Pasatiempo, February 21, 2014 by The New Mexican

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

February 21, 2014

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RESTAURANT WEEK (FEB 23 - MAR 2)

3 COURSE PRIX FIXE $30 PER PERSON

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Celebrates “Porkfest”

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PASATIEMPO I February 21 - 27, 2014

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PASATIEMPOMAGAZINE.COM

Your Light Source.

After 30 years in the lighting industry LED lamping appear to have energized the design world. We can’t wait to show you all the new fixtures we have added to our showroom! Finally we are seeing some high quality LED lamps that can step up to the plate and take over where the beloved energy-guzzling Edison bulbs left off. Don’t settle for the mediocre The good old light bulbs had the best color rendering possible. We were used to flattering, warm light. Then came the LED and all we heard about was the long lifespan and the energy saving features. The fact that the color rendering and light output were mediocre was brushed under the carpet.

PASATIEMPO I February 21 - 27, 2014

This has finally changed! We no longer have to accept poor quality as part of the bargain of saving energy. There are now some awesome LED lamps out there – and we have stocked up on them. Humming, flickering, buzzing – What’s the deal? Unfortunately a lot of retrofit LED lamps fight with existing transformers and dimmers, which can cause flickering and humming. Even LED lamps that are designed to be dimmable aren’t compatible with every dimmer. We are spending a lot of time testing LED lamps, transformers and dimmers in our lighting lab to minimize these issues We don’t just sell fixtures – we sell solutions and ideas.

Free one hour lighting consultation in your home Stop by or call us to schedule an appointment – Lette Birn, Owner, Form+Function

SALE on bathroom and outdoor lighting

YOUR LIGHT SOURCE

1512 Pacheco St, Ste C202 820-7872 www.formplusfunction.com

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Navajo Rug & Jewelry Show & Sale

Saturday February 22 10AM–4:30PM & Sunday February 23 10AM–3PM Petroglyph National Monument Unser & Western Trail NW Albuquerque, NM 87120 Free and open to the public The Petroglyph National Monument Park Store is operated by Western National Parks Association, a nonprofit partner of the National Park Service. Your tax-free purchases help support national parks across the West

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Hundreds of exquisite handwoven Navajo rugs straight from Hubbell Trading Post—the oldest continuously operated trading post in the Southwest. Also featuring fine silver and turquoise jewelry, ongoing weaving demonstrations, and rug talks by trader Edison Eskeets at 11AM & 1PM daily.

Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room • Bedroom • Entertainment • Lighting • Accessories We’re closing our Cerrillos Road location. Our Warehouse Showroom on Airport Road will continue to feature over 8,000 sq. ft. of quality Southwestern Furniture.

STOREWIDE SALE ADDITIONAL 20% OFF OUR DISCOUNTED PRICES AT OUR WAREHOUSE SHOWROOM SAT, FEB 22 - SAT, MAR 8

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

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Monday - Saturday

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PASATIEMPOMAGAZINE.COM

THE SANTA FE NEW MEXICAN

February 21 - 27, 2014

www.pasatiempomagazine.com

On the cOver 28 Pop terrain Since his death in 2012, Ken Price, the Taos and Venice, California-based artist, has been honored with major retrospectives of his sculptures and drawings at venues on both coasts. It is fitting that Ken Price: Slow and Steady Wins the Race, a traveling exhibition co-organized by the The Drawing Center in New York City and the Albright-Knox Art Gallery in Buffalo, wraps up its run in New Mexico, where he spent his final years. The show is one of several opening concurrently at the Harwood Museum of Art in Taos on Friday, Feb. 22, and includes many rarely exhibited works on paper by the artist, who is best known for his sculptures. On the cover is Price’s 2004 The Pacific Ocean; all Harwood images courtesy the museum.

BOOKS

MOvIng IMAgeS

16 In Other Words Hanns and Rudolf and The Other Mother 18 the Old country The Spoon From Minkowitz 20 troubled waters Greg Grandin

40 Being Jewish in France 41 The Rocket 42 Pasa Pics

cAlenDAr

MUSIc AnD PerFOrMAnce 22 24 26 33 34 36

48 Pasa Week

Pasa reviews Santa Fe Symphony Pasa tempos CD reviews Sound Waves Santa Fe Arts Commission Onstage Lonesome Leash On principle Jazzman Chase Baird Intent on enchantment Magician Misty Lee

AnD 12 Mixed Media 15 Star codes 46 restaurant review: Bangbite Filling Station

Art 30 the good earth Art for a Silent Planet 32 A feast for the eyes and palate ARTfeast

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. e-mail: pasa@sfnewmexican.com PASAtIeMPO eDItOr — KrIStInA Melcher 505-986-3044, kmelcher@sfnewmexican.com

From Being Jewish in France

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Art Director — Marcella Sandoval 505-986-3025, msandoval@sfnewmexican.com

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Assistant editor — Madeleine nicklin 505-986-3096, mnicklin@sfnewmexican.com

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chief copy editor/Website editor — Jeff Acker 505-986-3014, jcacker@sfnewmexican.com

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Associate Art Director — lori Johnson 505-986-3046, ljohnson@sfnewmexican.com

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calendar editor — Pamela Beach 505-986-3019, pambeach@sfnewmexican.com

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StAFF WrIterS Michael Abatemarco 505-986-3048, mabatemarco@sfnewmexican.com James M. Keller 505-986-3079, jkeller@sfnewmexican.com Bill Kohlhaase 505-986-3039, billk@sfnewmexican.com Paul Weideman 505-986-3043, pweideman@sfnewmexican.com

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cOntrIBUtOrS loren Bienvenu, taura costidis, laurel gladden, Peg goldstein, robert Ker, Jennifer levin, robert nott, Jonathan richards, heather roan-robbins, casey Sanchez, Michael Wade Simpson, Steve terrell, Khristaan D. villela

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PrODUctIOn Dan gomez Pre-Press Manager

The Santa Fe New Mexican

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Robin Martin Owner

www.pasatiempomagazine.com

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Ginny Sohn Publisher

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ADvertISIng DIrectOr Tamara Hand 505-986-3007

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MArKetIng DIrectOr Monica Taylor 505-995-3824

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grAPhIc DeSIgnerS Rick Artiaga, Jeana Francis, Elspeth Hilbert

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ADvertISIng SAleS - PASAtIeMPO Art trujillo 505-995-3852 Julee Clear 505-995-3825 Matthew Ellis 505-995-3844 Mike Flores 505-995-3840 Laura Harding 505-995-3841 Wendy Ortega 505-995-3892 Vince Torres 505-995-3830

Ray Rivera editor

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet

Santa Fe Community Orchestra

Oliver Prezant, Music Director

2013-2014 Concert Season

Mid-season Concert

Sunday, February 23rd at 2:30pm St. Francis Auditorium

New Mexico Museum of Art, 107 W. Palace Ave.

A. Dvorak: Concerto for Cello in B minor Peter Stoffer, cello Winner, SFCO 2013-14 Concerto Competition

M. Bowen: Land of Enchantment

World Premiere Winner, SFCO 2013-14 Composition Competition

J. Sibelius: Symphony No. 1 Free admission - Donations appreciated Sponsored in part by:

Thornburg Investment Management

Like us

For more information visit our website: www.sfco.org or call 466-4879

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.

Santa Fe Farmers’ Market Institute

WEDNESDAY NIGHT M

WATERSHED: A New Water Ethic for a New West

he Colorado River is the most dammed and diverted river in the world. Produced and narrated by Robert Redford, the film asks important questions about the future of the river and watersheds in the American West.

Screening with: Public Land, Private Proﬁts: A Grand Threat

7:00 pm at Santa Fe Farmers’ Market Pavilion Admission: General Admission: $12/Institute Members, Seniors & Students over 18: $10/ Under 18 and Santa Fe Farmers’ Market Vendors: Free Tickets: 505.983.7726 or info@farmersmarketinstitute.org

SFFMI is a nonproﬁt organization

www.farmersmarketinstitute.org

Special thanks to our generous sponsors:

PASATIEMPOMAGAZINE.COM

Lensic Presents

T h e a ce l P r e h t O

FUSIONTheatre Company Tradition // Innovation // Excellence

March 7 & 8

Friday 8 pm, Saturday 2 pm & 8 pm

by S

$20-$40

Discounts for Lensic members & students

hit W r har

The spellbinding drama that captivated Broadway audiences in 2013. “A cunningly constructed entertainment” — The New York Times

Tickets: 505-988-1234 www.TicketsSantaFe.org the lensic is a nonprofit, member-supported organization

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

GeorGe WashinGton [Wishes he]

slept here.

Shidoni Collector’s Event Happening all February. Most works 20-50% off 1508 Bishops Lodge Rd, Tesuque, NM 87574 (505) 988-8001 ext 120 | www.Shidoni.com 8

PASATIEMPO I February 21 - 27, 2014

our presidents’ day sale has Been extended

special sale hours:

sunday, FeB. 23rd – 1–4 pm and Monday, FeB. 24th – 10am–3pm

Get 45% oFF your Favorite piece oF stickley

8001 Wyoming ne, suite B3 | albuquerque tuesday through saturday 9 a.m. to 5 p.m. 505.856.5009

stickley. Made For liFe.

useums m gaalleries ttractionsvenues

pas s heatermusic t shoppingMOVIES

RESTAURANTS

if it’s in santa fe, it’s on exploresantafe.com

RESTAURANT WEEK AT LA PLAZUELA February 23 - March 2, 2014

Dinner Menu $30 per person Starters (Choose One) La Fonda Caesar Salad — fresh romaine hearts tossed with queso Cotija Caesar dressing, seasonal tomatoes and sourdough croutons Roasted Corn Poblano Chowder — filled with roasted corn and poblano chile, potatoes and onions, garnished with crispy poblano strips Roasted Wild Boar & Applewood Smoked Bacon Tamale — served with salsa verde and sour cream sauce Main (Choose One)

Lensic Presents

TAO:

PHOENIX RISING

The amazing Taiko drummers from Japan

bring athletic moves, dazzling costumes, and explosive percussion to the stage!

Pan Seared Pork Tenderloin Medallions — served with honey mustard demi-glace, smoked cheddarcreamy polenta and fresh seasonal vegetables Char Grilled 12oz Top Sirloin — topped with sautéed Portobello mushrooms and béarnaise sauce, served with roasted garlic mashed potatoes and fresh seasonal vegetables Rainbow Trout — pan-fried fillets in a blue corn crust served with a lemon-cilantro butter sauce, rainbow quinoa pilaf and sautéed spinach and pinon Dessert (Choose One) Lemon Curd — served in a flaky pie crust with raspberry coulis

February 22, 7:30 pm $25–$45

“Extraordinarily talented . . . incomparable muscular zeal” —Chicago Tribune

Tickets: 505-988-1234 www.TicketsSantaFe.org S ERVICE CHARG E S A P P LY AT ALL POINTS OF PURCHASE

th e lensic is a non profit, member-supported organ ization

La Fonda House Flan Flourless Chocolate Torte — with smoked jalapeño chile chocolate sauce

Reservations Recommended: 505.995.2334 lafondasantafe.com PASATIEMPOMAGAZINE.COM

the sOUNDs OF sAnTA FE The Lensic and FRogville RecoRds pResent

10%-15% *Best discount applies to multiple item purchase.

Our superior awning products are an affordable & attractive addition to your home or office. Save now through May 9, 2014

GReat music fRom FRogville RecoRding ARtiSts

————————————————————————————

Round MOuntain

BoRis m c Cutcheon & the Salt Licks

An t hOn y LEOn Bill

30% off Spettmann motorization on the Santa Fe Patio Wind and Solar Screens. Also available for upgrade on existing manually operated units. While supplies last. Expires 03/15/2014

PalmeR’S TV killeRs ————————————————————————————

F e b R u a Ry 2 8

7: 3 0 p m

$12

Tickets: 505-988-1234 www.TicketsSantaFe.org SERVI CE C HA RG ES APPLY AT ALL POINTS OF PURCHASE

th e lensic is a non profit, member-supported organ ization

Fine Oriental rug OF albuquerque

50%-75% OFF large Selection of Hand Crafted Cabinets, tables and Decoratives

505-820-0853

314 S. Guadalupe Street • Santa Fe, NM 87501 Across from Cowgirls www.tribalartsdirect.com 10

PASATIEMPO I February 21 - 27, 2014

fOr iNfOrmatiON aNd regiStratiON fOr all prOgramS, viSit OkeeffemuSeum.Org Or call 505.946.1039.

Santa Fe Prep’s Performing Arts Department PRESENTS

breakfast with o’keeffe o3.o3

Volcanoes and the Landscapes they Produce

9 to 9:45 AM. Georgia O’Keeffe Museum, 217 Johnson St. Free with Museum Admission

Lectures & conVersations o3.o2

Searching for Mr. Stieglitz: Film and Conversation

6 PM. Museum Education Annex, 123 Grant Ave. $8. Members and Business Partners, $5 o3.26

Loo’k closer: art talk at Lunchtime

12:3O PM. Georgia O’Keeffe Museum, 217 Johnson St. FrEE with Museum admission = heritage and hierarchy in the art of hemispheric Defense

o3.26

6 PM. Museum research Center, 135 Grant Ave. $5. Members and Business Partners FrEE

workshoPs o3.o7 & 14 = Journeys: a Memoir-writing workshop

9:3O–11:3O AM. Museum Education Annex, 123 Grant Ave.

$35. Members and Business Partners, $30

presents

ON ! E G STA

An SFPS Choral Concert Students grades 6 – 12 Guest Speaker Almudena Abeyta, SFPS Chief Academic Officer More than 400 choral students from every middle school, K8, and high school, and 9 choral directors present an unforgettable evening of song.

Look at the

o3.18

Making art inspired by Place

6–8 PM. Museum Education Annex, 123 Grant Ave. $8. Members and Business Partners $5 o3.25

Georgia o’keeffe and the art of eating well

1O AM–1 PM. Santa Fe School of Cooking, 125 N. Guadalupe St. $80 plus tax per person

stuDent exhibition oPeninG recePtions = celebrate creativity: artwork from the Georgia o’keeffe Museum’s Pre-k Programs

o3.o7

4–6 PM. Museum Education Annex, 123 Grant Ave. FrEE o3.21 = celebrate creativity: artwork from eldorado elementary and Middle schools

5–7 PM. Museum Education Annex, 123 Grant Ave. FrEE

faMiLy ProGraM o3.15

Leis

9:30–11:30 AM. Georgia O’Keeffe Museum, 217 Johnson St. Free for children 4–12 accompanied by an adult

reaDers’ cLub = Looking at Ansel Adams: The Photographer and the Man

o3.25

6–7:3O PM. Museum Education Annex, 123 Grant Ave. FrEE.

Lensic Performing Arts Center Monday, February 24, 6:30 p.m. Concert is Free, Donations Encouraged Underwritten by the Lynn Kraidin Memorial Fund.

217 JOHNSON St., SaNta fe

5O5.946.1OOO

OkeeffemuSeum.Org

PASATIEMPOMAGAZINE.COM

MIXED MEDIA

A lecture series on political, economic, environmental, and human rights issues featuring social justice activists, writers, journalists, and scholars discussing critical topics of our day.

GREG GRANDIN

with AVI

LEWIS

WEDNESDAY 26 FEBRUARY AT 7PM LENSIC PERFORMING ARTS CENTER Since the end of the Cold War, extractive capitalism has spread over our post–industrialized world with a predatory force that would shock even Karl Marx. From the mineral–rich Congo to the fracking ﬁelds of Pennsylvania and the melting Arctic north, there is no crevice where some useful rock, liquid, or gas can hide, no jungle forbidden enough to keep out the oil rigs and elephant killers, no citadel–like glacier, no hard–baked shale that can’t be cracked open, no ocean that can’t be poisoned. To transform this lethal system, we have to dig it out from its roots—which means confronting the barbarism of our own ﬁrst colonial experiments, the human exploitation, and environmental destruction that marked the early years of American expansion. — Greg Grandin

Greg Grandin is a professor of history at New York University and the author of several books on Latin America, including A Century of Revolution: Insurgent and Counterinsurgent Violence during Latin America’s Long Cold War; Empire’s Workshop: Latin America, the United States, and the Rise of the New Imperialism; and Fordlandia: The Rise and Fall of Henry Ford’s Forgotten Jungle City. Grandin has published extensively on issues of revolution, popular memory, U.S.— Latin American relations, photography, genocide, truth commissions, human rights, disease and political violence. His newest work is The Empire of Necessity: Slavery, Freedom and Deception in the New World.

TICKETS ON SALE NOW

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

www.lannan.org 12

PASATIEMPO I February 21-27, 2014

Donald Woodman: El Santuario de Chimayó, circa 1980s, archival pigment print; courtesy Palace of the Governors Photo Archives, Photo Legacy Project

Thinking visually: Donald Woodman

Pictures of clouds and rodeo performers and a series of portraits and selfportraits taken during sessions with psychiatrist Donald Fineberg populate the portfolios of Belen photographer Donald Woodman. Mary Anne Redding, photography chair at the Santa Fe University of Art and Design, curated Donald Woodman: Transformed by New Mexico, opening Sunday, Feb. 23, at the New Mexico History Museum (113 Lincoln Ave.). Woodman earned a degree in architecture from the University of Cincinnati and worked as an assistant to the architectural photographer Ezra Stoller. He studied with the intuitive photographer Minor White at the Massachusetts Institute of Technology — Woodman’s diaries from those days include these words from White: “When one is thinking visually there are no words, there are colors, there are forms, there are shapes, there are relationships, there are all things that are visual but there are no words. No Words.” Woodman moved to New Mexico in 1972 and was employed for five years at the National Solar Observatory at Sacramento Peak in Sunspot, doing scientific photography. From 1980 to 1985, he worked with Polaroid Type 55 positive/negative film, including for his rodeo and The Therapist series. For his cloud photos, he used Photoshop to manipulate scanned prints made with a Polaroid Spectra camera. In 1981, he earned an MFA in photography from the University of Houston. Woodman was the first photographer to donate his materials to the Photo Legacy Project at the Palace of the Governors Photo Archives. Examples of his work are held by the Albuquerque Museum; the Victoria and Albert Museum, London; the Contemporary Art Museum, Kumamoto, Japan; and the Walker Art Center, Minneapolis, among other institutions. There is a 2 p.m. opening reception on Saturday, Feb. 23. The exhibit hangs through Oct. 12. Entrance is by museum admission (no charge Sundays for N.M. residents). Call 505-476-5200. — Paul Weideman

Dancing with Kander: NDI New Mexico

Ann Reinking has a dancer’s intimate connection to the music of John Kander. She was a chorine in the original Broadway production of Cabaret, which Kander wrote with Fred Ebb; in 1977 she replaced Gwen Verdon as the hardboiled Roxie Hart in the duo’s Chicago, choreographed and directed by her mentor Bob Fosse; and 20 years later she received a Tony for choreographing Chicago’s revival. Reinking’s Suite Kander (1999), created for Kansas City Ballet, can be read as a double tribute — to the composer and to Fosse. She recently recast the work for members of NDI New Mexico’s preprofessional group, Company XCel — and the piece’s witty, sophisticated style fit them like a second skin. They perform the dance as part of Winter Escape, a showcase for the students of NDI’s after-school program. Allegra Lillard’s ballet Peter and the Wolf offers a kinetic and sonic change of pace. Prokofiev wrote the music and narration for this “introduction to the orchestra” with Grimm overtones in 1936 on a commission from the Moscow Children’s Musical Theater — it was originally performed for an audience of Young Pioneers. Works by Curtis Uhlemann, Fletcher Nickerson, and Erica Gionfriddo round out the program. Performances take place at 7 p.m on Friday and Saturday, Feb. 21 and 22, and at 2 p.m. on Sunday, Feb. 23, at the Dance Barns (1140 Alto St.). Tickets, $11 and $16, may be purchased by calling 505-983-7661 or visiting www.ndi-nm.org. — Madeleine Nicklin

WIN!

FEBRUARY 8, 15 & 22

CHEVY EQUINOX

We’ll be giving aWay three Chevy eQUinOXeS in FebrUary hourly Drawings on Saturday, February 8, 15 & 22 from 6 to 10pm. Earn 10x EntriEs on MonDaYs!

Members of NDI New Mexico’s Company XCel: clockwise from left, Jasper Shorty, Laura Garrett, and Gabriella Ottersberg Photos Kate Russell

Player receives one entry for every 30 points earned on their Lightning Rewards card, February 1 through February 22, 2014. Drawings will be simulcast at Cities of Gold. See Lightning Rewards Club desk for complete contest rules and details. Management reserves all rights.

PASATIEMPOMAGAZINE.COM

Lensic Presents

BROADCAST IN HD

Going Mobile - iPad Training Saturday, February 22 @ 10AM

War Horse WarHorse Based on the novel by Michael Morpurgo Adapted by Nick Stafford

In association with the award-winning Handspring Puppet Company

Join us for a seminar demonstrating basic functionality and useful tips for your iPad. Demonstration will cover: email, Facetime, Safari, DropBox,

February 27, 7 pm

GoodReader, Newsle, Netflix, Yelp, Sonos, and many more popular apps.

$22/$15 students

 —The Times (UK)

“A landmark theatre event.” —Time

WINNER OF 5 TONY AWARDS 2011

SPONSORED BY

OPEN TUESDAY—SATURDAY 9 AM—5 PM 215 N GUADALUPE 505.983.9988

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

· SANTA FE, NM 87501

· CONSTELLATIONSANTAFE.COM

SERVI CE CH ARG ES APPLY AT ALL POINTS OF PURCHASE

th e lensic is a non profit, member-supported organ ization

1st Annual

Masquerade Charity Ball Presented by the

Santa Fe Association of Realtors

Monday, March 3, 2014 The Club at Las Campanas 6–10 PM $100 PER PERSON $175 PER COUPLE

a tax deductible Santa Fe Community Foundation charity

Dress

 Formal Attire–Masks Required  Masquerade Costume Encouraged  $1,000 Prize for Best Costume NMLS #249314

PASATIEMPO I February 21 - 27, 2014

For tickets call the Santa Fe Community Foundation at (505) 988-9715

STAR CODES

Heather Roan Robbins

Spring is coming soon. It’s been a long winter, and we’re tired of the

cold. This year’s wild astrological aspects have kept us hopping rather than letting us hibernate and renew. This weekend is perfect for a mini-retreat as the sun conjuncts intuitive, spacey Neptune and calls us within. We might as well take this retreat, because glitches will pile up if we push forward. Mercury is still retrograde through Feb. 26. Let’s use our time wisely and renew our psyche. It may be the perfect time to be on a balmy beach, but those of us caught in the cold don’t want to hear about it. We can take ourselves to some equally sunlit places in our soul and bathe in the waters of creativity and rest. Tasks will wait until Monday, when the moon heads into pragmatic Capricorn. Although confusing conditions still trip us up, it’s a good time to complete the work on hand. If our conversations get too awkward, our friendships may do best when we talk less and hug more (with permission). We may see a breakthrough on Wednesday and Thursday. The mood is generally friendly with frustrated undertones, rebellious and not particularly wise as Mercury turns direct and Jupiter squares Uranus. We may want to free ourselves from past restrictions and so jump or push forward injudiciously. Friday, Feb. 21: Have patience and look deep, but don’t get lost in the back corners of your psyche. As the brooding Scorpio moon squares Mercury at midday, acknowledge irritations but promote understanding. Midafternoon, a moon-Saturn conjunction asks us to rely on systems but remember our personal authority. Tonight, respect people’s boundaries. Saturday, Feb. 22: We get a fresher perspective this morning with the moon in exploratory, outdoorsy Sagittarius. Throw away the schedule and listen to the soul’s needs. If miscues and distractions cause relationship blips, wander and reconnect later. Watch transportation problems and weather reports. Sunday, Feb. 23: Anything we do to dream, create, or listen to our soul helps; any attempt to be efficient and practical will run into glitches as the sun conjuncts confusing, intuitive Neptune. Drift, dream, cut one another a lot of slack, and help others feel safe, secure, and accepted. Share stories and rest up. Monday, Feb. 24: Conditions are confusing, but the Capricorn moon asks us to get on with life anyway. Expect people to be busy but not really know where they’re going. Lean in on old friends, antiques, and historical wisdom as Venus sextiles Saturn. Remind one another of the good times. Tuesday, Feb. 25: Echoes of the past resurface for fixing or healing as Pluto sextiles Chiron; estranged friends or lost contacts circle back. Don’t get lost in the past; remember that we’re different people now and can take a different approach. Midday is tough; the evening is logistically difficult but warmhearted as the moon conjuncts friendly Venus. Wednesday, Feb. 26: The mood is wacky and diffuse. We’re affected by our circle with the moon in communal Aquarius and can feel sympathy for others’ frustrations. Something is breaking through; let’s make that love, not lava. Midday we get a karmic boomerang, for better or worse. Keep goals modest and focus on safety. If irritable, say no more than necessary and negotiate tomorrow. Thursday, Feb. 27: After a slow morning, a veil begins to lift and we get a clearer picture. Check in midday as the moon conjuncts Mercury and get the scoop. We’ll feel younger and more hopeful in a few days. ◀ www.roanrobbins.com

Desert acaDemy’s annual gala

PUTTIN’ON THE RITZ Thank You to All of the Generous Donors Who Have Made this SOLD OUT Event Possible! Live AUcTiOn DOnOrS

Dr. Stephen Kellam Orthodontic Treatment Sanbusco Basket including Rock, Paper, Scissors Salon Spa; Teca-Tu; Kioti Clothing; Dell Fox Jewelry; Santa Fe Pens; Pranzo; El Tesoro Café; OpCit Books; Bodhi Bazaar; On Your Feet; Reel Life Orvis Shop; Pandora’s Bedding Playa del carmen condo cabo San Lucas villa espanola Animal Shelter Dog or Cat with Training from ADW, plus Exam & Shots from Dr. Stan Heyman Las campanas Golf Package The Shed Dinner for 6 Thom Wheeler Silver Dragon Fly Heart Peyote Bird Necklace Acoma Pot by Robert Trujillo, Sr. Lex Lucius Sculpture international Folk Art Market Tickets & Two Folk Art Animals

AUcTiOn DOnOrS

ABC Drivers Ed A-1 Self Storage Alpine Sports Amigo Tire Andiamo! Arroyo Vino Restaurant Aspen/Santa Fe Ballet Assistance Dogs of the West Laura Bacon Dan Baker Beaver Toyota Big Sky Learning Sara & Frank Bond Bouche Bistro La Boca Restaurant Body Studio Bridging Associates Lynn & Norman Brown Annie & Bill Brown The Bull Ring Julia Cairns Capitol Coffee Lisa Carman Caviar Mom Susan Cedar & Gary Lowenthal John Charbonneau Jeanne-Michele Charbonnet Clafoutis Bakers

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In Other wOrds book reviews Hanns and Rudolf: The True Story of the German Jew Who Tracked Down and Caught the Kommandant of Auschwitz by Thomas Harding, Simon & Schuster, 348 pages Thomas Harding was at his great-uncle’s funeral in 2006 when he found out that the deceased, Hanns Alexander, had hunted down and captured the kommandant of Auschwitz, Rudolf Höss, shortly after the end of the World War II. At first, he didn’t believe it, as his Uncle Hanns was known as a rogue and a prankster, prone to exaggeration. But as a journalist and former documentary filmmaker, Harding had to find out if it was true. The results of his research, pieced together from histories, biographies, archives, family letters, old tape recordings, and interviews with survivors, is a gripping nonfiction psychological thriller, in which we get to know both Alexander and Höss as people, beginning with their childhoods. In the introduction, Harding makes it clear what kind of story he wants to tell and why. He argues that “when the worlds of these two men collided, modern history was changed. … Höss was the first senior Nazi to admit to executing Himmler and Hitler’s Final Solution.” It is the story of Harding’s surprise that there were Jews who were not victims of Nazi brutality but its avengers, and it is a story of Jewish heroism. “While there are some well-known examples of resistance — uprisings in the ghettos, revolts in the camps, attacks from the woods — such examples are few,” he writes. To be clear, there is nothing about the Holocaust that is portrayed as uplifting in Hanns and Rudolf. The ravages of Auschwitz, and the cold, clinical approach of Höss, as well as his superiors and underlings, are laid bare in order to show just how important the capture of and confession by Höss was. His testimony is a large part of what proves on paper that the Holocaust actually happened. Given that we get detailed accounts of exactly how Höss made killing large numbers of people at once more efficient for the Reich, but are told almost nothing about, for instance, the horrific experiments of Dr. Josef Mengele, the camp’s chief medical officer, Harding should be credited with the kindness of

PASATIEMPO I February 21-27, 2014

keeping his scope narrow. As it is, Hanns and Rudolf is a harrowing read, and Harding is an incredibly talented writer. In his hands, the violence of Höss’ eventual capture, enacted by a small group of soldiers, is not made to seem more acceptable than the violence Höss enacted — or gave orders to enact — on a few million of his fellow humans. With his twin brother, other siblings, and eventually their parents, Alexander left Germany for England in 1936, when he was a teenager, as more and more laws were passed restricting Jewish participation in German society and Jews were being encouraged to leave the country of their birth. As a young man, he joined the British military to fight the spread of Nazism throughout Europe. Because he was fluent in English and German, he was of particular use after the war, which was when he got involved with No. 1 War Crimes Investigation Team (1 WCIT) in 1945, and began hunting down individual officers in Hitler’s command. It was arduous work, requiring him to drive hundreds of miles around Europe, often in circles while chasing false or outdated leads through decimated countryside. Höss, an abused and unwanted child, was a bully from an early age, though prior to learning the joys of causing others fear and pain he wanted to be a priest. World War I broke out when he was 12 years old. Two years later, he lied about his age and enlisted in the military. By the time he was 18, when Alexander was still in swaddling clothes, he’d been to Palestine and back and shot in his hands, knees, and thigh. After the war’s end, always looking for structure and guidance in his life — psychologically, he was the type to join a cult — he continued militia-type military service and became involved with the National Socialist movement. Both men fell in love and got married. Alexander courted his future wife throughout World War II but didn’t commit to her until after his military service, and Höss’ capture, was over. Höss had a wife and several children, who lived together in a spacious, well-appointed villa within easy smelling distance of the Auschwitz gas chambers. After the war, he went into hiding on a farm until his capture, while his wife and children suffered hunger and exposure in an unheated apartment over an old sugar factory. In the book’s postscript, Harding meets Höss’ grandson and former daughter-in-law for a walk around the grounds of the camp. The grandson, Rainer, who had no knowledge of his family’s barbarous past, breaks down in tears while in the barracks dedicated to the memory of Jews deported from France. Then they stand in the gallows, where Höss was hanged for his crimes, next to the crematorium. Harding writes: “Rainer walks up to the wooden structure. He stops, stares at it for a few moments. ‘This is the best place here,’ he says. ‘This place that they killed him.’” — Jennifer Levin

SubtextS

Me and you and you and me Poetry today is ruled by the personal pronoun, “you” and “we,” of course, but mostly “I” and “me.” The poets appearing in Collected Works Bookstore’s next Muse Time Two event put the personal in first person. Craig Morgan Teicher — his latest collection is To Keep Love Blurry (BOA Editions) — stands out among self-reflecting poets because he’s not afraid to reveal everything, without exception. He’s honest in the telling, and his admiration feels self-deprecating. A poem about a look in the mirror is entitled — what else? — “Narcissus and Me”: If they weren’t mine, I’d say my eyes are beautiful, like a riddle to which I am the answer. I’d say my eyes are green, flecked with orange — women have always admired my eyes.

Teicher recognizes how our interest in being evil hides self-love. In “Confession” he describes the show we put on for others by making connection with the champion of confessional poets, Robert Lowell: “Lowell did it best because he understood/ that even when his art was saying I’ve been bad,/he had to make himself look good.” Teicher does the same in “Masturbation” (“you do in your head what you’d never do in life”). He pronounces himself “blameless” when thinking of other women while having sex with his wife (“Other Women”). He casts frank gazes at his mother (“She is a tooth with rot”) and takes joy in the anger his wife stirs in him (“When we fight,/like a tantrum-fresh child, I’m powerful, alive, right.”). By looking at himself deeply, he makes us gaze inward as well, even if we don’t have his courage to express what we find there. James Thomas Stevens, a member of the creativewriting faculty at the Institute of American Indian Arts, finds self-discovery by looking outward, rather than inward. This often comes through contact with the natural world or another person. From “Three Translations From Characters Found on a Lover’s Body”; Beneath a table of common struggles I blend and pace in ample arms. A rice field foregoing garden on the horizon of your belly. Image trumps confession in Stevens’ work, and the fact that it is equally revealing speaks to his skill. In his work, what he looks at is looking back. The reading takes place at 4 p.m. on Sunday, Feb. 23. Collected Works is at 202 Galisteo St.; call 505-988-4226. — Bill Kohlhaase

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The Other Mother by Teresa Bruce, Joggling Board Press, 416 pages Byrne Miller opened a dance school shortly after arriving in Santa Fe in 1965. In 1966, she and her husband, Duncan, wrote and directed the Fiesta Melodrama. Byrne was inspired by the Native dances she observed on visits to the pueblos and started a dance company featuring her own choreography set on students. In 1969, her husband was seriously injured in a collision with a drunk driver. By 1970 they had moved on. The Other Mother by Teresa Bruce is intended to be an inspirational story about the older woman’s relationship with the author, who was a smalltown TV news reporter in South Carolina, but it sometimes comes across as a jarring chronology of unhappy personal connections, crushed ambitions, and delusions of grandeur. What the book does celebrate, however, is a multigenerational friendship that draws its strength from shared ideals. The Other Mother makes a convincing case for creativity as an act of survival. Bruce, a gifted writer, calls this book a “rememoir.” “I’d never walked in on a charmed life in the process of unraveling. I didn’t know how much of the obvious to acknowledge or ignore. I searched Byrne’s face for any hint of what she wanted and realized only what I wanted — to see her eyes light up like they did whenever she spoke of Duncan.” Chapters alternate between the author’s story, set mainly in the 1990’s, and Miller’s biography, which spans 70 years, beginning with the time she was a young girl enraptured by a performance of Harald Kreutzberg, a German modern dancer visiting New York, and jumping to her decision, a decade later, to leave “serious” dance behind in order to support her family during the Depression, touring as a chorus girl in vaudeville. Miller’s story moves along through marriage, children, and the many challenges she faced. Bruce’s late-20th-century saga pales in comparison. It’s the story of a mismatched marriage, attempts to establish herself as a broadcast journalist in a conservative backwater (Beaufort, South Carolina), and her salvation through dance. But it is the juxtaposition of these two lives, one wild, the other tame, and the revelation of how roles sometimes reverse themselves that creates interest. Byrne and Duncan Miller were frustrated artists. Duncan worked in advertising but toiled as a novelist throughout his life without ever being published. Byrne performed in her 20s with some semifamous figures in the world of avant-garde dance in New York but ended up teaching children and creating dances on amateurs for most of her life. The couple had two daughters, one autistic, the other killed in her 20s in a car accident. What could have been presented as a tragedy, however, becomes, in the hands of Bruce, uplifting. It was Miller’s spark, her sense of joie de vivre, and her willingness to create art for nonprofessionals that inspired the author. In the acknowledgments, Bruce thanks her husband for making sure that “a love story about a dancer passed male muster (specifically, no syrupy, soul-mate, coming-of-age, girl power epiphanies).” But the book does suffer in all these respects. However, the glimpse into a realistic love story and the lives of two obscure bohemian Americans is a literary experience that even a nonromantic might enjoy. — Michael Wade Simpson

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Father John Dear, nominated for the Nobel Peace Prize by Archbishop Desmond Tutu, and Roshi Joan Halifax, a founder of the Zen Peacemaker Order present:

Lotus in a Sea of Fire:

Peacemaking, Christ, and the Path of the Bodhisattva. f e b rua ry 2 8 - m a rc h 2

Explore with these two peacemakers, through experiential work and teachings, the profound relevance of fostering nonviolence in the world today. 11 CEUs for Counselors, Therapists and Social Workers.

santa fe, new mexico 505-986-8518 www.upaya.org registrar@upaya.org

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Jennifer Levin I For The New Mexican

Past lives Author Judith Fein visits the Old Country

Castle of Kamenets-Podolsk in western Ukraine; top, from left, Barbara Paraska, an elderly villager; the mayor of Minkowitz in her office Opposite page, entrance to the infamous silica mine used by the Nazis as a massacre and burial site; photos by Paul Ross from The Spoon From Minkowitz

PASATIEMPO I February 21-27, 2014

For many people, the Old Country — the place from where our ancestors came — is nothing more than a hazy idea. We know our great-grandmother came over on a boat from Poland in the late 1800s, or that our grandfather left Russia when he was 5, or possibly it was in 1905. We don’t know the names of the villages they came from, and sometimes even their last names are a mystery, lost to time or the convenient phonetics of Ellis Island. From an early age, Judith Fein was interested in the Old Country. She begged her grandmother for details. Her grandmother, who immigrated from a Russian shtetl (a Jewish rural village in Eastern Europe) called Minkowitz at the turn of the 20th century, didn’t want to discuss the subject. Over time, she offered random facts about her childhood, little details such as that the non-Jewish Russian girls went to school up the hill, that she used to work in a tobacco factory, and that the floors of her home were made of animal dung. It wasn’t much to hold on to, especially since Fein’s mother said that everything her grandmother told her was a lie. Given that Fein is a travel writer, it’s hard to understand why she waited until 2013, 40 years into her career, to go to Minkowitz, but she finally did, in a life-changing journey that she hopes inspires other people to better understand the immigrant history of their families. She has written about the trip she took with her husband in The Spoon From Minkowitz: A Bittersweet Roots Journey to Ancestral Lands. In celebration of the book’s publishing, she is holding two events in Santa Fe. Calling the Ancestors, on Sunday, Feb. 23, at Temple Beth Shalom, is an interfaith potluck and art-making and writing event that includes a talk by Fein about her book and her conception of “emotional genealogy.” Bone Voyage: Traveling Back to Our Ancestors, opening March 1, is an exhibition at Garrett’s Desert Inn, featuring work by 10 artists, including Fein and her husband (photographer Paul Ross), curated by Linda Storm, owner of Canyon Road’s Last Gallery on the Right. Knowing the name of a shtetl is one thing; being able to locate it in contemporary Russia is a much more difficult undertaking. It turns out that Minkowitz is in Ukraine, which was part of Russia when Fein’s grandmother lived there. It was through Andrew, a Russian pen pal with whom Fein connected serendipitously decades ago, that she found out its location. He had gone on a day trip there to take pictures, which he sent to Fein along with a map of Ukraine, notated in Cyrillic, with Minkowitz’s location circled. “When I saw the pictures I could not believe my eyes, because I grew up believing that it was this dark, dank, horrible place with sinuous streets. The photos looked like Switzerland. There were goats and pastures,” Fein told Pasatiempo. “Andrew said that he asked if there were any Jews left in Minkowitz and was told they were all gone, but then when he was leaving an old woman came up to him and said that the last Jew had left in the 1970s — a person by the name of Kornbluth. When he told me that, I almost passed out. That was my grandmother’s name.” The spoon of the book’s title refers to an heirloom from Fein’s husband’s family. When she first met Ross’ parents, his father happened to mention that he thought the name of the shtetl from which his ancestors hailed was Minkowitz. Throughout their marriage Fein has cherished this fateful, seemingly impossible connection as well as the spoon from their homeland. Unfortunately, Ross’ mother was embarrassed by her husband’s family’s peasant background, and Ross — like many children of first-generation Americans who wanted to assimilate — didn’t ask questions. In fact, Ross and Fein made their trip there and back without knowing for sure whether Ross was really from Minkowitz. However, just after the book’s publication, a genealogist in California contacted Fein and asked a few questions about Ross, and then emailed all the immigration and naturalization paperwork from Ross’ family, proving once and for all that Fein and Ross really do come from the same shtetl. Fein and Ross undertook their travels in Ukraine with a guide named Alex, whom Fein found on JewishGen, a site she recommends

to anyone of Eastern European Jewish ancestry trying to trace their roots (www.ellisisland.org is another resource, offering a broader range of countries and cultures). “Alex sounded like a good match in terms of his knowledge and credentials, but I didn’t really care where we went. I just wanted to go to Minkowitz,” she said. Alex was a wealth of information, but when Fein first met him she was taken aback by his academic approach to what she called a “voyage of [my] heart.” “He’s a specialist in archives and genealogy, but I’m very clear that I’m interested in emotional genealogy, and that’s very different. It’s not names and dates and the family tree; it’s the family stories that are so precious.” While in Ukraine, Fein found herself dwelling on stories of her own childhood, especially those of her mother’s cruelty and her insistence that Fein’s grandmother had been a bad mother to her. “When I was there, it came unbidden. I didn’t go there to think about my childhood; I didn’t go there to think about my mother’s childhood with her parents. But when I was there, that energy was coming up through the earth. There was this outer landscape that was triggering my inner landscape. And it was like suddenly everything became clear, what had been passed down.” Fein believes that tracing your roots and discovering these stories can help heal negative patterns that emerge in multiple generations of the same family. She said that you should “start looking at your family in terms of behavioral traits that have been passed down. There are good ones, like optimism and generosity. And then there are the negative things like the rage, the abuse, the anger, the violence. You start looking at this as not just something that happened to you but as something that came over to America on the ship, and how you understand yourself in terms of that lineage. It’s different than therapy. It’s a new focus, a different kind of question, to try to understand the immigrant experience.” Since the book’s release, Fein has been contacted by people with roots in various countries who have told her stories about their families. “Some of them are about a great-grandfather who was a hero in battle, but a lot of the stories are drenched in pain. People don’t talk about it. You talk about weather and sports scores, but in my opinion we need to talk about this and know each other as humans. I wrote about very personal things in this book; I was very vulnerable. I don’t know if people are going to laugh at me, and I don’t care. I needed to tell the story so that other people can tell their stories.” ◀

details ▼ Calling the Ancestors, potluck, art-making & writing event with Judith Fein 2-5 p.m. Sunday, Feb. 23 Temple Beth Shalom, 205 E. Barcelona Road, 505-982-1376 $15 (includes food and art and writing supplies) ▼ Bone Voyage: Traveling Back to Our Ancestors Opening reception, book signing & discussion about The Spoon From Minkowitz 7-9 p.m. March 1; exhibit through March Garrett’s Desert Inn, 311 Old Santa Fe Trail, 505-982-1851 No charge

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Casey Sanchez I For The New Mexican

Courtesy of Metropolitan Books

Troubled waters

Greg Grandin on Melville and slavery

istorian Greg Grandin often assigned his students to read Benito Cereno, Herman Melville’s haunting 1855 novella about a slaveship mutiny. In the South Pacific, a terrified captain and the ship’s victorious slaves engage in a theater of deception to keep the slaves’ rebellion a secret from outsiders visiting the boat. Like many other readers, Grandin didn’t know at the outset that the events of the book’s central plot line actually took place. Melville cribbed the plot and the names of the book’s principal characters from the memoirs of New Englander Amaso Delano, a seal hunter and ship captain who, in February 1805, came across the Tryal, a Spanish ship hauling West African Muslims off the coast of Chile. Unbeknown to Delano, three months earlier, two men named Babo and Mori led their fellow enslaved Africans in an overthrow of the Tryal, killing most of the crew and holding the captain hostage in hopes of a return trip to Senegal. Delano boarded the ship, taking its severely tattered sails as a sign of extreme distress. He brought fresh water and food and marveled at the 72 slaves aboard the Tryal, noting the exceptional devotion and submission Babo and Mori displayed toward Captain Cerreño, refusing to leave his side for a second. Yet only minutes after Delano returned to his own seal ship, Cerreño leapt from the deck of Tryal, landing at Delano’s feet and exposing the whole ruse. Delano and his men charged the tattered slave ship, killing Babo, Mori, and most of the slaves. Delano was known for his anti-slavery views. Yet, as Grandin explains, he had just concluded a financially ruinous season of seal hunting, with the animals’ numbers dwindling and his own crew growing anxious to be paid. When he encountered the con played on him by men he assumed to be slaves, something in him snapped, causing him to betray his values. That something, Grandin argues, has much in common with the way many American white men came to define their freedom in opposition to black slavery, a thread of racial and ideological thinking that the author claims has never entirely receded from our political sphere. “The book tells two stories. One is the arrival of slaves from capture on to the Western Hemisphere. The other is Delano’s life journey and how he ends up in the Pacific,” Grandin said. “I think the story allowed a way to talk about the intersection of ecological violence,

PASATIEMPO I February 21-27, 2014

human exploitation, and the way those types of forces crash into each other.” The story forms the basis of Grandin’s new book, The Empire of Necessity: Slavery, Freedom, and Deception in the New World (published by Metropolitan Books/Henry Holt and Company). On Wednesday, Feb. 26, Grandin speaks at the Lensic Performing Arts Center in an extended interview with Canadian journalist Avi Lewis. The talk is part of Lannan’s In Pursuit of Cultural Freedom series. “The book touches on a lot of the Lannan program’s themes of cultural freedom,” Grandin said. “It’s about slavery, but it’s also about notions of freedom, religions, U.S. foreign relations, and expansion.” Leaping off from the story that inspired Melville’s engaging narrative, Grandin paints a broad picture of why slave trading reached unprecedented volume at a time when the United States, France, and other countries were charting a new course of democratic freedoms. As Grandin notes, of the more than 10 million Africans forced to board slave ships between 1516 and 1866, more than half were captured and sailed across the Atlantic after July 4, 1776. “Slavery wasn’t just an economic institution. It was a psychic and imaginative one as well,” Grandin writes. At the beginning of the 1800s, most residents of both the United States and Spanish America lived in some relative form of servitude, bound to indenture, land rent, prison, or to husbands and fathers in a time of repressive gender roles. “Saying what freedom was could be difficult,” Grandin adds. “Saying what it wasn’t, though, was easy: ‘a very Guinea slave.’ ” Grandin believes the story of the Tryal lays bare the foundational lie at the heart of all slave societies. What blinded Delano to the reality of the slave-ship rebellion taking place before his eyes was that, for all his anti-slavery views, he still only regarded Babo as a servant, with no interior life, views, or will of his own. In a January 18 New York Times op-ed titled “Obama, Melville and the Tea Party,” Grandin writes, “When Delano ultimately discovers the truth — that Babo, in fact, is the one exercising masterly discipline over his inner thoughts, and that it is Delano who is enslaved to his illusions — he responds with savage violence.” Grandin believes this winner-take all approach to human freedom still grips the American far right, where accusing one’s opponents of metaphorically or literally engaging in slavery remains the worst possible pejorative. “As for Mr. Obama,

he continues to invoke fantasies that seem drawn straight from Melville’s imagination,” he writes in the op-ed. “One Republican councilman, in Michigan, attended a protest carrying an image of Mr. Obama’s decapitated head on a pike, which happens to be the very fate that befalls Babo once his ruse unravels. Another Republican ran for Congress in Florida with a commercial featuring Mr. Obama as the captain of a slave ship.” In The Empire of Necessity, Grandin contemplates the ways in which Babo and Mori’s engagement with their Islamic beliefs and Ramadan practices made rebellion against their European captors possible and even necessary. The book also provides an immersive tour of South American cities that hosted slave markets while providing a sobering account of how slavery was central to the development of modern economies, from establishing credit to creating largescale agricultural concerns. For those who have read Grandin’s 2009 book Fordlandia: The Rise and Fall of Henry Ford’s Forgotten Jungle City, an exploration of the car mogul’s doomed rubber-extraction company city in the Brazilian rain forest, The Empire of Necessity is one more masterly weaving of everyday details and forgotten individual histories to a sweeping narrative account of social forces and economic needs. The actual story of Benito Cerreño ends far more morbidly than does Melville’s tale, which at least gave the rebel slaves the dignity of a trial before their execution. The slaves aboard the Tryal met their deaths at the hands of the angry sailors from the seal boat; Babo was decapitated and his head impaled on a pike. Yet, as Grandin notes, this incident was part of a long march of events throughout the 19th century that forced countries across the world to reconcile their beliefs in human freedom with their dependence on human slavery. ◀

details ▼ Greg Grandin in conversation with journalist Avi Lewis, a Lannan Foundation In Pursuit of Cultural Freedom Series event ▼ 7 p.m. Wednesday, Feb. 26 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $6, $3 students & seniors; 505-988-1234, www.ticketssantafe.org

Divine Decadence— The Chocolate Challenge Doing Good, Deliciously Chocolate Challenge (10 Chefs) Complimentary Champagne Hors d’oeuvres Music

DEBUSSY, MAHLER & SHOSTAKOVICH SATURDAY, MARCH 1 AT 6PM | SUNDAY, MARCH 2 AT 3PM ST. FRANCIS AUDITORIUM

Saturday, March 1, 2014 6:30 pm (VIP—5:30 pm) The Inn and Spa at Loretto

$75 per person | $100 VIP Experience

(VIP Experience: tasting with judges, private access to the chefs, vote for VIP Choice Award)

Tickets: www.lafamiliasf.org 505.982.4599 | cwinfield@lfmctr.org

Benefitting La Familia Medical Center—serving Santa Fe since 1972

THE SANTA FE PRO MUSICA ORCHESTRA

THOMAS O’CONNOR, CONDUCTOR DEBORAH DOMANSKI, MEZZO-SOPRANO

Sunday, March 2 at 5:30pm, post-concert dinner with Deborah Domanski (limited seating, reservation through the Pro Musica Box Office required)

DEBUSSY Prélude à l’après-midi d’un faune MAHLER LiedereinesfahrendenGesellen (SongsofaWayfarer) MAHLER Adagietto from Symphony No. 5 SHOSTAKOVICH SymphonyforStringsandWoodwinds,Op.73a Meet the Music one hour before each concert with Thomas O’Connor and John Clubbe. Learn more about the music you love! $20, $35, $45, $65, Students and Teachers $10 Santa Fe Pro Musica Box Office: 505.988.4640 Tickets Santa Fe at the Lensic: 505.988.1234 www.santafepromusica.com

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The 2013-2014 Season is partially funded by New Mexico Arts (a Division of the Department of Cultural Affairs) and the National Endowment for the Arts.

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PASA REVIEWS

Santa Fe Symphony Feb. 16, Lensic Performing Arts Center

Country music

T join us for the oPeninG of Donald Woodman: Transformed by New Mexico sunday, february 23, 2–4 pm Mezzanine Gallery

Meet the photographer and experience how his artist’s eye evolved from the solar system to the landscape to his interior life. Refreshments courtesy of the Women’s Board of the Museum of New Mexico Foundation. Free with admission; Sundays free to NM residents.

WELCOME TO THE ASTONISHING WORLD OF OPERA!

INSTRUCTOR: KATHLEEN CLAWSON SATURDAY, MARCH 22, 9 AM – 1 PM STIEREN HALL

AT THE SANTA FE OPERA

OPERA VIRGIN?

This program is speciﬁcally designed for “students” whose experience of opera is limited or non-existent. Educator, singer and director, Kathleen Clawson and members of the amazing Santa Fe Opera production team unveil the mysteries of the “Original Musical.” The program offers an entertaining introduction to this  year old art form, beginning with the onstage experience – Opera Styles, Types, and Singers, through the backstage world of production– Sets, Costumes, Props, Lights … Action.

$20 REGISTRATION Includes morning refreshments Space is Limited. Register at www.operasantafe.com Jointly sponsored by the Santa Fe Opera Guild and the Education and Community Programs Department of The Santa Fe Opera.

PASATIEMPO I February 21-27, 2014

he program the Santa Fe Symphony presented last Sunday at the Lensic Performing Arts Center was titled In Honor of Lincoln, but that proved to be a metonym for the concert’s real topic, which was cultural diversity in American symphonic music. Only the fourth of the five pieces on offer had any direct connection to our 16th president: Lincoln Portrait, by a composer regrettably identified on the program’s face-page as “Aaron Copeland.” Copland-without-an-E wrote it in 1942 for a propaganda project designed to shore up American pride during World War II, and it has stuck around ever since, a dated but useful vehicle for which orchestras engage political or theatrical celebrities to read a narration Copland derived from Lincoln’s speeches. Here the lines were read by Jill Scott Momaday, deputizing for her father, author N. Scott Momaday, who withdrew in the week preceding the concert. The work traffics in what Copland termed his “vernacular style,” redolent of solid confidence and wide-open spaces, a sound reiterated by imitators who continue to plumb its “morning in America” potential in their scores for Hollywood movies, TV commercials, and concert works. One hears much that is Coplandesque in the music of John Williams, whose Liberty Fanfare opened the show. Williams is in a class of his own among living film composers, but his concert works rarely show similar distinction. Written for festivities surrounding the 1986 re-opening of the Statue of Liberty following repairs, this brief curtain raiser seemed dutiful in its celebration, hauling out the same ascending brass flourishes that have signaled joy since Monteverdi’s era and doing little to transform them in an original way. Guest conductor Robert Treviño conveyed it with raw vigor, allowing the brass section to overpower whatever else was going on. Next up was Ascension, a work for winds, percussion, and harp by Jared Baca, a former Santa Fean who now lives in Boston following his graduation from Berklee College of Music there. A program note explains that the piece describes a flock of geese who “soar above the remnants of ages both long forgotten and newly born [while] the wind that drives them stirs the dust of ancient battlegrounds, washes away the life of a thousand lifetimes.” I don’t think the work quite achieved its grand intentions, but it evinced compositional skill and was pleasant to hear, with allusions to “Greensleeves” and the “Dies irae” chant respectively suggesting pastoralism and decease. Both halves of this long concert began with promotional speeches, and Treviño followed suit by assuring listeners that they would find George Walker’s Pageant and Proclamation wonderful and optimistic. There was indeed much to admire in Walker’s piece, which is characteristically clear in its trajectory and detailed in its orchestration. It offered local dissonances that provided a touch of spice, but Treviño did not find much expressive variety within its pages, instead settling for just “can do” energy. To that point the concert had nodded to inclusiveness through a Hispanic American composer (Baca), an African American composer (Walker), and a Native American narrator (Scott Momaday), and it concluded, logically enough, with the most famous symphony proclaiming American multiculturalism, Dvoˇrák’s Symphony From the New World. As elsewhere in the program, the blunt interpretation was constantly marred by muddy textures, garbled attacks, and ragged solo and ensemble work, a fitting capstone on a program that was heavy-handed in both conception and execution. — James M. Keller

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album reviews

JOHANN GEORG SNOWBIRD REUTTER Portus Moon (Bella Union) Felicitatis (Ramée) If Reutter’s Simon Raymonde, one of the name rings familiar at all, it is because, three main members of evergreen while recruiting young singers for the ephemeral-pop group Cocteau Twins, cathedral choir he conducted in Vienna, returns with a duo named Snowbird. he stumbled across a 7-year-old lad named It’s a welcome return, but the major Haydn and sensed talent. That was not his last question is: Why did he decide to make act of good instinct: he may have been the first person ever it sound so much like his former band? Stately, almostto conduct a complete performance of Bach’s B-Minor Mass. new-agey compositions are part of his creative DNA, but the Reutter fell quickly into oblivion after he died in 1772, and for primary effect is that you miss the Cocteau’s Robin Guthrie and indistinct reasons some 19th-century historians singled him out for particularly Elizabeth Fraser. Snowbird vocalist Stephanie Dosen particular scorn. This collection of Reutter’s motets and arias accord— a seasoned American singer who has worked with Massive Attack ingly comes as an unanticipated surprise on several counts. The music is and the Chemical Brothers, among others — is certainly no slouch crafted in winning mid-18th-century style, reminiscent of Vivaldi in a cosbut ill-suited to the Fraser role in the songs in which layered vocals mopolitan mode (as in his famous Gloria). It displays a sure technical hand float around. That’s the bad news. The good news is that when the two and, though emotionally reserved, traverses considerable expressive terrain. artists set off for new ground, they fare well. “All Wishes Are Ghosts” is the Most astonishing are numerous solos and obbligato arias spotlighting the finest example of this; it’s a brilliant mix of composition and performance, dulcimer, which (under the name salterio or pantaleon) enjoyed a brief with woodwinds fluttering around Dosen’s voice and everything vogue in Reutter’s day. Its hammered strings provide a shimmerbuilding beautifully, like an image slowly coming into sharp ing, ethereal sound, elegantly rendered by Margit Übellacker. focus. Unfortunately, there are few songs like this, and the The two vocal soloists are top-notch; soprano Monika Mauch album hits a sleepy monotony by the halfway point. Most displays pure-voiced limpidity, mezzo-soprano Stanislava versions of Moon come with a second disc (titled Luna) of ‘Aheym’ is a beautiful Jirku° lends a beefier but still well-centered tone, and the the entire album remixed by RxGibbs. I typically enjoy two work seamlessly together in several duets. Jürgen RxGibbs, but this seems pointless — I’d have preferred if and inspiring recording, Banholzer leads La Gioia Armonica, a small periodhe’d helped make Moon more interesting. — Robert Ker instrument band, in loving performances that give a at once reverent and thoughtful, forgotten musical notable his due. — James M. Keller KRONOS QUARTET Aheym: Music by Bryce Dessner (Anti-) Bryce Dessner, best known as the guitarist from that signals the arrival MATT WILSON QUARTET & JOHN MEDESKI indie band The National, is gaining a reputation as Gathering Call (Palmetto) Twenty seconds into Duke a composer of serious new music and classical-rock of an intriguing, Ellington’s steaming “Main Stem,” it’s obvious that the Matt crossover pieces. He writes with a definite melodic take Wilson Quartet is a band that’s both raw and very together. that embraces everything from minimalism to Renaissance ambitious composer. The opening of the fast-tempo “Some Assembly Required” music. He takes inspiration from concepts both abstract and — one of six Wilson originals — has a “Salt Peanuts” vibe and concrete, be they light, literature, landscape, or memory. The features a feral solo by saxophonist Jeff Lederer on tenor. The Bad music suggests visual images that are brought into focus by each Plus’ John Medeski (a guest on the album) engages the goings-on piece’s accompanying story. The title number (“Aheym” means with disjointed pianistic jollities, and then cornetist Kirk Knuffke takes “homeland” in Yiddish), commissioned in 2009 by Kronos violinist the lead, adding to the crazy fun that’s totally propelled by the leader and bassist David Harrington for a performance in Brooklyn’s Prospect Park, came from Chris Lightcap. About the band, Wilson says, “What makes this quartet special Dessner’s experience living near the park and the immigrant community is the quality of trust — we can be game and open and adventurous with that surrounds it as well as his grandparents’ journey to America from each other, so the music flows naturally.” Gathering Call was recorded in Poland and Russia. Its strident beginnings give way to a contrasting, one seven-hour day. The music ranges from the staid “Dancing Waters” swirling cello figure decorated with pizzicato accents and stately, dancto the funkily cacophonic “Get Over, Get Off and Get On” to the freely ing violin lines. The somber “Little Blue Something” was influenced enthusiastic “How Ya Going?” A magical little song titled “Barack by a recording by two Czech musicians, Irena and Vojtech Havel. Obama” was written by the veteran bassist Butch Warren, who “Tenebre” is a shimmering gathering of sound that concludes died last October. Another recently passed with the quartet and a quivering vocal, jazzman, Charlie Rouse, penned “Pumpkin’s all overdubbed by a factor of three. Delight.” Knuffke and the rhythm section set “Tour Eiffel,” a haunting mix of chothings up in a fine, post-bop mode, and then rale, quartet, and guitar, is a setting Lederer adds angles with a bawdy sax break. of a poem by Vicente Huidobro. This You can get a live kick into this music on is a beautiful and inspiring recording, March 6, when Wilson’s quartet plays the at once reverent and thoughtful, that Outpost Performance Space (www.outsignals the arrival of an intriguing, postspace.org) in Albuquerque. ambitious composer. — Paul Weideman — Bill Kohlhaase

PASATIEMPO I February 21-27, 2014

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SOUND WAVES Loren Bienvenu

We are the 1 percent: Part 2 Every year, all nine City of Santa Fe Arts Commissioners take their seats in the Nambé Room in the Santa Fe Community Convention Center and launch a twoday public adjudication marathon. On the other side of the table are leading and emerging (but mostly leading) nonprofit arts organizations seeking a chunk of the city’s arts-related grant money, which is largely supplied through the 1% Lodgers’ Tax. During these sessions, commissioners review applicants’ organizational business models, promotional efforts, and the caliber of their artistic output. When voicing their individual assessments, they rarely mince words. “I think giving constructive feedback is part of the arts. Anybody in the arts has to become accustomed to constructive criticism,” Debra Garcia y Griego said. The native Santa Fean was appointed director of the Arts Commission last year. Unlike the commissioners, Garcia y Griego is a full-time city employee and has no vote in the granting process. She said that the tradition of offering feedback during the public adjudication sessions has existed all of her nearly 15 years as an Arts Commission employee. (I witnessed this tradition personally while attending the April 2011 public meetings as a Center for Contemporary Arts volunteer.) Perhaps such feedback is prioritized because the stakes are so high. Last spring, the commission parceled out $750,000 of funding. In 2008, the amount reached $1 million. Commission chairman Kirk Ellis told Pasatiempo, “You feel as though you’re helping to steer the arts forward in Santa Fe. You’re able to dispense what little largesse we have from year to year depending on our own tourist economy in the way that benefits the maximum number of people and rewards those that have had really progressive and steady business plans.” Like the other eight commissioners, Ellis is a volunteer appointed by the mayor. Intended to broadly represent the arts community in terms of discipline and expertise, commissioners serve a two-year term that is renewable once. Beside Ellis, an Emmy-winning screenwriter, the commission today consists of vice chair Donna Scheer, a choreographer and dance instructor; Ramona Sakiestewa, an accomplished visual artist; Anne Pedersen, a painter and writer with a background in the television industry; Todd Lovato, the managing editor of SantaFe.com and a musician; Gabe Gomez, a poet and the communications director for the Santa Fe campus of St. John’s College; Sande Deitch, the former director of the Bayer Foundation and a member of SITE Santa Fe’s board; Penelope Hunter-Stiebel, an art historian and independent curator; and Kathlene Ritch, a vocalist, educator, and classical radio show host. When reviewing applications, Ellis explained, “We are tasked with very specific criteria that involve whether or not an organization brings people to Santa Fe, whether it has an economic impact, whether it promotes the city as a destination, and whether or not 26

PASATIEMPO I February 21-27, 2014

it has proper outreach to underserved segments of the population, as well as its ability to advertise itself and Santa Fe.” To assess these criteria, the commission reviews detailed applications that typically run more than 10 pages. Following public adjudication, the commissioners numerically and anonymously score each application. The average of these scores is then added to the average score given by a separate six-member advisory panel of local artists and arts professionals (nominated by the public and selected annually by the Arts Commission). Organizations with a higher total score receive a larger percentage of the funds they requested. Both Garcia y Griego and Ellis emphasized their desire for maintaining a maximum degree of transparency in the program. The public adjudication is just one of the program’s built-in transparency mechanisms. A second one is aimed at limiting conflicts of interest, which are not uncommon given the broad involvement of the individual commissioners within the local arts community. Garcia y Griego explained, “If a commissioner or a panelist has what could be perceived as a conflict of interest with an organization, they do not read the application.” Such a commissioner or panelist would neither score the application nor listen to the adjudication of it. Fulfilling her commitment to transparency, Garcia y Griego provided extensive data for this article, including detailed funding amounts for the past eight fiscal years, a cross-section of successful and unsuccessful applications, and a sample of the reporting package required of grantees. But, transparency aside, the grant programs do not enjoy universal approbation within

the local arts community. Though a number of recipients expressed their satisfaction with the program, like Bob Martin of the Lensic Performing Arts Center, who called it “a good system, fair, and pretty well-run,” a commonly voiced critique centered on the founding principle of the lodgers’ tax grants, which fund two out of the three Arts Commission programs — the Community Arts Promotion Program (CAPP) and Special & New Projects Program (SNPP). Established by a city ordinance in 1987, these programs specifically reward nonprofits arts organizations who demonstrate that they attract tourists and use their funding primarily toward marketing and promotions. According to grant writer Janey Potts, who has completed Arts Commission grant applications for arts nonprofits of all sizes (from the Santa Fe Opera to Eldorado Children’s Theatre), meeting the tourism and marketing requirements “is really difficult for smaller organizations especially, [even though] these organizations add value to the culture of Santa Fe for locals as well as tourists.” In Potts’ opinion, the grants would be more equitable if they benefited “art for art’s sake.” Garcia y Griego agrees that the lodgers’ tax grants, with their emphasis on promoting tourism, are not a perfect match for all organizations: “Obviously there is a huge and vital sector of the local arts community for whom that is not part of their mission or vision. So CAD [Community Arts Development, funded through an increment of the gross receipts taxes collected by the state] is a way of funding organizations that focus their work on the local community — a lot of times through youth arts, arts education, and service for the underserved.”

Dr. Glenda King

Where is all this going? This two-part article began last week with the observation that most discussions about city-financed arts funding rely on words like should and must. Now it’s time for a few shoulds. First, the categories should be restructured to provide more support for smaller or fledgling organizations who are not firmly established tourist draws. In fiscal year 2012-2013, the Arts Commission awarded a total of $658,500 to CAPP organizations (like the Santa Fe Opera and the Georgia O’Keeffe Museum). CAD recipients (like Outside In and the Santa Fe Youth Symphony) netted less than 5 percent of that amount: $29,350. If half of the $48,100 in grant money the Santa Fe Opera received that year solely for printing costs and promotional materials had instead gone into the CAD program, the entire funding pool would have nearly doubled for arts organizations whose primary mission is benefitting the local community. The second recommendation regards the reporting process. When an organization is awarded a grant, it receives the funds only after completing the work specified by the application. For example, a Santa Fe Chamber Music Festival contract for services rendered during fiscal year 2012-2013 invoices the city for $34,375. It further specifies that the money was spent on contracted administrative services and fees for marketing and promotion ($2,750), contracted artistic services and fees ($23,375), and advertising placements ($8,250). This reimbursement system helps ensure that organizations meet the requirements of their funding contracts, but it could be further tightened. For example, without implying any malfeasance on the part of the Chamber Music Festival, why not require such an organization to specify who performed the marketing services (an out-of-state advertising firm or an in-house publicist?), as well as where exactly the advertisements were placed (in the Santa Fe Reporter or in Southwest Airlines Spirit)?

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Santa Fe Science Café For Young Thinkers “Discovering the Atomic Structure of the World Around Us” Katharine Page Los Alamos National Laboratory Wednesday, February 26, 6 – 7:30 PM Georgia O’Keeffe Museum Education Annex 123 Grant Avenue, Santa Fe You may have observed that snowflakes often have six arms - but do you know why? The appearance or shape of a snowflake is a result of the patterns water molecules adopt as they freeze. The particular arrangement of atoms in a material sometimes influences a shape you see, and it often determines many other properties that are very important to your daily life. Since 1914 scientists have applied crystallography to examine the arrangements of atoms in solids in order to understand and control their physical and chemical properties. Los Alamos is the home of one of the world’s leading centers for these studies. We will discuss some of the ways that work there is leading to better lives for everyone. Admission is Free. Youth (ages 13-19) seating a priority, but all are welcome. Katharine has been a staff scientist at the Lujan Neutron Scattering Center at LANL since 2010. She grew up in the northeast and completed her PhD in California. She is also a three-time collegiate national champion in Olympicstyle weight lifting. She and her family live in Los Alamos. More Info? Visit www.sfafs.org or call 603-7468.

You feel as though you’re helping to steer the arts forward in Santa Fe. You’re able to dispense what little largesse

T H E W O O D CA R E S P E C I A L I S T A n t i q u e s F i n e F u r n i t u re K i t ch e n s B u i l t - i n C a b i n e t r y !

we have from year to year. — Kirk Ellis, Santa Fe Arts Commission chairman Touch-up

Asked for an estimate of what percentage of grant money is expended locally by grantees, Garcia y Griego responded, “Since a breakdown of local expenses is not a reporting requirement, I cannot provide you with an estimate.” Perhaps this should be a requirement — adding a reporting clause stipulating that recipients spend their funds locally (or at least within the state) would help ensure that the tourism dollars collected by the lodgers’ tax remain in town after their original spenders have departed. Finally, those who insist that the city does not provide enough financial support for local arts should themselves pursue Arts Commission funding; if personally ineligible, one can partner with a fiscal agent. At the very least, critics are encouraged to attend the public adjudication meetings (usually scheduled in late spring; check Pasatiempo’s calendar for forthcoming details). Only by understanding the granting process in full can we formulate concrete feedback and recommendations to be shared with the Arts Commission, the city council, and the next mayor of Santa Fe. ◀ Contact Loren Bienvenu at lbienvenu@sfnewmexican.com. Interested applicants may call the Santa Fe Arts Commission at 505-955-6707 to learn more about eligibility requirements and funding programs, or to nominate a grant review panelist. The application cycle for the 2014 fiscal year closes at 5 p.m. Thursday, March 6, and the online-only application is available at http://santafenm.culturegrants.org.

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Michael Abatemarco I The New Mexican

metamorphic geometry

Artists Ken Price and Charles Mattox

Ken Price: Hawaiian Lava Lake, 2004, acrylic and ink on paper; top, The Hermit’s Cave, 2008, acrylic and ink on paper

PASATIEMPO I February 21-27, 2014

slate of new exhibits opening at the Harwood Museum of Art includes an opportunity to see a retrospective of works on paper by Ken Price (1935-2012) and a rare chance to see works by Charles Mattox (1910-1996), a pioneer of computer-generated art. Co-organized by the The Drawing Center in New York City and the Albright-Knox Art Gallery in Buffalo, the traveling exhibit Ken Price: Slow and Steady Wins the Race, Works on Paper 1962-2010 brings an extensive body of drawings by the artist back to Taos, where Price lived from 1970 until the early 1980s and again from 1988 until his death in 2012. The exhibition curator, Albright-Knox’s Douglas Dreishpoon, leads a panel discussion about Price’s drawings on Saturday, Feb. 22. Charles Mattox: Poetry in Motion features a large selection of twodimensional works by another artist with ties to New Mexico. Mattox taught art and art history at the University of New Mexico, and like Price he was a well-known figure in the West Coast art world. Price had his first solo exhibition at Los Angeles’ prominent Ferus Gallery in 1960, and Mattox would eventually show at Ferus as well. The gallery was the subject of the 2008 documentary The Cool School and was instrumental in advancing the contemporary Los Angeles art scene. The works in Slow and Steady Wins the Race are less well-known than Price’s colorful, organic ceramics. The selection on view at the Harwood includes works in gouache, acrylic, graphite, and ink. These are vibrant landscapes, seascapes, still lifes, and studies rendered in a flat Pop-art style, often filled with dramatic tension heightened by bold, graphic designs. Price made imaginative use of his subjects, depicting erupting volcanoes and lava flows, ocean waves rising to mountainous heights, and surreal conflations of mundane objects and wildlife imagery such as his Sea Turtle Cup, which shows a sea turtle with a cup affixed to its shell, blowing bubbles as it glides across the seafloor. While some of the works were made as studies for ceramic sculptures, most are finished pieces that show that Price was as dedicated to drawing as he was to his sculptural practice. His landscapes are seldom idyllic representations but instead are visions

Top and bottom, Charles Mattox: Untitled, circa 1970, mixed media on paper

of barren, rocky terrain under lowering skies. Talisman to Avert Falling ominously depicts a school bus running off a winding mountain road into a deep canyon. The canyon walls are shrouded in darkness. Price often contrasted bright colors with deep, black shadows and also used black to color flatly rendered forms such as sagebrush and other desert vegetation. He used minimal detail to create forms, letting basic shapes and simple line work convey figuration. The works on paper are more representational than his sculptures; while certain drawings include the flowing, oozing, and twisting biomorphic shapes reminiscent of his sculptural work, those forms are clearly, though surreally, placed in jagged mountain settings, like alien beings traversing a post-apocalyptic landscape. Slow and Steady Wins the Race is the first retrospective of Price’s works on paper and follows a recent retrospective of his sculptural works that opened at the Los Angeles County Museum of Art in 2012 and traveled to the Metropolitan Museum of Art last year. These drawings clearly show a transition over time from sketches and studies for sculptural works in the 1960s to fully realized compositions, many from the last decade of Price’s life, showing his devotion to drawing as a medium rather than as a mere tool in service to sculpture. The Mattox exhibition transpired as something of a fluke. A trove of his drawings, gifted by the artist’s estate in the 1990s, was selected from the Harwood’s collections after the rediscovery of a kinetic sculpture, forgotten until a recent gallery expansion revealed its presence. “Our facilities guy found this really dusty, worn-looking something or other in a shed when we were moving things into the expanded part of the museum," said Jina Brenneman, the museum’s curator of collections and exhibitions. “We were in throwing-away mode, and he said we should just throw it away, and I said let’s dust it off and see, first, if it’s part of the collection. It was this amazing black-and-orange kinetic sculpture called Sleeping Beauty.” The emergence of the piece prompted Brenneman to research Mattox, an artist who created kinetic sculpture and later computer-generated art but who has largely been ignored in the art world. “It’s an interesting thing to me how some people are recognized and some people aren’t,” Brenneman said. “People just get lost, and Charlie Mattox got lost. He has a building named after him at UNM, but for the most part people do not recognize his name.” Mattox’s career brought him to New York in the early ’30s, where he worked on mural projects for the Works Projects Administration before moving to Los Angeles. There he designed animation equipment and created set designs for films. In the late 1960s Mattox organized an exhibition of computer-generated drawings on an upgraded IBM mainframe 1401 computer system at UNM, a computer designed for handling business data-processing applications. Mattox taught members of UNM’s art faculty how to translate alphanumeric characters and symbols into drawings. The exhibit traveled to locations in London and Ireland. The images in Poetry in Motion, all mixed-media works on paper dating to the early 1970s, show the influence of his experiments with computer animation. There’s a three-dimensional quality to Mattox’s elegant, geometric abstractions, which are alive with energy and movement. Slow and Steady Wins the Race and Poetry in Motion offer viewers a chance to reevalute these artists. Price’s interest in drawing as a medium was a steadfast, career-long dedication. Mattox is being given his due, and having an institution such as the Harwood highlight his work should bring him greater posthumous recognition. ◀

details ▼ Ken Price: Slow and Steady Wins the Race, Works on Paper 1962-2010 & Charles Mattox: Poetry in Motion ▼ Opening 10 a.m. Saturday, Feb. 22; exhibits through May 4; 2 p.m. panel discussion with curator Douglas Dreishpoon, $10 ▼ Harwood Museum of Art, 238 Ledoux St., Taos, 575-758-9826 ▼ Entrance to exhibits by museum admission

PASATIEMPOMAGAZINE.COM

Michael Abatemarco I The New Mexican

the good earth

Nina Elder: Lode, 2011, acrylic on panel; top, Jonathan Blaustein: People Feed This to Their Children, 2013-2014, from The Mindless Consumption of Animals, archival pigment print mounted and laminated

PASATIEMPO I February 21-27, 2014

ackling environmental issues such as pollution, global warming, and the depletion of natural resources due to overconsumption is an invitation to open up political discourse or to make a bold statement about how human activity has had an adverse impact on the environment. But that is not the purview of Art for a Silent Planet: Blaustein, Elder, and Long. The exhibition, one of several new shows opening at the Harwood Museum of Art in Taos, takes a less didactic approach. Art for a Silent Planet features work by photographer Jonathan Blaustein, painter Nina Elder, and sculptor Debbie Long, who take on environmental issues objectively, presenting their visions of the world as it is, without hitting you over the head with overt statements or sentimentality. Blaustein’s photographs in the show, several of which were culled from two previous bodies of work, The Value of a Dollar and Mine, are straightforward portraits of objects presented out of context. Were it not for titles such as The Ice Caps Are Melting, one would be hardpressed to assume Blaustein’s images of snowballs and icicles, shot in a studio setting, had any other purpose than to be seen in their perfection. “I’m trying to strip things back and show things in a very spare, clean way that allows the meaning to beat its chest a little bit,” Blaustein told Pasatiempo. “There are opinions there, but in my experience the best art works with ambiguity. People don’t like to be told what to do, in general, and much less told what to think.” Blaustein’s images from The Value of a Dollar show a dollar’s worth of commonplace food items. The images taken from Mine, as well as his newest photographs, show objects found in and around his home and studio, including such mundane things as strips of duct tape and a worn cotton glove. “The new pictures are about taking what was essentially garbage and turning it into art,” he said. “Obviously, my existing pictures aren’t garbage, but when they’re not being used, they’re kind of lifeless. I thought, Let’s take the pictures that are lifeless and let’s breathe life into them and share them with the community.” The images in Art for a Silent Planet are a recognition of changing landscapes; but that recognition does not necessarily equate with acceptance of what drives the changes. Though subtle, the reference in the exhibition title to a world silent in the face of practices that negatively impact the land amounts to an indictment. “There may be some super-hippies living off the grid who’ve managed to somehow zero out their impact on the planet, but I don’t know anybody like that, and I feel pretty comfortable saying that we’re all culpable,” Blaustein said. “We try to modulate our consumption, but some people don’t even do that. As a species, we all have a hand in what’s going on.”

Debbie Long: Tow Package/Yellow, 2013, plywood, diffusion film, light, glass, cast glass, found car parts, CB radios and cords, and hood ornaments

Found objects cast in glass, wax, and other materials that interact with light are merged into Long’s works. She takes such commonplace discarded objects as old CB radios, hood ornaments, and other car parts out of the junkyard context and gives them a new presentation, beautifying these objects as luminous, light-filled amber sculptures. Elder’s paintings and drawings are the most landscape-oriented works in the exhibit. What distinguishes them from more typical landscapes of the desert Southwest is the subject matter: piles of rock left over from mining activity. “They’re all paintings and drawings of piles,” Elder told Pasatiempo. “That came from looking at industrial landscapes. I was first drawn to architecture and structures, and I started thinking about remnants of things we can’t see, that which gets taken away by extractive industry. The most prevalent of that in the Southwest are these piles.” Elder’s unnaturalistic color choices, such as pale blue-and-white rocks under a violet sky, heighten the sense that there is more to these seemingly benign piles than meets the eye. “Some of those piles of rocks have been completely soaked in arsenic at some point, or they’ve gone through heat extraction processes. They’re not normal piles of rocks because they’ve been heavily processed, but they still look so mundane. To most of us, they just look like something completely innocuous. We’re about 100 years removed right now from the apex of mining. I aspire to make beautiful these moments from our shadowy past as a country or as an industrially voracious society. There is this entropy that is happening. Where mining was once highly defined and highly invested in infrastructure, now it’s slumping back into the landscape.” Concurrent with Art for a Silent Planet, the Harwood is showing a selection of black and white paintings by Marcia Oliver; Kathleen Brennan: The Art of the Documentary, a video installation on three monitors, featuring the filmmaker’s recent projects: a short film called The New Neighbor; an ongoing documentary project called Maxwell, Ground Zero, about the effects of climate change on the Northern New Mexico landscape; and her Grand Canyon project, a documentary about the popular tourist attraction, those who protect it, and those who visit it. ◀

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Michael Abatemarco I The New Mexican

FEAST FOR THE EYES

and for the palate — ARTfeast returns

ho says art has to be a purely visual experience? ARTfeast, now in its 17th year, offers visual arts, food, and fashion to whet your appetite. ARTfeast events begin with the Edible Art Tour, which is hosted by various galleries in downtown Santa Fe and along Canyon Road and begins at 5 p.m. on Friday, Feb. 21. Local restaurants provide catering at the galleries, inviting visitors to admire the art while nibbling on distinctive dishes, from savory dishes to sweet desserts. Paired galleries and restaurants include Andrew Smith Gallery and Terra Cotta (at 122 Grant Ave., 505-984-1234), Pop Gallery and C.G. Higgins Confections (at 142 Lincoln Ave., 505-820-0788), Vivo Contemporary and Raaga (at 725 Canyon Road, 505-982-1320), and Meyer Gallery and Osteria d’Assisi (at 225 Canyon Road, 505-983-1434). There are more than 30 other pairings to explore. For the over-21 crowd, events continue at 8 p.m. on Friday with the Fashion Feast dance party and fashion show at the Scottish Rite Center (463 Paseo de Peralta). This features fashion designer Mondo Guerra, season 8 semifinalist on the hit Lifetime reality show and fashion competition Project Runway and a current regular on Lifetime’s Under the Gunn series. Fellow Project Runway alum Patricia Michaels of Taos Pueblo will also show off some of her creations. Guerra presents a selection of his latest fashions, and Guadalupe Goler, owner of Goler 32

PASATIEMPO I February 21-27, 2014

Fine Imported Shoes, adds shoes to complete each of Guerra’s outfits. After the fashion show, DJ Rose of Denver’s Beauty Bar spins tunes to get you dancing. The party includes a cash bar and hors d’oeuvres catered by the Eldorado Hotel. Partygoers have a chance to win lunch for six with Guerra and a tour of Michaels’ Taos studio in a live auction. Other auction items include hand-painted plates made by fifth-grade students in the “I Made It” program sponsored by ARTsmart. From noon to 4 p.m. on Saturday and Sunday, Feb. 22 and 23, local galleries stage artworks in a selection of Santa Fe homes chosen by Santa Fe Properties for a self-guided tour. There is no charge for the Art of Home Tour. Maps are available at ARTfeast events and all tour locations and can be downloaded from www. santafeproperties.com and www.artfeast.com. Also on Saturday is a dinner and auction at the Eldorado Hotel and Spa (309 W. San Francisco St., 505-988-4455). The menu is prepared by Juan Bochenski, executive chef at Rosewood Inn of the Anasazi; Angel Estrada, executive chef at Midtown Bistro; Martín Rios, owner and executive chef at Restaurant Martín; Anthony Smith, executive chef at the Eldorado’s Old House Restaurant; and Kate Wheeler, owner of the Savory Spice Shop. Libations include a selection of wines chosen by sommelier Kate Collins. The auction also includes “I Made It” plates and paintings by high school students mentored by local artist Phyllis Kapp as part of ARTsmart’s educational program. Kapp is the 2014 ARTsmart honorary artist and will be recognized during the event.

ARTfeast wraps up with an artist champagne brunch and auction at 11 a.m. on Sunday, Feb. 23, at the Inn and Spa at Loretto (211 Old Santa Fe Trail, 505-988-5531). Those with tickets to the brunch may tour SITE Santa Fe’s current exhibition, Feast: Radical Hospitality in Contemporary Art, before the brunch begins. The auction includes works from artists represented by Joe Wade Fine Art, Ventana Fine Art, and GF Contemporary, among others. Picassoinspired plates designed by fifth graders at Chaparral Elementary School and paintings by students from St. Michael’s High School and the New Mexico School for the Arts are also included as auction items, as well as food and wine combinations and travel packages. Tickets for the Edible Art Tour are $35 or $70 for a combination Edible Art Tour and Fashion Feast ticket. For just the Fashion Feast, tickets are $40. Tickets for the Saturday-night dinner are $200 or $1850 for a table for 10. The artists’ brunch on Sunday is $80 or $720 for a table of 10. ARTFeast offers all-event passes for $325. Tickets can be purchased online at www.artfeast. org and can be picked up at will call at the ARTsmart office in El Centro de Santa Fe (102 E. Water St.). For more information and complete listings of event details, participating galleries, and restaurants, visit www.artfeast.org or call ARTsmart at 505-603-4643. Proceeds from these events benefit Santa Fe public schools by providing funding for art programs and supplies. ◀ Top, Mondo Guerra, photo Jeff Ball; top, left, Rebecca Tobey’s Midnight Gamble, 2014, ceramic

ON STAGE Dazzle drums: TAO

How would you like to witness huge amounts of exciting, pounding energy and flashing, spectacular costumes? Check out the taiko drummers from the TAO company, hitting the Lensic Performing Arts Center stage (211 W. San Francisco St.) on Saturday, Feb. 22, at 7:30 p.m. TAO’s new production, Phoenix Rising, features modern takes on an ancient form. The company formed in 1993 and first performed outside of Japan at the Edinburgh Festival Fringe in 2004. Since 2012, fashion designer Junko Koshino has collaborated with TAO to intensify the troupe’s appearance. Tickets are $25 to $45 (with discounts) and available by calling 505-988-1234 or visiting www.ticketssantafe.org. — P.W.

THIS WEEK

At home with a range: Peter Mulvey

Almost exactly a year after his last Santa Fe appearance, Peter Mulvey is back by popular demand. Southwest Roots Music and the Santa Fe Performance Exchange bring the peripatetic singer-songwriter to Gig Performance Space for a solo set at 7:30 p.m. on Sunday, Feb. 23. Mulvey employs dexterous guitar work and a hypnotic voice in both his original work and his creative reworkings of a wide range of American music, and he’s equally at home exploring the territories pioneered by Duke Ellington and those trailblazed by Tom Waits. Tickets are $20 in advance from www. brownpapertickets.com and $23 at the door. Gig is located at 1808 Second St. Additional details are available by contacting the Santa Fe Performance Exchange at 505-577-8015 or visiting www.sfpx.org. — L.B.

Temper, temper: Willis “Chip” Miller

The term “temperament” often arises in classical-music circles in connection with the behavior of high-strung performers, but it also refers to the system of tuning to which a musical instrument is subjected. The ancient Greek philosopher-scientists (and figures who championed them later) liked to view musical harmonies as reflecting uncluttered mathematical relationships, but that translates awkwardly to the realm of real-world musicmaking. Over the years, musicians have experimented with countless ways to alter mathematically pure pitches through practical compromises that support the aspirations of composers and performers. On Sunday, Feb. 23, at 3 p.m., pianist Willis “Chip” Miller will perform on two dissimilarly tuned pianos to demonstrate how different temperaments can yield audibly different characteristics of tonal color and expressive suggestion. He will make his point by playing selections from Bach’s Well-Tempered Clavier, Mendelssohn’s Songs Without Words, preludes by Rachmaninoff, and études by Chopin. This free concert takes place in the Great Hall of Peterson Student Center at St. John’s College, 1160 Camino de Cruz Blanca. Call 505-984-6000 for further information. — J.M.K.

Lonesome Leash unleashed

As synth scientists continue furthering their quixotic attempt to refine and perfect the electronic reproduction of acoustic-generated sounds, one lone (or lonesome) musician is working in opposition to this trend. Says Walt McClements, who’s behind the one-man-band Lonesome Leash, “I’d always been interested in affecting the accordion to make it sound more like a synthesizer, and more than a synthesizer.” He also incorporates drums, trumpet, vocals, and electronics into live shows that are almost as much about the spectacle of seeing one person juggle these elements as they are about the music that results. But rest assured — Lonesome Leash gives the music precedence over the performance. He plays High Mayhem (2811 Siler Lane) at 8:30 p.m. on Saturday, Feb. 22. The suggested admission is $10. Local opener Cloacas is sure to set the right mood, with their thoughtful and inventive melding of acoustic folk, jazz, classical, and other traditions. Visit www.highmayhem.org. — L.B. PASATIEMPOMAGAZINE.COM

Bill Kohlhaase I The New Mexican

PASATIEMPO I February 21-27, 2014

Tina Miera

axophonist Chase Baird was a 10-year-old, self-described introvert and “Lego kid” when he decided to ignore popular culture. “I opted to listen only to classical music,” he told Pasatiempo in a phone call from New York City, where he attends the Juilliard School of Music. “I rejected pop culture on principle. I wasn’t really sure about classical music. I guess I liked it on some level.” Today, steered by a desire to find his own voice, Baird is less of an elitist, appearing on stage with vocalist Matthew Morrison (Will Schuester of Glee), jazz jamming at the New York club Smalls, looking to do studio work as a pop musician, and studying classical composition. But he still has his principles. It was also around the age of 10 that Baird, who brings a quartet to St. John’s College on Saturday, Feb. 22, picked up the saxophone. Baird was surrounded by music from an early age. His mother was a classical-music lover, his grandfather was an amateur singer, and his aunt a classical flutist. But it was his father, a trumpeter who dabbled in jazz and rock music, who set the pop-culture reactionary on a course into improvisational music. “I’d drive around with my dad,

who’d play cassette tapes that he’d copied — Dexter Gordon, Dave Brubeck. He loved The Jazz Crusaders, Miles from a lot of different eras, early Coltrane. He also had newer stuff — Pat Metheny and Michael Brecker.” The first saxophonist Baird heard was the Argentine Gato Barbieri. Barbieri was known for his impassioned work on the soundtrack of Last Tango In Paris as well as a series of crossover recordings done in the 1970s. “He was so unbelievably sensual and coming from so open a place,” Baird said. “It was just the kind of music that I was starved for, something coming from a spiritual level. I loved him because his sound was so pure and piercing and clear.” But his discovery of Michael Brecker really got him engaged. “My dad had [Brecker’s 1990 GRP recording] Now You See It … (Now You Don’t), and I remember distinctly telling him that I like everything Michael Brecker does. He was the only artist I felt that way about. Even when I was listening to Gato’s albums there were tracks I would skip. But Brecker’s albums I listened to straight through.” Baird said the tunes that attracted him weren’t necessarily the aggressive, Coltranesque sound that Brecker was known for when he emerged as a bandleader in the 1980s. “People thought of Brecker as

this shredder virtuoso playing fusion music. I loved his ballad playing, the way those albums were produced, the interaction of the band, the aesthetic of it. I didn’t listen to [the earlier jazz-fusion projects] Steps Ahead and the Brecker Brothers. I liked that late ’80s period, which is more acoustic and has that great balance between jazz and modern sounds.” At 14, Baird was so taken with Brecker’s music that he began to memorize the tenor solos from the recordings. He can still recall everything about the first Brecker tune he worked out. “It was that second track, ‘Syzygy,’ from the Michael Brecker album. He’s playing along with [drummer] Jack DeJohnette, playing all this amazing stuff during his solo. It took forever to do, three or four months, but I worked out every note. I knew it inside out. I’d tell people the best lick in the solo happens at a minute 46 seconds, and it was true.” Baird later impressed the saxophonist Bob Berg while attending a summer music camp at Brigham Young University. “We were playing this arrangement of [the Jimmy Van Heusen-Sammy Cahn tune ] “All the Way” with a long tenor feature and an unaccompanied cadenza, and I just filled it up with all of Michael’s licks. I wasn’t developed enough creatively to do something organic.

It was just straight-up regurgitation.” While attending master classes at the Lionel Hampton Jazz Festival in Moscow, Idaho, he met drummer Jeff Hamilton, to whom he expressed his interest in Brecker. “And Jeff told me, don’t be afraid to try and connect with him. He’s a jazz musician. He’s more accessible than you think.” Baird’s parents took Hamilton’s advice, sending the saxophonist a letter and a tape recording of their son’s rendition of “All the Way.” Brecker responded by calling Baird at home, leaving a message suggesting the two should meet the next time Brecker came through town. “To me, it was like the biggest celebrity you can imagine calling me. Like, say, Paul McCartney calling. But if it had been McCartney I wouldn’t have cared as much.” Baird eventually got to spend an afternoon with his hero. “He gave me advice about pursuing a career in music. The biggest thing was that he affirmed what I was doing, that gesture of reaching out after hearing what I was doing, that he felt that he heard a potential for something great. And then that night at the concert, he was playing with Herbie Hancock and George Mraz, and he looked out at the audience and saw me and nodded. It was a very small thing, but I felt acknowledged.” Brecker died from leukemia a few years later at the age of 57. Baird has since established a relationship with Brecker’s wife, Susan, and daughter Jessica. “It’s nice knowing them a bit and to feel connected to them, and through them, that person whose music means so much to me.” Baird spent time in the respected music program at California State University, Long Beach, and was selected to tour the U.S. and Japan as part of the Monterey Jazz Festival Next Generation Jazz Orchestra. He then headed off to New York, where he hoped to establish a career as a freelance musician. He was awarded a scholarship to Juilliard — he’ll finish up there in May — which has given him the opportunity to make appearances with some major jazz artists. One of them, saxophonist Joe Lovano, gave the young student a chance at “a growing moment,” as Baird described it. “Lovano is such a big man in jazz, and I kept wondering what am I going to play with him? We were doing ‘Charlie Chan,’ a tune Lovano wrote for Charlie Parker, and I knew I’d be soloing with him. I felt a bit intimidated. But I feel that I at least stood my own ground and came up with something different than what he did, something of my own.” Baird also appeared with Hancock at a Juilliard concert celebrating bassist Ron Carter’s 75th birthday at Lincoln Center. “He had his own dressing room, but he came out and hung with the students and talked to us about meditation and what he’d learned about life. He’s so profound as a human being. The impression he made is that we were all equals. His energy is like a hug, it encompasses you and is unconditional. Because of him, I was the least nervous of any concert I’ve played.” In 2010, Baird released his first recording, Crosscurrent. The disc, containing seven originals and a couple of jazz standards, reveals a certain sincerity and youthful aspiration as the saxophonist carves out his own place. “I’m hoping to expand. That’s one of the reasons I’m looking at pop music, both creatively and economically. There’s no expectation, no pressure to sound like someone else. It’s hard to make it in jazz today. [Michael Brecker] did all those recording dates, hundreds of them, but didn’t release his own album until he was 38. I want to avoid the elitism. I’m more interested in what you can express, both in composing and with the instrument, the soulfulness of it. The truth you find in music has to be deeper than the notes and the rhythm and the style.” He cited the music of Coltrane as an example of the true expressionism that he’s looking for. “He got to a point where it wasn’t about the music, wasn’t about what he was playing but about the intent he was playing with. He was trying to take it to a higher state of consciousness, to find the love and joy in it, and bring that to the physical world. That’s the feeling I’m looking for. Unconditional love.” ◀

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James M. Keller I The New Mexican

intent on enchantment

PASATIEMPO I February 21-27, 2014

Photos this spread, Portlyn

ot for nothing was New Mexico nicknamed the Land of Enchantment. Magic often seems to inhabit the landscape, and during the coming week it will completely overtake the Jean Cocteau Theater, thanks to screenings of magic-related films and three live performances by Misty Lee, a leading practitioner of theatrical magic. As a student, she trained her sights on dentistry, but the allure of magic soon sunk its teeth into her. She put down roots in Los Angeles, where she lives with her husband, Paul Dini, an animation producer and comic book author, and got busy with a career that has included voice-over acting, improvisational comedy, and, especially, theatrical magic. In 2010, she achieved a signal success when she was named staff séance medium in the Houdini Room at the Magic Castle, a Hollywood institution she described as “‘magic central’ not just for Los Angeles

but for the whole world.” “It’s a huge mansion built in 1908,” she explained, “on what used to be ‘millionaire’s row,’ but by now all the other mansions are long gone. In 1961, brothers named Milt Larsen and Bill Larsen Jr. decided to develop it into a center for magic to honor their father, who had been the editor of a respected magic magazine and dreamed of opening an Academy of Magical Arts. It became a renowned club for magicians, a nurturing place. To gain access, you have to be a member of the private magic club or come as a guest of one. No fewer than six magicians perform every night, and the roster changes weekly. The exception is the séance room; those of us who are séance mediums are there on request, and we could be there every night. Every time I walk through the door I feel so lucky. Who goes to work and has that job?” One of her colleagues will have to handle the Houdini Room on Friday and Saturday, Feb. 21 and 22, though, because Misty Lee will be in Santa Fe confounding viewers from the stage of the Jean Cocteau Theater.

Pasatiempo: As the séance medium at the Magic Castle, you should be in a position to know: Is the Magic Castle haunted? Misty Lee: Of course it is! I mean, you’re asking the person who does the ghost show there, right? It’s not just haunted; it is truly enchanted. Houdini’s actual straitjacket hangs above me as I perform, and his wand is to my right. The place is filled with all sorts of memorabilia, mostly magic-related but really all kinds of wonderful things. The bar from the movie Hello, Dolly! is downstairs, and so is W.C. Fields’ pool table. Pasa: You were the first woman to gain a staff appointment at the Magic Castle’s vaunted Houdini Room. Is it fair to say that you are a woman working in a man’s field? Lee: I hear that a lot, and that’s OK. The bottom line is, I forget about it, because my focus is just on being a great magician. If anything, it has been an advantage. If I’m auditioning and there are three guys who are kind of nerdy and spent a lot of time in their parents’ basement practicing card tricks, and then there’s this

girl who’s pretty socially well adjusted, I might get some opportunities I wouldn’t have if I was just a finger-flicker who looked like everyone else. Magic tends to be a little misogynist: sawing a lady in half, that sort of thing. I had that job, being the girl inside the box, and it’s a hard job. So I took the other job. Pasa: You have worked professionally as both a magician and a comedian. Where is the point of contact between those two fields? Lee: Getting into improvisational comedy, specifically at Second City in Los Angeles, changed my whole career. I have found that there is an organic “funny” that comes from every single audience, and if you are connected to the audience, they tell you what they think is funny, and the humor comes from honesty in the moment. What improv comedy specifically lets me do is sit in the moment and enjoy the people I’m onstage with and the people who have come to see us. It makes the show so much more fun if we keep it easy, breezy, and open. Pasa: What’s hot in magic right now, and what’s not? Lee: We’re at a really exciting point of discovering what the next hot thing in magic is. Six to ten years ago if you had asked me what’s hot in magic, I would have said Criss Angel and David Blaine. If you had me asked 10 years before that, I would have said David Copperfield. With the advent of YouTube and its popularity in the past couple of years, we’re seeing a lot of cinematic magic, which is new: lots of vignettes of storytelling. YouTube makes it possible for people to distribute … let’s call them individual independent projects for mass consumption. I don’t know that one specific brand or style has pushed to the forefront as the new face of magic. We have a variety of magic bubbling to the surface. Pasa: When you attend magic acts yourself, do you pretty much figure out the trick as you watch, or are you sometimes baffled? Lee: I go to performances all the time. Since I work at the Magic Castle, I just run downstairs and see what a magician is up to. I can react in both those ways. If I figure out the trick, and the magician does it well, that I find very enjoyable. For example, a classic trick like the Linking Rings — most magicians know how that works. You’re not going to fool them with the method, but you can entertain them with who you are. If someone does a really good Linking Rings, they can gain fans within the magic community by taking something we all know and amplifying it. Knowing a trick and watching it executed well is a joy. I also love being fooled. I am over the moon when I don’t know how something works — and I never want to know. That’s their secret. I’m curious, but that’s their business. I don’t think that magicians owe it to each other to share their secrets. If they want to share, I love to learn. But if they want to keep their secret, it’s theirs to keep — especially if it’s something they invented. Pasa: Is there an understanding among magicians that somebody’s trick is their personal property? Can you copyright a magic trick? Lee: There is, unfortunately, no true law that protects intellectual property in magic. Most tricks, at heart, have been around for years. They have been seized upon and modified and presented in different ways. For magicians, there are only I think nine things we can really do: we can make something appear, make something disappear, penetrate an item, divine information

we’re not supposed to have, make something levitate, make something that isn’t living animate, etc. Those are things human beings can’t actually do, but we’ve created machines and inventions to allow ourselves those supernatural abilities. We magicians make it seem like the magic comes from us. There are only so many mechanisms that accomplish those things. As a magician, you want to be yourself to the point where even if someone appropriates your trick and does what you were doing, they could never do it like you. If you create a mechanism that accomplishes something, that’s different. Robert-Houdin, for example, a French magician and actor, from whom Harry Houdini took his name — he was a clockmaker in the 19th century, and he created automatons that could execute over a hundred movements that would make them look like they were animated. It was like the ultimate Rube Goldberg device. Something like that you could

uch of Misty Lee’s work aims simply to entertain, but in a recent project she harnessed her ability in magic to a higher social purpose. She explained: I wanted to do a straitjacket trick, and it became very personal for me. My dad is schizophrenic and was verbally abusive when I was growing up. Eventually, my mother said, “I have had enough of this. We need to work together to make this family healthy.” I decided to use the straitjacket as an allegory and metaphor for the abuse she had endured. In this vignette, the woman is strapped into a straitjacket and you hear a voice say “I don’t want you wearing makeup when you go out; I don’t want people looking at you.” Buckle. “I don’t think you need your friends and family; if you love me, I should be all you need.” Buckle. … At the end, she looks up at the camera and says,“No.” And I say“You can escape; contact the Domestic Violence Hotline for help” — and then I escape from the straitjacket. I wrote this and didn’t know what to do with it. Obviously, as a commercial magician I can’t perform that. It can’t be part of a show on a cruise ship, you know? It’s devastating and heartbreaking. It’s art theater, not commercial magic. So we put it on film and many colleagues donated their talents to produce it, and we gave it to the Domestic Violence Hotline in Los Angeles to use as a public service announcement. [The powerful 90-second film is posted on www. mistylee.com.] That is an example of what I mean by the new prominence of cinematic magic, and I’m sure we’ll be seeing more and more instances of magic being used on film or video for some larger purpose apart from just entertainment. — J.M.K.

probably take to the patent and trademark office. However, the idea of making a liquid disappear in a cup, if you’re doing that via chemistry, what’s going to protect you? Then it becomes about the performance, not the gimmick. Pasa: How do you want your audience to feel? Do you want to delight them? Frighten them? Play with their minds? Lee: Yes to all of that. Everything we do in a show has a different flavor. There’s a little bit of creepy, a little bit of whimsy, a little bit of humor, a little bit of fun. Pasa: I understand you trained at the Institute for Analytic Interviewing. What is that? Lee: They train CIA personnel, Scotland Yard agents, types like that. I went up to their center at June Lake, California, and essentially learned the psychology of continued on Page 38

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Being Jewish in France 12:00p Sunday, Feb 23 - SHOW SOLD OUT! NEW SHOW ADDED - 7:00p Tuesday, Feb 25! Advance tickets recommended by going to santafejff.org/tickets or by calling 216-0672. SFJFF handles all tickets for SFJFF events.

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Misty Lee, continued from Page 37 duplicitous behavior. They taught us how to get people to tell the truth by painting them into a corner, when knowing the truth is a matter of life and death. I put that to use in my magic show. I thought it would make me a better fake séance medium at the Magic Castle. No magician in the world is IAI-certified but me. Pasa: Do tricks ever put a magician in danger? Lee: When you’re working with chemicals, fire, some of the things that are typical tools of the trade, there’s always a risk involved. There is a real possibility of getting a papercut from a playing card. As far as grave danger goes, it is irresponsible of a magician to put himself or herself in that position. I don’t think an audience really wants to see somebody die. It would be a horrific and tragic experience to see someone really bite it. I have seen footage of magicians who have made mistakes through not considering themselves and their safety, through not working through the basic math and physics of a set-up. We’re always in danger of exposing and embarrassing ourselves if something goes wrong, and, to me, that is more dangerous than something physical. That’s mortifying. Pasa: Does that happen? Do tricks sometimes go awry in a routine? Lee: Of course. That’s where the personality in magic really comes in. What are you going to do about it now that the trick didn’t work? How do you save the situation and even make it all the more entertaining? Pasa: In your work as a practicing magician and magic consultant, have you ever been approached with potential jobs that you chose not to accept on ethical grounds? Lee: It actually comes up in my personal work. For consulting jobs, I won’t even take the call if it’s a weirdo who wants to engineer some religious thing for profit, for example. And it also comes up in my work as a séance performer. People walk up to me all the time and ask, “Do you really talk to the dead?” And I say, “No.” I am honest and specific about saying that what I do is “theatrical séance.” There is an ethical boundary for me. I’m a performer. I am not a real psychic. I am not a medium who can talk to ghosts. I can usually explain away when people provide “proof” that ghosts are there. I’m not saying it isn’t out there; I’m just saying I’ve not seen it yet. ◀

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The Amazing Misty Lee in performance 6:20 p.m. Friday, Feb. 21; 2 & 9 p.m. Saturday, Feb. 22; $10-$20 The Prestige screening 8:45 p.m. Friday, Feb. 21; 6:20 p.m. Saturday, Feb. 22; 8:30 p.m. Sunday, Feb. 23; 5:45 p.m. Wednesday, Feb. 26; 4 p.m. Thursday, Feb. 27; $5-$10 In this 2006 psychological thriller, directed by Christopher Nolan, two young magicians in late-19th-century London begin as appreciative colleagues, but a trick gone wrong sends them on a path of escalating rivalry informed everywhere by illusion; with Hugh Jackman, Christian Bale, David Bowie, Michael Caine, and Scarlett Johansson. Jonathan Nolan, co-screenwriter of The Prestige, in conversation with George R.R. Martin 4 p.m. Sunday, Feb. 23; $5-$7 Desperate Acts of Magic screening 4 p.m. Friday, Feb. 21; 4:30 p.m. Saturday, Feb. 22; 6:20 p.m. Sunday & Tuesday, Feb. 23 & Feb. 25; 3:45 p.m. Wednesday, Feb. 26; $5-$10 This independently produced 2013 comedy, directedbyTammyCaplanandJoeTylerGold, chronicles the competition and attraction between two aspirants at an international magic competition: computer programmer Jason (portrayed by Gold) and Stacy (Valerie Dillman), who seeks professional respect in a male-dominated profession.

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The end of the affair Jonathan Richards I For The New Mexican Being Jewish in France, documentary,not rated, in French with subtitles, Center for Contemporary Arts, 3 chiles The Jew is one whom other men consider a Jew: that is the simple truth from which we must start. — Jean-Paul Sartre France, the first country in Europe to welcome Jews as full citizens, reveals a Jekyll-and-Hyde attitude toward its Jewish population in Yves Jeuland’s 2007 documentary for French television, a three-hour work that will be shown in two parts on separate dates at the Center for Contemporary Arts as part of the Santa Fe Jewish Film Festival. Jeuland opens with the Dreyfus Affair. In 1894, Capt. Alfred Dreyfus, a French artillery officer, was stripped of his rank and sent to prison on a charge of treason. The charge was patently without foundation; its driving force was a scapegoating anti-Semitism that persisted even when the identity of the real traitor became apparent. Twelve years later, after a build-up of public outcry led most memorably by the writer Emile Zola’s open letter “J’Accuse,” Dreyfus was finally exonerated and restored to his rank. The Dreyfus Affair, which came nearly a century after Napoleon’s emancipation of the Jews in France,

Alfred Dreyfus

PASATIEMPO I February 21-27, 2014

revealed the deep divide and lingering hostility toward Jews in France’s Third Republic. In Jeuland’s documentary, the filmmaker demonstrates how that duality has continued through two world wars and up to the present day. Attitudes in France toward Jews enjoyed an era of relative good feeling after the conclusion of the Dreyfus Affair. French Jews (including Dreyfus) served with distinction in the military during World War I, and Jeuland recounts the story of a rabbi who became a national hero when he was killed by shrapnel while bringing a crucifix to a wounded Catholic soldier. During the Great Depression, the film’s narration tells us, “France changed. Xenophobia and anti-Semitism resurfaced.” France’s Jews, many of whom wanted nothing better than to assimilate and be true Frenchmen, tried mostly to keep their heads down and out of the line of fire. As Jews, many of them less educated, poured in from Eastern Europe, French Jews tended to discriminate against them, worrying that they would upset the racial apple cart. When the Socialists won power in 1936 and Léon Blum became the country’s first Jewish Prime Minister, many Jews were concerned that the exposure could only be bad for their people. Robert Badinter, a former Minister of Justice, recalls that a delegation of Jewish leaders called on Blum to try to persuade him not to take the job. The documentary combines archival footage featuring talking-head interviews with Jewish writers, intellectuals, and politicians whose memories stretch back to their parents’ experiences and their own childhood recollections of the Holocaust, when Philippe Pétain’s Vichy government collaborated wholeheartedly with the Nazis to round up French Jews and send them off to the camps. Pétain, a World War I hero, was idolized by the right-wing press. “Pictures of Pétain everywhere,” Badinter recalls with wry bitterness. “That bleating old man in every newsreel.”

After the war, the French did not like to remember their country’s role in this shameful chapter of its history. Jeuland includes a number of clips from French movies dealing with the period, including such classics as Jean Renoir’s Grand Illusion and Marcel Ophüls’s The Sorrow and the Pity, which was banned in France until 1971. In Alain Resnais’ short documentary Night and Fog, shot 10 years after the war’s end, the director was forced by censors to cut the image of a French police officer involved in the rounding up of Jews for deportation. The French preferred to recall the dirty business as a strictly German operation. In the early ’60s, a flood of immigrant Jews from Algeria began to change the dynamic of the Jewish experience in France yet again. Conflicts between Jews and Arabs in France have escalated with the Israeli-Palestinian conflict and rising tensions in the Middle East. Synagogue bombings and anti-Semitic incidents and cultural references have distorted and stained the atmosphere of the country that once took pride in its tolerant embrace of its Jewish population. The old Yiddish saying “as happy as God in France” no longer has the same cheerful ring. Jeuland’s film does a thorough job of laying out the arcs of the Jewish experience in France and the ongoing struggle between the good and the dark angels of the French population in its attitudes toward its Jewish countrymen. Unfortunately Jeuland does not explore the underlying causes of antiSemitism, focusing instead on its manifestations. The interviewees present a rich and powerfully personal trove of recollections, experiences, observations, and stories about the Jewish experience in France. Badinter sums it up at the end of Part I of the film: “The loveliest remark I know on the relationship between France and the Jews is by Nordmann, who said ‘The Jews and France are a love affair gone sour.’ The loveliest quote on the occupation. A love affair gone sour. It’s terrible!” ◀

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Rocket man: Sitthiphon Disamoe

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Here be dragons Laurel Gladden I For The New Mexican The Rocket, feel-good drama, not rated, in Lao with subtitles, The Screen, 3 chiles Luckily for young Ahlo (Sitthiphon Disamoe), his mother (Alice Keovahong) isn’t a staunch traditionalist. Ahlo’s family is part of Laos’ Akha ethnic group, people who, according to a report from the U.N. Human Rights Council, “believe that twins are demons … who have to be killed instantly after birth.” Even when Ahlo is confirmed to be a twin when a sibling is stillborn, his mother refuses to heed the words of her ornery mother in-law. She cradles Ahlo in her arms and then goes into the jungle to bury his twin, whispering, “Better his father didn’t know.” Flash forward, and Ahlo is a happy, curious boy — certainly no demon — and his family is living a peaceful life. Soon, though, they learn that they are being relocated because of a new dam that will flood their area. That’s when the trouble begins. The trek to their new locale is arduous, and although everyone has been promised homes with electricity and running water, they arrive to find nothing has been built. Ahlo befriends orphaned Kia (Loungnam Kaosainam) and her drunken, James Brown-idolizing, purple-suit-wearing uncle (Thep Phongam), who teaches Ahlo about “sleeping dragons,” unexploded ordnance left behind during the U.S.’s secret war in Laos. The two families eventually set out in search of a better place to live. They learn that a nearby village is preparing to hold a rocket festival, intended to appease the gods and bring much-needed rain. Ahlo decides to prove he’s not cursed by winning the rocket-building contest. This is the first full-length narrative film from Australian writer-director Kim Mordaunt, whose previous work was a documentary about an Australian bomb-disposal expert and Laotian children who collect those bombs for scrap metal. That’s serious stuff, and Mordaunt is clearly unprepared to let go of the subject, but The Rocket is easy to watch, lovely to look at, affecting, and sweet. Although some scenes are tense and frightening, Mordaunt never lets things get too earnest, morbid, or politically pointed. The story is a little sappy and formulaic, and the ending is predictable. But what saves the film are its powerful sense of place, the stunningly lush landscape, and natural, enjoyable performances, particularly from spunky, effervescent Disamoe. Born into a poor rural family, Disamoe lived on the streets and sold candy to survive. He brings his natural resilience, resourcefulness, and charisma to his portrayal of a boy who uses an old bomb lying in the jungle to his advantage. While you might be inclined to turn life’s lemons into lemonade, when life gives Ahlo unexploded ordnance, he uses it to make one heck of a rocket. ◀

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marriages in 19th-century Europe. Soon enough, a heinous crime is committed. Based on Émile Zola’s novel Thérèse Raquin. Rated R. 102 minutes. Regal DeVargas, Santa Fe. (Not reviewed) NATIONAL THEATRE LIVE: WAR HORSE Nick Stafford’s play, adapted from Michael Morpurgo’s book about a horse in World War I, is shown here in its original staging. The stars are the life-sized puppets, designed by South Africa’s Handspring Puppet Company. 7 p.m. Thursday, Feb. 27. Lensic Performing Arts Center, Santa Fe. (Not reviewed) PERFORMANCE AT THE SCREEN The series of high-definition screenings continues with a showing of Puccini’s La bohème from the Royal Opera House in London. Rolando Villazón and Maija Kovalevska star. 11 a.m. Sunday, Feb. 23, only. Not rated. 165 minutes, plus two intermissions. The Screen, Santa Fe. (Not reviewed)

Horse play: Emily Browning and Kit Harington in Pompeii, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week

television and is shown theatrically in two parts. It combines a lot of archival footage with interviews of Jewish writers, intellectuals, and politicians whose memories stretch back to the Holocaust. Jeuland covers the shifting ground from the conclusion of the Dreyfus Affair in 1906, through two world wars, and into present-day conflicts between Jews and Arabs in France. Call Santa Fe Jewish Film Festival at 505-216-0672 or see www.santafejff.org for showtimes and prices. Not rated. 185 minutes total. In French with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) See review, Page 40.

THE ACT OF KILLING How many Americans were aware of the mass killings carried out in Indonesia after the military coup there in 1965? At the direction of the country’s new leaders, thugs and paramilitary groups slaughtered over a million “communists,” which included intellectuals, labor leaders, and pretty much anybody the killers didn’t like. Filmmaker Joshua Oppenheimer interviews some of the killers, who still hold positions of power. They preen for the cameras and reenact their bloody deeds. It’s surreal, phantasmagorical, and utterly devastating. Nominated for an Best Documentary Oscar. A Skype session with Oppenheimer follows the screening. 7 p.m. Thursday, Feb. 27, only. Not rated. 159 minutes. In English and Indonesian with subtitles. Jean Cocteau Cinema, Santa Fe. ( Jonathan Richards)

DESPERATE ACTS OF MAGIC This independently produced comedy, directed by Tammy Caplan and Joe Tyler Gold, chronicles the competition and attraction between two hopefuls at an international magic competition: computer programmer Jason (portrayed by Gold) and Stacy (Valerie Dillman), who seeks professional respect in a male-dominated profession. Not rated. 86 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed)

BEING JEWISH IN FRANCE France, the first country in Europe to welcome Jews as full citizens, reveals a Jekyll-and-Hyde attitude toward its Jewish population in Yves Jeuland’s documentary, which was made in 2007 for French

IN SECRET Elizabeth Olsen plays Thérèse, a woman in 1860s Paris who is stuck in a marriage to her foul cousin (Tom Felton), thanks to her aunt ( Jessica Lange). She meets a handsome artist (Oscar Isaac), which almost always means trouble to loveless

PASATIEMPO I February 21-27, 2014

POMPEII In this blockbuster, Mount Vesuvius erupts and blasts lava all over a period drama, a gladiator movie, and a romance, turning the whole thing into a big disaster pic. Kit Harington plays a slave-turnedgladiator who must race against time to save his true love (Emily Browning) before his entire ancient Roman city is buried beneath red, glowing, special effects. Rated PG-13. 105 minutes. Screens in 3-D and 2-D only at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Not reviewed) THE PRESTIGE Everything about this film looks great on paper: two rival magicians (Hugh Jackman and Christian Bale) in turn-of-the-century London try to get the upper hand in their quest to figure out the secrets to each other’s sleights of hand. A great director (Christopher Nolan), a quality cast (including Scarlett Johansson and Michael Caine), and a labyrinthine plot add to the film’s deep bag of tricks. The Prestige is entertaining, though one gets the sense a story with this premise, setting, and cast should have had a bit more flair. Screenwriter Jonathan Nolan appears at the 4 p.m. Sunday, Feb. 23, screening. Rated PG-13. 135 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Ker) THE ROCKET Little Ahlo (Sitthiphon Disamoe) is born a twin in Laos, a country where some believe that twins are demons. After his family is relocated because of the building of a new dam that is slated to flood their village, Ahlo decides to prove he’s not cursed. He befriends Kia (Loungnam Kaosainam) and her drunken, James Brown-idolizing uncle (Thep Phongam), who teaches Ahlo about “sleeping dragons,” unexploded ordnance left behind during the U.S.’s secret war in Laos. The

story is formulaic, and you’ll see the ending coming from a mile away. But The Rocket is easy to watch, lovely to look at, affecting, and sweet, and it offers natural, enjoyable performances. Not rated. 96 minutes. In Lao with subtitles. The Screen, Santa Fe. (Laurel Gladden) See review, Page 41. 3 DAYS TO KILL Kevin Costner attempts to reinvent his career as an action star the same way Liam Neeson did with Taken. He plays a spy who speaks in a gravelly voice, murders a lot of people, and really loves his daughter. He also has a fatal disease, and is offered an assignment to take out a terrorist with the promise that if he kills it, a cure will come. Rated PG-13. 117 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

now in theaters ABOUT LAST NIGHT Kevin Hart is everywhere these days; odds are he’s on three channels on your TV right now, and he stars in two movies currently in theaters: Ride Along, and this romantic comedy about two couples at very different points in their relationships. Rated R. 100 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) AMERICAN HUSTLE Irving Rosenfeld (Christian Bale) and Sydney Prosser (Amy Adams) bond over the music of Duke Ellington at a party. This is appropriate, because David O. Russell has orchestrated his wild and wonderful riff on the 1978 Abscam sting operation like an Ellington suite. The film weaves themes and rhythms, tight ensemble work and electrifying solos, and builds to a foot-stomping climax. Nominated for 10 Academy Awards, including Best Picture and all four acting categories. Rated R. 138 minutes. Regal Stadium 14, Santa Fe. ( Jonathan Richards) AUGUST: OSAGE COUNTY Tracy Letts adapts his Pulitzer Prize-winning play for the screen, with an embarrassment of riches led by Meryl Streep as the poisonous matriarch of one of the most dysfunctional families you’ll ever meet. As the family gathers to cope with the suicide of the patriarch (Sam Shepard), Streep is joined but not matched by a generally strong cast, with particular kudos to Julia Roberts, who along with Streep was nominated for an Oscar for her work here. Rated R. 119 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) THE BEST OFFER Writer-director Giuseppe Tornatore has crafted an elegant mystery set in an art world full of fakes

and forgeries. It’s a bit of both itself but is still handsome to look at and enjoyable to absorb. Geoffrey Rush is smooth as silk as Virgil Oldman (a name freighted with meaning), a high-end art auctioneer who’s a bit of a crook and an eccentric. His world changes when he’s called by a mysterious young woman (Sylvia Hoeks) to appraise her deceased parents’ fabulous estate. Rated R. 131 minutes. The Screen, Santa Fe. ( Jonathan Richards) DALLAS BUYERS CLUB In 1985 a Texas redneck named Ron Woodroof was diagnosed as HIV-positive, at a time when AIDS was known almost exclusively as a gay disease. His battle against a medical industry that put profit ahead of patients is the basis for this remarkable story. Matthew McConaughey as Woodroof and Jared Leto as his transvestite sidekick Rayon were good enough to earn notice from the Academy, which also nominated the film for Best Picture. Rated R. 117 minutes. Center for Contemporary Arts, Santa Fe. (Jonathan Richards) ENDLESS LOVE Surely nobody asked for a remake of the popular but mostly forgotten 1981 film — with a theme song that is more lasting than the actual movie — but here we are. Gabriella Wilde and Alex Pettyfer play the sheltered girl and the bad boy. Rated PG-13. 105 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) FROZEN Disney’s latest fable, nominated for Best Animated Feature Film, is strange: it is a breezy tale of misunderstanding with no real villain or central conflict. Two princess sisters in a fantasy kingdom part ways when one is revealed to have magical powers to summon snow and ice. With the help of a big lug (Jonathan Groff), younger sis (Kristen Bell) must pull older sis out of her withdrawal from society. Rated PG. 108 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) THE GREAT BEAUTY Director Paolo Sorrentino’s excursion through Roman high life is a funny, sexy, and heartbreaking look at a society dancing as fast as it can to keep up with a past that can’t be caught. Our guide is Jep Gambardella (Toni Servillo), a writer who made a literary splash with a novel 40 years ago and hasn’t been able to think of anything worth writing about since. Nominated for Best Foreign Language Film, the movie is a conscious and masterful updating of Fellini. Not rated. 142 minutes. In Italian with subtitles. Center for Contemporary Arts, Santa Fe. (Jonathan Richards)

HER Writer and director Spike Jonze has spun a modern fable about a melancholy man ( Joaquin Phoenix) and his computer operating system (voiced by Scarlett Johansson). The breadth of the themes makes Her a Rorschach test: one could see it as a movie about the definition of love, our reliance on technology, the shifting of gender roles, or the merits of Buddhist philosophy. It’s up for five Academy Awards, including Best Picture. Rated R. 119 minutes. Regal DeVargas, Santa Fe. (Robert Ker) INSIDE LLEWYN DAVIS The Coen brothers have made a richly textured, visually gorgeous film set in the Greenwich Village folk scene at the start of the ’60s. The title character (Oscar Isaac) is loosely inspired by Dave Van Ronk, one of the core figures of the folk revival, but he doesn’t achieve similar stature. The Coens handle the music with respect and treat the life of a marginal artist with humor, sympathy, and a nice streak of cynicism. The film is about opportunities missed, lost, and squandered. Rated R. 105 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) KNIGHTS OF BADASSDOM Peter Dinklage graces this stoner comedy about a band of LARPers (live-action role-playing participants) who take on a demon unleashed when a would-be wizard reads from a real tome of dark magic he purchased on eBay. The plot is thin, the jokes are lame, and the protagonist (Ryan Kwanten) has all the charisma of a cardboard standee. But if you’ve got time to burn, feel free to burn one with these guys. 8:30 p.m. Tuesday and Wednesday, Feb. 25 and 26, only. Rated R. 86 minutes. Jean Cocteau Cinema, Santa Fe. ( Jeff Acker) LABOR DAY Director Jason Reitman ( Juno) returns with a love story based on Joyce Maynard’s book. Josh Brolin plays a fugitive who hides from the law in the home of a single mother (Kate Winslet) and her son (Gattlin Griffith) and soon discovers the love of his life and the family he never thought he’d have. Rated PG-13. 111 minutes. DreamCatcher, Española. (Not reviewed) THE LEGO MOVIE Emmet Brickowski (voiced by Chris Pratt) is an ordinary LEGO worker in a city where everyone follows instructions to build the perfect world, per the orders of President Business (Will Ferrell). Then, Brickowski learns from some rebels that he can build whatever he wants, and they continued on Page 44

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set out to defeat the President. What sounds like an overlong commercial is one of the best family films in recent years, with subversive humor, nifty twists, wild visuals, catchy music, guest spots by the likes of Batman, and an anarchic plot that somehow still snaps together as perfectly as a certain plastic toy. Rated PG. 101 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) LONE SURVIVOR Peter Berg’s blood-andguts tale is adapted from Marcus Luttrell’s (Mark Wahlberg) account of an ill-fated 2005 attempt by four Navy SEALs to take out a murderous warlord in the mountains of Afghanistan. The acting is solid, but the movie comes across as a two-hour hybrid of a video game and a recruitment film. Rated R. 121 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Jonathan Richards) THE MONUMENTS MEN During World War II, the U.S. put together a team of art scholars and academics under the aegis of the military to try to locate art treasures looted by the Nazis. As the war wound down, the drama became palpable as it became apparent that the Germans were prepared to destroy these works if they couldn’t keep them. George Clooney, wearing the hats of writer, director, producer, and star, has crafted a hugely enjoyable old-fashioned war movie in the tradition of The Dirty Dozen out of this gripping, funny, and moving material. The excellent cast includes Matt Damon, Bill Murray, Cate Blanchett, Bob Balaban, John Goodman, and Jean Dujardin. Rated PG-13. 118 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Jonathan Richards) NEBRASKA Woody Grant (Bruce Dern) has won a million dollars, or so his letter from Publishers Clearing House says, and he’s determined to go to Lincoln, Nebraska, to claim his prize. His son David (Will Forte) agrees to drive him. The film’s black-and-white photography, brings out the lonely feeling of an era and a generation disappearing into the past. Dern and director

spicy

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PASATIEMPO I February 21-27, 2014

Alexander Payne are both up for Oscars, and the film is in the running for Best Picture. Rated R. 115 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) THE NUT JOB Bug-eyed rodents rule the day in this cartoon about a squirrel (voiced by Will Arnett) and a rat (Robert Tinkler) who attempt to break into a nut store. Kids might like this movie, but parents deserve a prize just for making it through the trailer. Rated PG. 85 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Not reviewed) THE PAST In his 2011 Oscar-winning film A Separation, Iranian filmmaker Asghar Farhadi vaulted into the first rank of world cinema with a complex drama of a family coming apart. His new film treats a similar situation, with many of the same thematic elements and character assignments. If the twists seem a little more contrived this time, the impact is still stunning. The plot takes us through a series of reveals, each turn leading to another that deepens and complicates the one before. Bérénice Bejo (The Artist) won the best actress award at the 2013 Cannes Film Festival. Rated PG-13. 130 minutes. In French with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) PHILOMENA Steve Coogan plays a down-on-his-luck journalist who brings an Irishwoman ( Judi Dench, Oscar-nominated once more) to America to find her long-estranged son. The film has the makings of an odd-couple comedy — and there are laughs — but the material runs much deeper and darker than that. The film is up for a Best Picture Oscar. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. (Robert Ker) RIDE ALONG Kevin Hart plays a wise-cracking young punk who joins an older, hard-case cop (Ice Cube) on a ride-along. And then things get crazy. Rated PG-13. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) ROBOCOP Director Paul Verhoeven’s 1987 RoboCop elevated a B-movie premise into a scathing critique of society and a prescient look at the city of Detroit. This remake looks like a sleek action pic; whether the satire is intact remains to be seen. Rated PG-13. 117 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THAT AWKWARD MOMENT Miles Teller, Zac Efron, and Michael B. Jordan play three bros who live in the typical too-big-to-believe New York

apartment and have adventures with women who should really know better. Rated R. 94 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) 12 YEARS A SLAVE Director Steve McQueen takes us into America’s slave trade with clinical observation and exquisite composition, but he tarnishes his adaptation of Solomon Northup’s 1853 autobiography — about the free-born man’s stint as a slave after being captured and shipped south — with too many movie moments, blunting the impact. The film is up for nine Oscars, including Best Picture and acting awards for Chiwetel Ejiofor, Lupita Nyong’o, and Michael Fassbender. Rated R. 133 minutes. Regal DeVargas, Santa Fe. (Robert Ker) THE 2014 OSCAR NOMINATED SHORTS Each category of this year’s shorts — animated, documentary, and live action — includes cutting-edge technique and storytelling. The excellent animated series boasts a seeming restoration of Mickey Mouse’s “Steamboat Willie” days until the characters tear through the screen, and a dazzling account of a throwback industrial world inhabited by machines. The documentaries stare into lives — a beating victim and his relationship with his attacker, a 109-year-old Holocaust survivor who breathes music, a dying prison inmate. The live-action films offer fear, hope, and comedy in settings from war-torn Africa to hospitals. See them all. Not rated. Running times vary. The Screen, Santa Fe. (Bill Kohlhaase) WINTER’S TALE Colin Farrell plays a thief in 1916 New York City who falls in love with a dying woman (Jessica Brown Findlay), but is chased away by his demonic ex-teacher (Russell Crowe). He escapes on a magical white horse and ends up in modern times, where another woman (Jennifer Connelly) helps him find his true love. Rated PG-13. 118 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

other screenings Jean Cocteau Cinema 11:30 p.m. Friday & Saturday, Feb. 21 & 22; 2 p.m. Sunday, Feb. 23: The Raven (1963). Regal Stadium 14 2 p.m. Sunday, Feb. 23; 2 & 7 p.m. Wednesday, Feb. 26: On the Waterfront. 8 & 10:30 p.m. Thursday, Feb. 27: Non-Stop. 10 p.m. Thursday, Feb. 27: Son of God. ◀

What’s shoWing Call theaters or check websites to confirm screening times. CCA CinemAtheque And SCreening room

1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org Dallas Buyers Club (R) Fri. to Mon. 4:15 p.m., 7 p.m. Tue. 4:30 p.m., 7:30 p.m. Wed. and Thurs. 4:15 p.m., 7 p.m. The Great Beauty (NR) Fri. to Sun. 2 p.m. The Past (PG-13) Fri. to Mon. 5 p.m., 7:45 p.m. Tue. 4 p.m. Wed. 8 p.m. Thurs. 5 p.m., 7:45 p.m.

JeAn CoCteAu CinemA

418 Montezuma Avenue, 505-466-5528 www.jeancocteaucinema.com The Act of Killing (NR) Thurs. 7 p.m. Desperate Acts of Magic (NR) Fri. 4 p.m. Sat. 4:30 p.m. Sun. 6:20 p.m. Tue. 6:20 p.m. Wed. 3:45 p.m. Knights of Badassdom (R) Tue. and Wed. 8:30 p.m. The Prestige (PG-13) Fri. 8:45 p.m. Sat. 6:20 p.m. Sun. 8:30 p.m. Wed. 5:45 p.m. Thurs. 4 p.m. The Raven (G) Fri. and Sat. 11:30 p.m. Sun. 2 p.m. regAl deVArgAS

562 N. Guadalupe St., 505-988-2775, www.fandango.com 12 Years a Slave (R) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 9:55 p.m. Sun. to Thurs. 1 p.m., 4 p.m., 7 p.m. August: Osage County (R) Fri. and Sat. 1:10 p.m., 4:10 p.m., 7:10 p.m., 10 p.m. Sun. to Thurs. 1:10 p.m., 4:10 p.m., 7:10 p.m. Her (R) Fri. and Sat. 1:20 p.m., 4:20 p.m., 7:20 p.m., 10:10 p.m. Sun. to Thurs. 1:20 p.m., 4:20 p.m., 7:20 p.m. In Secret (R) Fri. and Sat. 1:40 p.m., 4:40 p.m., 7:40 p.m., 10:10 p.m. Sun. to Thurs. 1:40 p.m., 4:40 p.m., 7:40 p.m. Inside Llewyn Davis (R) Fri. to Thurs. 4:30 p.m., 7:30 p.m. Nebraska (R) Fri. and Sat. 1:30 p.m., 10:05 p.m. Sun. to Thurs. 1:30 p.m. Philomena (PG-13) Fri. and Sat. 1:50 p.m., 4:50 p.m., 7:35 p.m., 9:50 p.m. Sun. to Thurs. 1:50 p.m., 4:50 p.m., 7:35 p.m. regAl StAdium 14

3474 Zafarano Drive, 505-424-6296, www.fandango.com 3 Days to Kill (PG-13) Fri. to Thurs. 1:10 p.m., 4:25 p.m., 7:10 p.m., 10:10 p.m. About Last Night (R) Fri. to Thurs. 12:15 p.m., 2:45 p.m., 5:15 p.m., 7:50 p.m., 10:20 p.m. American Hustle (R) Fri. and Sat. 4:05 p.m., 7:15 p.m., 10:20 p.m. Sun. 7:15 p.m., 10:20 p.m. Mon. and Tue. 4:05 p.m., 7:15 p.m., 10:20 p.m. Wed. 9:40 p.m. Thurs. 4:05 p.m., 7:15 p.m., 10:20 p.m. Endless Love (PG-13) Fri. to Thurs. 1:40 p.m., 4:40 p.m., 7:40 p.m., 10:10 p.m. Frozen (PG) Fri. to Thurs. 1:30 p.m., 4:35 p.m., 7:25 p.m. The Lego Movie 3D (PG) Fri. to Thurs. 1 p.m., 9:30 p.m. The Lego Movie (PG) Fri. to Thurs. 12 p.m., 2:30 p.m., 4 p.m., 5 p.m., 7 p.m., 7:30 p.m., 10 p.m. Lone Survivor (R) Fri. to Thurs. 1:05 p.m., 4:10 p.m., 7:10 p.m., 10:15 p.m. The Monuments Men (PG-13) Fri. to Thurs. 1:15 p.m., 4:30 p.m., 7:20 p.m., 10:10 p.m. Non-Stop (PG-13) Thurs. 8 p.m., 10:30 p.m. The Nut Job (PG) Fri. and Sat. 1:10 p.m. Sun. 11:50 a.m., 4:35 p.m. Mon. and Tue. 1:10 p.m. Wed. 11:50 a.m., 4:35 p.m. Thurs. 1:10 p.m. On the Waterfront (NR) Sun. 2 p.m. Wed. 2 p.m., 7 p.m.

Pompeii 3D (PG-13) Fri. to Thurs. 12 p.m., 2:35 p.m., 7:45 p.m. Pompeii (PG-13) Fri. to Thurs. 5:10 p.m., 10:20 p.m. Ride Along (PG-13) Fri. to Thurs. 12:10 p.m., 2:40 p.m., 5:05 p.m., 7:45 p.m., 10:15 p.m. RoboCop (PG-13) Fri. to Thurs. 12:30 p.m., 1:30 p.m., 3:45 p.m., 4:40 p.m., 7:05 p.m., 7:35 p.m., 9:50 p.m., 10:20 p.m. Son of God (PG-13) Thurs. 10 p.m. That Awkward Moment (R) Fri. to Thurs. 10:05 p.m. Winter’sTale (PG-13) Fri. to Thurs. 12:50 p.m., 4:10 p.m., 7:15 p.m., 10:10 p.m. the SCreen

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com 2013 Oscar Shorts: Documentary (NR) Thurs. 6:30 p.m. 2013 Oscar Shorts: Live Action (NR) Fri. 3:50 p.m. Sat. 8:10 p.m. Mon. to Wed. 8:10 p.m. Thurs. 3:45 p.m. 2014 Oscar Nominated Animation Shorts (NR) Fri. 8:10 p.m. Sat. 4 p.m. Mon. 8:10 p.m. The Best Offer (R) Sat. 11:20 a.m. Sun. 4:30 p.m. Mon. to Wed. 3:30 p.m. The Rocket (NR) Fri. and Sat. 2 p.m., 6:10 p.m. Sun. 2:30 p.m., 7:15 p.m. Mon. to Wed. 1:30 p.m., 6:10 p.m. Thurs. 1:30 p.m. mitChell dreAmCAtCher CinemA (eSpAñolA)

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com 3 Days to Kill (PG-13) Fri. 4:40 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:05 p.m., 4:40 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:05 p.m., 4:40 p.m., 7:25 p.m. Mon. to Thurs. 4:40 p.m., 7:25 p.m. Endless Love (PG-13) Fri. 4:55 p.m., 7:30 p.m., 9:50 p.m. Sat. 2:25 p.m., 4:55 p.m., 7:30 p.m., 9:50 p.m. Sun. 2:25 p.m., 4:55 p.m., 7:30 p.m. Mon. to Thurs. 4:55 p.m., 7:30 p.m. Labor Day (PG-13) Fri. and Sat. 7:10 p.m., 9:35 p.m. Sun. to Thurs. 7:10 p.m. The Lego Movie in 3D (PG) Fri. 4:30 p.m. Sat. and Sun. 2 p.m., 4:30 p.m. Mon. to Thurs. 4:30 p.m. The Lego Movie (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. Lone Survivor (R) Fri. 4:25 p.m., 7 p.m., 9:40 p.m. Sat. 1:50 p.m., 4:25 p.m., 7 p.m., 9:40 p.m. Sun. 1:50 p.m., 4:25 p.m., 7 p.m. Mon. to Thurs. 4:25 p.m., 7 p.m. The Monuments Men (PG-13) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:45 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs. 4:30 p.m., 7:15 p.m. Pompeii (PG-13) Fri. 4:50 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:05 p.m. Mon. to Thurs. 4:50 p.m., 7:05 p.m. Ride Along (PG-13) Fri. 4:40 p.m., 7:35 p.m., 9:50 p.m. Sat. 2:15 p.m., 4:40 p.m., 7:35 p.m., 9:50 p.m. Sun. 2:15 p.m., 4:40 p.m., 7:35 p.m. Mon. to Thurs. 4:40 p.m., 7:35 p.m. RoboCop (PG-13) Fri. 4:45 p.m., 7:20 p.m., 9:55 p.m. Sat. 2:10 p.m., 4:45 p.m., 7:20 p.m., 9:55 p.m. Sun. 2:10 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs. 4:45 p.m., 7:20 p.m. Winter’sTale (PG-13) Fri. 4:35 p.m., 7:10 p.m., 9:45 p.m. Sat. 1:55 p.m., 4:35 p.m., 7:10 p.m., 9:45 p.m. Sun. 1:55 p.m., 4:35 p.m., 7:10 p.m. Mon. to Thurs. 4:35 p.m., 7:10 p.m.

PASATIEMPOMAGAZINE.COM

RESTAURANT REVIEW Bill Kohlhaase I The New Mexican

Boy meets grill Bangbite Filling Station Parking lot at the corner of Old Santa Fe Trail and Paseo de Peralta (across from Kaune’s Neighborhood Market), 505-469-2345 Lunch 11 a.m.-4 p.m. Mondays-Saturdays Santa Fe Spirits downtown tasting room (308 Read St., 505-780-5906) Dinner 5:30-9 p.m. Fridays-Saturdays Takeout available Vegetarian options Noise level: street traffic No alcohol Credit cards, no checks

•

The Short Order Add Bangbite Filling Station to the list of this town’s standout burger establishments. This food trailer offers New Mexican Angus beef and an array of gourmet toppings and spreads, including jalapeño aioli and a thick maple-bacon jam that’s chutney sweet. Burgers come just as ordered, and the simple burgers are the best. Sauces can overwhelm the other toppings and make the otherwise excellent buns too soggy. The thick fries are outstanding. There’s also a pulled pork sandwich, turkey and tofu burgers, turkey chili, and wings. Weekend evening hours at the Santa Fe Spirits Tasting Room can be unpredictable, as can callahead service at lunch. Recommended: Just a Cheese Burger, Ooh Papi! Burger, Grilled Cheese Thing 3, and Trailer Fries.

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.

PASATIEMPO I February 21-27, 2014

What can you say about a hamburger? Quite a bit, as it turns out. Sit around with some fellow burger lovers, preferably while enjoying something hot off the grill, and talk will often turn to grass-fed meats, types of cuts, exotic toppings, and bun quality. Disagreements arise over the optimal coarseness of the meat’s grind. The ubiquity of the green chile cheeseburger in Santa Fe has encouraged chefs to innovate and specialize in an attempt to distinguish their burgers from all the others out there. The meat of the thick high-end burgers at Bangbite Filling Station, the orange trailer that sits in a gravel parking lot across from Kaune’s Neighborhood Market, isn’t ground as finely or coarsely as some but falls nicely in between. Owner Enrique Guerrero, formerly chef at La Casa Sena, uses a blend of chuck, brisket, and short rib Angus beef raised in New Mexico. The menu pulls no punches in its descriptions of how your burger will be cooked — “Medium rare: Imagine biting into a perfectly ripe piece of fruit. Now imagine you plucked that fruit from a cow.” We would caution those who want to take a burger back to their car to enjoy on a day too chilly for eating at one of the tables near the trailer: your lap or your upholstery may end up marked by the meal. The Bite Burger — with its blend of five roasted chiles, bacon, avocado, pepper-jack cheese, and jalapeño aioli — is the closest thing Bangbite offers to a green chile burger. If you want one of those New Mexico classics, you’ll have to order the #1 ( Just a Cheese Burger) and ask for green chile, which is not so hot and a bit crisp here. The topping and combinations seem endless, from bacon and goat cheese to garlic and morita aioli. Tofu and turkey burgers are offered, and there’s a burger topped with bacon, green chile, and a fried egg as well. Not enough meat? Try the Trailer Deluxe burger, which is topped with bacon and ham along with onion strings, or the #10, which pairs your burger with pulled pork. Our favorite is the Ooh Papi! Burger, topped with cheddar, bacon, and thick maple-bacon jam, a spread with an almost chutneylike sweetness. The spreads don’t always serve to bind the various flavors — they sometimes bury them. With the dripping aioli, there was no discerning any of the individual chiles, let alone all five, on the Bite Burger. Burgers not your thing? There’s a quartet of cheese sandwiches served on thick — almost too thick — grilled toast. The Cheese Thing 1 could have used another slice of ham and more bacon to match that healthy dose of bread. The Cheese Thing 3, though, with its strong combination of blue and asadero cheeses, grilled onions, and bacon, stood up to the sizeable toast. Pulled pork stacked on a roll and modestly seasoned with barbecue sauce was a joy. One day, the special brisket sandwich was just OK, the meat tender but not as smoky as we would’ve liked. A calabacitas sandwich

could have used more calabacitas; and a Cobb sandwich with blue cheese, bacon, and garlic aioli included chicken breast that was a bit chewy. Bangbite makes its own buns, bread, and sandwich rolls, all springy and toothsome. The best thing here are the fries, included with every sandwich: thick, perfectly done, and sporting some of the potato’s skin. Fries with bacon, melted cheese, and a thick pepper sauce are a worthy take on chile fries. The pale onion strings aren’t especially crisp, but they’re flavorful. Bangbite also serves decent chicken wings and a black-bean-turkey chili (it’s a bit thin, even after stirring in the crema fresca). To wash it all down, Bangbite carries an eclectic soda selection that includes a creamy, slightly sweet Bulldog root beer and a strange-to-this-nonsoda-drinker MacFuddy Pepper Elixir. Surprisingly, a handful of attempts to call in an order were met with a recorded message and no return call as promised. On weekends, Bangbite travels over to the parking lot behind the downtown Santa Fe Spirits Tasting Room, serving a few specials, such as crispy fish and chips, pork loin marinated in a sweet apple-juice marinade, and plump oyster po' boys along with regular menu items. It’s best to check with the Tasting Room first. One Saturday, the trailer was absent because Guerrero had broken his finger. Still, imagine washing down a medium-well burger with a tumbler of Santa Fe Spirit’s Colkegan single-malt whiskey. Now there’s a bang for your bite. ◀

Lunch for two at Bangbite Filling Station: Just a Cheese Burger with green chile ...............$ 9.50 Special brisket sandwich ..................................$ 9.50 Soda ..................................................................$ 2.00 TOTAL ..............................................................$ 21.00 (before tax and tip) Lunch for four, another visit: Ooh Papi! Burger with onion strings ................$ 9.25 Cobb sandwich .................................................$ 8.75 Calabacitas sandwich .......................................$ 8.25 Chicken wings (one free with each half-dozen) ....................$ 6.00 Trailer fries with cheese, bacon, and pepper sauce .........................................$ 5.50 Three sodas .......................................................$ 6.00 TOTAL ..............................................................$ 43.75 (before tax and tip)

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OUTDOORS

Winter hiking sessions The City of Santa Fe Recreation Division offers local trail hikes ranging from easy to moderate; Wednesdays and Fridays through February, 11 a.m.-1 p.m., $20, preregister at Genoveva Chavez Community Center, 3221 Rodeo Rd. Contact Michelle Rogers, 505-955-4047, or visit chavezcenter.com.

GALLERY/MUSEUM OPENINGS

ARTFeast 2014 Exhibits, food, and music; through Sunday, Feb. 23; Edible Art Tour (EAT), members of the Santa Fe Gallery Association team with local restaurants; stroll from gallery to gallery or take shuttle buses between downtown and Canyon Rd., 5-8 p.m.; Fashion Feast, dance party and fashion show with Project Runway finalist Mondo Guerra, 8 p.m.-midnight, Scottish Rite Center, 463 Canyon Rd., $40; Edible Art Tour and Fashion Feast tickets $70; visit artfeast.org for scheduled events and tickets; proceeds benefit ArtSmart, a local nonprofit organization that supports youth art programs. (See story, Page 32) Barbara Meikle Fine Art 236 Delgado St., 505-992-0400. Pairing with Maria’s New Mexican Kitchen, reception 5-8 p.m. Bill Hester Fine Art 621 Canyon Rd., 505-660-5966. Teahouse Moments, poetry collection by Hester, proceeds benefit ArtSmart, reception 5-7 p.m. Design Warehouse 101 W. Marcy St., 505-988-1555. The Best: Award Winners From AIA Santa Fe, works by local architects, reception 5-7 p.m., through March 7. Giacobbe-Fritz Fine Art 702 Canyon Rd., 505-986-1156. Circus-themed group show; reception with food provided by Rooftop Pizzeria, 5-8 p.m. Heidi Loewen Porcelain Gallery 315 Johnson St., 505-988-2225. Spring Is in the Air, new work by Loewen, with refreshments from Swiss Bakery & Pastry Shop, 5-8 p.m. Matthews Gallery 669 Canyon Rd., 505-992-2882. Folio, group show of works on paper, reception with food by Museum Hill Café 5-8 p.m. Liquid Outpost Coffeehouse Inn at Loretto, 211 Old Santa Fe Trail, 505-983-6503. Photography as Fine Art, Lee Manning’s work, reception 4-6 p.m., through February. Pippin Contemporary 200 Canyon Rd., 505-795-7476. Pairing with Jambo Café in the Edible Art Tour, 5-8 p.m. Pop Gallery 142 Lincoln Ave., 505-820-0788. Work by jeweler/sculptor Jeff Brock, hosting C.G. Higgins Confections in the Edible Art Tour, reception 5-8 p.m. Sage Creek Gallery 421 Canyon Rd., 505-988-3444. Alight, still-lifes by Sarah Siltala, reception 5-8 p.m., through March 7. Tansey Contemporary 652 Canyon Rd., 505-995-8513. Group show, reception catered by La Plazuela Restaurant, 5-8 p.m.

Pasa’s Little Black Book......... 49 Elsewhere............................ 52 People Who Need People..... 52 Under 21............................. 52 Pasa Kids............................ 52

compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com

EVENTS

Santa Fe Council on International Relations for WorldQuest 2014 College bowl-style game of international trivia, 5:45-9 p.m., Jemez Room, Santa Fe Community College, 6401 Richards Ave., $40 includes Greek buffet, register online at sfcir.org or call 505-982-4931.

NIGHTLIFE

Paul Caponigro: Apple, Winthrop, MA, 1964, at Andrew Smith Gallery, 122 Grant Ave.

Tresa Vorenberg Goldsmiths 656 Canyon Rd., 505-988-7215. Fortieth anniversary celebration, reception with The Steaksmith, 5-8 p.m. Ventana Fine Art 400 Canyon Rd., 505-983-8815. Pairing with Pink Adobe and Guadalupe Café, reception 5-8 p.m.

CLASSICAL MUSIC

TGIF piano recital Charles Blanchard, music of Haydn and Beethoven, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations welcome, 505-982-8544, Ext. 16.

THEATER/DANCE

In the Wings....................... 53 At the Galleries.................... 54 Museums & Art Spaces........ 54 Exhibitionism...................... 55

PASATIEMPO I February 21-27, 2014

The Trojan Women The Performing Arts Department at SFUA&D presents Euripides’ tragedy, 7 p.m., Weckesser Studio Theatre, 1600 St. Michael’s Dr., $5, tickets available at the door one hour before showtime, 505-473-6439. Winter Dance Escape NDI New Mexico student showcase; featuring Peter and the Wolf, music by Prokofiev, encores through Sunday, 7 p.m., The Dance Barns, 1140 Alto St., $11 and $16, 505-983-7661. Magic and Mystery A performance by magician Misty Lee, 6:20 p.m., Jean Cocteau Cinema, 418 Montezuma Ave., $20, discounts available, 505-466-5528, encores Saturday. (See story, Page 36)

BOOKS/TALKS

Jeffrey Lewis The author reads from and signs copies of The Inquisitor’s Diary, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. Spirited Friends: On Dogs and Friendship Gary Borjesson explores what we can learn from dogs, 7:30 p.m., Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, no charge, 505-660-1616.

calendar guidelines

(See Page 49 for addresses) Café Café Trio Los Primos, traditional Latin tunes, 6-9 p.m., no cover. Cowgirl BBQ Classic-country singer/songwriter Bill Hearne, 5-7:30 p.m.; Broomdust Caravan, juke-joint honky-tonk and biker-bar rock, 8:30 p.m.-close; no cover. Duel Brewing Hot Honey, Singer/songwriters Lucy Barna, Paige Barton, and Lori Ottino, 7-10 p.m., no cover. Hotel Santa Fe Guitarist/flutist Ronald Roybal, 7-9 p.m., no cover. Lodge Lounge at The Lodge at Santa Fe Pachanga! Club Fridays with DJ Gabriel “Aztec Sol” Ortega spinning salsa, cumbia, bachata, and merenge; 8:30-9:30 p.m., call for cover. Mine Shaft Tavern C.W. Ayon’s one-man blues band, 7 p.m., call for cover. Palace Restaurant & Saloon Disco duo Vanilla Pop, 10 p.m., call for cover. Pranzo Italian Grill Geist Cabaret with pianist David Geist, 6-9 p.m., call for cover. Second Street Brewery Gypsy-jazz ensemble Hot Club of Santa Fe, 6-9 p.m., no cover. Second Street Brewery at the Railyard Roots-rock duo Man No Sober, 7-10 p.m., no cover. Tiny’s Acoustic guitarist Chris Abeyta, 5:30 p.m.; classic-rock band The Jakes, 8:30 p.m.-close; no cover. Vanessie Pianist/vocalist Bob Finnie, ’50s-’70s pop, 6:30 p.m., call for cover.

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 505-820-0803. 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 505-986-3019; or send an email to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. See our calendar at www.pasatiempomagazine.com, and follow Pasatiempo on Facebook and Twitter.

22 Saturday GALLERY/MUSEUM OPENINGS

ARTfeast 2014 Art of Home Tours View six residences staged to showcase art chosen from local galleries, noon-4 p.m. today and Sunday, maps and directions available at all Santa Fe Properties locations and ARTfeast events, or online at santafeproperties.com and artfeast.com; visit artfeast.org for scheduled events and tickets; proceeds benefit ArtSmart, a local nonprofit organization that supports youth art programs. (See story, Page 32) Andrew Smith Gallery 122 Grant Ave., 505-984-1234. Old and New, Photography by Paul Caponigro, reception with food provided by Terra Cotta Restaurant, 5-8 p.m. Santa Fe Classic Cars 1091 Siler Rd., Suite B-14, 505-690-2638. Automotive-themed photographs by Taylor Oliver, reception 3-5 p.m., through April 1.

IN CONCERT

Jaka CD-release party for the electromarimba-trance band, 8 p.m., Railyard Performance Center, 1611-B Paseo de Peralta, no charge. John McCutcheon Folk singer/songwriter, 7 p.m., James A. Little Theater, 1060 Cerrillos Rd., $10-$35, 505-988-1234, ticketssantafe.org, or 505-454-4228, proceeds benefit Río Gallinas School. Lonesome Leash Songwriter Walt McClements’ one-man band; local gothic-Americana band Cloacas opens, 8:30 p.m., High Mayhem Emerging Arts Studio, 2811 Siler Lane, $10 suggested donation, highmayhem.org.

Music on the Hill Elevated The annual jazz series continues with tenor saxophonist and composer Chase Baird, 7:30 p.m., Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, $25, 505-984-6118. (See story, Page 34)

THEATER/DANCE

Benchwarmers 13 Festival of eight 15-minute playlets by local playwrights, 7:30 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20, ages 17 and under $15, 505-988-4262, santafeplayhouse.org, runs through March 2. Parallel Lives A play by Kathy Najimy and Mo Geffney presented by Teatro Serpiente, 7:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $16 and $18, teatroparaguas.org, 505-424-1601. The Trojan Women SFUA&D Performing Arts Department presents Euripides’ tragedy, 7 p.m., Weckesser Studio Theatre, 1600 St. Michael’s Dr., $5, tickets available at the door one hour before showtime, 505-473-6439. Winter Dance Escape NDI New Mexico student showcase; featuring Peter and the Wolf, music by Prokofiev, encores Sunday, 7 p.m., The Dance Barns, 1140 Alto St., $11 and $16, 505-983-7661. Magic and Mystery Performance by magician Misty Lee, 2 and 9 p.m., Jean Cocteau Cinema, 418 Montezuma Ave., $20, discounts available, 505-466-5528. (See story, Page 36) Tao Phoenix Rising Contemporary Japanese dance and taiko drum troupe, 7:30 p.m., the Lensic, $25-$45, discounts available, ticketssantafe.org, 505-988-1234.

Fifth Annual Santa Fe Restaurant Week The fifth annual Santa Fe Restaurant Week offers more than tempting prix-fixe lunches and dinners for local foodies. As you eat your way through more than 50 participating restaurants, from Sunday, Feb. 23 to Sunday, March 2, check out the numerous in-house, chef-led demonstrations to learn the secrets of salsa, the magic of mole, and the truth about braising. Tickets for classes ($14 and up) and a list of restaurants are available online at nmrestaurantweek.com. The Jewel Box Cabaret Gender-bending musical comedy and burlesque series, featuring Guava Chiffon, 8:30 p.m., María Benítez Cabaret at The Lodge, 750 N. St. Francis Dr., $10, VIP seating $20, 505-428-7781.

BOOKS/TALKS

Michele Zackheim The author reads from and signs copies of Last Train to Paris, 2 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. Santa Fe Writer’s Workshop readings Includes Elizabeth Tidrick, Kyle Dillon Hertz, and Christopher Johnson, 4:30 p.m., Op. Cit. Books, 500 Montezuma Ave., Suite 101 505-428-0321.

EVENTS

ARTfeast Gourmet dinner and auction Eldorado Hotel, 309 W. San Francisco St., 505-988-4455. Held in honor of watercolorist Phyllis Kapp. (See story, Page 32)

Contra dance Folk dance; live music by Megaband, beginners’ class 7 p.m., dance 7:30 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $9, students $5, 505-820-3535. Mixed-media photography and printmaking David Hoptman and Ron Pokrasso lead the workshop, 2-4 p.m., Timberwick Studios, 24 Timberwick Rd., no charge, RSVP to dhstudio@mac.com. Santa Fe Farmers Market Local goods sold weekly on Saturday; this week’s live music by multi-instrumentalist Gerry Carthy, 8 a.m.-1 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, no charge, santafefarmersmarket.com. Trader Walt’s Southwestern & International Marketplace More than 100 vendor booths with antiques, folk and fine art, books, jewelry, and snacks, 8 a.m.-3 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, no charge. ▶▶▶▶▶▶▶▶

317 Aztec 20-0150 317 Aztec St., 505-8 the Inn Agoyo Lounge at a ed am Al on the 505-984-2121 303 E. Alameda St., nt & Bar Anasazi Restaura Anasazi, Rosewood Inn of the 505-988-3030 e., 113 Washington Av e ffe Co ay rd Bette , 505-555-1234 905 W. Alameda St. nch Resort & Spa Bishop’s Lodge Ra ., 505-983-6377 Rd e dg 1297 Bishops Lo Café Café 5-466-1391 500 Sandoval St., 50 Casa Chimayó 5-428-0391 409 W. Water St., 50 ón ¡Chispa! at El Mes 505-983-6756 e., Av ton 213 Washing Cowgirl BBQ , 505-982-2565 319 S. Guadalupe St. te Café The Den at Coyo 5-983-1615 50 , St. r ate W . W 2 13 Duel Brewing 5-474-5301 1228 Parkway Dr., 50 lton El Cañon at the Hi 88-2811 5-9 50 , St. al 100 Sandov

Pasa’s little black book Spa Eldorado Hotel & St., 505-988-4455 o 309 W. San Francisc El Farol 5-983-9912 808 Canyon Rd., 50 ill El Paseo Bar & Gr 92-2848 5-9 208 Galisteo St., 50 Evangelo’s o St., 505-982-9014 200 W. San Francisc erging Arts High Mayhem Em 38-2047 5-4 50 , ne La er Sil 2811 Hotel Santa Fe ta, 505-982-1200 1501 Paseo de Peral asters Iconik Coffee Ro -0996 28 5-4 50 1600 Lena St., La Boca 5-982-3433 72 W. Marcy St., 50 ina La Casa Sena Cant 5-988-9232 50 125 E. Palace Ave., at La Fonda La Fiesta Lounge , 505-982-5511 St. o 100 E. San Francisc a Fe Resort nt Sa La Posada de e Ave., lac Pa E. 0 33 a Sp and 00 505-986-00 g Arts Center Lensic Performin St., 505-988-1234 o isc nc 211 W. San Fra

Lodge Lounge at The Lodge at Santa Fe 750 N. St. Francis Dr., 505-992-5800 Low ’n’ Slow Lowrider Bar at Hotel Chimayó de Santa Fe 125 Washington Ave., 505-988-4900 The Matador 116 W. San Francisco St. Mine Shaft Tavern 2846 N.M. 14, Madrid, 505-473-0743 Molly’s Kitchen & Lounge 1611 Calle Lorca, 505-983-7577 Museum Hill Café 710 Camino Lejo, Milner Plaza, 505-984-8900 Music Room at Garrett’s Desert Inn 311 Old Santa Fe Trail, 505-982-1851 Palace Restaurant & Saloon 142 W. Palace Ave., 505-428-0690 The Pantry Restaurant 1820 Cerrillos Rd., 505-986-0022 Pranzo Italian Grill 540 Montezuma Ave., 505-984-2645 Santa Fe Community Convention Center 201 W. Marcy St., 505-955-6705

Santa Fe Sol Stage & Grill 37 Fire Place, solofsantafe.com Second Street Brewer y 1814 Second St., 505-982-3030 Second Street Brewer y at the Railyard 1607 Paseo de Peralta, 505-989-3278 Sweetwater Harvest Kitchen 1512-B Pacheco St., 505-795-7383 Taberna La Boca 125 Lincoln Ave., 505-988-7102 Tiny’s 1005 St. Francis Drive, Suite 117, 505-983-9817 The Underground at Evangelo’s 200 W. San Francisco St. Upper Crust Pizza 329 Old Santa Fe Trail, 505-982-0000 Vanessie 434 W. San Francisco St., 505-982-9966 Warehouse 21 1614 Paseo de Peralta, 505-989-4423 Zia Dinner 326 S. Guadalupe St., 505-988-7008

PASATIEMPOMAGAZINE.COM

OUtDOORS

Nightlife

(See Page 49 for addresses) Anasazi Restaurant & Bar Guitarist Jesus Bas, 7-10 p.m., no cover. ¡Chispa! at el Mesón Ryan Finn Jazz Quartet, Caribbean-infused beats, 7:30-10:30 p.m., no cover. Café Café Contemporary-Latin guitarist Ramón Bermudez, 6 p.m., no cover. Cowgirl BBQ Roots-rock duo Man No Sober, 2-5 p.m.; Sean Healen Band, folk-rock, 8:30 p.m.-close; no cover. Duel Brewing Folk-rock singer/songwriter Lisa Carmen, 7-10 p.m., no cover. hotel Santa fe Guitarist/flutist Ronald Roybal, 7-9 p.m., no cover. la Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Posada de Santa fe Resort and Spa Pat Malone Jazz Trio, featuring vocalist Whitney Carroll Malone, 6-9 p.m., call for cover. Mine Shaft tavern Bluegrass duo Paw & Eric, 3 p.m.; Connie Long & Fast Patsy, Janis Joplin meets Patsy Cline, 7 p.m.; call for cover. Palace Restaurant & Saloon Rock cover band Chango, 10 p.m., call for cover. Pranzo italian grill Geist Cabaret with pianist David Geist, 6-9 p.m., call for cover. Second Street Brewery Country Blues Revue, 6-9 p.m., no cover. Second Street Brewery at the Railyard Kodama Jazz Trio, 7-10 p.m., no cover. Sweetwater harvest Kitchen Hawaiian slack-key guitarist John Serkin, 6 p.m., no cover.

Talking Heads

geology hike Decode the ancient past with geologist Scott Renbarger, 1 p.m., Cerrillos Hills State Park, 16 miles south of Santa Fe off NM 14, $5 per vehicle, 505-474-0196.

eVeNtS

Calling in the Ancestors Art-making and writing event with author Judith Fein, 2-5 p.m., Temple Beth Shalom, 205 E. Barcelona Rd., $15 includes potluck meal, nmjhs.org, 505-982-1376. (See story, Page 18) Railyard Artisan Market Live music, entertainment, and local artists, 10 a.m.-4 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, no charge, artmarketsantafe.com. Santa fe Restaurant Week Offering prix-fixe lunches and dinners, and seminars, at local restaurants, daily through March 2. Visit newmexicorestaurantweek.com for event details. trader Walt’s Southwestern & international Marketplace More than 100 vendor booths with antiques, folk and fine art, books, jewelry, and snacks, 9 a.m.4 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, no charge. David Richard Gallery, 544 S. Guadalupe St., shows work by Oli Sihvonen.

tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m., no cover. Upper Crust Pizza Singer/songwriter Eryn Bent, 6-9 p.m., no cover. Vanessie Pianist/vocalist Bob Finnie, ’50s-’70s pop, 6:30 p.m., call for cover.

23 Sunday gAlleRY/MUSeUM OPeNiNgS

Art of home tours Six residences are staged to showcase art chosen from local galleries, noon-4 p.m., maps and directions available at all Santa Fe Properties locations and ARTfeast events, or online at santafeproperties.com and artfeast.com. (See story, Page 32) Artists Champagne Brunch & Auctions Pre-brunch preview of SITE Santa Fe’s exhibit FEAST: Radical Hospitality in Contemporary Art, 11 a.m.-noon, Inn & Spa at Loretto, 211 Old Santa Fe Trail. (See story, Page 32) New Mexico history Museum 113 Lincoln Ave., 505-476-5200. Transformed by New Mexico, Mezzanine Gallery exhibit of work by photographer Donald Woodman, reception 2-4 p.m., through Oct. 12.

OPeRA iN hD

Bernardo Miera y Pacheco: New Mexico’s first Renaissance Man UNM professor emeritus John Kessell discusses the artist’s works at 6 p.m. Wednesday, Feb. 26, at St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. This free event is part of the museum and El Rancho de las Golondrinas’ Winter Lecture Series 2014. Call 505-476-5068 or 505-471-2261. Shown, detail of Miera y Pacheco’s Santa Barbara.

PASATIEMPO I February 21-27, 2014

Performance at the Screen The broadcast series continues with Puccini’s La Bohème, at London’s Royal Opera House, 11 a.m., SFUA&D, 1600 St. Michael’s Dr. $20, discounts available, 505-473-6494.

ClASSiCAl MUSiC

Santa fe Community Orchestra The season continues with music of Dvoˇrák, Sibelius, and Michael Bowen, 2:30 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., donations appreciated, 505-466-4879.

St. John’s College piano recital Willis “Chip” Miller; music of Bach, Rachmaninov, and Chopin, 3 p.m., Great Hall, Peterson Student Center, 1160 Camino de Cruz Blanca, no charge, 505-984-6000.

iN CONCeRt

Nightlife

(See Page 49 for addresses) Cowgirl BBQ Cowgirl Brunch with Country Blues Revue, noon-3 p.m.; bluesman Sean Farley, 8 p.m.; no cover. la Posada de Santa fe Resort and Spa Wily Jim, Western swingabilly, 7-10 p.m., no cover. Vanessie Pianist/vocalist Bob Finnie, ’50s-’70s pop, 6:30 p.m., call for cover.

Melanie Monsour Piano recital with bassist Paul Brown; jazz, Middle Eastern, and Latin music, noon-2 p.m., Museum Hill Café, 710 Camino Lejo, no charge, melaniemonsour.com. Peter Mulvey Singer/songwriter/guitarist, 7:30 p.m., Gig Performance Space, 1808-H Second St., $20 in advance at brownpapertickets.com, $23 at the door.

Santa fe Public Schools Choruses Performances begin at 6:30 p.m., doors open at 6 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., no charge.

theAteR/DANCe

Benchwarmers 13 Festival of eight 15-minute playlets by local playwrights, 4 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20, ages 17 and under $15, santafeplayhouse.org, 505-988-4262, runs through March 2. The Trojan Women SFUA&D Performing Arts Department presents Euripides’ tragedy, 2 p.m., Weckesser Studio Theatre, 1600 St. Michael’s Dr., $5, tickets available at the door one hour before showtime, 505-473-6439. Winter Dance Escape NDI New Mexico student showcase; featuring Peter and the Wolf, music by Prokofiev, 2 p.m., The Dance Barns, 1140 Alto St., $11 and $16, 505-983-7661.

BOOKS/tAlKS

Journey Santa fe Katya Franzgen, New Mexico Adaptive Ski Program director, in conversation with KSFR Radio host Xubi Wilson, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. Muse times two Poetry Series Readings by poets Craig Morgan Teicher and James Thomas Stevens, 4 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. (See Subtexts, Page 16)

24 Monday iN CONCeRt

Julesworks Magical Mystery tour follies Magic-themed sketches, skits, and music make up this month’s varietyshow series, 7 p.m., Jean Cocteau Cinema, 418 Montezuma Ave., $7, jeancocteaucinema.com.

BOOKS/tAlKS

evidence for an Ancient grand Canyon: 70 Million Years Old The Southwest Seminars lecture series continues with University of Colorado assistant professor Rebecca Flowers, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 505-466-2775. Rain Clouds and Pachamama: Rethinking Colonial Art from Peru to New Mexico A talk about new directions in the research of colonial art, with museum curator Robin Farwell Gavin, discusses, 2-3 p.m., Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, $10, 505-982-2226.

eVeNtS

Santa fe Restaurant Week Offering prix-fixe lunches and dinners, and seminars, at local restaurants, daily through March 2. Visit newmexicorestaurantweek.com for event details.

Nightlife

Cowgirl BBQ Kenny Skywolf Band, Memphis blues, soul, and reggae, 8 p.m., no cover. la Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la fiesta lounge at la fonda Bill Hearne Trio, classic country tunes, 7:30 p.m., no cover. la Posada de Santa fe Resort and Spa Wily Jim, Western swingabilly, 7-10 p.m., no cover. the Pantry Restaurant Gary Vigil, guitar and vocals, 5:30-8 p.m., no cover. tiny’s 505 Electric-Blues Jam, with Nick Wimett and M.C. Clymer, 8 p.m., no cover.

(See Page 49 for addresses) Cowgirl BBQ Cowgirl karaoke hosted by Michele Leidig, 8 p.m., no cover. la Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. Vanessie Pianist/vocalist Bob Finnie, ’50s-’70s pop, 6:30 p.m., call for cover.

25 Tuesday eVeNtS

georgia O’Keeffe Museum workshop Installation: The Art of Placement, learn how to enhance your environment, 6-8 p.m., Georgia O’Keeffe Museum Education Annex, 123 Grant Ave., $8, 505-946-1000. international folk dances Weekly on Tuesdays, dance 8 p.m., lessons 7 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5 donation at the door, 505-501-5081 or 505-466-2920. Santa fe Jewish film festival Being Jewish in France 2007 documentary presented in two parts; preceded by complimentary coffee, 7 p.m., Center for Contemporary Arts, 1050 Old Pecos Trail, $10-$17 in advance online at santafejff.org. Santa fe Restaurant Week Offering prix-fixe lunches and dinners, and seminars, at local restaurants, daily through March 2. Visit newmexicorestaurantweek.com for event details.

27 Thursday theAteR/DANCe

Benchwarmers 13 Festival of eight 15-minute playlets by local playwrights, 7:30 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20, ages 17 and under $15, 505-988-4262, santafeplayhouse.org, runs through March 2. National theatre live in hD The broadcast series continues with War Horse, based on Michael Morpurgo’s novel set in France during WWI, 7 p.m., the Lensic, 211 W. San Francisco St., $22, student discounts available, 505-988-1234, ticketssantafe.org.

BOOKS/tAlKS

Renesan institute for lifelong learning lecture The series continues with The Mythic Brontë Family, by Randy Perazzini, 1-3 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, $10, 505-982-9274, renesan.org.

Nightlife

(See Page 49 for addresses) ¡Chispa! at el Mesón Argentine Tango Milonga, 7:30 p.m., no cover. Cowgirl BBQ Guitarist/singer Jobuk Johnson, 8 p.m., no cover. la Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. Second Street Brewery at the Railyard Open-songs night hosted by Ben Wright, 7-10 p.m., no cover. the Pantry Restaurant Gary Vigil, acoustic guitar and vocals, 5:30-8 p.m., no cover. Vanessie Guitarist Marc Yaxley, Latin and classical music, 7 p.m., call for cover. Zia Diner Santa Fe bluegrass jam, 6-8 p.m., no cover.

26 Wednesday BOOKS/tAlKS

Dharma talk Friends Along the Path, with Shinzan Palma, 5:30 p.m., Upaya Zen Center, 1404 Cerro Gordo Rd., donations accepted, 505-986-8518. lannan foundation literary event Greg Grandin, author and New York University professor, in conversation with Canadian journalist Avi Lewis, 7 p.m., the Lensic, 211 W. San Francisco St., $6, discounts available, 505-988-1234, ticketssantafe.org. (See story, Page 20)

eVeNtS

The main branch of the Santa Fe Public Library, 145 Washington Ave., shows work by JoAnn Garges.

New Mexico Arts Commission open meeting Quarterly meeting; 9:30 a.m., John Gaw Meem Conference Room, 706 Camino Lejo, Museum Hill, no charge, call 505-827-6490 for copies of agenda. School for Advanced Research colloquium Unraveling Genetic Responses to Life at High Altitudes, a discussion on effects of high-altitude hypoxia, with University of Michigan professor Abigail Winslow Bigham, noon-1 p.m., 660 Garcia St., no charge, 505-954-7203, sarweb.org. the truth About gun Violence and Mental illness A presentation by Duke University School of Medicine professor Jeffrey Swanson, 6 p.m., Center for Contemporary Art, 1050 Old Pecos Trail, no charge, visit ideasinpsychiatry.unm.edu or call 505-272-3592 to register. Winter lecture Series 2014 Bernardo Miera y Pacheco: New Mexico’s First Renaissance Man, by UNM professor emeritus John Kessell, 6 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., no charge, call NMMA, 505-476-5068 or El Rancho de las Golondrinas, 505-471-2261 for information.

OUtDOORS

eVeNtS

georgia O’Keeffe Museum curator talk Learn about the current exhibits Abiquiú Views and Georgia O’Keeffe and Ansel Adams: The Hawaii Pictures, 12:30 p.m., Georgia O’Keeffe Museum Education Annex, 123 Grant Ave., by museum admission, 505-986-1000. Santa fe Restaurant Week Offering prix-fixe lunches and dinners, and seminars, at local restaurants, daily through March 2. Visit newmexicorestaurantweek.com for event details.

Nightlife

(See Page 49 for addresses) ¡Chispa! at el Mesón Flamenco guitarist Chuscales, 7-9 p.m., no cover.

Santa fe Restaurant Week Offering prix-fixe lunches and dinners, and seminars, at local restaurants, daily through March 2. Visit newmexicorestaurantweek.com for event details.

Nightlife

(See Page 49 for addresses) ¡Chispa! at el Mesón Jazz pianist Bert Dalton and bassist Milo Jaramillo, 7-9 p.m., no cover. Cowgirl BBQ Boomroots Collective, prog. reggae and hip-hop, 8 p.m., no cover. Duel Brewing Funk-rockers Pray for Brain, 7-10 p.m., no cover. la fiesta lounge at la fonda Bill Hearne Trio, classic country tunes, 7:30 p.m., no cover. la Posada de Santa fe Resort and Spa Pat Malone Trio, featuring Kanoa Kaluhiwa on saxophone, Asher Barreras on bass, and Malone on guitar, 6-9 p.m., call for cover. low ’n’ Slow lowrider Bar at hotel Chimayó Tenor guitarist and flutist Gerry Carthy, 9 p.m., no cover. Palace Restaurant & Saloon Thursday limelight karaoke, 10 p.m., no cover. Santa fe Capitol grill Guitarists Chusco and Ramón Bermudez, and percussionist Mark Clark, 4-6 p.m., no cover. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM

The National Theatre Live broadcast series continues with War Horse, Thursday, Feb. 27, at the Lensic.

The Matador DJ Inky Inc. spinning soul/punk/ska, 8:30 p.m., no cover. Tiny’s Mike Montiel Trio, Southern rock, 8 p.m.-close, no cover. Vanessie Pianist/vocalist Bob Finnie, ’50s-’70s pop, 6:30 p.m., call for cover.

▶ Elsewhere AlbuquErquE

516 Arts 516 Central Ave. S.W., 505-242-1445. Heart of the City, group show, through May 3. John McCutcheon Folk singer/songwriter, 8 p.m. Friday, Feb. 21, Outpost Performance Space, 210 Yale Blvd. S.E., $28 in advance at ampconcerts.org and holdmyticket.com, $33 day of show.

los AlAmos

Artist talk Doug Waterfield discusses his exhibit Doomtown: Art From the Nevada Testsite, 4 p.m. Friday, Feb. 21, Los Alamos Historical Museum, 1050 Bathtub Row, no charge, 505-695-5252, losalamoshistory.org. Mesa Public Library Gallery 2400 Central Ave., 505-662-8240. Los Alamos Photography Club Show 2014, reception 5:30-7:30 p.m. Monday, March 3, through March.

mAdrid

Johnsons of Madrid 2843 NM 14, 505-471-1054. Preserve La Bajada Mesa, group show in response to proposed mining operation; group show of works by Northern New Mexico artists; Wearables and Wallables, group textile show featuring Beth Wheeler; People, works by Mel Johnson and Cosmo Monkhouse; through Tuesday. Feb. 25.

PASATIEMPO I February 21-27, 2014

TAos

David Anthony Fine Art 132 Kit Carson Rd., 575-758-7113. Exothermic Reactions, pyrotechnic tableaus by photographer David Mapes, through February. Harwood Museum of Art 238 Ledoux St., 505-758-9826. Ken Price: Slow and Steady Wins the Race, Works on Paper 1962-2010, retrospective exhibit of drawings by the late artist (See story, Page 28) • Charles Mattox: Poetry in Motion, works on paper from the 1970s • Art for a Silent Planet: Blaustein, Elder and Long, works by local artists Jonathan Blaustein, Nina Elder, and Debbie Long, exhibits up through May 4.

▶ People who need people Actors/Musicians

Santa Fe Performing Arts audition Looking for a man and a woman for David Ives’ play Venus in Fur. Call 505-982-7992 or email abato@sfperformingarts.org to make an appointment. Southwest Regional Folk Alliance Conference All music-industry professionals are encouraged to register by Saturday, March 1, for a free networking event held from 9:30 a.m. to 9 p.m. Friday, March 28, at Hotel Santa Fe. Visit swfolkalliance.org/swrfa-nm/ for details.

Artists

Call for artists and fashion designers Santa Fe Arts Commission Community Gallery seeks apocalypse-themed works for its November exhibit End of Days; submit portfolios (5-10 images, artist statement, and/or bio) no later than March 14 to Rod Lambert, Community Gallery, P.O. Box 909, Santa Fe, NM, 87504-0909; 505-955-6705; santafeartscommission.org. Call for sculpture One-inch-high sculptures sought for The Royal Breadshow; sculptures will be exhibited and then baked into breads; March 31 deadline; see theroyalbreadshow.com or axleart.com for submission guidelines.

Center for Contemporary Arts Accepting work for the exhibit The Big Picture, opening mid-March; email up to five images, with dimensions, and a curriculum vitae to richard@ccasantfe.org. MasterWorks of New Mexico 2014 Open to all New Mexico artists; accepting miniatures, pastels, watercolors, and oils/ acrylics; miniatures must be shipped by March 15 or hand-delivered by March 22; for prospectus and information visit masterworksnm.org. Photographers Center Choice Awards and Project Development grant The local nonprofit organization offers photographers awards and participation in its Review Santa Fe networking event; guidelines and application form available online at visitcenter.org; March 21 deadline.

Volunteers

American Cancer Society Training offered in support of the Cancer Resource Center at Christus St. Vincent Cancer Center; various shifts available during business hours Mondays-Fridays; call Geraldine Esquivel for details, 505-463-0308. CCA call for volunteers Available positions include Center for Contemporary Arts gallery greeters, shop sales, and gallery managers; 11:30 a.m.-5 p.m. beginning Friday, Feb. 21, through March 30; benefits: film passes and shop discounts; contact Naomi Gibbons, naomi@ccasantafe.org. Cerrillos Hills State Park volunteer training Seeking weekend receptionists, park greeters, and help serving refreshments during public programs; training held 10 a.m.1 p.m. Saturday, March 8; call for reservations, 505-474-0196. Food for Santa Fe The nonprofit needs help packing and distributing groceries between the hours of 6 and 8 a.m. Wednesdays and Thursdays, 505-471-1187 or 505-603-6600. The Hospice Center Help weekly or bi-weekly, entering data for the volunteer program; basic computer skills required; call Mary Ann at 505-988-2211.

Los Alamos Historical Museum tour-guide training Free session 11 a.m. Wednesday, Feb. 26; Nambé Room, Fuller Lodge, 2132 Central Ave., Los Alamos, 505-662-6272, losalamoshistory.org. Many Mothers Assist new mothers and families, raise funds, plan events, become a board member, and more; requirements and details available online at manymothers.org; call 505-466-3715 for more information or to schedule an interview. New Mexico History Museum Historical Downtown Walking Tours Those interested in acting as tour guides are encouraged to attend an event at 9:30 a.m. Tuesday, March 4, for an illustrated presentation on the city’s downtown core with archaeologist Cordelia Thomas Snow. Tour-guide training sessions run 3-5 p.m. Thursdays, March 13 and 20, and 10 a.m.-noon and 1-5 p.m. Saturday, March 29. Contacts: Peter Sinclaire, 505-983-7744, and Linda Clarke, 505-989-1405. St. Elizabeth Shelter Help with meal preparation at residential facilities and emergency shelters; other duties also available; contact Rosario, 505-982-6611, Ext. 108, volunteer@steshelter.org. Santa Fe Humane Society and Animal Shelter Dogs need individuals to take them on daily walks; all shifts available, call Katherine at 505-983-4309, Ext. 128. Santa Fe Society of Artists spring jury New Mexico artisans are invited to apply for weekly Saturday outdoor art shows located downtown; jury held Saturday, Feb. 22; visit santafesocietyofartists.com for application forms; 505-455-3496. Santa Fe Stories Project The Santa Fe V.I.P. seeks material on the post-World War II era in Santa Fe; to submit stories or images, visit santafestories.com; submissions accepted through March.

▶ under 21 Sees the Day Sound Healing concert Featuring singer Consuelo Luz, 7 p.m. Friday, Feb. 21, Warehouse 21, 1614 Paseo de Peralta, call 505-989-4423 for details.

▶ Pasa Kids Georgia O’Keeffe Museum Family Program Shell-art projects: drawings, necklaces, and covered boxes; for children ages 3-5 accompanied by an adult, 9:3011:30 a.m. Saturday, Feb. 22, 217 Johnson St., no charge, okeeffemuseum.org/events, 505-946-1000. Bee Hive Kids Books events Story Times; 11 a.m. Saturday, Feb. 22, ages 2 and up; 10:30 a.m. Wednesday, Feb. 26, ages 3-5, Bee Hive Kids Books, 328 Montezuma Ave., no charge, 505-780-8051. Santa Fe Children’s Museum 29th birthday party Live music with Joe West, cupcake decorating, and other activities, 1-4 p.m. Sunday, Feb. 23, 1050 Old Pecos Trail, $5, 505-989-8359. Santa Fe Science Café for Young Thinkers The talk series geared toward ages 13-19 continues with Discovering the Atomic Structure of the World Around Us, by LANL scientist Katharine Page, 6-7:30 p.m. Wednesday, Feb. 26, refreshments served, Georgia O’Keeffe Museum Education Annex, 123 Grant Ave., no charge, 505-603-7468. ◀

In the wings MUSIC

Legends of the Celtic Harp Acoustic trio, with Patrick Ball, Lisa Lynne, and Aryeh Frankfurter, 7:30 p.m. Friday, Feb. 28, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com. Jonathan Wilson Contemporary-folk music, 7:30 p.m. Friday, Feb. 28, Santa Fe Sol Stage & Grill, 37 Fire Place, $12 in advance, 505-988-1234, ticketssantafe.org, $15 at the door. Santa Fe Music Collective The jazz series continues with Albert “Tootie” Heath on drums, Bert Dalton on piano, and Andy Zadrozny on bass, 7 p.m. Friday, Feb. 28, Museum Hill Café, 710 Camino Lejo, $25, 505-983-6820, santafemusiccollective.org. Santa Fe Pro Musica Orchestra Featuring mezzo-soprano Deborah Domanski, music of Debussy, Mahler, and Shostakovich, 6 p.m. Saturday, 3 p.m. Sunday, March 1-2, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $15-$65, discounts available, 505-988-1234, ticketssantafe.org. Lenny Tischler The local composer/musician debuts his jazz suite Freedom Work: Folk Forms and Variations in commemoration of Black History Month, 7 p.m. Saturday, March 1, First Presbyterian Church of Santa Fe, 208 Grant Ave., $20 through Monday, Feb. 24, $25 in advance and at the door afterward, 505-652-2403, naacpsfnm.blogspot.com. The Met Live at the Lensic Prince Igor, Dmitri Tcherniakov’s production of Borodin’s Russian epic, 10 a.m. Saturday, 2 p.m. Sunday, March 1-2, the Lensic, 211 W. San Francisco St., $22-$28, 505-988-1234, ticketssantafe.org. Música Antigua de Albuquerque Hassler & the German Renaissance, a celebration of the composer’s 450th anniversary, 4:30 p.m. Sunday, March 2, Christ Lutheran Church, 1701 Arroyo Chamiso, $16, discounts available, 505-842-9613. David Russell Classical guitarist, 7:30 p.m. Friday, March 7, Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, $40 at the door, 505-984-6000. Serenata of Santa Fe Here & Now, works by Kelvin McNeal and Ron Strauss, 7 p.m. Friday, March 7; performers include oboist Pamela Epple, cellist Sally Guenther, and French hornist Scott Temple, Scottish Rite Center, 463 Paseo de Peralta, $25, 505-988-1234, ticketssantafe.org. Notes on Music: Mendelssohn Santa Fe Concert Association artistic director Joseph Illick’s illustrated talk, 7:30 p.m. Tuesday, March 11, Temple Beth Shalom, 205 E. Barcelona Rd., $20, discounts available, SFCA box office, 505-984-8759 or 505-988-1234, ticketssantafe.org. Greensky Bluegrass Prog. bluegrass band, 7:30 p.m. Wednesday, March 12, Santa Fe Sol Stage & Grill, 37 Fire Place, $15 in advance, $20 at the door, 505-988-1234, ticketssantafe.org. Yacouba Sissoko Kora player, 7:30 p.m. Friday, March 14, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com. Sharon Jones and the Dap-Kings Soul and funk; Valerie June opens, 7:30 p.m. Tuesday, March 18, Lensic Performing Arts Center, 211 W. San Francisco St., $34-$54, 505-988-1234, ticketssantafe.org.

Adrian Legg London-based fingerstyle guitarist, 7 p.m., March 18, Garrett’s Desert Inn Music Room, 311 Old Santa Fe Trail, $25 in advance, brownpapertickets.com. Santa Fe Symphony Featuring violinist Clara-Jumi Kang; music of Bruch, Rachmaninov, and Borodin, 4 p.m. Sunday, March 23, the Lensic, $22-$76, 505-988-1234, ticketssantafe.org. Beth Kennedy Jones Tunes from the Lena Horne Songbook, with the Bert Dalton Trio, 6 p.m. Sunday and Monday, March 23-24, La Casa Sena Cantina, 125 E. Palace Ave., $25, 505-988-9232. Sounds of Santa Fe 2 Local musicians showcase, 7:30 p.m. Friday, March 28, Lensic Performing Arts Center, 211 W. San Francisco St., $12, 505-988-1234, ticketssantafe.org. An Evening With Joyce DiDonato Mezzo-soprano, 6:30 p.m. Monday, March 31, the Lensic, 211 W. San Francisco St., concert only $25-$95, 505-988-1234, ticketssantafe.org; premium seats and dinner $325, tickets available through the Santa Fe Concert Association, 505-984-8759.

Upcoming events Joshua Redman Jazz saxophonist, 7 p.m. Friday, April 4, Outpost Performance Space, 210 Yale Blvd. S.E., $30, students $25, holdmyticket.com. Neko Case Singer/songwriter, with The Dodos, 7:30 p.m. Monday, April 14, the Lensic, $34-$44, 505-988-1234, ticketssantafe.org. The Dandy Warhols Power-pop rockers, 7:30 p.m. Tuesday, April 29, Santa Fe Sol Stage & Grill, 37 Fire Place, $27 in advance, 505-988-1234, ticketssantafe.org, $35 at the door.

THEATER/DANCE

Water by the Spoonful Teatro Paraguas presents Quiara Alegria Hudes’ drama, 7:30 p.m. Thursdays-Saturdays, 2 p.m. Sundays, March 6-16, Teatro Paraguas, 3205 Calle Marie, $15, discounts available, 505-424-1601, teatroparaguas.org. Les Liaisons Dangereuses Playwright Christopher Hampton’s adaptation of the novel about seduction and revenge, 7 p.m. Friday and Saturday and 2 p.m. Sunday, March 7-16, Greer Garson Theatre, 1600 St. Michael’s Dr., $12-$15, discounts available, ticketsantafe.org, 505-988-1234. The Other Place Fusion Theatre Company presents Shar White’s drama, 8 p.m. Friday, 2 and 8 p.m. Saturday, March 7-8, Lensic Performing Arts Center, $20-$40, 505-988-1234, ticketssantafe.org. The Queen of Madison Avenue A reading of Ron Bloomberg’s new play, 7 p.m. Thursday, March 13, the Lensic, 211 W. San Francisco St., $10, 505-988-1234, ticketssantafe.org. Aspen Santa Fe Ballet Choreography by Nicolo Fonte, Cayetano Soto, and Norbert de la Cruz, 7:30 p.m. Friday and Saturday, March 21-22, the Lensic, $25-$72, 505-988-1234, ticketssantafe.org, April 19 encore.

Southwest Irish Theater Festival Theaterwork presents four plays and a concert, March 21-30, James A. Little Theater, 1060 Cerrillos Rd., reservations 505-471-1799. HaMapah/The Map Dancer Adam McKinney’s multimedia performance, 7:30 p.m. Saturday, 2 p.m. Sunday, March 22-23, The Dance Barns, 1140 Alto St., $20, discounts available, 505-988-1234, ticketssantafe.org. The Guru of Chai Jacob Rajan’s one-man portrayal of modern India, 7:30 p.m. Tuesday, April 1, the Lensic, 211 W. San Francisco St., $15-$35, 505-988-1234, ticketssantafe.org. Luma Experimental-light theater performance, 2 and 7 p.m. Sunday, April 6, the Lensic, 211 W. San Francisco St., $15-$35, discounts available, 505-988-1234, ticketssantafe.org. Spring Awakening A musical based on Frank Wedekind’s oncecontroversial play, 7 p.m. Friday and Saturday, April 25-May 3, 2 p.m. Sunday, May 4, Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, 505-988-1234, ticketssantafe.org.

HAPPENINGS

AHA Festival of Progressive Arts Application-launch party presented by After Hours Alliance; pop-up performances by Max Friedenberg, Aunt Cackle and The Coleslaw King, DJ Feathericci, Johnny Bell, Lady Gloves, and others, 7 p.m.-midnight Friday, Feb. 28, Muñoz Waxman Gallery, Center for Contemporary Arts, 1050 Old Pecos Trail, $5-$20 sliding scale, 505-982-1338. Mardi Gras dance Dave Dunkin Band, with J.D. Sipe, Clay Lowder, and Adam Jones, 7 p.m. Friday, Feb. 28, Bishop’s Lodge Ranch Resort & Spa, 1297 Bishops Lodge Rd., $20, 505-982-2827, costumes, masks, and beads encouraged. Digest This: Spirits & Poetry A talk by distiller Colin Keegan followed by poet Hakim Bellamy reading from his collections, 6 p.m. Tuesday, March 4, SITE Santa Fe, 1606 Paseo de Peralta, $10 includes tastings, sitesantafe.org, 505-989-1199, 21+. Banff Mountain Film Festival World Tour 2014 Action-sports-themed films, 7 p.m. Monday, March 10, the Lensic, 211 W. San Francisco St., $16 one night, $28 both nights, ticketssantafe.org, 505-988-1234. Queen Bees & Masterminds: Creating a Culture of Dignity and Respect Amongst Teens Presentation by author Rosalind Wiseman in support of Santa Fe Mountain Center, 7 p.m. Wednesday, March 12, Lensic Performing Arts Center, 211 W. San Francisco St., $15, 505-988-1234, ticketssantafe.org. Paper Dosa Collaborative event between the owners of the San Francisco restaurant Dosa and the local art collective SCUBA in support of the CCA; sample South Indian fare on handmade plates, 7-10 p.m. Saturday, March 29, Center for Contemporary Arts, 1050 Old Pecos Trail, $50, 505-982-1338, ccasantafe.org.

sharon Jones and the Dap-Kings on stage at the Lensic march 18.

PASATIEMPOMAGAZINE.COM

At the GAlleries

New Mexico Museum of Natural History & Science 1801 Mountain Rd. N.W., 505-841-2804. Timetracks, core exhibits offer a journey through billions of years of history, from the formation of the universe to the present. Open daily; visit nmnaturalhistory.org. UNM Art Museum 1 University of New Mexico Blvd., 505-277-4001. Melanie Yazzie: Geographies of Memory, works by the printmaker and sculptor • 400 Years of Remembering and Forgetting: The Graphic Art of Floyd Solomon, etchings by the late artist • The Blinding Light of History: Genia Chef, Ilya Kabakov, and Oleg Vassiliev, Russian paintings and drawings • Breakthroughs: The Twentieth Annual Juried Graduate Exhibition, all through May 17. Closed Sundays and Mondays; visit unmartmuseum.org.

Ellsworth Gallery 215 E. Palace Ave., 505-989-7900. Illuminated sculptures by Ilan Ashkenazi, through Saturday, Feb. 22. Jean Cocteau Cinema Gallery 418 Montezuma Ave., 505-466-5528. Photographs of abandoned theaters by Matt Lambros, through March 17. New Concept Gallery 610-A Canyon Rd., 505-795-7570. Women Painters, group show in conjunction with the global movement One Billion Rising in Justice, through March 14.

MuseuMs & Art spAces

eSpanola

Santa Fe

Center for Contemporary Arts 1050 Old Pecos Trail, 505-216-0672. Icepop, installation by Sandra Wang and Crockett Bodelson of the art collective SCUBA, through March 30, Muñoz Waxman Gallery • All the News That’s Fit to Print, group show, SpectorRipps Project Space, both shows through March 30. Open Thursdays-Saturdays; visit ccasantafe.org. Georgia O’Keeffe Museum 217 Johnson St., 505-946-1000. Georgia O’Keeffe and Ansel Adams: The Hawaii Pictures • Abiquiú Views; through Sept. 14. Paintings, drawings, sculptures, sketches, and photos by O’Keeffe in the permanent collection. Open daily; visit okeeffemuseum.org. Museum of Contemporary Native Arts 108 Cathedral Place, 505-983-1666. Articulations in Print, group show, through July • Bon à Tirer, prints from the permanent collection, through July • Native American Short Films, continuous loop of five films from Sundance Institute’s Native American and Indigenous Program. Closed Tuesdays; visit iaia.edu/museum. Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 505-476-1269. Woven Identities, baskets representing 60 culture areas of western North America, through Monday, Feb. 24 • The Buchsbaum Gallery of Southwestern Pottery, traditional and contemporary works • Here, Now, and Always, more than 1,300 artifacts from the museum collection. Closed Mondays through Memorial Day; visit indianartsandculture.org. Museum of International Folk Art 706 Camino Lejo, Museum Hill, 505-476-1200. Tako Kichi: Kite Crazy in Japan, exhibition of Japanese kites, through March • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, international collection of toys and folk art • Brasil and Arte Popular, pieces from the museum’s Brazilian collection, through Aug. 10. Closed Mondays; visit internationalfolkart.org. Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 505-982-2226. Filigree & Finery: The Art of Adornment in New Mexico, through May • Window on Lima: Beltrán-Kropp Peruvian Art Collection, exhibit of gift items, including a permanent gift of 60 art pieces and objects from the estate of Pedro Gerardo Beltrán Espantoso, through May 27 • San Ysidro/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, colonial and 19thcentury Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late-colonial-period re-creation. Visit spanishcolonialblog.org; closed Mondays.

PASATIEMPO I February 21-27, 2014

Bond House Museum and Musión Museum y Convento 706 Bond St., 505-747-8535. Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). Call for hours; visit plazadeespanola.com.

loS alamoS

Bradbury Science Museum 350 Central Ave., 505-667-4444. Information on the history of Los Alamos and the Manhattan Project, as well as over 40 interactive exhibits. Open daily; visit lanl.gov/museum. uNM Art Museum shows paintings by ilya Kabokov in the exhibit The Blinding Light of History.

New Mexico History Museum/ Palace of the Governors 113 Lincoln Ave., 505-476-5200. Transformed by New Mexico, Mezzanine Gallery exhibit of work by photographer Donald Woodman, reception 2-4 p.m. Sunday, Feb. 23, through Oct. 12 • Water Over Mountain, Channing Huser’s photographic installation • Cowboys Real and Imagined, artifacts and photographs from the collection, through March 16 • Telling New Mexico: Stories From Then and Now, core exhibit • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe. Visit nmhistorymuseum.org; closed Mondays. New Mexico Museum of Art 107 W. Palace Ave., 505-476-5072. Renaissance to Goya: Prints and Drawings From Spain, through March 9 • 50 Works for 50 States: New Mexico, through April 13. Closed Mondays; visit nmartmuseum.org. Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Place, 505-988-8900. Gathering of Dolls: A History of Native Dolls, through April 27. Closed Mondays; visit pvmiwa.org. Poeh Cultural Center and Museum 78 Cities of Gold Rd., 505-455-3334. Nah Poeh Meng, 1600-square-foot installation highlighting the works of Pueblo artists and pueblo history. Closed Saturdays and Sundays; visit poehcenter.org. Santa Fe Children’s Museum 1050 Old Pecos Trail, 505-989-8359. Houses permanent and temporary interactive exhibits. Visit santafechildrensmuseum.org; closed Mondays and Tuesdays through May. SITE Santa Fe 1606 Paseo de Peralta, 505-989-1199. Feast: Radical Hospitality in Contemporary Art, group show, through May 18. Closed MondaysWednesdays; visit sitesantafe.org. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 505-982-4636. The Durango Collection:

Native American Weaving in the Southwest, 1860-1880, through April 13. Open daily; visit wheelwright.org.

albuquerque

Albuquerque Museum of Art & History 2000 Mountain Rd. N.W., 505-243-7255. Behind Closed Doors: Art in the Spanish American Home, 1492-1898, works from the Brooklyn Museum, through May 18 • Arte en la Charrería: The Artisanship of Mexican Equestrian Culture, more than 150 examples of craftsmanship and design distinctive to the charro • African American Art From the Permanent Collection, installation of drawings, prints, photographs, and paintings by New Mexico African American artists, through May 4. Closed Mondays; visit cabq.gov/ culturalservices/albuquerque-museum/ general-museum-information. Holocaust and Intolerance Museum of New Mexico 616 Central Ave. S.W., 505-247-0606. Exhibits on overcoming intolerance and prejudice. Closed Sundays and Mondays; visit nmholocaustmuseum.org Indian Pueblo Cultural Center 2401 12th St. N.W., 866-855-7902. Our Land, Our Culture, Our Story, a brief historical overview of the Pueblo world, and exhibit of contemporary artwork and craftsmanship representing each of the 19 pueblos. Open daily; visit indianpueblo.org Maxwell Museum of Anthropology UNM campus, 1 University Blvd. N.E., 505-277-4405. Over 10 million individual archaeological, ethnological, archival, photo, and skeletal collections. Closed Sundays and Mondays; visit unm.edu/maxwell. National Hispanic Cultural Center 1701 Fourth St. S.W., 505-604-6896. En la Cocina With San Pascual, works by New Mexico artists. Hispanic visual arts, drama, traditional and contemporary music, dance, literary arts, film, and culinary arts. Visit nationalhispaniccenter.org; closed Mondays.

taoS

Harwood Museum of Art 238 Ledoux St., 575-758-9826. Ken Price: Slow and Steady Wins the Race, Works on Paper 1962-2010, drawings by the late artist (See story, Page 28) • Charles Mattox: Poetry in Motion, works on paper from the 1970s • Art for a Silent Planet: Blaustein, Elder and Long, works by local artists Jonathan Blaustein, Nina Elder, and Debbie Long, exhibits up through May 4 • Highlights From the Harwood Museum of Art’s Collection of Contemporary Art • works of the Taos Society of Artists and Taos Pueblo Artists. Visit harwoodmuseum.org, closed Mondays. Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson displaying artifacts, antique firearms, pioneer belongings, Carson memorabilia, and books about New Mexico. Open daily; visit kitcarsonhomeandmuseum.com. La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. One of the few Northern New Mexico-style, late-Spanish-colonial-period “great houses” remaining in the American Southwest. Built in 1804 by Severino Martin. Open daily; visit taoshistoricmuseums.org. Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. Twelfth Annual Miniatures Show & Sale, through March 2. Historical collections of Native American jewelry, ceramics, and paintings; Hispanic textiles, metalwork, sculpture, and a wide range of contemporary jewelry. Visit millicentrogers.org; closed Mondays through March. Taos Art Museum and Fechin House 227 Paseo del Pueblo Norte, 575-758-2690. The Animal World of Eugenie Glaman, etchings and paintings, through March 2. Housed in the studio and home that artist Nicolai Fechin built for his family between 1927 and 1933. Open 10 a.m.-4 p.m. Closed Mondays; visit taosartmuseum.org

exhibitioNiSM

A peek at what’s showing around town

Lee Manning: Still Light 8, 2014, silver gelatin lith print. An exhibition of Lee Manning’s black-and-white photographs opens at Liquid Outpost coffee house and art space at the Inn and Spa at Loretto (211 Old Santa Fe Trail) on Friday, Feb. 21, with a 4 p.m. reception. Manning’s intimate photographs contrast light and shadow using traditional darkroom techniques. Call the Liquid Outpost at 505-983-6503.

Alexander Dzurec and Jayita Sahni of Autotroph Design: Santa Fe Trails Bus Shelter on Sandoval St., photograph. Friends of Architecture Santa Fe presents The Best: Award Winners From AIA Santa Fe. AIA Santa Fe is the local chapter of the American Institute of Architects. The exhibition features architectural models, photographs, and drawings by architects who received awards or honorable mentions for 2013; it includes work by members of Autotroph Design, Archaeo Architects, Spears Architects, and Praxis Architects. The show opens at the Design Warehouse Gallery (101 W Marcy St., 505-988-1555) on Friday, Feb. 21, with a reception at 5 p.m.

Nancy Judd: Opal (detail), 2013, mixed media. Environmental educator and fashion designer Nancy Judd’s Opal, an installation work, is on view at the City of Santa Fe Arts Commission’s Community Gallery (201 W. Marcy St., in the Convention Center) through May. Opal is a dress made with recycled materials and natural materials and is on display in the gallery’s front window. The fairylike dress was inspired by a story that Judd read while growing up on the Oregon coast, about a young girl who could commune with nature spirits. Call 505-955-6705.

Marcelo Suaznabar: El Gato con Saltamontes, 2013, oil on canvas. Giacobbe-Fritz Fine Art (702 Canyon Road) presents a circus-themed group show opening with a 5 p.m. reception on Friday, Feb. 21. The exhibition includes work by gallery artists Craig Kosak, Ben Steele, Nocona Burgess, and others as well as work by visiting artists. The gallery pairs with Rooftop Pizzeria during the catered reception as part of ARTfeast’s Edible Art Tour. Tickets for the tour are $35 and are available at the gallery on the evening of the reception. Ticket sales benefit ARTsmart’s educational programs in Santa Fe public schools. Call 505-986-1156.

Sarah Siltala: Wren, 2013, oil on panel. Sage Creek Gallery (421 Canyon Road) presents Alight, an exhibition of paintings by Sarah Siltala. The artist uses traditional painting techniques employed by the Flemish masters in her still-life compositions, often depicting birds and butterfly species paired with inanimate objects such as fruits and fine ceramics. The show opens with a 5 p.m. reception on Friday, Feb. 21. Call 505-988-3444.

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SFCA

The SaNTa Fe CoNCerT aSSoCiaTioN Presents

Joyce

An Evening with

DiDonato

Monday, March 31, 2014

BalletNext

Stars of American Ballet Theater and other companies

6:30pm • Santa Fe, New Mexico

“. . . a force whose talent

embraces and illuminates

even the confines of a grand theater like the Met.” —Ballet World

“As for DiDonato,

words fail.

... Go, listen, and

marvel.”

—The Independent (UK)

TiCKeTS:

$25-$95 ticketssantafe.org (505) 988-1234 or Santa Fe Concert association (505) 984-8759

LoCaTioN: The Lensic Performing arts Center

Santa Fe Concert Association, 324 Paseo de Peralta, Santa Fe, NM 87501

PASATIEMPO I February 21 - 27, 2014

april 25 & 26, 2014 • 7:30 pm TiCKeTS:

$20-$75 ticketssantafe.org (505) 988-1234 or Santa Fe Concert association (505) 984-8759

LoCaTioN:

The Lensic Performing arts Center