 983-6756 213 Washington Av gro Club 139 at Mila St., 995-0139 o isc nc Fra n Sa . W 9 13 Cowgirl BBQ , 982-2565 319 S. Guadalupe St. lton El Cañon at the Hi 811 8-2 98 , St. al 100 Sandov Rd., 983-9912 El Farol 808 Canyon ill El Paseo Bar & Gr 848 2-2 208 Galisteo St., 99 Evangelo’s o St., 982-9014 200 W. San Francisc Santa Fe Hotel Chimayó de 988-4900 e., Av ton ing ash W 5 12 Hotel Santa Fe ta, 982-1200 1501 Paseo de Peral rcy St., 982-3433 La Boca 72 W. Ma ina La Casa Sena Cant 8-9232 98 e., Av e lac 125 E. Pa
72
December 14 -20, 2012
The Mine Shaft Tavern Busy McCarrol’s annual Birthday Hipster-Pop Sagittarians Unite Celebration, 8-11 p.m., $5 suggested donation. The Palace Restaurant & Saloon C.S. Rockshow with Don Curry, Peter Springer, and Ron Crowder, 9:30 p.m., no cover. Pranzo Italian Grill Vocalist Faith Amour and pianist John Rangel’s holiday show, 6-9 p.m., $2 cover. Pyramid Café Local Balkan-folk trio Rumelia, 7 p.m., no cover. Tiny’s Synde Parten & John Rieves, 5:30-8 p.m.; Anthony Leon & The Chain, country angst, 8:30 p.m.-close; no cover. Vanessie Pianist Doug Montgomery, selections from the Great American Songbook, 6-8 p.m., no cover. John Rangel Trio, jazz, 8:30 p.m.-close, call for cover.
15 Saturday GALLERY/MUSEUM OPENINGS Eclectics Art Gallery 7 Caliente Rd., Suite A-10, Eldorado, 603-8811.Holiday gift show, artists meet-and-greet, and potluck, 6-9 p.m. Jay Etkin Gallery 703 Camino de la Familia, Suite 3103, 983-8511. Sideshows, group show of small works, reception 1-4 p.m., through Jan. 11. New Concept Gallery 610-A Canyon Rd., 795-7570. Winter Scenes, group show of paintings and photographs, reception 1-4 p.m., through Jan. 19.
La Fiesta Lounge at La Fonda 100 E. San Francisco St., 982-5511 La Posada de Santa Fe Resort and Spa 330 E. Palace Ave., 986-0000 The Legal Tender at the Lamy Railroad Museum 151 Old Lamy Trail, 466-1650 Lodge Lounge at The Lodge at Santa Fe 750 N. St. Francis Dr., 992-5800 The Matador 116 W. San Francisco St., 984-5050 The Mine Shaft Tavern 2846 NM 14, Madrid, 473-0743 Molly’s Kitchen & Lounge 1611 Calle Lorca, 983-7577 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 Rouge Cat 101 W. Marcy St., 983-6603
NoiseCat on Canyon 618 Canyon Rd., 412-1797. Traditional Athabaskan work by Glenda McKay; sculpture and jewelry by Nelda Schrupp, reception noon-6 p.m. Tina Davila Pottery 933 Nicole Pl., 986-9856. Holiday studio sale, 10 a.m.-5 p.m.
OPERA IN HD The Met Live in HD Verdi’s Aida, 11 a.m. and 6 p.m., Lensic Performing Arts Center, $22 and $28, discounts available, 988-1234, ticketssantafe.org.
CLASSICAL MUSIC New Mexico Women’s Chorus Everything Possible: A Backpack of Holiday and Kids’ Music, 4 p.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $10 in advance at Café Olé, 2411 Cerrillos Rd. or nmwomenschorus.org, $12 at the door, discounts available. Santa Fe Desert Chorale The Big Holiday Sing, members of Desert Chorale with the University of New Mexico Concert Choir and the Río Grande Youth Chorale, 2 p.m., Cristo Rey Parish, 1120 Canyon Rd., $20 and $25, ticketssantafe.org, 988-1234 (see story, Page 40). Santa Fe Women’s Ensemble A Winter Festival of Song 2012, 3 p.m., Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $25, discounts available, 954-4922.
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 Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 989-3278 The Starlight Lounge RainbowVision Santa Fe, 500 Rodeo Rd., 428-7781 Stats Sports Bar & Nightlife 135 W. Palace Ave., 982-7265 Taberna La Boca 125 Lincoln Ave., Suite 117, 988-7102 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
IN CONCERT Round Mountain Folk-rock duo Char and Robby Rothschild, 7:30 p.m., Gig Performance Space, 1808-H Second St., $15 at the door, gigsantafe.com (see story, Page 24). Santa Fe Concert Band Annual holiday performance, 4 p.m., Santa Fe Place mall, 4250 Cerrillos Rd., no charge.
THEATER/DANCE ‘Birth of Humanity’ Collaborative staged presentation reflecting on the winter solstice and the end of the Mayan calendar presented by Oracle Theater in association with Santa Fe Performing Arts; performers include actors Heather Roan Robbins and Kathleen Fontaine, dancer Myra Krien and troupe, and singer/songwriter Laurianne Fiorentino, 7:30 p.m., Armory for the Arts, 1050 Old Pecos Trail, reserved seats $20 in advance or $20 requested donation at the door, discounts available, ticketssantafe.org, 988-1234, 920-0199. ‘Los Pastores’ Traditional re-enactment of the Christmas story presented by La Sociedad Folklorica de Santa Fe; 2 p.m., bizchochitos served, Santuario de Guadalupe, 100 N. Guadalupe St., donations accepted, for information call 983-7839. ‘A Musical Piñata for Christmas’ Bilingual evening of live music, carols, and Oscar Hijuelos’ short play Fantasia de Navidad presented by Teatro Paraguas, 4 p.m., Teatro Paraguas Studio, 3205 Calle Marie, donations welcome, 424-1601, teatroparaguas.org, continues Sunday, Dec. 16, and Dec. 22-23. Sacred Music, Sacred Dance Traditional masked temple dances, music, and chants performed by the Drepung Loseling Monks of Tibet, 7 p.m., James A. Little Theater, New Mexico School for the Deaf, $20, advance tickets available at Ark Books (133 Romero St., 988-3709), Project Tibet (403 Canyon Rd., 982-3002), and at the door (see story, Page 20). ‘The Weir’ Santa Fe Playhouse presents Conor McPherson’s Irish ghost story, 7:30 p.m., 142 E. DeVargas St., $15 and $20, 988-4262, Thursday-Sunday through Dec. 23 (see review, Page 23).
BOOKS/TALKS Bali Temples and Offerings Slide presentation by Virginia Gilstrap, 5 p.m., Travel Bug Books, 839 Paseo de Peralta, 992-0418. Opera Breakfast Lecture Don Fineberg discusses Verdi’s Aida, part of an ongoing series of pre-opera lectures in conjunction with The Met at the Lensic season, 9:30 a.m., Collected Works Bookstore, 202 Galisteo St., $5 donation at the door, 988-4226.
EVENTS 2012 Pushpin/Clothespin Show Homemade/handmade pop-up holiday event with jewelry, ornaments, ceramics, and more, 11 a.m.-3 p.m., Lucky Bean Café, 500 Montezuma Ave., Sanbusco Center, non-perishable food donations requested. Choo! Choo! Train Weekend Two hobby-train displays; hands-on electric train demonstration of building dioramas and backdrops; noon-5 p.m., Santa Fe Children’s Museum, 1050 Old Pecos Trail, by museum admission, 989-8359, continues Sunday, Dec. 22. Contra dance New England folk dance with live music by Bo y Yo, beginner classes 7 p.m., dance 7:30 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $8, students, $4, 820-3535.
Santa Fe Alternative Gift Market Third annual sale of tax-deductible gifts in support of local and international humanitarian organizations; 9 a.m.-8 p.m., DeVargas Center, 564 N. Guadalupe St., 982-2655, continues Sunday, Dec. 16. Santa Fe Artists Market 8 a.m.-2 p.m. Saturdays through December, at the Railyard between the Farmers Market and REI, 310-1555. Santa Fe Children’s Museum toy sale New and gently used toys and books, 10 a.m.6 p.m., 1050 Old Pecos Trail, no charge, 989-8359. Santa Fe Farmers Market Shops 8 a.m.-1 p.m., 1607 Paseo de Peralta, 983-4098. A Very Chaplin Holiday Center for Contemporary Arts presents a Charlie Chaplin film festival through Jan. 2, film shorts: Sunnyside, The Idle Class, and Pay Day, 11 a.m., 1050 Old Pecos Trail. Schedule available online at ccasantafe.org, $9.50 general admission, series pass $30 (discounts available for both), tickets and passes available in advance by calling the box office, 982-1338. Young Native Artists Show and Sale Children and grandchildren of the Palace of the Governors’ Portal artists display their works, 9:30 a.m.-4 p.m., Meem Community Room, 476-5200, continues Sunday, Dec. 16.
NIGHTLIFE (See Page 72 for addresses) ¡Chispa! at El Mesón John Rangel Trio featuring jazz vocalist Barbara Bentree, 7:30-10:30 p.m., no cover. Club 139 at Milagro DJ Poetics, hip-hop/house/Latin, 9 p.m., $5-$7 cover. Cowgirl BBQ Railyard Reunion Bluegrass Band, 2-5 p.m., no cover. E. Christina Herr & Wild Frontier, Western gothic, 8:30 p.m., $5 cover. El Farol Controlled Burn, R & B, 9 p.m.-close, $5 cover. Evangelo’s Rockers Stephanie Hatfield & Hot Mess, 9 p.m.-1 a.m., $5 cover. Hotel Santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. La Fiesta Lounge at La Fonda Blues band Night Train, 8-11 p.m., no cover. La Posada de Santa Fe Resort and Spa Jazz vocalist Whitney and guitarist Pat Malone, 8-11 p.m., no cover. The Mine Shaft Tavern Connie Long & Fast Oatsy, Patsy Cline meets Janis Joplin, 7-11 p.m., no cover. Pranzo Italian Grill Vocalist Julie Trujillo and pianist J.J. Frank, 6-9 p.m., $2 cover. Stats Sports Bar & Nightlife DJ Feathericci spinning cross-genre dance music, 10 p.m.-2 a.m., no cover, 21+. Taberna La Boca Nacha Mendez Duo, pan-Latin rhythms, 6:30-9:30 p.m., no cover. Tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m.-close, no cover. Vanessie Selections from the Great American Songbook with pianists Doug Montgomery (6-8 p.m.) and Lindy Gold (8 p.m.-close), call for cover.
Badfinger, by Dennis Larkins, Lucky Bean Café, 500 Montezuma Ave., Sanbusco Center
16 Sunday CLASSICAL MUSIC Santa Fe Symphony Orchestra & Chorus The Weiss-Kaplan-Newman Trio joins the SFSOC in a celebration of Beethoven, 4 p.m., pre-concert lecture 3 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $20-$70, 988-1234, ticketssantafe.org.
IN CONCERT Dually Noted Dulcimer duo Wendy Songe and Jonathan Dowell in Celtic Christmas Showdown, carols and Celtic aires and dances, 4:30 p.m., Unity Santa Fe, 1212 Unity Way, $10, discounts available, facebook.com/duallynotedmusic.
THEATER/DANCE ‘A Musical Piñata for Christmas’ Bilingual evening of live music, carols, and Oscar Hijuelos’ short play Fantasia de Navidad presented by Teatro Paraguas, 6 p.m., Teatro Paraguas Studio, 3205 Calle Marie, donations welcome, 424-1601, teatroparaguas.org, continues Dec. 22-23. Performance at The Screen series The series continues with an encore broadcast of The Pharaoh’s Daughter performed by the Bolshoi Ballet, 11 a.m., Santa Fe University of Art & Design, 1600 St. Michael’s Drive, $20, discounts available, 473-6494. ‘The Weir’ Santa Fe Playhouse presents Conor McPherson’s Irish ghost story, 2 p.m., 142 E. DeVargas St., $15 and $20, 988-4262 Thursday-Sunday through Dec. 23 (see review, Page 23).
BOOKS/TALKS Authors readings Three books, three generations of artists; Margarete Bagshaw’s Teaching My Spirit to Fly, Shelby Tisdale’s Pablita Velarde: In Her Own Words, and Kate Nelson’s Helen Hardin: A Straight Line Curved, 2 p.m., New Mexico History Museum Auditorium, 113 Lincoln Ave., no charge, 988-2024 (see Subtexts, Page 16). Cherie Burns The author discusses and signs copies of Searching for Beauty: The Life of Millicent Rogers, 2 p.m., Garcia Street Books, 376 Garcia St., 986-0151. Lessons From Dutch Water Management Landscape planner Jan-Willem Jansens in conversation with KSFR Radio host David Bacon on water conservation in the Santa Fe area, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. Martha Egan The author reads from An Apricot Year, 2 p.m., Op. Cit. Books, 930-C Baca St., 428-0321.
EVENTS 15th Annual Santa Fe Artists’ Emergency Medical Fund Card Party Silent auction of 125 works by local artists, 4-7 p.m., Yares Art Projects, 123 Grant Ave., 984-0044. Choo! Choo! Train Weekend Two hobby-train displays; hands-on electric train demonstration of building dioramas and backdrops; noon-5 p.m., Santa Fe Children’s Museum, 1050 Old Pecos Trail, by museum admission, 989-8359.
The Flea at El Museo Holiday Market 9 a.m.-3 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia, santafeflea.com, 982-2671, weekends through Dec. 30. International folk dances 6:30-8 p.m. weekly followed by Israeli dances 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, beginners welcome. New Mexico Museum of Art’s annual holiday open house Two puppet shows featuring Gustave Baumann marionettes, a treasure hunt, a photo shoot with a Santa Claus marionette, music, arts & crafts projects, and refreshments, 1-4 p.m., 107 W. Palace Ave., no charge, 476-5072, food donations accepted for area food banks. Railyard Artisans Market 10 a.m.-4 p.m. weekly; live music: classical guitarist David Yard 10 a.m.-1 p.m., blues guitarist Raven Redfox 1-4 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, railyardartmarket.com, 983-4098. Santa Fe Alternative Gift Market Third annual sale of tax-deductible gifts in support of local and international humanitarian organizations; 10 a.m.-6 p.m., DeVargas Center, 564 N. Guadalupe St., 982-2655. Santa Fe Children’s Museum holiday market Gift sale and fundraiser, handmade glass beads, jewelry, and hand-knit accessories; children are welcome to participate in a makeyour-own crafts station; noon-3 p.m., no admission charge but donations welcome, 1050 Old Pecos Trail, 989-8359, Ext. 111, continues Saturday, Dec. 22.
pasa week
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EXHIBITIONISM
A peek at what’s showing around town
Ed Samuels: More Visitors, 2012, oil on canvas. Puma Gallery (924 Paseo de Peralta, Suite 3) presents an exhibition of new paintings by Ed Samuels. His work ranges from vibrantly colored landscapes to still lifes rendered in a painterly style and often including Native American imagery. The show opens with a 4 p.m. reception on Friday, Dec. 14. Call 986-3968.
Marcelo Suaznabar: Ave 3, 2012, oil on panel. GF Contemporary’s annual Small Works Holiday Group Show opens on Friday, Dec. 14, with a 3 p.m. reception. The exhibition includes work by Pascal, Marcelo Suaznabar, and Rachel Rivera. The gallery is at 707 Canyon Road. Call 983-3707.
Navajo Double Saddle Blanket, circa 1910, hand-spun wool. Mark Sublette Medicine Man Gallery (602-A Canyon Road) presents Navajo Saddle Blankets, Circa 1890-1930. The exhibition covers a historic period for Navajo textiles, many made for market and trade. The show opens Friday, Dec. 14. There is no reception. Call 820-7451.
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Woody Galloway: Old Alameda, Winter, 2012, archival digital print. Winter Scenes, an exhibit of plein-air paintings by Linda Petersen and Cecilia Kirby Binkley and photographs by Woody Galloway and Steven A. Jackson, opens at New Concept Gallery (610 Canyon Road) on Saturday, Dec. 15, with a 1 p.m. reception. The show contains seasonal imagery of New Mexico landscapes and historic sites. Call 795-7570.
Shelly Johnson and Lori Swartz: Outside the Box #1, 2012, acrylic and enamel. This Mad and Beautiful Game is an exhibition of paintings by Lori Swartz and Shelly Johnson at the Plaza Galeria (66 E. San Francisco St., Suite 8B). The artists collaborate on their paintings by taking turns with the canvas, but each paints in a distinctive manner; Swartz’s work is more abstract, while Johnson works in a Pop art style. The show opens with a 4 p.m. reception on Wednesday, Dec. 19. Call 467-9056.
AT THE GALLERIES
LIBRARIES
A Gallery Santa Fe 154 W. Marcy St., Suite 104, 603-7744. Journeys West, watercolor landscapes by Heinz Emil Salloch (1908-1985), through Jan. 1. Argos Studio & Santa Fe Etching Club 1211 Luisa St., 988-1814. The Portrait in the History of Printmaking, group show, through Dec. 28. Arroyo Gallery 200 Canyon Rd., 988-1002. Chuck Voltz: Winter Impressions, paintings, through Jan. 9. Charlotte Jackson Fine Art 554 S. Guadalupe St., 989-8688. Beyond, works by Max Cole, through Dec. 30 (see review, Page 51). David Richard Gallery 544 S. Guadalupe St., 983-9555. Optic Drive, paintings by Gabriel Evertz; Color Interference, paintings by Matthew Kluber; What a Long Strange Trip, acrylics by Jay Davis; through Saturday, Dec. 15; Optic Drive, abstracts by Gabriele Evertz; paintings by Sanford Wurmfeld; through Dec. 22. Eggman & Walrus Art Emporium 130 W. Palace Ave., second floor, 660-0048. Paint Forward, figurative abstracts by John Barker, through January. Eight Modern 231 Delgado St., 995-0231. Strong Winds May Exist, gouache paintings on paper by Siobhan McBride, through Jan. 5 (see review, Page 50). El Zaguan 545 Canyon Rd., 983-2567. Annual holiday group show, through Sunday, Dec. 16. Photo-eye Gallery 376-A Garcia St., 988-5152. Here Far Away, photographs by Pentti Sammallahti, through Feb. 9. Pippin Contemporary 125 Lincoln Ave., 795-7476. Holiday Presence, small works group show, through Jan. 1; 10-percent of sales benefits the Santa Fe Children’s Museum. Radius Books 227-W E. Palace Ave., 983-4068. Sharon Core: Early American, exhibit of photographs, through December. Touching Stone Gallery 539 Old Santa Fe Trail, 988-8072. Exuberance!, selected masterworks by Tadashi Mori, from the Paramita Museum exhibit, through Dec. 28. Verve Gallery of Photography 219 E. Marcy St., 982-5009. Floating World, photographs and poems translated by Brigitte Carnochan; Stephen Strom: A Retrospective, through Jan. 19. Vivo Contemporary 725 Canyon Rd., 982-1320. 14 Exceptions to the Rule, group show, through Jan. 1. Waxlander Gallery 622 Canyon Rd., 984-2202. Holiday Aglow, gallery artists show, through Jan. 1. William R. Talbot Fine Art, Antique Maps & Prints 129 W. San Francisco St., second floor, 982-1559. Landscape Dreams, a New Mexico Portrait, photographs by Craig Varjabedian, through Dec. 29. Winterowd Fine Art 701 Canyon Rd., 992-8878. Illumination and Alchemy, new paintings by Tom Kirby, through Friday, Dec. 14. Yares Art Projects 123 Grant Ave., 984-0044. By the Sea: Paintings on Paper 1948-1955, work by Byron Browne (1907-1961), through December.
Beaumont and Nancy Newhall Library Marion Center for Photographic Arts, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5052. Open by appointment only. Catherine McElvain Library School for Advanced Research, 660 Garcia St., 954-7200. Open Monday-Friday, call for hours. Chase Art History Library Thaw Art History Center, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 473-6569. Open Monday-Friday, call for hours. Faith and John Meem Library St. John’s College, 1160 Camino de Cruz Blanca, 984-6041. Visit stjohnscollege.edu for hours of operation. $20 fee to nonstudents and nonfaculty. Fray Angélico Chávez History Library Palace of the Governors, 120 Washington Ave., 476-5090. Open 1-5 p.m. Tuesday-Friday. Laboratory of Anthropology Library Museum of Indian Arts & Culture, 476-1264. Open 1-5 p.m. Monday-Friday, by museum admission. 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. Forget Your Perfect Offering, installation (and rotating performance series) by Sydney Cooper and Edie Tsong, reception 6-8 p.m. Friday, Dec. 14, through Jan. 27 ï Connecting Liminal Nowhere: Land Arts of the American West 2012, UNM student art program; Goldmines!, works by Patrick Kikut, David Jones, and Shelby Shadwell; through Dec. 30. Gallery hours available by phone or online at ccasantafe.org, no charge.
Circa 1900 coat in the exhibit Young Brides, Old Treasures: Macedonian Embroidered Dress, Museum of International Folk Art
Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Georgia O’Keeffe and the Faraway: Nature and Image, through May 5. Open 10 a.m.-5 p.m. Saturday-Thursday, open 10 a.m.-7 p.m. Fridays. $12; seniors $10; NM residents $6; students18 and over $10; under 18 no charge; NM residents free 5-7 p.m. first Friday of the month. Museum of Contemporary Native Arts 108 Cathedral Pl., 983-8900. 50/50: Fifty Artists, Fifty Years ï Dual(ing) Identities, work by Debra Yepa-Pappan ï Grab, screenings of a film by Billy Luther ï Red Meridian, paintings by Mateo Romero ï Vernacular, work by Jeff Kahm; all exhibits through December. Open 10 a.m.5 p.m. Monday and Wednesday-Saturday, noon-5 p.m. Sunday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays. Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 476-1250. Woven Identities: Basketry Art From the Collections ï They Wove for Horses: Diné Saddle Blankets, Navajo weavings and silverworks; exhibits through March 4 ï Margarete Bagshaw: Breaking the Rules, 20-year retrospective, through 2013 ï Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Let’s Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month. Open 10 a.m.-5 p.m. Tuesday-Sunday. 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. New World Cuisine: The Histories of Chocolate, Maté y Más, through Jan. 5, 2014 ï New Mexican Hispanic Artists 1912-2012, installation in Lloyd’s Treasure Chest, through February ï Young Brides, Old Treasures: Macedonian Embroidered Dress ï Folk Art of the Andes, work from the 19th and 20th centuries ï 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. New Deal Art: CCC Furniture and Tinwork; Transformations in Tin: Tinwork of Spanish Market Artists; through December ï Metal and Mud — Iron and Pottery, showcase of works by Spanish Market artists, through April ï San Ysidro Labrador/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin ï Recent Acquisitions, Colonial and 19th-century Mexican art, sculpture, and furniture; also, work by Spanish Market youth artists ï 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. Illuminating the Word: The St. John’s Bible, 44 pages from two of seven volumes, a page from the Gutenberg Bible, and early editions of the King James Bible; Contemplative Landscape, exhibit featuring work by photojournalist Tony O’Brien; through Dec. 30 ï Altared Spaces: The Shrines of New Mexico, photographs by Siegfried Halus, Jack Parsons, and Donald Woodman, through Feb. 10 ï Tall Tales of the Wild West: The Stories of Karl May, collection of photographs and ephemera in relation to the German author, longterm ï Telling New Mexico: Stories From Then and Now, core exhibition of chronological periods from the pre-Colonial era to the present. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; no charge on Wednesdays for NM residents over 60; no charge on Fridays 5-8 p.m.; NM residents no charge on Sundays. New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Alcove 12.7, revolving exhibit of local artists’ works, through Jan. 13 ï Chromatic Fusion: The Art of Fused Glass; Emerge 2012: A Showcase of Rising Talents in Kiln Glass; through Jan. 6 ï Treasures Seldom Seen, works from the permanent collection, through December ï It’s About Time: 14,000 Years of Art in New Mexico, through January 2014. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; free for NM residents over 60 no charge on Wednesdays; NM residents free on Sundays. Poeh Museum 78 Cities of Gold Rd., Poeh Center Complex, Pueblo of Pojoaque, 455-3334. Núuphaa, works by Pueblo of Pojoaque Poeh Arts Program students, through March 9. Open 8 a.m.5 p.m. Monday-Friday; 9 a.m.-4 p.m. Saturday; donations accepted. SITE Santa Fe 1606 Paseo de Peralta, 989-1199. More Real? Art in the Age of Truthiness, group show, through Jan. 6. Open 10 a.m.-5 p.m. TuesdaySaturday; 10 a.m.-7 p.m. Friday; noon-5 p.m. Sunday. $10; seniors and students $5; Fridays no charge. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 982-4636. A Certain Fire: Mary Wheelwright Collects the Southwest, 75th anniversary exhibit ï New work by Orlando Dugi and Ken Williams, Case Trading Post. Open 10 a.m.5 p.m. Monday-Saturday, 1-5 p.m. Sunday. Docent tours 2 p.m. Mondays, Wednesdays, Fridays, and Saturdays.
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In the wings MUSIC Goddess: Marilyn Monroe Movie Musicals Anne Ruth Bransford, Greg Grissom, Campbell Martin, and the Bert Dalton Trio, 7:30 p.m. Saturday, 2 p.m. Sunday, Dec. 29-30, Santa Fe Playhouse, 142 E. De Vargas St., $20, 986-1801. Harlem String Quartet Contemporary classic music ensemble performs at the Santa Fe Concert Association’s New Year’s Gala, 5 p.m. Monday, Dec. 31, Lensic Performing Arts Center, 211 W. San Francisco St., $25-$95, 988-1234, ticketssantafe.org. Neoglyphica 2013 Art/music collective Meow Wolf’s New Year’s Eve party with light sculptures/installations, live video projections, DJs, and light show, doors open at 8 p.m. Monday, Dec. 31, Molly’s Kitchen & Lounge, 1611 Calle Lorca, $10 in advance online at thevibehut.blogspot.com, $15 at the door. Greg Brown Americana singer/songwriter, 7:30 p.m. Thursday, Jan. 10, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $29 and $39, 988-1234, ticketssantafe.org. Serenata of Santa Fe The chamber music ensemble presents Harpsichord-Centric featuring Kathleen McIntosh, 3 p.m. Sunday, Jan. 20; Sonic Genius, performers include oboist Pamela Epple, flutist Andreas Tischhauser, and pianist Debra Ayers, 3 p.m. Sunday, Feb. 17; both performances $20, 989-7988. Santa Fe Symphony Orchestra & Chorus Winter Brilliance, music of Rachmaninov, Tchaikovsky, and Nielsen, 4 p.m. Sunday, Jan. 20; Birds & Brahms, featuring violinist David Felberg, 4 p.m. Sunday, Feb. 17; pre-concert lectures 3 p.m.; Lensic Performing Arts Center, 211 W. San Francisco St., $20-$70, 988-1234, ticketssantafe.org. Santa Fe Pro Musica Orchestra Winter Weekend Classical Recital: 7:30 p.m. Friday, Jan. 25, Jan Lisiecki: solo Chopin recital; 6 p.m. Saturday, 3 p.m. Sunday, Jan. 26-27, Lisiecki joins the orchestra, music of Beethoven and Haydn, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$65, 988-1234, ticketssantafe.org. Notes on Music The performance/talk series continues with pianist Joseph Illick discussing Richard Wagner, 7:30 p.m. Tuesday, Jan. 29, United Church of Santa Fe, 1804 Arroyo Chamiso, $20, 988-1234, ticketssantafe.org. Matisyahu Reggae and alt. rock songwriter, 7:30 p.m. Thursday, Jan. 31, Lensic Performing Arts Center, 211 W. San Francisco St., $29-$47, 988-1234, ticketssantafe.org. Eric Bibb and Habib Koité The guitarists perform in support of their album, Brothers in Bamako, 7 p.m. Saturday, Feb. 9, Lensic Performing Arts Center, 211 W. San Francisco St., $19-$39, 988-1234, ticketssantafe.org. Gabriela Montero Solo piano recital, 4 p.m. Sunday, Feb. 10, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$50, 988-1234, ticketssantafe.org. Peter Mulvey Singer/songwriter, 7:30 p.m. Friday, Feb. 15, doors open at 6:30 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $50, solofsantafe.com.
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December 14 -20, 2012
Hilary Hahn Solo violin recital, 7:30 p.m. Tuesday, Feb. 19, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$75, 988-1234, ticketssantafe.org. Martin Sexton Singer/songwriter, 7:30 p.m. Thursday, Feb. 28, Lensic Performing Arts Center, 211 W. San Francisco St., $22-$38, 988-1234, ticketssantafe.org. Brentano String Quartet Music of Haydn, Bartók, and Brahms, 7:30 p.m. Friday, March 1, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$65, 988-1234, ticketssantafe.com. Randal Bays Celtic-style guitarist/composer, 7:30 p.m. Saturday, March 2, Gig Performance Space, 1808-H Second St., $15 at the door, gigsantafe.com. Wynton Marsalis and The Jazz at Lincoln Center Orchestra Big band, 7:30 p.m. Wednesday, March 6, Lensic Performing Arts Center, 211 W. San Francisco St., $25-$95, 988-1234, ticketssantafe.org. Pipes and Drums of the Black Watch 3rd Battalion Royal Regiment of Scotland band, 7:30 p.m. Tuesday, March 12, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$75, 988-1234, ticketssantafe.org.
THEATER/DANCE ‘Bingo! Episode 2!’ Theater (and bingo game) series presented by Meow Wolf and Santa Fe Performing Arts; featured pieces include Novelty by Vince Kadlubek and War Torn by Megan Burns
UPCOMING EVENTS and Joshua Laurenzi, 7 p.m. Friday and Saturday, 4 p.m. Sunday, Dec. 21-30, Armory for the Arts, 1050 Old Pecos Trail, $15, discounts available, 984-1370. ‘A Christmas Carol’ Zia Players presents an adaptation of the Campbells Playhouse 1939 radio production of Charles Dickens’ tale, 7 p.m. Saturday, Dec. 22, Zia United Methodist Church, 3368 Governor Miles Rd., families $20, individuals $5, tickets available at the door, 471-0997. National Theatre of London in HD The series continues with Arthur Wing Pinero’s Victorian farce, The Magistrate, 7 p.m. Thursday, Jan. 17, Lensic Performing Arts Center, 211 W. San Francisco St., $15 and $22, 988-1234, ticketssantafe.org. ‘Water’ Santa Fe University of Art & Design Documentary Theatre Project students present a play based on the demise of the village of Agua Fría, 7 p.m. Friday and Saturday, 2 p.m. Sunday, March 1-10, Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, discounts available, 988-1234, ticketssantafe.org. ‘Fiddler on the Roof’ Broadway touring company; 7:30 p.m. Sunday, March 10, Lensic Performing Arts Center, 211 W. San Francisco St., $20-55, 988-1234, ticketssantafe.org. ‘Clybourne Park’ Fusion Theatre presents the 2012 Tony Award winning comedy by Bruce Norris, 8 p.m. Friday, 2 and 8 p.m. Saturday, March 22-23, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$40, discounts available, ticketssantafe.org, 988-1234. Aspen Santa Fe Ballet The contemporary ballet company performs Jiˇrí Kylián’s Return to a Strange Land; Alejandro Cerrudo’s Last; and Trey McIntyre’s Like a Samba, 7:30 p.m. Friday-Saturday, March 29-30, Lensic Performing Arts Center, 211 W. San Francisco St., $25-$72, discounts available, ticketssantafe.org, 988-1234.
HAPPENINGS Lannan Foundation Events In Pursuit of Cultural Freedom series: Palestinian human-rights activist Omar Barghouti with Amy
The Harlem String Quartet performs at the Lensic Monday, Dec. 31.
Goodman, Friday, Feb. 1; climate scientist James Hansen with Subhankar Banerjee, Wednesday, Feb. 20; social critic/author Barbara Ehrenreich with David Barsamian, Wednesday, March 13; Lannan Literary series: actor David Mills in Dreamweaver, a one-man dramatic rendition of Langston Hughes’ poems and short stories, Wednesday, Feb. 27; all events begin at 7 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $6, discounts available, ticketssantafe.org, 988-1234. Sweetheart Auction Annual fundraiser for the Cancer Foundation of New Mexico; catered dinner; open wine bar; silent auction, live auction, and raffle for a car, 5-9 p.m. Saturday, Feb. 4, Santa Fe Community Convention Center, 201 W. Marcy St., $45, 955-7931, cancerinstitutefoundation.org. Annie Leibovitz: Pilgrimage Lecture and discussion benefitting the Georgia O’Keeffe Museum, 6 p.m. Tuesday, Feb. 12, Lensic Performing Arts Center, 211 W. San Francisco St., $35-$75, discounts available, ticketssantafe.org, 988-1234.
HOLIDAY FARE Santa Fe Children’s Museum event Winter Solstice Festival, nighttime farolitolit labyrinth, flying farolitos, storytelling, and warm snacks, 6-8 p.m. Friday, Dec. 21, $6, 1050 Old Pecos Trail, 989-8359. Schola Cantorum of Santa Fe The sacred music ensemble in Noël Nouvelet — The First Christmas, 7 p.m. Sunday, Dec. 23, Shrine of Our Lady of Guadalupe, no charge; Gregorian chant during Christmas Eve Mass, 5 p.m. Monday, Dec. 24, San Miguel Mission, no charge. Annual Christmas Eve Farolito Walk Join the revelers on Canyon Road and soak up some holiday cheer from roving carolers while sipping hot cider at participating galleries. Around dusk Monday, Dec. 24; pedestrian-only event. Santa Fe Desert Chorale A Toast to the New Year, Sephardic folk songs, French melodies, and colonial hymns, FridayMonday, Dec. 28-31, at the Loretto Chapel and the Church of Holy Faith; times and venues vary; $25-$45, 988-1234, ticketssantafe.org. Santa Fe Pro Musica Baroque Orchestra A Mozart Holiday, performers include soprano Kathryn Mueller and violinist Stephen Redfield, St. Francis Auditorium, New Mexico Museum of Art, 6 p.m. Saturday, Dec. 29, 3 p.m. Sunday, Dec. 30, $20-$65, discounts available; 988-1234, ticketssantafe.org. Wise Fool New Mexico Circus arts and puppetry troupe in A Holiday Family Cabaret, 2 and 6 p.m. Sunday, Dec. 30, WFNM Studio, 2778-D Agua Fría St., $10-$15 sliding scale, kids $5, tickets available at the door starting at 1 p.m. Wednesday, Dec. 26, 992-2588. 22nd annual Light Up a Life The Hospice Center of Santa Fe’s sale and lighting of hundreds of farolitos celebrating the lives of loved ones past and present, ceremony 5:30-6 p.m. Monday, Dec. 31, on the Plaza, farolitos for sale in advance by calling 988-2211 or purchase at the event, bring a photo of a loved one to personalize your farolito. Clock of Ages/Rock of Ages New Year’s celebration Headliners: Taylor Dayne and Tom Rheams Group, 9 p.m.-2 a.m. Monday, Dec. 31, Eldorado Hotel & Spa, 309 W. San Francisco St., $50 and $150, 505-216-1541.
pasa week
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16 Sunday (continued) Santa Fe Farmers Market Shops 10 a.m.-4 p.m., 1607 Paseo de Peralta, 983-4098. A Very Chaplin Holiday Center for Contemporary Arts presents a Charlie Chaplin film festival through Jan. 2, Sunnyside, The Idle Class, and Pay Day, 11 a.m., 1050 Old Pecos Trail. Schedule available online at ccasantafe.org, $9.50 general admission, series pass $30 (discounts available for both), tickets and passes available in advance by calling the box office, 982-1338. Young Native Artists Show and Sale Children and grandchildren of the Palace of the Governors’ Portal artists display their works, 9:30 a.m.-4 p.m., Meem Community Room, (enter for free through the Washington Avenue door), 9:30 a.m.-4 p.m. 476-5200.
NIGHTLIFE (See Page 72 for addresses) Cowgirl BBQ Santa Fe Music Alliance party with Mariachi Buenaventura and the Swinging Ornaments, 5-8 p.m., no cover. El Farol Benefit for chef Genovevo “Vevo” Rivera with Nacha Mendez and guests, pan-Latin rhythms, 6 p.m.-close, no cover. La Posada de Santa Fe Resort and Spa Wily Jim, Western swingabilly, 7-10 p.m., no cover. The Mine Shaft Tavern The Ruebarbs, Americana and blues, 3-7 p.m., call for cover. Vanessie Pianist Doug Montgomery, selections from the Great American Songbook, 7 p.m.-close, no cover.
17 Monday IN CONCERT Santa Fe Concert Band Annual holiday performance, 7 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., no charge. Schola Cantorum of Santa Fe The sacred music ensemble in Schola Christmas at the Loretto Chapel, carols, Gregorian chants, and music of the Italian Renaissance, 7 p.m., concert preview 6:30 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $20 in advance and at the door, discounts available, schola-sf.org.
BOOKS/TALKS Hopi Place Names: A Cultural Project T.J. Ferguson speaks, 6 p.m., part of Southwest Seminars’ lecture series, Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775.
EVENTS Weekly all-ages informal swing dances Lesson 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., dance only $3, lesson and dance $8, 473-0955.
NIGHTLIFE (See Page 72 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 Country band Sierra, 8-11 p.m., no cover. Taberna La Boca Flamenco guitarist Chuscales, 7-9 p.m., no cover. Vanessie Pianist Doug Montgomery, selections from the Great American Songbook, 7 p.m.-close, no cover.
18 Tuesday CLASSICAL MUSIC Santa Fe Desert Chorale Carols and Lullabies, 8 p.m., Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Pl., $15-$60, ticketssantafe.org, 988-1234, encores Dec. 20, 21-22 (see story, Page 40).
EVENTS International folk Dances Lesson 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, or 983-3168, beginners welcome. A Very Chaplin Holiday Center for Contemporary Arts presents a Charlie Chaplin film festival through Jan. 2, Sunnyside, The Idle Class, and Pay Day, 6 p.m., 1050 Old Pecos Trail. Schedule available online at ccasantafe.org, $9.50 general admission, series pass $30 (discounts available for both), tickets and passes available in advance by calling the box office, 982-1338.
NIGHTLIFE (See Page 72 for addresses) ¡Chispa! at El Mesón Argentine Tango Milonga, 7:30-11 p.m., $5 cover. Cowgirl BBQ Local blues/rock guitarist Alex Maryol, 8 p.m., no cover. El Farol Canyon Road Blues Jam, with Tiho Dimitrov, Brant Leeper, Mikey Chavez, and Tone Forrest, 8:30 p.m.-midnight, no cover. La Fiesta Lounge at La Fonda Country band Sierra, 8-11 p.m., no cover. Vanessie Pianist Doug Montgomery, selections from the Great American Songbook, 7 p.m.-close, no cover.
19 Wednesday GALLERY/MUSEUM OPENINGS Plaza Galeria 66 E. San Francisco St., Suite 8-B, 699-2654 or 467-9056. This Mad and Beautiful Game, paintings by Lori Swartz and Shelly Johnson, reception 4-6 p.m.
CLASSICAL MUSIC Santa Fe Desert Chorale The Lighter Side of Christmas, 5:30 p.m. fundraising concert preceded by champagne, hors d’oeuvres, and a silent auction benefitting the chorale’s education programs, LewAllen Galleries at the Railyard, $80, ticketssantafe.org, 988-1234 (see story, Page 40).
IN CONCERT Concordia Santa Fe The wind ensemble in The Nutcracker (Swing!), Duke Ellington and Billy Strayhorn’s jazz arrangement of Tchaikovsky’s Nutcracker Suite; also, chamber music renditions of the original Tchaikovsky movements; featured artists are John Rangel, Jon Gagan, and Cal Haines; 7 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $35, discounts available, 988-1234, ticketssantafe.org, encore Thursday, Dec. 20.
Local ensemble Mariachi Buenaventura performs at the Santa Fe Music Alliance party Sunday, Dec. 16, at Cowgirl BBQ.
Joshua Smith Quartet and Organism The jazz saxophonist’s ensembles; 7:30 p.m., O’Shaughnessy Performance Space, Benildus Hall, Santa Fe University of Art and Design, 1600 St. Michael’s Dr., $10 at the door, discounts available.
BOOKS/TALKS The Healing Power of Compassion Geshe Lobsang Tenzin Negi, founder and spiritual director of Drepung Loseling Monastery in Atlanta, speaks, 5:30 p.m., Upaya Zen Center, 1404 Cerro Gordo Rd., 986-8518.
EVENTS Cerrillos Hills State Park holiday open house 5-8 p.m., 16 miles south of Santa Fe off NM 14, parking area about a half mile north of the village of Cerrillos, $5 per vehicle, 474-0196.
NIGHTLIFE (See Page 72 for addresses) ¡Chispa! at El Mesón Flamenco guitarist Chuscales, 7-9 p.m., no cover. Club 139 at Milagro DJ Mayrant and friends, electronic dance music, 9 p.m., $5-$7 cover. Cowgirl BBQ C.W. Ayon’s one-man band, blues, 8 p.m., no cover. El Farol Salsa Caliente, 9 p.m., no cover. La Boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover. La Fiesta Lounge at La Fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover. La Posada de Santa Fe Resort and Spa Wily Jim, Western swingabilly, 7-10 p.m., no cover. The Pantry Restaurant Acoustic guitar and vocals with Gary Vigil, 5:30-8:30 p.m., call for cover. Rouge Cat DJ KiloWatts, Sattva Ananda opens, techno/dubstep/techno, 9 p.m., call for cover. Tiny’s Jazz trumpeter Chief Sanchez, 7-11 p.m., no cover.
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Vanessie Pianist David Geist & Friends, Broadway show tunes, 6:30 p.m.-close, call for cover. Zia Diner Americana singer/songwriter Eryn Bent, 6-9 p.m., no cover.
20 Thursday CLASSICAL MUSIC Santa Fe Desert Chorale Carols and Lullabies, 8 p.m., Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Pl., $15-$60, discounts available, ticketssantafe.org, 988-1234 encores Dec. 21-22 (see story, Page 40). Santa Fe Pro Musica Baroque Orchestra A Baroque Christmas, music of Purcell, Vivaldi, and Corelli, performers include mezzo soprano Deborah Domanski and soprano Liesl Odenweller, 6 and 8 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $20-$65; discounts available; 988-1234, ticketssantafe.org, encores through Monday, Dec. 24 ($5 premium for Christmas Eve).
IN CONCERT Concordia Santa Fe The wind ensemble in The Nutcracker (Swing!), Duke Ellington and Billy Strayhorn’s jazz arrangement of Tchaikovsky’s Nutcracker Suite; also, chamber music renditions of the original Tchaikovsky movements; featured artists are John Rangel, Jon Gagan, and Cal Haines; 7 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $35, discounts available, ticketssantafe.org, 988-1234.
THEATER/DANCE Golden Dragon Acrobats opening night Chinese troupe in Cirque Zíva, 7 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $20-$35, discounts available, ticketssantafe.org, 988-1234, through Dec. 22. ‘The Weir’ Santa Fe Playhouse presents Conor McPherson’s Irish ghost story, 7:30 p.m., $10, 988-4262, Thursday-Sunday through Dec. 23 (see review, Page 23). ▶▶▶▶▶▶▶▶
PASATIEMPO
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MADRID 30th Annual Madrid Christmas Open House Enjoy Santa & Mrs. Claus, more than 40 shops and galleries, and holiday lights; continues weekends through December, visitmadridnm.com. Madrid Old Coal Town Mine Museum 2846 NM 14, 438-3780 or 473-0743. Madrid’s Famous Christmas Lights & Toyland, ephemera related to the town’s 30-year history of celebrating the holidays, through Jan. 13. Steam locomotive, mining equipment, and vintage automobiles. Open 11 a.m.-6 p.m. Saturday and Sunday. $5, seniors and children $3.
SANTA ANA PUEBLO Holiday Artisan Market Native American dances, music, and vendors from New Mexico Pueblos and the Navajo Nation; 5-9 p.m. Saturday, Dec. 15, Hyatt Regency Tamaya Resort & Spa, 1300 Tuyuna Trail on the Pueblo, 505-867-1234.
TAOS Museums/Art Spaces
Enjoy the lights and festivities during the 30th Annual Madrid Christmas Open House, weekends through December; Casita Madrid pictured.
BOOKS/TALKS HaMakom’s Continuing Education Lecture Tracing My Roots in Eastern Europe, by Ellie Edelstein, 7 p.m., St. Bede’s, 1601 St. Francis Dr., $10, discounts available, 992-1905. Santa Fe Art Institute Monthly Open Studio Meet-and-greet with writers- and artists-in-residence; featuring Miguel Arzabe, 5:30 p.m., Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5050 (see story, Page 44).
NIGHTLIFE (See Page 72 for addresses) ¡Chispa! at El Mesón Andy Kingston Duo, jazz fusion piano and bass, 7-9 p.m., no cover. Club 139 at Milagro Noches Latinas with DJ Dany, 9 p.m., $5-$7 cover. Cowgirl BBQ Todd Tijerina Band, blues and rock ’n’ roll, 8 p.m., no cover. La Fiesta Lounge at La Fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover. La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio, 7-10 p.m., Staab House Salon, no cover. Taberna La Boca Nacha Mendez, pan-Latin chanteuse, 6:30-9:30 p.m., no cover. Tiny’s Mike Montiel Trio, Southern rock, 8 p.m.-midnight, no cover. Vanessie Bert Dalton Duo, jazz, 6:30 p.m.-close, call for cover. Zia Diner Swing Soleil, Gypsy jazz and swing, 6:30-8:30 p.m., no cover.
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▶ Elsewhere ALBUQUERQUE Museums/Art Spaces Indian Pueblo Cultural Center 2401 12th St. N.W., 866-855-7902. 100 Years of State & Federal Policy: The Impact on Pueblo Nations, through February ï 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. National Hispanic Cultural Center 1701 Fourth St. S.W., 505-246-2261. Via Nuestros Maestros: The Legacy of Abad E. Lucero (1909-2009), paintings, sculpture, and furniture, through January ï Stitching Resistance: The History of Chilean Arpilleras, a collection of appliqué textiles crafted between 1973 and 1990, longterm ï ¡Aquí Estamos!, items from the permanent collection. Open 10 a.m.-5 p.m. Tuesday-Sunday; adults $3; seniors $2; under 16 no charge; Sundays no charge. New Mexico Museum of Natural History & Science 1801 Mountain Rd. N.W., 505-841-2804. ISEA2012 Albuquerque: Machine Wilderness, international group show of prints, interactive installations, and sculpture, part of the International Symposium of Electronic Art, through Jan. 6 ï Dinosaur Century: 100 Years of Discovery in New Mexico, showcases of new finds change monthly through 2012. Open 9 a.m.-5 p.m. daily; adults $7, seniors $6, under 12 $4; NM seniors no charge on Wednesdays. UNM Art Museum Center for the Arts Building, 505-277-4001. Dancing in the Dark, Joan Snyder Prints 19632010, prints spanning 47 years of moments in Snyder’s life ï The Transformative Surface, film and digital works by faculty; both exhibits through Dec.15. Open 10 a.m.-4 p.m. Tuesday-Saturday; $5 donation.
Events/Performances ‘The Farolitos of Christmas’ The Vortex Theatre presents its adaptation of Rudolfo Anaya’s book, 7:30 p.m. Friday, 2 p.m. and 7:30 p.m. Saturday, 2 p.m. Sunday, Dec. 14-16, Albuquerque Theatre, National Hispanic Cultural Center, 1701 Fourth St. S.W., $12-$22, discounts available, 505-724-4471. Sunday Chatter The organization celebrates its 10th anniversary performing music of Bach, Albinoni, and Morricone; also, a poetry reading by Elizabeth Jacobsen, early start at 10 a.m. Sunday, Dec. 16, Factory on 5th, 1715 Fifth St. N.W., chatterchamber.org, $15 at the door, discounts available. New Mexico Symphonic Chorus and Orchestra Handel’s Messiah, 3 p.m. Sunday, Dec. 16, Popejoy Hall Center for the Arts, UNM campus, $15-$60, tickets available online at nmschorus.org or call the NMSO box office, 505-925-5858. Santa Fe Desert Chorale The Big Holiday Sing, members of Desert Chorale with the University of New Mexico Concert Choir and the Río Grande Youth Chorale, 4 p.m. Sunday, Dec. 16, Immanuel Presbyterian Church, 114 Carlisle Blvd. S.E., $20 and $25, 988-1234, ticketssantafe.org (see story, Page 40).
E.L. Blumenschein Home and Museum 22 Ledoux St., 575-758-0505. Hacienda art from the Blumenschein family collection, European and Spanish Colonial antiques. Open 10 a.m.-5 p.m. Monday-Saturday, noon-5 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge; Taos County residents no charge on Sunday. Harwood Museum of Art 238 Ledoux St., 575-758-9826. Maye Torres: Unbound, drawings, sculpture, and ceramics ï Three exhibits in collaboration with ISEA2012 Albuquerque: Machine Wilderness — Curiosity: From the Faraway Nearby ï Falling Without Fear ï Charles Luna. All exhibits through Jan. 27. 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. La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. Cultural Threads: Nellie Dunton and the Colcha Revival in New Mexico, through Jan. 30. Open 10 a.m.5 p.m. Monday-Saturday, noon-4 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge; Taos County residents with ID no charge on Sunday. Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. Unknown Was a Woman, group show of pottery, baskets, and weavings, through December. Open 10 a.m.-5 p.m. daily. $8, Taos County residents with ID no charge on Sunday. Taos Art Museum and Fechin House 227 Paseo del Pueblo Norte, 575-758-2690. Visual Impressions, paintings by Don Ward, weekend artist demonstrations through Jan. 6, in Fechin Studio. Open 10 a.m.-5 p.m. Wednesday-Sunday. $8, Taos County residents with ID no charge on Sunday.
Events/Performances
Medina Gallery Santuario Rd., Suite 24, 505-720-7076. Art & Faith ain Chimayó, New Mexico, group show, reception 6-9 p.m. Friday, Dec. 14.
Taos Chamber Music Group A Mozart Holiday, 5 p.m. Saturday and Sunday, Dec. 15-16, Arthur Bell Auditorium, Harwood Museum of Art, 238 Ledoux St., $20 in advance; $22 at the door; discounts available; 575-758-9826, taoschambermusicgroup.org.
JÉMEZ SPRINGS
TRUCHAS
CHIMAYÓ
Light Among the Ruins: Christmas Celebration Luminarias light the ruins of Giusewa Pueblo and San José de los Jémez Mission Church 5-9 p.m. Saturday, Dec. 15; includes traditional Native American flute music, Jémez Pueblo dancers, free horse-drawn wagon rides, and refreshments, 575-829-3530.
OffCenter Contemporary Fine Art and Photography Gallery 1654 NM 76, 505-689-1107. Photographic prints and sculpture featuring work by Joan Zalenski, grand opening, reception, and holiday sale noon-6 p.m. Saturday, Dec. 15.
▶ People who need people Donations Canyon Road — Giving Back to the Community The Canyon Road Merchants Association and participating galleries will provide food-collection barrels for The Food Depot through Friday, Dec. 14; drop off nonperishable food at Canyon Road Contemporary Art, Darnell Fine Art, Dominque Boisjoli Fine Art, William & Joseph Gallery, and Ventana Fine Art; contact Mary Bonney for information, 982-9404. Smith’s Holiday Program Smith’s Food & Drug invites customers to add $5, $10, or $15 to their purchases for gift cards to be given to local food banks through Friday, Dec. 29. Sprouts Farmers Market Purchase pre-filled grocery bags ($10-$15 range) through December at both locations for distribution by The Food Depot. Whole Foods’ Grab & Give program Donate $5, $10, or $25 at checkout counters for food distribution by The Food Depot; through Monday, Dec. 31.
Volunteers Santa Fe Botanical Garden General help needed to guide garden tours, organize events, and help in the office; planners sought to organize the 2013 grand opening of the new garden at Museum Hill during a three-day period in July; 471-9103 or santafebotanicalgarden.org.
Actors/Filmmakers Benchwarmers 12 auditions All ages, all types invited at 1 p.m. Saturday, 6 p.m. Sunday, Dec. 15-16, for cold readings; Santa Fe Little Theatre, 142 E. DeVargas St.; 988-4262.
Artists/Craftspeople/Photographers 62nd Annual Traditional Spanish Market 2013 Artists may submit work for jurying on Feb. 2; applications due by Jan. 25; guidelines available upon request; visit spanishcolonial.org for details and applications, 992-8212, Ext. 111. Call for photographers Submissions sought for Center’s Choice Awards and Review Santa Fe by Wednesday, Jan. 23; details available online at visitcenter.org; 984-8353. CURRENTS 2013 call for entries The Santa Fe International New Media Festival runs June 14-30; all submissions must be received online or postmarked no later than Feb. 1, 2013; entry forms and more information available online at currentsnewmedia.org. MasterWorks of New Mexico 2013 Entries open to New Mexico artists for the 15th Annual Spring Art Show, April 5-27, Expo New Mexico Hispanic Arts Building Fairgrounds, Albuquerque; miniatures, pastels, watercolors, oil/acrylics; deadline Jan. 25, details and prospectus available online at masterworksnm.org; for additional information contact Barbara Lohbeck, 505-260-9977.
Poets/Writers 2012 PEN Literary Awards Send in submissions or nominate someone to be considered in the fields of fiction, science writing, essays, sports writing, biography, children’s literature, translation, drama, or poetry; deadline Feb. 1; visit pen.org or write to awards@pen.org for more information. Snow Poems SITE Santa Fe’s SPREAD 3.0 winning community poetry project stenciling selected lines of poetry onto public windows, buildings, and schools throughout the city; one poem per person may be submitted online
at snowpoemsproject.com through Monday, Dec. 17; presented by the Cut + Paste Society (cargocollective.com) and the Santa Fe Art Institute (sfai.org).
▶ Under 21 Santa Fe Public Schools Adelante Program Food and Arts & Crafts Fair 4-7 p.m. Friday, Dec. 14, Warehouse 21, 1614 Paseo de Peralta, Adelante Program, 467-2571. Academy for Technology and Classics Winter Concert and Art Show Show 6 p.m. Saturday, Dec. 15, followed by a concert with three marimba ensembles and the AcousticAmericana Ensemble, 7 p.m., Warehouse 21, 1614 Paseo de Peralta, $5 suggested donation at the door, 989-4423. Santa Fe Suzuki School of Music Holiday Talent Education Concert String program student showcase (ages 3-18), 2 p.m. Sunday, Dec. 16, potluck meal follows, Warehouse 21, 1614 Paseo de Peralta, no charge, 989-4423.
▶ Short People Santa Fe Public Library Children’s Programs Holiday Songs With Andy Mason, family sing along, 3:30 p.m. Friday, Dec. 14, Main Branch, 145 Washington Ave., 955-6783; 10:30 a.m. Saturday, Dec. 15, La Farge Branch, 1730 Llano St.; 1:30 p.m. Saturday, Dec. 15, Southside Branch, 6599 Jaguar Dr.; visit santafelibrary.org for other events. A Very Chaplin Holiday Center for Contemporary Arts’ Charlie Chaplin film festival (through Jan. 2) continues with Sunnyside, The Idle Class, and Pay Day, 11 a.m. Saturday and Sunday, Dec. 15-16, 6 p.m. Tuesday, Dec. 18, 1050 Old Pecos Trail. Screening schedule available online at ccasantafe.org, $9.50 general admission, series pass $30 (discounts available for general admission and passes), all tickets available in advance by calling the box office, 982-1338. Choo! Choo! Train Weekend Hobby-train displays; hands-on electric train demonstration of building dioramas and backdrops; noon-5 p.m. Saturday and Sunday, Dec. 15-16, Santa Fe Children’s Museum, 1050 Old Pecos Trail, by museum admission, 989-8359. Santa Fe C-A-M-P Studios workshop Discovering Les Miz, an introduction to the music and story of the Broadway musical Les Misérables; includes a sing-along, noon1:30 p.m. Saturday, Dec. 15, 4001 Office Court Dr., Building 200, behind Santa Fe Place mall, no charge, 946-0488. New Mexico Women’s Chorus Everything Possible: A Backpack of Holiday and Kids’ Music, 4 p.m. Saturday, Dec. 15, Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $10 in advance at Café Olé, 2411 Cerrillos Rd. or nmwomenschorus.org, $12 at the door, discounts available. Santa Fe Children’s Museum holiday market Gift sale and fundraiser, handmade glass beads, jewelry, and hand-knit accessories; children are welcome to participate in a makeyour-own crafts station; noon-3 p.m. Sunday, Dec. 16, no admission charge but donations welcome, 1050 Old Pecos Trail, 989-8359, Ext. 111, continues Saturday, Dec. 22. New Mexico Museum of Art’s annual holiday open house Two puppet shows featuring Gustave Baumann marionettes, a treasure hunt, a photo shoot with a Santa Claus marionette, music, arts & crafts projects, and refreshments, 1-4 p.m. Sunday, Dec. 16, 107 W. Palace Ave., no charge, 476-5072. ◀
The kids are alright Let’s face it: holiday music is pretty much a kid’s game. Sure, plenty of Christmas albums aimed at adults hit the market in the months leading up to Dec. 25 each year, and writing from experience, I can tell you that most of them blow fruitcake chunks and only exist to keep crooners like Rod Stewart on career life support. No amount of spiked eggnog can make “Jingle Bells” sound fresh to the average adult hauling two sugarplum-addled kids around the big box stores looking for 9-volt batteries and a card that won’t (or will) offend the inlaws. So how, then, is Santa Fe Talent Education’s Suzuki-method music program able to squeeze 10 pounds of joy into a 5-pound sack of increasingly joyless holiday music, and do it year after year? I’ll tell you how: they let the kids do it. At 2 p.m. Sunday, Dec. 16, Warehouse 21 (1614 Paseo de Peralta, www.warehouse21.org) presents 60 students of the Shinichi Suzuki music-education method, ages 3 to 18, in a no-charge concert of holiday and classical music for violin and viola. Drawing on his own experience as a violinist who struggled with mastering the German language, Suzuki believed that all people learn from their surroundings, and he created a specific environment of encouragement and positive reinforcement in the instruction of music. He didn’t want to create violin-toting automatons, nor did he have much respect for the idea of children as musical prodigies. He wanted kids to be happy in their creative processes and think of musical discipline and practice as a door to a more noble heart. “Practice only on the days you eat,” Suzuki reportedly said. If you can’t find a holiday tune that moves you, the dedicated students performing at W21 on Sunday may just steer you in the right direction. Help a brother out It’s time once again for Santa Fe’s music and food lovers to come to the aid of one of their own. Recently, El Farol chef Genovevo “Vevo” Rivera, a native of Torreón, Mexico, and an El Farol employee since 1988, suffered a severe stroke. He is now hospitalized at University of New Mexico hospital in Albuquerque. At 6 p.m. Sunday, Dec. 16, local pan-Latin chanteuse Nacha Mendez (an El Farol mainstay), flutist-guitarist Eduardo Reyes, trumpeter Chief Sanchez, and others perform at El Farol (808 Canyon Road, 983-9912) in a benefit for Rivera and his family. There is no cover for the fundraiser, but raffle tickets for gift certificates, artwork, and other items will be available for purchase. And of course, donations to the Rivera family (he is the father of five children and just became a grandfather) are encouraged. Think locally, act jovially The Santa Fe Music Alliance, a well-organized group of promoters, musicians, and others with a stake in a vibrant local music scene, are throwing a holiday party from 5 to 8 p.m. Sunday, Dec. 16, at Cowgirl BBQ (319 S. Guadalupe St., 982-2565). Since meeting with city leaders a few months ago about the need for a more vibrant and diverse locals-friendly nightlife landscape, the alliance has done its footwork, gaining the support of hundreds via social media while drawing up paperwork to establish a legitimate nonprofit status. RSVP posts to the Dec. 16 event on Facebook were so plentiful that the party has been moved from the Cowgirl’s Mustang Room to the main bar, and Mariachi Buenaventura and seasonal ensemble the Swinging Ornaments are slated to perform. Cowgirl chef Patrick Lambert is putting some grub out buffet-style, as well. There’s no cover, but memberships to the alliance are available for purchase, and donations are always welcome. It’s a no-go for the under-21 set without parental supervision. So if you’re out there, all-ages scene, and you want to be heard, join the Santa Fe Music Alliance Facebook page, and please email me your ideas to pass on to the folks at the event. — Rob DeWalt rdewalt@sfnewmexican.com Twitter: @PasaTweet @Flashpan
A weekly column devoted to music, performances, and aural diversions. Tips on upcoming events are welcome.
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