Pasatiempo, Oct. 19, 2012 by The New Mexican

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

October 19, 2012

Celebrating 25 years in New Mexico

“One cannot think

well, love well, sleep well, if one has not dined well.”

Join us for An Evening of Music and Mysticism Saturday, October 27 6:30-9:00 p.m. Santa Fe Community Convention Center Featuring Fr. Richard Rohr, ofm,

– Virginia Woolf

globally recognized teacher, and two-time Grammy Award winning Native American flautist and storyteller Robert Mirabal.

$50 per person (includes a delectable dinner) For more information and to register visit www.cac.org or call 505.242.9588 a re ned yet unpretentious dining experience

“REASONABLE PRICES...HISTORIC SETTING”

Fr. Richard Rohr, ofm, bears witness to the universal awakening within mystical and transformational traditions. A Franciscan priest of the New Mexico province, Fr. Richard founded the Center for Action and Contemplation (CAC) in Albuquerque, New Mexico in 1987.

h! g u a L o Elect t

Lensic Presents

political satirist

Will Durst

PHOTO: BOBBY MOREAN

October 19 7:30 pm, $15–$20

“Possibly the best political satirist working in the country today” –The New York Times

Elect t o Scre am!

THIS WEEK’S LUNCH SPECIAL GRILLED SALMON HERICOTS VERTS & WHITE BEANS W/ LEMON PARSLEY BUTTER LUNCH MONDAY THRU SATURDAY, SUNDAY BRUNCH AND DINNER NIGHTLY

The Phantom of the Opera & The Alloy Orchestra October 31 7 pm, $10–$20

The 1925 silent film is a horror classic— and even more fun with Alloy’s haunting soundtrack, performed live!

Tickets: 505-988-1234 www.TicketsSantaFe.org PHANTOM OF THE OPERA COSPONSOR

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

October 19-25, 2012

S E R V I C E C H A R G E S A P P LY AT A L L P O I N T S O F P U R C H A S E

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

JEWEL MARK ï SANTA FEí S FAMILY JEWELER Come in and view our new fall Roberto Coin jewelry exclusively at Jewel Mark

Graduate Gemologist on Staff Master Jeweler on Premises 6 Days a Week to Take Care of All Your Jewelry Needs. jewelmark@qwestoffice.net

Fine Jewelry The Mark of Distinction Established 1987

OPEN EVERY DAY 10-6 505-820-6304 233 Canyon Road www.jewel-mark.com

SUSAN G. KOMEN FOUNDATION

Have you known someone Have with you everever known someone breast cancer?

with breast cancer?

Santa Fe Mazda Volvo will donate $50 to Susan G. Komen Santa Fe Mazda Volvo will donate $50 to Susan G. Komen & a complimentary VEHICLE MAINTENANCE PLAN with & a complimentary VEHICLE MAINTENANCE PLAN with every vehicle sold during this event. every vehicle sold during this event. www.santafecars.com Santa Fe Mazda Volvo !

2704 Cerrillos Rd. Santa Fe, NM 87507

505-471-6700 TOLL FREE:

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PASATIEMPO

2012

THE ART AND ARTISTS OF THE

G A L I S T E O

A N N I V E R S A R Y

10AM - 5 PM

E G G T E M P E R A PA I N T I N G B Y P R I S C I L L A H O B A C K -

W E A V I N G J E W E L R Y PHOTOGRAPHY F O L K

T O U R

s t o p # 10 A

2 5 T H

S T U D I O

A R T

P O T T E R Y SCULPTURE PA I N T I N G

S A T U R D AY S U N D A Y RT 4 1 & 4 2 3 5 A R T IS T S L

H I S T O R Y

O C T O B E R 2 0 & 21 , 2 012 f

G A L I S T E O S T U D I O T O U R . O R G

Artist Stops - To view artist samples, go to our website. Janet Pfeiffer

10b

Jim Sloan

Lisa VanStygeren

Barbara King

Barbara Seiler

encaustic & watercolor paintings bronze sculptures & photographs

Donna Mitchell

Roger Taylor

traditional & contemporary spanish tinwork : holiday ornaments, frames, mirrors, candleholders, etc.

Vernon Wilson

paintings, drawings & prints lyrictrout@earthlink.net

14a

Sam Sloan

b&w photography of the southwest sloanvictor@mac.com

Amy Sealove Lynn

sterling silver & bronze jewelry

14b 15

Arthur Lynn

contemporary handwoven artwear www.barbaraholloway.com

COMMUNITY CENTER

Anna Cárdenas - micaceous pottery, hand-thrown, coil & slab Freddie Cárdenas-oil paintings Rich Fenker -photography

the

RANCHITOS de GALISTEO

10a

Vonnie Cameron Brenno

oil landscapes, still life paintings

Jean Anaya Moya

award winning traditional New Mexico straw appliqué- î Poor Manʼs Goldî

Leslie Singer

Sina Brush

Judy Tuwaletstiwa

Priscilla Hoback

October 19-25, 2012

24 23

Rt. 41 Camino Los Abuelos

CR42

The

INFO & MAPS

Vicki Snyder

Julia Cairns

childrensʼ books, paintings, prints, cards, fabric www.juliacairns.com

Janice Wall

Catherine Ferguson

Evelyne Franceschi

Map Not To Scale Mileage noted is accurate

Via La Puente

GVFR

El Tanque Viejo

11 Vieja nida Ave

wood fired functional ceramics www.slipandsoda.com

books, cards, photography & paintings

16 17a 17b

La Otra Vanda

The Old Bridge

The Galisteo Creek

mixed media & ceramic sculpture, monotype prints

Via La Puente

10a 10b

The Church

Renee Iacone

Elizabeth Rose

retablos, watercolors, oil paintings

Hil l

The old Galisteo Inn

ʻLa Sala de Galisteoʼ Building

Via Si

oil paintings, pan pastel

20 Magdalen

Marcellina Lane

.5 mile

7b 7a

Camino Libre

Restroom at the church Restroom by the Community Center

.3 mile

Marilyn Forbes

17b

clay, works on paper, sculpture

3a 3b

8a 8b

ʻSculabasta FUN≠ ctional Potteryʼ≠ stoneware pieces as art or tableware forbeslux@aol.com

oil paintings & giclee printslandscapes watercolors, drawings & landscape oil paintings

Camino Cabreros

Frank & Cynthia Lux

hand forged damascus steel knives 16 Danny Duran - d7 Productions ʻThe Funny Papersʼ LIVE MUSIC, artwork, audio CDʼs & merchandise 8a Lorraine Weiss one-of-a-kind designer jewelry-www.funnypapersmusic.com vintage beads, semi-precious stones Beau LeBeau 17a lorraineweiss@earthlink.net encaustics, oil paintings, photography

Points of Interest Linda Vista Stables

Ave. Vieja

hand woven rugs & saddle blankets

Barbara Holloway

Information Booth at ʻLa Salaʼ Gallery & Museum

ga La Ve

T O U R

CR42

La Jara

S T U D I O

To Rt. 285 & Santa Fe & I-25

.7 mile

Camino Los Angelitos

fine art photography & clay art

McKee Road

buckeyes

functional & decorative stoneware & procelain

MAPS AVAILABLE AT ALL STOPS

To Rt. 14: Madrid, Cerrillos & San Marcos

Camino San Cristobal

G A L I S T E O

14a 14b Community Center

Food Stops A

To Stanley, Moriarty & I-40

free-standing ceramic and bronze sculpture for garden & home; wall pieces & fountains

mixed media monoprints handmade chocolate bars packaged as artwork!

the Courtyard Café Sweet & savory crepes, lasagna, salads, iced coffees & teas. English trifle for dessert The Orchard Grilled local organic, lamb or chicken sandwiches, local veggies, greens, bread/tomato/mozzarella salad, baked goods, drinks...kidsʼ Hot Dogs!

La Cocina de Me la Homemade Spanish foods - tacos, burritos, beans, posole, Melasʼ Red Chile, sopapillas, drinks & LOTS more!

Just Desserts! Homemade apple pie, lemon & berry tarts, cookies, chocolate cake, cupcakes, and MORE!! ...coffee & tea too!

SALE! FALL 10% OFF ON ALL AWNING PRODUCTS.

Our superior awning products are an affordable & attractive addition to your home or office. Expires: October 31, 2012.

Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room ï

Bedroom ï

Entertainment ï

Lighting ï

Accessories

Featuring Attractive Handcrafted Furniture Southwestern Style ï One≠ of≠ a kind Pieces

La Rosa Round Dining Table ï Hand Carved Tropical Hardwood 60” diam. x 30”h $2100 ï 72” diam. x 30”h $2590

New Shipment of TV Consoles, Sideboards, Round and Rectangular Tables Please come in, you’ll be pleasantly surprised.

SANTA FE COUNTRY FURNITURE 525 Airport Road ï 660≠ 4003 ï Corner of Airport Rd. & Center Dr.



Monday ≠ Saturday

9≠ 5

Closed Sundays

TO FIND US ON GOOGLE MAPS USE: 273 AIRPORT RD. ï IPHONE SEARCH USE: “LOC: +35.638542, -106.024098”

PASATIEMPO

THE SANTA FE NEW MEXICAN

October 19 - 25, 2012

ON THE COVER 38 Interior life: Ricardo Legorreta The creator of a handful of vibrantly colored, intriguingly designed buildings in Santa Fe, Ricardo Legorreta is celebrated Friday and Saturday, Oct. 19 and 20, with a series of events at the Santa Fe Art Institute and the Santa Fe University of Art and Design. The weekend includes tours, films, an art exhibit, and presentations by Victor Legorreta, son of the Mexican architect (who died last December), and scholar Khristaan D. Villela. Cover photo: Legorreta’s American University in Cairo campus center, photo by Barry Iverson; courtesy Legorreta + Legorreta.

BOOKS

MOVING IMAGES

16 In Other Words Watersheds we have known 18 Nathalie Handal Everything is connected 20 Last call Craig Childs on the end times

50 Pasa Pics 54 Bel Borba Aqui 56 How to Survive a Plague

MUSIC AND PERFORMANCE 24 26 28 30 46 48 67

CALENDAR

Where wolves Hélène Grimaud helps out Pasa Tempos CD Reviews Terrell’s Tune-Up Jon Spencer still exploding Onstage This Week Homage to Charlie Christian Eleemosynary Family spells trouble BINGO! New experimental-theater laboratory Sound Waves For those about to Okt

60 Pasa Week

AND 13 Star Codes 15 Mixed Media 58 Restaurant Review

ART 42 Art in Review The heart of glass 44 Sergio Garval Life amid the middens

ADVERTISING: 505-995-3819 santafenewmexican.com Ad deadline 5 p.m. Monday

Pasatiempo is an arts, entertainment & culture magazine published every Friday by The New Mexican. Our offices are at 202 E. Marcy St. Santa Fe, NM 87501. Editorial: 505-986-3019. Fax: 505-820-0803. E-mail: pasa@sfnewmexican.com PASATIEMPO EDITOR — KRISTINA MELCHER 986-3044, kmelcher@sfnewmexican.com ■

Art Director — Marcella Sandoval 986-3025, msandoval@sfnewmexican.com

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Assistant Editor — Madeleine Nicklin 986-3096, mnicklin@sfnewmexican.com

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Chief Copy Editor — Jeff Acker 986-3014, jcacker@sfnewmexican.com

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Associate Art Director — Lori Johnson 986-3046, ljohnson@sfnewmexican.com

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Calendar Editor — Pamela Beach 986-3019, pambeach@sfnewmexican.com

Ozymandias III by Sergio Garval

■

STAFF WRITERS Michael Abatemarco 986-3048, mabatemarco@sfnewmexican.com Rob DeWalt 986-3039, rdewalt@sfnewmexican.com James M. Keller 986-3079, jkeller@sfnewmexican.com Paul Weideman 986-3043, pweideman@sfnewmexican.com

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CONTRIBUTORS Laurel Gladden, Robert Ker, Bill Kohlhaase, Jennifer Levin, Adele Oliveira, Robert Nott, Jonathan Richards, Heather Roan-Robbins, Casey Sanchez, Michael Wade Simpson, Roger Snodgrass, Steve Terrell, Khristaan Villela

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PRODUCTION Dan Gomez Pre-Press Manager

The Santa Fe New Mexican

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Robin Martin Owner

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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

Amy Sealove Jewelry Galisteo Studio Tour Oct. Oct.20 15 & &21 16

Savor Authentic German Fare during

Oktoberfest 2012

Join us October 22 - October 31 and enjoy a very special menu in the Old House Restaurant

Stop #7#9 Stop

Celebrate our late Oktoberfest with the Old House Restaurant and enjoy authentic German fare including: Bratwurst, Weisswurst, NĂźrmberger sausages, Wiener Schnitzel and Saurbraten.

For a limited time enjoy: Spaten and Santa Fe Brewing Companyâ&#x20AC;&#x2122;s Oktoberfest Beers. Reservations recommended. Please call 505.995.4530. amysealovejewelry.com

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

PASATIEMPO

Santa Fe Community Orchestra

Oliver Prezant, Music Director 2012-2013 Concert Season

FALL CONCERT Dvorak: Symphony No. 9 “New World” Bach: Suite No. 4 in D Verdi: “La Forza Del Destino” Overture Opera Arias & Choral Works

Bethany Herrara, graduate of The Santa Fe Opera Young Voices and Gonzales Community School Choristers

Sunday

Oct 21st

2:30 pm

St. Francis Auditorium

Free admission Donations appreciated

Friday, Oct 19, Anatomy of a Symphony Concert Preview 6 – 7pm, St. Francis Auditorium

AFTER the concert: Make the evening extra special AND support the SFCO!!!

Dine at either restaurant shown, Present your concert program and the restaurant will donate 20% of your food cost to the SFCO. RESERVATIONS REQUIRED: 984-2685 540 Montezuma, Santa Fe

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

When “That will never happen to me” happens. We’re ready to help. There’s never a good time for an accident to happen. But when it does, you can count on us to be there quickly so you can get your life back to normal. GET TO A BETTER STATE™. CONTACT AN AGENT TODAY.

Ron Cowles, Agent www.rjcowles.com Bus: 505-982-3604

Belinda Maez-Ferrero, Agent belinda.ferrero.le3j@statefarm.com Bus: 505-471-1313

Robert Maldonado, Agent www.robertmaldonado.com Bus: 505-471-0308

Melissa Pessarra Ins Agcy Inc Melissa Pessarra, Agent www.melissapessarra.com Bus: 505-471-5700

Garrett Seawright, Agent www.theseawrightagency.com Bus: 505-982-5433

Wayne Steen, Agent www.waynesteen.com Bus: 505-820-7926

James Armijo, Agent www.jamesarmijo.com Bus: 505-982-4412

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October 19-25, 2012

State Farm, Home Office, Bloomington, IL

Pasatiempo is now on Twitter.

@pasatweet

PASATIEMPO

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What matters isnĂ t just the ratio between your child and a teacher. ItĂ s also the relationship.

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While you may have heard of community service, outstanding academics, arts, and athletics, you have never seen a faculty bring them to life with such passion and dedication.

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Santa Fe Prep invites you to Admissions Open House, Friday, October 26th, 2:00 pm

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October 19-25, 2012

STAR CODES Heather Roan Robbins

Mercury turns retrograde late afternoon on Election Day, slowing things down and causing glitches for the next three weeks of November. So consider voting early, and get ready now. We know what we need to do; our work is already cut out for us. Over this last month the planets have triggered fresh decisions and new projects that need to be followed through on. We need to stay involved and on track to help them roll in a good way. It helps that Mercury, in Scorpio this week, keeps our attention focused and our curiosity heightened. It sharpens our humor and keeps our snarky side close to the surface. But over the weekend, a few minor unsettling aspects to thoughtful Mercury jog our personal and collective nervous system, potentially interrupting our communication. We may stumble upon news or information that leaves us thinking or undermines our certainty. Next week improves our focus as the sun enters Scorpio, conjuncts Saturn, and trines Neptune. This trine asks us to take our dreams seriously, sift out the worry, and apply some disciplined efforts. We hear whispers about the next layer of our work and responsibilities but need to complete projects at hand first. Friday, Oct. 19: Take advantage of the scattered social energy to make connections this morning. Ease through a pointed bit of honesty as the Sagittarius moon squares Venus. Late afternoon, the moon enters Capricorn and asks us to nail down details before the weekend, leaving us in a serious, thoughtful, and perhaps tired mood tonight.

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Saturday, Oct. 20: An unsettled determination nags us to get chores done before winter sets in as the Capricorn moon opposes Pluto and squares Uranus. Stay flexible under stress. If measurements seem off or communication is troublesome, slow down and reestablish a heart connection to people or projects. Tonight, soften viewpoints as the moon aspects Jupiter and Neptune. Sunday, Oct. 21: It will help to be direct, kind, and clear as moods develop uncomfortably passive-aggressive, worried, and manipulative undertones while Mercury challenges Pluto. Reframe a problem this afternoon. If people drag their feet, don’t get triggered. Encourage them to unburden honestly and see what can be done this evening as our natural strategic cooperation comes into play under an Aquarian moon. Monday, Oct. 22: Morning is a team-building exercise; engage cooperatively as the moon squares Saturn and sextiles Uranus. Inner clouds gather this afternoon; our determination may gain a new focus even as our hearts grow moody when the sun enters Scorpio and approaches Saturn.

MYOFUNCTIONAL IMPLANT & IV SEDATION DENTISTRY 982-6426 | ALPINELASERDENTAL.COM | CURTIS BROOKOVER, DDS, FAGD, AF-AAID

Tuesday, Oct. 23: As the sun conjuncts Saturn and trines Neptune it’s not just the candidates who need to engage moral, medical, and legal questions. Connect with pivotal people today, but do not rush decisions; listen, gather facts, and ask the heart how it feels over the next few days. Wednesday, Oct. 24: Avoid emotional overload. We can feel too sensitive, too aware of the woes of the world, and therefore want to back off as the moon enters Pisces and conjuncts Neptune, but it is important to stay present and involved. We are sensitive and empathic, making some of us extra cranky. It pays to exercise our boundaries while honoring our connections. Thursday, Oct. 25: If depression whispers, it helps to complete one small project; progress eases the overload. Some people may feel insecure and want to be in control, but this won’t help. Comfort them rather than confront. The day requests that we grow up, take ourselves seriously, and make a mature and useful contribution. We’ll feel younger in a few days. ◀ www.roanrobbins.com

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Saturday, October 20 and Sunday, October 21 · 9:00–5:00 Genoveva Chavez Community Center · Only $2! Watch top fencers at the New Mexico Open. The best competitors in the region come to Santa Fe for two days of foil, epee, and saber — don’t miss out on the action! SPONSORED BY:

Interested in learning? Adult and youth classes available at New Mexico Fencing Foundation in Santa Fe. Visit www.nmfencing.org or call 699-2034.

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DJ DIrt Girl; top, artist’s rendering of MMDI video installation

Dimension-hopping The fourth annual Santa Fe Independent Film Festival is well under way and runs through Sunday, Oct. 21, at venues throughout town. Besides offering film screenings and educational programs, the folks at SFIFF have paired with a number of local businesses to throw festival-related parties and dances. Santa Fe-based art collective Meow Wolf brings its new video installation, Mobile Multidimensional Interface (MMDI), to the Rouge Cat nightclub (101 W. Marcy St., 983-6603) on Friday, Oct. 19, to celebrate the film festival. According to installation artists David McPherson, Emily Montoya, and Nicholas Chiarella — all of whom had a hand in Meow Wolf’s cavernous and otherworldly Habitats installation back in 2010 — MMDI broadcasts images “from past and future civilizations onto fragments of an anomalous monument, which is scheduled to phase into our dimension starting at 9 p.m.” The mobile installation arrives at Rouge Cat fresh off a one-night exhibition at the Albuquerque Museum of Art and History, where attendees fashioned glowing lanterns to add to the installation while Albuquerque electro ensemble Boxcar Strainsun performed some audio freshies. At Rouge Cat, MMDI gets a live soundtrack, supplied by DJs Nicolatron, Vanessa Wilde, and Dirt Girl. Chispa and Gibbonarm add some live video to the mix. To attend, you need $7 or a $30 Friday-evening pass to the film festival. Either way, make sure you’re at least 21 and have a valid ID to prove it. — Rob DeWalt

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PASATIEMPO

IN OTHER WORDS Thinking Like a Watershed: Voices From the West, edited by Jack Loeffler and Celestia Loeffler, University of New Mexico Press, 266 pages The first week of October, a wispy plume of smoke rose behind Atalaya Mountain in the Sangre de Cristo foothills east of Santa Fe. The faint haze that tinged the air downtown was momentarily alarming, even though it was the result of a controlled burn in the watershed — a project that thins the trees and undergrowth so that if (when) a wildfire strikes, the damage from ash, debris, and flooding will be minimized. The hope is that a relatively small plume of smoke precludes much larger ones, and the smoke serves as a reminder that informed maintenance of our watersheds is crucial to survival in the arid foothills. Thinking Like a Watershed: Voices From the West examines the history, present, and future of watersheds from ecological, political, and cultural vantage points. Edited by father-daughter team Jack Loeffler and Celestia Loeffler, the book is a collection of seven essays and six interviews (transcripts from Jack Loeffler’s documentary radio series, Watersheds as Commons). While the book is academic — many of the essays include substantial endnotes, road maps for further reading — the conversational interviews help balance complex, technical themes. The Loefflers present a variety of different perspectives, including interviews with and essays by lawmakers, Native Americans, environmentalists, and ranchers. In his introductory essay, Jack Loeffler details 19th-century westward expansion and how the manipulation of watersheds made it possible to populate the West. He begins with explorer and politician John Wesley Powell, an early Anglo advocate of watershed protection. “What Powell envisioned was a brilliant approach to settling the West,” Loeffler writes. “He knew what watersheds were, drainage systems that started at higher elevations ... where water drained ever seaward and where biotic communities flourished or withered depending on the foibles of weather or the blessed yield of springs. He understood that easterners accustomed to limitless rivers, runs, and creeks would be flabbergasted at the barrenness of the arid West. ... One of Powell’s greatest fears was that interwatershed, or interbasin, transfers of water would come to prevail. Could he have possibly imagined that water would be passed from the San Juan River Watershed beneath the Continental Divide to the greater Río Grande Watershed through a twentythree-mile-long tunnel?” After outlining Powell’s sensible plan for maintaining the natural courses of watersheds (and describing how developers failed to follow it), much of the book

October 19 -25, 2012

book reviews cautions against continuing to divert incomprehensible amounts of water to watersheds where it doesn’t belong and advocates for a return to the way watersheds function without intervention. “There is the understanding in the Pueblo world that a watershed is a whole cycle of water movement within our natural world that includes the skies, the clouds, the mountains, the hills, the surface waterways, and the groundwater beneath the surface — as well as humans, plants, and other creatures,” writes Rina Swentzell of Santa Clara Pueblo in her essay “Pueblo Watersheds: Places, Cycles, and Life.” Later, Swentzell continues, “How the water flowed from mountains and into valleys was intensely known.” Thinking Like a Watershed continually circles back to ecological conscience, an idea propagated by 20th-century environmentalist Aldo Leopold. At its most basic, employing ecological conscience means we must be mindful — and ethical — in the ways we interact with and manage ecosystems. The book calls for a deliberate approach to the distribution of water in the West, one that not only takes into account traditional water management and the requirements of wilderness and wildlife (as well as people) but also considers our interconnectedness and shared responsibility for natural resources. According to the National Weather Service, 2012 is New Mexico’s ninth-driest year on record. Though climate change and population growth do not bode well for anyone, particularly in the Southwest, Thinking Like a Watershed is forward-thinking, with an eye toward reestablishing the natural order. We’ve understood for over a century how our Western watersheds are supposed to work, yet we’ve mostly ignored it. A U.S. Geological Survey map from 1889-1890 is printed on the frontispiece of the book. It shows the Western half of the country, from Kansas to California, Montana to Mexico. The map is detailed; you need to bring your nose nearly to the page to see the tiny fingers of rivers that stretch vertically through New Mexico. Of course, modern maps offer much more information. But if our understanding of the dry places of the West has improved since Powell’s day, our water-management practices haven’t. In the final interview of the book, Loeffler speaks to author William deBuys, whose most recent book, A Great Aridness, explains how global climate change is likely to affect the Southwest and its watersheds. DeBuys likens climate change to a rafting trip down the Colorado River, heading toward the rapids — we’re already in the boat; it’s too late to get out. Still, deBuys says that strategy matters: “Somewhere down the line ... if we’re going to get into the future more or less intact, we’ve got to reorient our values to the primacy of the commons, to a sense of loyalty to place.” — Adele Oliveira Jack Loeffler and Celestia Loeffler give a talk and sign copies of “Thinking Like a Watershed” at 6 p.m. Friday, Oct. 19, at Collected Works Bookstore, 202 Galisteo St., 988-4226.

SUBTEXTS Healing the Gila Photographer and conservationist Michael Berman knows about the fragility of New Mexico’s vast wild places. The Gila Wilderness is one of the state’s few untrammeled landscapes, with its delicate ecosystem largely maintained. The U.S. Forest Service designated the Gila as the world’s first wilderness area in 1924. Today it is under threat, with global climate change among Michael Berman the dangers. In Berman’s new book, Gila Gila, published by Museum of New Mexico Press, he presents a series of black-and-white photographs that are luminous, haunting, and sometimes stark. The book also includes heartfelt contributions from author Charles Bowden, photographer and videographer Victor Masayesva Jr., professor Jorge Garcia, and others. Gila contains two volumes presented together in a boxed set. Volume 1, Radical Visions, is devoted to text and contains a foreword by Mary Anne Redding, chair of the photography department at Santa Fe University of Art and Design. The various essays discuss threats to the land, including ranchers shooting wolves that are integral to the health of the ecosystem, the continuing drug war along the U.S. border with Mexico, and overgrazing. The second volume, The Enduring Silence, is a hard-bound edition of plates. It is in this volume that the beauty of the Gila Wilderness shines. From the fish in the rivers to the bending trees and mountain vistas, Berman captures the spirit of place. A conversation with Berman and two of Gila’s contributing writers, Patrick Toomay and Sharman Apt Russell, takes place at 3 p.m. on Saturday, Oct. 20, at Tipton Hall on the SFUAD campus (1600 St. Michael’s Drive). There is no charge for the event. Call 473-6341. Stanza room only Cynthia Cruz reads from her poetry collection The Glimmering Room, published by Four Way Books, and Elizabeth Jacobson reads from her collection Her Knees Pulled In (Tres Chicas Books) on Thursday, Oct. 25, at 6 p.m. Both readings, at Collected Works Bookstore (202 Galisteo St., 988-4226), are part of the store’s Muse Times Two Poetry Series. — Michael Abatemarco

The Boy Kings of Texas: A Memoir by Domingo Martinez, Lyons Press/ Globe Pequot, 441 pages When Domingo Martinez set out to tell his story, he didn’t have a great accomplishment or a hopeful ending to trudge toward. In fact, he still appears to be in the midst of a 30-something crisis as his book concludes. So it’s through the bleak scene of the border town of Brownsville, Texas, and the mostly unlikable characters of his childhood that his malecentered memoir emerges as a raw account of something like everyday life in the barrio on the edge of the United States and Mexico. Martinez’s family was “a Mexican parody of Shakespeare, in the barrio, with sweat-soaked sombreros and antiquated dump trucks,” and he’s unwilling to glamorize any aspect of that existence, although he is willing to poke fun at it. As you get to know this skinny kid and laugh at his coping antics, you feel his self-loathing about a culture with rough edges. There are also tender moments of pride — in his tight bond with a brother, his love for a grandfather, his late recognition of a mother’s struggle, and his escape from his hometown. Martinez has relocated to Seattle, but you can taste the bitter sand of Texas in his teeth as you read — as if no amount of Pacific Northwest rain will rinse away the grit. Martinez’s 1980s Brownsville is a place where boys don’t read anything thicker than a magazine (maybe a dirty one); where trailers clustered on a gravel road pass for the barrio; where children are moved from house to house like burdens, livestock, or laborers; and where food comes from both the Kentucky Fried Chicken and the dead hog swinging from a rope in the side yard. The writing is interlaced with Spanish, including Martinez’s interpretation of common and obscure Spanish profanity — its meaning slicing through the barriers of language and providing authentic context for the book’s dialogue. The Boy Kings of Texas has been announced as a 2012 National Book Award finalist. The reader passes close to brawling, bleeding, drunken, promiscuous, angry figures of masculinity. They are the villains, the title characters, dictators who control the community but who didn’t ascend to power through maturity or skill. The main antagonist is the author’s father, a truck driver and mechanic who doesn’t deliver on his perceived male responsibility to lead and protect. He puts the family at risk time and again, including via one amateur attempt at drug smuggling. Martinez writes that the family is in “an emotional concentration camp, held captive by a petty tyrant.” Notwithstanding this framework, Gramma is both a strong leader and a fierce enforcer of the cultural norms Martinez is running from. Ever so slowly, his mother, Velva, comes into focus — from a passing mention early in the book to a deeper revelation later. A chapter called “The Mimis” is touching and comical as he recounts his sisters’ way of responding to racial stigma by adopting a fiction. Mare and Marge, ages 15 and 16, dye their hair, pretend not to understand Spanish, and emphasize the “American” part of their heritage. Their coming of age, Martinez writes, happened among “the sub- and superconscious derision that exists when cultures and races collide against one another in geopolitical reassignment.” Border towns like Brownsville, he seems to argue, are an unruly stew stuck to the bottom of the great melting pot. — Julie Ann Grimm

PASATIEMPO

Jennifer Levin I For The New Mexican

I find myself elsewhere, especially everywhere here, but mostly in the ruins. I see myself in the stranger’s face. I hear my voice in hers — what language am I speaking, what am I wishing for, am I entering or exiting prayer or the alphabet?

EVERYTHING IS

I dream what I must. The day you told me, Here is a bitter apple — that’s the meaning of your name — it will help you find the days that taught you who you are. And I found the day my father gave me a small bottle of blessed water. The day Mary, Jesus, and Moses wept together.

POET NATHALIE HANDAL

The day I watched three boys from Zahara de la Sierra steal from the wind and sing around the solitary watchtower dominating the cliff where Fatima is everywhere — her five fingers the five laws of the Koran. — from“Alhandal y las Murallas de Córdoba” by Nathalie Handal

Linda K¨allérus

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ome of the places sound familiar — Alameda, Española, Córdoba. But Nathalie Handal isn’t talking about Northern New Mexico. She’s writing from the south of Spain, recreating Federico García Lorca’s route in reverse. Whereas Lorca came to the U.S. and wrote Poet in New York, Handal went to Lorca’s homeland and wrote Poet in Andalucía. Andalucía, Handal writes in the preface to her book, “has always been the place where racial, ethnic, and religious forces converge and contend, where Islamic, Judaic, and Christian traditions remain a mirror of a past that is terrible and beautiful.” With a change of just a few words, Handal could be writing about New Mexico. Her journey in writing this book — and of being a Bethlehemite, of having several languages but no single place to call home — has parallels with the history of New Mexico, the truths and myths about its tricultural identity as well as the many conversos who came with the conquistadors after the Spanish Inquisition. Handal has written four books of poetry, several plays, and numerous articles and essays, and she has edited two collections of poetry. On Wednesday, Oct. 24, at the Lensic Performing Arts Center, she takes part in a conversation with poet and essayist Naomi Shihab Nye; the event is presented by the Lannan Foundation. Though she has been to Santa Fe before, Handal was unaware of the city’s historical and cultural connection to her book until she engaged in a phone and email conversation with Pasatiempo. “I have not explored the connection but would really like to,” she said. “That’s what I was trying to do [in my book] — have readers make connections in ways they wouldn’t expect. The spirit of the book is about connections. About what people want most — to live.” Though she is something of a Lorca scholar, she doesn’t think a reader must be familiar with his poems to read hers. The poems can be read in succession, and they also stand alone. “I hope readers travel through the passageways of this book and coexist with what they understand and don’t understand. We don’t have to understand everything — just to be open. And in opening, all incomprehension ceases to exist.” Born in Haiti to Palestinian parents from Bethlehem, Handal has lived in Europe, Latin America, the United States, and the Arab world. She currently splits her time between Paris and New York, where she teaches at Columbia University. She became a U.S. citizen the day Barack Obama was elected president. She describes her life as transient and nonlinear. “Regardless of where I’ve lived, Bethlehem came with me. It’s been extremely painful to witness what’s happened in my hometown. It’s always been sister cities with Jerusalem, but a wall divides the two now. Most of Bethlehem has been taken over by settlements. Today’s Bethlehem revolves around Manger Square and the Nativity Church. This is a special town so

full of history — history that belongs not only to us but to the world. It is terrible to see such a beautiful and important past vanishing.” The poems in Poet in Andalucía are rooted in a geographical premise, yet they encompass the scope of both the region’s and the poet’s history. In “On the Way to Jerez de la Frontera,” Handal writes: Maybe you are missing a part of you, or you are out of questions, or you are nowhere in sight and everyone’s looking for you. ...

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“This poem is about trying to understand what it means to miss a part of who we are,” she said. “The idea that if we live a reality that is traumatic, if there is war or conflict, that there is so much death in life and so much life in death. In Bethlehem, people just wait. They can’t really move from one place to another, so they wait. When is it that you stop living within life? When are you just living death?” Handal is enthusiastic about the idea of convivencia, the Spanish word for coexistence, which describes a time when Christians, Jews, and Muslims lived in relative harmony in Islamic Spain. Though the nuances of that tolerance are still debated, Handal insists that the prosperous culture and artistic spirit of that period cannot be denied. She believes something similar is possible for Palestinians and Israelis, even though people have dismissed her ideas as naive or utopian. “I think as long as we can imagine it, it’s possible. We have to start by changing the way we use language to divide. Jews and Palestinians live together all around the world, so why isn’t it possible for them to exist harmoniously in what is supposed to be a sacred land? I grew up with Jews and never really knew there was a difference, since everyone looked alike. We were Semitic people, we had similar ways. I learned later about the political and religious structures. People don’t even talk about how there are Christians in the Middle East. If I talk about Bethlehem, it’s like I’m talking about a place in a book.” She noted that the conflicts in the Middle East are reflected in how difficult it is to travel there, with numerous international connections and lengthy drives involved as well as strict security checks and measures. “People can give you every reason in the book for why it’s like this — that it’s for our protection, for our security. Eh,” she said, dismissing those justifications. “We all live our own personal tragedies, and we have our own personal histories and pain. And we are all looking at things through our lens. Your story is true; my story is true. Nobody is wrong. People tend to forget that.” ◀

details ▼ Nathalie Handal in conversation with Naomi Shihab Nye, a Lannan Foundation presentation ▼ 7 p.m. Wednesday, Oct. 24 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $6, students $3; 988-1234, www.ticketssantafe.org

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C R A I G

C H I L D S

E X P L O R E S

hether predicted by scientists, religious texts, politicians, cult leaders, or the Maya calendar; whether delivered through eruption, rapture, nuclear annihilation, meteoric collisions, or climate collapse, nearly everyone agrees: the end is near. In his book Apocalyptic Planet: Field Guide to the Everending Earth (published by Pantheon Books/Random House), writer and outdoor adventurer Craig Childs destroys the popular notions of end times by suggesting that our world is in an ongoing state of destructive ebb and flow. This thought-provoking book recounts tales of Childs’ travels to locations where evidence of this process can be found. Among the places that bear witness to never-ending apocalypse are the collapsing glaciers of Patagonia, the seemingly eternal ice sheets of Greenland, the ecosystem in Iowa that has been almost entirely replaced, and the buried civilizations under Childs’ native Phoenix. He visits places where the seas have risen or have disappeared altogether. If you’re still undecided about Robert Frost’s choice of fire and ice, Childs is here to show you that both are possible. Those with Hollywood-influenced notions of instant annihilation will be disappointed by just how many years an apocalyptic scenario might consume. Generally, apocalypse moves in slow motion. The exception? In the chapter “Cataclysm Strikes,” Childs finds the potential for instantaneous wipeout for those directly in the path of the 4,000-foot-wide asteroid that has a 1-in-300 chance of hitting Earth in the year 2880. Childs says apocalypse is more a process than an event; it has happened, it is happening, and it will happen. In a phone call from his home in Crawford, Colorado, he told Pasatiempo, “There are so many things being affected, so many different factors involved — human contributions, the Earth’s tectonics, variations of the Earth’s axis and its tilt toward the sun — that it’s impossible to predict that one single event will cause [apocalypse]. I don’t see it as a single moment but as an unfolding in which the world is clearly constantly ending.” The book, he explained, looks at the beginning of these processes as well as their endings. “There are periods of time, landscapes that show us what the planet is about, how the world has evolved. I used the idea of apocalypse as a way of getting a context on that dynamic. Most people see the planet as stable.

T H E

E N D S

O F

T H E

E A R T H

I say, wait a minute, let’s look at the history. What we have currently is a rarity. This environment is not a constant. It’s really interesting to see, over time, how unstable things on Earth are and how easily they are tipped.” To develop the idea of apocalypse as a process, Childs chose to examine places in which cataclysmic changes have occurred or are occurring. “I basically picked nine of the major [apocalyptic] endings that I could imagine from smaller endings. Then I looked back at our planet and asked, Where are the best analogues to ice melting, tectonic shifts, mass extinction? I wanted to walk on ground that tastes and feels like apocalypse. There was more to making the book than what’s in there — many more journeys. I looked around in a lot of different landscapes and chose the ones that seemed the best examples.” These landscapes include the obvious, like the mountains of Patagonia, where the explosive sound of crumbling glaciers served as the soundtrack to Childs’ travels on foot and in inflatable kayaks with like-minded adventurers and scientists. Here, where the most sensational evidence that global climate change is altering the face of the Earth on a daily basis, Childs reminds us that even human causes are part of long-term environmental fluctuations. “It’s the trickiest thing about the book: trying to put global warming in context. We have to remember there are bigger patterns going on. Earth faces larger potential consequences. But that doesn’t mean we can just devastate anything we want. Sure, in a way the Earth will be fine: give it 10 million years and it will recover. But we don’t have 10 million years.” Apocalyptic Planet has been criticized for not being alarmist about the consequences of global warming. “I saw a review that said I wasn’t apocalyptic enough,” Childs said, “that I’m letting us off the hook [for causing climate change]. It’s not a book about one idea. Some have said it’s not serious enough. But to me, all these things are extremely serious. I look at climate change and mass extinction as the major problem facing humanity today.” Childs also considers the silent, hidden sites of past collapses of civilizations. His native Phoenix may be a sprawling, centerless city of 4 million people, but looking down on that sprawl, Childs finds “a web of satellites, the cores continued on Page 22

Opposite page, top: Greenland’s icy landscape; below, dunes in the desert of Sonora, Mexico; photos courtesy Craig Childs

PASATIEMPO

J.T. Thomas

Craig Childs, continued from Page 21

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of Tempe, Mesa, Peoria, Scottsdale, and Phoenix proper. This is a hydraulic blueprint, an original pattern of irrigation canals that set the layout” of an ancient city. He explains that modern-day Phoenix is built atop a thousand-year-old collection of earthen temples, roofed villages, and a vast water-transfer system that somehow failed to keep up. He writes, “This is a version of the world we greet with both fear and fascination: the collapse of civilization. We are captivated by it, because no matter how confident we are in our modern infrastructures, we know it is possible.” The farmland of Iowa, perhaps the most benign landscape Childs explores, is also the one most changed. This land was formerly tallgrass prairie, “one of the largest and most diverse biomasses in North America,” as he describes it. Now, walking through the weedfree rows genetically modified corn, he hears no birds or insects. “At one point, I said, What place has had every species removed and is still alive, not a drastically changed desert but a landscape that’s been completely changed?” This chapter also boasts one of the book’s most colorful characters, Angus Stocking. A Wisconsin land surveyor who writes a blog on paranormal phenomena and carries a Ball jar of single-malt scotch to comfort him along the way, Stocking accompanied Childs on his four-day hike through the endless rows. He is just one of the curious individuals in Childs’ book. There’s also José, who toasted traveling to Greenland with plastic airline bottles of rum. There’s Environmental Protection Agency economist Alan Carlin, who in the face of all the crumbling, melting evidence says that global warming “is going to be the scientific scandal of the century.” Even Childs’ mother, an outdoor adventurer who encouraged her son’s love of exploring the environment, accompanied him to the Bering Strait to see what’s become of the land bridge that is thought to have given the first North American inhabitants a route into the continent. The landscapes have strange, sometimes powerful effects on visitors. In Patagonia, Childs observes a couple of fellow explorers deep amid the blue ice of a crevasse, down to nothing but their crampons, having sex. “That’s one reaction to the landscape,” Childs said. “The experience of being among these collapsing glaciers is just so physical and visceral that all you’re left with is to throw yourself into it. Out there, taking it all in, not being terrified but being awed by the immensity, trying to survive, the experience is so raw and unlike anything else humans experience that it’s all reduced to a very physical level.” One of the things that prompted Childs to write the book is the human fascination with the end of the world. “I wrote it for everyone that wants apocalypse. I wanted to tell them, You don’t know what you’re asking for. Do you really want it on this scale, eradicating everything you know?” What does he think the source of that fascination is? “People today are bored. They want something to happen in their lives. The world isn’t real enough for them, and they want some event to make it real. ... Humans thrive off their penchant for change. They want to know when their mundane lives will change into something extraordinary. I’m saying that the world is extraordinary right now.” ◀

details ▼ Craig Childs talks about Apocalyptic Planet, part of the Mother Earth, Father Sky: Perspectives on Natural Science and the Environment of the American West lecture series presented by Southwest Seminars ▼ 6 p.m. Monday, Oct. 22 ▼ Hotel Santa Fe, 1501 Paseo de Peralta ▼ $12 at the door; 466-2775, www.southwestseminars.org

P R O M OT IO NS

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.

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Nathalie Handal is an award-winning poet and playwright. Her most recent poetry collections include Love and Strange Horses, winner of the 2011 Gold Medal Independent Publisher Book Award, and Poet in Andalucía, described as “a unique recreation, in reverse, of Federico García Lorca’s Poet in New York.” Alice Walker lauds Handal’s work as “poems of depth and weight and the sorrowing song of longing and resolve.” Handal is also the editor of the groundbreaking The Poetry of Arab Women: A Contemporary Anthology.

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WHERE WOLVES Pianist Hélène Grimaud makes music and makes a difference

October 19 -25, 2012

atching French pianist Hélène Grimaud perform is an absorbing experience. Her fingers flit across the keys, sometimes barely alighting, sometimes stabbing in sharp staccatos. She alternates between watching her hands and closing her eyes and rolling her head back, lips moving slightly, whispering half-sentences only she can hear. Still, although Grimaud performs seemingly constantly ( just hearing about her round-the-world touring schedule is enough to induce jetlag), when you see her shoulders tense before she hits the first note, you might almost believe she’s performing for the first time. Grimaud is also a conservationist. In 1999, she founded the Wolf Conservation Center in South Salem, New York, a hamlet in the wooded reaches of Westchester County. On Tuesday, Oct. 23, she appears in Wild Harmonies, a benefit at the Lensic Performing Arts Center, during which she plays her 2011 album Resonances (featuring pieces by Mozart, Liszt, Berg, and Bartók) in its entirety. The solo concert is a benefit for the Wolf Conservation Center and the New Mexico Wilderness Alliance. The organizations will split the proceeds; NMWA will use its portion for the Mexican Gray Wolves Campaign, which works to reestablish the species in New Mexico. By her own admission, Grimaud was a spirited and difficult child. She was born in Aix-en-Provence in 1969. Her parents signed her up for several physical activities (including martial arts and tennis) before she tried a music class. “My parents thought I had all sorts of surplus physical energy, but it wasn’t that — it was all in my head,” Grimaud explained in an interview from her home in Switzerland, where she stays when she isn’t touring or in South Salem. Her lightly accented English is polished and polite yet conversational. Even if she’s been interviewed about the same topics countless times, she manages to keep her responses from sounding canned. “The world of music was an immediate revelation,” she continued. “[The teacher] had the kids sing along to Schumann, and it grabbed me, and I had a sense I’d never had before of learning and discovering.” Grimaud enrolled at the Paris Conservatoire when she was 13; she was its youngest student at the time. Following graduation, she continued to study with prominent musicians and began performing and recording, both on her own and as part of various orchestras. She has performed in many countries around the world, with the Berliner Philharmoniker, the New York Philharmonic, and the London Symphony Orchestra, to name a few. As a celebrated musician, Grimaud comes across as simultaneously reserved and open. She’s often candid about her inner world. For instance, she reveals that she has synesthesia, a condition in which one experiences a stimulus with more than one sense. In her case, musical notes and scales are related to certain colors. “It’s just there,” she said. “It’s not systematic, though it happens pretty often. ... Tonality has a color. ... For example, D Minor is blue.” In her memoir, Wild Harmonies: A Life of Music and Wolves, and often during interviews, Grimaud tells the story of her first encounter with a wolf, when she was living in Tallahassee, Florida, in the early 1990s. The animal (which was likely a wolf-dog hybrid) was the first of its kind Grimaud had met. “I had no interest in wolves,” she said. “I was always interested in biology and animal behavior, but more primates than large carnivores until that encounter. It was a pivot point — I’d always wanted to do something conservation-related, and that wolf hybrid was so different than any domestic canine. I was very much intrigued by her because there’s this discrepancy between what people think wolves are and what they are. People ask me, Why wolves? Why not black-footed ferrets? And without oversimplifying things, we can accomplish a lot in conservation with wolves because they’re an umbrella species [one whose official protection serves to protect other species in the same habitat].” The Wolf Conservation Center focuses on environmental education and participates in federal programs that aim to reintroduce into the wild two species, the Mexican gray wolf and the red wolf. Certain “ambassador” wolves are lifelong residents of the center and part of its educational programs. While Grimaud acknowledges that public perception of wolves

has improved in recent years, she believes there’s more work to be done. “Wolves still suffer from the unjust reputation of being dangerous to people and livestock,” Grimaud said. “And there’s still a lot of ignorance about the role they play in the environment as an agent of biodiversity. ... We felt very strongly about having an event with the New Mexico Wilderness Alliance because they focus on the big picture, like how to preserve open lands and conserve essential habitat.” The photograph on the cover of Grimaud’s memoir shows her nuzzling three wolves at the WCC. Grimaud said that the moment was spontaneous. It’s a perfect tableau, too precise to be composed — the wolves in a triangle around her face, noses touching her skin. Grimaud is smiling slightly, her chin tilted back, her hand raised to her jaw. She appears in her element, as she does It’s a real privilege to be when she’s playing. Grimaud doesn’t see her work at the Wolf able to have this life — Conservation Center as a conflict with her career as a pianist. In fact, she needs both. “Some the great joy, the psychical people are skeptical,” she said. “Growing up, my emotion that [I get] parents told me I could only focus on one thing in order to do it well, but I never really believed playing for different that was the case. ... As a musician you can’t compartmentalize. You need to experience things cultures and with other other than music in order to feed your artistry. I wouldn’t necessarily recommend that one found musicians on a regular a nonprofit, but having something else you basis is a gift. believe in, that you feel you can and should be doing, is not detrimental to music making.” — Hélène Grimaud If Grimaud’s international success seems glamorous, her path hasn’t been without its challenges. She has had serious health problems in the past several years, including anemia, pneumonia that progressed into an infection, and stomach cancer. Fortunately, following chemotherapy and surgery, Grimaud made a full recovery from cancer in 2010, and her current tour season is her busiest to date. She spent much of the summer playing across Europe and tours Asia for six weeks this winter. “One of the wonders of this profession is that even though there’s a rough schedule with a lot of traveling, you get a lot of energy back from the audience,” she said. “It’s a real privilege to be able to have this life — the great joy, the psychical emotion that [I get] playing for different cultures and with other musicians on a regular basis is a gift.” Resonances is built around four very different classical European composers — it shifts from the measured elegance of Mozart to Bartók’s lively Romanian folk dances. “I was obsessed with the idea of this program for a very long time,” Grimaud explained. “I first saw the Berg sonata when I was a kid, 11 or so, and I discovered the piece before I could really play it, but I was fascinated by that work, and knew I would do something around it. ... [Resonances] chronicles the Austro-Hungarian Empire, though it goes beyond those confines. ... It’s a musical journey through middle Europe during a period in history that shaped Europe as we know it today.” Though Grimaud is an expert performer, her openness to evolution is one of her most engaging qualities. She believes that playing the piano and performing are perpetually unfinished processes, and therein lies their appeal. “Music always takes you in directions you didn’t expect,” she said. “The idea is to always go further, dig deeper, think wider, and dream large. The wonderful thing about this profession is that everything — concerts, rehearsals, practice sessions — continually opens new doors. ... You need to beware of doing things on autopilot. The only way to grow as an artist is to be open to influence.” ◀

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details ▼ Hélène Grimaud: Wild Harmonies, a benefit for the New Mexico Wilderness Alliance & The Wolf Conservation Center ▼ 7 p.m. Tuesday, Oct. 23 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $20-$70; 988-1234, www.ticketssantafe.org

PASATIEMPO

PASA TEMPOS

album reviews

COLLEGIUM The Master VOCALE GENT Officium — Original Motion Defunctorum (PHI) Choral singing Picture Soundtrack Composed has reached extraordinary heights over by Jonny Greenwood (Nonesuch) the past four decades, generously documented It’s the rare film score that mirrors by such recording superstars as conductors character psychology while explaining John Eliot Gardiner, Masaaki Suzuki, and it at the same time. Jonny Greenwood’s Philippe Herreweghe, who has led the Belgian soundtrack to Paul Thomas Anderson’s ensemble Collegium Vocale Gent since its The Master reflects the affected founding in 1970. In a search for unbridled artistic freedom, grandeur of Philip Seymour Hoffman’s cult leader, Lancaster Herreweghe abandoned his long-standing partnership with Dodd, as well as the off-kilter, unpredictable behavior of Joaquin Harmonia Mundi two years ago and formed his own label, PHI. Phoenix’s Freddie Quell. The recording allows whole sections His latest effort is profound and moving: the Requiem and ancillary of the music to play uninterrupted, whereas in the film they’re as choral music written by Tomás Luis de Victoria for the obsequies, scrambled as Freddie’s behavior. Greenwood, the Radiohead guitarist, in 1603 in Madrid, of the dowager empress Maria, widow of Holy is a fan and colleague of Polish composer Krzysztof Penderecki, and the Roman Emperor Maximilian II. The Collegium Vocale Gent comprises music well shows it. The film’s opening piece, “Overtones,” performed 13 singers for this project — two singing each of six parts, but with an by the AUKSO Chamber Orchestra conducted by Marek Mos, strikes a extra bass for added solidity. The sound is full voiced, carefully balanced, somber chord before the strings start to slide off center. “Baton Sparks” uniform throughout the ensemble, and particularly remarkable makes pretensions to classical Romanticism before unusual persistfor the varnished glow of the lower voices. There is no “Dies ing chords take over. The rest of the original pieces, played by irae” in this Requiem (that text was rarely set polyphonithe London Contemporary Orchestra conducted by Hugh cally in Spain), but the “Lux aeterna,” which concludes the Brunt, have an anxious back-and-forth driven by woodRequiem, is an expanse of inordinate beauty that receives block percussion. Clarinets play a pensive role, at one point ‘Little Death Shaker’ a performance to match. (Its phrase quia pius es — “for sounding seagull over airy woodwinds. Only the selected thou art merciful” — teaches a master class in detailed pieces, including Irving Berlin’s “Get Thee Behind Me is filled with swampy choral shading.) Four lush motets conclude the recital, Satan,” sung beautifully by Ella Fitzgerald, and “Don’t each rich and dark, sonic equivalents to the paintings Sit Under the Apple Tree (With Anyone Else but Me),” blues and folk, sung by of Victoria’s contemporary El Greco. — James M. Keller innocently sung by actress Madisen Beaty, offer a semblance of normal. This is wonderful, thoughtful music that Ray Raposa with DETHKLOK Metalocalypse: Dethalbum III (Williams makes sense in a most disturbing way. — Bill Kohlhaase Street) In 2006 the Cartoon Network introduced a voice like Metalocalypse as part of its mature-audience lineup. RAYMOND BYRON & THE WHITE FREIGHTER Little The animated series brought us Dethklok, an extreme Death Shaker (Asthmatic Kitty) “Some of my friends newspapers burning. death-metal supergroup. The show, a wild satire about are selling ten thousand, and some of my friends are still five musically proficient but bumbling headbangers (bassist playing houses/I suppose it’s not the worst way to go.” William Murderface, rhythm guitarist Toki Wartooth, vocalist So begins “Some of My Friends,” a rollicking song that gets Nathan Explosion, lead shredder Skwisgaar Skwigelf, and drummer progressively more humorous as the verses pile on, until finally Pickles), has since expanded to include an actual touring band — lead Ray Raposa drops his oddball, sad sigh of a punchline: “Some of my guitarist Brendan Small (creator of the cartoon), drummer Gene Hoglan, and friends got jealous of each other’s managers.” Which is followed, naturally, bassist Bryan Beller — that opens for and headlines alongside other metal by a drum roll. Raposa is likely one of the friends who are still playing bands. (Dethklok hits the road for a 32-city U.S./Canada tour on Oct. 29.) houses. Too bad. If crackly gothic weirdo folk-rock on indie labels had Dethklok’s third studio album, released on Oct. 16, is its most brutal ever been the biggest trend in music, he’d have gone platinum with collection of songs yet. The chunky bass/guitar grooves are deeper, his former band, The Castanets. The San Diego-based songwriter the rhythms detour in much more surprising directions (hardcore gave himself a fresh name and a new beginning — this time incorand thrash-metal fans and Pantera-heads will like them), and the porating some biting humor. Even as the doctor’s prognosis of solos are exponentially fiercer and more intricate. The album “You’ll Never Surf Again” grows sadder with each retelling, it opener, “I Ejaculate Fire,” in which Nathan Explosion sings “It remains amusingly off-putting to hear a stark, sad song about burns, I’m fried to my loins, testicular propane surfing. The album is filled with tanks exploding, I perpetuate bile,” speaks swampy blues and folk, sung by volumes about the satirical nature of the band Raposa with a voice like newspapers and the show. Dethalbum III also leans in a burning, and not all of it works. But prog-rock-friendly direction. Just in time for enough of it does. It’s sly and cynical Halloween, Small’s frequent jazzy guitar and filled with great lines: “It’s OK melodies crawl all over his crushing not to love this life, but maybe give it rhythm section like hungry millia little more credit” is one that pedes on a rotting corpse. stops me cold every time. — Rob DeWalt — Robert Ker

October 19 -25, 2012

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TERRELL’S TUNE-UP Steve Terrell

Breaking the mold: Jon Spencer Last week I wrote about two great bands — Mission of Burma and Dinosaur Jr. — that were broken up for years and then returned to reestablish themselves not as nostalgic casino acts but as actual creative bands, writing new songs and making exciting new music. Well, here’s another one: The Jon Spencer Blues Explosion. This unholy trio — which includes guitarist Judah Bauer and drummer Russell Simins — is back with an album called Meat and Bone. And it’s a dandy, stuffed full of the maniacal, irreverent, rompin’-stompin’ sounds that shook the free world back in the ’90s. Spencer, Bauer, and Simins weren’t gone as long as Dinosaur Jr. or Mission of Burma. The previous Blues Explosion studio album was 2004’s Damage. And since that time, Spencer has put out three albums with Matt Verta-Ray under the name of Heavy Trash. But while they were good, Heavy Trash was no substitute. “A lot of people are being lauded for making music I think is kind of boring and safe and dull,” Spencer said in a recent interview with Spin. “True rock ’n’ roll is a strange and beautiful, kind of scary music.” That’s been his credo since the beginning. The Blues Explosion rose from the ashes of Spencer’s 1980s group, Pussy Galore, a fun little trash-rock band that should have gotten a lot more famous than it did. You can hear the genesis of the Blues Explosion sound in the sheer craziness of Pussy Galore. They were a “noise band,” but unlike some of their No Wave forebears, they were far more

October 19 -25, 2012

fartsy than artsy. You’d hear strains of rockabilly and The Rolling Stones in Pussy Galore through waves of screaming and guitar distortion. Every song was a party out of control. With the Blues Explosion, Spencer kept that spirit going, creating a minimalist sound that was grounded in blues and soul — with a touch of blaxploitation-soundtrack music on some tunes. Snooty purists dismissed Spencer’s Stooges-filtered blues riffs and faux soulman antics. But he introduced a new generation of punk and alt-rock kids to real live razor-fightin’ Mississippi blues — and helped breathe life into the fledgling Fat Possum label — when the Blues Explosion joined Hill Country blues codger R.L. Burnside on the 1996 album A Ass Pocket of Whiskey. It’s still the best oldbluesman-meets-young-rock-band team-up since Sonny Boy Williamson recorded with The Animals and The Yardbirds in the mid ’60s. All the old intensity is evident on “Black Mold,” the riff-driven first song of the new album. The tune was inspired by Spencer’s discovery of a box of records that had gotten damp and moldy in his basement. By the end of the track, he’s shouting the names of the artists — Ornette Coleman, Lonnie Smith, Little Walter, the explosive Little Richard. While he’s raging about what has been lost, this can also be heard as an invocation to the immortals, a frantic blessing for the rest of the album. Spencer is at his funkiest on “Get Your Pants Off.” There’s not much to the lyrics (though I can only assume that the message of the title is sincere), but the band members sound like they’re having a lot more fun than most middle-aged guys. You probably can’t tell from the loud crunching music, but “Strange Baby” is actually a sentimental tune about Spencer meeting his wife. He raps the verses, but he doesn’t sound like he’s trying to be a rapper. Spencer pulls out his harmonica on “Bag of Bones,” which could almost be called “swampy,” though Spencer’s howls and the sheer volume would scare the alligators back onto the endangered-species list. “Unclear” is loud and trashy also, but to those with ears to hear, it sounds like a distant brain-damaged cousin of Otis Redding’s “I’ve Been Loving You Too Long (To Stop Now).” “Danger” is two minutes and 43 seconds of reckless fury set to a hellbound-train beat. I think I hear a distant echo of The Rolling Stones’ “She Was Hot” in there; and in the next song, “Black Thoughts,” there are definite traces of Exile on Main Street beneath the distortion

and wild theremin squiggles. (True fact: Pussy Galore released a track-for-track cover of Exile on cassette back in 1986.) A big standout on Meat and Bone is “Bottle Baby.” Here Spencer imagines himself as someone accepting some kind of award — “Standing up here at the podium holding this fabulous statuette/I feel like a god, but I still have a hard time payin’ my rent.” I don’t think there’s much danger of Spencer and his band winning a Grammy, but this album deserves some kind of prize. Check out www.thejonspencerbluesexplosion. com. And don’t miss the mini horror movie that is the official “Black Mold” video at www. youtube/-vuxZZJlWS4. Also Recommended: ▼ Life by Andre Williams. The Jon Spencer Blues Explosion waited eight years to release its new album. Williams waited five months for this. Seriously, this is the old coot’s third album this year. Hoods and Shades came out in February; Night & Day was released in May. And now he brings us Life. The man is nearly 76 years old. You’d think he’d be getting tired. But he sure doesn’t sound like it here. Playing with a trio of Detroit cohorts, including Jim Diamond on bass (he’s best known as a producer, but he has also played bass with the Dirtbombs), Williams slinks into a slow-groove swampy sound on most of the songs — those alligators I mentioned before would be hypnotized by this music. It suits his gruff vocals. Highlights on Life include the opening “Stuck in the Middle,” which features some downright menacing psychedelic guitar from Mark Smith (who produced the album); “Beep Beep Beep,” which works off a modified Bo Diddley beat (I can’t for the life of me figure out what this song is about); and “Heels,” which reinforces Williams’ reputation as the ultimate dirty old man. It’s election season, so I should mention “Blame It on Obama,” a trudging tune with pseudo-gospel piano in which the singer wryly blames the president for everything from high prices to chickens who won’t lay and a wife who won’t give him any love. There’s also Williams’ umpteenth (but far from best) version of his signature song, “Shake a Tail Feather,” followed by “Ty the Fly,” a shaggy-dog fable about an insect. The album would have been better without the last two songs. But what the heck? He’s almost 76 years old. He can do what he wants. See www.alivetotalenergy.com/x/?page_id=3436. ◀

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ON STAGE Gaffe and a half: Elect to laugh with Will Durst The presidential election is looming like a creepy guy in a van with tinted windows and a sign that reads “free talking points,” and American voters could use a break from the dog and pony show. While the candidates often provide us with plenty of laughs without really trying, why not let an impartial expert dole out the funny instead? Political humorist Will Durst once said, “AIG used some of their bailout money for executive bonuses. That’s like giving a dog a treat for peeing on your shoes.” Plenty of pee-free treats and bipartisan zingers await when Durst bails you out of your pre-election funk with his Elect to Laugh show, which hits the Lensic Performing Arts Center (211 W. San Francisco St.) at 7:30 p.m. Friday, Oct. 19. Tickets, $15 and $20, are available by calling 988-1234 and from www.ticketssantafe.org.

THIS WEEK

It’s a rhap: Serenata of Santa Fe

Plugging in: Charlie Christian Project Before he died from tuberculosis in 1942, while still in his 20s, guitarist Charlie Christian changed the sound of jazz forever. Not only was he a pioneer of the electric jazz guitar, but he also contributed to the conception of bebop with his altered chords, rhythmic drive, and melodic invention. His work with Benny Goodman on such hits as “Seven Come Eleven” and “Air Mail Special” won him legions of fans during the two short years

At 3 p.m. on Sunday, Oct. 21, in its concert at the Scottish Rite Center (463 Paseo de Peralta), Serenata of Santa Fe includes two nature-inspired works: Paul Johnson’s “The Wild Swans at Coole” (composed in 2011, after Yeats, right) and the Deux Rhapsodies (1905) for oboe, viola, and piano by Charles Martin Loeffler. The first of Loeffler’s movements depicts a pond; the second a rustic bagpipe. Also in this concert are Hindemith’s Horn Sonata and Schumann’s emotionally intense Violin Sonata No. 1. Tickets ($25, discounts available) can be purchased at the door or at www.serenataofsantafe.org. Call 989-7988.

Resplendence in motion: Ballet Folklórico de México

CHARLIE CHRISTIAN PROJECT

If you want an overview of Mexican folk dance traditions, you could travel to all 32 Estados Unidos Mexicanos and observe various festivals and fiestas — or you could go see Ballet Folklórico de México at the Lensic Performing Arts Center (211 W. San Francisco St.) on Thursday, Oct. 25. Founded by Amalia Hernández in 1952, the company has long stood as an ambassador for Mexican dance and for Mexican culture in general. The present touring company (under artistic director Salvador López) is made up of 32 dancers and 16 musicians, with a typical two-hour program consisting of 10 or 11 pieces. The show starts at 7:30 p.m.; tickets are $20-$55 (student discounts available). Call 988-1234 or see www.ticketssantafe.org.

he was with the band. Guitarist Michael Anthony, one of Hollywood’s most respected studio guitarists (with credits ranging from Quincy Jones to the Beach Boys), joins trumpeter Bobby Shew (once a member of the Goodman band), bassist Mickey Patten, and drummer John Trentacosta in a tribute to Christian in the intimate confines of Gig Performance Space, 1808 Second St., at 7:30 p.m. on Saturday, Oct. 20. Tickets are $15 at the door; see www.gigsantafe.com. PASATIEMPO

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INTERIOR LIFE

The architecture of Ricardo Legorreta

continued on Page 40

October 19 -25, 2012

Lourdes Legorreta

ack in the mid-1990s, Mexican architect Ricardo Legorreta spent a couple of weeks in Santa Fe, absorbing the feeling and look of the place as he shaped the design for a new art center for the College of Santa Fe. His solution, which opened early in 1999, was a cluster of buildings — with no vigas or brown stucco. Breaking up the plain masses of the red walls are series of slots and interesting angles as well as four courtyards enlivened by walls of bright yellow, pink, blue, and purple. “In order not to make a very massive structure, because the effect would be too overpowering as one building, we introduced color with the wonderful light, and we broke out all the volumes by using several smaller buildings,” the architect said in a late-1998 interview. Legorreta died on Dec. 30, 2011. His work in Santa Fe is celebrated with a special program of lectures, panel discussions, films, and site tours on Friday and Saturday, Oct. 19 and 20. Ricardo Legorreta and Santa Fe, an exhibit of drawings, models, and videos as well as artworks created in response to his architecture, opens Oct. 19. The exhibit was curated by architect Simón De Agüero; it runs through the end of the month. Legorreta began his career as a draftsman and became a project manager and then an associate with José Villagrán García (1901-1982), an early advocate of the International Style in Mexico. Legorreta earned his architecture degree at the Universidad Nacional Autónoma de México. In 1964, he founded his own company, Legorreta Arquitectos (later renamed Legorreta + Legorreta). Besides the Visual Arts Center at the Santa Fe University of Art and Design (formerly the College of Santa Fe) and the adjacent Santa Fe Art Institute, his local design résumé includes the Zocalo condominium community; the Thornburg Investment Management office campus; and a private home. Evident in all of these projects are the architect’s love of color and the prominence of the wall. “I see the important role of the psychological effect of intimacy, protection, and distance, and that’s why to me the wall is an incredible tool, as well as to reflect light in patios and

Yasuhiro Yajima

Lourdes Legorreta

Yona Schley

Clockwise from top left: Santa Fe University of Art & Design Visual Arts Center and Santa Fe Art Institute; Ricardo Legorreta; Carnegie Mellon College of Business and Computer Science in Doha, Qatar; student residences, American University in Cairo, Egypt; and a building at the Zocalo condominium compound

Barry Iverson

PASATIEMPO

Ricardo Legorreta, continued from Page 38

Yona Schley Barry Iverson Yona Schley

From top, student center, Education City, Doha, Qatar; campus center, American University in Cairo, Egypt; Carnegie Mellon College of Business and Computer Science

October 19 -25, 2012

into rooms,” he said in 1998. “This wall element comes from the tradition in the old towns and ranches of Mexico. You find this in Spain or the Mediterranean in the vernacular, but as an architectural element I think it comes from the Islamic world. This is not only from the history of protection but also mystery and the way the Islamic people love discovering spaces from one to the other, playing with different heights.” A device Legorreta employed to offset the potentially overwhelming visual impact of some of his vast walls was to add rows or grids of small windows, often near the tops of the walls. “I think Legorreta’s architecture, like that of Luis Barragán, has a foundation of Modernist blockiness,” said Khristaan D. Villela, research professor of art history at the University of New Mexico, professor of art history and scholar in residence at the Santa Fe University of Art and Design, and author. He gives a talk on Legorreta’s work on Oct. 20. “Those walls might be forbidding and unrelenting, so both the perforations and the color are ways of balancing that,” Villela said. “He was clearly a great student of architectural history, so when I see the buildings at the school, placed around courtyards, in my mind they evoke the spaces of Spanish Colonial courtyards, and particularly the courtyards in the convents of colonial Mexico — that same kind of post-and-lintel arcade.” Legorreta’s grids, which yield interesting light-and-shadow effects on selected interior spaces, are reminiscent of the privacy screens known in Moorish architecture as celosias. “They’re done both in marble and woodwork; there’s some fantastic mudéjar-styled woodwork, which is also called artesonado in Mexico. The point is that during the 700 years Spain was in the yoke of the Moorish kingdoms, [Spanish architects] completely internalized this visual language that is considered in the New World as thoroughly Spanish.” The derivation of forms and styles present in contemporary Mexican architecture — and to a lesser extent in New Mexico — can be traced to Moorish Spain, but it’s also tied to the continuum of Euro-American modernism. Understanding the latter relationship depends on an open attitude. “The most objectionable aspects of Legorreta’s architecture for someone who’s a follower of [Philip] Johnson, Mies van der Rohe, or Le Corbusier would be his use of color,” Villela continued. “That would be a great betrayal of the ideas of Euro-American modernism.” Victor Legorreta, the architect’s son, explained that the glass curtain wall, one of the signature elements of International Style modernism from its inception in the 1920s, is inappropriate in this part of the world, and not just for design reasons. “When you have a curtain wall, a glass wall, it responds more to the northern climate, where you need light. If you’re in Chicago or northern Europe, you need light. When you’re in the desert or in Mexico, what you need is intimacy. The use of walls, especially in the climate in Santa Fe and the north of Mexico, is a very logical element.” Although Legorreta + Legorreta is economical about glass, the firm puts a priority on the placement of windows for light and to frame views. “A lot of times we would draw the elevations from the inside first, because we really think that the interior life of the building is more important,” said Victor Legorreta, who worked with his father for 22 years. “Everything I know I learned from him. We had a very good relationship, also because he was very young and very open to new ideas. We had a great time working together. It was very collaborative in the office.” Ricardo Legorreta’s designs were grounded in his study of vernacular Mexican architecture, of the country’s old haciendas and ranches and towns. “I think also it’s trying to create a sense of mystery, to discover little by little — so by creating walls and courtyards, it’s an architecture to be discovered as you walk through it,” his son told Pasatiempo. “We were very impressed in Santa Fe that it is very crisp and you have such a difference in sun and shadow, so this kind of architecture became very abstract there.” It’s fascinating to contrast the architect’s Santa Fe designs with those he did in the Arab world. Two examples — the 2009 campus center at the American University in Cairo, Egypt, and his 2011 Georgetown University School of Foreign Service in Doha, Qatar — exhibit a greatly restrained

palette, in tune with the austere desert colors, but with a greater use of pattern and ornament. “Actually it was a great discovery, or rediscovery, when we were working in the Islamic world, because we found a lot of concepts similar to Mexican architecture,” Victor Legorreta said. “I think, for example, the use of water, the use of courtyards, the way you treat light with all these kind of grills, and the romanticism. In fact one of the favorite places of my father was the Alhambra in Granada; he kept going there every time he could. It’s funny, because they invited him a couple of years ago to give a lecture in Seville, and they said the way we’re going to pay you is to be alone in the Alhambra after it closes.” The elder Legorreta is often mistakenly characterized as a disciple or even a one-time student of Barragán. While Barragán’s colorful forms were undoubtedly inspirational for Legorreta, Barragán focused almost exclusively on residential projects. Legorreta worked in a large scale. At the time of his death, Legorreta + Legorreta was at work designing the 814,000square-foot El Dorado Commercial Center in Veracruz, Mexico, and a Salesforce.com headquarters in San Francisco, which is nearly 2 million square feet. Renderings for the Salesforce.com project show grids of square windows on immense walls, fantastic floating and cantilevered roofs, and vibrantly colorful wall elements. Villela said Ricardo Legorreta originally wanted to paint some of the Santa Fe college buildings in bright colors, but the city’s zoning forbade it. Instead, they are in the courtyards — inspiring wonder, as do nestled color walls at Zocalo. “My father used to say that we Mexicans should be responsible in the use of color,” Victor Legorreta said with a laugh. “I think it’s very traditional of Mexican culture, but I think it’s a great element that he loved to use, and he used it in a very emotional way rather than an intellectual way, so sometimes it’s an element of surprise. Sometimes you discover a corridor in blue and maybe a room in pink. “And it is also to make an architecture that is not so serious,” he continued. “It is very important in life and in architecture to have a sense of humor and to make it happy.” ◀

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Events in honor of Ricardo Legorreta

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6 p.m. “Ricardo Legorreta’s Biographical Path,” video; presentation by Victor Legorreta; and lecture by Wayne Lloyd, “Experiencing the Legorreta Design Process”; Tipton Hall, Santa Fe University of Art and Design, 1600 St. Michael’s Drive

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7:30 p.m. Celebration dinner, SFAI; $200; call 424-5050 for details and reservations Saturday, Oct. 20 11 a.m. Lecture by Khristaan Villela, “Mexican Modernism: The Architecture of Ricardo Legorreta,” Tipton Hall, SFUAD, 1600 St. Michael’s Drive

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Noon Guided tour of SFUAD Visual Arts Center

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1≠ 5 p.m. Self-guided tours of SFAI, SFUAD, Zocalo, and a Legorreta-designed house

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1:45 p.m., 2:30 p.m., 3:15 p.m. Guided tours of Thornburg Investment Management campus 5 p.m. Closing reception at Zocalo All events are no charge unless otherwise noted. Call SFAI at 424-5050 or visit www.sfai.org for complete details.

Friday, Oct. 19 4 p.m. Opening reception for Ricardo Legorreta and Santa Fe exhibit, Santa Fe Art Institute, 1600 St. Michael’s Drive

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PASATIEMPO

ART IN

REVIEW

Chromatic Fusion: The Art of Fused Glass, New Mexico Museum of Art, 107 W. Palace Ave., 476-5072; through Jan. 6, 2013 his year marks the 50th anniversary of the American studio glass movement, which began with two historic workshops presented by artist Harvey K. Littleton in collaboration with the Toledo Museum of Art. New technologies for working with glass enabled artists to work in their home studios rather than contracting with glass factories for production. Commemorating the anniversary, the New Mexico Museum of Art presents Chromatic Fusion: The Art of Fused Glass, Featuring Klaus Moje. Among the other artists represented are Toots Zynsky, Jessica Loughlin, Giles Bettison, Steve Klein, Joanne Teasdale, and several others. Chromatic Fusion is an extensive showcase of talent that never feels busy. It is a wellexecuted and informative exhibition divided into two sections, each with a number of varied works that share formal qualities. The larger of the two galleries the show takes up includes Zynsky’s vessel forms, made from fused glass threads, and Cobi Cockburn’s Spring Grass, comprising two thin-walled canoelike sculptures. These are among a handful of fragile-looking works that take advantage of the translucent quality of glass. Zynsky in particular makes use of the fluidity of molten glass. The art is well situated in a room with plenty of natural light. The majority of the glass in this gallery appears delicate and luminous. Hard-edged, complex designs and saturated colors, particularly in the work of Moje, dominate the second space. Fused glass is distinct from blown glass in that it involves cold and hot working techniques. An artist such as Moje, for example, might cut colored glass panels into sections, arranging the colored pieces and fusing them in a high-temperature kiln. Kiln forming is the predominant technique featured in Chromatic Fusion; among the exceptions is Steve Klein’s Exploration 161, which combines fused glass and blown glass. Moje’s stunning Portland Panels: Choreographed Geometry is the main attraction, not least for the size of the panels. They take up an entire wall of the second gallery. The work is composed of four 6-foot panels of overlapping diagonal patterns made from approximately 22,000 pieces of fused glass. The Portland Panels, with their bold, striking designs, are superlative examples of fused glass and are alone worth the price of admission. Loughlin’s nearby sculpture, pool 1, is a nice contrast: a cool monochrome bowl form. Opposite the Portland Panels, two of Moje’s cylindrical vessels, Niijima 12 CSOA 5 and Niijima CSOA 2/3, contain his characteristic patterning of bands of color,

Top, Joanne Teasdale: Metamorphosis, 2011, kiln-formed glass, fusible film, and vintage compacts; left, Klaus Moje: Portland Panels: Choreographed Geometry (one of four panels), 2007, fused and diamond-polished sheet glass; opposite page, Jessica Loughlin: pool 1, 2002, kiln-formed glass 42

October 19 -25, 2012

The Difference ClearIt! Expect More andIsGet but here the colors bleed into one another, creating painterly abstractions. How the cylinders were made is shown in a short documentary called Klaus Moje’s Art and Technique. The video plays on a monitor in the show along with two additional videos: Toots Zynsky and The Art of Kiln-Glass. Together the videos take some of the mystery out of this complex and difficult medium. Glass has always been a versatile medium, but Chromatic Fusion underscores that versatility within a context of shared technique. While Klein’s sculptures echo the work of Moje in their banded, colored surfaces, Klein takes his work in another direction. His sculptures often combine two parts: a ball of blown glass resting on a wavy rectangular plane, establishing a relationship between geometric forms and two- and threedimensional space. The work of other artists, particularly Teasdale and Catharine Newell, incorporates figurative imagery, which Teasdale makes by fusing photographic film to the glass. Newell draws with glass by constructing an image out of glass frits. Teasdale’s Metamorphosis is an elegant sculpture that incorporates several antique compacts, each paired with small glass pieces whose shapes correspond to those of the compacts. Portraits can be seen in the glass. Chromatic Fusion works as an introduction to the lesser-known practices of fusing and kiln forming (as opposed to blowing and casting glass), and it offers an opportunity to see art made by top working glass artists. A concurrent exhibition organized by Bullseye Glass Company, Emerge 2012: A Showcase of Rising Talents in Kiln-Glass, resides in an adjoining gallery. Emerge 2012 is Bullseye’s seventh biennial juried show featuring new artists. It was juried by Chromatic Fusion curator Laura Addison, Moje, and artist Silvia Levenson. Emerge dovetails nicely with Chromatic Fusion as a show of exceptional quality. The exhibits not only look good but look good together. While glass exhibits are being mounted nationwide due to the 50th anniversary of the studio glass movement, Chromatic Fusion is the exhibition to see, not only because of the ingenuity of the artists but also because Bullseye has become a formidable presence in the world of glass, developing the technology and materials that kiln-glass artists such as those in Chromatic Fusion rely on. That history is implicit here, though Addison wisely lets the art take center stage. Moje, too, has influenced a generation of artists. Chromatic Fusion avoids work that is derivative of the famous German-born sculptor, choosing instead to focus on Moje and his contemporaries expressing their own unique visions. — Michael Abatemarco

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Michael Abatemarco I The New Mexican

Exquisite debris Sergio Garval piles it on

My name is Ozymandias, King of Kings; Look on my Works, ye Mighty, and despair! — from “Ozymandias” by Percy Bysshe Shelley

Sergio Garval: Ozymandias VII, 2012, oil on panel, 96 x 48 inches Right, The Chair, 2012, bronze, 32 x 15 x 13.75 inches Opposite page, Ozymandias II, 2012, oil on canvas, 72.8 x 90.5 inches

October 19 -25, 2012

he subject of Shelley’s poem may once have been a proud king, a builder of monuments. But as the poem’s narrator recounts, the king’s words are nearly all that remain of his empire, a faint memory of a time long past. In Sergio Garval’s paintings, people move through middens of children’s toys and junked cars as if through the remnants of a once-great civilization. Perhaps they are searching for an innocence left behind. Some move through these strange landscapes in business dress. Others are naked or half-naked, women’s breasts hanging from open robes and blouses. Some sit or stand atop automobiles sinking into deep water. In one painting, a woman chats idly on a cellphone, sitting on the roof of a half-submerged vehicle, unconcerned about or unaware of her predicament. “The vehicles are absurd shipwrecks,” Garval told Pasatiempo.. “I like to put them in the middle of the water because it expresses a fragile condition. I take the person and put them in these absurd situations. I like to create a tension in the painting, like taking a wire and stretching it, and the tension in the middle is the scene.” The immediate impression of Garval’s paintings and sculptures, on view in the exhibit Ozymandias at Evoke Contemporary, is one of ludicrous action. In a sculpture called Chair,, for instance, a minotaur stands on the seat of a chair as if making a pronouncement. In another sculpture, a man wearing a miter stands inside a shopping cart. In the painting Ozymandias VI,, a man checks his cellphone amid the disarray of tumbled furniture, old luggage, a painting, and a television. Garval’s work has elements of Baroque composition, configurations that pull the eye upward to a central or solitary figure. “My work is a fusion of different movements and influences with a contemporary vision,” he said. His subjects are rendered in vivid detail. While a 17th-century Baroque painter might locate a visionary scene, such as the assumption of Christ, amid a swirling tangle of cherubim and angels and framed by heavenly light, Garval does the same with the detritus of modern life. In Ozymandias I,, a woman rests half-naked in her bathrobe, like a shabby, secular Venus borne on a tide of broken toys. Cherubim and angels have been replaced by teddy bears and infant dolls, some missing limbs. “Part of my intention is to take the elements that the

The waters upon which Sergio Garval’s islands of debris float might be those of memory and time, full of sunken, broken dreams. people collect — they’re collectors of garbage. But it’s a special, sophisticated garbage. For example, toys and vehicles and suitcases. They are not new. They’re old and degraded because I want to paint the time between when people used these objects and now.” Most of the settings in which Garval places his subjects are amorphous worlds of sea and sky, without details to provide geographic context. They are surreal

landscapes in which a dispassionate human drama unfolds. The artist presents a drowning world of consumer culture peopled with indifferent characters, a world in which we sense existential dread. Ozymandias VII is an unsettling painting of a woman with a pale and troubled face, Garval’s near-ubiquitous child’s toys at her feet, a pistol in her hand. Among the objects included in this and other paintings are toys based on Eeyore from Winnie-thePooh, Sesame Street characters, the Muppets, and SpongeBob SquarePants. These playthings might have once belonged to the adults in the paintings. Now they are discarded, uncared for, left to the elements. The people Garval paints appear self-absorbed. Even when two or more human figures are placed together, they maintain a separateness and are not communicating. Except for their surroundings, their casual appearances have an air of normalcy. They are figures whose anonymity suggests that Garval is showing us not individuals but representatives of humanity at large — or at least of

a Western way of life. Garval’s work expresses a dark side of our consumer culture. “The principal element is humanity,” he said. “I like to use irony and the black humor to reflect the spectacle of life. I think the cycle is complete when people confront the painting.” The waters upon which Garval’s islands of debris float are open to interpretation. They might be the waters of memory and time, full of sunken, broken dreams. The material things of Garval’s compositions are the shattered monuments of our own recent past. As Shelley wrote, “Nothing beside remains. Round the decay/Of that colossal Wreck, boundless and bare/The lone and level sands stretch far away.” ◀

details ▼ Sergio Garval: Ozymandias ▼ Opening reception 5 p.m. Friday, Oct. 19; exhibit through November ▼ Evoke Contemporary, 130-F Lincoln Ave., 995-9902

PASATIEMPO

Rob DeWalt I The New Mexican

Three-part dissonance

n the Martin Gore song “In a Manner of Speaking,” Gore sings, “I just want to say/that I could never forget the way/you told me everything/by saying nothing. ... In a manner of speaking/semantics won’t do/in this life that we live/we only make do/ and the way that we feel/might have to be sacrificed.” Sacrifice — of love, identity, childhood, and even life — is the building block of Lee Blessing’s penetrating, heart-wrenching play Eleemosynary, a jarring family drama steeped in the thrust of words and, more pressing, in the unmitigated power of the unspoken. The play opens Theaterwork’s 17th season on Friday, Oct. 19. First performed in Minneapolis in 1985, Eleemosynary was awarded the Los Angeles Drama Critics Circle Award in 1996. The story centers on three different people in the Wesbrook family: 75-year-old Dorothea Wesbrook, an eccentric with an interest in New Age spirituality; her middle-aged daughter, Artie; and Echo, Artie’s 16-year-old daughter. Dorothea, who has suffered a stroke, has always complicated the lives of Artie and Echo by imposing her odd ways and misplaced hopes and dreams on them. The tension this has caused has created a deep familial rift that finds Artie scrambling to escape from daughterhood — and motherhood. At the

beginning of the play, Echo cares for Dorothea. Artie is not around to help because she has all but abandoned her daughter and mother, burying her nose in scientific research to keep the guilt and other uncomfortable feelings sparked by multiple family losses at bay. As a sort of defense mechanism, Echo has retreated into the world of spelling bees, her love and passion for words and their meanings spurred by Dorothea’s insistence that she be a learned woman. (The play’s title, meaning “of or related to charity,” is among the words Echo practices spelling.) “You have a right to an intellectual life,” says Dorothea, whose eccentricity developed during the ’40s in reaction to her oppressive marriage to an unapologetic womanizer. Theaterwork artistic director David Olson said that he believes it was Dorothea’s idiosyncrasies that pulled her away from the family’s center — and, in a way, from her own. “Is that the greatest way to be a parent?” Olson asked. “Probably not. But Dorothea, like Artie and Echo, is running from something oppressive in her life.” “There’s something about the Wesbrook women,” Echo says. “We have this expectation about ourselves. To be extraordinary. It’s a little like having a disease in the family. ... At twelve, I decided to be the greatest

Theaterwork’s Eleemosynary 46

October 19 -25, 2012

Production photos Petr Jerabek

The persistence of mom-ory: From left, Trish Vecchio, Angela Janda, and Leslie Harrell Dillen

speller in history. For life. I didn’t realize only kids had spelling bees. I thought there was an adult division.” Olson directs the play, and he and the threemember cast — Angela Janda as Echo, Trish Vecchio as Artie, and Leslie Harrell Dillen as Dorothea — bring Blessing’s work to the stage in an intimate arrangement, with the stage butted right up against the audience. Olson asked his cast to be pretty much off-book by the first day of rehearsals. The minimal props, set pieces, and costumes that make up the play’s intentionally sparse aesthetic were already in place. Olson wanted those details out of the way beforehand so he could focus on the challenges the play poses for its actors. The fractured chronology of Eleemosynary finds the actors switching emotional states — and ages — on a dime. Blessing, who obtained an MFA from the Iowa Writer’s Workshop with a focus on poetry, lends the play a particular cadence. You can almost sing the script, even when you reach a spelling-bee word that is so foreign to your eyes and tongue that your first instinct is to skip over it. But each word, each pause, and each shift in time and emotional weight is distilled with intent by the playwright. “Why did I write Eleemosynary?” Blessing wrote in an email to Olson. “I had been trying to write plays with women in them, and the easiest way to ensure that was to write plays which contained only women.” (Before rehearsals, some of Olson’s cast members asked if Blessing was, indeed, a woman.) “You might say I

wrote the play the way I might have written a poem, drawing from a number of disparate, unconnected sources and building something more by instinct than design.” Eleemosynary navigates big issues such as abortion, abandonment, and motherhood, but Olson and Blessing see eye to eye on the play’s underlying recognition of the subtle moral choices we make every day. Whether the choice is to turn a deaf ear, slip into silence, trade kindness for cruelty, or escape into fantasy to evade the pain we bring upon ourselves, the decisions we make — even the small ones or those made in haste — always come home to roost. “The art of theater brings us together around memory, contemplation, and craft,” Blessing wrote to Olson. “The art of the theater sets out something that cannot be silenced — the incessant — the voices just within and outside our reach. Whatever path we take, whatever field or fields we choose to enter, the one constant we find is that moral challenges await us. At every step we have to decide who we are — and who we are will change!” ◀

details ▼ Theaterwork presents Eleemosynary ▼ 7:30 p.m. Friday & Saturday, Oct. 19 & 20; 2 p.m. Sunday, Oct. 21; continues Oct. 25 to 28 ▼ James A. Little Theater, New Mexico School for the Deaf campus, 1060 Cerrillos Road ▼ $15, students $10; 471-1799, www.theaterwork.org

PASATIEMPO

Rob DeWalt I The New Mexican

A new experimental-theater laboratory

Scene from Laura Stokes’ Stable, performed in BINGO!

anta Fe art collective Meow Wolf is always up to something, whether it’s building a 70-foot-long wooden ship inside a hollowed-out gallery space and then throwing concerts on the ship’s deck or collaborating with local nonprofits to develop educational-outreach programs that help engage local youths in the hands-on creative process. In 2010, the collective branched out into the realm of live theater. That tradition continues with BINGO!, a series of performance showcases created in collaboration with Santa Fe Performing Arts. The first showcase enjoys a twoweekend run at the Armory for the Arts Theater beginning Friday, Oct. 19. Because this is a Meow Wolf production, expect a little of the unexpected. According to Meow Wolf co-founder Vince Kadlubek, you should also get ready to play some actual bingo for prizes. Pasatiempo: Fall is typically a busy season for theater in Santa Fe. Why did Meow Wolf decide to put together a showcase — and why now? Vince Kadlubek: On a personal level, I had a few pieces that I had created and submitted to Meow Wolf Publishing, the collective’s literary arm, and they seemed to me to be solid theater works. I wanted a platform to showcase those. In the larger scheme of things, Meow Wolf wanted to follow up on a showcase night it did at the Lensic in March, which was quite successful. But we had a 48

October 19 -25, 2012

desire to focus more on theater rather than music. We wanted a night where people could present pieces they’d been working on but didn’t have a space in which to perform. If you have a piece that’s five minutes long or a one-act, for instance, it’s really difficult to show it or produce it as a stand-alone in Santa Fe. It’s cost-prohibitive and not enough bang for the buck. Our way, we produce an hour and a half of material, and the local theater community, hopefully, plugs into it for future endeavors. Pasa: Did Meow Wolf extend an invitation to people for the showcase? Were there auditions? Kadlubek: We sent out a call for works and talked to people that we already knew. [Meow Wolf co-founder and SFPA associate artistic director] Megan Burns is in a lot of the pieces, and she’s pretty well connected in the local theater sphere. What we found was that, for a lot of people, October was either coming up too fast for them or they were too busy with other things. But we have a lot of expressed interest in December, February, and April, when we plan to do future installments of the showcase. It’s motivating people to finish pieces that have been on their minds but not necessarily fleshed out. I hope more people catch on, play with it, and have fun with it and create experimental or really weird theater in the process. Pasa: There doesn’t seem to be an overriding theme to the first showcase, but to keep it experimental, that’s no accident, is it?

INSIGHTPHOTO

Kadlubek: There isn’t really a theme, but we are going to tie together the episodes aesthetically and in terms of mood. The October shows are definitely geared toward a Halloween sensibility — sort of creepier, darker, edgier, and definitely more adult-oriented. The central piece of the October showcase is circus-arts experimentalist Laura Stokes’ Stable, and it fits right in here. Stokes plays a troubled character, and you see her story arc as it moves through her last moments of life, expressed through contortionism and acrobatic aerial moves. Every showcase, we hope, will have one anchor piece like Stable that by itself is worth the price of admission. [Stable had its Santa Fe premiere at the Center for Contemporary Arts in August as part of Team Everything’s Be It, Hear It visual art/performance series.] But we want everyone to see BINGO! as an opportunity to workshop pieces and to not be afraid of the material being raw when they come in. We’ve already got a piece from Ironweed Productions artistic director Scott Harrison lined up for a December showcase — a piece he hadn’t thought about doing as a full Ironweed show. We want BINGO! to be a great sandbox for writers and performers, both novices and pros. Pasa: Although the first BINGO! event has a dark feel to it, Meow Wolf still plans on taking a few detours into comedy. Can you elaborate a little on the other pieces in the show? Kadlubek: XX is a piece I wrote and Megan Burns directs and stars in. It’s a four-member cast. The piece is a sort of adult-themed flash-fiction hipster tragedy adapted for the stage — that’s the best way to describe it, I think. For another piece, there’s an amazing website called www.whatisgoddoing. info that was created to allow people to share their stories about how God is impacting their lives. Instead, the site has been overrun by this autogenerated spam program that has replaced stories on the site with broken-English solicitations for knockoff athletic shoes and cheap curtains. We’ll be reading excerpts from the actual website. We hope to read from that site, and maybe others, in future showcases. Annie Kohn, the artistic director for Belisama Contemporary Dance, has choreographed for Meow Wolf in the past, and she’s presenting a dance piece called Echo. Pasa: There is also a piece called Cartographist, and it’s billed as a one-act performed by seasoned actors Michael Graves and Jennifer Graves. What is it about? Kadlubek: That’s another piece of flash fiction I wrote, a sort of character study that deals with a couple of older people, one of whom is on their deathbed. The piece is half dialogue-driven theater and half interpretive dance. Four other pieces — Smackalope, Bomb-Dingy, Chut Up Gurl, and Death by Gay — are super-short character explorations, like a minute and a half each, of people’s voices that pop into my head when I’m driving in my car. Pasa: For earlier theater projects, such as your 2010 production The Moon Is to Live On, props, elaborate sets, lights, and effects were part of the program. Did Meow Wolf go into the BINGO! project with a budget in mind? Kadlubek: There isn’t a working budget for this project because it’s so loose at times. We have a sense of how people are getting paid. It isn’t going to be as elaborate as other productions. The percentages at the door are split up among those who do the writing, directing, and performing. Meow Wolf as an entity only takes in about 15 percent, and the rest goes to pay the contributors, who range in age from 10 to 75. Pasa: And finally, some of you plan to recreate dialogue scenes from the 1988 cult-classic film Heathers. Why? Kadlubek: We were thinking about cover songs and about how singersongwriters will do stripped-down versions of big hits, and we decided we’d try the same thing for popular films, but on a theater stage. Every showcase will hopefully include cover scenes from movies. In fact, we’re thinking of covering some scenes from Jurassic Park in the future! ◀

ADDDDDDDDDDDDDDDDDDF H H H H H H The Art of Conducting H H H Oliver Prezant will explore the pleasures and pit- H falls of working with singers, instrumentalists and H H composers in the opera house and the concert hall. H H 5:30PM —Wednesday, October 24 H Unitarian Universalist Congregation of Santa Fe H 107 W. Barcelona St. H H Free to members of all Guilds. H H Non-members $10, or join at the door from $35 per year. JLLLLLLLLLLLLLLLLLL:

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details ▼ BINGO! ▼ 7 p.m. Friday & Saturday, Oct. 19 & 20 and 26 & 27; 4 p.m. Sunday, Oct. 21 & 28 ▼ Armory for the Arts Theater, 1050 Old Pecos Trail ▼ $15, students $10, under 21 $5; 984-1370

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MOVING IMAGES pasa pics

— compiled by Robert Ker

many activists, politicians, and government agencies together in the name of saving lives. Not rated. 109 minutes. Center for Contemporary Arts, Santa Fe. (Rob DeWalt) See review, Page 56. 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. The biggest difference may simply be the “4” in the title. Rated R. 95 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) PERFORMANCE AT THE SCREEN The series of high-definition screenings of performances from afar continues with a showing of the ballet L’altra metà del cielo, choreographed by Martha Clarke, from Teatro Alla Scala in Milan. Sabrina Brazzo, Andrea Volpintesta, and Beatrice Carbone star. 11 a.m. Sunday, Oct. 21, only. Not rated. 87 minutes (no intermission). The Screen, Santa Fe. (Not reviewed) Resisting a dress: Tyler Perry, left, and Ed Burns, right, in Alex Cross, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week ALEX CROSS Matthew Fox (Lost) plays against type by embodying a psychopathic killer, and Tyler Perry plays against type by not dressing up like an old woman. Instead, he portrays the detective who plays cat to Fox’s mouse in this gritty adaptation of James Patterson’s airport paperback. Rated PG-13. 102 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) BEL BORBA AQUI Follow artist Bel Borba, “the people’s Picasso,” as he travels the streets of his native Salvador, Brazil, seeking inspiration and transforming the city into a work of art. Compelling sequences reveal the spontaneity with which he realizes his projects. Bel Borba Aqui is an eclectic mix of visual poetry and music, but it offers no great insights and never ventures deeper than showing the artist engaged in his work. Not rated. 94 minutes. In English and Portuguese with subtitles. The Screen, Santa Fe. (Michael Abatemarco) See review, Page 54. BLESS ME, ULTIMA In lesser hands, the film adaptation of Rudolfo Anaya’s classic novel could have been a victim

October 19 -25, 2012

of 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. ( Jennifer Levin) HOW TO SURVIVE A PLAGUE In his emotionally charged debut as a documentary filmmaker, journalist David France (author of Our Fathers: The Secret Life of the Catholic Church in an Age of Scandal) draws on a treasure trove of archival footage to reveal the triumphs and turmoil that occurred among AIDS activists in the ’80s and ’90s, with particular focus on civil disobedience and the groups ACT UP and TAG. Delineating both the allies and the enemies of those hoping to find viable treatments for the AIDS virus in the face of societal ignorance, media apathy, and political opposition, France occasionally stoops to the demonization of his enemies, detracting from the spirit of cooperation that eventually brought

TRUE WOLF For about 16 years, Bruce Weide and Pat Tucker shared their Montana home with Koani, a gray wolf born in captivity, and this unflinching homespun documentary preserves many of their shared experiences. We see Koani grow from a pup to a snarling, playful adolescent who becomes semi-domesticated with the introduction of a vigorous walking schedule and a close canine companion. She also makes appearances in educational programs across the country (led by Tucker, to whom Koani is secured with a length of climbing rope). The film and its human protagonists are refreshingly unmanipulative, keenly analyzing the bad rap the wolf has received in folklore and turning an equally wary eye toward any naive idealization of the apex predator. Panel discussion with members of WildEarth Guardians follows the 7 p.m. Saturday, Oct. 20, screening. Not rated. 76 minutes. The Screen, Santa Fe. (Jeff Acker) 2012 SANTA FE INDEPENDENT FILM FESTIVAL The festival runs through Oct. 21 at venues throughout Santa Fe. This year’s program includes features and shorts that have shown well at other festivals, such as the East German skate doc This Ain’t California, Danish nuclear-storage doc Into Eternity, and the Ugandan gayrights exposé Call Me Kuchu. The buzz surrounding the festival’s features centers on two films with strong New Mexico ties. Bless Me, Ultima, an adaptation of Rudolfo Anaya’s 1972 novel, screened on Oct. 18. Tiger Eyes, an adaptation of a Judy Blume book directed by her son, Lawrence Blume, screens Sunday, Oct. 21. See www.santafeiff.com for details.

now in theaters ARBITRAGE This is a thriller in the Hitchcockian mold, with clever writing despite a few bothersome split ends and plot contrivances. Richard Gere plays a high-rolling Wall Street trader who gets in trouble on a couple of fronts, one involving cooked books, the other involving a dead body. Writer-director Nicholas Jarecki offers an ambiguous moral tone in this wellcrafted first narrative feature. Whom audiences find themselves rooting for, and how they feel about the story’s outcome, may reflect something of their political philosophies. Rated R. 100 minutes. The Screen, Santa Fe. ( Jonathan Richards) ARGO Ben Affleck takes a true story by the throat and delivers a classic seatsquirming, pulse-pounding nail-biter. In 1980, as the world watched the hostages in the U.S. embassy in Tehran, a small group of Americans made it to the Canadian ambassador’s residence and hid out there while the White House and the CIA desperately tried to figure out how to spirit them out of the country. The plan? Pretend to be making a sci-fi film and disguise the Americans as members of a Canadian location-scouting crew. A terrific cast is headed by Affleck as the CIA operative, with Alan Arkin and John Goodman at the Hollywood end 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) ATLAS SHRUGGED: PART II Audiences shrugged at the 2011 adaptation of Ayn Rand’s novel, but that hasn’t stopped the production of a sequel. Every role was recast. Dagny Taggart, played by Taylor Schilling, is replaced by Samantha Mathis. Henry Rearden, played by Grant Bowler, is now embodied by Jason Beghe. Who is John Galt? That depends on which TV-movie actor responded to the latest casting call. Rated PG-13. 112 minutes. Regal DeVargas, Santa Fe. (Not reviewed) END OF WATCH Filmmaker David Ayer’s childhood experiences in South Central L.A. inform his work as a writer (Training Day) and a writer/director (Harsh Times). He hits the streets again with this story of two cops ( Jake Gyllenhaal and Michael Peña) who make enemies of a drug cartel. Rated R. 109 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) FRANKENWEENIE One of director Tim Burton’s first works was Frankenweenie, a 1984 short film about a boy who brings his

dead pet back to life. Here, Burton resurrects the concept as a feature-length tribute to the horror cinema of yesteryear. The minimalist black-and-white stop-motion animation (which looks swell in 3-D) and many references — characters act like Vincent Price, Peter Lorre, and Fu Manchu — nicely evoke classic scare flicks from Universal to Hammer to Toho (Godzilla). Aside from nostalgia, however, there isn’t much to justify stretching this flimsy story out by nearly an hour. Rated PG. 87 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. Screens in 2-D only at Storyteller, Taos. (Robert Ker) HERE COMES THE BOOM Kevin James plays a teacher so devoted to his pupils that when the school faces budget cuts, he embarks on a mixed-martial-arts career to raise funds. He gets beaten up badly, presumably to comic effect, but will this sacrifice help him land the girl (Salma Hayek)? Rated PG. 105 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (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 animated monster mash — the hotel was created to give monsters sanctuary from people — and falls in love with Drac’s daughter (Selena Gomez). Rated PG. 95 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) THE INTOUCHABLES François Cluzet stars as Philippe, a wealthy man who loses his wife and the use of his arms and legs in an accident. He hires Driss (Omar Cy), a Senegalese ex-con, to be his caretaker. The film suggests one can overcome any differences to bond with another person, especially if you totally rely on that person. Rated R. 112 minutes. In French with subtitles. Regal DeVargas, Santa Fe. (Not reviewed) KILLER JOE Director William Friedkin (The Exorcist) and writer Tracy Letts team up on a film noir adaptation of Letts’ first play. It’s a murder plot featuring some low-wattage types conniving to get at life-insurance money. As the hired killer who is yards cooler and smarter than the people engaging his services, Matthew McConaughey confirms his midcareer resurrection with a smoothly electric performance that commands the attention of everyone on both sides of the screen. Friedkin wastes it a bit with some over-the-top violence and depravity, but it’s still a stylish, violent, and darkly comic noir thriller. Rated NC-17. 103 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards)

Paranormal Activity 4

LAWLESS Tom Hardy plays a Prohibition-era boot-legger in Virginia. He and his brothers (Shia LaBeouf and Jason Clarke) try to keep their business running in the face of crooked authorities (led by Guy Pearce) and rival gangsters (led by Gary Oldman). Writer Nick Cave (yes, the musician) and director John Hillcoat, who teamed on 2005’s The Proposition, collaborate on this tommy-gun-and-fedora picture. Rated R. 115 minutes. Regal DeVargas, Santa Fe. (Not reviewed) LOOPER Writer and director Rian Johnson and actor Joseph GordonLevitt collaborated on the 2005 high-school noir Brick. They reunite for this timetravel tale — more noir than sci-fi, alternating locales between a futuristic urban jungle and a Midwestern cornfield — in which Gordon-Levitt plays Joe, a hit man who murders chumps that the mob from the future sends back in time to him. One day, however, the chump from the future turns out to be Joe (now played by Bruce Willis), and he gets away. Questions of fate and consequence arise artfully throughout the chase. The prosthetics and acting tics Gordon-Levitt uses to embody a young Willis can be distracting, but everything else is engrossing. Rated R. 118 minutes. Regal Stadium 14, Santa Fe. (Robert Ker)

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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 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 half-brother, Patrick (Ezra Miller). Rated PG-13. 103 minutes. Regal DeVargas, Santa Fe. (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 Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. ( 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)

spicy bland

medium

mild

heartburn

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

October 19 -25, 2012

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) 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 cast seems to be having a good time — Rockwell is perhaps having too good a time — 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 shortstory collection than a cohesive novel. Rated R. 109 minutes. Regal Stadium 14, Santa Fe. (Robert Ker) SINISTER Halloween scares are just around the corner — or hiding in the closet or under the bed — waiting for just the right moment to jump out and say, Boo! Ethan Hawke plays a writer who finds himself in a house haunted by some kind of demon that’s coming after his kids. Boo! Wait, it was just the cat that time. Rated R. 110 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) 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 7 and 8 screen at 11 a.m. Saturday, Oct. 20; episodes 5 and 6 are shown at 7 p.m. Sunday, Oct. 21. 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; Storyteller, Taos. (Not reviewed) TO ROME WITH LOVE Nobody can make love to a city like Woody Allen. When he was young, his heart belonged to New York. Then it was London, and then Barcelona. After the heady triumph of Midnight in Paris, To Rome With Love is a grab bag of mini plots and wisecracks, a Fontana di Trevi of humor spewing cool, refreshing gags. This is Allen in his comic wheelhouse, spinning the kind of yarns he started his career with. There are several different stories, the gags come thick and fast, and Rome never looked better. Rated R. 112 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) UNFORGIVABLE Novelist Francis (André Dussollier) and his wife, Judith (Carole Bouquet), live together on Sant’Erasmo, an island off the Italian coast near Venice. When Francis’ daughter and granddaughter come for a vacation, Alice, who is separated from her husband and has a drug-dealing aristocratic ex in the city, disappears. You’d be forgiven for thinking that this is a thriller, but the man behind this movie is celebrated French screenwriter-director André Téchiné. His focus is human behavior and the fact that we always hurt the ones we love. Not rated. 111 minutes. In French and Italian with subtitles. The Screen, Santa Fe. (Laurel Gladden)

other screenings Center for Contemporary Arts 7 p.m. Thursday, Oct. 25: Celebrating Archives: Selections from the Kahn Family Films. Museum of Contemporary Native Arts 108 Cathedral Place, 983-1666 Grab. Taos Community Auditorium 133 Paseo del Pueblo Norte, Taos, 575-758-2052 Sunday-Tuesday, Oct. 21-23: Robot & Frank. ◀

WHAT’S SHOWING Call theaters or check websites to confirm screening times. CCA CINEMATHEQUE AND SCREENING ROOM

1050 Old Pecos Trail, 982-1338, ccasantafe.org Celebrating Archives: Selections from the Kahn Family Films (NR) Thurs. 7 p.m. How to Survive a Plague (NR) Fri. 3 p.m.

Sat. and Sun. 3:15 p.m. Mon. to Wed. 5 p.m. Thurs. 4:30 p.m. Samsara (PG-13) Fri. 12 p.m. Sat. 5:30 p.m., 7:30 p.m. Sun. 1:15 p.m., 5:30 p.m., 7:30 p.m. Mon. to Wed. 3 p.m., 7:15 p.m. Thurs. 2:30 p.m. Searching for Sugar Man (PG-13) Fri. 1 p.m., 8:20 p.m. Sat. and Sun. 12:15 p.m., 2:15 p.m., 4:15 p.m., 6:15 p.m., 8:15 p.m. Mon. to Wed. 4 p.m., 6 p.m., 8 p.m. Thurs. 2 p.m., 4 p.m., 6 p.m., 8 p.m. REGAL DEVARGAS

562 N. Guadalupe St., 988-2775, www.fandango.com Atlas Shrugged: Part 2 (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. The Intouchables (R) Fri. and Sat. 1:10 p.m., 3:50 p.m., 6:50 p.m., 9:50 p. m. Sun. to Thurs. 1:10 p.m., 3:50 p.m., 6:50 p.m. Killer Joe (NC-17) Fri. and Sat. 1:40 p.m., 10:05 p.m. Sun. to Thurs. 1:40 p.m. Lawless (R) Fri. to Thurs. 4:40 p.m., 7:30 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 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. To Rome With Love (R) 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. REGAL STADIUM 14

3474 Zafarano Drive, 424-6296, fandango.com Alex Cross (PG-13) Fri. to Thurs. 12 p.m., 2:35 p.m., 5:10 p.m., 7:45 p.m., 10:20 p.m. Argo (R) Fri. to Thurs. 12:45 p.m., 4 p.m., 7 p.m., 9:55 p.m. Bless Me, Ultima (PG-13) Fri. to Thurs. 12 p.m., 2:25 p.m., 4:55 p.m., 7:30 p.m., 10:05 p.m. End of Watch (R) Fri. to Thurs. 12:05 p.m., 2:35 p.m., 5:10 p.m., 7:50 p.m., 10:30 p.m. Frankenweenie (PG) Fri. to Thurs. 12:10 p.m., 4:45 p.m., 9:25 p.m. Frankenweenie 3D (PG) Fri. to Thurs. 2:25 p.m., 7:05 p.m. Here Comes the Boom (PG) Fri. 4:15 p.m., 7:15 p.m., 9:50 p.m. Sat. 12:15 p.m., 7:15 p.m., 9:50 p.m. Sun. 4:15 p.m., 7:15 p.m. Mon. 4:15 p.m., 9:50 p.m. Tue. to Thurs. 12:15 p.m., 4:15 p.m., 7:15 p.m., 9:50 p.m. Here Comes the Boom (PG) open captioned Fri. 12:15 p.m. Sat. 4:15 p.m. Sun. 12:15 p.m., 9:50 p.m. Mon. 12:15 p.m., 7:15 p.m. HotelTransylvania (PG) Fri. to Thurs. 12:10 p.m., 2:35 p.m., 5 p.m., 7:25 p.m. HotelTransylvania 3D (PG) Fri. to Thurs. 9:50 p.m. Looper (R) Fri. to Thurs. 12:25 p.m., 4:05 p.m., 7:10 p.m., 10 p.m. Paranormal Activity 4 (R) Fri. to Thurs. 12:30 p.m., 3 p.m., 5:30 p.m., 8 p.m., 10:20 p.m. Pitch Perfect (PG-13) Fri. to Thurs. 12:20 p.m., 4:10 p.m., 7:10 p.m., 9:55 p.m. Seven Psychopaths (R) Fri. to Mon. 12:35 p.m., 4:35 p.m., 7:35 p.m., 10:15 p.m. Tues. to Thurs. 12:35 p.m., 7:35 p.m. Seven Psychopaths (R) open captioned Tues. to Thurs. 4:35 p.m., 10:15 p.m. Silent Hill: Revelation 3D (R) Thurs. 10 p.m. Sinister (R) Fri. to Thurs. 12:40 p.m., 4:40 p.m., 7:40 p.m., 10:25 p.m. Taken 2 (PG-13) Fri. to Thurs. 12:05 p.m., 12:35 p.m., 2:30 p.m., 3 p.m., 4:55 p.m., 5:25 p.m., 7:20 p.m., 7:55 p.m., 9:45 p.m., 10:15 p.m. THE SCREEN

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, thescreensf.com L’Altra Metà del Cielo:Teatro alla Scala (NR) Sun. 11 a.m. Arbitrage (R) Fri. 8:30 p.m. Sat. 3:10 p.m. Wed. and Thurs. 4 p.m.

Bel Borba Aqui (NR) Fri. 3 p.m. Sat. 1:15 p.m.,

5:10 p.m. Sun. 1:15 p.m. Mon. to Thurs. 7:30 p.m. The Story of Film: Parts 7 & 8 (NR) Sat. 11 a.m. The Story of Film: Parts 5 & 6 (NR) Sun. 7:15 p.m. True Wolf (NR) Fri. 5 p.m. Sat. 7 p.m. Sun. to Thurs. 6 p.m. Unforgivable (NR) Sun. to Tue. 3:30 p.m. STORYTELLER DREAMCATCHER CINEMA (ESPAÑOLA)

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, storytellertheatres.com Alex Cross (PG-13) Fri. 3:55 p.m., 6:30 p.m., 9:05 p.m. Sat. 12:50 p.m., 3:55 p.m., 6:30 p.m., 9:05 p.m. Sun. 12:50 p.m., 3:55 p.m., 6:30 p.m. Mon. to Thurs. 3:55 p.m., 6:30 p.m. Argo (R) Fri. 4:05 p.m., 6:55 p.m., 9:40 p.m. Sat. 1:15 p.m., 4:05 p.m., 6:55 p.m., 9:40 p.m. Sun. 1:15 p.m., 4:05 p.m., 6:55 p.m. Mon. 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. 1 p.m., 4 p.m., 7 p.m., 9:30 p.m. Sun. 1 p.m., 4 p.m., 7 p.m. Mon. to Thurs. 4 p.m., 7 p.m. Frankenweenie (PG) Fri. to Thurs. 4:20 p.m. Frankenweenie 3D (PG) Fri. 8:50 p.m. Sat. 1:20 p.m., 6:40 p.m., 8:50 p.m. Sun. 1:20 p.m., 6:40 p.m. Mon. to Thurs. 6:40 p.m. Here Comes the Boom (PG) Fri. 3:50 p.m., 6:15 p.m., 8:55 p.m. Sat. 12:55 p.m., 3:50 p.m., 6:15 p.m., 8:55 p.m. Sun. 12:55 p.m., 3:50 p.m., 6:15 p.m. Mon. to Thurs. 3:50 p.m., 6:15 p.m. HotelTransylvania (PG) Fri. to Thurs. 4:10 p.m. HotelTransylvania 3D (PG) Fri. 6:50 p.m., 9 p.m. Sat. 1:10 p.m., 6:50 p.m., 9 p.m. Sun. 1:10 p.m., 6:50 p.m. Mon. to Thurs. 6:50 p.m. Paranormal Activity 4 (R) Fri. 3:45 p.m., 6:45 p.m., 9:10 p.m. Sat. 1:25 p.m., 3:45 p.m., 6:45 p.m., 9:10 p.m. Sun. 1:25 p.m., 3:45 p.m., 6:45 p.m. Mon. to Thurs. 3:45 p.m., 6:45 p.m. Pitch Perfect (PG-13) Fri. 4:30 p.m., 7:15 p.m., 9:45 p.m. Sat. 1:30 p.m., 4:30 p.m., 7:15 p.m., 9:45 p.m. Sun. 1:30 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs. 4:30 p.m., 7:15 p.m. Sinister (R) Fri. 4:25 p.m., 7:05 p.m., 9:20 p.m. Sat. 1:35 p.m., 4:25 p.m., 7:05 p.m., 9:20 p.m. Sun. 1:35 p.m., 4:25 p.m., 7:05 p.m. Mon. to Thurs. 4:25 p.m., 7:05 p.m. Taken 2 (PG-13) Fri. 4:15 p.m., 7:10 p.m., 9:35 p.m. Sat. 1:05 p.m., 4:15 p.m., 7:10 p.m., 9:35 p.m. Sun. 1:05 p.m., 4:15 p.m., 7:10 p.m. Mon. to Thurs. 4:15 p.m., 7:10 p.m. MITCHELL STORYTELLER CINEMA

110 Old Talpa Canon Road, 575-751-4245 Argo (R) Fri. 4:25 p.m., 7 p.m., 9:35 p.m. Sat. 1:55 p.m., 4:25 p.m., 7 p.m., 9:35 p.m. Sun. 1:55 p.m., 4:25 p.m., 7 p.m. Mon. to Thurs. 4:25 p.m., 7 p.m. Frankenweenie (PG) Fri. 4:30 p.m., 7:05 p.m. Sat. and Sun. 2 p.m., 4:30 p.m., 7:05 p.m. Mon. to Thurs. 4:30 p.m., 7:05 p.m. Here Comes the Boom (PG) Fri. 4:35 p.m., 7:10 p.m., 9:50 p.m. Sat. 2:15 p.m., 4:35 p.m., 7:10 p.m., 9:50 p.m. Sun. 2:15 p.m., 4:35 p.m., 7:10 p.m. Mon. to Thurs. 4:35 p.m., 7:10 p.m. HotelTransylvania (PG) Fri. 4:40 p.m. Sat. and Sun. 2:20 p.m., 4:40 p.m. Mon. to Thurs. 4:40 p.m. HotelTransylvania 3D (PG) Fri. and Sat. 7:15 p.m., 9:40 p.m. Sun. to Thurs. 7:15 p.m. Paranormal Activity 4 (R) Fri. 4:50 p.m., 7:20 p.m., 9:55 p.m. Sat. 2:10 p.m., 4:50 p.m., 7:20 p.m., 9:55 p.m. Sun. 2:10 p.m., 4:50 p.m., 7:20 p.m. Mon. to Thurs. 4:50 p.m., 7:20 p.m. Pitch Perfect (PG-13) Fri. and Sat. 9:30 p.m. Sinister (R) Fri. 4:55 p.m., 7:35 p.m., 9:55 p.m. Sat. 2:30 p.m., 4:55 p.m., 7:35 p.m., 9:55 p.m. Sun. 2:30 p.m., 4:55 p.m., 7:35 p.m. Mon. to Thurs. 4:55 p.m., 7:35 p.m. Taken 2 (PG-13) Fri. 4:45 p.m., 7:30 p.m., 9:45 p.m. Sat. 2:25 p.m., 4:45 p.m., 7:30 p.m., 9:45 p.m. Sun. 2:25 p.m., 4:45 p.m., 7:30 p.m. Mon. to Thurs. 4:45 p.m., 7:30 p.m.

PASATIEMPO

MOVING IMAGES film reviews

Department of public works Michael Abatemarco I The New Mexican Bel Borba Aqui, documentary, not rated, in English and Portuguese with subtitles, The Screen, 3 chiles André Constantini and Burt Sun’s documentary Bel Borba Aqui: Um Homem e uma Cidade (Bel Borba Is Here: A Man and a City) is alive with the spirit of the place where it was filmed. Borba, a sculptor, painter, and graffiti artist — sometimes referred to as “the people’s Picasso” — has made his mark on the Brazilian coastal city of Salvador. So prolific and visible is Borba in executing public art throughout his native metropolis that man and city are practically synonymous. Borba, a charismatic man with a distinctive curled mustache, appears to live a charmed life. Wherever he works, whether employing a crane to paint faces on the exposed beams of a derelict apartment building or covering houses with mosaic tile, he has help. Children join him at his tasks. People watching him work shout out images for him to create, and he obliges. From the opening sequence, we learn that Borba left the museum and gallery scene in 1976 to engage with art on a larger, more public scale. We follow Borba as he drives the streets of Salvador, pointing out the murals and other projects he has made over the past three decades. But where Bel Borba Aqui really comes alive is when the filmmakers show Borba making his art. In one sequence, he is surprised and delighted at discovering a retaining wall untouched by graffiti near the city’s modern-art museum. He plans to transform

October 19 -25, 2012

Salvador darling: Bel Borba

it into something beautiful. We watch him work, using a crane to reach high places with his brushes and rollers. Every interlude in which the artist is shown working (and there are many) is set to a lively soundtrack of catchy Brazilian music. There is plenty of visual spectacle, to be sure. Borba calls intuition, instinct, and spontaneity his most important tools. In a compelling scene, he enters a section of Salvador’s historic São Joaquim Market, where butchers sell animal parts. He takes a number of pigs’ heads, eyes, and hooves; affixes them to torso-shaped clay sculptures; and displays them at the market. His actions catch the attention of a local television crew, which interviews him. Despite an exhaustive schedule, he always makes time for the press. Borba tends to juggle several projects at once. The camera crew follows him as he drives from project to project, working until long after the sun goes down.

He sleeps little and catches what sleep he can where he can. When he rises, he picks up where he left off. Borba is driven to transform his city. In one sequence, he takes a tangled hunk of salvaged metal as big as a car and cuts away all the angles, changing it into a rounded sculpture. A crane deposits the sculpture in a bay, and there it rests for a time. A later scene shows it being raised from the water months afterward, entirely encrusted with barnacles. The small creatures poke out of their shells. They drip and bubble and squirm. For the time they are alive, the metal is mutated into a living sculpture. Borba also spends time preserving a small historic fleet of boats called saveiros, vessels that were once used to transport goods. The shots of Borba sailing with friends are among the few in which he is not working. In these sequences, the filmmakers take advantage of the opportunity to capture panoramic views of Salvador that provide a sense of its scale. With a metropolitan area inhabited by more than 3.5 million people, the city is no mere blip on the map. Bel Borba Aqui is a fascinating but incomplete glimpse of a man at work. More detail about Borba’s break with the gallery system, the reception his work has received in the art world, and the challenges he faces as a graffiti artist would have provided a richer context and made for a more well-rounded feature. Has he ever faced arrest or jail time because of what he does? Bel Borba Aqui does not say. Though Borba states that he always obtains permission before working on a public art project, his wry smile and delivery suggest otherwise. As it is, we learn a lot about how he operates (by the seat of his pants, apparently) but little about his history and relationships. There is plenty of color and spirit in the film but nary a dissenting voice. If pressed to describe his character, what can one say? He is a workaholic who loves his city, and his city loves him. ◀

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Sat Oct 20 12:15p - Sugar Man 1:00p - NMLA: Emerging Cinemas* 2:15p - Sugar Man 3:15p - How to Survive a Plague* 4:15p - Sugar Man 5:30p - Samsara* 6:15p - Sugar Man 7:30p - Samsara* 8:15p - Sugar Man

Sun Oct 21 12:15p - Sugar Man 1:15p - Samsara* 2:15p - Sugar Man 3:15p - How to Survive a Plague* 4:15p - Sugar Man 5:30p - Samsara* 6:15p - Sugar Man 7:30p - Samsara* 8:15p - Sugar Man

Mon-Wed Oct 22-24 3:00p - Samsara* 4:00p - Sugar Man 5:00p - How to Survive a Plague* 6:00p - Sugar Man 7:15p - Samsara* 8:00p - Sugar Man

Thurs Oct 25 2:00p - Sugar Man 2:30p - Samsara* 4:00p - Sugar Man 4:30p - How to Survive a Plague* 6:00p - Sugar Man 7:00p - Celebrating Archives: Selections from the Kahn Family Films* 8:00p - Sugar Man

* indicates show will be in The Studio at CCA, our brand≠ new screening room, for $7.50.

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MOVING IMAGES film reviews

Journal of the plague years Rob DeWalt I The New Mexican How to Survive a Plague, documentary, not rated, CCA Cinematheque, 3.5 chiles For 40 years, author and journalist David France has been on the front lines of global AIDS activism and the fight for gay rights in the United States. A former philosophy student who moved to New York from the Midwest, France experienced the deep-seated discrimination and ignorance regarding the gay community and people living with AIDS firsthand, in both government and the media, in the 1980s. In a September interview with Kee Chang in Anthem Magazine, France recalled that as a budding reporter, he was fired from the New York Post simply for being gay. He placed the blame for widespread societal ignorance about the larger implications of the AIDS epidemic squarely on the media. “The New York Times had an overtly hostile relationship with the gay community,” France told Chang. “They had no [openly] gay people on staff — none of the papers did. ... [The press] just marched in a straight line and ignored the problems that, to them, didn’t merit official attention. ... They focused on how all of these people were dying instead of pointing out how the healthcare system was broken. The healthcare system was strangled by the Reagan administration when they pulled money out of social services. There was this movement to defund any sort of public health response at a time when we could have done something to contain the AIDS epidemic.” In How to Survive a Plague, his debut as a documentary filmmaker, France mines a treasure trove of footage supplied by AIDS activists and others to construct a thorough timeline of the disease’s human toll and the search for a combination-drug treatment protocol that would go on to save millions of lives. With strong clarity and purpose, France delves deep

Peter Staley

October 19 -25, 2012

into the machinations of the civil disobedience and (mostly) organized activism that carried the fight for a cure past the halls of Congress and the labs of huge pharmaceutical companies into the hallways of makeshift clinics staffed by passionate — and compassionate — people from all walks of life. At the center of the film is a handful of protesters who organized the media-savvy AIDS Coalition to Unleash Power (ACT UP), an international directaction advocacy group. It was ACT UP members such as former Wall Street trader and HIV-positive activist Peter Staley (who brought the house down at the 1990 International AIDS Conference in San Francisco) and former public-relations man Bob Rafsky (who thrust AIDS into the spotlight after heckling Bill Clinton during his 1992 bid for president) who solidly implanted the subject of AIDS into the national political conversation. Thankfully, France abstains from sugarcoating the turmoil that occurred among members of ACT UP. Over the years, a rift began to form between activists who wanted more visibility through direct political action and those who sought to focus more on the role of drug companies and federal agencies seeking viable treatments for the disease. In 1992, members of ACT UP’s Treatment and Data Committee broke ranks with the rest of the organization and formed the Treatment Action Group (TAG), a nonprofit focused on speeding up the research process — a task the U.S. Food and Drug Administration and the National Institutes of Health appeared unwilling to entertain at the time. For every influential ally that the relatively progressive ACT UP and TAG found along the way, they also encountered opposing forces pushing back hard. In 1987, six years after the first case of AIDS was officially recorded, President Ronald Reagan finally mentioned the disease publicly, saying, with respect to safe-sex education and the epidemic, “AIDS information cannot be what some call ‘value neutral.’ After all, when it comes to preventing AIDS, don’t medicine and morality teach the same lessons?” That same year, the

Los Angeles Times reported that 20,352 people in the U.S. had already died from the disease. France discusses ACT UP’s enemies — New York mayor Ed Koch, North Carolina senator Jesse Helms, President George H.W. Bush, Cardinal John Joseph O’Connor of the Catholic Church — without pulling any punches. However, his narrative sometimes slips into the realm of demonization. Although it’s important to delineate the political razor wire that stood between viable treatment and the people who needed it — and, in many cases, died fighting for it — France spends way too much time stooping to the level of ACT UP’s opposition. In so doing, he detracts from the spirit of cooperation that eventually brought many activists, politicians, and government agencies together in the name of saving lives. At its core, How to Survive a Plague is an engaging and emotionally charged real-life human drama, and it excels when the personal histories of its courageous subjects are laid bare. Anger, sadness, hopelessness, and fear are met with incredible resolve, even when death is knocking at the door. Most of the archival footage in How to Avoid a Plague was shot when personal video cameras were new to the mass market. Instant-upload avenues like YouTube, Facebook, Vimeo, and Twitter were nonexistent. Information took a while to travel, and activists had more incentive to gather and distill a singular message as a group. Movements that find serious traction on the internet these days suffer from its clutter: so many voices, so many opinions, so many people reinterpreting messages and sending them back into the ether. It’s almost enough to ensure that little gets done at all. If there’s a blueprint for turning that tide, How to Survive a Plague is a good place to start. But those in the film frequently remind us through their struggles and actions that civil disobedience in the U.S. comes at an ever-higher price, no matter how right it feels in your heart. If it could be summed up in a sentence, it would probably be “Welcome to the party; don’t let the billy clubs hit you on the way in.” ◀

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RESTAURANT REVIEW Laurel Gladden I For The New Mexican

The return of a classic

The Plaza Café 54 Lincoln Ave., 982-1664 Breakfast 7-11 a.m. daily; lunch & dinner 11 a.m.-9 p.m. daily Table service Takeout available Beer and wine Vegetarian options Credit cards, local checks Noise level: quiet to loud, depending on time of day

The short order Overlooking the Plaza from the spot it has occupied for nearly a century, the cherished Plaza Café, which closed two years ago after a fire and reopened this summer, feels like something out of The Andy Griffith Show. It’s the classic diner on the town square, with red vinyl booths; speedy, efficient service; and good, old-fashioned food. Recommended: Huevos rancheros, bowl of green chile, blue corn pancakes with bacon, and cashew mole enchiladas.

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.

October 19 -25, 2012

Overlooking the Plaza from the spot it has occupied for nearly a century, the cherished Plaza Café, which closed two years ago after a fire and reopened this summer, feels like something out of The Andy Griffith Show. It’s the old-fashioned diner on the town square, with classic detailing like red vinyl booths, tile floors, and counter seating. Oversized maps of the American Southwest color the walls, and gorgeous desserts — carrot cake, red velvet cake, and the rightfully famous caramel-apple-pecan pie — tempt you from inside a lighted glass case. You’ll see babies, parents, grandparents, and outof-towners. You might run into a neighbor, your old grade-school teacher, or a former boss. A dude in a cowboy hat and boots might amble in, and local police officers just might pull up in their squad cars, stopping by for a quick breakfast or lunch at the counter. The Plaza Café serves good food morning and night. Breakfast options include the traditional (fried and scrambled eggs, omelets, French toast, and pancakes) and regional favorites (huevos rancheros and divorciados, breakfast burritos and enchiladas, papas fritas, and what sounds like a real gut-buster: the chile relleno omelet). The lunch and dinner menu inspires indecision, from chips, salsa, and guacamole to a variety of soups and salads, tacos, burritos, enchiladas, sandwiches, and burgers. If you’re craving something more mainstream, there’s steak, meatloaf, pasta, or fish and chips. The heritage of the Razatos family, which has owned the Plaza Café since 1947, surfaces in the Greek salad, Greek omelet, and gyro, but you can order posole or menudo, too. For the record, some of the desserts, like the Key lime pie, look better than they taste. When it comes to breakfast, I favor savory; I’ll take huevos rancheros or a bowl of papas fritas nine mornings out of 10. Some Saturday mornings, though, nothing but pancakes will do. The Plaza Café’s bluecorn-piñon flapjacks are a great Northern New Mexico alternative to the average white-flour variety. The blue corn adds a nutty, mineraly taste and an enjoyable grainy texture. There were whole pine nuts in nearly every bite of our single pancake, too. (Be realistic: unless you’re a growing teenage boy, one pancake is probably enough.) We were happy to pay a little extra for a small pitcher of real, sweet-woodsy maple syrup. Claiming you serve Santa Fe’s “best bacon” is a bold statement, but the Plaza Café backs it up with hefty, strapping strips that are meaty, slightly sweet, and not overly salty. Several of my picky bacon-freak friends, skeptical at first, admitted that the bacon was indeed among the best they’d ever had. It’s even better dunked in a little maple syrup. The huevos rancheros and breakfast burrito are both exemplary specimens of their genres. The kitchen sometimes has trouble cooking things correctly (like over-medium eggs), but the scrambled huevos in the breakfast burrito were light, fluffy, and butter-hued. My

burrito was sitting in puddles of chile rather than being smothered in a blanket of it, but that’s picking nits — the good stuff makes its way into your mouth either way. The green chile is smoky and stewy, with a bright, warm heat. The red has a lovely pronounced bitterness and packs a real wallop. I watched a couple of tourists turn rosy-cheeked and wide-eyed after just one bite. If you’re having a serious chile jones, the Plaza Café will ladle some right into a bowl and make a meal out of it by adding pinto beans, cheese, sour cream, and your choice of calabacitas, chicken, carne asada, or carnitas. The Frito pie — a generous, colorful heap of food served in a wide bowl — offers a variety of flavors and textures, from crunchy, corny Fritos to spicy, garlicky ground beef, picante chile, cheese, and cooling lettuce and tomatoes. You might want to steer clear of this hot, highly seasoned dish on a first date — your breath will be on the fiery side after eating it. If you’re interested in good, no-fuss cooking in a cheerful environment, the Plaza Café is the place. Just keep in mind that this old-fashioned establishment has some old-school rules when it comes to table manners. “Sit up straight, don’t talk back, chew your food, elbows off the table, don’t fidget, be nice, say thank you” is the policy at the Plaza Café (as noted on the menu). Most grown-ups don’t like being told what to do, but when the food’s this good, you won’t mind being bossed around a little. ◀

Check, please Breakfast for two at the Plaza Café: Breakfast burrito .................................................. $8.95 One blue-corn pancake ....................................... $4.75 Maple syrup ......................................................... $2.50 Side of bacon ....................................................... $3.95 Two cups coffee ................................................... $4.50 Orange juice ........................................................ $2.95 TOTAL ............................................................... $27.60 (before tax and tip) Lunch for three, another visit: Guacamole combo (chips, guacamole, three salsas) ........................ $12.95 Huevos rancheros ................................................ $8.50 Mole enchilada .................................................. $12.25 Frito pie ............................................................... $8.25 Two Santa Fe Brewing Company ........................ $10.00 Happy Camper IPAs Coffee .................................................................. $2.25 Key lime pie ......................................................... $6.25 TOTAL ............................................................... $60.45 (before tax and tip)

Georgia O Keeffe and the Faraway: NATURE AND IMAGE See O’Keeffe’s Camping Gear, Clothing, Candid Photographs, Sketchbooks, Paintings of Her Favorite Landscapes, & More . . .

Todd Webb, Georgia O’Keeffe at Glen Canyon, 1961. Gelatin silver print, 7 ¼ x 9 ¼ inches. Georgia O’Keeffe Museum. Gift of The Georgia O’Keeffe Foundation. © Todd Webb, Courtesy of Evans Gallery and Estate of Todd & Lucille Webb, Portland, Maine USA. Georgia O’Keeffe, Black Place, Grey and Pink, 1949. Oil on canvas, 36 x 48 inches. Georgia O’Keeffe Museum. Gift of The Burnett Foundation. © Georgia O’Keeffe Museum.

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pasa week 19 Friday

5-6 p.m., free Q & A with Dirty Girls Social Club author Alisa Valdes Rodriguez follows, Center for Contemporary Arts, 1050 Old Pecos Trail, nmlawyersforthearts.org 983-9834.

GALLERY/MUSEUM OPENINGS Alexandria Stevens Gallery 820 Canyon Rd., 988-1311. Colorfully Noted, work by E. Melinda Morrison, reception 5:30-7 p.m., through Nov. 15. A Sea in the Desert Gallery 407 S. Guadalupe St., 988-9140. Paintings by Monika Steinhoff, through Oct. 23. Chiaroscuro Contemporary Art 7021/2 Canyon Rd., 992-0711. Fall Group Show: Gallery Artists, through Nov. 17. Eight Modern 231 Delgado St., 995-0231. David X Levine: Drawings, reception 5:307:30 p.m., through Nov. 24. Evoke Contemporary 130-F Lincoln Ave., 995-9902. Ozymandias, paintings by Sergio Garval, reception 5-7 p.m., through November (see story, Page 44). Greenberg Fine Art 205 Canyon Rd., 955-1500. Moments of Contemplation, landscapes by Joseph Breza, reception 5-7 p.m. James Kelly Contemporary 550 S. Guadalupe St., 989-1601. To Tease a Hummingbird, new drawings by Wes Mills; I’ve Lost Control Again, new sculpture by Aldo Chaparro; reception 5-7 p.m., through Dec. 8. Lena Street Lofts 1600 Lena St., 954-1418. 7, group show of installations, paintings, and ceramics, reception 5-8 p.m., through Sunday, Oct. 21. Mill Fine Art 530 Canyon Rd., 982-9212. Facing East, group show of works by contemporary Chinese artists, reception 5-7 p.m., through Nov. 17. Nüart Gallery 670 Canyon Rd., 988-3888. Centered, abstracts by Antonio Puri, reception 5-7 p.m., through Nov. 11. Sage Creek Gallery 421 Canyon Rd., 988-3444. Explorations, landscapes by Bill Gallen, reception 5-7 p.m., through October. Santa Fe Art Institute Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5050. Ricardo Legorreta [1931-2011] and Santa Fe, mixed media, reception 4 p.m., through Saturday, Oct. 20; 6 p.m. screening of Ricardo Legorretas’s Biographical Path, presentation by Victor Legorreta, and lecture by Wayne Lloyd, Experiencing the Legorreta Design Process, 7:30 p.m. celebration dinner ($200), visit sfai.org for details (see story, Page 38). Scheinbaum & Russek 812 Camino Acoma, 988-5116. Gila, photographs by Michael Berman, reception 5-7 p.m., through Nov. 17. Ventana Fine Art 400 Canyon Rd., 983-8815. Group show of gallery artists in conjunction with the Historic Canyon Road Paint Out, reception 5-7 p.m.

Pasa’s Little Black Book......... 61 Exhibitionism...................... 62 At the Galleries.................... 63 Libraries.............................. 63 Museums & Art Spaces........ 63

October 19 -25, 2012

compiled by Pamela Beach, pambeach@sfnewmexican.com

EVENTS Assistance Dogs of the West Meet the dogs and enjoy a Q & A session, 4 p.m., Santa Fe Public Library, La Farge Branch, 1730 Llano St., 955-4863, continues at other branches Saturday and Sunday, Oct. 20-21. Fourth annual Santa Fe Independent Film Festival Through Sunday, Oct. 21 at various venues, day passes $15-$40, individual screenings $10 (discounts available), ticketssantafe.org, 988-1234, visit santafeiff.com or call 349-1414 for schedule.

NIGHTLIFE

Mixed-media work by Long-Bin Chen, Mill Fine Art, 530 Canyon Rd.

CLASSICAL MUSIC Anatomy of a Symphony Concert Preview Commentary by Santa Fe Community Orchestra music director Oliver Prezant and excerpts from the season-opening concert, 6-7 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., donations welcome, 466-4879, sfco.org. TGIF recital Tenor Andre Garcia Nuthmann and pianist Linda King perform music of Brahms, 5:306 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated, 982-8544.

In the Wings....................... 64 Elsewhere............................ 66 People Who Need People..... 67 Short People........................ 67 Sound Waves...................... 67

7:30 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $15, discounts available, 471-1799, Friday-Sunday through Oct. 28 (see story, Page 46). ‘Moon Over Buffalo’ Ken Ludwig’s comic play presented by Santa Fe Playhouse, reception 6:30 p.m., curtain 7:30 p.m., 142 E. De Vargas St., $20, discounts available, 988-4262, Thursday-Sunday through Oct. 28. ‘Poesía de México’ Teatro Paraguas presents five centuries of Mexican poetry, 7 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $8 and $10, 424-1601, final weekend.

BOOKS/TALKS Darwin on the Evolution of Morality Kenneth Wolfe examines Darwin’s theory and explores the implications for existing moral systems, 3:15 p.m., Great Hall, Peterson Student Center, 1160 Camino de Cruz Blanca, no charge, 984-6070. Jack and Celestia Loeffler The author and his daughter discuss Thinking Like a Watershed: Voices From the West, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. Second Annual Legal and Business Issues in Film Summit New Mexico Lawyers for the Arts presents two lectures: 2-3:15 p.m., Is It OK? Using Works Without Permission: Fair Use, Public Domain, Orphan Works, and Creative Commons; 3:45-4:45 p.m., Censorship in Film: The Right of Publicity, Defamation, Privacy Rights, and the First Amendment, $10;

(See Page 61 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 Singer/songwriter Jill Cohn, 5-7:30 p.m., no cover. Sean Healen Band, Western rock, 8:30 p.m., $5 cover. El Cañon at the Hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. El Farol Rock dance band Dashboard Romeos, 9 p.m., $5 cover. Engine House Theater at The Mine Shaft Tavern Monster Mash for the Critters, fundraiser to open an animal clinic; Madrigals, Chicks With Chainsaws, and Hot Honey, 7-10 p.m., $10 cover. Hotel Santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. La Fiesta Lounge at La Fonda Pleasure Pilots, R & B, 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 Legal Tender at the Lamy Railroad Museum Country Blues Revue, live recording 6-9 p.m., no cover. The Palace Restaurant & Saloon The Strange, rock and funk, 5-7 p.m., no cover. Pranzo Italian Grill Pianist Robin Holloway, show tunes, 6-9 p.m., $2 cover. Rouge Cat Art collective Meow Wolf presents a video installation, Mobile Multidimensional Interface, to celebrate the Santa Fe International Film Festival, live soundtrack by DJs Dirt Girl, Nicolatron, and others, 9 p.m., $7 cover, or $30 Friday night film festival pass.

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.

Second Street Brewery Americana band Todd & The Fox, 6-9 p.m., no cover. Second Street Brewery at the Railyard Bluesman Kenny Skywolf and his trio, 6-9 p.m., no cover. The Starlight Lounge Hell on Heels Halloween Extravaganza, genderbending cabaret, 8:30-11 p.m., $10 cover. Taberna La Boca Accordionist Pedro Romero, 6-8 p.m., no cover. Tiny’s John and Synde, 5:30-8 p.m., no cover. Classic-rock band The Jakes, 8 p.m.-midnight, no cover. The Underground at Evangelo’s Iron Mike Showdown M.C. Battle with Sac One, Kron Jeremy, Adrenaline, Mr. Unxnown, Summon, and others, 9:30 p.m., $5 cover. Vanessie Pianist Doug Montgomery, Great American Songbook, 6-8 p.m., no cover. Singer/songwriter Zenobia, R & B/gospel, 9 p.m., call for cover.

20 Saturday GALLERY/MUSEUM OPENINGS Fifth annual Historic Canyon Road Paint Out Plein air artists paint along the street outside galleries 10 a.m.-3 p.m.; live music, refreshments, and exhibits; schedule of events available online at visitcanyonroad.com. Georgia O’Keeffe Museum Education Annex 123 Grant Ave., 946-1039. Bone Wind Fire, paintings by Jill Sharpe, RSVP-only opening 3 p.m., reelmyth@gmail.com; through Nov. 15.

PASA’S LITTLE BLACK BOOK nt & Bar Anasazi Restaura Anasazi, the of Rosewood Inn e., 988-3030 113 Washington Av nch Resort & Spa Ra Bishop’s Lodge Rd., 983-6377 1297 Bishops Lodge ón ¡Chispa! at El Mes 983-6756 e., Av ton 213 Washing Cowgirl BBQ , 982-2565 319 S. Guadalupe St. o Tw Dinner for , 820-2075 106 N. Guadalupe St. lton Hi e El Cañon at th 811 8-2 98 , St. al ov nd 100 Sa El Farol 3-9912 808 Canyon Rd., 98 ill Gr & r Ba o El Pase 2-2848 208 Galisteo St., 99 Evangelo’s o St., 982-9014 200 W. San Francisc Santa Fe de ó Hotel Chimay 988-4900 e., Av ton ing ash 125 W Hotel Santa Fe ta, 982-1200 1501 Paseo de Peral rcy St., 982-3433 La Boca 72 W. Ma ina La Casa Sena Cant 8-9232 98 e., Av e 125 E. Palac at La Fonda La Fiesta Lounge , 982-5511 St. o isc 100 E. San Franc

OUTDOORS

Guillermo Figueroa Solo violin recital and accompanied by the Santa Fe Youth Symphony Orchestra, 7 p.m., Scottish Rite Center, 463 Paseo de Peralta, $40, concert and reception $50, discounts available, call 467-3770 or email sfysaed@gmail.com for tickets, proceeds benefit the SFYO.

a grandmother, mother, and child, 7:30 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $15, discounts available, 471-1799, Friday-Sunday through Oct. 28 (see story, Page 46). ‘Moon Over Buffalo’ Ken Ludwig’s comic play presented by Santa Fe Playhouse, 7:30 p.m., 142 E. De Vargas St., $20, discounts available, 988-4262, Thursday-Sunday through Oct. 28. ‘Poesía de México’ Teatro Paraguas presents five centuries of Mexican poetry, 7 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $8 and $10, 424-1601, teatroparaguas.org, final weekend.

IN CONCERT

BOOKS/TALKS

Architecture tours Guided and self-guided tours of buildings designed by Ricardo Legorreta (1931-2011) in conjunction with the Santa Fe Art Institute exhibit Ricardo Legorreta and Santa Fe, tours begin at noon on the SFUAD campus and continue through the afternoon at other locations, closing reception 5 p.m., visit sfai.org for details, 424-5050 (see story, Page 38). Assistance Dogs of the West Meet the dogs and enjoy a Q & A session, 10:30 a.m., Santa Fe Public Library, Southside Branch, 6599 Jaguar Dr., 955-2828, continues Sunday, Oct. 21 at the Main Branch. Fiesta Fela 2012 Afreeka Santa Fe celebrates human rights activist Fela Anikulapo Kuti with a free traditional African marketplace 11 a.m.-5:30 p.m.; includes music, dance, and art; 7:30-midnight, dance party with drummer Akeem Ayanniyi and DJs Chowder, Spinifex, and Gonzo; dance party $10 at the door, 919-9194. Fourth annual Santa Fe Independent Film Festival Through Sunday, Oct. 21, at various venues, day passes $15-$40, individual screenings $10 (discounts available), ticketssantafe.org, 988-1234, visit santafeiff.com or call 349-1414 for schedule. Gardening Chores in the Landscape and the Garden With Michael Clark Learn which flowers bloom in the fall, 1-3 p.m., Community Room at the Railyard Park Paseo de Peralta and S. Guadalupe St., $15, 471-9103. LutherFest Arts & crafts, midway games, raffle, flea market, books/records sale, German lunch ($6), bake sale, and more, 9 a.m.-3:30 p.m., Christ Lutheran Church 1701 Arroyo Chamiso Rd., proceeds benefit the church’s missions, 983-9461. Raise the Roof! 2012 Mayor’s Ball in support of Santa Fe Habitat for Humanity, Jimmy Stadler Band, dinner, and silent and live auctions, doors open at 5:30 p.m., Santa Fe Community Convention Center, 107 W. Marcy St., $150 in advance, 986-5880, santafehabitat.org. Santa Fe Farmers Market 8 a.m.-1 p.m., 1607 Paseo de Peralta, 983-4098. The Santa Fe Flea at the Downs 8 a.m.-3 p.m., south of Santa Fe at NM 599 and the Interstate 25 Frontage Rd., 982-2671, santafeflea.com, weekends through Oct. 28. Santa Fe Society of Artists Show 9 a.m.-5:30 p.m. in the First National Bank parking lot, off West Palace Avenue, across from the New Mexico Museum of Art, final weekend.

Silver Sun Gallery 656 Canyon Rd., 983-8743.Changing Light: Colors of New Mexico, paintings by Lee MacLeod, reception 10 a.m.-5 p.m., through Nov. 19.

CLASSICAL MUSIC

Charlie Christian Project Tribute to jazz guitarist Charlie Christian with Michael Anthony on guitar, Bobby Shew on trumpet, Micky Patten on bass, and John Trentacosta on drums, 7:30 p.m., Gig Performance Space, 1808-H Second St., $15 at the door.

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 Museum Hill Café 710 Camino Lejo, Milner Plaza, 984-8900 Ore House at Milagro 139 W. San Francisco St., 995-0139 Osteria d’Assisi 58 Federal Pl., 986-5858 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

Mexican Modernism: The Architecture of Ricardo Legorreta Lecture by Khristaan Villela in conjunction with the Santa Fe Art Institute exhibit Ricardo Legorreta and Santa Fe, 11 a.m., Tipton Hall, SFAI, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., no charge, 424-5050 (see story, Page 38). Michael Berman The photographer discusses and signs copies of his monograph Gila joined by contributing writers Sharman Apt Russell and Patrick Toomay, 3-5 p.m., Tipton Hall, Marion Center for Photographic Arts, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 473-6341 (see Subtexts, Page 16). Second Annual Legal and Business Issues in Film Summit New Mexico Lawyers for the Arts and Film 4 Change present a conversation on Emerging Cinemas: The Future of Film Exhibition and Distribution with Peter Grendle of The Screen and Peter M. Kershaw of Duchy Parade Films, moderated by producer Rich Henrich, Center for Contemporary Arts, 1050 Old Pecos Trail, no charge, 983-9834, nmlawyersforthearts.org.

Rouge Cat 101 W. Marcy St., 983-6603 Santa Fe Brewing Company

35 Fire Pl., 424-333

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 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

Leonora Curtin Wetland Preserve Open 9 a.m.-noon, guided tours 10 a.m., 27283 Interstate 25 W. Frontage Rd., adjacent to El Rancho de las Golondrinas, call Santa Fe Botanical Garden for details, 471-9103, weekly through October 28. Hibernation hike Guided walk/talk through Cerrillos Hills State Park on how animals survive the winter, 10 a.m., 16 miles south of Santa Fe off NM 14, parking area about a half mile north of the village of Cerrillos, $5 per vehicle, 474-0196.

EVENTS

NIGHTLIFE (See addresses to the left) ¡Chispa! at El Mesón J.Q. Whitcomb Quartet, jazz, 7-10 p.m., no cover. Cowgirl BBQ Rock band Tommy & The Tangerines, 8:30 p.m., $5 cover.

pasa week

continued on Page 65

PASATIEMPO

EXHIBITIONISM

A peek at what’s showing around town

Michael Berman: Two Aspens, 2008, carbon pigment print. Scheinbaum & Russek Ltd. (812 Camino Acoma, 988-5116) opens Gila, an exhibition of photographs by Michael Berman, with a 5 p.m. reception on Friday, Oct. 19. The show is presented in conjunction with the publication of Berman’s new book, also called Gila. On Saturday, Oct. 20, at 3 p.m., Berman signs copies of the book and gives a presentation with Sharman Apt Russell and Patrick Toomay, who contributed essays. The event takes place at Tipton Hall, Santa Fe University of Art and Design (1600 St. Michael’s Drive).

Kay Khan: Contemporary Artifacts: Figure 1, 2012, machine- and handstitched fabric. Chiaroscuro Contemporary Art (702½ Canyon Road) features gallery artists in its Fall Group Show. The exhibition includes new work as well as art presented during the summer season. Artists include Kay Khan, Renate Aller, Australian native Djambawa Marawili, and others. The show opens Friday, Oct. 19. Call 992-0711.

October 19 -25, 2012

David X Levine: Anna Kunz, 2012, colored pencil on paper. David X Levine’s geometric imagery is rendered in colored pencil. “Most drawings in this show are named after other artists in my life who have affected me most deeply,” he writes. The show, Drawings, opens at Eight Modern (231 Delgado St.) on Friday, Oct. 19, with a reception at 5:30 p.m. Call 995-0231.

Aldo Chaparro: Aceros (5), 2011, stainless steel and electrostatic paint. James Kelly Contemporary (550 S. Guadalupe St.) presents two solo exhibitions: I’ve Lost Control Again, new sculpture by Aldo Chaparro, and To Tease a Hummingbird, new drawings by Wes Mills. Chaparro’s steel sculptures resemble crumpled paper, and Mills’ drawings make use of repetitive marks. There is an opening reception on Friday, Oct. 19, at 5 p.m. Call 989-1601.

Antonio Puri: Seduced 3, 2012, mixed media on canvas. Centered is an exhibition of new paintings by Antonio Puri, who creates geometric abstractions incorporating fingerprints arranged in mandala-like patterns. The show opens at Nüart Gallery (670 Canyon Road) with a 5 p.m. reception on Friday, Oct. 19. Call 988-3888.

AT THE GALLERIES Blue Rain Gallery 130 Lincoln Ave., 954-9902. Primitive — Elegant II: A Collaboration Between Preston Singletary and Dante Marioni, art glass; Dawnings, new landscapes by Doug West through Saturday, Oct. 20. Hunter Kirkland Contemporary 200-B Canyon Rd., 984-2111. New abstracts by Peter Burega, through Sunday, Oct. 21. Legends Santa Fe 125 Lincoln Ave., 983-5639. Women in Art, works by Carol Hagan, Jan Van Ek, and Emily Wood, through Oct. 29. Mark Sublette Medicine Man Gallery 602-A Canyon Rd., 820-7451. Jorge Fick (19322004) — Pueblo Windows, through Oct. 26. McLarry Modern 225 Canyon Rd., 983-8589. New abstracts by Enrico Embroli, through Oct. 26. Primitive Edge Gallery Institute of American Indian Arts, 83 Avan Nu Po Rd., 424-5745. Art in the Raw, annual student exhibit, through Thursday, Oct. 25. Santa Fe Art Institute Gallery Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5050. The Very Rich Hours, sound installation by Steve Peters, through Oct. 26. Santa Fe Community College, School of Arts and Design Visual Arts Gallery 6401 Richards Ave., 428-1501. Familia, Hogar, Fe: Día de los Santos + Día de los Muertos, works by members of Sangre Fuerte, through Nov. 2. Santa Fe Art Institute Lobby Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5050. No Places With Names: A Critical Acoustic Archaeology, GPS-based interactive installation by Teri Rueb, Larry Phan, and Carmelita Tapaha, through Oct. 26. William Siegal Gallery 540 S. Guadalupe St., 820-3300. New Directions/ New Compositions, mixed-media paintings by Carlos Estrada-Vega; works on paper by Signe Stuart; through Nov. 2. Zane Bennett Contemporary Art 435 S. Guadalupe St., 982-8111. The Importance of Being, photographs by Christopher Felver; Excavations, paintings and drawings by Jean Arnold, through Friday, Oct. 19.

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. Center for Contemporary Arts 1050 Old Pecos Trail, 982-1338. Rhythms of Life, images of global stone sculptures by Andrew Rogers, Spector Ripps Project Space, through Sunday, Oct. 21 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 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, RSVPonly opening 3 p.m. Saturday, Oct. 20, respond to reelmyth@gmail.com; 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,

Road to Pedernal, 1941, by Georgia O’Keeffe, in the exhibit Georgia O’Keeffe and the Faraway, Georgia O’Keeffe Museum, 217 Johnson St.

noon-5 p.m. Sunday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays. Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 476-1250. Woven Identities: Basketry Art From the Collections ï They Wove for Horses: Diné Saddle Blankets, Navajo weavings and silverworks; exhibits through March 4 ï Margarete Bagshaw: Breaking the Rules, 20-year retrospective, through 2013 ï Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Let’s Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents no charge on Sundays; free to NM residents over 60 on Wednesdays. Museum of International Folk Art 706 Camino Lejo, Museum Hill, 476-1200. New Mexican Hispanic Artists 1912-2012, installation in Lloyd’s Treasure Chest, through Feb. 28 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 Native American Portraits: Points of Inquiry, through Nov. 4 ï 47 Stars, tongue-in-cheek installation and items from the collection in celebration of New Mexico’s Centennial, through Nov. 25 ï 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. TuesdaySunday. 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 12.5, ongoing series of revolving exhibits, through Sunday, Oct. 21 ï Chromatic Fusion: The Art of Fused Glass (see review, Page 42); 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. Poeh Museum 78 Cities of Gold Rd., 455-5041. 3-D: Nah Poeh Meng (The Continuous Path), installation tracing the story of the Tewa people. Open 10 a.m.4 p.m. Monday-Saturday, donations accepted. SITE Santa Fe 1606 Paseo de Peralta, 989-1199. More Real? Art in the Age of Truthiness, group show, through Jan. 6. Open 10 a.m.-5 p.m. TuesdaySaturday; 10 a.m.-7 p.m. Friday; noon-5 p.m. Sunday. $10; seniors and students $5; Fridays no charge. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 982-4636. A Certain Fire: Mary Wheelwright Collects the Southwest, 75th anniversary exhibit ï New work by Orlando Dugi and Ken Williams, Case Trading Post. Open 10 a.m.5 p.m. Monday-Saturday, 1-5 p.m. Sunday. Docent tours 2 p.m. Mondays, Wednesdays, Fridays, and Saturdays.

PASATIEMPO

In the wings MUSIC Caravan of Thieves Theatrical Gypsy-jazz band, 7:30 p.m. Friday, Oct. 26, Santa Fe Sol Stage & Grill, 37 Fire Pl., $15, solofsantafe.com. Liz Larin R & B/rock singer/songwriter, 7:30 p.m. Friday, Oct. 26, Gig Performance Space, 1808-H Second St., $15 at the door, gigsantafe.com. The Met Live in HD The season continues with Verdi’s Otello, Saturday, Oct. 27; Adès’ The Tempest, Saturday, Nov. 10; both screenings 11 a.m. and 6 p.m.; Lensic Performing Arts Center, 211 W. San Francisco St., $22-$28, encores $22, discounts available, ticketssantafe.org, 988-1234. Song Preservation Society Alt-folk trio, 7:30 p.m. Saturday, Oct. 27, Gig Performance Space, 1808-H Second St., $15 at the door, gigsantafe.com. Santa Fe Symphony Orchestra & Chorus Fall Fantasy, music of Mussorgsky, Dvoˇrák, and de Falla, 4 p.m. Sunday, Oct. 28; Handel’s Messiah, 4 p.m. Sunday, Nov. 18; pre-concert lectures 3 p.m.; Lensic Performing Arts Center, 211 W. San Francisco St., $20-$70, 988-1234, ticketssantafe.org. AU Experimental-pop band, 8 p.m. Sunday, Oct. 28, O’Shaughnessy Performance Space, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $12 in advance at holdmyticket.com, $15 at the door. Sonia Pop-folk singer/songwriter with Indigie Femme, 7:30 p.m. Friday, Nov. 2, Santa Fe Sol Stage & Grill, 37 Fire Pl., $18 in advance, solofsantafe.com, $23 at the door. Santa Fe Pro Musica Per Tengstrand: solo piano recital, Beethoven’s Piano Sonatas, 7:30 p.m. Friday, Nov. 2; SFPM Orchestra featuring Tengstrand, music of Grieg, Schubert, and Beethoven, 3 p.m. Saturday, 6 p.m. Sunday, Nov. 3-4, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$65, 988-1234, ticketssantafe.org. Guy Forsyth Americana-roots singer/songwirter, 7:30 p.m. Saturday, Nov. 3, Sol Stage & Grill, 37 Fire Pl., $17, 988-1234, ticketssantafe.org. Henry Mancini tribute Bobby Shew, trumpet, John Proulx, vocals and keyboard, Michael Glynn, bass, and Cal Haines, drums, 4 p.m. Sunday, Nov. 4, Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $25 in advance at brownpapertickets.com and at the door, call 989-1088 for details. Nick Waterhouse R & B singer/guitarist, 8 p.m. Monday, Nov. 5, Sol Stage & Grill, 37 Fire Pl., $10, 988-1234, ticketssantafe.org. Parkington Sisters Acoustic experimental-folk band, 7:30 p.m. Thursday, Nov. 8, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com. 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. Friday, Nov. 9, Museum Hill Café, 710 Camino Lejo, Milner Plaza, $20, 428-1527. Canticum Novum Chamber Orchestra & Chorus The Chamber ensemble opens its ninth season with music of Geminiani, Mozart, and Mendelssohn, 5 p.m. Saturday, 64

October 19 -25, 2012

Nov. 10, 3 p.m. Sunday, Nov. 11, pre-concert lectures by Oliver Prezant precede both concerts, Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $20 and $30, discounts available, ticketssantafe.org, 988-1234. Lúnasa Acoustic Irish quartet, 7:30 p.m. Thursday, Nov. 15, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$65, discounts available, 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. 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. 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. 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. Wovenhand Alt.-country/neo-folk band, 8 p.m. Tuesday, Nov. 27, Santa Fe Sol Stage & Grill, 37 Fire Pl., $12, 988-1234, ticketssantafe.org.

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

THEATER/DANCE National Theatre of London live in HD The season continues with Shakespeare’s Timon of Athens, 7 p.m. Thursday, Nov. 8, Lensic Performing Arts Center, 211 W. San Francisco St., $22, discounts available, ticketssantafe.org, 988-1234. 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. David Sedaris Q & A and book signing in support of the humorist’s latest book, Squirrel Seeks Chipmunk: A Modest Bestiary, 8 p.m. Wednesday, Nov. 28, Lensic Performing Arts Center, 211 W. San Francisco St., $55, ticketssantafe.org, 988-1234.

The Parkington Sisters perform Thursday, Nov. 8, at Gig Performance Space.

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.

HAPPENINGS Council on International Relations event Latin-cuisine buffet and screening and discussion of the film The Secret in Their Eyes, 5-9 p.m. Tuesday, Oct. 30, La Plancha at La Tienda, 7 Caliente Rd., Eldorado, $35 in advance includes buffet and film, $15 film only, 982-4931, sfcior.org. Recycle Santa Fe Art Festival Friday-Sunday, Nov. 2-4, the annual event includes the Trash Fashion & Costume Contest, juried adult and kids’ art exhibit, kids’ make-and-take recycled-art activities, and art market, Santa Fe Community Convention Center, 201 W. Marcy St., recyclesantafe,org. Lunafest: Short Films by, for, About Women 11th annual national touring film festival, panel discussion 4 p.m. Saturday, Nov. 3, screening 4:45 p.m., Center for Contemporary Arts, 1050 Old Pecos Trail, $15 and $25, 982-2042 or girlsincofsantafe.org, proceeds benefit the Breast Cancer Fund and Girls Inc. of Santa Fe. Lannan Foundation Literary Events Wednesday, Nov. 7, scientist David Suzuki speaks on climate change with indigenous-rights activist Clayton Thomas-Müller; Wednesday, Nov. 14, poet Kevin Young and author Colson Whitehead discuss their works; Wednesday, Dec. 5, author Hamid Dabashi discusses Iran with Alternative Radio host David Barsamian, Lensic Performing Arts Center, 211 W. San Francisco St., $3 and $6, 988-1234, ticketssantafe.org. Wordharvest: 2012 Tony Hillerman Writers Conference Annual event, ThursdaySaturday, Nov. 8-10, faculty members include Santa Fe historian Thomas E. Chávez, Western Writers of America award-winner 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 full schedule. Holiday Pie Mania 2012 Santa Fe Harvest Festival presents a pie auction and raffle in support of The Food Depot’s Building Hope Project, 2-5 p.m. Saturday, Nov. 10, Builders Source Appliance Gallery, 1608 Pacheco St., no charge. 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.

pasa week

from Page 61

20 Saturday (continued) El Farol Latin-groove band Nosotros, 9 p.m., $5 cover. Hotel Santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. La Fiesta Lounge at La Fonda Pleasure Pilots, R & B, 8-11 p.m., no cover. Lodge Lounge at The Lodge at Santa Fe Amber Saint Yves, eclectic acoustic rock, 9:30 p.m.-12:30 a.m., no cover. The Mine Shaft Tavern The Squash Blossom Boys, experimental folk and bluegrass, 7-11 p.m., no cover. Pranzo Italian Grill Pianist David Geist, show tunes, 6 p.m., $2 cover. Santa Fe Brewing Company Second annual Oktoberfest, Mariachi Diferencia, Pigment, and Sean Healen Band, bratwursteating, and horse-drawn carriage rides, events noon-6 p.m., $5 requested donation for beer tastings. Second Street Brewery Railyard Reunion Bluegrass Band, 6-9 p.m., no cover. Second Street Brewery at the Railyard Hot Honey, singer/songwriters Lucy Barna, Paige Barton, and Lori Ottino, 6-9 p.m., no cover. The Starlight Lounge Hell on Heels Halloween Extravaganza, genderbending cabaret, 8:30-11 p.m., $10 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. Vanessie Pianist Doug Montgomery, 6-8 p.m., no cover. Andy Kingston and friends, jazz, 8-11 p.m., call for cover.

Talking Heads

21 Sunday CLASSICAL MUSIC Santa Fe Community Orchestra Santa Fe Opera soloists and Santa Fe Public School music students join the orchestra in opening the 2012-2013 season with music of Verdi, Bach, and Dvoˇrák, 2:30 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., donations appreciated, 466-4879. Serenata of Santa Fe Chamber music ensemble in Rhapsodic Spin, music of Loeffler, Hindemith, and Schumann, 3 p.m., Scottish Rite Center, 463 Paseo de Peralta, $25, discounts available, serenataofsantafe.org.

THEATER/DANCE Antonio Granjero and EntreFlamenco Aire, 8 p.m., María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr., $25-$45, 988-1234, ticketssantafe.org, final weekend. ‘Bingo!’ Meow Wolf and Santa Fe Performing Arts’ theater series continues with a variety show of experimental performance art and one-acts, 4 p.m. Friday-Sunday through Oct. 28, Armory for the Arts, 1050 Old Pecos Trail, $15 a the door, discounts available, 984-1370 (see story, Page 48). ‘Eleemosynary’ Theaterwork’s 17th season continues with a play examining the relationships between a grandmother, mother, and child, 2 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $15, discounts available, 471-1799, Friday-Sunday through Oct. 28 (see story, Page 46). ‘Moon Over Buffalo’ Ken Ludwig’s comic play presented by Santa Fe Playhouse, 2 p.m., 142 E. De Vargas St., $20, discounts available, 988-4262, Thursday-Sunday through Oct. 28. Performance at the Screen The HD series continues with the La Scala Ballet in L’Altra Meta del Cielo from Milan’s Teatra Alla Scala, 11 a.m., Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $20, discounts available, 473-6494. ‘Poesía de México’ Teatro Paraguas presents five centuries of Mexican poetry, 2:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, pay what you wish, 424-1601, teatroparaguas.org, final weekend.

BOOKS/TALKS Courtney White in conversation with David Bacon The executive director of the Quivira Coalition discusses Feeding Nine Billion People Without Destroying Nature, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. Elizabeth Raby and Larry D. Thomas The poets read from their works, 2 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

OUTDOORS Feeding Nine Billion People Without Destroying Nature Quivira Coalition executive director Courtney White discusses the worldwide challenge with KSFR Radio host David Bacon at 11 a.m. Sunday, Oct. 21, at Collected Works Bookstore, 202 Galisteo St., 988-4226. Hong Kong pictured.

Abiquiú, by Adrian Martinez, Santa Fe Community College School of Arts & Design Visual Arts Gallery, 6401 Richards Ave.

Fourth annual Santa Fe Independent Film Festival Various venues, day passes $15-$40, individual screenings $10 (discounts available), ticketssantafe.org, 988-1234, visit santafeiff.com or call 349-1414 for schedule, final day. International folk dances 6:30-8 p.m. weekly followed by Israeli dances 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, or 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. Railyard Artisans Market 8 a.m.-1 p.m. weekly. Live music 10 a.m.4 p.m. with balladeer Michael Combs, Ranchera, folk, and honky-tonk, Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 670-6544. Santa Fe Artists Market 8 a.m.-2 p.m. Saturdays through December, Railyard Park, across from the Farmers Market at Paseo de Peralta and S. Guadalupe St., 310-1555. The Santa Fe Flea at the Downs 8 a.m.-3 p.m., south of Santa Fe at NM 599 and the Interstate 25 Frontage Rd., 982-2671, santafeflea.com, weekends through Oct. 28. Santa Fe Society of Artists Show 9 a.m.-6 p.m., in the First National Bank parking lot, off West Palace Avenue, across from the New Mexico Museum of Art, final weekend.

NIGHTLIFE (See Page 61 for addresses) Cowgirl BBQ Americana duo Miss Shevaughn & Yuma Wray, 8 p.m., no cover. El Farol Nacha Mendez, pan-Latin chanteuse, 7-10 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, Great American Songbook, 7-11 p.m., no cover.

22 Monday

EVENTS

THEATER/DANCE

Assistance Dogs of the West Meet the dogs and enjoy a Q & A session, 2 p.m., Santa Fe Public Library, Main Branch, 145 Washington Ave., 955-6783.

‘We Are People Here! Red Thread Collective reprises a staged reading of its adaptation of historian Howard Zinn’s work; with music by Zenobia and narration

by Craig Barnes; 7:30 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, donations accepted.

BOOKS/TALKS Apocalyptic Planet: Field Guide to the End of the World A Southwest Seminars Lecture by author Craig Childs, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775 (see story, Page 20).

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

NIGHTLIFE (See Page 61 for addresses) El Farol Geeks Who Drink Trivia Night, 7 p.m., no cover. La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. La Fiesta Lounge at La Fonda Soulstatic, funk and R & B, 7:30 p.m., no cover. Taberna La Boca Flamenco guitarist Chuscales, 7-9 p.m., call for cover. Vanessie Pianist Doug Montgomery, Great American Songbook, 7-11 p.m., no cover.

23 Tuesday CLASSICAL MUSIC Hélène Grimaud Solo piano recital, 7 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $20-$70, 988-1234, ticketssantafe.org. VIP tickets available through the New Mexico Wilderness Alliance, 505-216-9719, nmwild.org, benefit for NMWA (see story, Page 24).

BOOKS/TALKS Diane Stanley The children’s book author/ illustrator reads from The Cup & the Crown and participates in a panel discussion led by the Santa Fe Young Writers Group, book signing follows, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. Georgia O’Keeffe Museum Readers’ Club The discussion series continues with Barbara Buhler Lynes and Agapita Judy Lopez’s book Georgia O’Keeffe and Her Houses: Ghost Ranch and Abiquiú, 7:30 p.m., Education Annex, 123 Grant Ave., 946-1007, no charge. ▶▶▶▶▶▶▶▶ PASATIEMPO

Library Coffee Hour Agua Fría Nursery’s Bob Pennington discusses planting spring bulbs in October, 10 a.m., Santa Fe Botanical Garden, 725 Camino Lejo, Museum Hill, no charge, 471-9103.

Tiny’s Mike Montiel Trio, classic rock, 8 p.m.-midnight, no cover. Vanessie Jazz pianist Bert Dalton and friends, 7-11 p.m., call for cover. Zia Diner Swing Soleil, Franco-American/Gypsy jazz, 6:30-8:30 p.m., no cover.

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. Jumpstart fiction workshop Led by writer Shebana Coelho, 6-7:30 p.m., Lucky Bean Café, Sanbusco Center, 500 Montezuma Ave., $100 for four Tuesdays through Nov. 13, 609-651-5840, shebanacoelho.com. Santa Fe Farmers Market 8 a.m.-1 p.m., 1607 Paseo de Peralta, 983-4098, through November.

▶ Elsewhere ALBUQUERQUE Museums/Art Spaces National Hispanic Cultural Center 1701 Fourth St. S.W., 505-246-2261. Nuestros Maestros: The Legacy of Abad E. Lucero (19092009), paintings, sculpture, and furniture, through January 2013 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. 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.

NIGHTLIFE (See Page 61 for addresses) El Farol Canyon Road Blues Jam, with Tiho Dimitrov, Brant Leeper, Mikey Chavez, and Tone Forrest, 8:30 p.m.-midnight, no cover. La Fiesta Lounge at La Fonda Soulstatic, funk and R & B, 7:30 p.m., no cover. Rouge Cat Tuesday nights Ultra-Fabulous Dance Competition, call for time and 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 David Geist and friends, Great American Songbook, 7-11 p.m., no cover.

24 Wednesday IN CONCERT Dark Dark Dark Folk band, 7:30 p.m., Emily Wells opens, Santa Fe Sol Stage & Grill, 37 Fire Pl., $10, 988-1234, ticketssantafe.org.

BOOKS/TALKS The Art of Conducting Oliver Prezant speaks, 5:30 p.m., Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., $10, presented by the Santa Fe Opera Guild, 474-6367. Lannan Foundation Cultural Freedom Event Poet/playwright Nathalie Handal with Naomi Shihab Nye, 7 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $3 and $6, 988-1234, ticketssantafe.org (see story, Page 18). Matte on Black Pottery: Maria and Julian Martinez Part of New Mexico Museum of Art’s docent-led gallery talks, 12:15 p.m., 107 W. Palace Ave., by museum admission, 476-5075. School for Advanced Research lecture Schooling Mothers: Gendered Memories and Reflection of the Self, led by Fibian Lukalo of Kenya, 1 p.m., 660 Garcia St., no charge, 954-7203.

NIGHTLIFE (See Page 61 for addresses) ¡Chispa! at El Mesón Jazz guitarist Pat Malone, 7-9 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.

October 19 -25, 2012

Events/Performances Paintings by Jean Arnold, at Zane Bennett Contemporary Art, 435 S. Guadalupe St.

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. Taberna La Boca Jazz guitarist Pat Malone, 7-9 p.m., no cover. Vanessie Holloway & Russell, jazz/R & B/soul piano and vocals, 7-11 p.m., call for cover.

25 Thursday THEATER/DANCE ‘A Midsummer Night’s Dream’ Presented by Santa Fe High School Theater students, 7:33 p.m., SFHS, 2100 Yucca St., $8, discounts available, 467-2975, continues Friday and Saturday, Oct. 26-27. Ballet Folklórico de México 7:30 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $20-$55, discounts available, 988-1234, ticketssantafe.org. ‘Eleemosynary’ Theaterwork opens its 17th season with a play examining the relationships between a grandmother, mother, and child, 7:30 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $15, discounts available, 471-1799, Friday-Sunday through Oct. 28 (see story, Page 46).

BOOKS/TALKS Muse Times Two Cynthia Cruz and Elizabeth Jacobson read from their respective works, Glimmering Room

and Her Knees Pulled In, part of Collected Works Bookstore’s poetry series, 6 p.m., 202 Galisteo St., 988-4226, (see Subtexts, Page 16). Renesan Institute for Lifelong Learning lecture Geologist Kate Zeigler explains how we are shielded from the sun’s solar radiation by Earth’s magnetic field, 1-3 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, $10, presented by the Renesan Institute for Lifelong Learning, 982-9274. Santa Fe Art Institute Monthly Open Studio Readings and meet-and-greet with writers and artists in residence, 5:30-7 p.m., 1600 St. Michael’s Dr., 424-5050.

NIGHTLIFE (See Page 61 for addresses) ¡Chispa! at El Mesón Pianist Chris Ishee, 7-9 p.m., no cover. El Farol Eric George & Man No Sober, roots-rock duo, 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 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. Taberna La Boca Nacha Mendez, pan-Latin Chanteuse, 6:30-9:30 p.m., no cover.

‘The Jewel in the Manuscript’ opening night A new play by Santa Fean Rosemary Zibart based on the life of Fyodor Dostoyesvsky, 8 p.m. Friday and Saturday, 2 p.m. Sunday, Oct. 19Nov. 11, Adobe Theater, 9813 Fourth St. NW, $15, discounts available, 505-898-9222, adobetheater.org. Sunday Chatter Cello quartets performed by David Schepps, Joel Becktell, James Holland, and Dana Winograd, 10:30 a.m. Sunday, Oct. 21, poetry reading by Carlos Contreras, Factory on 5th, 1715 Fifth St. N.W., chatterchamber.org, $15 at the door. Grégoire Maret Jazz harmonica player, joined by Federico Gonzalez Peña on piano, Matthew Brewer on bass, and Clarence Penn on drums, 7:30 p.m. Thursday, Oct. 25, Outpost Performance Space, 210 Yale Blvd. S.E., $20 and $25, 505-268-0044.

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.

GALISTEO 25th annual Galisteo Studio Tour Self-guided tour of 30 artists’ private studios; 10 a.m.-5 p.m. Saturday and Sunday, Oct. 20-21; works include traditional and contemporary works of straw applique, micacous pottery, paintings, and sculpture, 25 miles southeast of Santa Fe off U.S. 285, visit galisteostudiotour.org for directions/map and artists website, or call 466-2121 for information.

GALISTEO

Studio Tour The 25th annual Galisteo Studio Tour (10 a.m.-5 p.m. Saturday and Sunday, Oct. 20-21) includes 30 artists offering photography, wood carvings, jewelry, paintings, and more at the village centered in the Galisteo Basin off U.S. 285 25 miles southeast of Santa Fe. Points of interest: Linda Vista Stables, The Old Bridge, and La Sala de Galisteo. Directions, a map, and artists’ websites are available online at galisteostudiotour.org, or call 466-2121. Straw-appliqued carving by Jean Anaya Moya

LOS ALAMOS Mesa Public Library Gallery 2400 Central Ave., 662-8247. UNMUTE: Text and Image in American Art, 1970-2000, prints and artists’ books from the New Mexico State University Art Gallery, through Nov. 28. Pajarito Environmental Education Center 3540 Orange St., 662-0460. Exhibits of flora and fauna of the Pajarito Plateau; live amphibians, an herbarium, and butterfly and xeric gardens. Open noon-4 p.m. Tuesday-Friday, 10 a.m.-1 p.m. Saturday, no charge.

TAOS Museums/Art Spaces E.L. Blumenschein Home and Museum 222 Ledoux St., 575-758-0505. Hacienda art from the Blumenschein family collection, European and Spanish Colonial antiques. Open 10 a.m.-5 p.m. Monday-Saturday, noon-5 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge; Taos County residents 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-5 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge; Taos County residents with ID no charge on Sunday. Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. Unknown Was a Woman, group show of pottery, baskets, and weavings, through December. Open 10 a.m.-5 p.m. daily. $8, Taos County residents with ID no charge on Sunday. Taos Art Museum and Fechin House 227 Paseo del Pueblo Norte, 575-758-2690. Visual Impressions, paintings by Don Ward, weekend artist demonstrations through Jan. 6 in Fechin Studio. Open 10 a.m.-5 p.m. Wednesday-Sunday. $8, Taos County residents with ID no charge on Sunday.

Events/Performances Janiva Magness The blues and soul vocalist celebrates the release of her album Stronger For It, 8:30 p.m. Saturday, Oct. 20, KTAOS Solar Center, 9 NM 150 (Taos Ski Valley), $10, ktaos.com, 575-758-5826.

▶ People who need people Volunteers Street Homeless Animal Project Pick up collars once a week from various local pet supply stores for collar drives; staff information tables at community events, and help at fundraisers; call Karen Cain, 501-4933.

Artists/Craftspeople 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; deadlines, details, and prospectus available online at masterworksnm.org; for additional information contact Barbara Lohbeck, 505-260-9977. Santa Fe Plaza Park Artist/Artisan Program The city is accepting applications from Santa Fe County residents for license terms valid from January 2013 through December 2017; handcrafted art only; pick up forms at City Hall, 200 Lincoln Ave., or download at santafenm.gov; hand deliver by 5 p.m. Wednesday, Oct. 31; call the office of Constituent Services, 955-6949.

Actors/Performers/Filmmakers Santa Fe Playhouse Submit 15-minute scripts for Benchwarmers 12; February 2013 performances; must be new or not yet produced; email playhouse@santafeplayhouse.org or call 988-4262 for submission packet and protocols; postscript deadline Monday, Oct. 29, or drop off at 142 E. De Vargas St.; for more information visit santafeplayhouse.org.

▶ Short People Archaeology Day! Celebrate the opening of the Center for New Mexico Archaeology with lab tours, family activities, educational programs, and presentations, 10 a.m.-4 p.m. Saturday, Oct. 20, 7 Old Cochiti Rd., 827-6343, nmarchaeology.org. Santa Fe Public Libraries Science AfterSchool Programs Free classes for ages 5-12 (3:30 p.m.): Monday, Oct. 22, La Farge Branch, 1730 Llano St.; Tuesday, Oct. 23, Southside Branch, 6599 Jaguar Dr.; Wednesday, Oct. 24, Main Branch, 145 Washington Ave.; visit santafepubliclibrary.org for other events. ◀

Santa Fe music scene: a total sausage fest Somewhere out there, a banner or two waves in the name of Oktoberfest in Santa Fe, and before this month is over, I plan on making bratwurst my BFF with a little help from the local restaurant and bar scenes. It isn’t really a sausage-and beerdrenched Oktoberfest party without some great music, and two venues are bringin’ it large this year. (Which reminds me, has anyone seen my Miss Shevaughn & Yuma Wray lederhosen from 2011?) First up is the Second Annual Oktoberfest Celebration at the Santa Fe Brewing Company (35 Fire place, 424-3333), which runs noon-6 p.m. Saturday, Oct. 20. Think of this as part New Mexico beer festival and part fundraiser, with plenty of food and music throughout the day. La Cumbre Brewing Co., Tractor Brewing, Marble Brewery, Second Street Brewery, and others serve their seasonal wares, and three bands are slated to perform, notably Mariachi Diferencia, psychedelic jammers Pigment, and local rockers The Sean Healen Band. Besides the brews and beats, SFBC is throwing a bratwurst-eating contest and a “six-pack-holding” competition, whatever that is, as well as offering beer tastings and horse-drawn carriage rides. Throughout the day, food trucks will pull up to the brewery’s tasting room for those who feel like (gasp!) eating something other than sausage during Oktoberfest. The most important thing to remember about this event is that it’s a fundraiser for the Santa Fe Humane Society & Animal Shelter, Esperanza Shelter for Battered Families, and Kitchen Angels, three local nonprofit organizations that were chosen by popular vote to be the recipients of donations collected during the event. There is no charge for admission, but a $5 donation is requested for beer tastings. In case you haven’t heard, Cowgirl BBQ (319 S. Guadalupe St., 982-2565) isn’t serving alcohol between Oct. 22 and 25. The New Mexico Department of Public Safety’s Special Investigation Division fined and penalized the establishment earlier this summer after a woman who was allegedly over-served there died in a head-on collision and seriously injured others during the crash. It’s nice to know that the bar is living up to its responsibilities to the state (read the story in full in The New Mexican at www.santafenewmexican.com/localnews/ 100312cowgirl#.UH2_o0bDVqk). During the days that no alcohol is served, Cowgirl’s owners have agreed to donate half the proceeds from lunch and dinner sales to the New Mexico chapter of Mothers Against Drunk Driving. The organization will be on hand at the restaurant during this period to talk about its mission and the dangers of drinking and driving. With the holidays right around the corner, that’s a good thing. Cowgirl chef Patrick Lambert’s seasonal Oktoberfest menu is in full effect (bunny-rabbit brats, anyone?), and at 8 p.m. Sunday, Oct. 21, before the four-day ban on booze sets in, fearless indie Americana road warriors Miss Shevaughn & Yuma Wray hit the creaky planks at Cowgirl. The duo — vocalists/multi-instrumentalists Erin Frisby and Chris Stelloh — serves up a curious hybrid of blues, soul, alt-rock, gospel, and folk, using guitar, organ, glockenspiel, banjo, mandolin, lap steel, and harmonica to channel the likes of The Smiths guitarist Johnny Marr, Patsy Cline, Amy Winehouse, and Arlo Guthrie. Sound weird? It is, and these two are about as hippified as a wheatgrass milkshake in a patchouli factory. But damn, can they play. There’s no cover for the show. And for the love of all that is rational, please take responsibility for your own drinking habits, and look after each other in the process. — Rob DeWalt rdewalt@sfnewmexican.com Twitter: @PasaTweet @Flashpan

A weekly column devoted to music, performances, and aural diversions. Tips on upcoming events are welcome.

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October 19-25, 2012

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