Pasatiempo, Jan. 11, 2013 by The New Mexican

The New Mexicanâ&#x20AC;&#x2122;s Weekly Magazine of Arts, Entertainment & Culture January 11, 2013

Cinderella

The Santa Fe Concert Association

“I cook with wine. Sometimes I even add it to the food...” – W.C. Fields – W.C. Fields

menu Inspired Lunch Menu Starting at 9 dollars Served Tuesday – Friday

Upcoming Event

Nature's Art and Functionals.

welcomes

Merryvale Winery

Join us for Dinner Wednesday, January 30th $75.00 per person 4 Courses – vegetarian option included open seating from 6:00 p.m. food by Chef Martin Anton reservations 505 – 984 – 1788

Mr. René Schlatter, winery owner will be with us to discuss his dedication and success achieving: CLEAN ENERGY from their 277kW solar panel array at Starmont Winery, COMPOSTING for organic macro and micro-nutrient additions RECYCLING 100% of winery process water for irrigation and landscaping COVER CROPPING for erosion control and nutrient management As well as the GREEN designation of the Winery, Farm & Napa Area Business

www. Merryvale Vineyards is a family-owned Napa Valley winery dedicated to passionate winemaking and sustainable farming. For the past 25 years Merryvale has been turning exceptional Napa Valley grapes into world class wine. Merryvale is world renowned for rich, powerful Cabernet Sauvignon and Chardonnay, the iconic Bordeaux-style red blend Profile, and our everyday drinking, fruit driven brand, Starmont. Merryvale’s historic building was the first winery built in the Napa Valley after the repeal of Prohibition in 1933, and has become a must see attraction for visitors to the valley. Merryvale’s commitment to green farming and sustainability is a celebration of the natural balance and harmony of the vineyards.

Menu will be available on:

or our website:

www.santacafe.com

January 11-17, 2013

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Santa Fe Community Orchestra Oliver Prezant, Music Director

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Presents

New Works by New Mexico’s Composers Readings of Works by

Jeremy Bleich

e y e

g r o u p

o p t i c s s a n ta

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and

Christopher Musson Friday,January 18 at 6:00 pm Stieren Hall at The Santa Fe Opera Free admission , Donations appreciated Call 466-4879 for more information or to submit works for consideration

SFCO’s New Works by New Mexico’s Composers program is sponsored by a generous grant from The Mill Foundation.

Cartier, Chanel, Chrome Hearts, Anglo American, Anne et Valentin Beausoleil Lunettes, Dolce & Gabbana, Etnia Barcelona FACEaFACE , Ronit Furst, Gotti, i.c!berlin, Lindberg Denmark Oliver Peoples, RetroSpecs, Loree Rodkin, Theo, 2.5 Eyephorics… Dr . M a r k bot w i n Dr . Jonath an bot w i n Dr . J e r e M y bot w i n

Optometric Physicians

This and other SFCO projects made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs, and the National Endowment for the Arts; the Santa Fe Arts Commission and the 1% Lodger’s Tax.

444 St Michaels Drive

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Degrees and Certificates from SFCC Open Doors

www.sfcc.edu Spring semester starts January 22nd.

Accessible … Affordable … Exceptional … Education

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SILVERADO GIVEAWAY

You have seen these headlines dozens of times. We now have another headline for you:

We Take Medicare! That‛s right. We now participate with the most popular medical insurance companies in New Mexico:

JANUARY 1 – 26, 2013 CHEVY SILVERADO GIVEAWAYS

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Improving the quality of your life 2019 Galisteo St, J2 Santa Fe, NM 87505

Robert L.Wartell, DMD

Saturdays beginning January 12

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CHEVY SILVERADO GIVEAWAYS WILL BE HELD ON JANUARY 12, 19 AND 26. Qualifying drawings at 6 pm, 7 pm, 8 pm, 9 pm and 10 pm.

At 10:30 pm all the qualifiers will spin the prize wheel to see who will drive home in a brand new truck!

Any three-courses from the entire dinner menu featuring Nuevo Ranchero Cuisine — created by Executive Chef & Certified Sommelier Christopher McLean.

• any appetizer • any entrée • any dessert • any time • $34 plus tax & gratuity

IN ULD W O C U O Y THREE ONE OF

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Available Wednesday thru Saturday. Reservations recommended. Excluding Holidays.

505.819.4035

1297 Bishop’s Lodge Rd. bishopslodge.com

BU F F AL O T HU N D E RR E S OR T. c o m 8 7 7- TH U ND E R

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Player receives one entry for every 30 points earned on their Lightning Rewards card, January 1 through January 26, 2013. Drawings will be simulcast at Cities of Gold. Management reserves all rights.

ACCEPTING RESERVATIONS FOR VALENTINE’S DAY DINNER PASATIEMPO

THE SANTA FE NEW MEXICAN

January 11 - 17, 2013

On the cOver 28 santa Fe concert association’s Cinderella The Scottish Rite Center plays host to an condensed version of Massenet’s operatic take on the archetypal fairy tale. Expect to see a downtrodden young woman, some evil stepsisters, a charming prince, and a big pink building. In a not-unwelcome twist, the prince is played by a woman as well. The show opens on Friday, Jan. 11. On the cover: from left, Clare Jamito, Zoe Unferverth, and Sarah Luiz; photo Jane Phillips/The New Mexican.

bOOks 12 14 32 38

mOving images

in Other Words The world-changing Leica Opposites explode The Feminist and the Cowboy chris Ware Cutaway views torchbearers National Heritage Fellows

42 Pasa Pics 46 Zero Dark Thirty 47 Any Day Now

calendar

mUsic and PerFOrmance 16 20 22 55

49 Pasa Week

the Owl is Jeremy Bleich and Andrew Stoltz Jeremy denk It’s complicated Pasa tempos CD Reviews sound Waves Rockers need places to rock

and 8 9 11 48

art 24 lise sarfati The female gaze 30 The Impossible Museum Admission is cheap 36 kathleen mccloud The Miller-Schnellock project

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

From Building Stories by chris Ware; courtesy Pantheon books

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art director — marcella sandoval 986-3025, msandoval@sfnewmexican.com

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assistant editor — madeleine nicklin 986-3096, mnicklin@sfnewmexican.com

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chief copy editor — Jeff acker 986-3014, jcacker@sfnewmexican.com

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associate art director — lori Johnson 986-3046, ljohnson@sfnewmexican.com

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calendar editor — Pamela beach 986-3019, pambeach@sfnewmexican.com

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staFF Writers michael abatemarco 986-3048, mabatemarco@sfnewmexican.com rob deWalt 986-3039, rdewalt@sfnewmexican.com James m. keller 986-3079, jkeller@sfnewmexican.com Paul Weideman 986-3043, pweideman@sfnewmexican.com

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cOntribUtOrs laurel gladden, robert ker, bill kohlhaase, Jennifer levin, adele Oliveira, robert nott, Jonathan richards, heather roan-robbins, 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

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Robin Martin Owner

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mixed media dear Pasa star codes restaurant review

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

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet

PreP Means PrePareD reaDy for anything

For a limited time...

Experience our $29 Prix Fixe Menu. Now through January 31st, enjoy our 3-course menu featuring any fresh starter, delectable entrĂŠe, and tempting dessert from our tantalizing menu.

SAntA Fe PreP APPLICAtIOn DeADLIne

FeBrUArY 2, 2013

notification of admissions decisions will take place by February 15th for those candidates who complete the admission process by February 2, 2013.

Upcoming dates for required math assessment testing:

SAtUrDAY, JAnUArY 12 & FeBrUArY 2, 2013 to register, please contact Mary Little 505 795 7518 mlittle@sfprep.org tuition Assistance Available

Reservations recommended. Please call 505.995.4530. Mike Multari Director of Admissions mmultari@sfprep.org 505 795 7512

Located at Eldorado Hotel & Spa 309 W. San Francisco Street EldoradoHotel.com *Surcharge applies to some items.

PASATIEMPO

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www.paynes.com

Michelle Blade: Day 296 (from 366 Days of the Apocalypse), 2012

No end in sight

OYSTER PERPETUAL GMT–MASTER II

On the PLaza, Santa Fe 61 Old Santa Fe Trail • 505 • 983 • 9241 rolex

oyster perpetual and gmt-master ii are trademarks.

January 11-17, 2013

One reading of the ancient Maya long count calendar predicted a cataclysmic end for the Earth on Dec. 21, 2012. Does the fact that we’re still here mean the Maya were wrong? Not exactly. The fault lies in the interpretation. If those responsible for the long count were here today, they might explain that Dec. 21, 2012, was a significant date, heralding not the demise of the world but the end of a 400-year cycle and the start of a new cosmic round. While debates about the end times have reached a fever pitch in recent years, spurred on by the Dec. 21 date and other end-of-the world projections, most of the discussion has taken place outside the realm of art. That changes on Thursday, Jan. 17, when art historian and Santa Fe University of Art and Design professor (and Pasatiempo contributor) Khristaan D. Villela joins San Francisco-based artist Michelle Blade for “Living Through the End,” a conversation on art and the end times. The discussion takes place at Tipton Hall on the SFUAD campus (1600 St. Michael’s Drive) from 6 to 7:15 p.m. Admission is free. Call 473-6500 for information. Blade has used the apocalypse as inspiration for creative expression. Engaging in a year-long painting project called 366 Days of the Apocalypse, she made one painting per day for the full 2012 calendar year. Making Light of It, a free exhibition of Blade’s apocalypse-inspired watercolors, opens at the Center for Contemporary Arts (1050 Old Pecos Trail, 982-1338) on Friday, Jan. 18, at 6:30 p.m. — Michael Abatemarco

DEAR PASA Did we Mis the point? “Garish, shrill, and breathtakingly (?) over the top” is how/why Jonathan Richards plops an onion on Les Misérables in his Pasa review [“Up close and miserable,” Dec. 21], proving once again that movie critics should see the films they’re assigned to cover in the theater with a live audience rather than on a DVD screener the studio provides. Had Richards seen Les Misérables with a live audience, rather than on a laptop or sitting in front of his flat-screen TV, he might have experienced an emotionally involved audience like the one I sat in with, one that applauds both during and after the movie. Then Richards could have kept his onion in the veggie drawer awaiting a truly “garish” movie to reach his desk — heaven knows there’s loads of ’em out there. David Ross Santa Fe In about 1985, I was transiting London and happily got tickets to the new Les Mis. In row C, center. At the finale, people behind me rose and shouted their approval. I, and the other folks in the front rows, looked at each other blankly. It had been a dreadful theatrical experience. You are right. Stephanie E. Johnson Santa Fe Turn over a new leaf For 20-plus years I have grown my own salads and greens. So I am picky. But your review of Café Fina [“It’s a gas,” Dec. 28] really leafed me bewildered. Sorry for the pun, but many of the reviewer’s comments were inaccurate. I have eaten at Café Fina at least twice a week since their opening, and I’ve never once encountered a blackened or distasteful leaf of anything. And the comment about the new owners paving over the previous occupants’ flower beds is totally untrue. The food is good, fresh, and prepared with obvious love and care. Café Fina is a happy place and will become the focus for more good food and activities. It’s deserving of a much better rating than given out in Pasatiempo. And no, I am not a relative, investor, or employee. Lydia Cruzen Roy Cruzen Santa Fe Garcia later We were surprised and a little outraged to find our favorite bookstore omitted from this week’s otherwise excellent Pasatiempo feature, “Santa Fe Bound [Jan. 4].” We’ve been fans of Garcia Street Books for over a decade, due to their well-chosen and varied selection, fast, professional service, frequent buyer discounts, helpful staff, and kindness to our faithful canine companion. Further, they are located next to Photo-eye and the wonderful Downtown Subscription coffee shop, with ample free parking. What’s not to love? Karen Ushman and Peter Schanck Santa Fe

Letters to Editor Letters for Dear Pasa should be mailed to K. Melcher, Pasatiempo, The New Mexican, P.O. Box 2048, Santa Fe, NM 87504, e-mailed to pasa@sfnewmexican.com, or faxed to 820-0803. Please include name, address, and phone numbers — home and work — for confirmation. Letters may be edited for clarity or length.

B A B E T T E S F. C O M

1 1 0 D O N G A S PA R , S A N TA F E

(505) 989-3435

Congratulations! The Rothstein Law Firm offers our congratulations to Robert Rothstein and Mark Donatelli for 25 years, and Peter Schoenburg for 15 years of recognition as Best Lawyers® by U.S. News & World Report. We are pleased to acknowledge our colleagues who received recognition as “Best Lawyers in America®, 2013” in 19 categories. ROBERT R. ROTHSTEIN, Santa Fe, NM

Criminal Defense: Non-White-Collar; Criminal Defense: White-Collar; Employment Law–Individuals; Litigation–Labor & Employment; Personal Injury Litigation–Plaintiffs

ERIC N. DAHLSTROM, Tempe, AZ

Gaming Law;* Native American Law

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SARAH E. BENNETT, Santa Fe, NM

RICHARD W. HUGHES, Santa Fe, NM

Collaborative Law: Family Law; Family Law

Gaming Law; Native American Law; Natural Resources Law

MARK H. DONATELLI, Santa Fe, NM

PETER SCHOENBURG, Albuquerque, NM

Criminal Defense: Non-White-Collar; Criminal Defense: White-Collar*

Criminal Defense: Non-White-Collar; Criminal Defense: White-Collar

JOHN C. BIENVENU, Santa Fe, NM

*designates “Lawyer Of The Year, 2013”

505.243.1443 Albuquerque RothsteinLaw.com

480.921.9296 Tempe

Employment Law–Individuals; Litigation–Labor & Employment*; Mass Tort Litigation/Class Actions– Plaintiffs

PASATIEMPO

Now Enrolling for All Grades Including a New

6 GrADe ClASS th

Beginning September, 2013

shadowing days for students Coffee with the headmaster for parents monday, January 14 & 28 at 8:45 am Call Isabelle at 501-7969 for reservations International Baccalaureate World School

January 11-17, 2013

College PreParatory grades 6-12 Now at 7300 Old Santa Fe Trail www.desertacademy.org

Find Out How Desert Academy Stacks Up!

Desert Academy

STAR CODES Heather Roan Robbins

1/5 cowgirl

cowboy

Shirts

FOR EVERYONE

HOME OF THE $99 BOOTS

Make the effort to balance work and emotional life this week,

beginning with the Friday, Jan. 11, new moon in Capricorn. Review the last year’s efforts in the morning, then pivot forward and figure out where to focus efforts this year. Depression can whisper if our work landscape has been unsatisfactory; we may fear the ghosts of employers past or worry about new compromises. But this Capricorn moon wants us to push past those fears, assess our unique offering to our world, and take a practical step closer. With the sun, moon, Mercury, and Venus now in Capricorn, control issues come up when we’re anxious. It won’t help to resist (unless it’s a really egregious example). Instead, redirect energy to investigate and address the concern underneath. Take responsibility and look at underlying emotions. Venus, this week’s focal point, moves into an uncomfortable conjunction with deep Pluto and squares to restless Uranus. This can make us anxious and easily fed up, wondering if the grass is greener elsewhere. We may fear that our love is not enough or that our world or relationship is too small, and other people’s control issues only encourage such illusions. We can channel this restlessness into improving our circumstances and exploring the world together. This brings an opportunity to love radically and let go of the safety net. This Venusian configuration is reflected in the global restlessness recently triggered by individual women’s stories, from India’s growing women’s rights movement to the Idle No More movement in Canada. These Venusian stories call us to change how we treat the anima, the archetypal feminine, reflected in all levels of our world.

“A First-Class Second-Hand Western Store”

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Santa Fe Community College offers two courses

Introduction to Bridge

Tuesdays • Jan 29th – Feb 26th, 9:30–11:30

Returning to Bridge Class

Fridays • Feb 1st – March 1st, 9:30–11:30

Friday, Jan. 11: Live out ambitions through personal action and be wary of manipulative people. Review work options, set clear and achievable goals for the coming year, and take a tangible step forward. Notice important meetings late afternoon and share ideas tonight. Saturday, Jan. 12: An Aquarian moon offers a sociable but not intimate day. Relax with the to-do list (and let go of the should-do list); the real work is around creativity and camaraderie as Venus squares Uranus. Get out in the middle of things tonight. Sunday, Jan. 13: After early morning impatience, appreciate a positive day with minor discomforts. Get to know a stranger or two and handle the minor glitches with grace this afternoon. Share stories tonight and weave worlds together. Monday, Jan. 14: Take a slow, internal start to the week as the moon enters Pisces and conjuncts Neptune. Dreams linger and feelings need processing; sensitivity is high and objectivity is scarce. Put imagination to good use. The pace picks up later, but walk gently anyway. Tuesday, Jan. 15: Pay attention to meetings; a lot gets said underneath the words. This afternoon, repair things — friendships, contracts. Something apparently small may be pivotal; look for an important missed detail. Tune in to one another tonight. Wednesday, Jan. 15: Jump on those big plans as the moon enters proactive Aries; people want to see results and feel progress. If there’s tension between forward thinkers and old systems, work it out rather than pour oil on the fire. Let people express themselves. Thursday, Jan. 16: The heart longs and the soul aches, but it’s not just about our own story. Venus conjuncts Pluto and calls us to honor everyone’s story and feel part of something larger. Be trustworthy above all else, and get at the real issues. ◀ www.roanrobbins.com PASATIEMPO

In Other wOrds Leica: Witness to a Century (revised edition) by Alessandro Pasi, W.W. Norton & Company, 176 pages A newly expanded edition of this authoritative 2004 book contains more than 200 black-and-white images taken with Leica cameras. Among these are the street full of joyful expressions that Robert Capa caught at the liberation of Paris in August 1944; Magnum photographer Inge Morath’s wonderful 1954 picture of people and wagons at the ancient Puck Fair in Killorglin, County Kerry, Ireland; pop pro Jim Marshall’s picture of the Beatles at their final concert in San Francisco in 1966; and a moment from the 1968 Soviet invasion of Czechoslovakia, photographed by Joseph Koudelka. The book also shows portraits of more than a dozen renowned Leica cameras, with background information and technical specs on each one. On the book’s final spread is reproduced the “Leica family tree,” with pictures of more than 100 different Leica models. One of these is the 250 Reporter, unveiled in 1934. It had bulging film compartments on both sides of the lens, which permitted journalists and others (including the Luftwaffe, which bought 200 of them for aerial reconnaissance) to take up to 250 pictures without having to change film. Leica presents stunning pictures by legendary photographers Henri Cartier-Bresson, André Kertész, Robert Doisneau, Leni Riefenstahl, and Sebastião Salgado. Among the subjects captured by Leicas are Leon Trotsky, President John F. Kennedy, Che Guevara, and Mother Teresa. In one cool portrait, a young Queen Elizabeth holds her Leica, as does Yul Brynner (decked out in his Pharaoh Rameses costume for his role in The Ten Commandments) in another photograph. Adjacent to the latter is Brynner’s photo of Salvador Dalí. Author Alessandro Pasi, a journalist and freelance writer living in Milan, tells the story behind these iconic photographs by tracing the development of one of the world’s finest cameras. In a foreword to the new edition, photographer Gianni Berengo Gardin writes of engineer Oskar Barnack’s 1913 design for the “first truly portable camera,” one that “joined precision mechanics to quality optics.” Kodak had introduced small roll-film cameras in the late 19th century, but it was the Leica’s 24 x 36 mm format that would become the industry standard. The innovation further freed photographers from the encumbrances of large cameras and glass plates and brought to the picture-taking process an intensified connection to “what’s actually happening around you,” an all-important sense of immediacy. That sense, Gardin says, is at risk in digital photography, when people can “snap away under the

January 11-17, 2013

book reviews conviction that, even if they make errors, the results can always be fixed later, with Photoshop.” He advises the novice to practice with a digital camera and then to get a roll of 35 mm film and “a Leica, any Leica, even an old, beat-up one. Then start taking pictures.” With its compact size, easily loaded film, and quick exposures, the Leica ushered in the modern age of photography. With the Leica, subjects did not have to be stiffly posed. This was a camera “capable of taking pictures of the world at the same speed at which the world moves.” Barnack presented his idea for a small camera to his boss, entrepreneur Ernst Leitz, a well-known creator of microscopes and telescopes. Out of their collaboration came the prototype Ur-Leica in 1913. The name Leica was formed using the first letters of the words Leitz and camera. The first marketed model was the 1925 Leica I. During its seven-year run, nearly 59,000 were produced. One of the earliest photographers to realize the potential of the Leica was Paul Wolff, who took wonderful pictures of Olympic athletes, spectators, and others. In the 1930s, Wolff showed the world how well the camera did its job through three books and by showing large prints — nearly 12 by 16 inches — made from small negatives. Arguably the only significant camera innovation in the next quarter of a century came with 1954’s Leica M3. It had a faster and more secure bayonet-style (turnand-click) lens mount, replacing the old-fashioned screw-in mount. One of the book’s many logical tangents is a 1950s snapshot of members of Magnum, a photographers’ cooperative founded by Capa, Cartier-Bresson, and others in 1947. The caption includes the news that in 2011, Leica and Magnum entered into an agreement: the manufacturer now sponsors Magnum projects, and the agency’s photographers test new Leica equipment. Besides that, and the Gardin foreword, the book is little changed from the 2004 edition — until you get to Page 154. In the original, the subject presented on that page was “The new millennium: the enduring fascination of the mechanical.” In the new edition, page 154 takes readers in the opposite direction. The title is now “The new millennium: Leica too goes digital,” and the spread introduces 2006’s Leica M8 digital camera. Pasi includes examples of photographs taken with the new digital series. One of the images might have been impossible to make with a film camera. It’s a nighttime view of brick warehouses flanking a Hamburg canal, taken by Peter Bialobrzeski with the extraordinarily sensitive Leica S2 digital camera and the wide-angle Summarit-s lens. The final model presented in the book is the Leica M-Monochrom, a digital camera designed specifically to make black-and-white photographs. Same as it ever was. But different. — Paul Weideman

SubtextS Flummoxed by Lummox To avoid the cult of personality that sometimes develops around poets, editor R.D. Armstrong arranged the Lummox Journal’s table of contents according to “the first name of the poet responsible for the poem or poetry group.” However, the first names do not actually appear in the journal’s table of contents. Armstrong confesses, in the introduction, that he was suffering from low blood sugar and sleep deprivation when he made this decision, and it might not make much sense. The table of contents lists only titles, so to discover who wrote something, you must actually read the pieces. In the first volume of this hulking annual out of Los Angeles, there are hundreds of poems to read, as well as essays and reviews, many of them written by people from New Mexico, including Dee Cohen, Merimee Moffitt, Levi Romero, Richard Wolfson, Joan Logghe, Elizabeth Raby, and 16 others. These local scribes read from their work in a Lummox publication party at the Gerald Peters Gallery (1011 Paseo de Peralta) on Sunday, Jan. 13. The reading is hosted by poet John Macker, who runs the gallery’s bookstore and is the subject of a review in the journal by Mike Adams. There is no easy way to summarize the eclectic wonder that is Lummox, but the editorial aesthetic embraces the pushing of craft and eschews gimmickry and cleverness. The poems were selected by Armstrong in collaboration with a dozen guest editors, who were asked to send in their favorite poems by working writers. The result is a startling mishmash of styles, with no one school or approach prioritized. “I have, in this first issue, attempted to push the poet behind the poetry,” Armstrong writes. “But we cannot forget the poet altogether, because without the poet, there would be no poetry.” The reading begins at 2 p.m. Call the bookstore at 954-5757. — Jennifer Levin

RENESAN

Institute for Lifelong Learning

LEARNING OPPORTUNITIES for ADULTS renesan.org or call 982-9274 for more information

You are invited to attend our Spring Semester Kickoff on Tuesday, January 15, 2013 • 10-11am at St. John’s United Methodist Church

Discount Home Supplies

Monday - Saturday 9:00 a.m. - 5:00 p.m. 2414 Cerrillos Road  www.santaferestore.org  505-473-1114

Astrology Santa Fe

• Previews of selected Spring classes by instructors • Q&A about RENESAN • Register for over 40 daytime classes, lectures and trips Season’ Greetings Happys New Year • Meet members and make new friends • Light refreshments December Special Come and find out Subject areas include: Buythe 2 Sessions what New Year • Arts and Culture andhas getto1 offer. FREE. • US and World Issues Raffle for all new members who • History register at the Kickof Readings from $100 an hour • Social and Political Sciences Please call for your appointments one FREE Class for 505 819 7220 Binathe Thompkins Mari Red Moon • Literature • Science Spring 2013 semester • Philosophy Santa Fe Science Café For Young Thinkers

Raffle for all new members who register at the Kickoff, Prize is one FREE Class for the Spring 2013 semester Parking is available in the church parking lot.

RENESAN

Institute for Lifelong Learning

St. John’s United Methodist Church 1200 Old Pecos Trail, Santa Fe, NM 87505 www.renesan.org • 982-9274 RESESAN© is the copyrighted symbol for our 501(C)3 Lifelong Learning organization.

“What Is Light? What Are Radio Waves?” Bruce Sherwood

North Carolina State University (Ret.) Wednesday, January 16, 6 – 7:30 PM O’Keeffe Education Annex, 123 Grant St.

Drop a pebble into a pool and a water wave radiates outward. The wave consists of highs and lows in the water level. Light and radio and cell phone transmissions are also waves: they radiate outward from the sun, from radio antennas or from cell phones. What is “waving”? How are these waves created? Why are they called “electromagnetic?” Why is it that they can tan your skin or be sent and received on your radio or cellphone? We’ll explore the amazing phenomena of electromagnetic waves, which are the basis for many of today’s technologies as well as for the behavior of the natural world. Admission is Free. Youth (ages 13-19) seating a priority, but all are welcome! Bruce also will appear on the KSFR Radio Café (101.1 FM) with host Mary Charlotte at 8:30 AM that day. Bruce has taught physics at several universities in the US. He early turned his research interests to improving the introductory teaching of college physics, and with his wife Ruth Chabay has authored the physics textbook “Matter & Interactions.” He is also active developing modeling software. Go to www.sfafs.org or call 603-7468 for more information. PASATIEMPO

Jennifer Levin I For The New Mexican

ALISA VALDES REEXAMINES HER FEMINIST FOUNDATIONS WHILE EMPOWERING THE OPPRESSED IMPROVES THE LIVES OF MANY,

Perhaps the cowboy just came along at a time whenValdes was finally ready to see that she was suffering from unresolved trauma, anger management issues, and border line personality disorder, which was diagnosed when she went to therapy (another one of the cowboy’s conditions for their relationship).

????. ? - ?, 2012

any positive social movement can come with a dark side: fanaticism. When the fanatics are your parents, you are raised to see every bit of human interaction through the lens of their specific cause — the fight against classism, sexism, or racism — before you are old enough to evaluate the world for yourself. This political indoctrination may lead children to grow up with twisted visions of the way other people function and interact, which can cause serious problems in romantic relationships, friendships, and work relationships. Alisa Valdes, now in her early 40s, was raised with the belief that all gender differences are the result of socialization and that biological differences between men and women are fundamentally meaningless. Her father, the main advocate of this ideology in her life, was a Cuban immigrant who became a Marxist sociology professor at the University of New Mexico. But he espoused views he didn’t actually practice in his family. Her mother, a survivor of childhood abuse, was deeply unhappy and dissatisfied with her life. For Valdes, feminism came down to who had power and who did not, something she extrapolated, at a young age, from theories put forth by the radical feminist movement of the 1970s, with which her family was intimately involved. In her memoir The Feminist and the Cowboy: An Unlikely Love Story, published by Gotham Books, she equates ridding herself of her childhood indoctrination with leaving a cult. Valdes reads from her new book on Monday, Jan. 14, at Collected Works Bookstore. Originally Valdes titled her book Learning to Submit: How Feminism Stole My Womanhood, and the Traditional Cowboy Who Helped Me Find It. That mouthful was changed because early feedback indicated that readers would (wrongly) assume the book was a knockoff of Fifty Shades of Grey. But the early title is important to understanding Valdes’ voyage from “angry feminist” to “submitted woman” to “abused woman” to “equal partner.” As a title, Learning to Submit seems deliberately provocative, designed to inspire the ire and contempt of feminists and the carefully manicured claws of anti-feminists, many of whom will take up bandwidth slamming and praising the book. In fact, The New York Post — in a recent article picked up almost whole cloth by Jezebel.com — accused Valdes of inventing the cowboy of the title to save herself from financial ruin. Though the cowboy is real, Valdes has a history of, if not courting controversy, actively engaging it and publicly fanning the flames. A few years ago, when her bestselling novel The Dirty Girls Social Club was adapted for television, Valdes accused the screenwriter and producers of base and racist oversimplification, and the series never came to fruition. Her claims were not without merit, and her internet rants made headlines. All of this took place before she met the cowboy — real name Steve Lane — who changed her entire outlook on life by requiring her to submit to his rules, which included never questioning what he told her to do and never driving him anywhere unless he was medically incapacitated. On the phone with Pasatiempo, Valdes confessed that she and the cowboy are no longer together. The line between control and abuse became increasingly blurry as time went on. But on the bright side, she said, “It was good to be pulled in the direction where he existed. I learned from my relationship with him, but he would have kept pulling, and I wasn’t prepared to live that way.”

details ▼ Alisa Valdes reads from The Feminist and the Cowboy: An Unlikely Love Story ▼ 6 p.m. Monday, Jan. 14 ▼ Collected Works Bookstore, 202 Galisteo St. 988-4226

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As the book recounts, they meet on an internet dating site. He pursues her electronically, despite the fact that she is liberal and he is conservative. (Later, he refers to himself as a traditionalist and a libertarian.) She dismisses him out of hand because of his political leanings and because he is rural, but eventually he comes to Albuquerque for the day, and she agrees to have lunch with him. He is exceedingly handsome and confident. She is sexually attracted to him in a way she’s never before experienced, so she begins going down to his ranch — a four-hour drive — to see him on weekends. The sex is amazing. She is so alarmed and confused by her attraction to him — because she was raised to believe that someone so masculine must be, well, wrong — that she does research to discover a scientific basis for her feelings. In the memoir, she discusses this quite a bit, as well as her embrace of “difference feminism,” a movement adhered to by many Catholics that says that men and woman are fundamentally different creatures because of biology and that those differences should be celebrated rather than ignored. The cowboy was a “master manipulator,” she said, and though many people who have read the book question how she could have missed the signs, she insisted she was blind to the red flags of someone who would eventually want to dominate her. Ironically, or perhaps not so ironically, she was terrified that if her father met Steve, he would call her a traitor to his beliefs. This eventually came to pass. “I think I got from my father that sexism and abuse are one and the same,” Valdes said. “Where he’s from, guapo means handsome, but it also means angry. And macho, which takes in this kind of swaggering, almost abusive meaning to many of us, is synonymous with a desirable quality, a man who takes care of his family. I think in many Latino cultures, and in cowboy culture, anger and manhood is a tradition. Where does the abuse come from? It’s coming out of a sense of entitlement that you’re able to do that to a woman because she is your property and someone to control.” Yet the two-year relationship with the cowboy was just what the selfdescribed “shrew” needed to tame her. She believes that childhood indoctrination into radical feminism closed her off to her identity as a woman and a sexual being and that the cowboy woke up those parts of her. But perhaps he just came along at a time when Valdes was finally ready to see that she was suffering from unresolved trauma, anger management issues, and borderline personality disorder, which was diagnosed when she went to therapy (another one of the cowboy’s conditions for their relationship). “I was so combative, and had been raised to be and rewarded for being combative, to me it really did feel like submitting just to be able to trust a man,” she said. She also had a kind of tunnel vision around people who were not exactly like her politically. She believed they were stupid, but now she is able to agree to disagree and to respect how other people were raised. She wants to be honest about the demise of her relationship with the cowboy, within the bounds of what her publisher will allow. “I wrote this more than a year ago, and at the time that I wrote it, everything in it was true,” she said. She has a new boyfriend now, Michael Gandy, the founder of the Benevolence Community in Albuquerque. He moved in with her and her 11-year-old son a few weeks ago. Valdes said that in this relationship, no one submits, no one has the control. “There are things he does that I don’t like but have to accept, and I’m finally able to do that without being a bitch.” Valdes stressed that The Feminist and the Cowboy is not a handbook for feminism or anti-feminism. “It’s a memoir, my story. It’s about how I was raised and who I became. That’s something I am very clear about; it’s on page 104 I think. My parents meant well, but they both came from abusive, repressive backgrounds. And I think the personal and political got screwed up for everybody. People start out with a good goal, but somewhere along the way, they find their main identity in the struggle. When your main identity becomes the struggle, you’re working at cross-purposes with your original goal, because if you actually get rid of the problem, your identity ceases to exist.” ◀

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THE OWL IS

Unusual music from Jeremy Bleich, Andrew Stoltz and friends plastic toy horn and a recently invented string instrument dubbed “the owl” are the mechanical stars in House Concert VI, presented by Grasshopper Music on Friday, Jan. 11. Local composer and musician Jeremy Bleich presents his “Quartet for Button Reeds and Strings,” featuring his toy horn, with accompaniment by Carla Kountoupes on violin, Shanti Randall playing viola, and Deborah Unger on accordion. The owl, designed and built in 2006 by Travis Weller of Austin, resembles a large hammer dulcimer and is played with bows, the hands, mallets, and other objects. For the Santa Fe concert, Andrew Stoltz plays the instrument in a composed trio work (with Kountoupes on viola and Bleich on harmonium) and an improvised solo piece. “In the composed piece, it’s not like I’m writing every single rhythm,” Stoltz explained. “I’ll just write pitches and give sort of an inference on what I want them to do. If I want something to sound like wind chimes, I might give a word that means play the given pitches in a loose way, with a little space, but it’s not too fussy in terms of notation. And ultimately, I’m not sure that’s necessary, especially if the ultimate goal is for it to sound random.” Stoltz and Bleich, both Ohio natives, became acquainted as fans of the heavy-metal scene in Cleveland as teens, and they attended Cleveland State University. “We were both interested in minimalism, people like Steve Reich and John Adams, although all our professors were not into it, so there was a lot of backlash against what we were doing,” Bleich said in a recent interview. “A lot of that music is still interesting to me, the idea of playing rhythmic games, so the phraseology is really based on the rhythm.” The founder of Grasshopper Music, Bleich earned his degree in composition at CSU. He works with the Santa Fe Opera’s arts integration program and composes music for Wise Fool New Mexico’s Circus Luminous. He has performed and recorded over the years with Cuong Vu, Chris Jonas, Josh Smith, and Joe Tomino, among others. Bleich talked about his student fascination with the music of Bach and its mathematical component. “I remember we analyzed the B-Minor Mass, and I couldn’t believe how you could have that much numerology and make that much beauty, musically. I wrote a piece several years ago that was read by the Santa Fe Community Orchestra that was based on the magic square. I was kind of obsessed with that for a minute. I developed a rhythmic scheme and pitch system based on that.”

January 11-17, 2013

He collaborated with librettist and director Sarah-Jane Moody on a rock opera based on the life and words of anarchist Emma Goldman. Love and Emma Goldman, which was supported by a grant from the California Foundation for Peace and Justice, had its premiere in Santa Fe at the Armory for the Arts last May. He and Moody make up the duo GoGoSnapRadio, which toured the West Coast last summer. He’s also a member of the New Orleans-style funk group Pollo Frito. His musical heroes include guitarists Jimmy Page and George Harrison, prog-rock bands like Yes, the stars of Motown, and jazz bassist Jaco Pastorius. Lately he’s been listening to Ravel. “A lot of what I’m attracted to is stuff that’s like a bridge between larger movements, and Ravel is the bridge from Debussy to Stravinsky. I think there are a lot of things he explored that speak to what I’m trying to accomplish: the idea of creating washes of color, the interesting rhythmic development, and the idea of working within a tonal world but not following tonal rules. “My process is a lot about thinking and creating a series of parameters for myself. I have a lot of interest in odd meters, odd phrases, and juxtaposing things rhythmically. In African or Indian music, when you hear how the rhythms pull against each other, that’s what creates that feeling, that groove. It’s hard to make classical music groove, but I feel like I’ve come to a way to do that that makes sense to me.” Bleich is not a one-instrument musician, although the bass guitar is pretty much his foundation, and he often composes on the piano. He’s hoping nobody in the audience on Jan. 11 will be too far away to hear the subtleties from his plastic horn. “I bought it at Toyopolis,” he said. “It’s a toy with big, bright buttons that click when you play it.” The piece he wrote for the concert is through-composed. “The other side is aleatoric music, and I do think any modern composer should spend time in both worlds. John Cage’s big thing was to remove the composer from the music. He was the great explorer of aleatoric-process music. That was his goal, to remove himself. I’m not quite the Buddhist he was. I like having myself in the music.” continued on Page 18

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The owl, continued from Page 17

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January 11-17, 2013

After college, he and Stoltz collaborated on Eftah, an oud (Arabic lute) and laptop duo, and they have continued to work together off and on. “Andy’s music is pretty experimental, but he also has a duality in his musical persona. I’m really curious to see what he does.” Stoltz, now of Austin, was a 2005 recipient of an Ohio Arts Council Individual Artist Award and a 2012 recipient of a New Music USA grant. He is a frequent collaborator with the Austin New Music Co-op and teaches audio production classes at the Art Institute of Austin. “I come from a very ordinary musical background,” he said by telephone. “My mother played good traditional country, like Hank Williams Sr. and Johnny Cash, sort of poets for the common man, and that has stuck with me. It has a simple message, done in a simple way, but with enormous impact. “Getting into the metal stuff way back was just because I was a guitar player, and the best ones were those 1980s shredder guitar players like Michael Schenker. I liked the way those guys sounded, playing harmonic minor scales that sounded almost like classical music on electric guitar. I ate that stuff up, and so did Jeremy. The Beatles were the biggest pop influence on me, because of the way they approached sound. “These days I’m a composer, but I try to keep involved as a player, too. Most of what I’m writing now is on the quieter side. We live in a very noisy world with all the computers and cars and televisions, and I think quiet music is kind of a blessing. I’m concentrating on what kind of interesting sounds I can get from purely acoustic sources.” ◀

details ▼ House Concert VI: Andrew Stoltz and Jeremy Bleich ▼ 7 p.m. Friday, Jan. 11 ▼ William & Joseph Gallery, 727 Canyon Road, 982-9404 ▼ $15-$20 sliding scale at the door; see www.jeremybleich.com or email grasshoppermusic@ymail.com

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PASATIEMPO

J E R E MY D E N K O N T H E G O L D B E RG VA R I AT I O N S

Michael Wade Simpson I For The New Mexican riting in a blog posting for National Public Radio with the title “Why I Hate the Goldberg Variations,” pianist Jeremy Denk, who has been recording the Bach pieces in New York and brings them to Los Alamos for a Saturday, Jan. 12, recital, calls them “preternaturally happy, cheerful, perfect, organized, clean, boring, popular ... the Martha Stewart of variations.” One reason to hate them, he writes, is because everyone else loves them. “The Goldbergs are like a friend you have who always does everything right. This friend always answers his emails, keeps a clean house, has a kind word for everyone, behaves properly at concerts, writes thank you cards, grooms himself assiduously, knows how to tie a tie, [and] never eats Burger King at 2 a.m.” Denk was a little more circumspect in talking about Bach’s work during a phone interview from his apartment in New York. It is clear on the one hand that the pianist has a well-honed sense of humor; it is also clear that he actually admires the Goldberg Variations very much. While he writes in the blog that the variations are like a trendy bar that somehow keeps staying trendy — and that, as 80 minutes written in the key of G Major, they are a recipe for boredom — what he said on the phone was that he looks at the variations as an enormous jazz riff by Bach. “The longest jazz riff ever written.” 20

January 11-17, 2013

“It’s a little daunting to be recording them, but I’ve played them enough that they feel like old friends,” Denk said. “Recording can go a million ways. I’m not one of those ‘set in stone’ pianists. The Goldberg Variations are a world, a whole cosmos, but each variation has its own facets.” Also, the variations are funnier than many people think, he said. “Maybe it’s just my own sensitivity to the comic, but I think there is a sense of playfulness in the piece.” Denk grew up in Las Cruces and majored in chemistry and piano performance at Oberlin College before earning graduate degrees from Indiana University and Juilliard. He has appeared as a soloist with the Philadelphia Orchestra, the San Francisco Symphony, Orpheus Chamber Orchestra, and others. In March 2011 he stepped in at the last minute to replace Martha Argerich and made his debut with the Los Angeles Philharmonic, under the baton of music director Gustavo Dudamel. In the same month, he replaced Maurizio Pollini in recital, making his solo recital debut at Carnegie Hall. He has given performances at the Marlboro, Seattle, Verbier, Spoleto, and Santa Fe festivals. He regularly tours, records, and performs with violinist Joshua Bell. Also on the program in Los Alamos is Robert Schumann’s Davidsbündlertänze, op. 6. “This program features two of my all-time favorite pieces,” he said. “The Schumann piece is 18 dances. They’re moving, stream-of-consciousness works

written when Schumann was illicitly in love with [his future wife] Clara. It is about the thrill of love. Some of it is manic; there is joy, misery. It was inspired.” Denk has had the opportunity to express his literary side in his blog (“Think Denk,” at www.jeremydenk.net) and in pieces he has written for The New Yorker and The New York Times Book Review. “I’ve always loved reading and writing. I was almost an English minor. A friend at NPR told me I should start blogging, so I did. “There are not that many pianists who like to write. I find it connects me to the outside world, somehow. I enjoy trying to find an angle to write about something (like the Goldberg Variations) that seems so obvious. Practicing the piano for many hours a day is a very solitary thing. It’s surprising how many idiotic thoughts come up. It has it’s own mania. Writing is frustrating and perfectionistic, just like playing the piano.” A new piece he is working on for The New Yorker is a reaction to something his father sent him — the diary his piano teacher kept when Denk was 11 to 14. “It’s about piano lessons and memories,” he said. “It’s tricky because you have to choose the tone carefully.” A November 2011 blog entry, titled “My Debut,” tells the story about his parents moving into a retirement home in southern New Mexico and Denk’s visit with them there. The word soon gets out that he is a pianist, and he is invited to play a short concert for the entire population of the residence — on its electric piano: “The first button I pressed set off a deafening bossa nova. The staff of the facility rushed in to try to help, but I think at last after five minutes of struggling, I was the one who ‘fixed’ it, randomly hitting at buttons that seemed important. Out of the instrument came something sampled from an actual piano somewhere. “As I sat at the bench, a cold terror crept over me. I realized I really had nothing to play for this situation. My mother had strictly forbidden me to play anything too 20th century in exactly the same voice as she would forbid me to stay out past 9 p.m. when I was fifteen. So, with a song in my heart, I just launched into the Goldberg Variations, planning to stop when someone screamed. ... I distinctly heard someone say ‘that piano sounds terrible.’ Yes, there was something collegiate about their frankness.” ◀

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album reviews

Justin Free energy HeinriCH KneCHt Love Sign (Free energy Grande Symphonie (Carus) It’s records) Here’s a sad sign of the hard to imagine that Justin Heinrich state of the music industry: Philadelphia Knecht’s Le portrait musical de la Nature ou band Free Energy makes the kind of irresistGrande Symphonie has not been recorded ible power pop that helped 1970s bands like before. That’s not because the public clamors Cheap Trick, The Knack, and Big Star achieve for a revival of this obscure composer, who varying degrees of fame and fortune. The spent almost his entire lifetime (1752-1817) band’s first album, 2010’s Stuck on Nothing, in the southern German town of Biberach was produced by LCD Soundsystem’s James an der Riss. Instead, it’s because the piece Murphy — one of the hottest musicians of is so often cited in historical writings as the last decade. Its latest release, Love Sign, possible inspiration for Beethoven’s Pastoral is full of the gnarly guitar sounds, swinging Symphony — and yet, until now, we’ve had to take that assertion on faith. drums, and anthemic vocals that should be inescapable any time you Knecht was no Beethoven (although Beethoven was unquestionably familturn on your TV or radio. Instead, it’s a self-released album that few iar with some of Knecht’s music), but he was an adept, engaging composer, people are likely to hear. It opens with “Electric Fever,” which boasts a if one whose imagination in no way rivaled Beethoven’s. Still, we have here a sturdy cowbell and obligatory “whoa-oh” on every fourth beat. The second five-movement symphony, a series of musical nature portraits that does rather track, “Girls Want Rock,” is a New Wave fist-pumper with a shout-along parallel the Pastoral: a lovely landscape filled with birdsong and shepchorus. It quickly becomes clear that every song has a chorus herds’ pipes; a gathering of clouds; a thundering storm; a return to that could have been a hit in another age; the first song that clear skies; and nature raising its voice in thanksgiving. (This may have been a “deep album cut” doesn’t come until track is detailed in the German booklet notes; the English version six. Longtime indie-rock producer John Agnello smooths deficiently instructs readers to squint at the original title out the band’s crunchy T. Rex influence, pushing the page, in an infinitesimal reproduction.) Beethovenophiles sound toward the sunny gloss of The Cars. It works, as It quickly becomes will thank Frieder Bernius and the Hofkapelle Stuttgart virtually every lick seems to invite advertisers and TV for providing winning period-instrument performances networks over to license it. A major label would be clear that every song of the symphony, as well as of lightly Mozartian overwise to snap up this band, but this band may be wise tures and arias by Knecht, the latter invested with fervent enough to keep the rights to these hooks. — Robert Ker on ‘Love Sign’ boasts a character by soprano Sarah Wegener. — James M. Keller Mystical Weapons (Chimera Music) In March 2012, chorus that could have Paul Winter sextet Count Me In 1962 & 1963 Greg Saunier, drummer for experimental-psych-rock been a hit in another age. (earth Music) How is it that the first-ever jazz concert outfit Deerhoof, told Pasatiempo that his band’s songs in the White House, by invitation of First Lady Jacqueline are “about melodies and syncopation and notes and this Kennedy, took 50 years to be released? The Paul Winter collective chaos that finds a sense of rhythm but still gets to Sextet did a terrific job, and Jackie reportedly loved every be chaos. ... We always have this feeling that we’re not always minute. The concert is part of a new double album that also really sure what’s going to occur. ... there’s a good chance that includes tracks recorded during the sextet’s State Departmentyou know as much as we do about what exactly is going to happen sponsored tour of Latin America. This is the sextet, not the Paul Winter next.” The same could be said about Saunier’s first studio collaboration Consort, so the vibe is postbop — influenced primarily by the Jazztet and with multi-instrumentalist Sean Lennon, a project developed along with Miles Davis’ Kind of Blue sextet — not the world music many of us associate video artist Martha Colburn following a Deerhoof/Plastic Ono Band show with Winter. The first CD opens with “A Bun Dance,” the horns, piano, in Oakland, California. Mystical Weapons’ first effort is big on percussive bass, and drums generating a mellow, together jazz, with juicy solos from riffs with an avant-jazz lean, although Saunier doesn’t let the psychedelica alto player Winter and pianist Warren Bernhardt, as well as two of the and art rock stray too far from his sparsely adorned drum kit. The group’s standouts, neither of whom would pursue a career in music: melancholy piano intro to album opener “Impossible Shapes” belies Les Rout on bari sax and Dick Whitsell on the album’s propensity for unbridled improtrumpet. Among the 11 unreleased tunes visational abandon, fuzzed-out guitars, and is the wonderful title track by Richard skittling bass lines, while tracks like “Gross Evans, the band’s bassist. Other highlights Domestic Happiness” and “Distant City” are Bernhardt’s “Suite Port au Prince” have Lennon and Saunier pegged for die-hard and Jimmy Heath’s “The Thumper.” Miles Davis and Frank Zappa fans. A couple The second disc ends with “We Shall of tracks from the 13-song album, includOvercome,” recorded in the sextet’s very ing the gong-infested snoozer “Silk Screen last studio session, 10 days after the assasEyes,” belong in the weird-for-weirdness’ sination of President John F. Kennedy. sake category, but the rest of the CD Great music throughout. is well worth getting lost in. — Paul Weideman — Rob DeWalt

January 11-17, 2013

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Judges, Sages & Rebbes

What is a rabbi? Explore the history of rabbis, and examine profound ideas regarding the nature of Jewish law and our relationship to it. Moses, Joshua, & the Elders: The origin of rabbis from Biblical through Mishnaic times. Jan 13. Keeping the Faith: The changing role of the Rabbis from the Talmud through the 1500s. Jan 20. Rebbes & Rabbis: A short history of the Chassidic movement, introducing noted Rebbes. Jan 27. The Limits of Law: Origins of modern Jewish denominations, and the changing popular understanding of what a rabbi is. Feb 3. The Making of a Rabbi: Rabbinical training in contemporary Orthodoxy. Feb 10.

pianist

Louis Lortie

performs Liszt transcriptions of Wagner

Spiritual U. Take your Judaism to a higher degree. Sunday evenings, 7-8pm. Suggested donation: $18 for the series. Registration: 216-6136 or email@kolberamah.org At Kol BeRamah: 551 W Cordova Rd, Suite F.

Shevat - ‫שבט‬

The Hebrew month of Shevat begins on Saturday, January 12.

The Mishna states that Tu B’Shevat (the fifteenth of Shevat) is the New Year for Trees. Many customs exist for Tu B’Shevat, most of them relatively modern in origin. The most widespread is to eat fruits for which Israel is praised: the five species of grain (wheat, oat, barley, rye, spelt), grapes, figs, pomegranates, olives, and dates, and to say the appropriate blessings, which include thanks to HaShem for giving us the Land of Israel. This year, Tu B'Shevat falls on January 26. May your Shevat be filled with blessing & success. www.kolberamah.org (505) 216-6136 551 W Cordova Rd, Suite F Santa Fe, NM 87505

THURSDAY, JANUARY 24, 2013 7:30 PM • St. Francis Auditorium • $20 - $50 Tickets: 505-988-1234

www.ticketssantafe.org

Kol

BeRamah‫קול‬ ‫ברמה‬

The Santa Fe Concert Association 321 West San Francisco Street, Suite G Santa Fe, New Mexico 87501 Phone: 505.984.8759 Fax: 505.820.0588

Torah Learning Center of Santa Fe

PASATIEMPO

The femaLe gaze Lise Sarfati’s ‘She’ Jennifer Levin I For The New Mexican mages of women are everywhere. In fashion photography and advertising, still and in motion, women’s faces and bodies often dominate the commercial landscape — our collective field of vision. And with the ubiquity of the female form comes the ubiquity of judgment: Is she pretty? Is she fat? How do I compare to her? (Those who are straight men — so the mainstream media would have us believe — are thinking about the sexual desirability and availability of the women in the pictures.) Often, we see an idea of a kind of woman but not the woman herself. We see — and are often manipulated by — the calculated expression of a model, lit and made up and heavily directed by a photographer, but we don’t see the truth of the person inside, what she might be thinking or feeling or what kind of day she might have had. French photographer Lise Sarfati cloaks her women in mystery while simultaneously exposing their deepest wounds. In her most recent monograph, She, which was published by Twin Palms of Santa Fe, four women — two sisters, their mother, and their aunt — do nothing but exist in the compositions Sarfati has found in their day-to-day

Sloane #62 Oakland, CA 2007; top, Sasha #20 Emeryville, CA 2007 24

January 11-17, 2013

surroundings. But the pathos and plethora of secrets that live with them, and which Sarfati has managed to capture without exploiting or explaining, freight each photo with emotional power. The overwhelming feeling is one of regret, tinged with sadness that vacillates between cynical and wishful. Sloane, Sasha, Christine, and Gina live in Oakland, California. They are beautiful, slim, each graced with an edgy, indie flair that feels integral and organic to their identities, though it is clear that Sloane and Sasha’s mother, Christine, has led a life too difficult to effectively obscure with makeup. Something about the fact that they are all conventionally attractive and effortlessly stylish allows the viewer to move quickly past surface-level observations about the fitness of their bodies and straight to wondering about their lives. “My work has nothing to do with snapshots, even though my universe is banal,” Sarfati told Pasatiempo. “I choose a setup, but I don’t invent it; nor do I transform it. For the series She, it was very precise: the house (bedroom or dining room), the sidewalk by the continued on Page 26

Sloane #22 Oakland CA, 2005

All images by Lise Sarfati, from She; courtesy Twin Palms Publishers

Christine #21 San Francisco, CA 2005

Sasha #16 Phoenix, AZ 2007 PASATIEMPO

From left, Gina #08 Oakland, CA 2009; Gina #01 Emeryville, CA 2007

Lise Sarfati, continued from Page 24 house, the store next door, or downtown Oakland. The beauty of the subjects transpires from their psychological strength rather than from their seductive powers. They did their own makeup; I never intervened. I love everything that is banal and at the same time reveals a part of eternity in ourselves. I love that a character can provoke a universal feeling — as we all have experienced this floating moment, this light uneasiness that makes us all doubt ourselves.” Sarfati has been making photographs since she was a child. Though many of her friends were playing with video cameras, she had access to only her sister’s still camera. She grew to love the “image that is crossed by silence and the relationship to the outside world.” She has split her time between France and the United States since 2003 and has since created half a dozen photographic series, including Austin, Texas and On Hollywood. Sarfati has a way of creating overlapping realities without doing anything fancy with technique. She has said that many of the people in her pictures do not like the way they look in them, yet she has found their innermost beauty in the most mundane of movements, the most offhand of glances. The cover of She is a shot of Christine, topless in the foothills amid cacti and dust. She wears a tan miniskirt and high-heeled Mary Janes adorned with pink flowers. Her pitch-black hair is loose to her shoulders, where it hits her décolletage — a complicated tattoo of an Irish claddagh heart placed over her own heart. Her arms are also covered in tattoos. She looks lost, and ready to communicate something important. In interviews, Sarfati has revealed that Christine was tripping on mushrooms when this picture was taken. Sarfati met Christine, her sister, and her daughters when she was in Oakland working on a series called The New Life, which captured adolescent and teenage girls in the space between childhood and woman-

January 11-17, 2013

hood. She photographed the family in She over the course of four years, from 2005 to 2009. Each woman is pictured alone. “I was immediately fascinated by their resemblance but also as well by their differences,” Sarfati said. “I thought that those contrasts would allow me to create a photographic narrative. However, it wasn’t easy to work with these women, as they were not particularly engaged in my process and they were not at all really interested in being photographed.” Least interested was Sasha, who appears in only four of the 52 photos in the book. Like her mother, she has tattoos on her arms; her hair used to be dyed red but is faded pink. Her expression is far softer than Christine’s ever is as she sits on a bed in a room that doesn’t look as though anyone really lives in it. Her sister, Sloane, is in 23 pictures, but she wears a variety of wigs and so many different creative applications of cosmetics that it’s not

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“She” by Lise Sarfati was published by Twin Palms in 2012.

Join us Wednesday, January 16 at 2:00 PM For a screening of the film “Todos Santos” By Metamorfosis Documentation Project

PHOTO BY CRAIG JOHNSON

always obvious it’s the same person from page to page. What gives her away is a gaze that appears hypnotized by something the rest of us can’t see. She looks checked out, mentally, while folding baby clothes, while sitting at the edge of a couch in jeans and a bra, while walking down her front steps. Mentally checked out, or just somewhere else, though there is no sign that this other place is somewhere she wants to be. Christine and her sister, Gina, look so much alike that it’s tough to tell them apart until you realize that Gina walks taller than Christine, her arms are ink-free, and her style is more Hollywood, less Goth. In one picture, Gina, her black hair bleached blond for the moment, stands on a sidewalk, perhaps waiting for a bus. She wears a vintage red suit and black heels. In the next picture she’s on a different sidewalk, wearing a black dress and vintage coat. Her wardrobe doesn’t feel like a costume. In either photo she could be going to work or going on a date, and she seems quite ambivalent about which one it might be. But maybe that’s simply a factor of being caught with no particular thought in her head by Sarfati, who insists she directs absolutely nothing. “I have always been attracted by the theme of shifting perspective and by extremely strong individual characters. What interests me is the characters’ subjectivity instead of a social commentary. I always work within the subject’s environment, on the relationship that the subject experiences with the outside world. This then informs and creates my own vision of that world. I would say this work is autobiographic, a personal projection, but also feministic. The woman is like a mole through which the narration can take place. It is also a way to validate antiheroines of society and make them essential. She exists so one can ask oneself questions. Of course, it is about the relationship between mother, daughter, and sisters, but this book acts as a mirror for the viewer.” ◀

Presented in conjunction with the exhibition Folk Art of the Andes The filmmakers talk about the origin of Day of the Dead in Latin America, followed by the film “Todos Santos: La Fiesta de las Ánimas” which focuses on Day of the Dead rituals in a small Quechua village in Bolivia.

Free with museum admission New Mexico seniors with I.D. free on Wednesdays. Youth 16 and under and MNMF members always free. Funded by the International Folk Art Foundation.

On Museum Hill in Santa Fe www.internationalfolkart.org · (505) 476-1200

PASATIEMPO

Adele Oliveira I The New Mexican

Child’s play Santa Fe Concert Association’s Cinderella

January 11-17, 2013

Photos Jane Phillips/The New Mexican

From left, Hailey Clark, Alissa Anderson, and Elizebeth Barnes in Santa Fe Concert Association’s Cinderella; opposite page, Claire Shackleton (left) and Kate Tombaugh

he theater inside the Scottish Rite Center looks tailor-made for fairy tales. Though it was originally constructed for the Masonic order’s intricate degree-granting ceremonies, the twinkling-star-shaped lights in the blue-sky ceiling, the grand pianos, the Dracula-style coffin backstage, and especially the antique hand-painted canvas backdrops make the space seem not quite of this world. The charm is enhanced by the fact that not much has changed inside the building since it was completed in 1912 — some of the theater’s wooden seats still have wire hat holders underneath. The year 1912 is also when Jules Massenet’s opera Cendrillon, or Cinderella, was first performed in the United States. Massenet’s telling of the Cinderella story had its first performance in Paris in 1899, and his version is light, fanciful, and romantic. On Friday, Saturday, and Sunday, Jan. 11 to 13, the Santa Fe Concert Association presents it as a free, abridged (and translated from French into English) community opera at the Scottish Rite Center’s theater. “Cinderella’s humor and magic will especially appeal to families,” said Joseph Illick, SFCA’s executive and artistic director. “And because it’s shortened to just over an hour, it’s a very sit-throughable opera, for kids and, quite honestly, for a lot of their parents, too. When you edit an opera, you leave in the action that moves the story ahead, and you take out the slow reflective parts. ... It’s very cinematic.” On a recent afternoon, the stage at the Scottish Rite Center was set with one of the old backdrops used in the show. The forest scenery, which includes staggered panels that appear from the wings and one wide backdrop at the back of the stage, looks almost real from the mezzanine — the paint and chicken wire are apparent only when you get up close. Though the colors are somewhat muted, the old backdrops are in excellent shape, and the forest backdrop plays an important role in the opera. “Massenet wanted it to be fairy-tale-like, and the forest is not a part of the story that most people know,” Illick explained. “When Cinderella leaves the ball, she goes into a delirium in the enchanted forest. The Scottish Rite’s gorgeous forest drop just fell into our laps.” To enhance the opera’s whimsicality, Massenet also mandated that a woman sing the role of Prince Charming. Cinderella is decidedly youth-oriented. In addition to the eight adult singers who perform during the show, seven Santa Fe kids between the ages of 11 and 15 will also sing as part of EPIK, the concert association’s youth-artist program. The children sing the chorus and play fairies, servants, and courtiers. Of course, the young people in the audience are the very reason for the show: “We want to pass on passion for great performance to the next generation,” Illick said. “We want to make opera accessible, with no obstacles in the way. This opera’s in English, and it’s short, fun, and free. After kids see it with their parents, maybe they’ll want to see a live performance the next time they have an opportunity.” In addition to the public performances, the opera will show four additional times for Santa Fe public school third-graders. Illick has been with SFCA for four years but often travels to conduct operas elsewhere. He assembled Cinderella’s cast of professional opera singers from around the country, drawing on friends, acquaintances, and performers he’s worked with before. “I know wonderful singers from everywhere. That’s the easiest and most enjoyable part,” Illick said. The cast members arrived in Santa Fe just a week prior to the opening of the show and were expected to know their parts cold before going into rehearsals. “It’s an expectation that you show up on the first day with everything memorized, just four or five days before first dress [rehearsal],” said Kate Tombaugh, the mezzo-soprano who plays Cinderella. “Luckily, I already know a good chunk of the people, and they’re stellar performers.” The SFCA production is the third time Tombaugh has learned the role of Cinderella. She grew up on a farm in Illinois and was the lead in her high school’s production of Rodgers and Hammerstein’s Cinderella. Last year, Tombaugh was a cover (opera-speak for understudy) in La Cenerentola, Rossini’s version of Cinderella. Also last year, Tombaugh sang in SFCA’s The Magic Flute, another community opera. (She was an apprentice artist at the Santa Fe Opera during the 2011 season.) “The timing of the show is kind of perfect,” Tombaugh said. “It’s right after the start of a new year, the holidays are over, and the magic of the season is fading away. … And Cinderella is the kind of person that we all want to be: she’s unbelievably forgiving to her family, and extremely hopeful.” Cinderella has a lot to forgive in Massenet’s version of the story. In his telling, Cinderella’s father, Pandolfe, is remarried to Madame de la Haltière,

the quintessential wicked stepmother, who goes everywhere with her two odious daughters. Pandolfe loves his daughter but is rather weak-willed. As in Disney’s 1950 animated film, Cinderella lives as a servant in her father’s house. But in the Massenet production, the insult is compounded because her father is still alive. “She’s very much like she is in the Disney version,” said Alissa Anderson of her character, Madame de la Haltière. (In real life, Anderson is engaged to Kyle Albertson, who plays Haltière’s on-stage husband, Pandolfe.) “She’s an opportunist. She has one small aria toward the end of the show, but mostly her singing is very quick and to the point. She sings with her daughters a bit; they’re kind of like a three-headed monster.” Like Tombaugh, Anderson has performed in SFCA’s community opera before, as the mother in Hansel and Gretel two years ago. Anderson describes Cinderella as “funny and loud,” elements of theater that will appeal to most kids, whether they’re 5 or 15. “You’re going to see real live magic on stage,” Illick said, explaining that two magicians are part of the nonsinging ensemble. “It’s lush, gorgeous music,” Tombaugh said. “And the community aspect of the show — that it’s a free performance for the public — is really important. I remember last year that kids came with stuffed animals and blankets and piled up in the front. They’re so close — you can practically reach out and touch them.” ◀

details ▼ Cinderella, presented by the Santa Fe Concert Association ▼ 7 p.m. Friday & Saturday, Jan. 11 & 12; 2 p.m. Sunday, Jan. 13 ▼ Scottish Rite Center, 463 Paseo de Peralta ▼ No charge; www.santafeconcerts.org, 984-8759

PASATIEMPO

A VISIT TO THE IMPOSSIBLE MUSEUM

or myriad reasons, you will probably never see a number of well-known, significant works of art. Some, such as Frida Kahlo’s Self-Portrait With the Portrait of Doctor Farill, are in private collections, inaccessible to the public. Other works have been lost or stolen from museum and gallery walls, such as Raphael’s Portrait of a Young Man, looted by the Nazis from the Czartoryski Museum in Poland in 1939. Tragically, some works of art have been destroyed, including Gerrit van Honthorst’s The Adoration of the Shepherds, damaged beyond repair in a bombing near the Uffizi Gallery in Florence, Italy, in 1993. Though the Honthorst painting may not have been specifically targeted, such is not the case with the 2001 demolition of the Buddhas of Bamiyan in Afghanistan by the Taliban, an act that brought widespread, international condemnation. These examples and others, dating from prehistoric times to the present, are included in French art historian Céline Delavaux’s The Impossible Museum: 30

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The Best Art You’ll Never See, published by Prestel. While by no means an exhaustive account of missing or inaccessible art — Delavaux includes only 40 case studies — the book recounts fascinating, and often unfortunate, histories. “The purpose was a visual and entertaining approach accessible to a wide audience,” Delavaux told Pasatiempo. “Therefore, I chose artworks I considered were telling the most enlightening and exciting stories. We unfortunately had to give up some very interesting subjects because we did not find the ideal pictures in order to illustrate them. I evoke a couple of these subjects, impossible to illustrate, in the chapters’ introductions. In terms of iconography, this book was a headache. You can imagine that it’s difficult to illustrate 40 subjects that do not exist anymore.” Fortunately, in the case of certain objects, photographs and reproductions do exist, enabling Delavaux to show the reader what those works looked like. Leonardo da Vinci’s Leda and the Swan is a good example. Leonardo made two versions of the painting, both lost to time. However, we can

view sketches for the painting and copies made by other artists. Delavaux also includes conceptual, postmodern works intended to live impermanently. For instance, Robert Smithson’s Spiral Jetty is a massive earthwork in Utah’s Great Salt Lake, where rising waters occasionally submerge it. On other occasions, Spiral Jetty reemerges from the lake when water levels fall, significantly transformed from its original appearance. “We started this project having the idea to evoke ‘transformed’ or ‘disappeared’ works of art such as land art pieces,” said Delavaux, who also discusses Christo and Jeanne-Claude’s Surrounded Islands, a slew of islands in Florida’s Biscayne Bay that they wrapped in skirts of pink fabric. “Like all their projects,” Delavaux writes, “Christo and JeanneClaude’s Surrounded Islands took many long years of preparatory work — three years of preparation for just two weeks of existence.” Employing 300 workers, Christo and Jeanne-Claude also wrapped the Pont-Neuf, the oldest bridge in Paris, in 1985, again for just two weeks. These works, although it is

Michael Abatemarco I The New Mexican

possible to recreate them, exist now only in photographs and as plans on paper. Much of what we know of the artwork of some civilizations comes from copies made by later cultures. For instance, many Greek sculptures from antiquity are known to us today only through Roman copies. Even Pompeii’s richly painted frescoes, remarkably preserved in volcanic ash, bear the influence of Greek originals. “Artworks from Alexandria were circulating in Rome and other Italian cities,” Delavaux said. “Local artists painted after these original pieces, freely, with their own touch and imagination. The works produced were no longer copies of Alexandrian art but strongly inspired by it.” These, too, have a place in the expansive collections of the Impossible Museum. Some of the objects discussed in the book are merely hidden from view, not lost, stolen, or destroyed. Francesco Albani’s The Allegory of Fertility, for instance, was in the collection of the Palais du Luxembourg, the private apartments of the president of the French senate, from the mid-19th

century until 2010. The Louvre, owner of the painting, had worked to retrieve it for a decade. “The case of The Allegory of Fertility was chosen because it is quite amazing and, above all, comical that it would take 10 years for the Louvre to get the painting back just because the senate wants to keep it on its premises,” Delavaux said. The painting, out of the public eye for more than a century, has since been returned to the Louvre. Institutions dedicated to the preservation of art often struggle to maintain their rightful property. “To retrieve the works that belong to them,” Delavaux writes, “national museums very often have to negotiate aggressively with borrowers who, when they accept to return their treasures, demand others in exchange.” Cultural institutions also fret over the care of high-profile objects in private collections that are not always properly conserved or protected. Among the innumerable collections of the Impossible Museum are the many artworks stolen over the centuries and never recovered. In addition

From left; Jan Vermeer: The Concert, 1664; Christo and Jeanne-Claude:, Surrounded Islands, 1980-1983; Francesco Albani: The Allegory of Fertility,1640; one of the Buddhas of Bamiyan, Afghanistan, circa 500-700; Paul Cézanne, The Boy in the Red Waistcoat, circa 1880-1890

to Raphael’s Portrait of a Young Man, the museum holds a Stradivarius valued at $3.5 million and Paul Cézanne’s The Boy in the Red Waistcoat. Delavaux also includes Jan Vermeer’s The Concert, a painting cut from its frame during one of the largest art heists on American soil. The 1990 theft from the Isabella Stewart Gardner Museum in Boston also involved the loss of a Rembrandt and several drawings by Edgar Degas, among other objects. Should The Concert ever be deaccessioned from the Impossible Museum — in other words, found — it is likely to be damaged beyond repair. “Stolen,” along with “Hidden,” “Transformed,” “Destroyed,” and “Disappeared,” is just another wing of the vast repository. Even the prestigious Louvre cannot compete with the holdings in the Impossible Museum. Delavaux’s representative sampling is just the tip of the iceberg. ◀ “The Impossible Museum: The Best Art You’ll Never See” by Céline Delavaux was published by Prestel in 2012. PASATIEMPO

Bill Kohlhaase I For The New Mexican

ChrisWare puts the graphic novel inside and outside the box raphic novelist Chris Ware’s work is replete with architectural elements — constructions that suggest collages or mandalas. A single page might hold a variety of panel sizes. Small panels are overlaid on larger scenes. Often, panels fit together like modular puzzle pieces, a square group of four stacked against a single panel of equal size, for instance. A fullpage illustration containing various story elements might precede a jumbled page of small bits and pieces, some so tiny that you need magnification to appreciate them. Inside those panels are square lines, right angles, and crescents that picture stained-glass windows or foreheads. Buildings with slanted roofs and tight-lined windows stand in geometric contrast to ovals depicting bees and human beings. The twist of a bird’s head is pitched a perfect 45 degrees from the straight line of its tail and red body. Everything is at once circular or neat and square. Large block text contrasts with smaller cursive statements. Arrows, bubbles, and wiggling lines are used to direct readers along the sometimes orbital path of the layout. Ware’s latest book, Building Stories (Pantheon Books) — parts of which are collected from his Acme Novelty Library series — is a dimensional expansion of these techniques. The book comes in a box that contains 14 pieces: strips, bound volumes, stapled chapbooks, fold-open displays, and a collapsible game board on which to follow the progress of his subjects. The architectural elements of Ware’s design carry over into his narrative as he reveals the quiet desperation of the lives conducted within and without a three-story apartment building. The building gives form to the lives of the main characters, each occupying a single floor. One volume follows them through a single day, Sept. 23, 2000. That book’s inside cover mimics the yellow endpapers of the Little Golden Books children’s series, right down to the open volume awaiting the owner’s inscription. But this book isn’t for children. Its first few pages are narrated by the building itself as it considers that it has a vacancy and remembers its sometimes glorious past. One page reveals its tenants in see-through ovals. Another page reveals the building’s various rooms by taking away its roof and sides. It’s characteristic Ware, jumping through time and space in a single view, telling multiple stories at once, even as that day in September begins promptly at midnight. Ware explained how the spaces he creates, many springing from his past, serve as outlines for his stories. “It probably comes back to memories of the house I grew up in and memories of my grandmother’s house,” he said. 32

January 11-17, 2013

“I navigate those places almost daily in my mind, and the three-dimensional ‘maps’ I’ve internalized are all also filled with stories, so for better or for worse I frequently try to work that way when I’m writing and drawing fiction. In the case of Building Stories, it was very specifically designed to be about one day in the life of a building itself, and so I began and ended with images of it.” Ware’s style has evolved through the 20 volumes of his Acme Novelty Library, which includes such comics as Quimby the Mouse and Jimmy Corrigan: The Smartest Kid on Earth. His characters, mostly lonely, alienated, Eleanor Rigby types, often enliven reality with fantasy. Jimmy Corrigan transcends time and space in a depressingly lonely epic of fathers and sons. Ware’s Rusty Brown series is a coming-of-age-delayed tale of a man-child in love with collectibles. Quimby the Mouse — he’s no Mickey — avoids real life as he indulges in the worst that pop culture has to offer. Early editions of Ware’s Acme Novelty Library contained arcane and satiric advertisements straight out of marketing’s quaint past. Sample pitch: “Break Into Surgery; Exciting Field Offers Multiple Opportunities.” Some of the same playful salesmanship is found on the back of the Building Stories package: “Within this colorful keepsake box the purchaser will find a fully continued on Page 35

In an art form with a long history of serialization,Wareâ&#x20AC;&#x2122;s 14-installment assembly can be entered at any point.

He has taken the comic far from the strip, with page layouts that twist multiple narrative threads into a single strand.

No clue is given as to the order in which they should be read.

PASATIEMPO

Images from Building Stories by Chris Ware; courtesy Pantheon Books

A small, heavily stylized chapbook, Branford: The Best Bee In the World, is a joke-filled allegory of how we mistake happenstance for acts of God.

This book isnâ&#x20AC;&#x2122;t for children. Its first few pages are narrated by the building itself as it considers that it has a vacancy and sometimes remembers its glorious past.

January 11-17, 2013

Chris Ware, continued from Page 32 apportioned variety of reading material ready to address any imaginable artistic or poetic taste.” The accompanying pictures show each of the 14 pieces, which are then connected to a line drawing of “an average, wellappointed home.” No clue is given as to the order in which the pieces should be read. The two-paragraph blurb also states the collection’s purpose as it summarizes the author’s view of human existence: “Whether you’re feeling alone by yourself or alone with someone else, this book is sure to sympathize with the crushing sense of life wasted, opportunities missed and creative dreams dashed which afflict the middle- and upper-class literary public.” The characters here, all worthy of sympathy, aren’t from the usual literary class. The old woman on the first floor — none of the characters have names — transcends her isolation through nostalgia. The man and woman on the second floor are alone together, leading separate lives (and having separate fantasies) even as their days are intertwined. The central character of the collection lives on the top floor. She’s a young woman with only a leg and a half, a woman too eager to be loved. She suffers from insomnia, the

The architectural elements of Ware’s design carry over into his narrative as he reveals the quiet desperation of the lives conducted within and without a three-story apartment building.

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ignorance of an indifferent society, and a nagging self-doubt of the sort that surfaces often in Ware’s writing and sketchbooks. She eventually enters a relationship, has a daughter, and moves out of the building into a home of her family’s own. But the story line takes a back seat to her alienation. Panel after wordless panel shows her in bed or moving through the mundane events of the day. Only her daughter seems to fill the hole she sees in her existence. There’s little comic in Building Stories, and told without pictures, these tales would be tedious. When the lonely young woman wanders out of the building coatless in a snowstorm declaring, “Let it bury me, for all I care,” readers might want to look away in embarrassment. But Ware’s telling illustrations won’t allow it. Not everything in the package is without humor, however. The Daily Bee, a newspaper-sized foldout, takes a laughable look at the male in society and his futile attempts to stand apart from the swarm. A small, heavily stylized chapbook, Branford: The Best Bee In the World, is a joke-filled allegory of how we mistake happenstance for acts of God. How do these works connect to Building Stories? In both, Branford comes home to a hive in a tree outside the apartment building to suffer the same existential and relationship problems of the humans next door. Aside from being housed in a box, Building Stories is unique for the way it melds narrative and illustration into an artistic whole. In an art form with a long history of serialization, Ware’s 14-installment assembly can be entered at any point. He has taken the comic far from the strip, with page layouts that twist multiple narrative threads into a single strand. His most frequent design element is his most successful. He’ll center an image — often an eyeless mask or an entire body — in the middle of a page and let the story circle around it. Ware has insight into psychology and everyday existence. But it’s his ability to illustrate the human condition in unique ways that keeps the stories meaningful. In this sense, Building Stories is both a narrative and a visual triumph. ◀

The Magistrate

January 17

John Lithgow stars in Arthur Wing Pinero’s uproarious Victorian farce, broadcast in HD from London’s National Theatre.

Lensic Presents

Back-to-Back Evenings of Great Performances Both shows 7 pm • $22/$15 Lensic members & students

Barrymore

January 18

Christopher Plummer plays legendary actor John Barrymore—and gives a performance that’s creating Oscar buzz—in this dramatic one-man film.

Tickets: 505-988-1234 www.TicketsSantaFe.org S E R V I C E C H A R G E S A P P LY A T A L L P O I N T S O F P U R C H A S E

“Building Stories” by Chris Ware was published by Pantheon Books in 2012. 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 rt e d o r ga n i z at i o n

PASATIEMPO

Michael Abatemarco I The New Mexican

Séance with Henry Miller and Emil Schnellock The artist does not tinker with the universe; he recreates it out of his own experience and understanding of life. — Henry Miller, from “An Open Letter to Surrealists Everywhere”

enry Miller’s words could be true for artists of all kinds, not just Surrealists. Santa Fe artist Kathleen McCloud’s project Open Letter From the Hôtel Central, Paris — Santa Fe: A Correspondence Between Henry Miller, Emil Schnellock & Posterity is a recreation in visual form of a story from long ago about how the past affects the present and vice versa. It is the story of a friendship between two men, artist Emil Schnellock and Miller, whose correspondence in the early 1930s reflected Miller’s development as a writer.

A project by Kathleen McCloud For McCloud, the project, a work in progress, began when she inherited a Samsonite suitcase full of ephemera once in the possession of Schnellock. Among the objects were artwork, china dolls, correspondence between Schnellock and Miller, and writings in Miller’s own hand — or more accurately his own typewriter — that he had sent to Schnellock to preview. The collection included a draft of “An Open Letter to Surrealists Everywhere” as well as Anaïs Nin’s preface to Tropic of Cancer, with Miller’s notes to Schnellock scrawled in the margins. “It was an inheritance which to me, in the biggest sense, is a gift, like something just falls from outer space into my lap,” McCloud told Pasatiempo at her studio. “My aunt Dorothy, on my paternal grandmother’s side of the family, was married to my great-uncle Charlie and grew up in Brooklyn with her brother Emil. Henry really admired Emil in high school. It was interesting to me on a few levels to be given this because it had so much about Henry Miller, yet it was Emil’s life and archive.” Schnellock died in 1958. After McCloud’s aunt Dorothy died, Schnellock’s archive passed to McCloud’s mother, the executor of her aunt’s estate. “The letters Emil held onto all went, for the most part, to UCLA, and the Henry Miller Memorial Library in Big Sur has a lot of the Emil Schnellock collection,” McCloud said. Part of her work involves finding the right home to preserve items from the suitcase. For the art project, McCloud has been creating two-dimensional works as well as an installation with objects from the suitcase, including Schnellock’s china dolls and copies of documents too fragile and historically significant to be incorporated. In the installation, the items are placed under an old bed, eventually to be fitted with glass in place of a mattress, turning the bed into a display case. “At the Hôtel Central [where Miller lived in Paris], Miller talks about how everything went under the bed. So under the bed is everything we don’t talk about, including sex, violence, war. So that’s what this is all about.” On a bedside table, also part of the installation, is an old, cracked, leather-bound Bible that belonged to Miller when he lived in New York. “He gets the Bible on March 3, 1925, and he turns it over to Emil on March 21, 1925. So he keeps it, what, 18 days? If you read Plexus, he

January 11-17, 2013

sends June [his second wife] out to go find a Bible. Plexus is about that time. That could very likely be the Bible that shows up in Plexus.” McCloud hopes to have some aspects of the project, based on “An Open Letter to Surrealists” and Tropic of Cancer, ready for exhibition in the spring of 2013. “One of my favorite parts that has been most heartfelt for me, in this briefcase of stuff, has been ‘An Open Letter to Surrealists Everywhere.’ It’s a 54-page open letter written in 1938. It deals with so many things I can hardly begin. Nineteen thirty-eight. He’s living in Paris. There’s going to be a war. It’s about Surrealism, it’s about the state of the planet, and he’s deeply steeped in astrology and philosophy at this point.” At the Hôtel Central, Miller lived an impoverished life. Schnellock, whose portrait of Miller graces the cover of Letters to Emil (New Directions Publishing, 1989), managed to secure financial assistance for the writer and for himself — the result of serendipitous circumstance. McCloud explains: “Emil ends up moving to Virginia and, apparently, saved a little girl from drowning. The family was this very very wealthy family, the Grays. They were forever indebted to Emil and took him into their family. They took him to Europe, they took him to Greece, and he ends up living in a cottage on this Montebello [Virginia] estate and staying there his whole life. He starts teaching at Mary Washington College. He was trying to get the universities — he knew some people, publishers and things — to get Henry’s work out there and, of course, trying to get the Grays to send Henry money.” In exchange for money, Miller sent the Grays a watercolor, also part of McCloud’s inheritance. “Emil opened the world, in a sense, to Henry. He would hang out in Emil’s studio, look at the big map of Paris over the desk, and Emil would encourage him. He could always see the genius of Henry Miller. “Henry gets over to Paris. It’s springtime, and he’s writing these letters home. The scholars say he found his voice in those letters, that real first-person, intimate voice. Emil was his key person. He was the great audience, and he listened very deeply, without judgment.” McCloud’s portrait of Miller is taken not from a photograph of the writer but from another portrait by Schnellock. Her mixed-media image of the writer is affixed with wire-rimmed glasses that she fabricated for the piece. Her intention is to bring all the separate elements of the work in progress together as a recreated room of the Hôtel Central by 2014, the 50th anniversary of the Supreme Court’s decision that Tropic of Cancer was a work of literature and not pornography. The decision was the result of a series of obscenity trials surrounding publication of the book in the United States, where it had been banned. “I kind of feel like I’ve had a séance going on for a long time with these people,” McCloud said. “As a visual artist and person who works with ideas and words, I felt like I was given this as a pathway. Six months, a year would go by, and I’d pull out the information and read it. The web of correspondence and their curiosity, their unrelenting search for meaning in life and purpose — there was just this beautiful discussion. It’s not so much about Henry Miller as it is about love. It’s about the conversation I’ve had going on all these years. So how do I go through all this information I’ve been given and what’s relevant today? It’s about what’s alive and if the past is really with us, and I think it is.” ◀

Above, Kathleen McCloud: Henry, 2011, ink on ink on Okawara paper with stitching, 35 x 20 inches; other images from the in-progress Open Letter From the H么tel Central installation PASATIEMPO

Torchbearers

New Mexico’s National Heritage Fellows Casey Sanchez I For The New Mexican

Map by Charles M. Carrillo, 2012, photo Michael Pettit

January 11-17, 2013

ince the National Endowment for the Arts instituted the National Heritage Fellowship program in 1982, New Mexico has had more National Heritage Fellows than any other state. Bestowed at a White House ceremony, the prestigious federal award honors artists for their lifetime achievements and for excellence in practicing national folk and ancestral arts. With its colcha embroidery and santos, tinwork and corridos, our sparsely populated state creates traditional, heritage-based art on par with an independent small nation. This art represents a commingling of Native, Mexican, and Spanish traditions, often filtered through religion and crafted from local materials. Santa Fe-based author Michael Pettit seized upon these facts to research and write Artists of New Mexico Traditions: The National Heritage Fellows, published by Museum of New Mexico Press. His work grew out of a 2009 exhibition featuring New Mexico National Heritage Fellows at the Museum of International Folk Art. An accompanying film, Living Traditions, featuring candid interviews with the artists, had its premiere at the Santa Fe Film Festival in 2012. “One of the things about traditional arts, here and elsewhere, is they very frequently come out of a family setting,” Pettit said. “These artists have not only mastered the larger tradition in which they are situated, but there is a practical aspect to their work as well. For instance, we call it art now, but historically with Pueblo pottery, whether it is Cochiti or Santa Clara, its origins were utilitarian.”

Clocklwise, from opposite page, Roberto (who died earlier this month) and Lorenzo Martínez, 2003, photo Tom Pich; Margaret Tafoya, Santa Clara Pueblo, early 1950s; Emilio and Senaida Romero working at their kitchen table in Santa Fe, circa 1987, photo Eduaro Fuss; Museum of New Mexico and Spanish Colonial Arts Society curator E. Boyd restoring a retablo, Santa Fe, 1958, photo Charles Herbert; Charles M. Carrillo, Spanish Market, 2010, photo Michael Pettit Images courtesy Museum of New Mexico Press

Though it’s an art book, not a history book, it’s impossible to read Artists of New Mexico Traditions and not come away with an understanding of how the state’s history is written in its arts. Santos visually taught about Catholicism in a land with few priests and a low literacy rate. Río Grande weavings came into being as a result of the confluence of plant-based dyes and the wool of the Navajo-Churro sheep, imported to North America by Spaniards in the 16th century. Religious tinwork arose out of necessity. In a land with little gold, silver, or even iron, resourceful artisans repurposed lard tins and lamp-oil casings to make intricate work to honor their God and to beautify their houses. “I’m not an art historian. I’m a writer. I wasn’t out to make academic judgments. I was out to tell stories,” Pettit said. Traveling around New Mexico, he was warmly welcomed by artists and by the families of those artists who had died. Pettit said that, unlike many contemporary artists who can be cagey about disclosing the exact nature of their techniques, the individuals he met wanted to share everything about their craft and embrace the larger world. “I’ve never met a snarky folk artist,” he said. Ten of the 15 artists profiled in the book are no longer alive. Some interviews are conducted with artists’ children, such as Nancy Youngblood, who speaks movingly about her mother, Santa Clara potter Margaret Tafoya. Youngblood remembers her mother saying, “This is who you are; this is what family you are. You are not going to go and buy your clay from the store. You are not going to use electric tools, or commercial glazes, or put your pots in a kiln. You are going to do it this old way, so this tradition gets carried on.” Nearly all the artists Pettit profiles will be familiar to Pasatiempo readers and followers of the state’s traditional arts. Among the entries are profiles of continued on Page 40 PASATIEMPO

National Heritage Fellows, continued from Page 39 Above, from left, weaver Irvin Trujillo, Chimayó, 2006, photo Tom Pich; Estella Garcia’s Federal Art Project colcha embroidery class, Melrose, 1936, Palace of the Governors Photo Archives (NMHM/DCA) 090204; below, Helen Cordero (1915-1994) with unpainted storyteller, Cochiti Pueblo, 1986, photo Tom Pich

metalsmith and santero Ramón José López, storyteller Esther Martínez of Ohkay Owingeh Pueblo, Río Grande weaver Irvin Trujillo, mariachi musicians Roberto and Lorenzo Martínez, and the tinwork and colcha embroidering duo of Emilio and Senaida Romero. “Many of these artists revive traditions without being overly constrained by them,” Pettit said. One clear-cut example of innovation informed by tradition is in the story of Cochiti potter Helen Cordero. Though Pueblo storyteller figurines are now ubiquitous throughout the state, their appearance in the 1960s was unexpected, reviving an ancient religious practice that had nearly been destroyed by early Spanish authorities. Cordero, who passed away in 1994, developed the modern era’s first storyteller figurines in 1964. The storyteller is a rotund, bemused figure, male or female, who sits surrounded by an extravagant number of children. The storyteller revived figurative Pueblo pottery, a tradition that came to a smashing halt with the arrival of Spanish missionaries, who destroyed traditional votive vessels on grounds of blasphemy and sorcery. Cordero referred to the Spanish era as a time when “pottery was silent in the pueblos.” As Pettit noted, many handmade goods and arts nearly disappeared in the late 19th century as railroads brought mass manufactured goods to even the smallest New Mexico towns. In the next century, however, the arrival of Anglo art collectors from the East Coast created a market for traditional goods, and the Los Alamos National Laboratory gave jobs to many craftspeople, who could then create in their free time. “Los Alamos jobs came up over and over again in interviews,” Pettit said. “Another part of the story is that traditional arts get supported by the most modern elements of our society, the nuclear laboratory, the Works Progress Administration, art curators, and museums.” The book is a carefully crafted catalog of how these arts managed to survive for so long in an isolated land. It is also a vibrant story of the culture and families that made the work of any individual artist possible. “Not only are these arts still vital, still alive, but they express some of the deepest parts of these cultures,” Pettit said. “All these artists know that without the culture behind them, they wouldn’t be receiving the award. I tried to convey how much art and artists and history precedes them.” ◀ “Artists of New Mexico Traditions: The National Heritage Fellows” by Michael Pettit was published by Museum of New Mexico Press in 2012.

January 11-17, 2013

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— compiled by Robert Ker

ZERO DARK THIRTY Kathryn Bigelow’s CIA procedural about the hunt for Osama Bin Laden has stoked a fierce debate over the effectiveness and the morality of torture. In all of this soul-searching, it’s easy to lose sight of the fact that this is, as they say, only a movie. People on both sides of the moral debate have read it like a Rorschach test and found positions to praise or pillory. Bigelow has studiously tried to avoid taking a public stand on the central issue, but a narrative that starts with torture and culminates in success carries its own inescapable logic. Jessica Chastain gives a powerful performance in the role of the key investigator. For the most part the events feel real, sometimes unbearably so. Chastain has been nominated for a best actress Oscar, and the film is up for best picture. Rated R. 157 minutes. Regal Stadium 14, Santa Fe; Storyteller, Taos. ( Jonathan Richards) See review, Page 46.

Scenes from a moll: Emma Stone and Ryan Gosling in Gangster Squad, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week ANY DAY NOW Filmmaker Travis Fine’s latest drama is based on the true story of a West Hollywood gay couple’s attempt to adopt a mentally disabled child who is being neglected by his drug-addicted mother. An aging, broke, flamboyant drag performer — brilliantly played by Alan Cumming — and his newfound lover, a closeted district attorney (Garret Dillahunt), quickly form a loving bond with the boy. But as they fight for full custody within a prejudiced legal system, the mother is released from jail and also fights for parental rights. Stellar performances, meticulous production design, and a great soundtrack make Any Day Now a joy to watch. Rated R. 97 minutes. The Screen, Santa Fe. (Rob DeWalt) See review, Page 47. GANGSTER SQUAD Get out your fedora and suspenders, because it’s time to return to late-1940s Los Angeles, where gangsters ruled (in the movies, anyhow) and the cops were crooked. Well, some cops weren’t. This film focuses on a small, secret group of policemen who get together to take on the mob. Sean Penn, Ryan Gosling, Josh Brolin, and Michael Peña play some of the cops and robbers, while Emma Stone is the top-billed dame. Rated R. 113 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) 42

January 11-17, 2013

A HAUNTED HOUSE In the early 2000s, Marlon Wayans made a small fortune with the Scary Movie series, in which he spoofed the Scream franchise that was so popular at the time. Perhaps he wants a new addition on his home, because he’s back to make fun of the Paranormal Activity films. The trailer has some so-dumb-they’re-kind-of-funny jokes, and you can bet that most of the film’s best gags are found there. Rated R. 86 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) LA RAFLE This drama centers on the 1942 Vel d’Hiv Roundup, in which thousands of Jewish people were arrested in Paris in an operation organized by the Nazi overseers of the Vichy regime. Jews were taken to the Vélodrome d’Hiver sports stadium and then to internment camps. This film, based on a true story, tells of one family’s capture. Mélanie Laurent and Jean Reno star. In French with subtitles. Not rated. 115 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) NATIONAL THEATRE LIVE: THE MAGISTRATE John Lithgow plays the title character in Arthur Wing Pinero’s comedy, in which a magistrate marries a woman (Nancy Carroll), only to find out that she and her son are both five years older than she claimed Directed by Timothy Sheader. 7 p.m. Thursday, Jan. 17, only. 155 minutes, including one intermission. Lensic Performing Arts Center, Santa Fe. (Not reviewed)

now in theaters ANNA KARENINA This is not like any Anna Karenina you’ve ever seen before. 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 doesn’t manage to play between them. Nominated for Oscars in four categories. Rated R. 129 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) ARGO Ben Affleck takes a true story by the throat and delivers a classic seat-squirming nail-biter that has been nominated for seven Academy Awards. 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 (nominated for a best supporting actor Oscar) and John Goodman at the Hollywood end. Rated R. 120 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards)

THE CENTRAL PARK FIVE This documentary examines an infamous case in which a 28-year-old white female jogger was brutally beaten and raped on a 1989 spring evening in New York City. Five black and Latino teenagers who were in the park at the time gave false confessions, and each spent between six and 13 years in prison for crimes they didn’t commit — until the real perpetrator came forward in 2002. His confession and DNA evidence exonerated the Five. Directed by Ken Burns, his daughter Sarah Burns (who wrote the book on which the film is based), and her husband, David McMahon, the film delivers a complex and detailed portrait of systematic racial and class inequality. Not rated. 119 minutes. Center for Contemporary Arts, Santa Fe. (Adele Oliveira)

THE HOBBIT: AN UNEXPECTED JOURNEY This is the first of Peter Jackson’s three films based on Tolkien’s 1937 children’s novel about a hobbit named Bilbo (Martin Freeman) who is recruited by the wizard Gandalf (Ian McKellen) and 13 dwarfs to help slay a dragon. The Hobbit is a breezier book than the Lord of the Rings trilogy, and so the movie is more lighthearted than Jackson’s earlier adaptations — sometimes awkwardly so. Still, the attention to detail, the magnificent effects, the warm cast, and the heartfelt themes make The Hobbit a journey full of expected delights. Three Oscar nominations. Rated PG-13. 169 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; screens in 2-D only at Storyteller, Taos. (Robert Ker)

CHASING ICE Director Jeff Orlowski follows environmental photographer and one-time climate-change denier James Balog as he launches and maintains his Extreme Ice Survey, a long-term photography project that gives what Balog calls a “visual voice” to the planet’s rapidly receding glacial ice sheets. Visually stunning and horrifying in scope and context, Chasing Ice is at its best when the talking heads of climate-change activism — of which there are way too many here — are not in the picture. At times the film appears to be more about Balog than the planet he’s attempting to save, and although his story and passion are compelling, the ice should be the true star here. Rated PG-13. 75 minutes. Center for Contemporary Arts, Santa Fe. (Rob DeWalt)

HYDE PARK ON HUDSON In June 1939, King George VI (Samuel West) and Queen Consort Elizabeth (Olivia Colman) flew to President Franklin Roosevelt’s estate in upstate New York to make sure they had support in the upcoming war. This bit of history could have made for a gravely serious film, but instead director Roger Michell (Notting Hill) cast Bill Murray as FDR and Olivia Williams as his wife, Eleanor. Murray is never fully believable, and the meeting of the powers is staged as an easygoing weekend in the country. Much of the drama actually stems from Roosevelt’s distant cousin Margaret “Daisy” Suckley (Laura Linney), with whom the president had an affair. Rated R. 95 minutes. Regal DeVargas, Santa Fe. (Robert Ker)

DJANGO UNCHAINED Quentin Tarantino’s first film since 2009’s Inglourious Basterds is an homage to the Spaghetti Western, but it mixes, matches, and mismatches ideas, themes, and music from a lot of other movies as well. Django ( Jamie Foxx) is a freed slave who partners with a bounty hunter (Christoph Waltz, a best supporting actor Oscar nominee) to find and free Django’s still-enslaved wife. The performances are solid and often terrific (as with Leonardo DiCaprio’s foppish Southern plantation owner), and the blood and humor flow openly. Still, it’s longer than it ought to be. Nominated Best Picture by the Academy. Rated R. 165 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Nott) THE GUILT TRIP Barbra Streisand and Seth Rogen play an overbearing mother and a neurotic son who travel across the country on a business trip and bond over the standard road-movie high jinks. Fortunately, the gags in the movie are much better than the pun in the title, as the comedy of Babs’ Broadway showmanship and Rogen’s snark blend surprisingly well. It’s a forgettable but funny film. Rated PG-13. 96 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker)

THE IMPOSSIBLE On the day after Christmas 2004, a tsunami swept through a swath of Southeast Asia, killing almost a quarter of a million people. Among the relatively lucky survivors were a vacationing family of five, played by Naomi Watts (up for a best-actress Oscar), Ewan McGregor, and a trio of sons. (The real-life family on which this ensemble is based is Spanish.) The movie follows their desperate struggle to stay alive and find one another again after they are separated by the wall of water. It must have been an experience of unparalleled terror. But despite fine work by Watts, McGregor, and the oldest boy (Tom Holland) and a remarkable orchestration of digital effects by director Juan Antonio Bayona’s production team, the movie treads water and never catches the wave. Rated PG-13. 97 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) JACK REACHER Tom Cruise plays airport-novel hero Jack Reacher, one of those former Army specialists that you get when you need something fixed. When a former Army sniper ( Joseph Sikora) is arrested for murder, possibly on false charges, it’s time for some fixing. Robert Duvall and Werner Herzog are among the co-stars. Rated PG-13. 130 minutes. Regal Stadium 14, Santa Fe. (Not reviewed)

A Haunted House

LES MISÉRABLES The stage musical version of Victor Hugo’s great novel is the longestrunning musical of all time. It has been seen by more than 60 million people in all sorts of languages and countries. This movie could put an end to all that. In the hands of director Tom Hooper, who guided The King’s Speech with such subtlety and grace, it is garish, shrill, and breathtakingly over the top. The songs are still there, up close and personal like you’ve never seen or heard them. The cast (headed by Hugh Jackman and Russell Crowe) performs bravely, if not always wisely or too well. Nominated for Academy Awards in eight categories, including Best Picture. Rated PG-13. 158 minutes. Regal Stadium 14 and Regal DeVargas, Santa Fe; Storyteller, Taos. ( Jonathan Richards) 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 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 continued on Page 44 PASATIEMPO

MOVING IMAGES pasa pics

continued from Page 43

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. Nominated for 11 Oscars, including Best Picture. Rated PG. 127 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. ( 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 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. Up for Academy Awards in 12 categories. Rated PG-13. 149 minutes. Regal Stadium 14, Santa Fe; Storyteller, Taos. (Bill Kohlhaase) 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 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. Rated G. 92 minutes. Screens in 3-D at Regal Stadium 14, Santa Fe; Storyteller, Taos. Screens in 3-D and 2-D at DreamCatcher, Española. (Robert Ker) PARENTAL GUIDANCE Billy Crystal and Bette Midler play an aging couple who try to help to raise their grandkids, often to comic effect. Rods are spared, children are spoiled, and everyone learns life lessons. Rated PG. 105 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed)

spicy bland

medium

mild

heartburn

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January 11-17, 2013

PROMISED LAND If there ever was a movie that had its heart in the right place, it’s Promised Land. It deals with one of the most fractious issues on the contemporary menu: fracking. And it comes down on the side of the environment. It has a good cast, headed by Matt Damon and John Krasinski (The Office), who co-wrote the screenplay (Gus Van Sant directed). But for all its good qualities and good intentions, it squanders its promise in a wallow of sentimentality, improbability, and preachiness. A little girl with a lemonade stand teaches Damon’s character a lesson about honesty, if that gives you some idea. Rated R. 97 minutes. Regal Stadium 14, Santa Fe. ( Jonathan Richards) A ROYAL AFFAIR In the 1760s, wellread 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 (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. Nominated for a best-foreignlanguage-film Academy Award. Rated R. 137 minutes. In Danish, German, and French with subtitles. The Screen, Santa Fe. (Laurel Gladden) 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. Nominated for a best-documentaryfeature Oscar. Rated PG-13. 85 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) SILVER LININGS PLAYBOOK After being released from a mental institution, Pat Solatano (Bradley Cooper) moves in with his parents ( Jacki Weaver and Robert De Niro) and vows to win back his estranged wife. When friends invite him to dinner, he meets Tiffany ( Jennifer Lawrence), who also has a couple of screws loose. She agrees to help him patch things up with his wife — but only if he will agree to be her partner in a dance competition. The finely honed dialogue, attention to detail, and impressive performances make the film a near-perfect oddball comedy. The four principals are up for Academy Awards, and the film garnered four additional Oscar nominations. Rated R. 122 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden)

STARLET In this low-key, oddly affecting drama from director and co-writer Sean Baker, young Jane (Dree Hemingway) is bored and has time to kill, so she leaves her bare-bones apartment with her dog and heads out to some local yard sales. At the home of grumpy elderly Sadie (Besedka Johnson), she buys a thermos she thinks will make a nice vase; back at home, she discovers rolls of $100 bills inside it. Guided by guilt, sympathy, or something else, Jane follows Sadie, and the two eventually become friends. This is no Harold and Maude, though. The performances and dialogue are easy and natural; and cinematographer Radium Cheung nails the ambience of lazy, wasted youthful summers. Not rated (contains explicit sexual content). 103 minutes. The Screen, Santa Fe. (Laurel Gladden) TEXAS CHAINSAW 3D Someone in Hollywood had a brainstorm about what object might look gnarly when coming out of the screen directly at your 3-D glasses. Late at night, the answer came: a chainsaw, of course! Thus, the Texas Chainsaw Massacre franchise was revved up again. Vrin, vrin, vrin! Nominated for zero Academy Awards. Rated R. 92 minutes. Screens in 3-D only at Regal Stadium 14, Santa Fe. Screens in 3-D and 2-D at DreamCatcher, Española. (Not reviewed) THIS IS 40 Pete (Paul Rudd) and Debbie (Leslie Mann), characters spun off from Judd Apatow’s Knocked Up (2007), are turning 40, and their lives are not much fun. Sex can sometimes be good, but just as often it’s not. They have money problems. They have different tastes. They still love each other, but the spark is gone. Mann is Apatow’s wife, and with their two children playing Pete and Debbie’s kids in this movie, it’s no stretch to hazard a guess that Rudd is standing in for Apatow in a story based at least in part on his family life. This midlife comedy has a smattering of good laughs, but stretched over two hours and a quarter, they wear thin. Rated R. 134 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. ( Jonathan Richards) 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. 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. Presented by Santa Fe Wagner Society, with discussions featuring Craig Barnes, Bernard Rubenstein, and Rabbi Marvin Schwab. 3 p.m. Sunday, Jan. 13, only. Not rated. 89 minutes. Center for Contemporary Arts, Santa Fe. ( James M. Keller) ◀

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1050 Old Pecos Trail, 982-1338, www.ccasantafe.org The Central Park Five (NR) Fri. to Sun. 4:15 p.m. Chasing Ice (PG-13) Fri. and Sat. 2 p.m., 5:45 p.m., 6:30 p.m. Sun. 1 p.m., 6 p.m., 6:30 p.m. Tue. to Thurs. 3 p.m., 4:45 p.m., 7:30 p.m. La Rafle (NR) Fri. to Sun. 1:30 p.m., 8 p.m. Tue. to Thurs. 6:45 p.m. Searching for Sugar Man (PG-13) Fri. and Sat. 3:45 p.m., 7:30 p.m. Sun. 7:45 p.m. Tue. to Thurs. 3:30 p.m., 5:30 p.m. Wagner & Me (NR) Sun. 3 p.m. regAl deVArgAS

562 N. Guadalupe St., 988-2775, www.fandango.com Anna Karenina (R) Fri. and Sat. 12:40 p.m., 4:10 p.m., 7 p.m., 9:50 p.m. Sun. to Thurs. 12:40 p.m., 4:10 p.m., 7 p.m. Argo (R) Fri. and Sat. 12:50 p.m., 4:20 p.m., 7:05 p.m., 9:45 p.m. Sun. to Thurs. 12:50 p.m., 4:20 p.m., 7:05 p.m. Hyde Park on Hudson (R) Fri. and Sat. 1 p.m., 4:30 p.m., 7:10 p.m., 9:35 p.m. Sun. to Thurs. 1 p.m., 4:30 p.m., 7:10 p.m. The Impossible (PG-13) Fri. and Sat. 1:20 p.m., 4:40 p.m., 7:20 p.m., 9:55 p.m. Sun. to Thurs. 1:20 p.m., 4:40 p.m., 7:20 p.m. Les Misérables (PG-13) Fri. to Thurs. 12:30 p.m., 4 p.m., 7:30 p.m. Silver Linings Playbook (R) Fri. and Sat. 1:10 p.m., 3:50 p.m., 6:50 p.m., 9:40 p.m. Sun. to Thurs. 1:10 p.m., 3:50 p.m., 6:50 p.m. regAl StAdium 14

3474 Zafarano Drive, 424-6296, www.fandango. com Django Unchained (R) Fri. to Thurs. 1 p.m., 4:30 p.m., 8:15 p.m. CC-Closed Captions Gangster Squad (R) Fri. to Thurs. 1:30 p.m., 4:15 p.m., 7:30 p.m., 10:30 p.m. The GuiltTrip (PG-13) Fri. to Thurs. 4:40 p.m., 10:40 p.m. A Haunted House (R) Fri. to Thurs. 2:20 p.m., 5 p.m., 7:45 p.m., 10:20 p.m. The Hobbit:An Unexpected Journey 3D (PG-13) Fri. to Thurs. 1 p.m., 8:40 p.m. The Hobbit:An Unexpected Journey (PG-13) Fri. to Thurs. 5 p.m. Jack Reacher (PG-13) Fri. to Thurs. 1:35 p.m., 4:35 p.m., 7:40 p.m., 10:40 p.m. Les Misérables (PG-13) Fri. to Thurs. 1:20 p.m., 4:50 p.m., 8:25 p.m. Life of Pi 3D (PG) Fri. to Thurs. 1:15 p.m., 7:15 p.m. Life of Pi (PG) Fri. to Thurs. 4:15 p.m., 10:15 p.m. Lincoln (PG-13) Fri. to Thurs. 1:25 p.m., 5:15 p.m., 8:30 p.m. Monsters, Inc. 3D (G) Fri. to Thurs. 1:50 p.m., 4:35 p.m. Parental Guidance (PG) Fri. to Thurs. 2:15 p.m., 4:40 p.m., 7:15 p.m., 9:50 p.m. Promised Land (R) Fri. to Thurs. 1:30 p.m., 4:10 p.m., 7:30 p.m., 10:25 p.m. Texas Chainsaw 3D (R) Fri. to Thurs. 1 p.m., 3:30 p.m., 5:45 p.m., 8:10 p.m., 10:35 p.m. This Is 40 (R) Fri. to Thurs. 1:40 p.m., 7:40 p.m. Zero DarkThirty (R) Fri. to Thurs. 1:10 p.m., 4:40 p.m., 7 p.m., 8:35 p.m., 10:25 p.m.

the SCreen

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, www.thescreensf.com Any Day Now (R) Fri. to Thurs. 2:30 p.m., 7:15 p.m. A Royal Affair (R) Fri. to Thurs. 4:30 p.m. Starlet (NR) Sat. and Sun. 12:15 p.m. Storyteller dreAmCAtCher CinemA (eSpAñolA)

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.storytellertheatres.com Django Unchained (R) Fri. and Sat. 2:50 p.m., 6:10 p.m., 9:25 p.m. Sun. to Thurs. 2:50 p.m., 6:10 p.m. Gangster Squad (R) Fri. 4:05 p.m., 7:05 p.m., 9:50 p.m. Sat. 1:05 p.m., 4:05 p.m., 7:05 p.m., 9:50 p.m. Sun. 1:05 p.m., 4:05 p.m., 7:05 p.m. Mon. to Thurs. 4:05 p.m., 7:05 p.m. The GuiltTrip (PG-13) Fri. 3:55 p.m., 6:45 p.m., 9:35 p.m. Sat. 1:30 p.m., 3:55 p.m., 6:45 p.m., 9:35 p.m. Sun. 1:30 p.m., 3:55 p.m., 6:45 p.m. Mon. to Thurs. 3:55 p.m., 6:45 p.m. A Haunted House (R) Fri. 4:10 p.m., 7:20 p.m., 9:20 p.m. Sat. 1:10 p.m., 4:10 p.m., 7:20 p.m., 9:20 p.m. Sun. 1:10 p.m., 4:10 p.m., 7:20 p.m. Mon. to Thurs. 4:10 p.m., 7:20 p.m. The Hobbit:An Unexpected Journey 3D (PG-13) Fri. and Sat. 2:40 p.m., 9:30 p.m. Sun. to Thurs. 2:40 p.m. The Hobbit:An Unexpected Journey (PG-13) Fri. to Thurs. 6 p.m. Life of Pi (PG) Fri. 3:50 p.m., 6:40 p.m., 9:15 p.m. Sat. 12:55 p.m., 3:50 p.m., 6:40 p.m., 9:15 p.m. Sun. 12:55 p.m., 3:50 p.m., 6:40 p.m. Mon. to Thurs. 3:50 p.m., 6:40 p.m. Monsters, Inc. 3D (G) Fri. 7 p.m., 9:10 p.m. Sat. 12:45 p.m., 7 p.m., 9:10 p.m. Sun. 12:45 p.m., 7 p.m. Mon. to Thurs. 7 p.m. Monsters, Inc. (G) Fri. to Thurs. 4:10 p.m. Parental Guidance (PG) Fri. 4:25 p.m., 6:55 p.m., 9:45 p.m. Sat. 1:25 p.m., 4:25 p.m., 6:55 p.m., 9:45 p.m. Sun. 1:25 p.m., 4:25 p.m., 6:55 p.m. Mon. to Thurs. 4:25 p.m., 6:55 p.m. Texas Chainsaw 3D (R) Fri. 7:15 p.m., 9:50 p.m. Sat. 1 p.m., 7:15 p.m., 9:50 p.m. Sun. 1 p.m., 7:15 p.m. Mon. to Thurs. 7:15 p.m. Texas Chainsaw (R) Fri. 4:15 p.m. Sat. to Thurs. 4:15 p.m. This Is 40 (R) Fri. 4 p.m., 6:50 p.m., 9:40 p.m. Sat. 12:50 p.m., 4 p.m., 6:50 p.m., 9:40 p.m. Sun. 12:50 p.m., 4 p.m., 6:50 p.m. Mon. to Thurs. 4 p.m., 6:50 p.m.

“ALAN CUMMING DELIVERS WHAT IS POSSIBLY HIS BEST PERFORMANCE TO DATE.” - BOYD VAN HOEIJ, VARIETY

THEY MADE HIM A PROMISE. HE MADE THEM A FAMILY. Friday through thursday at 2:30 and 7:15

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110 Old Talpa Canon Road, 575-751-4245 Django Unchained (R) Fri. 6:50 p.m. Sat. and Sun. 2:30 p.m., 6:50 p.m. Mon. to Thurs. 6:50 p.m. Gangster Squad (R) Fri. 4:35 p.m., 7:20 p.m., 9:50 p.m. Sat. 2:10 p.m., 4:35 p.m., 7:20 p.m., 9:50 p.m. Sun. 2:10 p.m., 4:35 p.m., 7:20 p.m. Mon. to Thurs. 4:35 p.m., 7:20 p.m. The Hobbit:An Unexpected Journey 3D (PG-13) Fri. 7:05 p.m. Sat. and Sun. 2:25 p.m. Mon. to Thurs. 7:05 p.m. Les Misérables (PG-13) Fri. 7:10 p.m. Sat. and Sun. 1:55 p.m., 7:10 p.m. Mon. to Thurs. 7:10 p.m. Lincoln (PG-13) Fri. 6:55 p.m. Sat. and Sun. 2:05 p.m., 6:55 p.m. Mon. to Thurs. 6:55 p.m. Monsters, Inc. 3D (G) Fri. 4:30 p.m. Sat. and Sun. 2 p.m., 4:30 p.m. Mon. to Thurs. 4:30 p.m. Parental Guidance (PG) Fri. and Sat. 7 p.m., 9:45 p.m. Sun. to Thurs. 7 p.m. Zero DarkThirty (R) Fri. 6:45 p.m., 9:55 p.m. Sat. 2:15 p.m., 6:45 p.m., 9:55 p.m. Sun. 2:15 p.m., 6:45 p.m. Mon. to Thurs. 6:45 p.m.

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moving images film reviews

Moral questions compounded Jonathan Richards I For The New Mexican Zero Dark Thirty, dramatic reenactment, rated R, Regal Stadium 14, 3.5 chiles Zero Dark Thirty starts with a black screen filled with anguished cries, pleadings, and sobs. It’s a recording of the voices of actual victims of 9/11, trapped on high floors of the blazing, crumbling World Trade Center, staring death in the face. It defines what the stakes of this movie are. This will be a story of revenge. The first visual sequence takes place in a CIA “black site” on foreign soil. It shows a U.S. interrogator subjecting an al-Qaida prisoner to “enhanced interrogation techniques.” These techniques include beating and waterboarding. Don’t feel too sorry for this guy, the film appears to suggest. Look what he just did to us. Of course, that may not be what director Kathryn Bigelow and screenwriter Mark Boal are trying to suggest at all. There is a matter-of-factness to their depiction of torture (to give these techniques their traditional name). The filmmakers have constructed a procedural movie that seems designed not to show how things ought to happen but how they do happen. There is a fierce controversy in the arenas of intelligence, politics, and public opinion over the effectiveness and the morality of torture. This includes the question of whether the former has any bearing on the latter, whether the ends justify the means. Was intelligence elicited in part through torture instrumental in the United States tracking down and killing Osama Bin Laden? And if it was (and this is far from settled fact), does that justify its use, despite the fact that, even under Bush and Cheney, the U.S.has always insisted that it doesn’t torture? Or does torture satisfy needs other than the need for timely information?

Jessica Chastain 46

January 11-17, 2013

We just want to talk: a scene from Zero Dark Thirty

In all of this soul-searching, disputing, and posturing, it’s easy to lose sight of the fact that this is, as they say, only a movie. To be sure, it’s a movie that draws its power from its ability to convince us that this is the way the “greatest manhunt in history” actually went down. Zero Dark Thirty is one of two Oscar Best Picture contenders this year that deal with true stories of CIA operations in the Middle East. The other is Ben Affleck’s Argo, which tells of a daring rescue operation during the Iran hostage crisis at the end of the ’70s. The contrasts between Argo and Zero Dark Thirty are sharp. One is a sprint to save lives, the other a marathon to terminate a life with extreme prejudice. Both create edge-of-your seat suspense out of true stories whose endings are never in doubt, but Argo leavens the mix with entertaining characters and dialogue and even some humor. Zero Dark Thirty is all business. And a grim business it is. Argo deals with fading headlines from a world already receding into history, a time when much of today’s movie audience was not yet born. Bigelow’s movie is steeped in events that are still fresh, painful, and politically relevant. (Both directors were snubbed by the Academy, incidentally.) We enter this movie with Maya ( Jessica Chastain), a young CIA operative just arrived at the black-ops torture site. Like us, she’s new to this brutality, and she winces at the punishment being meted out by Dan ( Jason Clarke), a bearded American interrogator who matter-of-factly tells the subject (Reda Kateb), “When you lie to me, I hurt you.” Do not doubt Maya’s toughness. “Washington says she’s a killer,” the CIA station chief (Kyle Chandler, who also appears in Argo) tells Dan. As she heads up the investigation, it’s not long before she’s taking enhanced interrogation in stride. Which invites the question: Are we? Torture is by no means the only tool in the investigators’ arsenal, and its efficacy remains ambiguous.

But from the film’s insiders’ perspective, the only question that matters is not the damage to the detainee or to the moral standing of the United States, or even the emotional wear and tear on the torturers. It’s the potential damage to a career in the climate of a new administration. “Things are changing,” a departing Dan tells Maya, “and you don’t want to be the last one holding a dog collar when the oversight committee comes.” The years of hard work by Maya and her team finally enable them to pin down Bin Laden’s Abbottabad location. The others are cautious — Dan puts the odds he’s in there as “a soft 60” — but Maya is sure. “One hundred percent,” she says fiercely. And the last half hour of Zero Dark Thirty takes us through what feels like the actual storming of the compound. It’s not as smooth as it might have been if Tom Cruise had been leading the mission. There’s some confusion and mishap as the operatives negotiate unfamiliar territory in the dark with night-vision goggles. But what these guys accomplish is incredible. Chastain delivers a powerful performance (she has been nominated by the Academy for Best Actress), and recent history teaches us that a glamorous female CIA agent is entirely plausible, but sometimes you have to question Maya’s outfits. Her messianic zeal (“A lot of my friends have died. I believe I was spared so I could finish the job.”) is credible enough, but there are bits of clunky dialogue and scenes that telegraph like Western Union. And a hokey ending reminds us that this is, after all, only a movie. But it’s a movie about issues and events that matter to us, and so it matters how accurate it is in their depiction. People on both sides of the moral debate have read the movie like a Rorschach test and found positions to praise or pillory. Bigelow and Boal have studiously tried to avoid taking a public stand on the central issue, but a narrative that starts with torture and culminates in success carries its own inescapable logic. ◀

moving images film reviews

Santa Fe’s only not-forprofit, community-supported independent theatre, showing the best in world and independent cinema.

1050 Old Pecos Trail • 505.982.1338 • ccasantafe.org

Garret Dillahunt, Isaac Leyva, and Alan Cumming

Of human bonds Rob DeWalt I The New Mexican Any Day Now, drama, rated R, The Screen, 4 chiles Strongly affected by the terrorist attacks of Sept. 11, 2001, Travis Fine put his career as a movie actor/director on hold to become a commercially licensed airline pilot. Fine eventually returned to filmmaking, this time with a more conscientious objective, which led him to write and direct 2010’s The Space Between, a powerful drama that explores the heartbreak and tension of 9/11 through the unusual bond formed between two strangers: an alcoholic flight attendant and a 10-year-old Pakistani-American boy traveling alone to be reunited with his father — an employee at the World Trade Center’s Windows on the World restaurant (just a few floors from the top of the North Tower). Any Day Now is also the story of an unlikely bond, but it is there that similarities between the two films end. Fine’s most recent film is a more intimate and intense character drama, based on the true story of a West Hollywood gay couple’s attempt to adopt a mentally disabled child in the 1970s. In the film, that child is Marco (Isaac Leyva), a 14-year-old boy with Down syndrome who is abandoned by his drug-addicted mother, Marianna ( Jamie Anne Allman). Aging, broke, flamboyant drag performer Rudy Donatello — played brilliantly as a foul-mouthed Queens, New York, transplant with residual Big Apple patois by Alan Cumming — and his newfound lover, closeted district attorney Paul Fleiger (Garret Dillahunt), quickly form a loving family relationship with Marco. But as they fight for full custody of the boy within an ignorant, paranoid, and prejudiced legal system that tends to favor drug addicts over gay couples, Marianna is released from jail and also fights for custody. Fine, reworking a three-decades-old screenplay by Canadian writer George Arthur Bloom (a regular writer for My Little Pony Tales and other children’s series), delicately balances the political and emotional aspects of this thoughtfully rendered period drama, which nails the 1970s details, from wide shirt collars and flared pants to song selections by music supervisor P.J. Bloom (Glee, CSI: Miami). At its core, Any Day Now is a story of love, acceptance, and a broader definition of family, and Fine wisely keeps his well-tended characters, and not the tough and timely political gristle, at center stage. The performances are superb across the board, but it is perhaps Leyva as Marco who, in almost total silence, steals the show. This may be because Leyva is the perfect foil for Cummings’ borderline-excessive camp and Fleiger’s frustratingly quiet restraint, which play off each other like a chemical reaction when Leyva is off-camera. Whenever the melodrama reaches the edge of excess, which is easy to do given the script and subject, the actors skillfully reel it back in. ◀

Santa Fe’s Favorite Film!!

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REVElATORY.

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EXPlOSIVE.

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- David Edelstein, NEW YORK MAgAzINE

THE

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INEE Best Docum Independeentary

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A FILM BY KEN BURNS & DAVID McMAHON & SARAH BURNS

Wagner & Me - 3:00p Sunday, Jan 13 w/ cookies, coffee and talk-back session! Fri-Sat Jan 11-12 1:30p - La Rafle* 2:00p - Chasing Ice 3:45p - Sugar Man 4:15p - Central Park Five* 5:45p - Chasing Ice 6:30p - Chasing Ice* 7:30p - Sugar Man 8:00p - La Rafle*

Sun Jan 13 1:00p - Chasing Ice 1:30p - La Rafle* 3:00p - Wagner and Me 4:15p - Central Park Five* 6:00p - Chasing Ice 6:30p - Chasing Ice* 7:45p - Sugar Man 8:00p - La Rafle*

Mon Jan 14 Cinema Closed

Tues-Thurs Jan 15-17 3:00p - Chasing Ice* 3:30p - Sugar Man 4:45p - Chasing Ice* 5:30p - Sugar Man 6:45p - La Rafle* 7:30p - Chasing Ice * indicates show will be in The Studio at CCA

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RESTAURANT REVIEW Laurel Gladden I For The New Mexican

Not just for clubbers

Café Café 500 Sandoval St., 466-1391 Lunch 11 a.m.-2 p.m. Mondays-Thursdays, 11 a.m.-5 p.m. Fridays & Saturdays; dinner 5-9 p.m. daily Takeout available Patio dining in season Beer & wine Vegetarian options Noise level: serene to lively Credit cards, no checks

•

The Short Order In 2007, Donalee Goodbrod and Kirstin Griffin opened Café Café, where Goodbrod continued to serve the pizza that had earned her a cultlike following at the now-defunct Paramount nightclub. The restaurant is under new ownership these days, but pizza is still on the menu, along with salads, sandwiches, burgers, pasta, and a lengthy list of affordable beers and wines. With its comfortable chairs and rosy red walls, Café Café is relaxed, warm, and inviting, especially in the evening. It’s a good, welcoming place to enjoy reasonably priced Italian-inspired dishes. Recommended: linguine with clams, linguine with marinara, muffuletta, caprese panini, and spumoni.

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.

January 11-17, 2013

Remember the Paramount? In that popular nightclub, owner Donalee Goodbrod offered dance-happy patrons thin, crisp-crusted pizzas that earned her a cultlike following. In 2007, Goodbrod and Kirstin Griffin opened Café Café, just a few blocks away, and Goodbrod brought her pizza recipe with her. Café Café is under new ownership these days, but pizza is still on the menu, along with salads, sandwiches, burgers, pasta, and a lengthy list of affordable beers and wines. The large house salad is a healthy heap of fresh greens garnished with carrot, white beans, and pungent red onion (not ideal in a midday meal, if you ask me). At dinner, the salmon Caesar includes a mound of crunchy cold romaine topped with an oversized fillet of rosy pink fish — moist and tender beneath its slightly crisp flash-grilled exterior. The Caesar and the house Italian dressings are creamy and tangy, but both were slathered on too heavily. Sandwiches are made with soft, slightly sweet, housemade hoagie rolls. The bread emerges from the panini press with a pleasingly crispy crust — particularly nice in the caprese, which features mozzarella, ruby red tomato slices, and heady herbal pesto. The portobellomushroom sandwich, served on a giant platter alongside a jumble of hot, house-cut russet-golden fries, combines the deep earthiness of sautéed mushrooms with mildly bitter greens, caramelly sweet roasted red peppers, and soft, stretchy provolone. The tender bread made the overall effect slightly mushy, but that texture can make for satisfying comfort food. The muffuletta is a fair approximation of one you’d nosh on in New Orleans. It’s about half the size of the legendary Central Grocery version but slightly spicier. Watch out for a powerfully salty punch from the healthy dose of olive relish. The sandwich was a little short on meat, and I missed the nuttiness of the traditional sesame-dusted Italian bread. But this and a side of herby, heavily garlicked golden orzo salad will set you back about 11 bucks, which is way cheaper than a plane ticket to the Big Easy. The whimsically named “calamartichoke” appetizer is a cone-shaped basket filled with deep-fried calamari and artichoke heart pieces. This sounded great in theory but flopped in reality. The squid was almost inedibly tough, and the artichokes’ moisture quickly turned much of the breading soft. One evening’s special appetizer, mushroom and cheese bruschetta, was rich and earthy but needed a touch of salt or acid for balance. I enjoyed the complimentary tangy tapenade; the stale cubes of crumbly bread served with it, not so much. The flavorful pizza crust is crisp on the outside, tender within, though it’s more successful in larger pies than small ones. The Margherita pizza boasts fat disks of creamy cloud-white mozzarella, perky sauce, and basil confetti, but thick slices of fresh tomato turn the crust soggy in a hurry. Even a healthy “finish” of peppery

emerald arugula couldn’t cut the four-cheese pizza’s milky richness. Parmesan provided pockets of saltiness, but other bites tasted decidedly flat and unseasoned. Pasta is a different matter. A tangle of light, tender, yielding house-made linguine topped with marinara offered an intriguing blend of mild sweetness (did I detect diced carrot?) and plentiful pungent garlic. Between slurpy mouthfuls of pasta and briny clams (some still in their shells, others floating free in the hot, brightly lemony, garlic-studded sauce), one of my dining companions raved, “This is just like the linguine with clams I ate growing up in Chicago!” If you still have room at the end of the meal, don’t miss the housemade spumoni. What it lacks in presentation it makes up for in cool multicolored sweetness. The atmosphere at Café Café is cozy and inviting — pretty impressive for a building that once housed a Pizza Hut. Especially in the evening, when the lights are turned down low, comfortable chairs, custom sconces, and rosy red walls contribute to a relaxed warmth. Though they provide a nice pop of color, the garish floral paintings on the walls seem slightly out of place, as does the bizarre giant vase in the center of the room, stuffed with large pieces of bamboo and decorative wood. Those flaws aside, Café Café is a welcoming place to enjoy good and reasonably priced pizza, pasta, and other Italian-inspired dishes. And you’re more likely to hear acoustic Eric Clapton than throbbing nightclub dance music. ◀

Check, please

Dinner for three at Café Café: Calamartichoke appetizer ................................ $ 12.00 Special bruschetta appetizer ............................ $ 7.50 Salmon Caesar salad ........................................ $ 15.00 Linguine with clams ........................................ $ 19.00 Linguine with marinara ................................... $ 13.00 Bottle, Layer Cake primitivo ............................ $ 32.00 Spumoni .......................................................... $ 10.00 TOTAL ............................................................. $108.50 (before tax and tip)

Lunch for three, another visit: Large house salad ............................................. $ 8.00 Portobello panini ............................................. $ 10.75 Caprese panini ................................................. $ 10.75 10-inch four-cheese pizza ................................ $ 11.50 Glass, Perrin Reserve Côtes du Rhone ............. $ 8.00 Iced tea ............................................................ $ 3.00 TOTAL ............................................................. $ 52.00 (before tax and tip)

pasa week

compiled by Pamela Beach, pambeach@sfnewmexican.com

11 Friday

12 Saturday

gallery/museum openings

opera

arroyo gallery 200 Canyon Rd., 988-1002. Vivid New Mexico, paintings by Cathy Carey, reception 5-7 p.m., through January. axle Contemporary 670-7612 or 670-5854. Cold Storage, ice installations by Cheri Ibes, reception 6-8 p.m., look for the mobile gallery’s van at the Railyard Plaza, between the Farmers Market and REI, visit axleart.com for van locations through Feb. 10.

‘Cinderella’ Fully staged and costumed production of Massenet’s opera featuring adult opera singers and Santa Fe Concert Association’s EPIK artists (students ages 8-17), 7-8 p.m., Scottish Rite Center, 463 Paseo de Peralta, no charge, 984-8759, encore Sunday, Jan. 13 (see story, Page 28).

opera

south india Slide presentation by Rebecca Fairfax Clay, 5 p.m., Travel Bug Books, 839 Paseo de Peralta, 992-0418.

booKs/TalKs

ouTdoors

solar Circus View sunspots and prominences through solar telescopes and learn about Cerrillos Hills State Park’s analemma kiosk during a presentation by Peter Lipscomb, noon, 16 miles south of Santa Fe off NM 14, parking area one half-mile north of the village of Cerrillos, $5 per vehicle, 474-0196.

ClassiCal musiC TgiF piano recital Patti Merrill performs music of Graupner, Zipoli, Couperin, and Schubert, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated, 982-8544.

eVenTs

in ConCerT

booKs/TalKs

exhibit talk Art collector Robert Bell speaks about the works in The Portrait in the History of Printmaking, 5:30-7 p.m., Argos Studio & Santa Fe Etching Club, 1211 Luisa St., call 988-1814 to RSVP.

eVenTs

storyCorps mobilebooth tour The national nonprofit organization records interviews with residents daily through Feb. 9, (look for the Airstream trailer parked on Palace Avenue on the Plaza) collecting stories to be archived at the American Folklife Center at the Library of Congress. Segments of interviews will air on KSFR 101.1 FM. Call 800-850-4406 or visit storycorps.org to make reservations.

Pasa’s Little Black Book......... 50 Elsewhere............................ 51 Exhibitionism...................... 52 At the Galleries.................... 53 Libraries.............................. 53

Johan Persson

House Concert Vi Compositions created on a string instrument called the owl; also, local composer Jeremy Bleich’s Quartet for Button Reeds and Strings, 7 p.m., part of Grasshopper Studios’ House Concert Chamber Music Series; William & Joseph Gallery, 727 Canyon Rd., $15$20 sliding scale requested donation, 982-9404 (see story, Page 16). KsFr music Café The series continues with Clifford Brown/Max Roach Revisited, with J.Q. Whitcomb on trumpet, Brian Wingard on saxophone, Bob Fox on piano, and John Trentacosta on drums, 7 p.m., Museum Hill Café, 710 Camino Lejo, Milner Plaza, $20, 428-1527.

John Lithgow as Aeneas Posket in the National Theatre Live HD broadcast of The Magistrate, Thursday, Jan. 17, at the Lensic

nigHTliFe

(See Page 50 for addresses) ¡Chispa! at el mesón The Three Faces of Jazz and friends, featuring Bryan Lewis on drums, 7:30-10:30 p.m., no cover. Club 139 at milagro DJ Alchemy, sol therapy and Chicanobuilt, 9 p.m., $5-$7 cover. Cowgirl bbQ Singer/songwriter Eryn Bent, 5-7:30 p.m., no cover. Roots-rock/blues guitarist Jono Manson, 8:30 p.m.-close, no cover. el Cañon at the Hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. Hotel santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. la Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda R & B band The Pleasure Pilots, 8-11 p.m., no cover.

Museums & Art Spaces........ 53 In the Wings....................... 54 People Who Need People..... 55 Short People........................ 55 Sound Waves...................... 55

la posada de santa Fe resort and spa Nacha Mendez Trio, pan-Latin rhythms, 6:30-9:30 p.m., no cover. pranzo italian grill Geist Cabaret with pianist David Geist, 6-9 p.m., $2 cover. second street brewery Bleich-Villarrubia Jazz Trio, 6-9 p.m., no cover. second street brewery at the railyard Bill Palmer and Stephanie Hatfield, Americana and rock, 6-9 p.m., no cover. Tiny’s Synde Parten & John Rieves, 5:30-8 p.m.; Funadix, classic rock, 8:30 p.m.-close; no cover. upper Crust pizza Balladeer J. Michael Combs, 6-9 p.m.; joined by Eagle Star 7-8 p.m.; no cover. Vanessie Pianist Doug Montgomery, selections from the Great American Songbook, 6-8 p.m., no cover. Pianist John Rangel and vocalist Faith Amour, with special guest Michael Anthony, 8:30 p.m.close, $5 cover.

afro-Cuban percussion workshop Master class led by drummer Changuito Quintana, 3-5 p.m., Railyard Performance Center, 1611 Paseo de Peralta, $15 at the door. For information call Diego, 908-868-4987. The Flea at el museo 8 a.m.-3 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia, santafeflea.com, 982-2671, weekends through April. The Four spiritual laws of prosperity Workshop led by Edwene Gaines, 10 a.m.12:30 p.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, donations welcome, 983-5022. santa Fe artists market 8 a.m.-2 p.m., Saturdays through March at the Railyard plaza between the Farmers Market and REI, 310-1555. santa Fe Farmers market shops 8 a.m.-1 p.m., 1607 Paseo de Peralta, 983-4098.

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(See Page 50 for addresses) ¡Chispa! at el mesón J.Q. Whitcomb Quartet, jazz, 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 Santa Fe Chiles Traditional Dixie Jazz Band, 2-5 p.m., no cover. Alex Maryol Trio, pop/rock/blues, 8:30 p.m.-close, no cover. Hotel santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 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

La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. La Fiesta Lounge at La Fonda R & B band The Pleasure Pilots, 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 Alt-bluegrass duo Paw & Erik Sawyer, 3-7 p.m., no cover. Roots/rock duo Man No Sober, 8 p.m.-close, call for cover. Pranzo Italian Grill Geist Cabaret with pianist David Geist, 6-9 p.m., $2 cover. Second Street Brewery Kitty Jo Creek Band, bluegrass, 6-9 p.m., no cover. Second Street Brewery at the Railyard Bluegrass band Mystic Lizard, 6-9 p.m., no cover. 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 Great American Songbook selections with Pianists Doug Montgomery, 6-8 p.m., and Lindy Gold, 8:30 p.m.-close. Call for cover.

13 Sunday oPeRa

‘Cinderella’ Fully staged and costumed production of Massenet’s opera featuring adult opera singers and Santa Fe Concert Association’s

Pasa’s little black book d Wine Bar 315 Restaurant an 986-9190 il, Tra Fe a nt 315 Old Sa nt & Bar anasazi Restaura Anasazi, the of Rosewood Inn e., 988-3030 113 Washington Av nch Resort & Spa Ra Bishop’s Lodge Rd., 983-6377 1297 Bishops Lodge ón ¡Chispa! at el Mes 983-6756 e., Av ton ing 213 Wash gro Club 139 at Mila St., 995-0139 o 139 W. San Francisc Q Cowgirl BB , 982-2565 319 S. Guadalupe St. lton hi e el Cañon at th 811 8-2 98 , St. al ov nd 100 Sa ., 983-9912 Rd el Farol 808 Canyon ill el Paseo Bar & Gr 848 2-2 208 Galisteo St., 99 ’s lo ge evan o St., 982-9014 200 W. San Francisc Santa Fe hotel Chimayó de 988-4900 e., Av 125 Washington hotel Santa Fe ta, 982-1200 1501 Paseo de Peral La Boca 2-3433 72 W. Marcy St., 98 ina La Casa Sena Cant 8-9232 98 e., Av e 125 E. Palac

January 11-17, 2013

EPIK artists (students ages 8-17), 2-3 p.m., Scottish Rite Center, 463 Paseo de Peralta, no charge, 984-8759 (see story, Page 28).

Santa Fe Farmers Market Shops 10 a.m.-4 p.m., 1607 Paseo de Peralta, 983-4098.

BookS/TaLkS

(See addresses below) Cowgirl BBQ Zenobia and friends, gospel/R & B/soul, noon3 p.m., no cover. Stride pianist Ruchell Alexander, ragtime/jazz, 8 p.m.-close, no cover. el Farol Nacha Mendez and guests, pan-Latin rhythms, 7 p.m.-close, no cover. La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. La Posada de Santa Fe Resort and Spa Wily Jim, Western swingabilly, 7 p.m., no cover. The Mine Shaft Tavern Americana guitarist Gene Corbin, 3-7 p.m., no cover. Vanessie Pianist Doug Montgomery, selections from the Great American Songbook, 7 p.m.-close, no cover.

Carl Trujillo The New Mexico state representative speaks on his new citizens advisory group with David Bacon, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. Readings and publication party for Lummox Journal Featuring New Mexico poets, 2 p.m., Gerald Peters Gallery, 1011 Paseo de Peralta, for information call the gallery bookstore, 984-5757 (see Subtexts, Page 12). ‘Wagner & Me’ Bernard Rubenstein introduces the film and moderates a talk-back session with radio commentator Craig Barnes and Rabbi Marvin Schwab, refreshments 3 p.m.; screening 3:30 p.m.; talk-back 5 p.m., Center for Contemporary Arts, 1050 Old Pecos Trail, $10, 982-1338.

eVenTS

The Flea at el Museo 9 a.m.-3 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia, santafeflea.com, 982-2671, weekends through April. 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. Railyard artisans Market 10 a.m.-4 p.m. weekly. Music by balladeer J. Michael Combs, Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 983-4098, railyardartmarket.com.

nIGhTLIFe

14 Monday BookS/TaLkS

alisa Valdes The author reads from and signs copies of The Feminist and the Cowboy: An Unlikely Love Story, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see story, Page 14). Chavez Studio: a Continual evolution Talk by jeweler/photographer Jared Chavez, refreshments 2 p.m., talk 2:30 p.m., Wheelwright Museum of the American Indian library, 704 Camino Lejo, Museum Hill, $10, 989-1777.

William W. Dunmire The author discusses his latest book, New Mexico’s Living Landscapes: A Roadside View, 2 p.m., Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, $10, 982-2226.

eVenTS

Weekly all-ages informal swing dances Lesson 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., dance only $3, lesson and dance $8, 473-0955.

nIGhTLIFe

(See addresses below) Cowgirl BBQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover. el Farol Geeks Who Drink Trivia Night, 7 p.m., no cover. La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. La Fiesta Lounge at La Fonda Funk and R & B band Soulstatic, 7:30-11 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.

15 Tuesday BookS/TaLkS

heather Winterer and Jorge h. aigla The local poets read from and sign copies of their books, The Two Standards and First Lie/Primera Mentira, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

eVenTS 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 Rouge Cat 101 W. Marcy St., 983-6603 San Francisco Street Bar & Grill 50 E. San Francisco St., 982-2044

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 Thunderbird Bar & Grill 50 Lincoln Ave., 490-6550 Tiny’s 1005 St. Francis Dr., Suite 117, 983-9817 The Underground at evangelo’s 200 W. San Francisco St., 577-5893 Upper Crust Pizza 329 Old Santa Fe Trail, 982-0000 Vanessie 427 W. Water St., 982-9966 Zia Diner 326 S. Guadalupe St., 988-7008

International folk dances Lesson 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, or 983-3168, beginners welcome.

nIGhTLIFe

(See addresses to the left) ¡Chispa! at el Mesón Argentine Tango Milonga, 7:30-11 p.m., $5 cover. Cowgirl BBQ Alt. country/Americana singer/guitarist Halleyanna Finlay, 8 p.m., no cover. el Farol Canyon Road Blues Jam, with Tiho Dimitrov, Brant Leeper, Mikey Chavez, and Tone Forrest, 8:30 p.m.-midnight, no cover. La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. La Fiesta Lounge at La Fonda Funk and R & B band Soulstatic, 7:30-11 p.m., no cover. Second Street Brewery at the Railyard Acoustic open-mic nights with Case Tanner, 7:30-10:30 p.m., no cover. Tiny’s Acoustic open-mic nights presented by 505 Bands, 7:30 p.m.-close, no cover. Vanessie Pianist Doug Montgomery, selections from the Great American Songbook, 7 p.m.-close, no cover.

16 Wednesday

transport to Auschwitz • Hidden Treasures, 158-year-old German-Jewish family heirloom dollhouse belonging to a family that fled to the U.S. and settled in New Mexico. Open 11 a.m.3 p.m. Tuesday-Saturday, donations accepted. 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 • 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 • Stitching Resistance: The History of Chilean Arpilleras, a collection of appliqué textiles crafted between 1973 and 1990, longterm • ¡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.

opera in hd

The Met Live in hd Verdi’s Rigoletto (encore presentation), 6 p.m. Lensic Performing Arts Center, $22, student discounts available, ticketssantafe.org, 988-1234.

books/TaLks

Forbidden Jewish operas Tom Franks discusses Nazi suppression of works by Zemlinsky, Weill, Schrecker, and others, 5:30 p.m., Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona St., $10, 629-1410, Ext. 109. The Life of William becknell, Founder of the santa Fe Trail: a First-person presentation Chautauqua performer Allan Wheeler speaks, noon-12:45 p.m., part of the monthly Brainpower & Brownbag Lecture Series, Meem Community Room, Fray Angélico Chávez History Library, 120 Washington Ave., no charge, 476-5090. Bring your lunch. Todos santos: reflections on the roots and Celebration of day of the dead in Latin america Metamorfosis Documentation Project presents a talk and screening of the documentary Todos Santos/Feast of the Souls in conjunction with the Museum of International Folk Art exhibit Folk Art of the Andes, 2 p.m., 706 Camino Lejo, Museum Hill, by museum admission, 476-1200.

events/performances

Lucinda Williams and doug pettibone Singer/songwriter and multi-instrumentalist, 7:30 p.m. Sunday, Jan. 13, doors open at 6:30 p.m., Kimo Theatre, 423 Central Ave. N.W., $40-$60, holdmyticket.com. Tom paxton Folk singer/songwriter, 7:30 p.m. Sunday, Jan. 13, doors open at 7 p.m., South Broadway Cultural Center, 1025 Broadway Blvd. S.E., $25, holdmyticket.com.

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(See Page 50 for addresses) ¡Chispa! at el Mesón Flamenco guitarist Joaquin Gallegos, 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 Swedish alt.- and classic-rock band Secret Circus, 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 Casa sena Cantina Best of Broadway, piano and vocals, 6-10 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., no cover. Tiny’s 505 Jam hosted by Synde Parten, John Reives, and M.C. Clymer, 7:30 p.m.-close, no cover. Vanessie Bob Finnie, piano and vocals, 6:30 p.m.-close, call for cover.

17 Thursday TheaTer/danCe

national Theatre of London in hd The series continues with John Lithgow in Pinero’s Victorian farce, The Magistrate, 7 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $15 and $22, 988-1234, ticketssantafe.org.

los alamos Museums/art spaces

Nerve Net, by Russell Thurston, Vivo Contemporary, 725-A Canyon Rd.

books/TaLks

eric herm The author reads from and signs copies of Surviving Ourselves: The Evolution of Community, Education, and Agriculture in the 21st Century, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. haMakom’s Continuing education Lecture The Jews and the Italians — A 2,000 Year Story, by Lance Tunick, 7 p.m., Rainbow Vision of Santa Fe, 500 Rodeo Rd., $10 at the door, discounts available, 992-1905. Living Through the end Artist Michelle Blade and Pre-Columbian/Mesoamerican art historian Khristaan Villela speak, 6 p.m., Tipton Hall, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., no charge, 473-6500.

eVenTs

new Mexico arts Commission Quarterly Meeting 9:30 a.m.-12:30 p.m., open to the public, Center for Museum Resources, Museum of International Folk Art, 725 Camino Lejo, Museum Hill, no charge, call 827-6490 for a copy of the meeting agenda.

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(See Page 50 for addresses) ¡Chispa! at el Mesón Jazz pianist John Rangel in duets, 7 p.m., no cover. Club 139 at Milagro Noches Latinas with DJ Dany, 9 p.m., $5-$7 cover.

Cowgirl bbQ Americana duo Todd & The Fox, 8 p.m., no cover. La Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. La Fiesta Lounge at La Fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover. La posada de santa Fe resort and spa Pat Malone Jazz Trio with Kanoa Kaluhiwa on saxophone, Asher Barreras on bass, and Malone on guitar, 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 Joe West & Friends, theatrical folk-rock, 8 p.m.-midnight, no cover. Vanessie Bob Finnie, piano and vocals, 6:30 p.m.-close, call for cover.

▶ Elsewhere albuquErquE Museums/art spaces

holocaust and intolerance Museum of new Mexico 616 Central Ave. S.W., 505-247-0606. Disturbing, but Necessary, Lesson, scale model of a WWII prisoner

bradbury science Museum 15th and Central Avenues, 667-4444. Open 10 a.m.-5 p.m. Tuesday-Saturday, 1-5 p.m. Sunday-Monday; no charge. Los alamos historical Museum 1050 Bathtub Row, 662-4493. Permanent exhibits on the geology of the Jémez volcano, the Manhattan Project, area anthropology, and the Ranch School for Boys. Open 9:30 a.m.-4 p.m. Monday-Friday, 11 a.m.4 p.m. Saturday, 1-4 p.m. Sunday; no charge. Mesa public Library art gallery 2400 Central Ave., 662-8247. Metal Menagerie, scrap-metal sculpture by Richard Swenson and David Trujillo, reception 5:30-7 p.m. Wednesday, Jan. 16, through Feb. 27. pajarito environmental education Center 3540 Orange St., 662-0460. Exhibits of flora and fauna of the Pajarito Plateau; live amphibians, an herbarium, and butterfly and xeric gardens. Open noon-4 p.m. Tuesday-Friday, 10 a.m.-1 p.m. Saturday, no charge.

events/performances

‘Frost/nixon’ Los Alamos Little Theatre presents Peter Morgan’s portrayal of the postWatergate interviews between David Frost and Richard Nixon, 7:30 p.m. Fridays and Saturdays through Jan.19, 2 p.m. Sunday, Jan. 13, Performing Arts Center, 1670 Nectar St., $12, discounts available, 662-5493. Jeremy denk Solo piano recital of Bach’s Goldberg Variations and Schumann’s Davidsbündlertänze Op. 6, 7 p.m. Saturday, Jan.12, Duane Smith Auditorium, Los Alamos High School, 1300 Diamond Dr., $30 in advance at Nicholas Potter Bookseller in Santa Fe, 211 E. Palace Ave., 983-5434, or 988-1234, ticketssantafe.org, $35 at the door, ages 6-18 no charge (see story, Page 20).

pasa week

continued on Page 55 PASATIEMPO

exhibitioniSm

A peek at what’s showing around town

Quincy tahoma (19171956): Yellow Horse, 1952, gouache. Diné artist Quincy Tahoma painted narrative scenes of Native subjects. His signature for each painting typically contains miniature, figurative imagery related to the overall canvas — a painting within a painting. Quincy Tahoma Paintings runs through Feb. 14 at Adobe Gallery (221 Canyon Road). Call 955-0550.

Cheri ibes: Cold Storage (installation detail), 2012, ice, industrial shelving, and plastic bottles. Installation artist and sculptor Cheri Ibes transforms Axle Contemporary’s mobile gallery into a moving cold storage unit. Shelved objects encased in ice slowly reveal themselves as the ice melts away. Cold Storage opens Friday, Jan. 11, with a 6 p.m. reception and is otherwise available for viewing on weekends. For the opening, Axle parks at Railyard Plaza near the Santa Fe Farmers Market (1607 Paseo de Peralta). Check www.axleart.com or call 670-7612 for future locations.

Pascal: Bloc 216, 2012, mixed media. GF Contemporary’s Small Works holiday group show continues through Saturday, Jan. 12, and includes work by Scot Furgason, Nigel Conway, Pascal, and other gallery artists. The gallery is at 707 Canyon Road. Call 983-3707.

Sue Chiado: Blue Sky, 2012, oil on canvas. Sue Chiado: Recent Paintings in Oil, an exhibition of the artist’s abstract works, continues at Downtown Subscription (376 Garcia St.) through January. Call 983-3085.

January 11-17, 2013

Cathy Carey: Warm Shadows, 2012, oil on canvas. Vivid New Mexico is an exhibition of new and recent work by Cathy Carey. The artist’s images of the Southwest are alive with swirling movement and a hallucinatory intensity of color. The show opens at Arroyo Gallery (200 Canyon Road) on Friday, Jan. 11, with a 5 p.m. reception. Call 988-1002.

At the GAlleries Argos Studio & Santa Fe Etching Club 1211 Luisa St., 988-1814. The Portrait in the History of Printmaking, group show, through Friday, Jan. 11. David Richard Gallery 544 S. Guadalupe St., 983-9555. Material Distillation, paintings and sculpture by Eric Zammitt; Suspended Mobility, glass mobiles by Philip Baldwin and Monica Guggisberg, through Feb. 9. Eggman & Walrus Art Emporium 130 W. Palace Ave., second floor, 660-0048. Paint Forward, figurative abstracts by John Barker, through January. Gebert Contemporary 558 Canyon Rd., 992-1100. New Year’s Exhibition!, group show of gallery artists, through Feb. 3. GVG Contemporary 202 Canyon Rd., 982-1494. Blair + Ernst: New Paintings, works by Ernst Gruler and Blair Vaughn-Gruler, through Tuesday, Jan. 15. Henington Fine Art 802 Canyon Rd., 690-9160. Lopez Love, works by the Lopez family, through Jan. 25. Manitou Galleries 123 W. Palace Ave., 986-0440. Calendar Art Show, through Jan. 18. Marigold Arts 424 Canyon Rd., 982-4142. New works by gallery artists, through January. Monroe Gallery of Photography 112 Don Gaspar Ave., 992-0800. Mark Shaw: The Kennedys, through Jan. 27. New Concept Gallery 610-A Canyon Rd., 795-7570. Winter Scenes, group show of paintings and photographs, through Jan. 19. Sideshows, group show of small works presented by Jay Etkin Gallery, through Friday, Jan. 11. Photo-eye Gallery 376-A Garcia St., 988-5152. Here Far Away, photographs by Pentti Sammallahti, through Feb. 9. Santa Fe Art Institute Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5050. Shifting Baselines, works by Cynthia Hooper and Hugh Pocock, through Jan. 25. Santa Fe Clay 545 Camino de la Familia, 984-1122. Beginning to End, works by Christine Golden, Aisha Harrison, and Clayton Keyes, through Jan. 19. Santa Fe Public Library — Main Branch 145 Washington Ave., 955-6780. Faces From an American Dream, black-and-white photographs by Martin J. Desht, through January. Turner Carroll Gallery 725 Canyon Rd., 986-9800. Contemporary Terrain, group show of landscapes, through Jan. 20. Vivo Contemporary 725-A Canyon Rd., 982-1320. Giving Voice to Image, collaborative exhibit between New Mexico poets and gallery artists, through March 26.

liBrAries Beaumont and Nancy Newhall Library Marion Center for Photographic Arts, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5052. Open by appointment only.

Catherine McElvain Library School for Advanced Research, 660 Garcia St., 954-7200. Open Monday-Friday, call for hours. Chase Art History Library Thaw Art History Center, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 473-6569. Open Monday-Friday, call for hours. Faith and John Meem Library St. John’s College, 1160 Camino de Cruz Blanca, 984-6041. Visit stjohnscollege.edu for hours of operation. $20 fee to nonstudents and nonfaculty. Fray Angélico Chávez History Library Palace of the Governors, 120 Washington Ave., 476-5090. Open 1-5 p.m. Tuesday-Friday. Laboratory of Anthropology Library Museum of Indian Arts & Culture, 476-1264. Open 1-5 p.m. Monday-Friday, by museum admission. 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.

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 • They Wove for Horses: Diné Saddle Blankets, Navajo weavings and silverworks; exhibits through March 4 • Margarete Bagshaw: Breaking the Rules, 20-year retrospective, through 2013 • 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, Mate y Más, through Jan. 5, 2014 • New Mexican Hispanic Artists 1912-2012, installation in Lloyd’s Treasure Chest, through February • Folk Art of the Andes, work from the 19th and 20th centuries • Multiple Visions: A Common Bond, international collection of toys and traditional folk art. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; no charge for NM residents on Sundays. Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 982-2226. Metal and Mud — Iron and Pottery, showcase of works by Spanish Market artists, through April • San Ysidro Labrador/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, Colonial and 19th-century Mexican art, sculpture, and furniture; also, work by Spanish Market youth artists • The Delgado Room, late Colonial period re-creation. Open 10 a.m.-5 p.m. Tuesday-Sunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays.

New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 476-5200. Altared Spaces: The Shrines of New Mexico, photographs by Siegfried Halus, Jack Parsons, and Donald Woodman, through Feb. 10 • Tall Tales of the Wild West: The Stories of Karl May, collection of photographs and ephemera in relation to the German author, longterm • 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 Sunday, Jan. 13 • It’s About Time: 14,000 Years of Art in New Mexico, through January 2014. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; NM residents no charge on Sundays. New Mexico National Guard Bataan Memorial Museum and Library 1050 Old Pecos Trail, 474-1670. Housed in the original armory from which the 200th Coast Artillery Regiment was processed for entry into active service in 1941. Military artifacts and documents. Open 10 a.m.-4 p.m. Tuesday-Saturday, by donation. 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. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 982-4636. A Certain Fire: Mary Wheelwright Collects the Southwest, 75th anniversary exhibit, through April 14. Open 10 a.m.-5 p.m. MondaySaturday, 1-5 p.m. Sunday. Docent tours 2 p.m. Mondays, Wednesdays, Fridays, and Saturdays.

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, through Jan. 27. Gallery hours available by phone or online at ccasantafe.org, no charge. 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, 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. Open 10 a.m.-5 p.m. Monday and Wednesday-Saturday, noon-5 p.m.

Navajo Woman on Horseback, by Ferenz Fedor, in the exhibit They Wove for Horses: Diné Saddle Blankets, Museum of indian Arts & culture

PASATIEMPO

In the wings MUSIC

The Met Live in HD Donizetti’s Maria Stuarda, Saturday, Jan. 19; Verdi’s Rigoletto Saturday, Feb. 16; both screenings 11 a.m. and 6 p.m. Wagner’s Parsifal, 10 a.m. (no encore) Saturday, March 2; Zandonai’s Francesca da Rimini, 10 a.m. and 6 p.m. Saturday, March 16, Lensic Performing Arts Center, $22-$28, discounts available, 988-1234, ticketssantafe.org. Music on the Hill Elevated Jazz series presented by St. John’s College; pianist Julian Waterfall Pollack, Saturday, Jan.19; vocalist Lori Carsillo with Straight Up, Saturday, Feb. 16; both performances begin at 7:30 p.m., doors open at 7 p.m., Great Hall, Peterson Student Center, 1160 Camino de Cruz Blanca, $25 in advance, 984-6199.

Lori carsillo performs with local jazz ensemble straight Up saturday, Feb.16, at st. John’s college.

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 Diva GoodfriendKoven, and pianist Debra Ayers, 3 p.m. Sunday, Feb. 17; Apple Hill String Quartet in Outliers, featuring oboist Pamela Epple and pianist Debra Ayers, music of Brahms, Grieg, and Ligeti, 6 p.m. Friday, March 22, Scottish Rite Center, 463 Paseo de Peralta, $20 in advance, $25 at the door, discounts available, 988-1234, ticketssantafe.org. Santa Fe Symphony Orchestra & Chorus Winter Brilliance, featuring pianist Spencer Myer, music of Rachmaninov, Tchaikovsky, and Nielsen, 4 p.m. Sunday, Jan. 20; Birds & Brahms, featuring violinist David Felberg, 4 p.m. Sunday, Feb. 17; Voyages of Discovery IV: The Beauty of Mathematics & Music, Sunday, March 17; pre-concert lectures 3 p.m.; Lensic Performing Arts Center, 211 W. San Francisco St., $20-$70, 988-1234, ticketssantafe.org. Louis Lortie The French-Canadian pianist performs Liszt’s transcriptions of Wagner’s and Mozart’s operas, 7:30 p.m. Thursday, Jan. 24, Q & A follows, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$50, discounts available, ticketssantafe.org, 988-1234.

January 11-17, 2013

Butch Hancock Country-folk singer/songwriter, with special guest Vince Bell, part of The Real Deal House Concert Series, 7:30 p.m. Saturday, Jan. 26, doors open at 6:30 p.m., house concert in Eldorado, directions given with reservations, $25 in advance, 466-6432 or sarahw@vincebell.com. 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. 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. Sandra Wong, Greg Tanner Harris, and Ross Martin Vibraphone, fiddle, and guitar trio, 8 p.m. Saturday, Feb. 16, doors open at 7:30 p.m., Gig Performance Space, 1808-H Second St., $15 at the door, gigsantafe.com. Bert Dalton Quartet Time Out For Brubeck, tribute to Dave Brubeck; Dalton on piano, Dave Anderson on alto saxophone, John Bartlit on drums, and Rob “Milo” Jaramillo on bass, 4 p.m. Sunday, Feb. 24, Scottish Rite Center, 463 Paseo de Peralta, $20 suggested donation at the door goes toward preservation of the center. 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.org. Richard Goode Piano recital, music of Haydn, Mozart, and Beethoven, 7:30 p.m. Tuesday, April 9, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$75, 988-1234, ticketssantafe.org.

Upcoming events student discounts available, 473-7434 or info@arcosdance.com, for information visit arcosdance.com. ‘Buried Child’ Ironweed Productions in co-production with Santa Fe Playhouse presents Sam Shepard’s comedy, 7:30 p.m. Thursday-Saturday, 2 p.m. Sunday, March 28-April 14, 142 De Vargas St., $20, discounts available, santafeplayhouse.org, 988-4262. 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

Art on the Edge 2013 Friends of Contemporary Art + Photography’s biennial juried group show hosted by the New Mexico Museum of Art, includes work by Santa Fe artists Donna Ruff and Greta Young, public opening Jan. 18, through April 14, 107 W. Palace Ave., by museum admission, 476-5072. Images of Life, Spyglass Field Recordings: Santa Fe, Summer Burial, and Thicker Than Water The Museum of Contemporary Native Arts hosts three solo exhibits for Tyree

Honga, Nathan Pohio, and Jason Lujan respectively; and one group show, opening reception 5-7 p.m. Friday, Jan. 18, 108 Cathedral Pl., 983-8900. Winterbrew More than a dozen New Mexico breweries and local restaurants participate in a comfort food and craft-brew festival; 4-8 p.m. Friday, Jan. 25, Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, $15 in advance, $20 at the door, nmbeer.org. Filigree and Finery: The Art of Spanish Elegance An exhibit of historic and contemporary jewelry, garments, and objects, public opening Saturday, Jan. 26, runs through May 27, Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, by museum admission, 982-2226. Chocolate lecture and tasting Santa Fe Community College instructor Mark J. Sciscenti speaks in conjunction with the Museum of International Folk Art exhibit, New World Cuisine: The Histories of Chocolate, Mate y Más, 2 p.m. Sunday, Feb. 10, 706 Camino Lejo, Museum Hill, by museum admission, 476-1200. Bollywood Dance Invasion 2013 Fundraiser hosted by the nonprofit Amma Center of New Mexico; video/light show, vegetarian meal, and astrology readings, 7 p.m. Saturday, March 30, Warehouse 21, 1614 Paseo de Peralta, $12, children’s discounts available, 989-4423.

THEATER/DANCE

‘Just a Gigolo’ Santa Fe Playhouse presents Stephen Lowe’s drama set in New Mexico, 7:30 p.m. Friday and Saturday, 2 p.m. Sunday, Jan. 18-20, 142 De Vargas St., $20, discounts available, santafeplayhouse.org, 988-4262. ‘Some Kind of Love Story’ and ‘Elegy for a Lady’ Teatro Paraguas presents Arthur Miller’s two one-acts, 8 p.m. Friday, 7 p.m. Saturday, 2 and 6 p.m. Sunday, Jan. 25-27, 3205 Calle Marie, $12; discounts available; matinee pay-what-you-wish, 424-1601. ‘Coal: The Musical’ Littleglobe presents a staged reading of its work-in-progress on environmental issues, 7 p.m., Friday, Feb. 8, Lensic Performing Arts Center, 211 W. San Francisco St., $10, student discounts available, ticketssantafe.org, 988-1234. ‘The Warriors: A Love Story’ ARCOS Dance presents its multi-media performance, 7:30 p.m. Friday and Saturday, 2 p.m. Sunday, Feb. 8-17, Center for Contemporary Arts, 1050 Old Pecos Trail, $20 in advance,

spencer myer performs with the santa Fe symphony orchestra & chorus on sunday, Jan. 20, at the Lensic.

pasa week

continued from Page 51

madrid

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 Sunday, Jan. 13. Steam locomotive, mining equipment, and vintage automobiles. Open 11 a.m.-6 p.m. Saturday and Sunday. $5, seniors and children $3.

taos Museums/Art Spaces

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 • Three exhibits in collaboration with ISEA2012 Albuquerque: Machine Wilderness — Curiosity: From the Faraway Nearby • Falling Without Fear • 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. Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson. Open 11 a.m.-5 p.m. daily, $5; seniors $4; teens $3; ages 12 and under no charge. La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. 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. Taos Art Museum and Fechin House 227 Paseo del Pueblo Norte, 575-758-2690. Open 10 a.m.-5 p.m. Wednesday-Sunday. $8, Taos County residents with ID no charge on Sunday.

Events/Performances

Taos Chamber Music Group The 20th season continues with Steve Reich’s Different Trains for pre-recorded sound and string quartet; Rhonda Larson’s Movin’ On for solo flute; and the premiere of Matthew Suttor’s La Prose du Transsibérien for flute, strings, and performance artist, 7:30 p.m. Saturday, Jan. 12, Taos Community Auditorium, 145 Paseo del Pueblo Norte, $20 in advance, $22 at the door, children’s discounts available, 575-758-0150, taoschambermusicgroup.org.

▶ People who need people Artists/Craftspeople/Photographers

62nd Annual Traditional Spanish Market 2013 Artists may submit work for jurying on Saturday, Feb. 2; applications due by Friday, 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 Friday, Feb. 1; entry forms and more information available at currentsnewmedia.org. Santa Fe Arts Commission Community Gallery New Mexico artists are encouraged to donate two original pieces to the community gallery for Silver, an art auction/exhibit (Feb. 8-22) to raise funds in celebration of the Santa Fe Arts Commission’s 25 years of service; all works must fit into a 25-inch square to be pinned to the walls or hung with clips on wires; deliveries accepted from 10 a.m. to 5 p.m. Thursday, Feb. 7; all works will be for sale; contact Rod Lambert at rdlambert@santafenm.gov for digital submission forms, 995-6705. Santa Fe Society of Artists spring jury selection Download membership applications at santafesocietyofartists.com; call 455-3496 for more information. Second Annual Temple Beth Shalom Jewish Arts Festival Judaic art sought for festival held May 4-5; application due date Friday, Feb. 15; guidelines and details available online at tbsartfest.org; for more information email tbsartfest@gmail.com.

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 Friday, Feb. 1; visit pen.org or write to awards@pen.org for more information.

Volunteers

Bienvenidos Help out by manning the tourist information window on the Plaza for the volunteer division of the Santa Fe Chamber of Commerce; call membership chairwoman, Marilyn O’Brien, 989-7901. Kitchen Angels Cooking and driving shifts open; some as short as two hours, once a week; call 471-7780 or visit kitchenangels.org to learn more. 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 threeday period in July; santafebotanicalgarden.org or 471-9103.

▶ short People Santa Fe Public Library Children’s Programs Books and Babies, 10:30-11 a.m. Wednesdays, La Farge Branch, 1730 Llano St., and 10:30-11 a.m. Thursdays, Southside Branch, 6599 Jaguar Dr.; Family Story Hour, 6:30 p.m. the first Wednesday of every month; no charge, visit santafelibrary.org for other events. Santa Fe Science Café for Young Thinkers What Is Light? What Are Radio Waves?, discussion for students ages 13-19 led by Bruce Sherwood, 6-7:30 p.m. Wednesday, Jan. 16, Georgia O’Keeffe Museum Education Annex, 123 Grant Ave., 982-0121, no charge. ◀

Men are from Mars, bands are for venues A vacation was an incredible way to start the year. I soaked in hot tubs, ate well, and played a good amount of hopscotch — minus the “hop.” Now that I’m back at the cubicle, it’s time to but on the polka-dot beat bikini and dive into the Santa Fe music scene’s deep end. The year has already started with unconfirmed whispers and tweets about a few new venue possibilities, including Secret Circus the old Jean Cocteau theater/café space on Montezuma Avenue next to Sanbusco Center. The Lucky Bean Café inside Sanbusco’s gutted Borders location showed promise as a concert hall, but insurance difficulties and disputes about events in the space saw the café close in December 2012. The Santa Fe Music Alliance — a nonprofit organization made up of musicians, musicindustry professionals, and live-entertainment advocates who hope to promote more concerts (including all-ages shows) and aid in the establishment of new music venues — is in the process of creating a better internet presence for itself (beyond the suffocating social-media undertow). The alliance also plans to provide online enrollment (slated to run $20 for humps like you and me, a bit more for professional musicians) when its new site goes live. I’ll be watching closely and reporting regularly as the alliance grows into its intended role. Is your bop hard enough?

With so much up in the air at the beginning of the year, it bears mentioning that some things about Santa Fe nightlife haven’t changed. And that can be a good thing or a bad thing. Here’s some of the good: At 7 p.m. Friday, Jan. 11, local community radio station KSFR-FM 101.1 continues its jazzed-up Music Café series at Museum Hill Café (Milner Plaza, 710 Camino Lejo, on Museum Hill) with a tribute to recordings by the Clifford Brown & Max Roach Quintet, which featured percussionist/composer Roach and trumpeter Brown. These two heroes of hard-bop wizardry didn’t last long together as part of an ensemble, but they left an indelible stylistic mark on the genre. Brown and his quartet’s pianist, Richie Powell, as well as Powell’s wife, Nancy, died in a car crash on a rainy Pennsylvania turnpike within two years of the album’s release. Brown’s life was short, but his contributions to jazz horn playing were huge. Roach had become equally influential well before hooking up with “Brownie” in ‘54. He had hit skins for Coleman Hawkins and Dizzy Gillespie, appeared on most of Charlie Parker’s classic bebop recordings, and took his place behind the kit on Miles Davis’ Birth of the Cool, a compilation of songs recorded by Davis’ nonet in 1949 and 1950. In each case, Roach advanced a broader percussion style and brought a more polyrhythmic attack to the hi-hat and ride cymbal in jazz drumming. The man was a genius — and a pioneer. For the Music Café tribute, which is a fundraiser for KSFR, J.Q. Whitcomb — a Santa Fe native, trumpeter, composer and recent resident of Shanghai — fills Brownie’s shoes, while Santa Fe jazz-percussion mainstay John Trentacosta confidently assumes Roach’s chair. Joining them are saxophonist Brian Wingard and pianist Bob Fox. Tickets for the show, $20, are available by calling 428-1527. Join the freak show Cowgirl BBQ (319 S. Guadalupe St., 982-2565) gets off its hee-haw see-saw for something a little different at 8 p.m. Wednesday, Jan. 16. Welcome Secret Circus, a New Mexico-based indie-rock/ alt-blues outfit led by twin brothers Klas and Joel Åhman, who started the band in 2008 in Stockholm. There’s a bit of a country/classic rock vibe here, and these guys definitely shouldn’t be confused with Melbourne Nickelback doppelgängers My Secret Circus, but on tracks like “When Monsters Come Out” and “Diary of a Stalker” — two tracks that feel tailor-made for Santa Fe — it all comes out in the rock ’n’ roll wash. And thankfully, it sounds nothing like Nickelback. There’s no cover. — 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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reGularly $5.99 to 69.99 ..................................... sale 40% oFF

600 watt hps Grow lamp

Black gold organic potting soil

$125.00

Black gold organic potting soil

2 cu. Ft. reGularly $18.99 ......................... sale

redwood window box

$14.99

24” reGularly $17.99 ....................................sale

redwood arbors

$9.99

$7.00

reGularly $9.99 .......................................................... sale $3.00

50pK reGularly $2.99............................................. sale $2.00

reGularly $249.99 to $399.99 .............. sale

reGularly $14.99 ........................................................ sale $6.99

3’ X 100 reGularly $49.99 ....................................sale $24.99

16oz. concentrate reGularly $18.99 ..... sale

$10.00

reGularly $27.99 ....................................... sale

$10.00

weed fabric black woven

Bond 2 piece pruner set

weed fabric grey

Gloves

4’ X 100’ reGularly $36.99....................................sale $16.99

reGularly $3.99 to $29.99 ...........................sale all 50% oFF

weed fabric grey

corona 7” folding razor tooth saw

3’ X 50’ reGularly $14.99........................................ sale $5.00

reGularly $22.99 ...................................................... sale $14.99

Miracle Gro house plant food

Bond fiberglass handle hoe

reGularly $13.99 ........................................................ sale $6.00

8oz reGularly $3.99............................................... sale $2.00

Garden art, Benches, statues, Fountains etc.

3 tier fountain with base

large iron wall cross

all saint statues

small iron wall cross

saint Joseph statue

iron hanging brackets

cement garden bench

Metal Kokopelli

reGularly $699.99 ............................................. sale $450.00 reGularly $89.99 ..................................................sale $35.00 reGularly $122.99 ...............................................sale $50.00 reGularly $99.99 ..................................................sale $65.00

reGularly $23.99 ....................................... sale

reGularly $9.99 ............................................sale

reGularly$2.99 to $8.99 ....................... sale

large Kokopelli

cement garden table 2 benches

3 piece bistro set aluminum

small jug fountain

large 4 tier fountain

Girl with jug fountain

large wall fountain

larGe reGularly $399.99.................................. sale $175.00

reGularly $199.99 ................................................sale $40.00 reGularly $199.99 ...............................................sale $40.00

reGularly $99.99 ..................................................sale $55.00

ceramic bird bath

reGularly $129.99 ................................................sale $70.00

$8.00

$15.00

reGularly $1200.00 .................................sale

$799.99

reGularly $999.99 ...................................sale

$600.00

cu. Ft. reGularly $199.99 ........................sale

$100.00

reGularly $269.00 ...................................sale

$100.00

Garden bench poly and metal

Metal bird bath

reGularly $139.99 ..................................... sale

Pete Moss’ Garden Tip: If you purchased a live Christmas tree it should be outside by now. If you have kept it indoors more than 10 days it is a good idea to slowly acclimate your tree by leaving it in the garage for a week then for another week it should go out in the day and back inside the garage at night. Make sure that you are watering your tree at least once a week. You should also plant your live Christmas tree as soon as possible.

January 11-17, 2013

reGularly $16.99 to $64.99 .................. sale

pinon trees

50¢

30% oFF

everGreens

entire collection............................................................25% oFF

select Blue spruce

$75.00

select Blue spruce

Giant austrian pines

#25 reGularly $399.99 .......................................... sale $200.00

austrian pine

#15 reGularly $129.99 ............................................. sale $79.99

austrian pine

#5 reGularly $26.99 ................................................. sale $14.99

topiary alberta spruce over 6’

reGularly $299.99 ................................................. sale $179.99

topiary Juniper

#20 reGularly $179.99 ............................................. sale $99.99

Globosa spruce

#10 reGularly $148.99 ............................................. sale $99.99

atlas cedar

#15 reGularly $179.99 ............................................... sale 99.99

tam Junipers

#5 reGularly $28.99 ................................................. sale $17.00

Family Owned & Operated Since 1974 ALWAYS FRIENDLY PROFESSIONAL NURSERY SERVICE

7501 Cerrillos rd. 471-8642

Hours 10:00 to 5:00 • 7 days a week

Good thru 1/17/13 • while supplies last • stop by today and see our Great selection.

redwood trellises

reGularly $199.99 ................................................. sale $140.00

$199.99

cement bird bath

reGularly $899.99 ............................................ sale $699.99

reGularly $1.69 ............................................... sale

60% oFF

reGularly $299.99 ...................................sale

iron and metal bench

Garden measuring cup

#20 reGularly $149.99 .......................................... sale $100.00

reGularly $29.99 ...................................... sale

large colonial fountain

redwood planter tub

$5.00

reGularly $13.99 ..........................................sale

cement table w/3 benches

reGularly $699.00 ............................................ sale $300.00

$13.00

round up 16oz concentrate

25% oFF