Pasatiempo, Nov. 9, 2012

The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture

November 9, 2012

“Great food is

like great

sex.

The more you have

the more you want.”

Celebrate the release of Beaujolais Nouveau at RISTRA

–Gael Greene

Thursday, November 15 4-course dinner paired with 4 different wines from Beaujolais $48 ï

join us for a tradition: Thanksgiving at Ristra 2pm - 9pm ï $4 LUNCH GIFT CERTIFICATE Present certificate Tues.–Sat. 11:30–2:30 One certificate per person a re ned yet unpretentious dining experience

ï 548 Agua Fria / Santa Fe, NM / 982-8608

RistraRestaurant.com

photo: David Woodard

“REASONABLE PRICES...HISTORIC SETTING”

Thanksgiving Dinner 2012

This Week’s Specials: Lunch Worldí s Best Veggie Chili w/ Cornbread ñ 10.00 Dinner Crispy Chicken Schnitzel w/ Rice, Winter Squash & Fresh Sage ñ 22.00

Whole Organic Roasted Diestel Turkey with a Spanish Smoked Paprika and Sage Rub Cornbread Stuffing with Toasted Pecans & Apples Or Classic Herb Bread Stuffing Walter’s Home-style Pan Gravy with Wild Mushrooms and Madeira Whipped Yukon Gold Potatoes with Roasted Garlic Sautéed French Green Beans with Chestnuts Roasted Mixed Root Vegetable with a Tangerine Glaze Fresh Cranberry Orange Relish Herbed Buttermilk Biscuits

Lunch Monday thru Saturday & Sunday Brunch 11:30 ñ 2:00 Dinner Nightly 5:30 ñ 10:00

Desserts (Please choose one) Pumpkin Ginger Pie ï Maple Pecan Pie ï Sour Cream Apple Crumble Pie All served with Rum-laced Whipped Cream $36.00 per person / 6 person minimum Additions or changes available at an additional cost Delivery ($50) or Pickup at our Office on Wednesday the 21st or before noon on Thanksgiving Day

231 WASHINGTON AVE ï RESERVATIONS 505 984 1788 MENUS, SPECIAL EVENTS, INSTANT GIFT CERTIFICATES ONLINE WWW.SANTACAFE.COM ï LOCALLY OWNED & OPERATED FOR OVER 28 YEARS 2

November 9-15, 2012

phone: (505) 473-9600 fax: (505) 473-1080

www.walterburkecatering.com

Cozy Coats

Arriving Daily

HURRICANE SANDY RELIEF Bring a coat in good clean condition and receive

ORIGINS® IS A REGISTERED TRADEMARK USED UNDER LICENSE. ©2012 MARGOLIS, INC

30% OFF

Niche Maralyce Staples Faux Fur (pictured) Lee Anderson Transparente Aldo Martin

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505-988-2323

originssantafe.com

135 W San Francisco ï Santa Fe ï info@originssantafe.com

We Represent Many Cooperatives

SITE SANTA FE PRESENTS

ART & CULTURE TUESDAY, NOVEMBER 13, 6 PM ARTIST TALK BY IRIS HÄUSSLER Internationally known conceptual artist, Iris Haussler creates narratives in the form of large-scale site-specific installations that blur the boundaries between reality and fiction, story telling, theatre and visual arts.

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Co-sponsored by McLarry Modern

Tickets $10/$5

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For more info or tickets, call 505.989.1199 or www.sitesantafe.org

SANTA FE

Currently on view through Jan 6, 2013 More Real? Art in the Age of Truthiness The Art & Culture series is made possible in part by the Marlene Nathan Meyerson Family Foundation. This announcement is made possible in part by the City of Santa Fe Arts Commission and the 1% Lodgers Tax.

1606 Paseo de Peralta, Santa Fe, NM 87501 505.989.1199 | sitesantafe.org

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A Toast to Georgia

B I R T H D A Y

Georgia O’Keeffe: Reading the Work as the Life

Three Memorable Events in Celebration of Georgia O’Keeffe’s 125TH Birthday P H O T O

This illustrated talk by O’Keeffe biographer, art historian, and novelist Roxana Robinson explores the artist’s rich and complex body of work, paying particular attention to the ways in which it illuminates the artist’s life.

C O M P E T I T I O N

Theme: Flowers

When: Thursday, November 15, 6 PM

The Georgia O’Keeffe Museum invites photographers, both amateur and professional, to submit their favorite images of flowers. Be recognized for your talents. Win prizes, including publication in the Museum’s next issue of O’Keeffe Magazine, exhibition on the Museum’s website, cash awards, and more.

Where: St. Francis Auditorium New Mexico Museum of Art 107 W. Palace Avenue Cost:

Early Submission Deadline: Thursday, November 15, 2012 (Georgia’s Birthday) Final Entry Deadline:

L E C T U R E

$5; Members and Business Partners, Free Reservations suggested okmuseum.org; 505.946.1039

Wednesday, December 19, 2012 B I R T H D A Y at okmuseum.org C O N C E R T

For more information and for contest rules: www.OKMPhotoCompetition.org

Jazz Concert Celebrating Georgia O’Keeffe Jazz it up with singer/pianist, Karrin Allyson. A four-time Grammy Award nominee, Allyson was also nominated as 2012 female Jazz Singer of the Year by the Jazz Journal Association.

Produced in collaboration with Friends of Santa Fe Jazz. All proceeds benefit the Georgia O’Keeffe Museum.

When: Saturday, November 17, 7 PM Where: La Posada Resort Hotel and Spa Ballroom

SEE

ALL

B I R T H D AY

C E L E B R AT I O N

EVENTS

ONLINE

Cost:

$35; $75 Supporters & Friends Includes: birthday cake, bubbly toast, free valet parking All seats general admission ticketssantafe.org; 505.988.1234

AT

OKMUSEUM.ORG

Thank You to Our Sponsors: Century Bank, Mary & Charles Kehoe, Los Alamos National Bank, New Mexico Gas, PianoWerkes of Albuquerque, Santa Fe University of Art and Design 4

November 9-15, 2012

The Lensic and Wise Fool New Mexico Present

SERVICE CHARGES APPLY AT ALL POINTS OF PURCHASE

ART BY NIKESHA BREEZE

Tickets: 505-988-1234 www.TicketsSantaFe.org

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

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THE SANTA FE NEW MEXICAN

November 9 - 15, 2012

ON THE COVER 32 Living still — photographs by Sharon Core The image that graces the cover of this week’s issue is Jimson Weed, a 19th-century oil on canvas by American Raphaelle Peale — gotcha! It’s actually a 2009 work by photographer Sharon Core, who has come up with an astoundingly effective method of creating still lifes that look like paintings in the style of Peale. An exhibition of Core’s photos runs at Radius Books through the end of the year; the Santa Fe publisher has also produced a monograph of her still lifes. Cover image courtesy Radius Books and the artist.

BOOKS

MOVING IMAGES

12 In Other Words Visit with Isabel Dalhousie 16 Kevin Young The blackness of blackness 18 Romancing the Atom Forgetting the fallout

44 48 50 52

MUSIC AND PERFORMANCE 20 22 25 26 63

CALENDAR

Chatter Music of Schoenberg, Adams, and Sierra Terrell’s Tune-Up Zappa reissued Onstage This Week Canticum Novum Pasa Tempos CD Reviews Sound Waves Sandy relief concert

56 Pasa Week

AND 9 Mixed Media 11 Star Codes 54 Restaurant Review

ART AND ARCHITECTURE 28 30 36 40

Passing visions Photographic techniques of yore Art in Review Fine Folk at the Community Gallery Conceptual art Lucy R. Lippard exhibit in Brooklyn Art of Space Buildings risen from the earth

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

Douglas, Arizona (detail)

by Steve Fitch

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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 Jon Bowman, Doug Fairfield, Laurel Gladden, Lauren Elizabeth Gray, Robert Ker, Bill Kohlhaase, Jennifer Levin, David Masello, Adele Oliveira, Robert Nott, Jonathan Richards, Heather Roan-Robbins, Michael Wade Simpson, Roger Snodgrass, Steve Terrell

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PRODUCTION Dan Gomez Pre-Press Manager

The Santa Fe New Mexican

© 2012 The Santa Fe New Mexican

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Robin Martin Owner

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Pasa Pics Side by Side Skyfall The House We Live In

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 Kaycee Canter 995-3844 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

LAURA SHEPPHERD ATELIER

Wrap yourself in Kathryn Roth’s Glamour Shawls Felted wool & chiffon creations that are pure soft gossamer sensuality!!

Celebrate Great Art & Wine Join us Friday, November 16th as we Celebrate the fine art of Tim Kenney and 2012 release of Beaujolais Nouveau wine.

photosantagto.com

Plus holiday gifts starting at $35!

65 w. marcy street santa fe, nm 87501 505.986.1444 laurasheppherd.com like us

Stop by the new gallery area at the Eldorado Hotel & Spa from 4-7pm on Friday, November 16th to witness magic as the talented Tim Kenney paints a special piece. Mingle with the artist while commemorating the 2012 release of Beaujolais Nouveau. Enjoy $5 glasses of this classic wine and munch on complimentary sliders and fabulous cheeses.

For more information please call 505.995.4530.

Located at Eldorado Hotel & Spa 309 W. San Francisco Street EldoradoHotel.com

PASATIEMPO

7

Lensic Presents

World Music

November 15

The internationally acclaimed quintet that’s redefining traditional Irish music returns to The Lensic.

“The material, both original and traditional, becomes a springboard for explorations that go beyond folk, dipping toes into chamber music, jazz and beyond.” —NPR

7:30 pm, $15–$45

TURKEY DINNER

Young Roasted Turkey served with Sausage Stuffing, Sage gravy, Sweet Mashed Potatoes, Green beans with almonds, Cranberry Relish

DESSERT

Torta Di Zucca, Chimayo Pumpkin Pie Mousse or Banana Chocolat Mousse Amaretto Tort

GEN EROUSLY SPONSOR ED BY

Thornburg Investment Management

Complete menu $45 per person.

Meals will be ready for pickup between 12pm – 2pm 505-986-5858 Quantities are limited so order soon.

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

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

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November 9-15, 2012

Also available to go at the price of 169.00 per dinner.

Will serve 6/8 people.

986≠ 5858 ï 58 S. Federal Place ï Santa Fe ï www.OsteriadAssisi.com

MIXED MEDIA

Paul Hunsicker is back in the kitchen!

New Executive Chef at Azur.

Exciting & Creative New Menu.

Starters $5-$9 Mains $11-$19

428 Agua Fria, Santa Fe ï 992≠2897 ï www.azursantafe.com

Food fling Holidays are traditionally a time of gatherings — with families and friends and lots of food. On Saturday, Nov. 10, another sort of gathering takes place, one among storytellers. A story can lift the spirits; it can also bring together members of a community to help their neighbors. Performers from Storytellers of New Mexico gather at the Performance Space at La Tienda in Eldorado (7 Caliente Road, www.theperformancespace.com) from 3 to 4:30 p.m. to present family-friendly tales (there will also be refreshments and prizes).

Taking part are Joe Hayes, author of the children's book, The Day It Snowed Tortillas, Mary Ellen Gonzales, Cynthia Dobson, and Indiana Bones (a.k.a. Mike McCartney).

The event benefits The Food Depot, a Santa Fe-based organization that works to end hunger across Northern New Mexico. Executive director Sherry Hooper speaks about the work being done by The Food Depot, and what people can do to help New Mexicans put a turkey on the table this Thanksgiving. In 2009, the group distributed enough food to provide for nearly 4 million meals.

Admission is free, but a donation of food or money is requested.

Can't make the event but still feel the urge to donate? Go to www.thefooddepot.org and make a secure online contribution.

— Lauren Elizabeth Gray

PASATIEMPO

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STAR CODES Heather Roan Robbins

Expect warm hearts and rough waters this week. We may be knee deep in technical and logistical challenges as communicative Mercury retrogrades back to square soggy, foggy, intuitive Neptune. Fortunately, kind Venus in Libra forms an expansive trine to Jupiter and offers a heartcentered way through the troubles. It’s time to exercise our compassion muscles and do whatever works as we walk into Friday.

Last week’s practical details got tangled as did our ability to be mobile and communicate with one another. Whatever came up may take the next six weeks to straighten out and may expose some underlying problems that need to be attended to. Those of us not on the East Coast may feel this in our personal lives.

This week, Saturn forms a stimulating quincunx with Uranus and encourages us to leave behind structures that supported us in the past, give up bad habits, and free ourselves for an exciting time ahead. We cannot restore things to the way they were before Hurricane Sandy, but we can reorganize enough to give us time to think through the larger changes demanded by the ongoing (2012 to 2015) era-changing Uranus-Pluto square.

This week, we need to cut everyone some slack, especially over this weekend. When the screw-up fairy visits and mistakes abound, practice compassion rather than condemnation. Deal with what should have been dealt with a while ago. Take a break from life’s harsh moments and reach into fertile dreamtime.

Insist on honesty. It’s all too tempting to tell people what they want to hear as Mercury retrogrades back to where it was the night of the storm.

Our ability to solve problems improves as Mercury backs into Scorpio on Wednesday, but our perceptions may be filled with suspicions. Choose Venus; choose kindness — we’re all in this together.

Friday, Nov. 9: Conflicting responsibilities make it easy, but not useful, to find fault. Watch overly frank comments as the Virgo moon squares Mars; be pointed and stay productive. In the evening, kindness toward our sensitivities softens our heart.

Saturday, Nov. 10: We want what’s fair and beautiful as the moon enters Libra and opposes Uranus. There is change on the home front — ask what needs adjustment. Tonight, ferret out good memories to guide decisions.

Sunday, Nov. 11: Integrate new information about weather and water damage. Engage in random acts of kindness as the moon conjuncts Venus.

Strengthen connections rather than test them; speak less and cooperate more as Mercury semisquares Venus.

Monday, Nov. 12: Proceed with caution over the next few days. Conditions are sloppy, the message is confused, and people’s tails are twitching as the moon enters brooding Scorpio. Watch out for strange conspiracy theories and stranger truths.

Tuesday, Nov. 13: A new moon in Scorpio calls us to look within ourselves.

Unfortunately some people get uncomfortable and lash out. If sanity feels ephemeral, come back to quiet, simple, grounding chores and stay present.

Wednesday, Nov. 14: Move forward but do not skip steps. Life is full of mysteries — let’s see what we can solve as the moon enters capable Sagittarius.

Tonight brings a new opportunity to heal old wounds.

Thursday, Nov. 15: We may be asked to leave something behind to create room for the future and make adjustments before we pick up plans again.

Positive feedback helps. ◀ www.roanrobbins.com

PASATIEMPO

11

IN OTHER WORDS

book reviews

The Uncommon Appeal of Clouds by Alexander McCall Smith, Anchor Books/Random House, 272 pages I have been visiting again with Isabel Dalhousie, from Edinburgh. But unlike any other friend of mine, I’m not confident that I am pronouncing her last name correctly.

Isabel’s handsome, young (and younger) husband, Jamie, has appeared, too, as has her moody and self-absorbed niece, Cat, who owns a gourmet delicatessen in town. Others who I now know from Edinburgh — Eddie, the young employee of Cat’s who clearly has a dark secret that is probably the source of his self-consciousness; Grace, Isabel’s longtime housekeeper who doubles as a kind of friend of hers, though I think she’s ungrateful for all Isabel does to better her life — have come into the room, too. I am happy to be walking again along the rainy, sinuous streets of Edinburgh (watch those cobblestones, which can get mighty slippery) on the way to Isabel’s, and to sit in a wing chair in her spacious house sipping a locally made single malt.

And, perhaps, as we look out her bay window, we’ll both spot the visiting fox she continues to see among the bushes in the yard — though I’m not yet sure if the animal is merely a sly symbol of something.

Never before have I gotten to know a literary character as well as I know Isabel. I’ve read all of Alexander McCall Smith’s novels in the series named for her, including the newest, the ninth, The Uncommon Appeal of Clouds, which is drifting into bookstores now. Although she is sometimes billed as a kind of informal detective, Isabel is simply an investigator and observer of life as any sensitive individual might be. One of the plotlines for this most recent book involves her helping to solve the theft of a painting by Nicolas Poussin, but her real detective work is presenting the clues to, and sometimes solving, the existential dilemmas of life. It’s not the first instance in which Isabel has spent time figuring out the attribution or whereabouts of a painting.

In The Careful Use of Compliments (book No. 4), her suspicions are aroused when two Scottish landscapes (each missing a key topographical detail) by the same late artist come to auction simultaneously. Art is one of her passions, and when she has free time, she wanders the rooms of the Scottish National Gallery seeking out works by her fellow Scots or visits independent art galleries in town to add to her collection (we need to lure her to Santa Fe — the closest she’s gotten is Dallas).

Isabel is an attractive 40ish-year-old woman with a sizable inheritance, which allows her to edit an obscure academic journal called the Review of Applied Ethics, the modest salary from which she pours back into keeping the publication going. As someone who publishes poems and essays in journals with readerships smaller than the number of people who live on the floor of my Manhattan high-rise and on websites where the number of comments usually stands steady at zero (unless I log in on my alternate AOL account and post some laudatory remark), I was thrilled by something Isabel told a doctor in The Comforts of a Muddy Saturday (No. 6 in the series). When she was asked why she bothered to publish articles in a periodical read by so few, she said, “A simple utilitarian reason.

Because it adds to happiness. In a very small way, but it does ... . There are some conversations that may have very few participants, but which are worth having anyway.”

Much of what Isabel does and has done in the course of nine novels are things I understand. She fell in love with a man, a bassoonist, much younger than her, and even though she is attractive, she continues to worry about the age gulf that separates them and the growing disparity that will be realized as time goes on. Early on, in Friends, Lovers, Chocolate (No. 2), as Isabel becomes aware of her amorous feelings for Jamie, she tried adamantly to dismiss them because “she did not want him to think of her as some hopeless admirer, an object of pity.” It didn’t help the situation that Jamie had formerly been involved with Isabel’s niece.

But in The Right Attitude to Rain (No. 3), Jamie had suddenly kissed her one night. “He made the move; I didn’t,” she reflected. “The thought was an overwhelming one and invested the everyday

12

November 9 -15, 2012

SUBTEXTS Gone fishin’ Though the subtitle of Dylan Tomine’s Closer to the Ground is An outdoor family’s year on the water, in the woods, and at the table this isn’t a typical “I spent a year doing this and now I’m writing about it” memoir.

Perhaps because the Tomines were already an “outdoor family,” they didn’t radically alter their lives to engage in a back-to-the-land experiment; the family’s patriarch simply focused his writing on their outdoor activities and made sure his young daughter and son were active participants in the growing and gathering of food and fuel. And what a writer he is. A respected chronicler of the outdoors and conservation advocate, Tomine has the ability to make nature welcoming even to readers who are afraid of it. One of the most enjoyable aspects of this book is that the Tomines are a happy family, and their happiness radiates off the page. Tomine has deep respect for his children, who learn to share his passion for fishing, and he is in awe of his wife’s talent for gardening, which he does not share. Much of the book is devoted to discussion of the meals they eat — the clams, fresh fish, fruits, and vegetables, among other goodies — and the care and joy they take in preparing them. Tomine reads from his memoir, which was published by Patagonia Books, at 6 p.m. on Tuesday, Nov. 13, at Collected Works Bookstore (202 Galisteo St. 988-4226).

At 6 p.m. on Thursday, Nov. 15, also at Collected Works, local writer Candace Walsh reads from Licking the Spoon: A Memoir of Food, Family, and Identity, published by Seal Press/Perseus Books. Licking the Spoon tells the story of how Walsh’s multicultural family created recipes that have been passed down through the generations, as well as Walsh’s own journey through marriage, parenthood, divorce, and coming out as a lesbian.

— Jennifer Levin

world about her, the world of the square, of trees, of people walking by, with a curious glow, a chiaroscuro which made everything precious.”

“Everything,” she realized, “is changed, becomes more blessed, making the humblest of surroundings a holy place.” Now they are happily married with a child, Charlie, who as a 3-year-old in this new novel evidences a genius for mathematics, a fact that invests Isabel with both parental pride and dread.

Edinburgh and the streets Isabel courses on her often quotidian adventures, her lamp-lit parlor that is always snapping with the sounds of the blaze in the fireplace, the concert halls she visits to hear Jamie play in recitals, all feel like holy places for me. Especially since they don’t really exist. They have that mythical quality of existence — I can see the places and have become familiar with them, and while I know that their dimensions and furnishings are defined by McCall Smith’s imagination, I can’t help but continue to believe that they are real. As a reader, I have entered both the real-world setting that McCall Smith relates, along with his fictional one; the two meld seamlessly.

I have never before felt such affection for a city I have never visited, and I have deluded myself, in a way, into believing that were I to suddenly fly there, I would have a friend to call upon. And if Isabel weren’t home but traveling instead to the brooding Highlands, which she has been known to visit, I feel that I could find my way around given her prior descriptions of the cityscape. I would know how to reach the New Town and the Meadows, the best route to follow to scale Arthur’s Seat, and what to order at Cat’s delicatessen for a fortifying snack (what a selection of olives!). Isabel has even kindly provided a map, drawn within the cover of The Forgotten Affairs of Youth (No. 8).

Although she loves her native city and recognizes her good fortune in having inherited enough money to keep her there indefinitely, she does lament a dynamic I know well as a New Yorker. Neither she nor Jamie, she realizes, earned the homes they occupy, and she worries often about the fragility of her city. “Many of those who earned what they had could hardly afford to live in Edinburgh now, with its high prices, just as people in London and New York found salaries inadequate for the cost of buying a roof to put over one’s head,” she reflects in book No. 3. “There was something wrong with this,” she thinks, “but it seemed to be an inescapable aspect of economic life: those who came in latest had the most uncomfortable chair, or no chair at all.”

I love Isabel as a friend because she is so smart and sensitive, willing to listen to others, self-conscious about her physicality and her age and aging, and because she is modest. Also, she pays attention to details, especially to words that reveal character. In a letter she received in The Careful Use of Compliments, a missive that announces her dismissal from her role as editor in chief from her journal of philosophy, she noticed “a chatty postscript.

That is a hallmark of guilt, she thought: he who feels acutely guilty attempts to establish that all is actually well by resorting to the quotidian remark that has nothing to do with the real business.” Such observations mark her as a philosopher of everyday life. (She cannily won back her role as editor.)

In that book, too, Isabel talks to Jamie about the meaning of memories and how “when you’re doing things for the first time, you lay down lots of memories. Later on, things become a bit more routine,” making for a situation in which “few things strike you as unusual.” She is right about that, and I agree with most of the observations she makes about people and situations. But everything about Isabel Dalhousie in Edinburgh is memorable and striking and unusual; nothing is routine. Once again, with this new volume, we get to spend more time with her. Wherever we live is richer because of where she lives in our imagination.

— David Masello

more book reviews on Page 14

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ADDDDDDDDDDDDDDDDDDF H H H H H H When Opera Goes to the Movies H H H John Webber, former teacher of film history, will H discuss how the techniques of movie making can H H transform operas into true cinematic masterpieces.

H H 5:30PM —Wednesday, November 14 H Unitarian Universalist Congregation of Santa Fe H 107 W. Barcelona St. H H Free to members of all Guilds.

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November 9 -15, 2012

IN OTHER WORDS book reviews City of Saints by Andrew Hunt, Minotaur Books/St. Martin’s, 321 pages It’s challenging to be a rookie sheriff's deputy. You get the weekend calls and people call you “tenderfoot,” as if your lack of experience is your fault.

Such is the case for 29-year-old Art Oveson, a happily married man and father of two, in Salt Lake City in 1930. Oveson loves ice cream and taffy and dislikes cuss words. Though he comes from a family full of lawenforcement professionals, there was a time when he was innocent of man’s brutality to man. That time ended just before the first page of City of Saints, the debut mystery novel by historian and nonfiction writer Andrew Hunt.

The book was inspired by a true unsolved crime. Significant liberties of fiction were taken to make a good story; for his efforts, Hunt won the Tony Hillerman Prize for Best First Mystery.

Early on a Saturday morning in February, Oveson and his hard-bitten partner, Roscoe Lund, an old Chicago strike breaker, are called to the murder scene of Helen Kent Pfalzgraf, the young wife of a prominent doctor. She has been clonked on the head with a solid object and run over with her own car multiple times. The mystery that ensues involves crooked cops; the power of wealth; the strength of family ties; illegal abortion and the difference between qualified, caring “abortionists” and those known as butchers; Hollywood; blackmail; and a lot more murder. Oveson is in the thick of it and has to learn fast how to get aggressive as a detective in order to find out who the bad guys are.

Though he lives and teaches in Ontario, Hunt grew up in Salt Lake City, which allows him to accurately depict the way the Mormon faith influences the daily lives of the residents.

The sheriff leads a morning prayer that highlights the divisions in the department: “Only the Mormons — Sheriff Cannon, Assistant Sheriff Sykes, me, and a number of other deputies — participated in morning prayers. The non-Mormons, even the very religious ones, refrained,” Oveson explains ader It also seems that as an alternative to prohibited vices like to the reader. drinking coffee and alcohol, Hunt has imbued the Mormons in his novel with a fixation on sugary snacks, which is endearing, as well as slightly alarming as a symbol of sublimated desire. Oveson is a good man — faithful to his wife, who was his childhood sweetheart, and extremely dedicated to his children. Hunt makes it clear that not all Mormons are good people, however, as some of the most corrupt characters go to church with Oveson.

City of Saints rather skillfully wrestles with a vital social issue of the day — abortion — and even takes Oveson through a small enlightenment about financial privilege and unwanted pregnancies. Unfortunately, the crux of the criminal enterprise that is the catalyst for all the murder rests on the bodies of dozens of women, but Hunt never addresses, even obliquely, that this is yet another violation of their privacy and dignity.

By the end of the novel, Oveson is a changed man. He's no longer naive, no longer a “tenderfoot.” He doesn’t get too offended by cuss words anymore, though he’ll never speak that way to anyone. He stays true to himself, even as he learns that sometimes you have to raise your voice.

— Jennifer Levin Andrew Hunt reads from “City of Saints” at 2 p.m. on Saturday, Nov. 10, at Garcia Street Books (376 Garcia St., 986-0151).

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Bill Kohlhaase I For The New Mexican hen poet, essayist, and anthologist Kevin Young was growing up, he wanted to be a pip. “Not in the sense of something small or insignificant,” as he writes in his first book of prose, The Grey Album: On the Blackness of Blackness, “but rather one of the Pips, spinning and singing behind Gladys Knight while she sang He’s leavin’ — on the midnight train to Georgia. It was clear to me I wanted some of what soul music provides: a sense of praise even among the heartbreak; to hold your head up high and bow only when dancing; or, as pip can mean, ‘to break through in hatching.’” These lines give insight into Young’s intellect and style; his ability to discover and define yearning, both personally and culturally; his attention to language, its multiple meanings, and the not-so-coincidental attachment that goes beyond its objective use; and his way of finding value in cultural art forms from disparate sources. This brief pip of an encounter with Young’s young self plays a small but revealing role in The Grey Album’s main themes of storytelling, the utility of lies, and the cultural notion of “trickster” as it applies to black culture and its survival in America. Another revelation: even when he’s writing as an essayist, Young’s thinking like a poet.

Filled with blues, jazz, literature, pop culture, and discourse, The Grey Album is, to use Young’s words, a “riff,” a “mash-up,” a “storying” about the “crossroads of African American and American culture, which, as we shall see, may be much the same rocky road.” The book’s title draws from musician-producer Danger Mouse’s mix of Jay-Z’s The Black Album and The Beatles’ The White Album. It deals with the motif of escape in black song and literature, the “far too accessible” poetry of Langston Hughes, the use of fetish as totem in the autobiography of Frederick Douglass, and the jazz criticism of Ralph Ellison and Philip Larkin.

And there are tales, both tall and short: how bebop legend Charlie “Bird” Parker would go into clubs and fill the jukebox with coins to play country songs so he could hear their stories; how Young himself took a $500 grant and traveled to San Francisco in search of stories about beat poet Bob Kaufman. These ideas and countless more are spun, like Danger Mouse’s The Grey Album, in a mash-up that somehow finds them all coming together in purposeful sense. Young dubs himself into the exposition often and with reason: “Cut to: me in my bedroom, 16

November 9 -15, 2012

tape on REC-PAUSE waiting for a song to come on.” The writing is at once doubly meaningful, smooth, and cool ... like a Pip. In a morning phone call from his home in Atlanta, Young, who appears with writer Colson Whitehead at the Lensic Performing Arts Center on Wednesday, Nov. 14, in an event presented by the Lannan Foundation, laughed when asked about his childhood desire to be a Pip. “The Pips were so glamorous and smooth.

They taught us a lot about being cool. I think that’s what I was trying to get at in the book. What does it mean to be cool, how does it act, how does it move?

Gladys Knight made us realize a lot of what soul is.” In the book, Young goes on — you might say he riffs — to find further revelation in the word pip, layering meanings as poets do. He notes the power of soul to turn tragedy into a pip, in this case meaning a “minor, unspecified human ailment.” He also explains that pip suggests pippin, which is both an apple and something admired. As it is throughout the book, his exposition isn’t clear-cut but diffuse, a trigger to the imagination. Like poetry.

Young is the author of seven books of poetry, not counting numerous broadsides and chapbooks. His Jelly Roll: A Blues, a collection of poems that link language to music in ways that suggest the phrasing of rap, was a finalist for the National Book Award in 2003. He’s edited collections of jazz and blues poetry for the Everyman’s Library as well as anthologies on grief and healing and, most recently, food and drink. His landmark anthology Giant Steps: The New Generation of African American Writers brought deserved attention to poets, essayists, and novelists born after 1960. He’s also edited collections by poet John Berryman and recently Lucille Clifton. It was Clifton who selected Young’s first full-length book of poetry, Most Way Home, as winner of the 1993 National Poetry Series competition; the award included publication by William Morrow. “I had never met her but had admired her work when she pulled me out of the pile,” Young said. “I met her in San Francisco and got together with her over the years, then helped get her archives to Emory [University, where Young teaches], which included a lot of her unpublished poems. So yes, there’s a nice connection there, a coming full circle.” Clifton died in 2010.

Born in Lincoln, Nebraska, Young called several places home while growing up: Boston, Chicago, New York, Topeka. How did his interest in poetry and music develop? “I guess moving around a lot makes you pay attention to the

language around you,” he explained, “and whether something is called soda or pop. You become aware of using the right words and why they’re used the way they are. Most of our family was based in Louisiana, and I think spending a lot of time down there, where there’s music all around you, had a big influence. I don’t remember not hearing music. There was always jazz and soul and reggae and blues. My grandfather was a zydeco musician who used to play around in Louisiana. So somewhere between all that I became interested in the arts.”

Young’s just-released anthology, The Hungry Ear: Poems of Food & Drink, 158 poems from past and contemporary poets (including Young), visits an infrequent theme from The Grey Album: the pleasure and meaning to be found in food. In The Grey Album, soul food becomes a symbol of invention, of making something of “the ugly bits,” an image that he applies to jazz as well. “Food, without its pleasure, it’s just not very good,” he said. “It’s much the same thing with poetry. That’s the main idea in Wiliam Carlos Williams’ “This Is Just to Say.” (Williams wrote, “I have eaten/the plums ... they were delicious/so sweet/and so cold.”) There’s a lot of pleasure in poetry, the cerebral sound of it in your mouth, the way it comes to your ears. There’s also a physical experience with food, with poetry. Sometimes we lose track of something that’s so close to our experience. They’re both taken for granted. Sometimes I want the small remedies provided by poetry and food.”

As he writes about how black culture defines American culture, Young also considers the generational nature of art, how it transcends movements and categories to become simply motion, change, progress. He cites critic Nelson George’s suggestion that we find ourselves in the “post-soul” era.

“I was thinking in terms of any ‘post’ movement,” he said in explanation, “not necessarily in the sense of it being ‘anti’ but of how we address different periods as ‘postmodern,’ ‘postwar’ in terms of moving on. There’s definitely been a change in the cultural fascination, a change in how black pop culture works now. To my generation of artists, it means things like exploring hip-hop, not just the music but the movement, sampling what’s there, taking inspiration from any form, maybe deconstructing it and using it in a different way. I think it’s significant that the soul music today is different than it was [in the 1960s]. It doesn’t match up to those tremendous artists. The example I use in the book is Jimi Hendrix, who started off playing the blues. He played with the Isley Brothers and other musicians.

But he was also trying to create a new sound, to take [soul] apart and put it back together. Or maybe not.”

Young’s own work, as suggested in the final chapter of The Grey Album, is coming apart and then back together in a new movement: “Deadism.”

“I was playing around with the manifesto of the book and thinking about how do you write poetry now that everyone is saying ‘poetry is dead or ‘the novel is dead.’ And here I was trying to champion those things and say, ‘No, it’s alive.’ But then I thought, let’s say it is dead. Let’s accept that and then try to resurrect it and play with that Colson idea, take that approach.”

Whitehead In a sense, Young has already gone there. Here are a few lines from “Requiem,” found in Jelly Roll: “I should be a natn’l/day of mourning/one week minus/mail. Entire month/of Sunday — a sabbath/ swaying/mouthing hymns —/ Where, pray/tell, went the words?” ◀

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Roger Snodgrass I For The New Mexican

Argonne National Labs Archives

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Robert R. Johnson on the U.S.’s faulty nuclear memory

Radium dial painters at work in East Orange, New Jersey, circa 1921; military and civilian VIPs wearing protective goggles watch an atmospheric test on Parry Island, Enewetak Atoll, April 8, 1951; images courtesy Praeger Books

hen Robert R. Johnson first heard about Alba Craft, Inc. in 1993, he was teaching a technical-writing class at Miami University in Oxford, Ohio. The discovery of a contaminated top-secret uranium processing site in the middle of the college town set off a furor throughout the region and beyond. For Johnson, a professor of communication and rhetoric, it was a chairotic moment, a happenstance that divides the flow of time into a distinct before and after. The scandal surrounding the discovery and civically inspired cleanup of the former Atomic Energy Commission uranium mill was not only raw subject matter for Johnson’s writing class but also opened up for him a subject that would form the germ of a book idea nearly 20 years later.

Romancing the Atom: Nuclear Infatuation From the Radium Girls to Fukushima offers a unique perspective, a rhetorical analysis, and a synthesis of existing research focusing on 10 true stories from the atomic saga. The book’s structure and accounts of well-known and not-so-well-known incidents combine to tell the overall plot of the nuclear age from the early 20th century to the Fukushima disaster and the current crisis of nuclear power.

At times Johnson finds a jewel in plain sight.

Among the tales are familiar topics like the factory workers who painted radium dials and introduced Americans to the unintended hazards of industrial radiation. Johnson’s treatment is crisp and finely detailed. In the end, some of the “radium girls” were too weak to raise their hands to testify to their own diseases. Others were dug from the grave for evidence, as their former employer, U.S. Radium Corp., meanwhile fashioned a defense based on supposed maladies of the female gender, like hysteria and delusional tendencies.

“One of the things that propelled me was when I would bring up one of these topics, people would say, ‘I kind of remember,’ ” Johnson recalled in a telephone interview from Houghton, where he teaches at Michigan Technological University. For example, many people have heard about the residents of Bikini Atoll, who were uprooted from island to island in the South Pacific because of the ambitious American nuclear tests in the Marshall Islands during the Cold War. But few know the specifics — the long-term health burdens, the invasions of privacy by U.S. researchers eager

Banned in the 1940s: Manhattan Project guidebook A Washington, D.C.-based nonprofit has recently updated its guidebook to the Manhattan Project in New Mexico, with an eye to a proposal now in Congress for establishing a Manhattan Project National Park that could link Los Alamos with sites in Oak Ridge, Tennessee, and Hanford, Washington.

The new edition, including added photographs and historical materials, is an anecdotally diverse, full-color 64-page introduction to the stomping grounds of the scientists and technicians who gave birth to the atomic bomb in 1945. Written by Cynthia Kelly, who founded the Atomic Heritage Foundation in 2002, A Guide to the Manhattan Project in New Mexico has an introduction by Pulitzer Prize-winning historian Richard Rhodes. Featuring a menu of historical attractions, the publication, like the national-park proposal, walks on the eggshells of the nuclear legacy, which continues to be one of the most significant and controversial developments of the 20th century. In a first test in Congress, the $21 million bill to create a new national park commemorating the Manhattan Project was defeated in the House of Representatives in September, with opposition led by Dennis Kucinich of Ohio, who argued that soldiers, rather than scientists, deserve the credit for winning the war. The bill is expected to come back for a vote again. Proponents deny that the park would be a celebration of war and mass destruction.

The Atomic Heritage Foundation is dedicated to the preservation and interpretation of the Manhattan Project and the legacy of the atomic age. The organization works closely with the weapons laboratories and preservationists, with a goal“to provide the public not only a better understanding of the past but also a basis for addressing scientific, technical, political, social and ethical issues of the 21st century.” — R.S. 18

November 9 -15, 2012

Brian Parmeter Photography

to study the physiological effects from the fallout, the endless search for redress by the victims.

Some in New Mexico are well aware of the environmental injustice involved in the treatment of Navajo uranium miners during the Cold War “uranium rush,” when the appetite for nuclear materials was insatiable, but few will know about Leetso, the powerful monster that the Navajo people believe lives in the dust of uranium yellowcake; or “dog-hole” mines; or about the Church Rock Flood in 1979, when nearly 100 million gallons of water and 1,100 tons of radioactive waste escaped from a mill-tailings dam and poured out across Navajo grazing lands.

Romancing the Atom is not just a book about the shabby secrets of the atomic age, it also proposes a key for springing the lock on what the author sees as the enabling ideology that has made all this possible. He argues that we have been persuaded and controlled by a subtle and pervasive nuclear dogma and that we have been entranced, by hook and crook, into letting it all happen somewhere out there beyond our reach. “Authorities, government, the military and educational establishments, and the media — it’s almost like there is an intention to keep a mindset in place to accomplish a certain agenda,” Johnson said. How else, he wonders, to explain public complacency in the face of the endless repetition of risky behaviors and destructive consequences? Johnson quotes the 1982 book Nukespeak: Nuclear Language, Vision and Mindset: “A mindset acts like a filter, sorting information and perceptions, allowing some to be processed and some to be ignored, consciously or unconsciously.” The authors of Nukespeak identified the phenomenon after the Three Mile Island nuclear power accident in the same year as the Church Rock flood.

On March 11, 2011, a magnitude 9 earthquake spawned a tsunami that struck the northeast coast of Japan, setting off a chain of destruction, reactor meltdowns, and explosions at the Fukushima Dai-ichi nuclear power station. Aware that the catastrophe was putting a new exclamation point on the nuclear story, Johnson recalled his book from the publisher and added a chapter on Fukushima, emphasizing the tragic irony of Japan as a two-time victim of the nuclear monster and suffering from its own arbitrary handicaps.

The rigid assumptions responsible for saddling the world with the man-made aspects of these disasters was born in an environment of great secrecy — the urgency of the world war. But that was only the beginning. “The mindset of secrecy was strongly reinforced through patriotic adrenaline and the guarantee of jobs,” Johnson writes.

“Questions were not welcome, nor were they likely to occur.” These are ominously repeated themes in the nuclear age.

A solution, Johnson advised, is to replace unreflective thinking with reflective thinking. He said we shouldn’t keep doing the kind of thinking that plunges straight ahead with blinders on, but we should take things much more cautiously, examine new ideas and reexamine old ones, question assumptions and consider alternatives more thoroughly. “Mindsets are also about forgetting,” he writes.

Some firmly held notions are best forgotten, he suggests, or at least remembered in new ways. ◀

Robert R. Johnson

“Romancing the Atom: Nuclear Infatuation From the Radium Girls to Fukushima” by Robert R. Johnson was published by Praeger Books in August.

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James M. Keller I The New Mexican

THE THREE PHASES OF CHATTER

T

he Albuquerque-based musical enterprise Chatter has evolved through the past decade to the point where it feels ready to make a major appearance in musically intense Santa Fe. It will do so on Friday evening, Nov. 9, at St. Francis Auditorium, with a stimulating program that is sure to attract the keen attention of music lovers: Arnold Schoenberg’s 100-year-old Pierrot Lunaire, a masterpiece of vocal chamber music and a keystone of 20th-century repertoire; a suite of instrumental miniatures titled Caprichos by the prominent American composer Roberto Sierra, receiving its world premiere; and John Adams’ Grand Pianola Music, an imposing example of minimalism stretched to considerable length, a work that scandalized its first audiences in 1982 but in the ensuing years has staked a place as a touchstone of its time.

From the look of that program, one would surmise that Chatter is a modern-music group — which it is, but not unbendingly. “It started about 10 years ago,” said co-founder David Felberg, a violinist and increasingly a conductor, “and we’re still trying to figure it out. Eric Walters [co-founder and cellist] wanted to start a group that composers could turn to in order to have their music played by professionals. I wanted a group that I could conduct in modern music. So it did start as a new-music group, but I quickly realized I didn’t know new music very deeply; I hadn’t a clue about what was out there.”

His assessment may be overly modest, but at this point it’s clear that he has learned a lot about the subject. He also learned that it might behoove the organization to be less than doctrinaire in limiting itself to very recent scores. The musicians of Chatter became involved in what was known as the Church of Beethoven, a secular Sunday-morning gathering in Albuquerque that revolved around musical performances and poetry readings; and when an internecine conflict made it impractical for the musicians to continue under the rubric “Church of Beethoven,” they bade farewell to the “mother church” (ostensibly a national organization, though more in fantasy than in reality) and continued the Sunday gatherings under their own banner, presenting a wide array of chamber music both old and new.

David Felberg

S

20

November 9 -15, 2012

Margaretta Mitchell

John Adams

unday Chatter, as it is called, keeps the organization’s artists busy every week at the Kosmos club in Albuquerque, where it typically plays to an audience of between 90 and 130 attendees. About once a month, the group also convenes Chatter Cabaret (formerly Club Beethoven) at Albuquerque’s Hotel Andaluz, and still more sporadically it mounts big-deal productions under the name Chatter 20-21. With so many performances taking place, Chatter has become something of an

organizational colossus. Clarinetist James Shields, who co-directs Sunday Chatter with Felberg, now serves as principal clarinet of the Canadian Opera Company in Toronto, so for much of the year he can’t be as hands-on as he once was. “To fill 50 Sunday mornings is quite a challenge,” Felberg acknowledged, “but, then again, these are not full two-hour programs at Sunday Chatter. Maybe a string quartet will perform a piece, and then one of its members plays a solo work, plus there’s a poet in the middle, and James or I act as the emcee.

“Chatter 20-21 aspires most to be the contemporary-music wing of the whole organization, and putting on the Chatter 20-21 concerts is the biggest challenge. We don’t have the infrastructure that an orchestra has, but we have extraordinary volunteers.” Producing these concerts is expensive.

Chatter works under a union agreement, but, Felberg said, it pays slightly more than union scale.

In September, Chatter 20-21 brought together 31 musicians for a concert in Albuquerque that included Louis Andriessen’s De Staat. This week, Adams’ Grand Pianola Music will require 23 players. Although the Schoenberg and Sierra pieces on Friday’s concert, both using far fewer performers, will be repeated at Sunday Chatter in Albuquerque two days later, the group can only afford one performance of the Adams.

“After the ‘big thing’ in Santa Fe,” Felberg said, “we won’t do anything of this scale for another six or seven months.”

“The Adams,” he said, “is a bombastic piece yet really delicate at the same time. It uses a colorful ensemble: full brass and woodwind sections, two pianos, three percussionists playing on a huge battery. There are places where the pianos are playing an eighth-note apart, which gives the music a shimmering quality. But once the piece moves into the bombastic mode, it’s really the percussion that drives it. Tonally and rhythmically, the piece is very easy to understand. It’s getting the precision and the delicacy that presents the biggest challenge.

“I like the idea of contrasting Grand Pianola Music with more terse pieces. Schoenberg’s Pierrot Lunaire is as terse as the Adams is vast.” Its 21 movements, structured as three groups of seven movements each, run about 35 or 40 minutes in all — less than two minutes per piece on average. At the cycle’s premiere, in Berlin on Oct. 16, 1912, the texts (German translations of poems originally written in French by the Belgian Albert Giraud) were delivered by a singer-actor in a commedia dell’arte costume. The work’s atonal harmonic landscape and the vocal style, which lies somewhere between singing and speaking (after the fashion of period cabaret), paved the way for a certain amount of audience objection, but on the whole, Schoenberg’s pupil Anton Webern

A little goes a long way: Roberto Sierra’s ‘Caprichos’ reported, “It was an unqualified success.” In ensuing years the piece would encounter objections for using what some considered blasphemous texts. Indeed, the hallucinogenic images do include blood dripping from the breasts of the Mother of God (in the song “Madonna”), Pierrot’s heart leaking red holy water (in “Rote Messe,” or “Red Mass”), and so on. Schoenberg countered that his intent was strictly artistic and in no way anti-religious. “Anyway,” the composer insisted, “I am not responsible for what people make up their minds to read into the words. If they were musical, not a single one of them would give a damn for the words.

Instead they would go away whistling the tunes.”

O

ne enduring aspect of the legacy of Pierrot Lunaire is the instrumental quintet that backs up the singer: flute, clarinet, violin, cello, and piano. In posterity, it would become known as a standard chamber grouping called the “Pierrot ensemble,” in honor of its origins. (Schoenberg expands the resources by having his flutist double on piccolo, his clarinetist double on bass clarinet, and his violinist double on viola, but the basic personnel remains instantly recognizable.) These instrumental forces also lie at the heart of Sierra’s Caprichos, though expanded by a percussionist; and Caprichos does not use a vocalist. “It was Roberto Sierra who came up with the idea of using the Pierrot ensemble,” Felberg said.

“We extended the commission maybe three years ago, and we just gave him a list of our core musicians and asked him to select his instrumentation based on that.

He really chose the eventual ensemble on his own, drawn from that list, and the piece he ended up writing is also made up of very terse movements, like Pierrot Lunaire. The idea was that he would write the piece for New Mexico’s centenary, which we celebrate this year.

When we realized how this echoed the instrumentation of Pierrot Lunaire, which was premiered the same year New Mexico became a state — just 100 years ago — I thought Whoa! That’s kismet.”

Does Friday’s concert signal aspirations for Chatter to become an ongoing part of the Santa Fe scene? “I’d like to see how it goes before we make that decision,” Felberg responded. “We are very much based in Albuquerque, but I am hoping that if this goes well, we may look forward to doing other things.” ◀

details

▼ Chatter 20-21, music by Arnold Schoenberg, Roberto Sierra & John Adams with David Felberg & Guillermo Figueroa conducting

▼ 6 p.m. Friday, Nov. 9 ▼ St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. ▼ $25 (discounts available); at the door or through www.chatterchamber.org

R

oberto Sierra, whose Caprichos receives its world premiere in Santa Fe at Friday, Nov. 9’s Chatter concert, was born in 1953 in Puerto Rico. He studied at the Puerto Rico Conservatory of Music (he later served as its dean and chancellor), the University of Puerto Rico, the Royal College of Music in London, London University, and the Institute for Sonology in Utrecht, and for three years he was a pupil of the late György Ligeti at Hamburg’s Hochschule für Musik. His music characteristically incorporates vernacular sounds of Latin American and the Caribbean, but Sierra is no simple “folklorist” composer.

Instead, he uses these materials as just one strand of his musical voice. Pasatiempo caught up with Sierra by telephone at his home in Ithaca, New York, where he has served for many years as professor of composition at Cornell University.

Pasatiempo: The title Caprichos calls to mind the Caprichos of Francisco Goya, the 80 prints of surpassing weirdness he produced in the last years of the 18th century. What’s the connection?

Roberto Sierra: My piece isn’t based on Goya’s etchings. It has more to do with a “capricious” attitude. I call these movements Caprichos because, as in Goya, they have this capricious nature. They are not bound to a formal conception — yet they are very disciplined. They are little studies on different musical ideas.

Pasa: When you say “little studies,” you really do mean “little,” don’t you?

Sierra: Yes, these are short pieces. It takes maybe seven minutes to perform all five of them. They have different emphases: one may be more about harmony, another more about counterpoint, one is based on the famous B-A-C-H motif.

Pasa: What is the particular challenge of writing such tiny pieces?

Sierra: The fact that the space you have is not long means you can’t introduce many different ideas. These pieces are monothematic.

The challenge is how to create and engage in fantasy while being so constricted in time and materials. It’s disciplined, but also capricious.

Pasa: How did you hook up with Chatter?

Sierra: They came to me. I didn’t really know anybody there, but I heard very good things about the work they do. I have had other involvements with New Mexico, though.

I have known Guillermo Figueroa [music director of the late New Mexico Symphony Orchestra] for many years, and in 2011, I was

Roberto Sierra

composer in residence for Music at Angel Fire.

I wrote a piano quartet for Angel Fire, and those musicians just keep playing it.

Pasa: Will you be traveling to Santa Fe for the premiere of Caprichos?

Sierra: I can’t. The Boston Symphony is playing my orchestral work Fandangos the same weekend — three performances. I had already committed to being in Boston before the Chatter performance was scheduled. I have two big orchestras in a row, actually, because the weekend before the Philadelphia Orchestra is playing my Sinfonía No. 4. Then the next big premiere is Navidad en la montaña, which is a set of songs for soprano and orchestra.

The premiere will be given in December by Leonard Slatkin and the Detroit Symphony, and the soprano will be Heidi Grant Murphy.

It’s a Christmas piece, in Spanish, with words by my wife, Virginia. It was commissioned

by Stuart and Linda Nelson. They are such special people who quietly go about bringing new pieces into existence. Most people don’t understand how necessary this is, and they have done it now for years out of love for the music.

Pasa: Looking at the performance schedule you post on your website, it seems as if your works are being performed almost constantly.

Sierra: That’s the way it should ideally be.

A lot of composers ask how I do that, and my answer is that I don’t know. I guess the pieces have to do it. Orchestras and ensembles find the pieces. I cannot convince anybody to play my music. I don’t even try. It’s useless. People either like your music or they don’t.

— J.M.K.

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TERRELL’S TUNE-UP Steve Terrell

The meat from uncle Here’s some good news for all you Frank-o-philes.

After being off the shelves for several years, some 60 albums by the Father of Freakout are being rereleased. Following an ugly legal struggle with Rykodisc, the company that rereleased Frank Zappa’s stuff in the ’90s (have I told you lately how much I hate the music industry?), the Zappa Family Trust has won back the rights to Daddy Frank’s wondrous catalog. And now, Universal Music is rereleasing all this crazy music to a world that doesn’t deserve it.

Don’t go looking for bonus tracks — rarities, demos, unreleased live material, or whatever.

Basically, these are straight-up reissues. Most devotees probably have the bulk of Zappa’s albums. But he was so prolific — only zealots and completists have all of his stuff. Sometimes he would release several albums a year.

I’ve been a Zappa fan since the late ’60s, but there are lots of his albums that somehow passed me by through the years. So this is a good time to catch up. ▼ Baby Snakes. Originally released in 1983, most the songs were recorded live in New York in 1977 (the one exception is “Baby Snakes,” which had appeared on Sheik Yerbouti). This record is a soundtrack album for a concert video of the same name. From what we can hear on Baby Snakes, it was a good, if not great, show with a classic lineup that included guitarist Adrian Belew, drummer Terry Bozzio, and keyboardist Tommy Mars. The inclusion of “Disco Boy,” in which Zappa rips into the disco scene with the same glee he once ripped into hippies, dates the music, but it’s a fun little artifact.

About two thirds of this album consists of three lengthy examples of Zappa’s scatological comedy-

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November 9 -15, 2012

‘Uncle Meat’ contains bizarre spoken dialogue including a short message from the infamous Suzy Creamcheese and an argument between Frank Zappa and drummer Jimmy Carl Black, a former New Mexico resident. rock. There’s a rather rote “Dinah Moe Humm,” in which Zappa zips through the lyrics as if he’s sick of reciting them; “Titties and Beer,” which features a so-stupid-it’s-funny dialogue between Zappa as a biker and Bozzio portraying Satan; and the 11-minute “Punky’s Whips,” which deals with Bozzio’s supposed homoerotic attraction to a now forgotten singer named Punky Meadows (from a now-forgotten band called Angel). ▼ Thing-Fish. The Allmusic Guide describes this 1984 double album as Zappa’s “most controversial, misunderstood, overlooked album.” And when you’re talking about Zappa, that really is saying something. The songs are from a musical — which never made it to Broadway, for which it was intended — about a bizarre Tuskegee-like experiment by the government that goes awry and ends up turning black people into strange creatures with potato heads, duck bills, and enormous hands.

Ike Willis, who was part of Zappa’s Mothers during this era, performs the spoken-word narration for most of the songs. In the character of Thing-Fish, Willis basically speaks in the dialect employed by “Kingfish” from Amos ’n’ Andy.

There’s also a yuppie couple: Harry, who comes out as gay, and Rhonda, a briefcase fetishist. The couple is played by Terry Bozzio and his wife Dale Bozzio, who at the time was fronting the popular Los Angeles New Wave group Missing Persons.

Like the Joe’s Garage saga, the narration often gets in the way of the music — and you’ll probably enjoy Thing-Fish more if you just get lost in the music and don’t try to follow the plot.

It’s an interesting if not crucial latter-day Zappa work. Every now and then a familiar Zappa song pops up. You’ll hear rerecorded songs like “The Torture Never Stops” (here called “The ‘Torchum’ Never Stops”), “You Are What You Is,” “Mudd Club,” “The Meek Shall Inherit Nothing,” and “Ms. Pinky” from Zoot Allures, reimagined here as “Artificial Rhonda.” One redeeming treat is “Brown Moses,” which features vocals by blues/ funk great Johnny “Guitar” Watson. ▼ Uncle Meat: For some reason I never broke down and bought this album when it came out in 1969. Maybe I spent all my Zappa budget on We’re

Only in It for the Money and Cruising With Ruben & The Jets — and before I knew it, there were new Zappa albums like Hot Rats, Burnt Weeny Sandwich, and Weasels Ripped My Flesh to distract a youthful consumer.

Whatever the case, Uncle Meat is a masterpiece.

It’s essential Zappa listening. For 40-plus years I’ve considered We’re Only in It for the Money as the definitive Zappa record, and I’d still be predisposed to choose that one if you put a weasel to my head.

But with Money you have to be careful which version you get (beware of the controversial 1986 version, remixed by Zappa himself, with a new rhythm section and stuck on a CD with the entire Lumpy Gravy album tacked on). And listening again to Uncle Meat, I realize that this album ranks up there too.

This sprawling work started out as a double LP — supposedly it’s a soundtrack to a very obscure Zappa movie that didn’t get finished until a decade later and exists now on VHS tape.

(I don’t think it was ever released in theaters, at least not in this dimension.) There’s just about everything a Zappa fan could want: snatches of freeform jazz, including “Ian Underwood Whips It Out” and several versions of “King Kong”; contemporary classical interludes; greasy, sleazy Munchkin doo-wop like “Electric Aunt Jemima” and “The Air”; unclassifiable instrumentals like the strangely beautiful “Nine Types of Industrial Pollution”; bizarre spoken dialogue including a short message from the infamous Suzy Creamcheese and an argument between Zappa and drummer Jimmy Carl Black (a former New Mexico resident) complaining about not making enough money; and throwaway renditions of “God Bless America” and “Louie Louie.”

Some of Zappa’s classic tunes are here — the dirgelike “Mr. Green Genes,” in which advice to “eat your greens” somehow evolves into “eat your shoes.” And there’s “Dog Breath in the Year of Plague,” a pachuco love song to a girl who helps the narrator steal hubcaps and stay wasted all the time.

One deadly misstep here: on disc two there’s a 37-minute chunk of dialogue from the movie that messes with the otherwise flawless flow. ◀

Thanksgiving Buffet 2012 Thursday, November 22 ï 11am ≠ 3pm Appetizer Mixed Greens with assorted dressings Caesar Salad with Queso Cotija dressing Shredded Jicama Salad tossed with Chile Poblano≠ Orange Vinaigrette Assorted Domestic and Imported Cheese Platter Fresh Seasonal Fruit and Berries Bowl Vegetable CruditÈ with Hummus and Ranch Dip Grilled Shrimp Salad Sweet & Spicy Deviled Eggs

Entrée Roasted Turkey with Giblet Gravy Orange≠ Cranberry Relish Apple≠ Cornbread Dressing Roasted Garlic≠ Buttermilk Mashed Potatoes Smashed Yams and Butternut Squash Baked Spaghetti Squash SautÈ ed Green Beans Almondine Baked Bone≠ In Ham with Red Eye Gravy Roasted Prime Rib with Au Jus Pan Seared Salmon with Roasted Shallot≠ Tarragon Butter Sauce

Dessert Pumpkin Pie, Caramel Apple Pie, Bread Pudding, Assorted Cupcakes, Mousse and Cookies Freshly Baked Breads and Sweet Cream Butter

$49/ Adult $45/Senior $18 for children 12 & under Reservations Recommended 505.995.2334 100 E. San Francisco Street, Santa Fe, NM www.lafondasantafe.com

READINGS & CONVERSATIONS

brings to Santa Fe a wide range of writers from the literary world of fiction, nonfiction, and poetry to read from and discuss their work.

KEVIN YOUNG with Colson Whitehead WEDNESDAY 14 NOVEMBER AT 7PM LENSIC PERFORMING ARTS CENTER

“This poet’s gift of storytelling and understanding of the music inherent in the oral tradition of language re-creates for us an inner history which is compelling and authentic and American.”

— Lucille Clifton Kevin Young often finds meaning and inspiration for his poetry in African American music, particularly the blues. His seven collections include Ardency: A Chronicle of the Amistad Rebels and Dear Darkness.

Young’s recent The Grey Album: On the Blackness of Blackness combines essay, cultural criticism, and lyrical chorus to illustrate ways African American culture is American culture. “I don’t mean to taxonomize but to rhapsodize. Take it from me—mean mean mean to be free.”

TICKETS ON SALE NOW

ticketssantafe.org or call 505.988.1234 $6 general/$3 students/seniors with ID Video and audio recordings of Lannan events are available at:

www.lannan.org PASATIEMPO

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AUCTION SUNDAY NOVEMBER 18TH, 2012

CALL TO RESERVE YOUR

THANKSGIVING DINNER

All-Natural Woodfire-Roasted Turkey carved with all the fixin’s to go...

Theodore Van Soelen 1890 - 1964 Farmyard Oil on canvas 34 by 36 inches Estimate; $45,000 to $65,000

SESSION I BEGINS AT 10:00 A.M. SESSION II BEGINS AT 1:00 P.M. PREVIEWS AND REGISTRATION WORKS ARE ON DISPLAY UNTIL THE AUCTION DURING REGULAR GALLERY HOURS: MONDAY - FRIDAY 8:30 A.M. - 5:30 P.M. SATURDAY 10:00 A.M. - 4:00 P.M. Telephone and Absentee Bidding Services Available Catalog $25.00 Online catalog; www.altermann.com

Seeking New Mexico Art for upcoming auctions.

345 Camino Del Monte Sol Santa Fe, NM 87501 (505) 983-1590

Cream of Mushroom Soup with Black Garlic & Sherry Twice Baked New Potatoes with Domestic Truffles Roasted Acorn Squash with Swiss Chard & Scallions Stuffing Dumpling with Marjoram & Dried Cranberries Herbs De Provence Gravy Choice of Dessert, $5 additional $25/PERSON u PICK UP BY NOON THANKSGIVING DAY PLEASE SPECIFY IF YOU’LL BE PICKING UP HOT OR COLD. SUNDAY-THURSDAY, 5:00-9:00 PM u FRIDAY-SATURDAY, 5:00-9:30PM 315 OLD SANTA FE TRAIL, SANTA FE, NM RESERVATIONS: (505) 986.9190 u WWW.315SANTAFE.COM

I have no plans for Thanksgiving!

Pasatiempo

2012 Writing Contest for All Seasons Tell Us a Story in Poetry or Prose

Open for Thanksgiving November 22 2pm to 8pm

Storytelling is an honored New Mexico pastime. Here is your chance to be part of that tradition.

Write about a memory, a special place, or a person who has had an impact on your life. Fiction, nonfiction, parody, or fantasy; in the style of Thurber or Ferber, Sedaris or Seuss, Hillerman or Cather — it’s up to you.

Adults (ages 19 and up): 1,000 words maximum Teens (13-18): 1,000 words maximum Children (5-12): up to 500 words Prizes to the winners

Mail entries to: 2012 Writing Contest c/o The Santa Fe New Mexican 202 E. Marcy St., Santa Fe, N.M. 87501 Phone: 505-986-3096

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November 9-15, 2012

Winning entries will be published in Pasatiempo on Friday, Dec. 28 Deadline: 4 p.m. Monday, Dec. 3 Rules: Entries must be received by 4 p.m.

Monday, Dec. 3. No exceptions.

We reserve the right to edit work for publication.

Submissions must include name, address, telephone number, email address, and age; entries from schools should include grade and teacher’s name.

Email entries to: writingcontest@sfnewmexican.com Electronic submissions are highly recommended.

Contact us for information & reservations 505.988.2355 ï info@tantiluce221.com 221 Shelby St. ï Santa Fe

Photo illustration; Ottmar Liebert photo Luis Alvarez

ON STAGE The moon belongs to Ottmar Liebert Santa Fean and Grammy Award-nominated flamenco jazz guitarist Ottmar Liebert and his band, Luna Negra, play the Lensic Performing Arts Center (211 W. San Francisco St.) on Sunday, Nov. 11, at 6:30 p.m. Liebert’s most recent studio album, Dune, features the musician on electric and acoustic guitar, and the sounds are layered and airy, tunes to dance or meditate to. The concert, which is followed by a reception, is a fundraiser for the Santa Fe Waldorf School. Tickets, $25 to $75 ($75 gets you into the reception), are available by calling 988-1234 and from www.ticketssantafe.org.

THIS WEEK

Bone Orchard harvests the West’s haunted past Ghosts inhabit the corners of every romantic notion you carry in your heart about the American West. Old-timey saloons and painterly sunsets are the eternal backdrops for bloodshed, drowning in whiskey, death, and dust, and while the scenery and costumes may change through the years, the spirits remain, haunting the landscape with the ethereal residue of love and loss. Few New Mexico bands capture the voices of those ghosts like Taos four-piece Bone Orchard, which performs at 8:30 p.m. Friday, Nov. 9, at Cowgirl BBQ (319 S. Guadalupe St., 982-2565).

Combining elements of psych-rock, Appalachian roots music, postpunk, two-part harmonies, and an unorthodox approach to acoustic-string instrumentation, married bandleaders Daniel Pretends Eagle and Carol Morgan-Eagle and their ensemble deliver the perfect soundtrack to keep those ghosts dancing in your daydreams — and nightmares. There’s a $5 cover at the door.

Canticum Novum gives credit where it’s due

c

rpi aste m d om cte p oser of negle

Relief roads: Orphans of the World Orphans and sensuous dance seem like odd bedfellows, but Tess Yong (right) proves otherwise. Orphans of the World (www.orphansoftheworld.com), an organization founded by Yong, is dedicated to providing relief to orphans on an international level, as well as empowering young women in New Mexico through dance. Yong’s latest endeavor is the Sacred/Sensuous Benefit Dance and Music Concert. The event showcases belly dancing, African dance, Korean shamanic fusion dance, and other styles. The concert, at 7:30 p.m. on Saturday, Nov. 10, benefits children in Myanmar, Nepal, and Tibetan refugee towns — there are hors d’oeuvres, a silent auction, and items for sale. Tickets are $25 (discounts available) and can be purchased through Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org) and from Ark Bookstore (133 Romero St., 988-3709). The concert is at the Scottish Rite Center (463 Paseo de Peralta, 982-4414).

Photo illustration; Tess Yong photo kyerphotography.com

Juan Cri de A s Û stomo rria ga eces

Canticum Novum Chorus and Orchestra, directed

by Kenneth Knight, offers a program of what it terms “unjustly neglected masterpieces”: a Mass by Mozart, motets by Mendelssohn and the Spanish prodigycomposer Juan Crisóstomo de Arriaga, and pieces for string orchestra by Francesco Geminiani, Benjamin Britten (his Simple Symphony), and Britten’s teacher Frank Bridge (his Lament). Performances take place at 5 p.m. on Saturday, Nov. 10, and 3 p.m. on Sunday, Nov. 11, at the Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Road. Tickets ($20 and $30, with discounts for the young) can be purchased through Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org) and at the door.

Lectures, an hour before each concert, are free to ticket holders.

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PASA TEMPOS

album reviews

RONI BEN-HUR JORGE AND SANTI DEBRIANO FEDERICO OSORIO Our Thing (Motema Music) Salón Mexicano (Cedille) As jazz has emigrated from America to A whiff of disparagement infuses the the rest of the world, so have jazz musicians term “salon music,” which in the 19th and from around the globe immigrated to early-20th centuries was mostly destined America. Israel-born guitarist Roni Ben-Hur for at-home entertainment rather than and bassist Santi Debriano, a Panama native, for the higher aesthetic altitudes of the have teamed frequently in live performance concert hall. On this disc, the Mexican and previously on Ben-Hur’s fine 2007 quintet recording pianist Jorge Federico Osorio turns his attention to 20 salon Keepin’ It Open. Here, they work with Brazilian drummer solos by four composers from his homeland, all born between Duduka Da Fonseca in a program of originals as well as tunes 1862 and 1882, and shows that the best of this music can still from Monk, Jobim, and Irving Berlin. This cross-cultural gathering inspire sighs, smiles, and satisfaction. Chopin was obviously getting comes together in a common language, colored by the men’s distinctive plenty of airing in Mexico in those days, and his general language play and composing styles. Ben-Hur, exposed to Wes Montgomery as a infuses many of these pieces. His influence is especially apparent child in Israel, is clean and precise, his smart phrasing exciting to follow, in the charmed waltzes and mazurkas of Felipe Villanueva, but one his chordal accompaniment placed just so. Debriano’s driving pizzicato finds it also, along with occasional pyrotechnics of a more Lisztian sort, comes together in a detailed rhythmic and harmonic landscape. Da Fonseca in entries from Ricardo Castro. Four works by Manuel Ponce are perhaps stirs from the bottom, using brushes on floor tom and gentle accents the finest in this collection, showing that his distinctive brand from his bass drum in a kind of bubbling simmer. On “Let’s Face of wistful insouciance was not limited to his “Estrellita,” which the Music and Dance” he adds shivering cymbal and rim shots is so famous that Osorio didn’t feel compelled to include it that accelerate against the tune’s unusually moody treatment. here. José Rolón’s rollicking concert paraphrase on Juventino The bassist’s “Milonga for Mami” is a melancholy tango Rosas’ celebrated waltz “Sobre las olas” (“Over the Waves”) Many Titus Andronicus backed by the drummer’s stately count. The guitarist’s concludes the recital in grand style. Though Osorio, in “Anna’s Dance” is a considered theme carried lightly his early 60s, is greatly appreciated in pianistic circles fans call ‘Local Business’ on Da Fonseca’s samba. Our Thing is a relaxed coming and enjoys a worthy concert career, he has not gained the band’s most accessible together of styles and backgrounds, a first-generation widespread popular acclaim. No matter: these are delicious argument for cross-cultural mixing. — Bill Kohlhaase performances of enchanting repertoire. — James M. Keller

album; only two songs are longer than eight minutes and there’s nary a 19th-century warship to be found.

TITUS ANDRONICUS Local Business (XL) Excess has always been the not-so-secret ingredient in Titus Andronicus’ Jersey-born, fist-pumping, lighter-raising rock. The excess applies to riffs, words, ideas, everything; this is a band that broke out with The Monitor, an album of epic songs about a Civil War-era naval battle and wasted teens in Jersey. Naturally, such ambition has inspired loyalty from a small, diehard fan base — many of whom call Local Business the band’s most accessible album yet, in that there are only two songs longer than eight minutes and there’s nary a 19th-century warship to be found. Newcomers, particularly those who have never heard a Bright Eyes album, may still find Patrick Stickles’ screaming, word-vomit singing style to be a dealbreaker. The album’s first half doesn’t offer many footholds, as the band breathlessly flies through subjects and melodies. It’s the audio equivalent of a food fight, which makes the minute-long hootenanny “Food Fight!” apropos. But beginning with “In a Big City” — an acidic and inspirational tale of moving from New Jersey (and New York’s shadow) to Brooklyn — the hooks and song structures tighten up. “(I Am the) Electric Man” sounds like enthusiastic teenagers trying to play a raved-up T-Rex song in their garage.

Closer “Tried to Quit Smoking” cycles easily from torch singing to blues boogie to arena rock over the course of nearly 10 minutes. The ambition isn’t reigned in, just honed.

— Robert Ker

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SKYE Back to Now ([PIAS] America) British trip-hop/ neo-soul mainstay Skye Edwards made her mark on American audiences during the ’90s as the silky-voiced lead singer of Morcheeba. After parting ways with her band mates in 2003, Edwards released two solo albums before reuniting with Morcheeba in 2010. Her two previous solo efforts were timid affairs, with style and production falling not far enough from the trip-hop tree to be considered groundbreaking.

Collaboration with Grace Jones/Brian Eno cohort Ivor Guest, the 4th Viscount Wimborne, on Edwards’ 2009 release, Keeping Secrets, showed promise for an artist still carving out a sound of her own, but the Morcheeba comparisons lingered. The 10-track Back to Now, however, finds Edwards in new, if not utterly rare, form, eschewing ethereal arrangements and embracing a more accessible electropop sound. Beats and loops dominate most tracks, and the influence of producer Steve Fitzmaurice (Depeche Mode, Seal) is palpable. Album openers “Troubled Heart” and “Sign of Life” are Skye being blue, which she excels at, while “Featherlight,” “Bright Light,” “Nowhere,” and “We Fall Down” over-mine U.K. synth-pop hits from the ’80s and ’90s for inspiration. As uneven as Back to Now is, there’s no escaping Edwards’ seductive vocal prowess. But her lean toward predictable throwback synthpop melodies finds her struggling for an original take. It might be time to call on the Viscount again.

— Rob DeWalt

Thanksgiving Dinner served from 3-8pm on November 22, 2012.

We also offer THANKSGIVING Dinners TO GO. To Go Dinners will serve 8-10 people Don’t Forget To Join Us on November 16th & 17th for “HERE COMES THE SUN” songs from The Beatles. Show times 5:30pm & 8:00pm

For details or reservations please call 505-988-9232

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O pe n Dai ly 11: 00am un ti l 10: 00pm 125 E as t Palac e, S an ta Fe, NM 87501 (505) 988-9232 | lac as as e n a. c om

Join us this holiday season to help our communities Your donation to Esperanza Shelter or St. Elizabeth Shelter will help victims of abuse and homeless individuals and families.

This holiday season we are in need of gifts for children ages infant to teen as well as clothing, toiletries and other necessities for the people we serve. Your donation will help lift someone elseí s burden. Thank you for your support.

For information about our missions, please visit us at: Esperanza Shelter for St. Elizabeth Shelter Battered Families www.steshelter.org www.esperanzashelter.org

Receptacle locations for your donations are available at all Santa Fe, Espanola, Pojoaque and Los Alamos Wells Fargo locations. Please direct all monetary donations directly to Esperanza Shelter or St. Elizabeth Shelter.

PASATIEMPO

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Michael Abatemarco I The New Mexican is by coincidence, and perhaps serendipitous, that three staff members at Santa Fe’s School for Advanced Research maintain an interest in early photographic processes and alternative forms of photography.

Underscore Views: Photograms, Pinhole Photographs, and Stereoscopic Views, an exhibit in the boardroom hallway of SAR’s administration building, features images created by Jessica Calzada, Jason S. Ordaz, and Jonathan Lewis. “The concept was to present some of the processes that were around at the origin of SAR,” Ordaz said. “It represents where photography might have been at the time,” Calzada explained.

Ordaz, who works with stereoscopic photography, is SAR’s multimedia designer.

“I’m staff photographer, web designer, and graphic designer, and I make a pretty good pot of coffee,” he said. His images of Southwestern landscapes are presented in two formats. Some are wall-mounted prints that require 3-D glasses, available 28

November 9 -15, 2012

in the exhibit, and others are paired images mounted inside a display case. When seen through a viewfinder called a stereopticon, the paired photographs are blended by the eyes to appear as a single three-dimensional image.

Ordaz uses a stereo camera to shoot his double images. The camera, which has two lenses for shooting, gained popularity during the 1950s. “The lenses are spaced two and a half inches apart, which is the median distance between the eyes. In the 1950s, stereo cameras were marketed as the only camera that sees like you do — in three dimensions.”

Ordaz often shoots on infrared film. “It’s basically seeing a spectrum that we cannot see.” So effective is his 3-D photograph of a petroglyph at Pueblo Blanco in the Galisteo Basin that it seems you can move right into the scene and touch the rock face. Similarly, images of Antelope Canyon near Page, Arizona, and the Guadalupe Pueblo ruins of New Mexico’s Río Puerco valley have a realistic depth.

There is an eerie presence to the double image of Antelope Canyon, which is enhanced when it is viewed through the stereopticon.

The photogram is Calzada’s specialty. The images are created without the use of a camera. An object is placed on light-sensitive photographic paper and exposed directly to light. The resulting photograph is a shadow image of the object. The process has been in use since the mid-19th century. “I have a passion for things that are out of date,” Calzada said. She is the executive assistant to SAR’s president, James F. Brooks. Calzada’s Apothecary, a photogram of a leaf inside a glass apothecary jar, is a ghostly image. Escapist is a beguiling print in which feathery seed heads of a dandelion appear to float above a luminous vessel. “I started with an 8 x 10 view camera. Working with photograms is the same in the darkroom as other photography, only there’s no negative.” Calzada often draws from her own collection of pressed botanicals as subjects for her photographic work.

Lewis, SAR’s multimedia programmer, shoots with a homemade pinhole camera. The pinhole work presented in Underscore Views is of architectural features of buildings in downtown Albuquerque. The camera Lewis used to shoot the photographs was made from cardboard and duct tape. “The camera can be made out of anything,” he said. “You’re only limited by your imagination when you’re creating them, which makes it fun.”

His pinhole images in Underscore Views, like Calzada’s work and most of Ordaz’s, is black and white. “I tend to gravitate toward texture and tonality versus color,” Lewis said, “so I primarily shoot black and white.” In his Untitled Pinhole 6, trees fronting the facade of a tall building contrast with the orderly precision of the manmade structure. “The pinhole camera I use is very wide angle, and I like using that on architectural subjects because it gives you a different perspective than you would have yourself, just looking. It distorts the scene a lot more.”

In addition to his pinhole photography, Lewis creates daguerreotypes — a process invented by physicist Louis-Jacques-Mandé Daguerre during the 1830s. Lewis’ interest in photography extends to contemporary, alternative techniques. He is a student at the University of New Mexico, where he studies planetary sciences. “At school I’ve been using electron microscopes,” he said.

“That’s a whole other type of photography, making electron-based images, ionbased images. The images are usually of things I’m researching, meteorites, that sort of thing. You can’t get away from making images once you’ve started.” ◀

BACK AT THE RANCH.COM

505-989-8110

209 East Marcy Street

details ▼ Underscore Views: Photograms, Pinhole Photographs, and Stereoscopic Views ▼ Through Jan. 1, 2013 ▼ School for Advanced Research, 660 Garcia St., 954-7200

CENTER BARBER & BEAUTY Walk-ins Welcome

Providing Santa Fe with superior service since 1954 Jessica Calzada: Falling, 2012, silver gelatin selenium-toned print; opposite page, Jonathan Lewis: Untitled Pinhole 5, 2012, archival pigment print

503 Cordova Road | 505-982-1020 Open Tuesday-Saturday | 9-5 the-center-barbershop.com

Stylists: Barbers: Clarabelle Edwina Lorraine

Frank Gene Gilbert

PASATIEMPO

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ART IN

REVIEW

Far left, Arthur López: Vatos Locals, wood, gesso, natural and water-based pigments, varnish, and beeswax, 11 x 27.5 x 18.5 inches Left, Luis Tapia: Untitled (detail), carved and painted wood, 28.5 x 9.75 x 9.75 inches Below, Susan Contreras: Double Masked Dancer, litho crayon and oil on Arches paper, 26 x 31 inches Opposite page, Nicholas Herrera: 21st Century Executive Cruiser (detail), mixed media, 72 x 46 x 56 inches

The Fine Folk of New Mexico, Community Gallery, Santa Fe Community Convention Center, 201 W. Marcy St., 955-6705; through Jan. 26, 2013

T

he title of the current exhibit at the Community Gallery — The Fine Folk of New Mexico — is endearing but a bit confusing. One might anticipate a display of portraits depicting any number of New Mexico personalities — fine or not so fine, depending upon one’s relationship to whomever. But once the exhibit is viewed, the title makes perfect sense — it refers to the eclectic mix of artmaking associated with the state.

As artist and contemporary santero Arthur López, curator of the exhibit, states in a brochure, “The show focuses on how an artist’s work is influenced

by New Mexico’s people, places, culture, and traditions. From fine to folk art, it is these common threads that make up the diverse group of artistic talents selected for the show.” And in more than 35 pieces by 27 New Mexico artists, that diversity is abundantly on display. From representational to religious to nonobjective art, the varied imagery is executed in a wide range of media, including painting, sculpture, photography, works on paper, weaving, pottery, santos, retablos, and installation art. Given the fact that several of these pieces have been exhibited previously in Santa Fe — at least 10 galleries loaned work to the exhibition — the show feels familiar, if not in some way familial.

López clearly asserts his stated premise by including in the show his carved and painted wood narrative Vatos Locals (Local Dudes). Presented as a traditional altarpiece, it features three New Mexican cultural icons — a Hopi Koshare clown, a lowrider, and Zozobra — merrily driving down an isolated two-lane blacktop in a red 1963 Chevy Impala convertible. The devil-may-care spirit of the piece made me think of Thelma and Louise with a gigantic marionette in the back seat, and I appreciate the artist’s keen wit as he zeroes in on the State’s tri-cultural diversity. But why the piece wasn’t located strategically in the gallery as the welcoming salvo to the exhibition is a mystery.

New Mexico’s car culture also appears in Luis Tapia’s A Slice of American Pie and Nicholas Herrera’s 21st Century Executive Cruiser. The former is a white, full-size 1963 Cadillac Coupe de Ville surgically cut down the middle from headlight to taillight and mounted on one wall. The blue, monochromatic Chicano graphics painted along the side look like so many tattoos. Herrera’s disembodied, chromed front-end piece from a 1940’s International bus — 30

November 9 -15, 2012

replete with painted orange, red, and yellow flames on black wheel fenders — has been refitted into an office desk where only the most macho boss would dare to sit. Don’t miss the door handles on the pullout drawer and the convenient GPS navigational device mounted in between the pen-and-pencil set and the family photos. Taking business on the road never looked so cool.

More traditional fare can be found with Arlene Cisneros Sena’s retablo, La Conquistadora (Our Lady of Peace), which she did expressly for the exhibit.

Impeccably painted and handcrafted with homemade gesso and natural pigments on a sugar-pine support, the piece is accented with 23-karat gold leaf and varnished with pine sap. Topping it off, the well-adorned saint is surrounded in a silver, tinwork frame. Also skillfully handcrafted is one of Robert Cardinale’s scale-model cathedrals, San Jose de Gracia de las Trampas,

which imports a quiet, meditative mood. Exhibited separately is San Jose de las Trampas Tower, a companion piece by Cardinale that stands nearly 3 feet high.

A rare example of nonobjective work in Fine Folk is Philip Vigil’s untitled oil pastel and oil stick drawing. Modest in size at 24 x 18 inches, the piece seems large in scale because of a freewheeling mark-making and multiple-color scheme. Vigil’s energetic yet directed gestures weave in and around one another, exuding a kinetic sensation reminiscent of work by action painters Jackson Pollock and Willem de Kooning. But the longer I engaged myself with it, I began to imagine numbers or even letters in the miasma of marks, not unlike the abstract number paintings by Jasper Johns in the late 1950s.

Another drawing that caught my attention for its distinct handling of oil crayon was Double Masked Dancer by Susan Contreras. The severely cropped figure — positioned in profile from shoulder to head (the gender is unknown) — sports two colorful masks, worn on the front and back of its head, which is depicted on a stark white background that emphasizes the abstract nature of the piece. With no locale or context to go by, viewers are forced to invent their own storylines and consider the formal aspect of Contreras’ sure-handed drawing style.

Without giving too much away, the installation piece by Delilah Montoya called Saints and Sinners — complete with devotional candles, gravel, rocks, and a stitched-together photographic backdrop — has a direct correlation to one of three palladium prints by David Michael Kennedy, situated elsewhere in the gallery. See if you can make the connection — a connection that, according to gallery manager Rod Lambert, was not planned by either artist or curator López.

Noteworthy about this exhibit is that, even though several of the works are for sale, prices do not appear on the labels, because a handful of the artwork is on loan from private collectors or commercial galleries. And more to the point, López and Lambert see this special exhibit as museumlike in quality and content, rather than simply a gallery gathering of New Mexico artists. With work by Rose B. Simpson, Diego Rivera, Teri Greeves, Paul Pletka, and Roxanne Swentzell — to name a few others in the show — one should, indeed, expect high-quality stuff on display.

Fine Folk brings together a group of nationally known artists and affirms that the New Mexico art scene is alive and well. That is reason enough to see it. And the exhibit bestows upon visitors from outside the state an awareness of artistic traditions in New Mexico, in which we should all take pride.

— Douglas Fairfield

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Michael Abatemarco I The New Mexican

LIVING STILL

Sharon Core’s new twist on an old master

S

haron Core’s photograph Still Life With Oranges bears a striking resemblance to 19th-century American still-life painter Raphaelle Peale’s A Dessert (Still Life With Lemons and Oranges). Coincidence? Hardly. Core’s new monograph, Early American, published by Radius Books, presents a series of photographs based on Peale’s compositions. The book includes “Cross Pollination,” an essay by historian Brian Sholis.

Peale (1774-1825) was the eldest son of portrait painter Charles Willson Peale (1741-1827), who named several of his children after old masters. Raphaelle and his brothers Rembrandt and Rubens were all accomplished painters.

One finds subtle differences between Peale’s original painting and Core’s photographic interpretation; Core’s composition lacks the liqueur bottle from the original, for instance, and you see fewer leaves here, an extra orange there. The most compelling aspect of the work is not the resemblance to the original painting but how Core’s photograph translates as a painting to the eye of the viewer. The flatness of the

composition and the subdued lighting heighten the effect. This is true of all the photographs in the series, several of which can be seen in an exhibit, also called Early American, at Radius Books. To create her photographs, Core looks for old objects that resemble those in Peale’s originals. She finds them in antiques stores and on eBay. Core also cultivates — in her own garden — heirloom fruits and vegetables to bring authenticity to a body of work that honors an old tradition.

Pasatiempo: What do you find so captivating about Peale’s compositions?

Sharon Core: Essentially, their strange physical qualities. Peale was able to infuse relatively simple arrangements with a psychology of the uncanny. His still subject matter is strangely animated and present.

Pasa: Has cultivating heirloom fruits and vegetables been an ongoing interest or did it stem from this project? continued on Page 34 Sharon Core, clockwise from top left: Still Life With Oranges, 2008; Tea Cakes and Sherry, 2008; Watermelon and Blackberries, 2009; opposite page, Still Life With Flowering Tobacco, 2009; images courtesy Radius Books

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November 9 -15, 2012

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Sharon Core, continued from Page 32

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Core: Before beginning the photographs in Early American, I had very little experience with gardening. I became a gardener out of the necessity of cultivating my subject matter.

Now I see the garden as an extension of my studio. All that I have learned about agriculture and the natural world continues to inform the work I make.

Pasa: What are some ways in which working with relatively rare species of flora have underscored the differences between what we eat today as opposed to 200 years ago?

Core: Agriculture was widely practiced by individuals of the early republic and has become more of an individual interest today with small organic farms and the heirloom movement. A watermelon produced by “big agriculture” is usually seedless, and the standard strawberry is much, much larger than its ancestor. The types of fruits and vegetables I grew for the photographs have a biodiversity not usually found in a supermarket, and this natural diversity and “character,” if you will, is transferred to the image.

Pasa: As a photographer, what are the most challenging technical aspects in arranging a composition based on a painting?

Core: Nothing can be photographed that does not exist in reality, so it is the challenge of creating an illusion in three dimensions — not to trick the eye, à la trompe l’oeil, but to trick the camera lens. The camera lens is a monocular viewer, so it’s a challenge of everything being in the right position: the lens plane, the film plane, everything in front of the lens, the lighting, etc. It requires a lot of patience and concentration. Scale is also very important. I am using actual early-19th-century porcelain and glass.

These pieces are relatively small and require that the fruits and vegetables alongside them be early-19th-century scale.

Pasa: There are differences between your imagery and that of Peale. Were your photos intended as a dialogue between past and present and between mediums?

Core: The photographs are just as you say, a dialogue between past and present, nature and culture, photography and painting, a dead artist and a living one. The exacting way in which Peale and other illusionists painted is a slow, time-consuming practice. Photography is usually thought of as a fast medium. In photography, an image is made in a fraction of second, but the lead-up time, the preparation for that fraction, is often not taken into account.

Pasa: Peale’s use, as well as yours, of blemished and marred fruits underscores the transitory nature of life. These are essentially arrangements of dead things — nature morte.

Core: Nature morte is an art historical term for a still life but does evoke the nature of mortality. Peale’s work is not overtly allegorical in the way of the vanitas type of still life, but there is certainly a lot about mortality there. I was particularly interested in the more psychosexual aspects of the work.

Pasa: In making Tea Cakes and Sherry, based on Peale’s Still Life With Cake, did you actually bake the cakes from an early-19th-century recipe?

Core: I did research this type of cake but could find no direct recipe.

I invented one based on the texture and color. It was actually delicious. ◀

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PASATIEMPO

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David Masello I For The New Mexican

YEARS OF SEPARATION

ON THE WAY INTO THE EXHIBITION ABOUT Conceptual art at the Brooklyn Museum, you pass 17th- and 18th-century period rooms furnished with household objects, another gallery of vitrines filled with fanciful porcelain vases and snuff boxes, and elsewhere some colorful graffiti-esque paintings. But when you arrive at the decidedly gray Elizabeth A. Sackler Center for Feminist Art and confront a gallery filled with typewritten papers and what appear to be to-do lists of errands, some yellowing pamphlets, and dated postcards, you might think you’ve entered a very neat office instead of an art exhibition.

Even Catherine Morris and Vincent Bonin, curators of Materializing “Six Years”: Lucy R. Lippard and the Emergence of Conceptual Art (through Feb. 3, 2013), jointly write in their exhibition catalog that Lippard, the noted feminist art critic whose 1973 book, Six Years, serves as the catalyst for the show, had a less than colorful palette with which to work. In referencing Lippard’s book, Morris and Bonin write about what Lippard set out to identify and catalog as Conceptual art between the years 1966 and 1972: “artwork composed primarily of written instructions, inventories, notations of ideas, and various forms of photographic documentation of things that most people would never have the opportunity to see in person. There was very little that looked even remotely like what was commonly thought of as ‘art’ in 1973.”

See it in person we now can. Morris and Bonin have gathered roughly 170 objects by some 90 artists whose work was originally detailed in Lippard’s groundbreaking book — which, despite its import, 36

November 9 -15, 2012

remained out of print for 25 years, until it was reissued by the University of California Press in 1997. The few editions of the book that could be found in those interim years were passed among students and scholars as if they were portable Rosetta stones, each able to decipher the forms of a rather formless art known as Conceptual. As Lippard, who lives and continues to write and curate from her home in Galisteo, New Mexico, says in the catalog issued by the Brooklyn Museum and M.I.T. Press, “Six Years [the book] was originally intended to be ‘everything about everything,’” a claim, certainly, that might have made it as sought after as a key to a secret language.

In gathering together these highly fragile objects for this show, Morris, who is curator of the Elizabeth A. Sackler Gallery for Feminist Art, and Bonin, an independent curator, said that this may be the first exhibition ever mounted that is based on a book.

At the time Lippard wrote Six Years, she was simply chronicling and describing the Conceptual art that she witnessed all around her, much of it being done by women. “Vincent and I,” Morris said, referring to her co-curator, “were having a nerd art historians’ conversation five years ago about making the book into an exhibition. It was a parlor game we were playing. Both Vincent and I admired the book and carried it around for umpteen years as undergraduates. We played with the idea of taking what was a conceptual project and turning it into an exhibition.” Their concept became Conceptual.

Recreated all these years later is, for instance, On Kawara’s I Got Up (1969), which consists of 29 postcards sent from New York during November 1969, each stamped with a message stating the time the

artist arose in the morning. (Those that were sent to Lippard are now in the collection of the New Mexico Museum of Art.) “At the time, the idea of mailing a postcard as being a work of art was new, as was the idea of artists making art that had no market value,” Morris said. “There was a group of young artists in the mid-1960s who had nothing to lose by making art with no ‘value’ because they were wanting to mess with the status quo of the art world. To do so was a way to undermine it and not participate in it.”

Another message visitors might want to tweet or, perhaps, write a postcard about concerns Ian Wilson’s unambiguously named Circle on Floor (Chalk Circle) from 1968 — though the wall plaque tells viewers that a new one has been redrawn on the gallery floor in 2012. The idea behind the work is one of reducing a piece of sculpture “to its most ephemeral state,” which is to never have existed at all. The circular chalk mark indicates the space, where a sculpture could be positioned — were one available.

And close by this void is Laurence Weiner’s One Pint Gloss White Lacquer Poured Directly Upon the Floor and Allowed to Dry (1968), the title of which tells you just about everything you need to know.

Elsewhere, visitors will find two empty frames framing a white gallery wall ( Jo Baer’s Untitled, 1967), pieces of cut wire lining the floor (Carl Andre’s Portrait of Richard Long, 1969), and an index card with a piece of tape attached (Walter De Maria’s Tape Piece, 1967) — the very kinds of art objects best kept from the view of those in Congress eager to sever the budget for the National Endowment for the Arts. continued on Page 38

Clockwise from top left, Vito Acconci: Following Piece, 1969; Guerilla Art Action Group (Jon Hendricks and Jean Toche): Send Letter to Nixon, Agnew, Hoover, Letters Mitchell, Laird, Kissinger ... April Kill), 29, New Ne York (Eat What You Kill) 1970; John Latham: Art and Culture, 1966-1969; January 5Cultur Culture 31, 1969: Barry, Huebler, Kosuth, Weiner, installation view with temWeiner porar receptionist Adrian Piper; porary I Got Up, November 1.

On Kawara: Ka 1969, 1969; Aspen, no. 5-6 (Fall1969 Winter 1967); opposite page, Winter, installation view of the exhibit Materializing “Six Years”: Lucy R. Lippar and the Emergence of Lippard Art; images courtesy Conceptual Art Brooklyn Museum

There was a group of young artists in the mid-1960s who had nothing to lose by making art with no‘value’because they were wanting to mess with the status quo of the art world.

— curator Catherine Morris

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Eleanor Antin: 100 Boots Facing the Sea, Del Mar, California. February 9, 1971, 2:00 p.m. (mailed: March 15, 1971), photograph, 1971-1973

While in concept, it would be easy to deride many of the objects on display, it is far harder to do so once the most basic tenets of the movement known as Conceptual art are made known. When asked to define the movement, Morris said, “It’s about making you look at things differently, practices that are engaged in getting you to think about what constitutes an art object.” And in her foreword to the catalog, she writes that such art needs “to challenge authority, to question everything, especially the nature of art itself and the context within which it was made, shown, and distributed.

The artists invented ways for art to act as an invisible frame for seeing and thinking rather than as an object of delectation or connoisseurship.” Leave such pondering to those prettily decorated period rooms and the scroll works on the Sèvres porcelain pieces.

Morris is careful to point out, too, that the term “feminist art” is an equally loaded one, and one, perhaps, that is more difficult to define. “Here I am the curator of this feminist art gallery, and I wish I had an easy definition to give for that word. Feminist art, at the end of the day, is a political, cultural, social construct. The application of feminism to the visual arts is something I’m interested in doing. And in order to make feminism current and to keep people engaged with it, it has to move with the culture. Feminist art in the 1960s is different than it might be today, and we’re hoping this show will talk about that. We are showing a lot of male artists in this exhibition, so it’s not about just the art of and by women.”

Without consulting the descriptions found in the catalog and accompanying some of the artworks, a viewer will find the show to be a challenge.

At first glance, the sculptural pile of felt floor tiles cushioning a cassette tape just doesn’t elicit the response a Bernini might. But when you read that the work, Ja Ja Ja Ja Ja, Nee, Nee, Nee, Nee, Nee (1968) by Joseph Beuys, represents a material depiction of an apocryphal tale he liked to tell of having been rescued from a plane crash and kept alive by being wrapped in layers of fat supplied by the local natives, well, the piece makes sense.

Doesn’t it?

“One thing I want viewers to come away with,” Morris said, “is the understanding that Conceptual art isn’t hermetic or overly intellectual or a dry, unfriendly activity. There’s a lot of humor to be found in the show.” She cited, for instance, Bruce Nauman’s Fishing for Asian Carp (1966), a grainy film that plays at the start of the exhibition and shows that rather esoteric pursuit from start to finish, with narration. The depiction isn’t likely to inspire you to go out and cast a line into a river, but the trick to this show is to go fishing for ideas and a new way of thinking about what art is and can be. You may throw back into the aesthetic waters what you catch, but you won’t forget the thrill of the capture and release. ◀ “Materializing ‘Six Years’: Lucy R. Lippard and the Emergence of Conceptual Art” is at the Brooklyn Museum through Feb. 3, 2013.

We Remember

“Remembrance: America’s World War Legacies in Europe” Sunday, Nov. 11, 2 PM, NMHM Auditorium

Join us in a salute to veterans past and present, with a lecture by writer and photographer Jeffrey A. Lowdermilk on World War I and II memorials to Americans across Europe. Free with admission; Sundays free to NM residents.

(Nov. 11 free to veterans, active-duty personnel, their spouses and children.)

ALSO THIS MONTH

Chatter: Music Worth Talking About

Friday, Nov. 9, 6 PM, Museum of Art, St. Francis Auditorium

An evening of chamber music including Arnold Schoenberg’s Pierrot Lunaire, John Adams’ Grand Pianola Music, and the world premiere of Roberto Sierra’s Caprichos, commissioned by Chatter in honor of New Mexico’s Centennial —plus limited-edition keepsakes from the Palace Press. $25; $9 students and people under 30. Tickets at www.chatterchamber.org and at the door.

Tall Tales of the Wild West: The Stories of Karl May Sunday, Nov. 18, 2–4 PM, Mezzanine Gallery & Auditorium

Be first to see a new exhibit on Europe’s favorite author of Western Americana. “Karl May’s Wild West” lecture at 2 pm by Hans Grunert, curator of the Karl May Museum in Radebeul, Germany. Reception following. Free with admission; Sundays free to NM residents.

El Iluminado: A Graphic Novel

Sunday, Nov. 25, 2 PM, NMHM Auditorium

Author Ilan Stavans discusses and signs copies of his new book, a sleuth’s tale combining a mysterious murder and the Southwest’s crypto-Jewish past. Free with admission; Sundays are free to NM residents.

PASATIEMPO

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ART OF SPACE Paul Weideman

Close to the mudding crowd The new book Sun Sticks and Mud: 1,000 Years of Earth Building in the Desert Southwest, published by La Sombra Books, looks at building not only with adobe bricks, but with puddled adobe, cob (mud with straw), earth-bag, rammedearth, jacal (mudded pole), and construction with terrones. “Terron is cut from the surface of the ground, so it retains a lot of the root layer of the grass for structure in the blocks,” said Bart Kaltenbach, co-author of Sun Sticks and Mud with Barbara Anschel. Terron has been used locally at Isleta Pueblo and in the North Valley of Albuquerque, they said.

The volume is a fascinating look at earthen architecture in New Mexico, Arizona, Texas, Utah, and California, and is peppered with more than 400 color photographs by Steve Fitch. The authors divided the text into two sections.

First is the central storytelling about the architecture and its history and locales.

Second, occupying spaces on the outer edges of each pages, are running journals, accounts of their four years of road trips pulling a “Lit’l Pup” trailer around the country. “The way people relate to printed material these days is kind of changing, so we felt like it might be appropriate to have a number of ways that people could relate to this book,” Kaltenbach said.

The journals have an On the Road quality to them, but it was Robert M. Pirsig, not Jack Kerouac, who inspired them. “When we were working on this and I was

doing the writing, at the beginning [Anschel subsequently added material], I decided to take a close look at Zen and the Art of Motorcycle Maintenance, and that ended up being helpful in terms of voice.”

The wonderful array of buildings in the photographs really pulls readers in, inviting them to compare the many faces and shapes of earth-built buildings in the American Southwest (with a handful of examples in North Africa and Europe). “We’ve been looking at some of these buildings for years, and we were quite glad to find that many were still there. One is a carriage house in Winston [a ghost town in southwest New Mexico], which is an adobe infill, the post-andbeam frame covered in pressed metal imported from Galveston, Texas.”

One of the first buildings we see, in the preface, is the Kaltenbach-Anschel house in Madrid. It’s an energy-efficient passive-solar home with a shallow metal pitched roof with dormers, but there is no attic. “The dormers are just for light, and they also ventilate up high. We began building that 38 years ago, when we first moved there. We made that mostly out of scrap materials we scrounged, then later we built another shell over the top of it when we had more money for materials.”

The home, not far away, of Fitch and his partner, artist Lynn Grimes, is also hand-built and also “green” in the old, common-sense, sense. It is an interesting fact that homes like these constitute a continuing regional vernacular, contrasting with the notion that “vernacular” usually describes local, handmade houses in the olden days. “Yeah, we were bringing that term forward into the ’70s, when there were a lot of passive solar, new immigrant-built [built by newcomers to the Southwest, often part of the counterculture] vernacular houses.”

As long as they weren’t designed by an architect.

“And I’m not. Not quite,” Kaltenbach said. “We never used much in the way of levels and squares when we worked on our own houses. I’m not a licensed architect, but I’ve been doing this since I was 15, working for architects in New Haven, Connecticut.”

Rammed-earth housing, Isle d’Abeau, France; upper left, Luna’s Jacal near Santa Elena Canyon, Big Bend, Texas

He was employed for a time with the Architects Collaborative, working with disciples of Walter Gropius, before the old master died. When Kaltenbach and Anschel got into the field on their own, it was in the design/build format (the same person designs and builds the house). One recent design project in Santa Fe was a contemporary addition for their daughter and her partner on Alarid Street.

During the interview with Pasatiempo in late October, Anschel and Kaltenbach were in Chama, building a house of machine-made compressed-earth blocks.

“They’re denser and give you even better thermal mass than adobe bricks,” Kaltenbach said. “But you have to have enough sand in your soil, and we’re having to bring these in from another pit; there’s too much clay here. This is our last building project, we tell ourselves.”

Those of us in the Santa Fe area enjoy thinking that our earthen architectural precedents in Northern New Mexico are unique, but Kaltenbach and Anschel’s survey in Sun Sticks and Mud is much broader. “The Santa Fe Style notion of adobe is really a fairly limited look at the whole picture,” he said. “There are many other ways people have, and will, use earth as a building material.”

The book has photos of some really neat buildings in Spring City, Utah, for example. “There’s a whole string of towns in the Sanpete Valley,” said Anschel, who did much of the research for the book project. “That was where the Mormons first came, and they only had earth to build with. A lot of them were Scandinavian, and you can see that in the very well-made, sharp-edged blocks there.”

The journal sections have their own photographs, fitting into the authors’ commentaries. One of the interesting buildings, an adobe granary with stone windows and quoins, appears in a section about the Hacienda de San Diego in Mata Ortiz, Mexico. A splendid contrast comes with a look at the opposite page; one of the photos there shows a cluster of five-story, rammed-earth buildings in Morocco.)

The first three chapters cover “Indigenous Architecure,” “300 Years of Building in High Desert Regions,” and “Historic Restoration and Preservation,” then Kaltenbach, Anschel, and Fitch come up to the present with sections headed “Modern Interpretation: Designing Out of the Box” and “Contemporary Methods and Materials.” They take us through southwestern Arizona and southern California for “A Modern Model for Sustainable Building.”

We visit Marathon, Texas, to see the papercrete domes at Eve’s Garden Organic Bed and Breakfast and Ecology Resource Center. It is puzzling that this sort of thing, creating light building blocks by mixing recycled paper with Portland cement, isn’t done more often. “They’re real proponents of papercrete, but that’s in the book more for the Nubian connection, the use of those kinds of vaults and domes in Mali and Egypt,” Kaltenbach said. “The people in Marathon probably picked that up from [Adobe Alliance founder] Simone Swan, whose house is in nearby Presidio.”

The authors stray out of the strictly earthen realm to discuss pumice-crete, insulated concrete forms, and autoclaved concrete. Kaltenbach said the inclusion of those modern building technologies relates to “the fact that people get so hooked on thick walls.” continued on Page 42

Five-story rammed-earth building, Morocco; upper right, Hacienda de San Diego granary, Chihuahua, Mexico; photos by Steve Fitch, from Sun Sticks Mud: 1,000 Years of Building in the Desert Southwest

PASATIEMPO

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Connor Hall, New Mexico School for the Deaf, Santa Fe; top, Swan House, Presidio, Texas

Monks’ Ales newest product launch:

MONKS’ALE TRIPEL

Friday, November 9th, 4pm to 7pm

Dr. Glenda King

*Board Certified

Foot and Ankle Care & Surgery Call now for an appointment!

“Sun Sticks and Mud: 1,000 Years of Earth Building in the Desert Southwest,”

by Bart Kaltenbach and Barbara Anschel with photographs by Steve Fitch, is published by La Sombra Books.

Office Hours: Monday–Friday 9–5 *Certified by the American Board of Podiatric Surgery

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One of the newest photos in the book shows Connor Hall at the New Mexico School for the Deaf, designed in the 1920s by Rapp & Rapp, with a recently completed contemporary-design addition by Studio Southwest Architects, Albuquerque. “We traveled to Europe because our son was living in Berlin, and that’s a great place to see how architects have dealt with historic buildings and dealt with modernism. Then we came back and with all the discussion of preservation versus restoration, we felt that was a pretty good job they did at the School for the Deaf.”

There is no mention in the book of New Mexico architect Michael Reynolds or his “earthships,” which make good use of local earth; or of Cornerstones Community Partnerships, which works with local communities to restore historic adobes; or of that organization’s excellent manual Adobe Conservation: A Preservation Handbook. Kaltenbach does include a primer on modern adobe construction as the last chapter in the book.

Sun Sticks and Mud is an intriguing survey, taking in a primitive adobe potato barn in Del Norte, Colorado; hipped-roof adobes in Abiquiú and in Marfa, Texas; the rather Brutalist rammed-earth Tucson buildings by architect Rick Joy; historic adobes and street scenes in Mora and Wagon Mound; and stately homes in La Cueva (the Salman Ranch) and Springer (the MillsClegg Mansion); as well as the well-known historic buildings and modern structures (including Ed Mazria’s Genoveva Chavez Community Center, Alexander Dzurec’s Zane Fischer house, and Michael Freeman’s Santa Fe Public Works Facility) in Santa Fe. ◀

2019 Galisteo Street, Unit A4 ï 505.988.3338

William Berra November 10–30, 2012

Nedra Matteucci Galleries 1075 Paseo de Peralta, Santa Fe, NM 87501 tel 505≠ 982≠ 4631 ï www.matteucci.com

Stars Never Fade Productions and the Santa Fe Playhouse Proudly Present

Miss Patti Page The Singing Rage

Catherine Donavon Sings The Patti Page Songbook with

The Bert Dalton Trio Two Shows!

Sat., Nov. 10, 7:30 pm & Sun., Nov.11, 2 pm

Santa Fe Playhouse

142 East DeVargas Street/ Santa Fe Tickets are available for a minimum donation of $20.00 For reservations please call 986-1801 Please visit our website at: www.starsneverfade.com

Birch

A silent auction to benefit Arts Programming at

NEW MEXICO SCHOOL FOR THE ARTS Featuring anonymous new work created on 10x10 birch panels by NMSAí s talented Visual Arts Department students and renowned New Mexico artists.

Marla Allison Nocona Burgess Todd Christensen Sydney Cooper Alvin Gill-Tapia Cristina Gonzalez Elizabeth Hahn Jackie Mathey Maggie Muchmore

John Muchmore Michael Namingha Tom Osgood Christy Penn Leda Rizzo Roni Rohr Tom Ross Jacob Sisneros Sarah Spengler

Jeremy Thomas Lucrecia Troncoso Edie Tsong Darren Vigil-Gray Jordan West Will Wilson Ö

All bids start at $99.

November 9, 2012 ∙ 5:30 ≠ 8:00 pm

Fine Arts Gallery ∙ Santa Fe University of Art & Design 1600 St. Michaelí s Drive ∙ Santa Fe, NM PASATIEMPO

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MOVING IMAGES pasa pics

— compiled by Robert B. Ker

PERFORMANCE AT THE SCREEN The fall series of high-definition screenings of performances from afar begins with a showing of Anthony Dowell’s production of Swan Lake, danced by members of London’s Royal Ballet. Zenaida Yanowsky and Nehemiah Kish star. 11 a.m. Sunday, Nov. 11, only.

Not rated. Approximately 180 minutes (plus intermissions). The Screen, Santa Fe. (Not reviewed) SIDE BY SIDE Digital processes have lowered the costs of making movies, rendering the medium more democratic, but has that translated into better movies — better looking or more engaging — reaching the screen?

This question is among those debated by scores of moviemakers in Side by Side, a timely exploration of an art form undergoing a sea change on the technological front. Film buffs and industry insiders will get the most out of this documentary, but it’s entertaining and accessible enough to retain a popular appeal, aided by the affable narrator and interviewer, Keanu Reeves.

Not rated. 99 minutes. The Screen, Santa Fe ( Jon Bowman) See review, Page 48.

Hearts are skipping another beat: Romain Duris in The Big Picture, at the Center for Contemporary Arts in Santa Fe

opening this week THE BIG PICTURE Romain Duris and Catherine Deneuve star in this French thriller about a man (Duris) who commits a crime of passion. He assumes a new identity and flees to the former Yugoslavia, where he discovers himself. The 7 p.m. Friday, Nov. 9 screening is presented by Santa Fe Accueil as part of the French Film Salon series. Not rated. 114 minutes.

In French with subtitles. Center for Contemporary Arts, Santa Fe. (Not reviewed) BONE WIND FIRE Filmmaker Jill Sharpe examines the lives and art of Georgia O’Keeffe, Frida Kahlo, and Emily Carr in this poetic, quietly moving film. The faces of the women are rarely shown; the narrative takes the form of fragments from the artists’ writings.

1 and 6 p.m. Wednesday, Nov. 14, only. Not rated.

30 minutes. Georgia O’Keeffe Museum Education Annex, 123 Grant Ave., Santa Fe. THE HOUSE I LIVE IN Although it features an impressive range of talking heads, The House I Live In doesn’t tell us anything about the War on Drugs that hasn’t already been covered by documentarians or other members 44

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of the media. But if you’re too young to remember the crack epidemic of the 1980s, or it’s never occurred to you that racism and classism play important roles in this particular war, then this movie will be a great primer. Winner of the Grand Jury Prize at this year’s Sundance Film Festival. Director Eugene Jarecki is scheduled to attend the Friday, Nov. 9, screening only. Not rated. 108 minutes. The Screen, Santa Fe. ( Jennifer Levin) See review, Page 52.

THE MET LIVE IN HD: THE TEMPEST Simon Keenlyside and Audrey Luna star in Robert Lepage’s staging of Thomas Adès’ opera, which is broadcast live from the Met at 11 a.m. on Saturday, Nov. 10, with an encore broadcast at 6 p.m.

161 minutes. Lensic Performing Arts Center, Santa Fe. (Not reviewed) THE OTHER DREAM TEAM Michael Jordan, Larry Bird, and Magic Johnson helped form the United States’ “dream team” at the 1992 Barcelona Olympics. Astute basketball fans may remember another team from those games: the Lithuania one, which included stars Sarunas Marciulionis and Arvydas Sabonis and sported tie-dyed tees given to them from the Grateful Dead. This documentary looks at those athletes as they play together for the first time as representatives of a free country since escaping Soviet rule. Not rated. 88 minutes. Regal DeVargas, Santa Fe. (Not reviewed)

SKYFALL In Daniel Craig’s third outing as James Bond, a terrorist declares war on MI6, and the agents go underground, holing up beneath the streets of London. The talented Spanish actor Javier Bardem makes for a memorable if campy villain, and the acting from the British cast (including Judi Dench, Ralph Fiennes, and Ben Whishaw) is superb, but the crisp dialogue holds up better than the overall plot, which is not derived from any of Ian Fleming’s novels. Superstar cinematographer Roger Deakins gives the film polished, sumptuous look, and Thomas Newman’s score enhances the atmosphere.

Rated PG-13. 143 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. ( Jeff Acker) See review, Page 50.

now in theaters ARGO Ben Affleck takes a true story by the throat and delivers a classic seatsquirming, pulse-pounding nail-biter.

In 1980, as the world watched the hostages in the U.S. embassy in Tehran, a small group of Americans made it to the Canadian ambassador’s residence and hid out there while the White House and the CIA desperately tried to figure out how to spirit them out of the country. The plan? Pretend to be making a sci-fi film and disguise the Americans as members of a Canadian location-scouting crew. A terrific cast is headed by Affleck as the CIA operative, with Alan Arkin and John Goodman at the Hollywood end and a spot-on bunch of unknowns as the hiders. Rated R.

120 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. ( Jonathan Richards) BLESS ME, ULTIMA In lesser hands, the film adaptation of Rudolfo Anaya’s classic novel could have been cloyingly precious magical realism. But Bless Me, Ultima, directed by Carl Franklin, was shot in and around Santa Fe with Spanish-speaking actors, which imbues the story of murder and witches in World War II-era Northern New Mexico with authenticity. Antonio (played by Luke Ganalon), is 6 years old when his grandmother Ultima (Miriam Colon), a curandera, comes to stay with his family. Antonio sees too much for a kid his age, but he is brave in the face of grown-up pressures. Performances are mostly strong, and the dialogue moves quickly, as does the action. Rated PG-13. 105 minutes. In English and Spanish, no subtitles. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. ( Jennifer Levin) CLOUD ATLAS If you see only one movie this year, perhaps it should be Cloud Atlas. Not that it’s the best movie of the year, but it’s six movies for the price of one, and it packs the running time of two more modest features.

It’s the work of three directors. It serves up some of your favorite actors in a half dozen different roles apiece, sometimes heavily disguised. David Mitchell’s centuries-spanning 2004 bestseller is a complex challenge that the author thought could never be translated into a movie, and as he himself recently admitted, “I was half right.” Still, there’s no denying the film’s entertainment value and its technical accomplishment. Rated R. 172 minutes. Regal Stadium 14, Santa Fe. ( Jonathan Richards) FLIGHT Director Robert Zemeckis returns with his first live-action film since 2000’s Cast Away, and it’s about everyone’s favorite subject: a commercial flight gone horribly wrong. Denzel Washington plays a pilot who pulls off a miracle of an emergency landing, but the ensuing investigation into the near-crash turns up troubling facts — some of which implicate the pilot in the disaster, tearing his life apart. Don Cheadle and John Goodman co-star. Rated R. 139 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) FUN SIZE On Halloween, teenage Wren (Victoria Justice) faces an evening so horror-filled that it would make H.P. Lovecraft say, “OMG!” She’s invited to a party by the local hunk and her total crush (Thomas McDonell), but her mom makes her take along her bratty little brother ( Jackson Nicoll). Rated PG-13.

90 minutes. DreamCatcher, Española. (Not reviewed) HERE COMES THE BOOM Kevin James plays a teacher so devoted that when the school faces budget

cuts, he embarks on a mixed-martial-arts career to raise funds. He gets beaten up, but will this help him land the girl (Salma Hayek)? Rated PG. 105 minutes.

Regal Stadium 14, Santa Fe. (Not reviewed) HOTEL TRANSYLVANIA Welcome to the Hotel Transylvania — such a scary place (thanks to Dracula, voiced by Adam Sandler), such a hairy place (thanks to Wayne the Wolfman, voiced by Steve Buscemi).

Andy Samberg voices Jonathan, a human who crashes this monster mash — the hotel was created to give monsters sanctuary from people — and falls for Drac’s daughter (Selena Gomez). Rated PG. 95 minutes.

Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE INTOUCHABLES This low-key, feel-good French movie — in which a wealthy man (François Cluzet) loses his wife and the use of his arms and legs in an accident and bonds with the Senegalese ex-con (Omar Cy) who is assigned to be his caretaker — is one of the surprise hits of the year. Its global box-office take more than $350 million, and it keeps chugging on in Santa Fe. Rated R. 112 minutes. In French with subtitles. Regal DeVargas, Santa Fe. (Not reviewed) THE MAN WITH THE IRON FISTS As the mastermind behind the Wu-Tang Clan, RZA conquered the world of hip-hop in the 1990s. Now he gets out of the recording studio and into the director’s chair as his career goes where it has perhaps been leading all along: helming a crazy kung-fu movie. Eli Roth co-wrote the script (along with RZA), and it centers on a blacksmith (RZA) who makes outlandish weapons for a big battle in feudal China. Russell Crowe stars.

Rated R. 96 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) THE MASTER After World War II, emotionally troubled Navy vet Freddie Quell (Joaquin Phoenix) is taken under the wing of Lancaster Dodd (Philip Seymour Hoffman), the charismatic leader of a nascent spiritual group known as The Cause. This long-awaited film from the masterful Paul Thomas Anderson poses heady questions about belief, religion, mental health, and whether humans really can — or want to — change. It’s intense, ambitious, majestic, and visually luminous. Phoenix and Hoffman deliver two of the finest screen performances this year. Still, the film lacks a cohesive plot, and you may leave the theater wondering what, exactly, Anderson was trying to say. Rated R. 137 minutes.

Regal DeVargas, Santa Fe. (Laurel Gladden) THE PAPERBOY Director Lee Daniels won awards and plaudits for the painfully titled Precious: Based on the Novel “Push”

by Sapphire. In this movie, Matthew McConaughey delivers another of the lean, dark-tinged, laconic

The Other Dream Team

performances that have marked his resurgence, and Nicole Kidman, playing a Southern Barbie, has a couple of startling scenes that will command much of the attention. The story, based on a Pete Dexter novel, brings a Miami reporter (McConaughey) and his partner (David Oyelowo) to backwater Florida in 1969 to investigate a possible miscarriage of justice.

Once you meet the imprisoned subject, a super-creepy John Cusack, you’ll want the miscarriage left as is. The movie has power and originality, but it’s an over-thetop mess of styles, shocks, and excess. It got booed at Cannes, which may or may not be a recommendation.

Rated R. 101 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) PARANORMAL ACTIVITY 4 Paranormal Activity has officially replaced Saw as the franchise that may be counted on for an annual horror film with production values as cheap as its mythology is convoluted.

This one has the usual trappings of the series — videocameras, ghosts, people being violently dragged out of rooms. Rated R. 95 minutes. DreamCatcher, Española. (Not reviewed) THE PERKS OF BEING A WALLFLOWER Stephen Chbosky’s beloved young-adult novel gets an adaptation of such high-polished twee that it can only have come from the production company behind Juno. Chbosky wrote and directed the film. Charlie (Logan Lerman) is new to his high school and a bit shy. He receives some guidance from Sam (Emma Watson, Hermione in the Harry Potter films) and her continued on Page 46

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half-brother, Patrick (Ezra Miller). Rated PG-13.

103 minutes. Regal DeVargas, Santa Fe; Storyteller, Taos. (Not reviewed) PITCH PERFECT The Breakfast Club meets Glee in this likable adolescent romp. The plot is as predictable as a calendar, and the characters are drawn from columns A and B like items from a menu. The excellent Anna Kendrick, who was all grown up a couple of years ago in Up in the Air, has been demoted to college freshman as Beca, who only wants to be a DJ but has to go to college.

She joins a sorority-like a-cappella group and drags it kicking and screaming into the 21st century. There’s some nice group singing, although there could be more and it could be better, and the same goes for the gags. Elizabeth Banks and Michael Higgins add some fun as announcers, although they’re carbon copies of the team in Best in Show. Rated PG-13. 112 minutes.

Regal DeVargas, Santa Fe. ( Jonathan Richards) SAMSARA This is a documentary without narration, without characters, without a formal story. Its narrative and message, driven by a hypnotic Michael Stearns score, are conveyed by director Ron Fricke’s (Baraka) sequence of stunning images, filmed in 70 mm and gathered from 25 countries on five continents. The visuals are extraordinary, but much of the time you may find yourself wondering where the heck you are, even as you bathe in the beauty of nature’s abundance and culture’s triumphs or squirm at the robotic cruelty and soullessness of the modern world. But for all the negatives, the beauty ultimately trumps the squalor. It’s a fascinating planet. Rated PG-13. 99 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) 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.

The film follows the triumphs and frustrations of a journalist and record-store owner in their efforts to shed light on the mystery surrounding Rodriguez, a superstar in South Africa but virtually unknown in his native United States. The film packs an emotional wallop. Rated PG-13. 85 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco)

spicy bland

medium

mild

heartburn

Send comments on movie reviews to pasamovies@sfnewmexican.com.

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SEVEN PSYCHOPATHS Writer and director Martin McDonagh follows his 2008 cult hit In Bruges with another story of eccentric gangsters. This time, he’s got quite the canvas for his snappy dialogue: the cast includes Sam Rockwell, Christopher Walken, Woody Harrelson, Tom Waits, and Colin Farrell, and the story involves screenwriting, psychopaths, and a dognapped Shih Tzu. The actors seem to be having a good time (especially Rockwell), and there are many wonderful moments in between the dead spots. McDonagh is a master storyteller, sprinkling his humor and violence with poignancy and postmodernism, but this feels more like a short-story collection than a cohesive novel. Rated R. 109 minutes. Regal DeVargas, Santa Fe. (Robert Ker) SILENT HILL: REVELATION Did you ever notice how the sequels that promise revelations and answers — from The Matrix to Saw — are usually the most confusing films out there? This movie continues building on the already-nonsensical mythos of the horror video-game series. Rated R. 94 minutes.

Screens in 3-D only at Regal Stadium 14, Santa Fe. (Not reviewed) SINISTER In this scare flick, Ethan Hawke plays a writer who buys a new home, discovers some snuff films in the attic, and realizes the abode haunted by some kind of demon that’s coming after his kids.

Talk about a housing crisis! Rated R. 110 minutes.

DreamCatcher, Española. (Not reviewed) SISTER The acting in this unflinching portrayal of a little boy’s need for love is superb. Simon, age 12, steals for a living. He lives in the valley of a Swiss ski town with his sister, Louise, who isn’t much inclined toward mothering her little brother. Sister asks what the difference is between love and obligation. What does it mean to be wanted? And when we know that we are not, what becomes of us? The answers are among the most emotionally brutal ever captured on film.

Not rated. 97 minutes. In French and English with subtitles. The Screen, Santa Fe. ( Jennifer Levin) THE STORY OF FILM: AN ODYSSEY This is the Lord of Film Histories, its 900-minute running time eclipsing the combined duration of Peter Jackson’s Lord of the Rings trilogy by four hours. But if you have a weak bladder, have no fear. The Screen presents it in installments through Nov. 17. Breathtaking and audacious, it boasts more depth and breadth than any previous effort to chronicle the history of cinema.

Mark Cousins is the originator and narrator, scouring the planet like Captain Ahab in search of unsung masterpieces. Episodes 11 and 12 screen at 11 a.m.

Saturday, Nov. 10; episodes 9 and 10 are shown at

7:15 p.m. Sunday, Nov. 11. Not rated. Each episode runs approximately 60 minutes. The Screen, Santa Fe. ( Jon Bowman) TAKEN 2 Liam Neeson’s second career as a bankable action star got a boost with 2008’s Taken, in which he played a man who kills everyone who comes between him and his kidnapped daughter. But if this guy is so tough, why does his family keep getting taken?

This time, it’s his wife (and him). Rated PG-13.

91 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) WRECK-IT RALPH With its many, many references to old-school video games, its lengthy set-up, and gags aimed at middle-aged ex-geeks, Wreck-It Ralph initially seems like a cartoon that appeals more to parents than to kids. And then the story — about a video-game villian (the title character, voiced by John C. Reilly) who breaks out of his game to become a hero — kicks in, and the action shifts to the fictional “Sugar Rush” racing game and its colorful, Candy Land-like setting, where the film becomes a psychedelic swirl of adventure and imagination. Wreck-It Ralph may be too convoluted for tykes, too slow in spots for adults, and too long for both, but it racks up a high score when it comes to heart, cleverness, and spot-on voice acting.

And Ralph’s dilemma — he wants to build things, but he’s so good at breaking them — may appeal to kids after all. Rated PG. 120 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker)

other screenings Center for Contemporary Arts 12:30 p.m. Sunday, Nov. 11: V-Day 11.11.11.

Friday-Sunday, Nov. 9-11: Tears of Gaza.

Museum of Contemporary Native Arts 108 Cathedral Place, 983-1666 Grab.

Santo Domingo Pueblo Community Center 1 Tesuque St., 505-465-2214 or 505-465-2215 6 p.m. Tuesday, Nov. 13: Milking the Rhino.

Filmmaker Jeannie Magill in attendance.

Taos Community Auditorium 133 Paseo del Pueblo Norte, Taos, 575-758-2052 6 p.m. Friday, Nov. 9: 2012 New Mexico Filmmaker’s Showcase.

Sunday-Tuesday, Nov. 11-13: Keep the Lights On. ◀

WHAT’S SHOWING Call theaters or check websites to confirm screening times.

CCA CINEMATHEQUE AND SCREENING ROOM 1050 Old Pecos Trail, 982-1338, www.ccasantafe.org The Big Picture (NR) Fri. 7 p.m. Sat. and Sun. 3:30 p.m. Tue. to Thurs. 7:45 p.m.

Samsara (PG-13) Fri. 3:15 p.m., 5:30 p.m., 7:45 p.m.

Sat. 12:45 p.m., 5:45 p.m., 8 p.m. Sun. 5:45 p.m., 8 p.m.

Tue. to Thurs. 3:30 p.m., 5:45 p.m.

Searching for Sugar Man (PG-13) Fri. 2:45 p.m., 4:45 p.m. Sat. and Sun. 3 p.m., 5 p.m., 7 p.m. Tue. to Thurs. 3 p.m., 5 p.m., 7 p.m.

Tears of Gaza (NR) Fri. 1:15 p.m. Sat. and Sun. 1:30 p.m.

V-Day 11.11.11 (NR) Sun. 12:30 p.m.

REGAL DEVARGAS 562 N. Guadalupe St., 988-2775, www.fandango.com The Intouchables (R) Fri. to Thurs. 1:10 p.m., 3:50 p.m.

The Master (R) Fri. and Sat. 1:05 p.m., 4 p.m., 7 p.m., 9:55 p.m. Sun. to Thurs. 1:05 p.m., 4 p.m., 7 p.m.

The Other Dream Team (NR) Fri. and Sat. 1:20 p.m., 4:10 p.m., 7:10 p.m., 9:45 p.m. Sun. to Thurs. 1:20 p.m., 4:10 p.m., 7:10 p.m.

The Paperboy (R) Fri. and Sat. 6:50 p.m., 9:50 p.m.

Sun. to Thurs. 6:50 p.m.

The Perks of Being a Wallflower (PG-13) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:40 p.m., 10:05 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:40 p.m.

Pitch Perfect (PG-13) Fri. and Sat. 1 p.m., 4:20 p.m., 7:20 p.m., 10 p.m. Sun. to Thurs. 1 p.m., 4:20 p.m., 7:20 p.m.

Seven Psychopaths (R) Fri. and Sat. 1:40 p.m., 4:40 p.m., 7:30 p.m., 10:05 p.m. Sun. to Thurs.

1:40 p.m., 4:40 p.m., 7:30 p.m.

REGAL STADIUM 14 3474 Zafarano Drive, 424-6296, www.fandango.com Argo (R) Fri. to Wed. 12:50 p.m., 4:15 p.m., 7:15 p.m., 10:05 p.m.

Bless Me, Ultima (PG-13) Fri. to Wed. 12 p.m., 2:35 p.m., 5:10 p.m., 7:45 p.m., 10:20 p.m.

Cloud Atlas (R) Fri. to Wed. 12:20 p.m., 4:05 p.m., 7:50 p.m.

Flight (R) Fri. to Sun. 12:15 p.m., 12:45 p.m., 3:30 p.m., 4:05 p.m., 7 p.m., 7:20 p.m., 10:10 p.m., 10:30 p.m.

Mon. to Wed. 12:15 p.m., 12:45 p.m., 3:30 p.m., 4:05 p.m., 7 p.m., 7:20 p.m., 10:10 p.m., 10:30 p.m.

Here Comes the Boom (PG) Fri. to Wed. 12 p.m., 2:30 p.m., 5 p.m., 7:35 p.m.

Hotel Transylvania (PG) Fri. to Wed. 12:10 p.m., 2:35 p.m., 5 p.m., 7:25 p.m.

Hotel Transylvania 3D (PG) Fri. to Wed. 9:50 p.m.

The Man with the Iron Fists (R) Fri. to Wed. 12:05 p.m., 2:30 p.m., 5:05 p.m., 7:40 p.m., 10:10 p.m.

Silent Hill: Revelation 3D (R) Fri. to Wed. 10:15 p.m.

Skyfall (PG-13) Fri. and Sat. 12:30 p.m., 1 p.m., 1:30 p.m., 3:45 p.m., 4:15 p.m., 4:45 p.m., 7 p.m., 7:30 p.m., 8 p.m., 10:15 p.m., 10:45 p.m. Sun. to Wed. 12:30 p.m., 1 p.m., 1:30 p.m., 3:45 p.m., 4:15 p.m., 4:45 p.m., 7 p.m., 7:30 p.m., 8 p.m., 10:15 p.m.

Taken 2 (PG-13) Fri. to Wed. 12:35 p.m., 3 p.m., 5:25 p.m., 7:55 p.m., 10:20 p.m.

TheTwilight Saga Marathon (PG-13) Thurs. 11:25 a.m.

TheTwilight Saga: Breaking Dawn - Part 2 (PG-13) Thurs. 10 p.m.

Wreck-It Ralph (PG) Fri. to Sun. 12 p.m., 2:35 p.m., 5:10 p.m., 7:50 p.m., 10:30 p.m. Mon. to Wed. 12 p.m., 2:35 p.m., 5:10 p.m., 7:50 p.m., 10:30 p.m.

Wreck-It Ralph 3D (PG) Fri. to Wed. 1:15 p.m., 4:30 p.m., 7:20 p.m., 10 p.m.

Celebrate the holiday season at Rio Chama!

Book your holiday party in one of our intimate dining rooms. Our private dining spaces can accommodate from 15 to over 100 guests.

For reservations please call 505-955-0765

THE SCREEN Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, www.thescreensf.com The House I Live In (NR) Fri. and Sat. 5:30 p.m.

Sun. 4:30 p.m. Mon. to Thurs. 7:45 p.m.

Side by Side (NR) Sat. 1:15 p.m. Mon. to Thurs. 6 p.m.

Sister (NR) Fri. 3:15 p.m., 8:15 p.m. Sat. 3:15 p.m., 7:30 p.m. Sun. 2:30 p.m. Mon. to Thurs. 2 p.m., 4 p.m.

The Story of Film (NR) Parts 11 & 12 Sat. 11 a.m.

Parts 9 & 10 Sun. 7:15 p.m.

Swan Lake: London’s Royal Ballet (NR) 11 a.m.

STORYTELLER DREAMCATCHER CINEMA (ESPAÑOLA) 15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.storytellertheatres.com Argo (R) Fri. 4:05 p.m., 6:55 p.m., 9:45 p.m. Sat. and Sun. 1:15 p.m., 4:05 p.m., 6:55 p.m., 9:45 p.m. Mon. 1:15 p.m., 4:05 p.m., 6:55 p.m. Tue. to Thurs. 4:05 p.m., 6:55 p.m.

Bless Me, Ultima (PG-13) Fri. 4 p.m., 7 p.m., 9:30 p.m.

Sat. and Sun. 1 p.m., 4 p.m., 7 p.m., 9:30 p.m. Mon. 1 p.m., 4 p.m., 7 p.m. Tue. to Thurs. 4 p.m., 7 p.m.

Fun Size (PG-13) Fri. 4:20 p.m., 7:20 p.m., 9:25 p.m.

Sat. and Sun. 1:20 p.m., 4:20 p.m., 7:20 p.m., 9:25 p.m.

Mon. 1:20 p.m., 4:20 p.m., 7:20 p.m. Tue. to Thurs.

4:20 p.m., 7:20 p.m.

HotelTransylvania (PG) Fri. to Thurs. 4:10 p.m.

HotelTransylvania 3D (PG) Fri. 6:35 p.m., 9 p.m.

Sat. and Sun. 1:10 p.m., 6:35 p.m., 9 p.m. Mon. 1:10 p.m., 6:35 p.m. Tue. to Thurs. 6:35 p.m.

Paranormal Activity 4 (R) Fri. 3:45 p.m., 6:30 p.m., 9:10 p.m. Sat. and Sun. 1:25 p.m., 3:45 p.m., 6:30 p.m., 9:10 p.m. Mon. 1:25 p.m., 3:45 p.m., 6:30 p.m. Tue. to Thurs. 3:45 p.m., 6:30 p.m.

Sinister (R) Fri. 4:25 p.m., 7:05 p.m., 9:20 p.m. Sat. and Sun. 1:35 p.m., 4:25 p.m., 7:05 p.m., 9:20 p.m. Mon. 1:35 p.m., 4:25 p.m., 7:05 p.m. Tue. to Thurs. 4:25 p.m., 7:05 p.m.

Skyfall (PG-13) Fri. 3:55 p.m., 6:45 p.m., 9:40 p.m.

Sat. and Sun. 12:55 p.m., 3:55 p.m., 6:45 p.m., 9:40 p.m.

Mon. 12:55 p.m., 3:55 p.m., 6:45 p.m. Tue. to Thurs.

3:55 p.m., 6:45 p.m.

Taken 2 (PG-13) Fri. 4:15 p.m., 7:10 p.m., 9:35 p.m.

Sat. and Sun. 1:05 p.m., 4:15 p.m., 7:10 p.m., 9:35 p.m.

Mon. 1:05 p.m., 4:15 p.m., 7:10 p.m. Tue. to Thurs.

4:15 p.m., 7:10 p.m.

The Twilight Saga: Breaking Dawn - Part 2 (PG-13) Thurs. 10 p.m.

Wreck-It Ralph (PG) Fri. 3:50 p.m., 6:40 p.m., 9:15 p.m. Sat. and Sun. 12:50 p.m., 3:50 p.m., 6:40 p.m., 9:15 p.m. Mon. 12:50 p.m., 3:50 p.m., 6:40 p.m. Tue. to Thurs. 3:50 p.m., 6:40 p.m.

Wreck-It Ralph 3D (PG) Fri. 4:30 p.m., 7:15 p.m., 9:50 p.m. Sat. and Sun. 1:30 p.m., 4:30 p.m., 7:15 p.m., 9:50 p.m. Mon. 1:30 p.m., 4:30 p.m., 7:15 p.m. Tue. to Thurs. 4:30 p.m., 7:15 p.m.

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MITCHELL STORYTELLER CINEMA 110 Old Talpa Canon Road, 575-751-4245 Argo (R) Fri. 4:25 p.m., 6:55 p.m., 9:35 p.m. Sat. 1:55 p.m., 4:25 p.m., 6:55 p.m., 9:35 p.m. Sun. 1:55 p.m., 4:25 p.m., 6:55 p.m. Mon. to Thurs. 4:25 p.m., 6:55 p.m.

Bless Me, Ultima (PG-13) Fri. 4:40 p.m., 7:10 p.m., 9:40 p.m. Sat. 2:10 p.m., 4:40 p.m., 7:10 p.m., 9:40 p.m.

Sun. 2:10 p.m., 4:40 p.m., 7:10 p.m. Mon. to Thurs.

4:40 p.m., 7:10 p.m.

The Perks of Being a Wallflower (PG-13) Fri. 4:50 p.m., 7:20 p.m., 9:55 p.m. Sat. 2:05 p.m., 4:50 p.m., 7:20 p.m., 9:55 p.m. Sun. 2:05 p.m., 4:50 p.m., 7:20 p.m.

Mon. to Thurs. 4:50 p.m., 7:20 p.m.

Skyfall (PG-13) Fri. 4:45 p.m., 6:50 p.m., 7:45 p.m., 9:50 p.m. Sat. 2:20 p.m., 4:45 p.m., 6:50 p.m., 7:45 p.m., 9:50 p.m. Sun. 2:20 p.m., 4:45 p.m., 6:50 p.m. Mon. to Thurs. 4:45 p.m., 6:50 p.m.

Wreck-It Ralph (PG) Fri. 4:45 p.m., 7:15 p.m., 9:45 p.m.

Sat. 2:15 p.m., 4:45 p.m., 7:15 p.m., 9:45 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:15 p.m. Mon. to Thurs. 4:40 p.m., 7:10 p.m.

Wreck-It Ralph 3D (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m.

Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m.

PASATIEMPO

47

MOVING IMAGES film reviews

A fight to the def Jon Bowman I For The New Mexican Side by Side, documentary, not rated, The Screen, 3.5 chiles The 2012 election is over, but in Hollywood, a fierce debate rages on. It’s not focused on Clint Eastwood’s empty chair or Michael Moore’s in-your-face campaign ad, but on an even more polarizing topic that truly divides movie folks into warring camps. The battle lines are drawn over a technological revolution that’s transforming every phase of the industry — the rising dominance of digital cameras and editing tools, paired with the simultaneous collapse of the photochemical regimen that defined filmmaking for more than a century.

While films shot on celluloid continue to be made, their days are clearly numbered. Manufacturers have already stopped making 35 mm film cameras. It’s a medium operating on fumes and borrowed time, destined to disappear altogether within the next five to 10 years, regardless of the howls and complaints of traditionalists who maintain that celluloid produces aesthetically superior and longer-lasting imagery than its digital counterparts.

Christopher Kenneally’s new documentary, Side by Side, chronicles this sea change, allowing the purists to vent and wax eloquently about the dying of an art form, but also giving digital champions a chance to defend the new technologies and explain why they offer their own inherent artistic advantages.

Economics have driven this makeover — digital movies are far less costly to make — but proponents say that going digital isn’t simply a matter of kowtowing to the almighty dollar. It has also had an egalitarian impact and opened doors within the industry to a younger and more diverse pool of artists, many of whom never would have caught a break in the old Hollywood.

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November 9 -15, 2012

Would you say you’re stoked about digital? Keanu Reeves and Joel Schumacher

Given its subject matter, Side by Side could have been strictly an insider affair, targeted solely to moviemakers and die-hard film buffs. But this work succeeds in busting out of that narrow mold and attaining a more populist and accessible appeal as a fascinating time capsule. As such, it couldn’t have come at a more opportune moment, with moviemaking in a state of flux, undergoing greater upheaval than any juncture since the advent of sound.

Actor Keanu Reeves, who co-produced the doc, serves as narrator and interviewer. Those worried about his Bill and Ted aura can chill out. He’s quite good at the task, engaging in breezy yet revealing conversations with scores of directors, cinematographers, editors, actors, and technicians who outline how their job duties have radically shifted and how they’ve adjusted as working artists.

Some have openly embraced the change, such as the visionary George Lucas, who dismisses film as “a 19th-century invention,” and Robert Rodriguez, who says his cutting-edge features (including Sin City) “would not have existed if I shot film.” But on the flip side, one director of photography vows to hold out against the rising tides as long as possible, saying, “I’m not going to trade my oil paints for a box of crayons.”

Heavyweights aplenty weigh in here — Martin Scorsese, David Lynch, James Cameron, and David Fincher, among them — but some of the juiciest secrets are laid bare by lesser-known talents, discussing how digital has shaken up the old pecking order on movie sets, blurring time-honored distinctions and causing infighting over who will control the artistic process.

Writer-director Joel Schumacher (Batman Forever) delivers the most humorous line. Now that everyone can instantly see how a scene looks instead of waiting a day for the canned rushes, he says, the actors have become more self-conscious — some insist on reviewing each and every take.

He jokes: “I’m convinced everyone’s just looking at their hair.”

Besides the many interviews, Side by Side presents a rich compendium of clips that capture how the

look of movies keeps evolving. An extended section delves into the technical nitty-gritty surrounding different cameras that improved digital quality or became more compact and streamlined, allowing filmmakers to go new places, shoot in tighter spaces, or move about and improvise more freely than before.

Some of this veers toward the geeky, but there’s also a fun, futuristic dimension to the probing, as we come to see how breakthroughs with new cameras made possible a new universe of special effects, coloring experiments, image alterations, and all manner of groundbreaking advances.

One of the best overviews comes from cameraman Anthony Dod Mantle, who was in on the ground floor with digital, having shot The Celebration for Danish director Thomas Vinterberg in 1998.

Dod Mantle says he was “applauded and almost executed” at the same time for his unconventional, hand-held shooting style, and feared he might have destroyed his career. But 11 years later, as old prejudices and attitudes against digital relaxed, Dod Mantle became the first digital-based cinematographer to win an Oscar, for his craftsmanship on Slumdog Millionaire.

As quickly and dramatically as digital has reshaped filmmaking, fears linger about where it will lead.

One observer says that over the past decade he has used 80 different video formats — the earliest and most primitive ones being totally incompatible with those now in vogue. This dizzying range of formats can be a nightmare for archivists. Imagine, as a writer, if you had penned a modern-day War and Peace, but only saved it on floppy disks. How could you go about retrieving your work after floppy disks had gone the way of dodo birds, and all floppy readers had become dinosaurs?

Lucas, for one, isn’t worried. Recently hailed by cultural critic Camille Paglia as the greatest artist of our time, Lucas is convinced that technology will triumph, saying that in the end, no matter how much it changes, novel ways will be found to transfer and preserve not only his Star Wars films — without degradation — but also every other meaningful movie from our era. Let’s hope he’s right. ◀

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49

MOVING IMAGES film reviews

Just like starting over, again Jeff Acker I The New Mexican Skyfall, James Bond adventure, rated PG-13, Regal Stadium 14, 2.5 chiles Fifty years of James Bond movies, and we know so little about him. Where does he come from? What was his childhood like? In Skyfall, we find out — sort of.

Director Sam Mendes (American Beauty) and a team of three writers give us a veritable Bond exposé, in a plot that shapes not only Bond’s future but his past, as well.

Though they were set in the present day, Daniel Craig’s earlier Bond films, Casino Royale (2006) and Quantum of Solace (2008), effectively turned back the clock to an early point in Bond’s career. At the outset of Casino Royale, he is an MI6 agent, but he has not yet earned his “double-O” stripes. The following film was a sequel in the best sense, taking the storyline further, and one might have expected Skyfall to continue it.

Au contraire. There’s no indication in Skyfall that we should assume the events of the earlier films didn’t actually happen, but Mendes and company make no reference to the global supercriminal organization Quantum or Bond’s love affair with MI6 agent Vesper Lynd, plot elements that bridge the earlier films. Are we starting over yet again?

Skyfall begins in Turkey, where Bond and a field operative named Eve (Naomie Harris of 28 Days Later) pursue a hired gun who has stolen a list of NATO agents embedded in terrorist groups around

I like the cut of your jib: Daniel Craig and Javier Bardem

50

November 9 -15, 2012

Window shopping: Daniel Craig

the world. It seems doubtful, given the reportedly insular nature of modern-day terrorist cells, that such a list would be very long, but it’s long enough for a mysterious cyber-terrorist to threaten MI6 with it, outing several agents and announcing that more will be unmasked in the coming days. Then a bomb explodes in MI6’s London headquarters, killing eight people and bringing Bond back from the retirement he chooses after the operation in Turkey goes awry.

Retirement is looming for Bond’s boss, M ( Judi Dench), too, although it’s not a matter of choice. The government officials who control the purse strings for MI6 are understandably miffed about the bombing and the message it sends regarding the agency’s effectiveness.

Bond’s search for answers leads him to Shanghai and then to Macau. These sequences are filmed exquisitely by superstar cinematographer Roger Deakins, a longtime collaborator of the Coen brothers, and Thomas Newman’s atmospheric score enhances the sumptuous lighting, costumes, and sets. There’s nothing new on offer, just the same old globe-trotting, martini-downing, fist-fighting, and beauty-bedding, but it looks fantastic.

The man responsible for the bombing, Raoul Silva, is played by the fine Spanish actor Javier Bardem, who is well known to art-house fans from Before Night Falls and won a wider audience with No Country for Old Men. Silva is a former MI6 agent who seeks revenge on M. The character’s awkward combination of disarming humor and unhinged bloodthirstiness (not to mention his longish dyed-blond hair and ’70s-style earth-toned look) somewhat undermine his credibility as a threatening figure, but Bardem gives it his all. The writers (Neal Purvis, Robert Wade, and John Logan) handle the dialogue well, giving Bond and Silva some crisp, memorable exchanges. MI6 training must cover repartee along with hand-to-hand combat.

In a departure from Bond-movie precedent, the bulk of Skyfall’s story unfolds within the borders of the U.K. In London, after the bombing, the MI6 crew

retreats to underground tunnels, striking a note of fond respect for those who rode out the Blitz beneath the city. The crew is joined by a watchful bureaucrat (Ralph Fiennes) whose loyalties are a bit murky, and Bond has a meeting with the head of Q branch (Ben Whishaw, the murderer in Tom Tykwer’s Perfume: The Story of a Murderer), who supplies him with a few rather ordinary gadgets. “It’s not exactly Christmas,” Bond observes. “Were you expecting an exploding pen?” Q asks. “We don’t go in for that anymore.”

Skyfall’s London-bound middle third feels less like a Bond film and more like a contemporary thriller in the Jason Bourne or Jack Ryan vein. Mendes directs the action well, but the plot is not as finely tuned as the dialogue (a pattern that characterizes the film as a whole), and the connective tissue between its frenzied action sequences becomes rather thin. The intent seems to be to make the film’s climax seem inevitable, a place the story was destined to arrive at, and yet a manipulative hand seems to be pushing it there all along.

The film’s final third tightens the drama around a standoff in a remote and beautiful setting with special significance for Bond. The climactic scenes fill in blank spots on the map of Bond’s past, but Craig’s performance outshines the significance of these revelations. Since taking the part in 2006 — amid protests that, to the participants, must look particularly foolish in the clarity of hindsight — he has refined Bond’s essential character, bringing to the role not only a physical toughness that hasn’t been seen since Sean Connery’s glory days but also a thinking, brooding, even reflective presence. He’s not just a quip-spouting dandy who strolls into danger with the deck stacked in his favor. Craig gives us a Bond who suffers and makes sacrifices, a Bond with self-awareness and genuine depth. With the well of Ian Fleming’s novels and short stories virtually run dry (only the very faintest of connections inform this film’s plot), the challenge for the producers of the movies is to come up with on-screen adventures equal to his acting talent. ◀

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MOVING IMAGES film reviews

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November 9 -15, 2012

Our house in the middle of our mess Jennifer Levin I For The New Mexican The House I Live In, documentary, not rated, The Screen, 2.5 chiles Although it features an impressive range of talking heads, The House I Live In, Eugene Jarecki’s new documentary about the War on Drugs, doesn’t really tell us anything new. If you’re familiar with the idea that the War on Drugs is used to scapegoat and disenfranchise targeted populations of black and poor people and impose absurdly long prison sentences for nonviolent offenders, while wealthier, whiter users tend to get off easy for the same crimes, you can skip this film. If, however, you are too young to remember the crack epidemic of the 1980s, or it’s never occurred to you that racism and classism play important roles in this particular war, then this movie will be a great primer.

Jarecki narrates the film in a soft-spoken whine that’s unsuited for voiceover. He is joined by notable figures, including Michelle Alexander, author of The New Jim Crow: Mass Incarceration in the Age of Colorblindness; David Simon, the creator of the HBO series The Wire; several professors and journalists who specialize in drug crimes and criminal justice; activists against mandatory minimum sentencing; prison officials who do not agree with official policies; and a range of men and women who have been arrested and/or incarcerated for drug crimes, as well as members of their families.

Jarecki’s previous films include Why We Fight and The Trials of Henry Kissinger. The House I Live In, which won the Grand Jury Prize at this year’s Sundance Film Festival, was, according to Jarecki, inspired by his relationship with his nanny, a black woman named Nannie, and his discovery, as an adult, that her children had fallen prey to drugs. The most important issue addressed in the film is the for-profit prison industry, which relies on the racist and unequal treatment of drug offenders to earn its money and keep entire communities employed. Jarecki’s decision to frame the movie around his relationship to Nannie and her family is weakly supported by the film’s ultimate assertion, which is that the War on Drugs bears resemblance to other periods throughout history when certain cultures, religions, or ethnicities were targeted for extermination, such as Jews in Eastern Europe during the pogroms and the Third Reich. Jarecki’s parents came to the United States to escape these terrors, and in the U.S. they hired Nannie to spend far more time with their children than she did with her own. Jarecki obviously feels some sense of responsibility for what happened to those children, but his grating wide-eyed innocence, as if he’d never before considered American society’s complicity in the racist drug war, makes me wish he’d substituted on-screen text for his personal wonderment. ◀

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53

RESTAURANT REVIEW Laurel Gladden I For The New Mexican

House party

The Old House & Agave Lounge 309 W. San Francisco St. (in the Eldorado Hotel & Spa), 995-4530 Old House: breakfast 6:30-11 a.m., lunch 11 a.m.-2 p.m., dinner 5:30-10 p.m. daily Agave Lounge: noon-close daily Takeout available Vegetarian options Noise level: quiet to very lively Full bar Credit cards, no checks

!

The Short Order What’s old is new again at the Eldorado Hotel’s Old House and Agave Lounge, which benefited from a stylish remodel last year. The bar has moody lighting, trance-y lounge music and smooth jazz, and sleek contemporary tables and bar stools, while the formal dining room still sports slightly cheesy Santa Fe-style décor. Service is professional but not snooty; it’s friendly without being lackadaisical or folksy.

Whichever menu you order from, dishes are — a few missteps aside — generous and flavorful. Recommended: nachos, sliders, Black Angus cheeseburger, soft-shell crab appetizer, chicken Catalan, and aged rib-eye.

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.

54

November 9 -15, 2012

Whenever a Hollywood starlet gets a haircut with bangs or a pro baseball team starts wearing retro uniforms, you’ll hear people repeating that timeworn adage “What’s old is new again.” After a stylish remodel last year, the Old House, the restaurant at the Eldorado Hotel & Spa, is what’s both old and new again in Santa Fe. Among other things, that recent face-lift created the Agave Lounge, a space with low, moody lighting; trance-y lounge music and smooth jazz; blond wood flooring; sleek contemporary tables; and bar stools upholstered in chic light-toned fabric. Southwestern touches pop up here and there, in woven rugs, studded leather chairs, and wood-paneled walls. The formal dining room of the Old House still sports slightly cheesy mid-1990s Santa Fe décor, including wall-mounted pots and drums and hefty chairs of carved wood and leather.

Service is attentive — professional but not snooty or uptight, friendly without veering into lackadaisical, folksy territory. Running things in the kitchen are London-born executive chef Tony Smith and chef de cuisine Evan Doughty from California.

While on some evenings you might spot only a handful of diners in the Old House’s dining room, the Agave Lounge is almost always busy. Wines by the glass or bottle; a nice selection of beers, including several on tap from local breweries; margaritas; and other creative cocktails are available. The lounge has its own dining menu, but you can order items from the main menu and enjoy them in the more casual, bustling ambience of the bar.

That said, don’t dismiss the bar menu outright. Each weeknight, a special appetizer is offered at a promotional price. The crab cake, lobster, and Kobe-style beef sliders — served on tender, buttery buns — are perennial favorites and make satisfying snacks. On the other hand, the nachos — a hefty heap of tortilla chips, black beans, pico de gallo, stretchy melted cheeses, saucy roasted green chile, and other de rigueur toppings — easily feed two or three people.

In a bizarre twist, the shrimp Caesar salad was more about the shrimp than the salad. While I enjoyed the firm-fleshed jumbo crustaceans, I longed for more than a handful of greenery — or at least less of the gloppy, garlicky dressing. The Black Angus cheeseburger is a hot, greasy, delicious mess that barely stays within the confines of its soft bun, especially if you add multiple toppings like bacon, green chile, and a fried egg.

Over on the Old House side, things are neater and more subdued. In the soft-shell crab appetizer, supple briny meat lurks beneath a layer of sturdy, crispy crust. Otherworldly Gouda grits overshadowed the “firecracker” shrimp, despite their spicy name and flavor. One evening’s soup, red pepper and tomato, had a deep but bright tomato tang and a fabulous smoky-charred flavor — just right for green-chile-roasting season. The heirloom-tomato salad was an end-of-summer daydream. Large, mature leaves of watercress presented a complex flavor of bitter greenery and licorice; tender housemade mozzarella offered a rich, creamy counterpoint.

If it’s available, take advantage of the Old House’s prix fixe option. This allows you to choose any appetizer, entree, and dessert on the menu for a fixed cost — with the understanding

that some of the pricier items are subject to a small up-charge.

You’ll pay $2 extra for the soft-shell crab appetizer, for example, $5 for the beef tenderloin, and $7 for the aged rib-eye.

Some main courses fared better than others. Not always yielding easily to the fork and knife, the beef tenderloin didn’t live up to its name. The rib-eye, aged 28 days, is an intensely beefy, hard-to-finish entree accompanied by a rich green-chile macaroni and cheese. Also on the indulgent side was a dish of tender pappardelle, peas, mushrooms, and veal in a creamy marsala-based sauce. The crisp chicken Catalan — stuffed with vegetables and manchego cheese; sauced with tangy, nutty romesco; and set atop flaxen pearls of Israeli couscous — seemed like health food by comparison.

The Wine Spectator Award-winning wine list is a somewhat daunting tome. Servers are happy to offer tips and help make selections, though. Ours pointed us to a Hahn pinot noir, which suited the range of dishes at our table and also turned out to be a bit of a bargain.

For the most part, desserts — like the annoyingly ubiquitous molten chocolate cake and an overly firm, oddly gelatinous crème brûlée — are fine but totally skippable.

There’s nothing wrong with stuffing yourself with a stuffy old-school dessert, but one of the Old House’s tiny complimentary chocolate or caramel treats makes a fine small finish to a big meal. ◀

Check, please Dinner for four at Agave Lounge: Pint, Marble Brewery Red Ale.........................................$ Pint, Santa Fe Brewing Company Freestyle Pilsner .......$ Glass, Gauchezco malbec ...............................................$ Glass, Hope “The Ripper” shiraz ....................................$ Agave nachos..................................................................$ Caesar salad....................................................................$ Bacon-wrapped shrimp ..................................................$ Black Angus cheeseburger with bacon, ..........................$ green chile & fried egg TOTAL............................................................................$ (before tax and tip)

5.00 5.00 9.00 10.00 9.00 15.00 7.00 12.00 72.00

Dinner for four at the Old House: Bottle, Hahn pinot noir...................................................$ 36.00 Prix fixe dinner: soft-shell crab appetizer special,..........$ 37.00 veal pappardelle & banana split Prix fixe dinner: tomato-mozzarella salad,.................... $ 35.00 chicken Catalan & cheese plate Prix fixe dinner: firecracker shrimp, aged rib-eye ..........$ 42.00 & crème brûlée Prix fixe dinner: roasted red pepper and tomato soup, ..$ 40.00 beef tenderloin & molten chocolate cake Four espressos ................................................................$ 20.00 TOTAL............................................................................$ 210.00 (before tax and tip)

IN HONOR OF

NATIVE AMERICAN HERITAGE MONTH

1812-2012

1–3PM, SUNDAY NOVEMBER 11, 2012

Celebrate the 200th anniversary of Charles Dickens’ birth

505-983-5434

Native American Veterans Free Program color guard remarks Navajo Code Talker documentary

In collaboration with the Department of Indian Affairs, New Mexico Tourism, and New Mexico Department of Workforce Solutions

Museum of Indian Arts & Culture

FUSION SANTA FE SEASON

For sale at Nicholas Potter Bookseller 211 East Palace Avenue

Honor our

Lensic Presents

Antique collectors’ set of Dickens’ writing said to be his favorite edition,

Mark St. Germain

FREUD’S

LAST SESSION November 16–17 Directed by Jacqueline Reid

FUSIONTheatre Company Tradition // Innovation // Excellence

FUSIONnm.org

Two great minds— Sigmund Freud and C.S. Lewis—meet on the eve of WWII and take on faith, love, sex and the meaning of life.

Friday 8 pm Saturday 2 & 8 pm

$20–$40 / $10 students “A gem! Intellectually thrilling with both humor and insight in abundance.” —NY1 “[FUSION] is the most promising live-theater venture to hit this town in a good long while.”

—James M. Keller, Santa Fe New Mexican

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

t h e l e n s i c i s a n o n p r o f i t, m e m b e r- s u p p o rt e d o r ga n i z at i o n

PASATIEMPO

55

pasa week 9 Friday GALLERY/MUSEUM OPENINGS Adobe Gallery 221 Canyon Rd., 955-0550.

The Storage Jars of Margaret Tafoya [1904-2001], reception 4-6 p.m., through Dec. 10.

Arroyo Gallery 200 Canyon Rd., 988-1002.

Southwest Contemporary Realism, national group show, reception 5-7 p.m., through Dec. 5.

David Copher Studio 41-A Bisbee Ct., Turquoise Trail Business Park, 466-2838. EX-EX VII, annual group show, reception 5-8 p.m., live music by Man No Sober 8:30 p.m., through Nov. 24, David Richard Gallery 544 S. Guadalupe St., 983-9555. Optic Drive, paintings by Gabriel Evertz; Color Interference, paintings by Matthew Kluber; What a Long Strange Trip, acrylics by Jay Davis; through Dec. 15.

Heidi Loewen Porcelain Gallery 315 Johnson St., 988-2225. Cooking With Fire, smoked-porcelain work by Loewen, reception 5-7 p.m., through November.

La Tienda Exhibit Space 7 Caliente Rd., Eldorado, 231-4270 or 466-3919.

Light, Wood, Wax, Fire, group show, reception 5-7 p.m., through Dec. 8.

Phil Space Gallery 1410 Second St., 670-2560.

Photographs by Carlan Tapp, and others, reception, green chile supper, and silent auction 5-8 p.m. $15 suggested donation at the door, proceeds benefit the Question of Power project, which highlights communities affected negatively by the extraction, production, and consumption of coal in the U.S., through Nov. 19.

Yares Art Projects 123 Grant Ave,. 984-0044.

By the Sea: Paintings on Paper 1948-1955, work by Byron Browne (1907-1961), through December.

CLASSICAL MUSIC Chatter 20-21 The chamber music ensemble presents the world premiere of Roberto Sierra’s Caprichos, 6 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $25, discounts available, tickets available in advance at chatterchamber.org, and at the door (see story, Page 20).

TGIF recital: Sonata for Violin and Piano Violinist Krzysztof Zimowski and pianist Linda King perform music of Franck, 5:30 p.m., First Presbyterian Church, 208 Grant Ave., 982-8544, Ext. 16, donations appreciated.

IN CONCERT KSFR Music Café The radio station’s series continues with tenor saxophonist Brian Wingard, with John Rangel on piano, Colin Deuble on bass, and John Trentacosta on drums, 7 p.m., Museum Hill Café, 710 Camino Lejo, Milner Plaza, $20, 428-1527.

Pasa’s Little Black Book......... 57 Exhibitionism...................... 58 At the Galleries.................... 59 Libraries.............................. 59 Museums & Art Spaces........ 59 In the Wings....................... 60

56

November 9-15, 2012

Sunset on the Beach (1952), by Byron Browne, Yares Art Projects, 123 Grant Ave.

Santa Fe Musician Showcase Singer-songwriter Lisa Carman, rocker Cristen Grey, Mystic Measures, and others, 7-9 p.m., Santa Fe Center for Spiritual Living, 303 Camino De Los Marquez, $15 at the door, 983-5022.

THEATER/DANCE ‘Cinderella!’ Pandemonium Productions presents a musical version of the tale, 7 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10, discounts available, opening night, 982-3327, through Nov. 18.

The Sorcerer’s Apprentice Santa Fe Performing Arts’ City Different Players (youth actors ages 7-12) present their version of the fantasy-adventure tale, 7 p.m., Armory for the Arts Theater, 1050 Old Pecos Trail, $8, 984-1370, opening night, continues Saturday and Sunday, Nov. 10-11.

BOOKS/TALKS Wordharvest: 2012 Tony Hillerman Writers Conference Annual event, faculty members include Santa Fe historian Thomas E. Chávez, Western Writers of America awardwinner John D. Boggs, New Mexico author Steve Brewer, film/TV director Chris Eyre, Hotel Santa Fe, 1501 Paseo de Peralta, visit wordharvest.com for registration and schedule.

Elsewhere............................ 62 People Who Need People..... 63 Under 21............................. 63 Short People........................ 63 Sound Waves...................... 63

EVENTS Pueblo of Tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through December. ¡YouthWorks! Third Annual Fancy Frito Pie Gala and Phily Awards Fundraiser for the local nonprofit organization, which creates opportunities for disconnected youth and families in Northern New Mexico; live music, silent auction, Frito pie supper, and presentation of awards for philanthropic work; 5:30 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, $25 at the door and at donate.santafeyouthworks.org, call 920-9550 for more information.

compiled by Rob DeWalt, rdewalt@sfnewmexican.com

La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover.

La Fiesta Lounge at La Fonda Johnny Bones, rock and blues, 8-11 p.m., no cover.

La Posada de Santa Fe Resort and Spa Nacha Mendez Trio, pan-Latin chanteuse, 6:30-9:30 p.m., no cover.

Le Chantilly Café at Garrett’s Desert Inn Equinox, Lou Levin on keyboard and Gayle Kenny on acoustic bass, 6:30-9 p.m., no cover.

The Mine Shaft Tavern Open mic, 8 p.m.-midnight, no cover.

The Palace Restaurant & Saloon The Strange, rock and funk, 5-7 p.m., no cover.

Pranzo Italian Grill Robin Holloway, piano and vocals, show tunes and standards, 6-9 p.m., $2 cover.

Pyramid Café Sadaqah with the Saltanah Dancers, belly-dance and live-music dinner show and dance party, 7-8:30 p.m., no cover, reservations recommended.

Second Street Brewery Old North State, Durango Americana and bluegrass, 6-9 p.m., no cover.

Taberna La Boca Accordionist Pedro Romero, 6-8 p.m., no cover.

Tiny’s Chris Abeyta Duo, 5:30-8 p.m.; Anthony Leon & the Chain, alt. country, 8:30 p.m.-12:30 a.m.; no cover.

Vanessie Pianist Doug Montgomery, show tunes and standards, 6-8 p.m., no cover; Zenobia, blues and R&B, 8:30 p.m., call for cover.

10 Saturday GALLERY/MUSEUM OPENINGS Eclectics Art Gallery 7 Caliente Rd., Suite A-10, Eldorado, 603-8811. Paintings by David Friday, reception 6-9 p.m., through November.

Heidi Loewen Porcelain Gallery 315 Johnson St., 988-2225. Cooking With Fire, smoked-porcelain work by Loewen, reception 10 a.m.-5 p.m., through November.

NIGHTLIFE

OPERA IN HD

(See Page 57 for addresses) ¡Chispa! at El Mesón The Three Faces of Jazz and friends, featuring Bryan Lewis on drums, 7:30 p.m., no cover.

Cowgirl BBQ Able Thought, blues, 5-7:30 p.m., no cover.; Bone Orchard, Southwest-gothic Americana, 8:30 p.m., $5 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.

CLASSICAL MUSIC

The Met Live in HD Adès’ The Tempest, 11 a.m. and 6 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $22-$28, encore $22, discounts available, ticketssantafe.org, 988-1234.

Canticum Novum Chamber Orchestra & Chorus The chamber ensemble opens its ninth season with music of Geminiani, Mozart, Mendelssohn, and others, 5 p.m., pre-concert lecture by Oliver Prezant 4 p.m., Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $20 and $30, discounts available, ticketssantafe.org, 988-1234, encore Sunday, Nov. 11.

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.

IN CONCERT High Mayhem Fall Concert Series The series continues with “Me and My Shadow,” an evening of solo performances by Laura Goldhamer, Jeremy Barnes, Drake Hardin, and Johnny Bell, 7 p.m., High Mayhem Studio, 2811 Siler Ln., $10 suggested donation, 470-5291, highmayhem.org.

Catherine Donavon and the Bert Dalton Trio Music from the Patti Page songbook, 7:30 p.m., Santa Fe Playhouse, 142 E. DeVargas St., $20 minimum donation, 986-1801, encore Sunday, Nov. 11.

THEATER/DANCE ‘Cinderella!’

Pandemonium Productions presents a musical version of the tale, 2 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10, discounts available, 982-3327, continues Sunday, Nov. 11.

‘Love, Loss and What I Wore’ Encore presentation by Santa Fe Playhouse and For Giving Productions of a play of monologues and ensemble pieces co-written by Nora Ephron and her sister Delia Ephron; based on a book

by Ilene Beckerman; 7:30 p.m., The Lodge at Santa Fe, 750 N. St. Francis Dr., $15-$23.50, 886-1251, holdmyticket.com, continues Sunday, Nov. 11.

‘Reasons to Be Pretty’ Santa Fe University of Art & Design’s performing arts department presents Neil Labute’s 2009 Tony-Award-nominated romantic drama, 2 and 7 p.m., Weckesser Studio, Greer Garson Theatre, 1600 St. Michael’s Dr., $5 at the door, not recommended for teens under 14, 473-6511, continues Sunday, Nov. 11.

PASA’S LITTLE BLACK BOOK nt & Bar Anasazi Restaura Anasazi, the of Inn Rosewood e., 988-3030 113 Washington Av nch Resort & Spa Ra e Bishop’s Lodg ., 983-6377 Rd 1297 Bishops Lodge ón es ¡Chispa! at El M e., 983-6756 213 Washington Av Cowgirl BBQ , 982-2565 319 S. Guadalupe St. lton El Cañon at the Hi 811 8-2 100 Sandoval St., 98 El Farol 3-9912 808 Canyon Rd., 98 ill Gr El Paseo Bar & 848 2-2 99 , St. teo lis 208 Ga Evangelo’s 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 at La Fonda La Fiesta Lounge , 982-5511 St. o isc nc 100 E. San Fra

Sacred/Sensuous Benefit Dance and Music Concert Belly dancing, African dance, Korean shamanic fusion dance performances, silent auction, and sale to benefit the Orphans of the World organization’s mission to aid child refugees in Myanmar, Nepal, and Tibet, 7:30 p.m., $25 includes hors d’œuvres, Scottish Rite Center, 463 Paseo de Peralta, 982-4414, tickets available at Tickets Santa Fe, 988-1234, ticketssantafe.org, and at The Ark Bookstore, 133 Romero St., 988-3709.

The Sorcerer’s Apprentice Santa Fe Performing Arts’ City Different Players (youth actors ages 7-12) present their version of the fantasy-adventure tale, 7 p.m., Armory for the Arts Theater, 1050 Old Pecos Trail, $8, 984-1370.

BOOKS/TALKS Andrew Hunt The author and winner of the 2011 Tony Hillerman Prize for best first mystery discusses and signs his award-winning book City of Saints, 2 p.m., Garcia Street books, 376 Garcia St., 986-1051 (see In Other Words, Page 14).

Muse Times Two poetry series Readings by Gabrielle Calvocoressi and Gary Jackson, 4 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

Opera Breakfast Lecture Mary Kime discusses Adès’ The Tempest, part of an ongoing series of pre-opera lectures in conjunction with The Met at the Lensic season, 9:30 a.m., Collected Works Bookstore, 202 Galisteo St., $5 donation at the door, 988-4226.

La Posada de Santa Fe Resort and Spa 330 E. Palace Ave., 986-0000 Le Chantilly Café at Garrett’s Desert Inn 311 Old Santa Fe Trail, 984-8500 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 Ore House at Milagro 139 W. San Francisco St., 995-0139 The Palace Restaurant & Saloon 142 W. Palace Ave, 428-0690 Pizzeria da Lino 204 N. Guadalupe St., 982-8474 Pranzo Italian Grill 540 Montezuma Ave., 984-2645 Pyramid Café 505 W. Cordova Rd., 989-1378

Poetry reading Barbara Rockman and Lauren Camp read in conjunction with the Light, Wood, Wax, Fire exhibit at La Tienda Exhibit Space, 1 p.m., 7 Caliente Rd., Eldorado, 231-4270 or 466-3919.

Santa Fe Council on International Relations Fall Lecture Series Immigration in Canada, Australia, and New Zealand, talk by University of Toronto professor Monica Boyd, 3 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, $20, discounts available, 982-4931, sfcir.org.

Travel Bug slide show series Central Africa: Cameroon, Ethiopia, by John Pitts, 839 Paseo De Peralta, 992-0418.

EVENTS Contra Dance Live music by Bo y Yo, calls

by Katherine Bueler, 7 p.m. lessons, 7:30 p.m. dancing, odd Fellows Hall, 1125 Cerrillos Road, $8, students with I.D. $4, 820-3535.

Eagles Club Women’s Auxiliary Arts and Crafts Fair Artist booths, food, and raffle, 9 a.m.-4 p.m., 833 Early St.,438-9430, 920-2305, no charge.

Holiday Pie Mania 2012 Santa Fe Harvest Festival presents an auction and tasting of pies created by professional chefs and pastry chefs and a raffle in support of The Food Depot’s Building Hope Project, 1-5 p.m., Builders Source Appliance Gallery, 1608 Pacheco St., recipes provided, no charge.

New Mexico Museum of Art Family Activity Day Learn how a museum operates, design your own miniature art gallery, enjoy exhibit-related show-and-tell activities, 1-4 p.m., 107 W. Palace Ave., 476-5068, no charge.

Rouge Cat 101 W. Marcy St., 983-6603 Santa Fe Sol Stage & Grill 37 Fire Pl., solofsantafe.com Second Street Brewer y 1814 Second St., 982-3030 Second Street Brewer y at the Railyard Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 989-3278 The Starlight Lounge RainbowVision Santa Fe, 500 Rodeo Rd., 428-7781 Stats Sports Bar & Nightlife 135 W. Palace Ave., 982-7265 Taberna La Boca 125 Lincoln Ave., Suite 117, 988-7102 Tiny’s 1005 St. Francis Dr., Suite 117, 983-9817 Tortilla Flats 3139 Cerrillos Rd., 471-8685 The Underground at Evangelo’s 200 W. San Francisco St., 577-5893 Vanessie 434 W. San Francisco St., 982-9966 Zia Diner 326 S. Guadalupe St., 988-7008

Pueblo of Tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through December.

Santa Fe Artists Market 8 a.m.-2 p.m.

Saturdays through December, at the Railyard between the Farmers Market and REI, 310-1555.

Santa Fe Book Arts Group and Palace Press Arts & Crafts Flea Market Handmade books and journals, specialty papers, ephemera, arts-and-crafts supplies, 10 a.m.-1:30 p.m., Meem Room, New Mexico History Museum/Palace of the Governors, 110 Washington Ave. entrance, 476-5200, no charge.

Santa Fe Farmers Market 8 a.m.-1 p.m., 1607 Paseo de Peralta, 983-4098.

A Storytelling Feast Joe Hayes, Indiana Bones, Mary Ellen Gonzales, and Cynthia Dobson tell family-friendly stories; refreshments and prizes, 3-4:30 p.m., The Performance Space at La Tienda, 7 Caliente Road, Eldorado, 466-1466, no charge, donations of money and nonperishable food items benefit The Food Depot.

NIGHTLIFE (See addresses at left) ¡Chispa! at El Mesón John Gagan Trio, jazz originals and standards, 7:30-10:30 p.m., no cover.

Cowgirl BBQ The Santa Fe Chiles, Dixieland jazz, 2-5 p.m., no cover; The John Kurzweg Band, rock, 8:30 p.m., $5 cover.

Hotel Santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover.

La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover.

La Fiesta Lounge at La Fonda Johnny Bones, rock and blues, 8-11 p.m., no cover.

La Posada de Santa Fe Resort and Spa Jazz guitarist Pat Malone and vocalist Whitney, 8-11 p.m., no cover.

Pranzo Italian Grill John Rangel and Faith Amour, jazz and standards, 6 p.m., $2 cover.

Second Street Brewery Chimney Choir, Denver Americana, 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 Cyndy, 7-11 p.m., no cover.

Tortilla Flats Singer-songwriter Dave Maeslon, 6-9 p.m., no cover.

Vanessie Pianist Doug Montgomery, show tunes and pop/jazz standards, 6-8 p.m., no cover; Lindy Gold, pop and jazz, 8:30 p.m., call for cover.

11 Sunday CLASSICAL MUSIC

Canticum Novum Chamber Orchestra & Chorus The chamber ensemble opens its ninth season with music of Geminiani, Mozar and Mendelssohn, 3 p.m., pre-concert Mozart, lecture by Oliver Prezant 2 p.m., Immaculate Hear of Mary Retreat and Conference Center Heart Chapel, 50 Mount Carmel Rd., $20 and $30, discounts available, ticketssantafe.org, 988-1234.

pasa week

continued on Page 61

PASATIEMPO

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EXHIBITIONISM

A peek at whatâ&#x20AC;&#x2122;s showing around town

Margaret Tafoya (1904-2001): Margaret Tafoya Santa Clara Large Black Double Shoulder Bear Paw Jar, undated, native clay. Adobe Gallery (221 Canyon Road) presents The Storage Jars of Margaret Tafoya. The exhibition features ceramics made by Santa Clara Pueblo artist Margaret Tafoya and some of her relatives, including daughters LuAnn Tafoya and Toni Roller, and sister Christina Naranjo.

The show opens Friday, Nov. 9, with a 4 p.m. reception. Call 955-0550.

Carlan Tapp: TVA Coal Ash Spill, Kingston, TN: Rick Cantrell, Local Resident Stands by Boathouse Destroyed by Coal Ash Spill, 2012, silver gelatin print. An exhibition of work by documentary photographer Carlan Tapp opens with a fundraiser for the nonprofit Question of Power at 5 p.m. on Friday, Nov. 9, at Phil Space (1410 Second St.). The show features images relating to the production and consumption of coal and its effects on communities. Included are photographs by participants of a recent Question of Power workshop. The reception includes a green-chile dinner, silent auction, and live music. There is a suggested donation of $15. Call Tapp at 670-2560.

Shelly Moore: Georgia on my Mind, 2012, archival digital photograph.

Light, Wood, Wax, Fire is an exhibition by nine Santa Fe artists working in a variety of mediums including painting, woodworking, and photography. Among the participants are Joan Biordi, Shelly Moore, Leslie Rich, and Ann Bitter.

There is a 5 p.m. reception Friday, Nov. 9 . The exhibit is at La Tienda Exhibit Space (7 Caliente Road, Eldorado). Call 231-4270.

Heidi Loewen: Spinning Fire, 2012, porcelain and oil paint.

Heidi Loewen Porcelain Gallery and School (315 Johnson St.) presents Cooking With Fire, an exhibition of Loewenâ&#x20AC;&#x2122;s porcelain platters. The show opens with a reception on Friday, Nov. 9, at 5 p.m. The gallery will also be open Sat. Nov. 10, from 10 a.m. to 5 p.m. in conjunction with the grand opening at the new location of the Santa Fe School of Cooking (125 N. Guadalupe St., open from noon to 4 p.m. on Nov. 10). Heidi Loewen Porcelain Gallery is otherwise open by appointment. Call 988-2225.

58

November 2-8, 2012

Rick Fisher: Untitled, 2012, wood and archival print. Ex-Ex VII is an exhibit by 20 Santa Fe artists, some emerging and some established. All artists were asked to submit art atypical of their usual work. Ex-Ex VII opens with a reception at 5 p.m. on Friday, Nov. 9. The show is at the studio of artist David Copher (41-A Bisbee Court in the Turquoise Trail Business Park). A dance party follows the opening at 8:30 p.m. Call 466-2838.

AT THE GALLERIES Alexandria Stevens Fine Art 820 Canyon Rd., 988-1311. Colorfully Noted, work by E. Melinda Morrison, through Thursday, Nov. 15.

Bill Hester Fine Art 830 Canyon Rd., 660-5966. The Magic Show, works by Arlene Ladell Hayes, through Friday, Nov. 9.

Delgado Street Contemporary 238 Delgado St., 982-6487. Sculpture by Tor Archer, through Nov. 17.

Land Commissioner Gallery New Mexico State Land Office, 310 Old Santa Fe Trail, 827-3650.

Paintings by Jim Brandenburg, through November.

Lannan Gallery 309 Read St., 954-5149.

The Faces of Lannan, photographs by Don Usner, through Sunday, Nov. 11.

Monroe Gallery of Photography 112 Don Gaspar Ave., 992-0800. ‘Life’ in the 1960s, work by Bob Gomel, through Nov. 18.

Photo-eye Gallery 376-A Garcia St., 988-5159, Ext. 121. Solar, group show of photographs, through November.

Radius Books 227 E. Palace Ave., Suite W, 983-4068.

Sharon Core: Early American, exhibit of photographs, through mid-December (see story, Page 32).

Santa Fe Arts Commission Community Gallery Santa Fe Community Convention Center, 201 W. Marcy St., 955-6705. Fine Folk of New Mexico, group show, through Jan. 26 (see Art in Review, Page 30).

Scheinbaum & Russek 812 Camino Acoma, 988-5116. Gila, photographs

by Michael Berman, through Nov. 17.

School for Advanced Research Boardroom hallway, 660 Garcia St., 954-7203.

Underscore_Views: Photograms, Pinhole Photographs, and Stereoscopic Views, works

by Jessica Calzada, Jon Lewis, and Jason S. Ordaz, through Jan. 1 (see story, Page 28).

Turner Carroll Gallery 725 Canyon Rd., 986-9800. Contemporary Terrain, group show of landscapes, through Jan. 20.

Zaplin Lampert Gallery 651 Canyon Rd., 982-6100. Thomas Moran/ Peter Moran: West by Southwest, paintings, prints, and works on paper by the late artists, reception and presentation by David G. Wright, author of Domestic and Wild: Peter Moran’s Images of America, through Saturday, Nov. 10.

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. Visit santafe.edu/library for online catalog. Open 1-5 p.m. Monday-Friday to current students (call for details).

Santa Fe Public Library, Main Branch 145 Washington Ave., 955-6780. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday-Saturday, 1-5 p.m. Sunday.

Santa Fe Public Library, Oliver La Farge Branch 1730 Llano St., 955-4860. Open 10 a.m.-8 p.m. Monday-Wednesday, 10 a.m.6 p.m. Thursday-Saturday. Closed Sunday.

Santa Fe Public Library, Southside Branch 6599 Jaguar Dr., 955-2810. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday-Saturday. Closed Sunday.

Supreme Court Law Library 237 Don Gaspar Ave., 827-4850. Online catalog available at supremecourtlawlibrary.org.

Open 8 a.m.-5 p.m. Monday-Friday.

MUSEUMS & ART SPACES Refer to the daily calendar listings for special events. Museum hours subject to change on holidays and for special events.

Call museums for Veterans Day closings.

Center for Contemporary Arts 1050 Old Pecos Trail, 982-1338. Stitch Thought, installation of felt livingroom furnishings by Tamara Wilson, Spector Ripps Project Space, through Dec. 9 ï Dust in the Machine, group show, through Nov. 25. Gallery hours available by phone or online at ccasantafe.org, no charge.

Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Georgia O’Keeffe 125th Birthday Celebration, special events Wednesday-Saturday, Nov. 14-17, free entry to the museum on Thursday, Nov. 15, visit okeeffemuseumevents.org for schedule and details ï Georgia O’Keeffe and the Faraway: Nature and Image, through May 5, 2013. Open 10 a.m.5 p.m. Saturday-Thursday, open 10 a.m.-7 p.m. Fridays. $12; seniors $10; NM residents $6; students18 and over $10; under 18 no charge; NM residents free, 5-7 p.m. first Friday of the month.

Georgia O’Keeffe Museum Education Annex 123 Grant Ave., 946-1039. Bone Wind Fire, paintings by Jill Sharpe, through Nov. 15.

Governor’s Gallery State Capitol Building, fourth floor, Old Santa Fe Trail and Paseo de Peralta, 476-5058. Works by recipients of the Governor’s Awards for Excellence in the Arts, through Dec. 7.

Museum of Contemporary Native Arts 108 Cathedral Pl., 983-8900. 50/50: Fifty Artists, Fifty Years ï Dual(ing) Identities, work by Debra Yepa-Pappan ï Grab, screenings of a film by Billy Luther ï Red Meridian, paintings by Mateo Romero ï Vernacular, work by Jeff Kahm; all exhibits through December. Open 10 a.m.5 p.m. Monday and Wednesday-Saturday, noon-5 p.m. Sunday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays.

A Quiet Moment, Monastery of Christ in the Desert, Abiquiú, New Mexico, by Tony O’Brien, in the exhibit Contemplative Landscape, New Mexico History Museum, 113 Lincoln Ave.

Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 476-1250.

Woven Identities: Basketry Art From the Collections ï They Wove for Horses: Diné Saddle Blankets, Navajo weavings and silverworks; exhibits through March 4 ï Margarete Bagshaw: Breaking the Rules, 20-year retrospective, through 2013 ï Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Let’s Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents no charge on Sundays; free to NM residents over 60 on Wednesdays.

Museum of International Folk Art 706 Camino Lejo, Museum Hill, 476-1200.

New Mexican Hispanic Artists 1912-2012, installation in Lloyd’s Treasure Chest, through February ï Young Brides, Old Treasures: Macedonian Embroidered Dress ï Folk Art of the Andes, work from the 19th and 20th centuries ï Multiple Visions: A Common Bond, international collection of toys and traditional folk art. Open 10 a.m.-5 p.m.

Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; no charge for NM residents on Sundays.

Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 982-2226.

San Ysidro Labrador/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin ï New Deal Art: CCC Furniture and Tinwork; Transformations in Tin: Tinwork of Spanish Market Artists; through December ï Recent Acquisitions, Colonial and 19thcentury Mexican art, sculpture, and furniture; also, work by Spanish Market youth artists ï The Delgado Room, late Colonial period re-creation. Open 10 a.m.-5 p.m. TuesdaySunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays.

New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 476-5200.

Altared Spaces: The Shrines of New Mexico, photographs by Siegfried Halus, Jack Parsons, and Donald Woodman, through Feb. 10 ï 47 Stars, tongue-in-cheek installation and items from the collection in celebration of New Mexico’s Centennial, through Nov. 25.

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Illuminating the Word: The St. John’s Bible, 44 pages from two of seven volumes, a page from the Gutenberg Bible, and early editions of the King James Bible; Contemplative Landscape, exhibit featuring work by photojournalist Tony O’Brien; through Dec. 30 ï 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. No charge on Fridays 5-8 p.m.; Open 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; NM residents no charge on Sundays.

New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Alcove 12.6, revolving series of group exhibits, through Dec. 2 ï Chromatic Fusion: The Art of Fused Glass; Emerge 2012: A Showcase of Rising Talents in Kiln Glass; through Jan. 6 ï Treasures Seldom Seen, works from the permanent collection, through December ï It’s About Time: 14,000 Years of Art in New Mexico, through January 2014. Open 10 a.m.-5 p.m. Tuesday-Sunday. Open 5-8 p.m.

Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; free for NM residents over 60 on Wednesdays; NM residents free 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.

SITE Santa Fe 1606 Paseo de Peralta, 989-1199.

More Real? Art in the Age of Truthiness, group show, through Jan. 6. Open 10 a.m.-5 p.m.

Tuesday-Saturday; 10 a.m.-7 p.m. Friday; noon-5 p.m. Sunday. $10; seniors and students $5; Fridays no charge.

Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 982-4636. A Certain Fire: Mary Wheelwright Collects the Southwest, 75th anniversary exhibit ï New work by Orlando Dugi and Ken Williams, Case Trading Post. Open 10 a.m.5 p.m. Monday-Saturday, 1-5 p.m. Sunday.

Docent tours 2 p.m. Mondays, Wednesdays, Fridays, and Saturdays.

PASATIEMPO

59

In the wings

UPCOMING EVENTS

MUSIC

HOLIDAY FARE

Reverend Peyton’s Big Damn Band Americana and blues, 8 p.m. Friday, Nov. 16, Santa Fe Sol Stage & Grill, 37 Fire Pl., $14, 988-1234, ticketssantafe.org.

Serenata of Santa Fe Chamber music ensemble in Classic Drama, featuring pianist Norman Krieger, music of Bach, Mozart, and Beethoven, 6 p.m. Friday, Nov. 16, Scottish Rite Center, 463 Paseo de Peralta, $20, serenataofsantafe.org.

Karrin Allyson The jazz singer/pianist performs in a benefit for the Georgia O’Keeffe Museum, 7 p.m. Saturday, Nov. 17, La Posada de Santa Fe Resort and Spa, 330 E. Palace Ave., $35 and $75, 988-1234, ticketssantafe.org.

Treemotel The Santa Fe indie-rock/dirty-pop ensemble joined by 50 members of the Santa Fe University of Art & Design Chorus; includes Ugandan songs by the chorus using traditional instrumentation, 4 p.m. Sunday, Nov. 18, followed by Treemotel and members of the chorus; Muñoz Waxman Gallery, Center for Contemporary Arts, 1050 Old Pecos Trail, no charge, 982-1338, treemotel.com.

Harmonia/3 Fundraising concert featuring cellist Michael Fitzpatrick, storydancer Zuleikha, and percussionist Issaq Malluf, 7:30 p.m. Friday, Nov. 30, Railyard Performance Center, 1611-B Paseo de Peralta, $25, 12 and under $10, proceeds benefit Esperanza Shelter for Battered Families, Solace Treatment Center, and The Storydancer Project, harmonia3.brownpapertickets.com for tickets, World Party Alt.-rock band, 7:30 p.m. Tuesday, Dec. 4, Santa Fe Sol Stage & Grill, 37 Fire Pl., $21, 988-1234, ticketssantafe.org.

David Hidalgo and Alejandro Escovedo Singer/songwriters, 7:30 p.m. Thursday, Dec. 6, Lensic Performing Arts Center, 211 W. San Francisco St., $32-$62, 988-1234, ticketssantafe.org.

The Mountain Goats Folk-rock band, Matthew E. White opens, 7:30 p.m. Friday, Dec. 7, Santa Fe Sol Stage & Grill, 37 Fire Place, $18, ticketssantafe.org, 988-1234.

Horse Feathers Acoustic folk band, 7:30 p.m. Saturday, Dec. 8, Santa Fe Sol Stage & Grill, 37 Fire Pl., $12, 988-1234, ticketssantafe.org.

Washington Saxophone Quartet 7 p.m. Sunday, Dec. 9, Lensic Performing Arts Center, 211 W. San Francisco St., $15-$30, 988-1234, ticketssantafe.org.

Concordia Santa Fe The wind ensemble’s Chamber Music Series continues with L’Histoire du Soldat, 2 p.m. Sunday, Nov. 18, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., donations welcome, 913-7211.

Santa Fe County Extension Association Annual Holiday Fair Artists and craftspeople present needlework, stained glass, jewelry, woodwork, baked goods, Frito pies, and more, 10 a.m.-3 p.m. Saturday, Nov. 17, Santa Fe County Exhibit hall, 3229 Rodeo Road, 471-4711 no charge.

Santa Fe Symphony Orchestra & Chorus Handel’s Messiah, 4 p.m. Sunday, Nov. 18; the Weiss-Kaplan-Newman Trio join SFSOC in a celebration of Beethoven, 4 p.m. Sunday, Dec. 16; pre-concert lectures 3 p.m.; Lensic Performing Arts Center, 211 W. San Francisco St., $20-$70, 988-1234, ticketssantafe.org.

Circus Luminous Circus-arts troupe Wise Fool New Mexico’s 10th annual Thanksgiving tradition, 7 p.m.

Friday, 2 and 7 p.m. Saturday, 4 p.m. Sunday, Nov. 23-25, Lensic Performing Arts Center, 211 W. San Francisco St., $10-$30, discounts available, 988-1234, ticketssantafe.org.

New Mexico Bach Chorale Winter Solstice Celebration, Bach’s Christmas Oratorio, chorales, and German carols, 5:30 p.m.

Sunday, Nov. 25, Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $25 in advance, discounts available, ihmretreat.com, presented by the New Mexico Performing Arts Society, 474-4513.

‘The Nutcracker’ Aspen Santa Fe Ballet’s annual holiday-season performance, 2 p.m. Saturday, 1 and 5 p.m.

HAPPENINGS An Evening With David Sedaris The humorist presents new, unpublished works followed by a Q&A session and a book signing, 8 p.m. Wednesday, Nov. 28, Lensic Performing Arts Center, 211 W. San Francisco St., $55, 988-1234, ticketssantafe.org.

Lannan Foundation Literary Event Hamid Dabashi discusses Iran with Alternative Radio host David Barsamian, 7 p.m. Wednesday, Dec. 5, Lensic Performing Arts Center, 211 W. San Francisco St., $3 and $6, 988-1234, ticketssantafe.org.

24th annual AID & Comfort Gala Celebrity-chef dinner 7 p.m. Saturday, Nov. 17, performances by Frenchie Davis, Donna Sachet, Burlesque Noir, and DJ Austin Head, 8 p.m., Hilton Santa Fe Golf Resort & Spa at Buffalo Thunder, Pojoaque Pueblo, off U.S. 84/285, $50-$300, tickets available online at southwestcare.ejoinme.org, proceeds benefit Southwest CARE Center’s AID & Comfort fund.

Tribute to Susan Berk: A Community Legacy Hosted by the New Mexico Committee of the National Museum of Women in the Arts; 5-8 p.m. Saturday, Dec. 1, La Posada de Santa Fe Resort and Spa, 330 E. Palace Ave., $25 and $100, 988-1234, ticketssantafe.org.

THEATER/DANCE ‘Count Dracula’ Greer Gason Theatre presents an adaptation of Bram Stoker’s tale of horror, 7 p.m. Friday and Saturday, 2 p.m. Sunday, Nov. 30-Dec. 9, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $12 and $15, discounts available, 988-1234, ticketssantafe.org.

Sacred Music, Sacred Dance Performance by the Drepung Loseling Monks of Tibet, 7 p.m.

Saturday, Dec. 15, James A. Little Theater, New Mexico School for the Deaf, $20, advance tickets available at Ark Books (133 Romero St., 988-3799), Project Tibet (403 Canyon Rd., 982-3002), and at the door.

Golden Dragon Acrobats Chinese troupe in the premiere Cirque Ziva, 7 p.m. Thursday and Friday, 1 and 7 p.m. Saturday, Dec. 20-22, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$35, discounts available, 988-1234, ticketssantafe.org.

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November 9-15, 2012

Santa Fe indie rockers Treemotel perform with the Santa Fe University of Art & Design Chorus, 4 p.m.

Sunday, Nov. 18, Muñoz Waxman Gallery, Center for Contemporary Arts, 1050 Old Pecos Trail.

Sunday, Dec. 1-2, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$62, 988-1234, ticketssantafe.org.

Santa Fe Women’s Ensemble Caroling party and silent auction, 6 p.m.

Saturday, Dec. 1, Manitou Galleries; A Winter Festival of Song 2012: 7 p.m. Dec. 7, 9, and 14, Loretto Chapel; continues at 3 p.m. Saturday, Dec. 15, Immaculate Heart of Mary Retreat and Conference Center Chapel; visit sfwe.org for full schedule and details, call 954-4922 for tickets.

Chanticleer A cappella men’s chorus, 7:30 p.m. Friday, Dec. 7, Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Place, $10-$50, 988-1234, ticketssantafe.org.

Santa Fe Skating Club Holiday Ice Show Let’s Go to the Movies, performances by the SFSC, Desert Ice Figure Skating Club, Chavez Center Learn-To-Skate participants, and special guests, 4 p.m. Saturday, Dec. 8, 1 p.m. Sunday, Dec. 9, Genoveva Chavez Community Center, 3221 Rodeo Road, $10, ages 2-12 $6, under 2 no charge, 955-4033, santafeskatingclub.org.

Aaron Neville Christmas 7:30 p.m. Monday, Dec. 10, Lensic Performing Arts Center, 211 W. San Francisco St., $35-$62, ticketssantafe.org, 988-1234.

The Romeros With Concerto Málaga The guitar quartet and the chamber ensemble offer seasonal favorites, 7:30 p.m. Monday, Dec. 10, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$50, 988-1234, ticketssantafe.org.

Santa Fe Desert Chorale Carols and Lullabies, 8 p.m. Dec. 14, 18, 20, and 22, Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Place, $15-$65; The Big Holiday Sing, members of Desert Chorale with the University of New Mexico Concert Choir and the Rio Grande Youth Chorale, 2 p.m. Saturday, Dec. 15, Cristo Rey Parish, 1120 Canyon Rd., $20 and $25;The Lighter Side of Christmas, concert preceded by champagne, hors d’oeuvres, and a silent auction benefitting the chorale’s education programs, 6:30 p.m. Wednesday, Dec. 19, LewAllen Galleries at the Railyard, 1613 Paseo de Peralta, $80; 988-1234, ticketssantafe.org.

Santa Fe Concert Band The annual holiday performance presented by the Santa Fe Concert Association, 7 p.m.

Monday, Dec. 17, Lensic Performing Arts Center, 211 W. San Francisco St., no charge, 988-1234, ticketssantafe.org.

Santa Fe Pro Musica Baroque Orchestra A Baroque Christmas, music of Purcell, Vivaldi, and Corelli, Loretto Chapel, Dec. 20-24, 207 Old Santa Fe Trail, $20-$65, 988-1234, ticketssantafe.org.

Emily Bear and the Santa Fe Concert Association Orchestra Jazz, classics, and original compositions by the young pianist, 5 p.m. Monday, Dec. 24, Lensic Performing Arts Center, 211 W. San Francisco St., $25-$95, 988-1234, ticketssantafe.org.

Sutton Foster Broadway performer, 7:30 p.m. Thursday, Dec. 27, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$75, 988-1234, ticketssantafe.org.

Harlem String Quartet Contemporary classic music ensemble performs at the Santa Fe Concert Association’s New Year’s Gala, 5 p.m. Monday, Dec. 31, Lensic Performing Arts Center, 211 W. San Francisco St., $25-$95, 988-1234, ticketssantafe.org.

continued from Page 57

11 Sunday (continued) IN CONCERT Catherine Donavon and the Bert Dalton Trio Music from the Patti Page Songbook, 7:30 p.m., Santa Fe Playhouse, 142 E. DeVargas St., $20 minimum donation, 986-1801.

Ocho Piezas Flamenco guitarist Yves C. Lucero, 6:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, pay what you wish, 424-1601.

Ottmar Liebert & Luna Negra The guitarist performs with his band, 6:30 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $25-$75, 988-1234, ticketssantafe.org, proceeds benefit the Waldorf School.

THEATER/DANCE ‘Cinderella!’ Pandemonium Productions presents a musical version of the tale, 2 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10, discounts available, 982-3327.

‘Love, Loss and What I Wore’ Encore presentation by Santa Fe Playhouse and For Giving Productions of a play of monologues and ensemble pieces co-written by Nora Ephron and her sister Delia Ephron; based on a book by Ilene Beckerman; 3 p.m., The Lodge at Santa Fe, 750 N. St. Francis Dr., $15-$23.50, 886-1251, holdmyticket.com.

Performance at The Screen The HD series continues with Tchaikovsky’s Swan Lake, a 1987 production of the Royal Ballet in London, 11 a.m., Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $20, discounts available, 473-6494.

‘Reasons to Be Pretty’ Santa Fe University of Art & Design’s performing arts department presents Neil Labute’s 2009 Tony-Award-nominated romantic drama, 2 p.m., Weckesser Studio, Greer Garson Theatre, 1600 St. Michael’s Dr., $5 at the door, not recommended for teens under 14, 473-6511.

The Sorcerer’s Apprentice Santa Fe Performing Arts’ City Different Players (youth actors ages 7-12) present their version of the fantasy-adventure tale, 2 p.m., Armory for the Arts Theater, 1050 Old Pecos Trail, $8, 984-1370.

BOOKS/TALKS Jamey Stillings The artist discusses his work and his new project, Changing Perspectives: an Aerial Study of Large-Scale Renewable Energy Development in the American Southwest, in conjunction with his contributions to the Dust in the Machine exhibit, 4 p.m., Muñoz Waxman Gallery, Center for Contemporary Arts, 1050 Old Pecos Trail.

Occupy Santa Fe After the Elections: The Future of Occupy JourneySantaFe presents a panel of five Occupy Santa Fe members in conversation with KSFR 101.1 FM radio host David Bacon, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

Steven Wolf The author signs copies of Comet’s Tale: How the Dog I Rescued Saved My Life, 2 p.m., Garcia Street Books, 376 Garcia St., 986-1051.

EVENTS 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, 983-3168, beginners welcome.

Pueblo of Tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday Sunday through December.

NOH8 Campaign Public Photo Shoot Adam Bouska, photographer and founder of the NOH8 silent-protest movement, sets up a mobile studio in Santa Fe for the first time; 2-5 p.m., Warehouse 21, 1614 Paseo de Peralta, 989-4423; wear white and be prepared to wear a temporary tattoo and duct tape on the face; no charge, visit NOH8Campaign.com for more information.

Railyard Artisans Market 10 a.m.-4 p.m. weekly, Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 670-6544.

Remembrance: America’s World War Legacies in Europe — A Veterans Day Event Santa Fe writer and photographer Jeffrey A. Lowdermilk discusses his journey to explore his grandfather’s memories as a soldier during World War I by photographing military monuments and cemeteries throughout Europe, 2-3 p.m., New Mexico History Museum Auditorium, 113 Lincoln Ave., 476-5200, by museum admission, no charge for New Mexico residents, veterans, and active-duty military personnel, 113 Lincoln Ave., 476-5200.

Veterans Day Parade Begins at 10:30 a.m. at Santa Fe Fire Station #1, 200 Murales Road, heads to the Plaza, and ends at the New Mexico National Guard Bataan Memorial Museum and Library (1050 Old Pecos Trail) for an 11 a.m. ceremony, 955-6979.

Lea Morales

pasa week

EVENTS International Folk Dances Lesson 7-8 p.m., dance 8-10:30 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, or 983-3168, beginners welcome.

Matthew Huft Modern Fabrication, workshop by the architect, 8-11 a.m., Warehouse 21, 1614 Paseo de Peralta, $25 at the door, 983-6966.

Santa Fe Farmers Market 8 a.m.-1 p.m., 1607 Paseo de Peralta, 983-4098, through November.

NIGHTLIFE

NIGHTLIFE (See Page 57 for addresses) Cowgirl BBQ Neil Young tribute with Drastic Andrew, noon-3 p.m., no cover; Open Range, Montana-based Western swing, 8 p.m., no cover.

El Farol Nacha Mendez and guests, pan-Latin music, 7-10 p.m., no cover.

La Fiesta Lounge at La Fonda Cathy Faber, country, 8-11 p.m., no cover.

La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover.

The Legal Tender at the Lamy Railroad Museum Eryn Brent, singer-songwriter, noon-3 p.m.,no cover, La Posada de Santa Fe Resort and Spa Wily Jim, Western swingabilly, 6-9 p.m., no cover.

Vanessie Pianist Doug Montgomery, selections from the Great American Songbook, 7 p.m., no cover.

12 Monday BOOKS/TALKS Frederick Dillen The author signs and reads from his novel Fool, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

Way Down South: Early Agriculture in Mexico and Beyond A Southwest Seminars lecture by archaeologist/author John R. Roney, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775.

EVENTS Jemez Pueblo Corn Dances 10 a.m., 7413 NM 4, no charge, no cameras or recording devices, call 505-834-7235 or visit jemezpueblo.com for more information.

Matthew Hufft Modern in Middle America, lecture by the architect, 6:15 p.m., Warehouse 21, 1614 Paseo de Peralta, $15 at the door, 983-6966.

Iris Häussler The artist discusses her work in conjunction with the More Real? Art in the Age of Truthiness exhibition at SITE Santa Fe, 6 p.m., 1606 Paseo de Peralta, $5 and $10, 989-1199.

School for Advanced Research lecture The Cienega and the Hospital: How a Marsh Shaped Downtown Santa Fe, by archaeologist Cordelia Snow, 3-4 p.m., 660 Garcia St., 954-7203.

Rob-A-Lou brings his rockabilly stylings to El Farol, 9 p.m. Thursday, Nov. 15.

Tesuque Pueblo San Diego Feast Day 11 a.m., 9 miles north of Santa Fe off U.S. 84/285, no cameras or recording devices, call 983-2667 or 455-2467 or visit indianpueblo.org/19pueblos/ tesuque.html for more information.

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

NIGHTLIFE (See Page 57 for addresses) Cowgirl BBQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover.

El Farol Geeks Who Drink Trivia Night, 7 p.m., no cover.

La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover.

Taberna La Boca Flamenco guitarist Chuscales, 7-9 p.m., call for cover.

Vanessie Pianist Doug Montgomery, selections from the Great American Songbook, 7 p.m.-close, no cover.

13 Tuesday BOOKS/TALKS Dylan Tomine The author and former fly-fishing guide reads from and signs copies of his book Closer to the Ground: an Outdoor Family’s Year in the Water, in the Woods and at the Table, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see Subtexts, Page 12).

(See Page 57 for addresses) ¡Chispa! at El Mesón Tango Milonga, 7:30-11 p.m., $5 cover.

Cowgirl BBQ Patrick’s Beard and The Rusty Razors, Americana and alt. country, 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 Cathy Faber, country, 8-11 p.m., no cover.

Rouge Cat Ultra-Fabulous Dance Competition, individual and team categories, all styles of dance, weekly cash prizes, Tuesdays through Nov. 27, call for time and cover.

Second Street Brewery at the Railyard Acoustic open mic with Case Tanner, 7:30-10:30 p.m., no cover.

Stats Sports Bar & Nightlife Reggae Dancehall Tuesdays with Brotherhood Sound and DJ Breakaway, 10 p.m., $5 cover.

Tiny’s Open-mic night with John and Synde, 7-10 p.m., no cover.

Vanessie Pianist Doug Montgomery, selections from the Great American Songbook, 7 p.m.-close, no cover.

14 Wednesday OPERA IN HD When Opera Goes to the Movies John Webber, vice president of education for the Santa Fe Opera Guild, plays music from The Magic Flute, Don Giovanni, and other selections, and discusses differences between live opera and opera presented in a movie theater, 5:30 p.m., Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., $10, 629-1410, Ext. 111.

THEATER/DANCE ‘Spark’ Reading of a play by Caridad Svitch that chronicles the struggles of veterans and three sisters in a small U.S. town after an overseas military conflict ends, 7 p.m., Teatro Paraguas Studio, 3205 Calle Marie, 424-1601, donations accepted.

BOOKS/TALKS 2012 Brainpower & Brownbags Lecture Series New Mexico Women: the Road to Statehood, by Sandra Schackel, Boise State University professor emerita of women’s history ▶▶▶▶▶▶▶▶ PASATIEMPO

61

and the American West, noon, John Gaw Meem Room, New Mexico History Museum/Palace of the Governors, 110 Washington Ave., 476-5200.

Lannan Foundation Literary Events Poet Kevin Young and author Colson Whitehead discuss their works, a Lannan Readings & Conversations event, 7 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $3 and $6, 988-1234, ticketssantafe.org (see story, Page 16).

NIGHTLIFE (See Page 57 for addresses) ¡Chispa! at El Mesón Joaquin Gallegos, flamenco guitar, 7-9 p.m., no cover.

Cowgirl BBQ The Tony Buford Project, jazz, blues, R&B, 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.

The Palace Restaurant & Saloon Bluegrass band Free Range Ramblers, 7:30-10:30 p.m., no cover.

Second Street Brewery Vinyl-album listening party with David Barsanti, 6-9 p.m., patrons are invited to bring a record to share, no cover.

Vanessie Robin Holloway and friends, piano and vocals, jazz and pop, 6:30 p.m.-close, call for cover.

Talking Heads

15 Thursday IN CONCERT Lúnasa Irish quartet, 7:30 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $20-$65, discounts available, 988-1234, ticketssantafe.org.

BOOKS/TALKS 8 Voices Book Launch The collection of poetry by eight poets from New Mexico, Texas, and Oklahoma is released, reading and signing 6:30 p.m., Lucky Bean Café, Sanbusco Center, 500 Montezuma Ave. Renesan Institute for Lifelong Learning lecture Where Have All the Values Gone?, by former Eastern Michigan University philosophy professor Tom Franks, 1-3 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, $10, 982-9274.

Santa Fe Art Institute Monthly Open Studio Readings and meet-and-greet with writers and artists in residence, 5:30 p.m., 1600 St. Michael’s Dr., 424-5050.

Candace Walsh The author and New Mexico Magazine managing editor signs her book, Licking the Spoon: A Memoir of Food, Family, and Identity, and discusses it with local cookbook maven Cheryl Jameson, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see Subtexts, Page 12).

EVENTS Constellations: Figures in the Night Sky A public program of the Santa Fe Community College, 7-8 p.m., SFCC Planetarium, 1401 Richards Ave., $5, discounts available, 428-1744.

Embracing Autumn: A Santa Fe Harvest Celebration Five-course dinner and auction to benefit Slow Food Santa Fe, 6:30 p.m., Il Piatto Italian Farmhouse Kitchen, 95 W. Marcy St., $35, excludes alcohol and gratuity, call 984-1091 or visit embracingautumn.eventbrite.com for reservations.

NIGHTLIFE

The Cienega and the Hospital: How a Marsh Shaped Downtown Santa Fe Centuries ago, the Santa Fe River wound through a wide flood plain that flowed west and south before joining the Río Grande. Eventually, part of the Santa Fe River formed a cienega (marsh) at the base of the foothills on the north side of the river. In the mid-1800s, the Sisters of Charity built a hospital in downtown Santa Fe, and the shape and location of the marsh helped dictate where it was constructed. At 3 p.m. Tuesday, Nov. 13, Cordelia Snow, a historic-sites archaeologist with the New Mexico Historic Preservation Division, discusses how the cienega affected construction in the downtown Santa Fe area.

The lecture takes place in the School for Advanced Research Boardroom, 660 Garcia St., 954-7203, no charge.

Photo: Carp Pond in Archbishop’s Garden Near Saint Francis Cathedral, Santa Fe, New Mexico, circa 1887; courtesy Palace of the Governors Photo Archives (NMHM/DCA), Neg. 015264

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November 9-15, 2012

(See Page 57 for addresses) ¡Chispa! at El Mesón John Rangel Duets, jazz, 7-9 p.m., no cover.

Cowgirl BBQ The Kenny Skywolf Band, Delta blues, funk, reggae, and soul, 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.

El Farol Rob-A-Lou, rockabilly, 9 p.m., no cover.

The Matador DJ Inky spinning soul/punk/ska, 8:30 p.m., no cover.

La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio, 7-10 p.m., no cover.

The Palace Restaurant & Saloon Dance band Controlled Burn, 6:30-9:30 p.m., no cover.

Santa Fe Sol Stage & Grill The Whales, Denver blues and roots rock, 7:30 p.m., all ages, $5 cover.

Second Street Brewery Joe West & Friends, eclectic Americana and twisted country, 6-9 p.m., no cover.

Taberna La Boca Nacha Mendez, pan-Latin Chanteuse, 6:30-9:30 p.m., no cover.

Vanessie Bert Dalton Duo, smooth jazz 6:30 p.m.-close, call for cover.

Zia Diner Swing Soleil, Gypsy jazz and swing, 6:30-8:30 p.m., no cover.

Four Horsemen of the Junta, textile from the Stitching Resistance: The History of Chilean Arpilleras exhibit at the National Hispanic Cultural Center, 1701 Fourth St. S.W., Albuquerque

▶ Elsewhere ALBUQUERQUE Museums/Art Spaces Holocaust and Intolerance Museum of New Mexico 616 Central Ave. S.W., 505247-0606. Disturbing, But Necessary, Lesson, scale model of a WW II prisoner transport to Auschwitz ï 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 ï Challenging the Notion of Mapping, Zuni map-art paintings, through August. Open 9 a.m.-5 p.m. daily; adults $6; NM residents $4; seniors $5.50.

National Hispanic Cultural Center 1701 Fourth St. S.W., 505-246-2261. Día de los Muertos Altares, contemporary and traditional altar installations, Domenici Education Center & Disney Center for the Performing Arts, through Friday, Nov. 9 ï Via Crucis of the Camino Real, photography essay documenting roadside memorials from Abiquiú to Juan Mata Ortiz in Chihuahua, Mexico, through Wednesday, Nov. 14 ï Nuestros Maestros: The Legacy of Abad E. Lucero (1909-2009), paintings, sculpture, and furniture, through January ï Stitching Resistance: The History of Chilean Arpilleras, a collection of appliqué textiles crafted between 1973 and 1990, through January 2014 ï ¡Aquí Estamos!, items from the permanent collection.

Open 10 a.m.-5 p.m. Tuesday-Sunday; adults $3; seniors $2; under 16 no charge; Sundays no charge.

New Mexico Museum of Natural History & Science 1801 Mountain Rd. N.W., 505-841-2804. ISEA2012 Albuquerque: Machine Wilderness, international group show of prints, interactive installations, and sculpture, part of the International Symposium of Electronic Art, through Jan. 6 ï Dinosaur Century: 100 Years of Discovery in New Mexico, showcases of

new finds change monthly through 2012. Open 9 a.m.-5 p.m. daily; adults $7, seniors $6, under 12 $4; NM seniors no charge on Wednesdays.

UNM Art Museum Center for the Arts Building, 505-277-4001.

Dancing in the Dark, Joan Snyder Prints 19632010, exhibit of prints spanning 47 years of moments in Snyder’s life, through Dec. 15 ï The Transformative Surface, film and digital works by faculty; through Dec.15. Open 10 a.m.4 p.m. Tuesday-Saturday; $5 suggested donation.

Events/Performances Branford Marsalis The Grammy Award-winning saxophonist and his quartet in performance, 7 p.m. Wednesday, Nov. 14, National Hispanic Cultural Center, 1701 4th St. S.W., $35-$55, discounts available, 505-268-0044, nhccnm.org.

‘The Jewel in the Manuscript’ A new play by Santa Fean Rosemary Zibart based on the life of Fyodor Dostoevsky, 8 p.m. Friday and Saturday, 2 p.m. Sunday, Nov. 9-11, Adobe Theater, 9813 Fourth St. NW, $15, discounts available, 505-898-9222, adobetheater.org.

Magos Herrera The Mexican singer-songwriter performs in conjunction with the National Hispanic Cultural Center’s Latin Diva Series, 7:30 p.m. Friday, Nov. 9, Roy E. Disney Center for Performing Arts, NHCC, 1701 Fourth St. S.W., $17-$27, discounts available, 505-246-2261.

The Parkington Sisters Acoustic experimental folk, 7:30 p.m. Friday, Nov. 9, Outpost Performance Space, 210 Yale Blvd. S.E., $10 and $15, 505-268-0044.

Sunday Chatter 20-21 The chamber-music ensemble presents Roberto Sierra’s Caprichos and Schoenberg’s Pierrot Lunaire, 10:30 a.m. Sunday, Nov. 11, Factory on 5th, 1715 Fifth St. N.W., chatterchamber.org, $15 at the door (see story, Page 20).

ESPAÑOLA Bond House Museum 706 Bond St., 505-747-8535. Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (1863-1945).

Open noon-4 p.m. Monday-Friday, no charge.

Misión Museum y Convento 1 Calle de los Españoles, 505-747-8535. A replica based on the 1944 University of New Mexico excavations of the original church built by the Spanish at the San Gabriel settlement in 1598.

Open noon-4 p.m. Wednesday-Friday, 11 a.m.3 p.m. Saturday; no charge.

▶ People who need people Artists/Craftspeople

SOCORRO

Actors/Filmmakers/Writers

LOS ALAMOS Museums/Art Spaces Bradbury Science Museum 15th and Central Avenues, 667-4444. Open 10 a.m.-5 p.m. Tuesday-Saturday, 1-5 p.m.

Sunday-Monday; no charge.

Events/Performances

Festival of the Cranes The 25th annual event includes bird-watching, an expo tent with vendors and education booths, a wildlife zone, kids’ activities, photography workshops, lectures, and a wildlife art show, TuesdaySunday, Nov. 13-18, Bosque del Apache Wildlife Refuge, 1001 NM 1, in San Antonio, NM, near Socorro, festivalofthecranes.com.

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 with ID no charge on Sunday.

La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. Cultural Threads: Nellie Dunton and the Colcha Revival in New Mexico, through Jan. 30. Open 10 a.m.5 p.m. Monday-Saturday, noon-4 p.m. Sunday.

Adults $8; under 16 $4; children under 5 no charge; Taos County residents with ID no charge on Sunday.

Harwood Museum of Art 238 Ledoux St., 575-758-9826. Maye Torres: Unbound, drawings, sculpture, and ceramics ï Three exhibits in collaboration with ISEA2012 Albuquerque: Machine Wilderness — Curiosity: From the Faraway Nearby ï Falling Without Fear ï Charles Luna. All exhibits through Jan. 27.

Open 10 a.m.-5 p.m. Tuesday-Saturday, noon5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday.

Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462.

Unknown Was a Woman, group show of pottery, baskets, and weavings, through December. Open 10 a.m.-5 p.m. daily. $8, Taos County residents with ID no charge on Sunday.

Taos Art Museum and Fechin House 227 Paseo del Pueblo Norte, 575-758-2690.

Visual Impressions, paintings by Don Ward, weekend artist demonstrations through Jan. 6, in Fechin Studio. Open 10 a.m.-5 p.m.

Wednesday-Sunday. $8, Taos County residents with ID no charge on Sunday.

Pasatiempo 2012 Writing Contest Contribute a story on any subject in poetry or prose. Prizes for winning entries. Three categories: Ages 19 and up 1000 words maximum, ages 13-18 1000 words maximum, and ages 5-12 500 words maximum. (A great holiday classroom activity!) Mail entries to: 2012 Writing Contest, c/o The Santa Fe New Mexican, 202 E. Marcy St., 87501. Email entries to: writingcontest@ sfnewmexican.com. Electronic entries are highly recommended. Deadline 4 p.m. Monday, Dec. 3, winning entries will be published in Pasatiempo on Friday, Dec. 28.

Taos Shortz Film Fest call for entries Held March 7-10 at the Taos Center for the Arts; regular deadline, Nov. 15, $25 entry fee; late deadline Dec. 15, $33; Taos residents special deadline Nov. 15, $11; student deadline Nov. 15, $15; taosshortz.com.

▶ Under 21 Metal showcase concert Betrayed by All, Boy Hits Car, Carrion Kind, Dope Riddle, Gutwrench, and Knuckle Deep, 6 p.m. Friday, Nov. 9, Warehouse 21, 1614 Paseo de Peralta, $10, 989-4423.

Teen Community Forum on Bullying James Lecesne, co-founder of the Trevor Project , screens his Academy Award-winning short film, Trevor, and leads teens in a discussion about erasing the hate that leads to bullying, 6:30-8 p.m.

Friday, Nov. 9, Santa Fe Mountain Center Urban Adventure Training Center, 1160 parkway Dr., Suite A, in the Richard’s Avenue Business Park, 983-6158, 24 and under no charge, seating is limited.

▶ Short People Santa Fe Public Library Children’s Programs Magic show starring Mysto the Magi, 4 p.m. Friday, Nov. 9, Main Branch, 145 Washington Ave.; 10:30 a.m. Saturday, Nov. 10, Southside Branch, 6599 Jaguar Dr.; 2 p.m. Saturday, Nov. 10, La Farge Branch, 1730 Llano St.; no charge, visit santafepubliclibrary.org for other events.

Santa Fe Public Library’s Main Branch arts & crafts workshop series For ages 5-12, held in the Children’s Room Fridays through December; materials provided, 145 Washington Ave., call 955-6783 for details. ◀

East meets Southwest Ahh. Do you hear that?

It’s the sound of political attack ads receding into the shadows like frightened nocturnal beasties, sort of a delicate “whoosh” followed by a long, resounding “pfffft!” — a reverse whoopee cushion filled with statistics, angst, hot air, and ungodly sturdy Legoland hair.

Because I voted early, and because the universe doesn’t know how to shut its bloody pundit hole, I put myself on a mandatory 48-hour media brownout a few days before election results started rolling in.

Joe West & the Santa Fe Revue I allowed myself to keep up with displaced friends and acquaintances back East, who, amid the race for the keys to 1600 Pennsylvania Ave., were still trying to figure out where their next meal was coming from.

Twenty-four hours after my self-imposed brownout ended and the seal on the presidential deal was declared real, I hooked back into the internet matrix, only to be welcomed by a disconcerting miasma of gloating, regret, accusations, and self-righteousness. And that was just Facebook.

It’s important to remember that through all the confetti and happy-fun-time bipartisan meme-sharing, some folks still need a leg up. I write this as a nor’easter descends on the East Coast, sending about 20,000 more homes and businesses into darkness and cold. However you reconcile your politics with Momma Nature is your own baggage, but today, right now, people without homes or fuel along the Eastern Seaboard don’t give a damn about your views on climate change: They. Need. Help.

In the aftermath of Hurricane Katrina in 2005, Santa Fe opened its arms and heart.

The music community and others threw fundraisers, and a handful of displaced residents from New Orleans and surrounding locales found their way here. Some remain and have contributed greatly to Santa Fe’s artistic mojo in literary, culinary, and musical ways. When it comes to the local creative landscape, we are in large part, and proudly so, a city of strays. No political party can claim ownership of that.

It’s time to ditch the blue and red yard signs and get back to the business of being human with a conscience outside the ethosphere. You might start by showing up at Cowgirl BBQ (319 S. Guadalupe St., 982-2565) at 3 p.m. Sunday, Nov. 18.

That’s when The Concert for Hurricane Sandy Relief kicks off, and the locally focused lineup (concerts run through 11 p.m. that night) looks pretty sweet.

Scheduled to perform are alt-country badasses Joe West & the Santa Fe Revue; singer-songwriter/producer Jono Manson; Grateful Dead/Bob Dylan tribute band Detroit Lightning; blues man Catfish Hodge; electro roots rockers Todd & the Fox, who are fresh off a tour of South Korea; world beat rockers Jaka; Drastic Andrew and The Cinnamon Girls in a Neil Young tribute formation; chanteuse Laurianne Fiorentino and her trio; and special guests.

Here’s the kicker: this concert is free. Donations are requested to benefit The American Red Cross’s efforts to help victims of Hurricane Sandy (www.redcross.org). Shows like this matter, not only for people in faraway disaster zones, but for those in Santa Fe. The music community here is a family, and as with any family, there’s bound to be some bickering. But when it comes to dire situations, people come together; nobody throws food across the Thanksgiving table.

If I had the chance to vote for a party today, it would be for the one taking place at Cowgirl on Nov. 18. In the meantime, the American Red Cross specifically requests financial donations for Sandy victims in lieu of canned goods. And if you have nonperishable food items to donate, why donate them to hungry folks right here in Northern New Mexico? Give them to The Food Depot (1222 Siler Road, 471-1633, www.thefooddepot.org).

— Rob DeWalt rdewalt@sfnewmexican.com Twitter: @PasaTweet @Flashpan

Anne Staveley

‘The Woman in Black’ Los Alamos Little Theatre presents the spooky 1987 play adapted by Stephen Mallatratt from Susan Hill’s 1983 book of the same name; 7:30 p.m. Friday-Saturday, Nov. 9-10 and 16-17; 2 p.m. Sunday, Nov. 11; 1670 Nectar St., 505-662-5493; $12, discounts available, tickets at C.B. Fox, 1735 Central Ave., 505-662-2864, and at the door.

Landscape Dreams Photo Contest Santa Fe Creative Tourism seeks contestants’ images of New Mexico places, portraits, and moments, Friday, Nov. 30 deadline; visit newmexicophotocontest.com for information and guidelines.

MasterWorks of New Mexico 2013 Entries open to New Mexico artists for the 15th Annual Spring Art Show, April 5-27, Expo New Mexico Hispanic Arts Building, fairgrounds, Albuquerque; miniatures, pastels, watercolors, oil/acrylics; deadline Jan. 25, details and prospectus available online at masterworksnm.org; for additional information contact Barbara Lohbeck, 505-260-9977.

Santa Fe Society of Artists Fall Jury Paintings, photography, and sculpture sought from Santa Fe County resident artists; visit santafesocietyofartists.com for details and applications; 424-9414.

A weekly column devoted to music, performances, and aural diversions. Tips on upcoming events are welcome.

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