Pasatiempo, February 7, 2014

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

February 7, 2014

Zappa plays Zappa plays Zappa plays Zappa

Join us For an Unforgettable Valentine’s Dinner

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PASATIEMPO I February 7 - 13, 2014

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PASATIEMPO I February 7 - 13, 2014

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THE SANTA FE NEW MEXICAN

February 7 - 13, 2014

www.pasatiempomagazine.com

On the cOver 36 return of the Son of Shut Up ’n Play Yer Guitar: Dweezil Zappa Frank Zappa left behind a huge canon of music when he died in 1993 — some of it irreverent (“It’s a Good Thing We Get Paid to Do This”), much of it involved, inventive, and challenging, for performers as well as fans. His son, Dweezil Zappa, a guitarist of no small means, has studied all the notes and now recreates his father’s music, among other musical adventures. On Wednesday, Feb. 12, the Dweezil-fronted Zappa Plays Zappa projects performs Frank’s celebrated 40-year-old recording Roxy & Elsewhere at the Greer Garson Theatre on the campus of the Santa Fe University of Art & Design.

Cover photo of Dweezil Zappa © Gene Baines Photography.

BOOKS 16 18 20 28

MOvInG IMAGeS

In Other Words The Burglary Joan naviyuk Kane Lines from the north Into the black box George Saunders visual raconteur Tales of Norman Rockwell

48 The Callback Queen 50 Pasa Pics

cALenDAr 57 Pasa Week

MUSIc AnD PerFOrMAnce 22 24 27 30

Pasa tempos CD Reviews terrell’s tune-Up Duo de Twang Onstage Music of Bernard Herrmann Bench Warmers 13 Local-theater smorgasboard

AnD 12 Mixed Media 15 Star codes 54 restaurant review

Art 32 38 40 44

Kevin O’connell Detritus of the wind rush Art in review: Under 35: Part II hawaii Five O’Keeffe Aloha state of mind range of motion What is gesture?

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 ■

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

Lilly Fenichel: Untitled III (detail), 1959

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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, James McGrath Morris, 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

© 2014 The Santa Fe New Mexican

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Robin Martin Owner

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ADvertISInG DIrectOr Tamara Hand 505-986-3007

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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

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.

on your feet | get it together | on your little feet

BIG WINTER

GREG GRANDIN

with AVI

LEWIS

WEDNESDAY 26 FEBRUARY AT 7PM LENSIC PERFORMING ARTS CENTER Over the course of the last two decades, as Latin America recovered from the Cold War and rejected the economics of neoliberalism, country after country has elected leaders committed to advancing the ideals of liberty, equality, and solidarity. Together, the region has come up with a set of proposals – on inequality, social justice, climate change, and immigration – which provide a blueprint for a sustainable internationalism.

Washington ignores these issues and instead continues to lecture Latin Americans on the virtues of “free trade” and national security. Latin America might be the world’s best, and last, hope for a more humane future.

— 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.

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or Join us f ela’s La Plazu Day ’s e n i t n Vale e Prix Fix Shrimp Bisque garnished with shrimp confit Muga Rioja, Spain 2012 Beef Tenderloin Medallions, pan seared and served with ancho chile demi-glace, roasted shallot-cheesy risotto and sautéed spinach Vega Sindoa Cabernet Sauvignon, Bodegas Nekeas, Spain 2010 Chocolate Profiteroles, custard filled pastries accompanied by strawberries, caramel sauce and whipped cream Gruet Brut, New Mexico La Plazuela • Valentine’s Prix Fixe

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Sam Richard ‘15

The power of criTical Thinking

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“The function of education is to teach one to think intensively and to think critically. Intelligence plus character - that is the goal of true education.”

Martin Luther King, Jr.

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PASATIEMPO I February 7 - 13, 2014

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The Food Depot thanks the participating... restaurants

Agave Lounge • Anasazi Restaurant • Back Road Pizza • Blue Corn Brewery Southside • Café Bon Appetit at IAIA • Café Bon Appetit at SFUAD • Café Pasqual’s • Del Charro • Dinner For Two • El Milagro New Mexico • Jalapeño’s • Kingston Residence of Santa Fe • La Plazuela at La Fonda • Luminaria Restaurant and Patio • Nath’s Specialty Catering • Palace Restaurant Bar and Saloon • Patina’s at Doubletree by Hilton • Plaza Café • Raaga-Modern Indian Cuisine • San Francisco Street Bar & Grill • Santa Fe Bar & Grill • Sweetwater Harvest Kitchen • Swiss Bistro & Bakery • Tecolote Café • Terra Restaurant at the Four Seasons Rancho Encantado Santa Fe • The Beestro • The Pantry Restaurant • Zia Diner

sponsors and contributors Hutton Broadcasting, LLC • KSFR 101.1 FM Santa Fe Public Radio • Los Alamos National Bank

City of Santa Fe • The Framing Company • Santa Fe New Mexican

• Alphagraphics • Flow Science • Good Water Company • Hal Burns Truck & Equipment Services • John R. Adams with Raymond James and Associates • Olive Garden • Santa Fe Monthly • Starbucks • Beaver Toyota of Santa Fe • Century Bank • Denman & Associates • SignPlex

• Coronado Paint & Decorating • Del Norte Credit Union • Great Ideas! • Guadalupe Credit Union • HUB International Insurance Services • The Neil Lyon Group of Sotheby’s International Realty • Wilson Transfer & Storage, Inc.

volunteers and those who attended our event to help end hunger in New Mexico!

The Food Depot is committed to ending hunger in Northern New Mexico, serving nine counties and 135 not-for-profit agencies. To volunteer or make a contribution, call (505) 471-1633

The Food Depot • 1222 A Siler Road, 87507 www.thefooddepot.org

C O N T I N U E S AT T H E L E N S I C TH E F I RST B ROADCASTS OF 2014

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Dvorák’s lyrical fairy-tale opera stars Renée Fleming.

February 8, 11 am (live) & 6 pm encore)

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Ildar Abdrazakov is the 12th-century Russian hero in Borodin’s epic.

March 1, 10 am (live) March 2, 2 pm (encore) $22–$28 / encores $22 With Babette’s Santiago collection, you can go anywhere in the world and be in perfect sync.

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! e n i t n e l a V r u o y s Impres Mercedes Isabel Velarde Fine Jewelry And Art On Your Feet On Your Little Feet Opcit Books Pandora’s Pranzo Italian Grill/Alto Raaga Restaurant

Bodhi Bazaar Dell Fox Jewelry Eidos Contemporary Jewelry El Tesoro Café Get It Together Kioti

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PASATIEMPO I February 7 - 13, 2014

Valentine’s Dinner February 14, 15 & 16

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Romantic three-course dinner for two including a Champagne toast & a fresh rose.

Flamenco Guitar nightly by Joaquin Gallegos.

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georgia o’keeFFe and ansel adaMs: the hawai‘i Pictures This is the first exhibition to bring together the work Georgia O’Keeffe and Ansel Adams created in Hawai‘i. Known for their iconic views of the American West, each artist responded to the unfamiliar tropical environment with originality, avoiding clichés and stereotypes. The resulting works convey a unique sense of place through dramatic landscapes, as well as intimate compositions of ancient petroglyphs and exotic foliage.

Georgia O’Keeffe and Ansel Adams: The Hawai‘i Pictures was organized by the Honolulu Museum of Art and made possible with generous support from Barney Ebsworth, First Insurance Company of Hawai‘i, Patrick and Edeltraud McCarthy, and the National Endowment for the Arts. Additional support for this exhibition and related programming is provided by a grant from The Burnett Foundation, New Mexico Arts, a division of the Department of Cultural Affairs, and the Santa Fe Arts Commission and the 1% Lodgers’ Tax.

Georgia O’Keeffe, White Bird of Paradise, 1939. Oil on canvas, 19 x 16 in.

Georgia O’Keeffe Museum. Gift of Jean H. McDonald. © Georgia O’Keeffe Museum.

Ansel Adams, Leaves, Foster Gardens, Honolulu, Hawaii, 1957-1958. Gelatin silver print, 13 x 9 7/8 in. Center for Creative Photography, University of Arizona. © 2013 The Ansel Adams Publishing Trust

georgia o’keeFFe: abiquiu Views Georgia O’Keeffe found constant inspiration in the architecture of her homes and the views of the surrounding landscape. Through a series of presentations, Abiquiu Views features artwork inspired by her residences, explores her garden, the iconic patio with the black door, and the landscape surrounding her home at Ghost Ranch, as well as her original studio worktable, arranged with her art materials and personal effects.

Georgia O’Keeffe, Untitled (Road from Abiquiu), undated. Photographic print, 6 1/4 x 4 5/8 in. Gift of The Georgia O’Keeffe Foundation. © Georgia O’Keeffe Museum 2006-06-1372. Georgia O’Keeffe, Mesa and Road East II, 1952. Oil on canvas, 26 x 36 in. Georgia O’Keeffe Museum. Gift of The Georgia O’Keeffe Foundation (2006.05.235). © Georgia O’Keeffe Museum

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PASATIEMPO I February 7-13, 2014

Joy Godfrey

DJ Feathericci

Love fest — with funk Pope Gelasius I, who established the Feast of St. Valentine toward the end of the fifth century, would likely be pleased that Warehouse 21 is celebrating the holiday a week early this year with a pre-Valentine’s Day bash. He might be less thrilled to learn that the celebration includes psychics and funk music.

Beginning at 7 p.m. Friday, Feb. 7, the event plays host to a profusion of teen- and adult-friendly activities (though entry is restricted to the 18-plus demographic). Some are aimed at giving partygoers a chance to find a date before the official holiday arrives. Writes W21 executive director Ana Gallegos y Reinhardt, “This evening will include speed dating for 18 and over, wandering musicians, affordable local psychics, massage therapists, affordable food, and raffles.” Presiding onstage is Santa Fe’s number-one funk band, The Sticky, known for its frenzied yet in-the-pocket take on hits by legends new and old. DJ Feathericci (of Mesa Recordings) provides equally dance-inducing entertainment. Food is offered by Nile Café, with holiday-appropriate treats available from Chocolate Maven and C.G. Higgins.

Tickets for the event, a benefit for the teen center, are $10 each, $15 for couples. Doors open at 6 p.m. Warehouse 21 is at 1614 Paseo de Peralta; call 505-989-4423.

— Loren Bienvenu

Implant Dentistry of the Southwest If you are missing one

For that matter: Particle Fever For decades, physicists sought proof of the existence of the Higgs boson, informally known as the “God particle” — a subatomic particle thought to be the source of all mass. The story of the Higgs boson’s discovery in 2012 is the subject of Particle Fever, a film that follows a group of dedicated scientists searching for the particle using the 17-mile-long Large Hadron Collider, the world’s largest and most powerful particle accelerator, located on the border of France and Switzerland. The momentous discovery of the Higgs boson sets the stage for scientists to unravel the mystery of the existence of all matter.

Particle Fever screens at the Lensic (211 W. San Francisco St.) at 7 p.m. on Tuesday, Feb. 11, as part of the Science on Screen series of collaborations between the Center for Contemporary Arts and the Santa Fe Institute.

Physicist Geoffrey West, former president of the Santa Fe Institute, and filmmaker and physicist Mark Levinson will be present to discuss the film.

Levinson filmed the Large Hadron Collider as scientists from around the world engaged in one of the most expensive experiments ever conducted.

Author and former CIA operative Valerie Plame Wilson, now on staff at SFI, is slated to introduce the screening.

The event, a fundraiser for the CCA Cinematheque, takes place in advance of the regular run of Particle Fever at CCA, beginning March 28.

Tickets for the Lensic screening are $10; discounts are available. Tickets can be purchased at www.ticketssantafe.org or by calling 505-988-1234.

— Michael Abatemarco

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In Honor of LIncoLn JOHN WILLIAMS GEORGE WALKER JARED BACA COPLAND DVOŘÁK

Liberty Fanfare Pageant and Proclamation Ascension Lincoln Portrait, N. Scott Momaday, Narrator Symphony No. 9 “From the New World”

Tickets $20 to $70 half-price tickets for children, with purchase of adult ticket

Love is in the air at Osteria Come join us for dinner on Valentines Day! Make your reservations now.

Reservations: 505-986-5858 58 S. Federal Place • Santa Fe, New Mexico 87501 See Lunch and Dinner menus on the website www.osteriadassisi.com

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PASATIEMPO I February 7 - 13, 2014

STAR CODES

Heather Roan Robbins

Batten down the hatches and prepare to dive within. For the next few weeks all things mercurial (how we walk, talk, move, communicate, and record) may be complicated, but we can tap into the magic and introspection of this time and use it to prepare for a wildly dynamic spring.

Mercury turned retrograde on Feb. 6. As it appears to sit still, right next to poetic, imaginative, obfuscating Neptune for the next few days, our dreams give us clear instructions. We can manage practical things with a little extra attention and follow-through. Check for misunderstandings before spouting off at someone who seems unusually obtuse or absent.

And with Mercury conjunct with Neptune, water, snow, and wind damage can really complicate travels.

Cozy up with a good book this weekend. We can learn through symbol and experience, though we may feel vulnerable and trip over our words.

We’re tempted to tell people what they want to hear, and our understanding changes as we get more information. Let’s take everything with a grain of salt and test it out.

Early next week we’ll need extra nurturing under a sensitive Cancer moon, but we may ask for it badly, with easily triggered defenses or a desire to retreat. A bittersweet quality reminds us that the world is changing.

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Friday, Feb. 7: We may want to talk things out under a nerdy, verbal Gemini moon, but the conversation can go around in circles. Share stories and impressions as Mercury conjuncts Neptune. Tonight, our thinking tends to be quick and intuitive but not intellectually rigorous. Trust people to set their own comfort and safety levels.

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Saturday, Feb. 8: It’s easy to dream and drift the day away, meandering among memories. Because making connections can be challenging, be sure cellphones are on and confirm directions. Tonight is sociable and talkative.

Remember Your Sweetheart & CherishYour Loved Ones at

Tuesday, Feb. 11: If we feel old or overworked or need to face how we create our own limits as the sun squares Saturn, let’s focus on our authority, not theirs, and celebrate healthy work. Social timing is off tonight as Mercury semisquares Venus; we may trip over one another. Look for good intentions and share vulnerability.

Wednesday, Feb. 12: An irritable moon-Mars square this morning can leave us all too aware of our own problems and not so aware of others’.

Midday, awkward practical details need to be managed, but let’s not let this distract us from the real Leo moon assignment: to be fully present and appreciative. Mercury enters Aquarius tonight and brings out our stubborn streak as it brings in news of family gossip and global happenings.

Thursday, Feb. 13: Make necessary adjustments early while people are still feeling flexible. Technical snags pile up as the sun semisquares Uranus midday; we may be confronted with challenging ideas and information, noticing oppositional behavior, or just being difficult. Don’t reinforce bad behavior. Surprises abound tonight — we may even surprise ourselves. ◀ www.roanrobbins.com

Thomas Mann

Sunday, Feb. 9: Gather with like minds this harmonious morning. Midday, integrate information and put the pieces together. Be willing to hammer out technical details as the moon quincunxes Saturn. Tonight we may feel decisive but still not have enough information; listen for the uncertainty underneath opinions.

Monday, Feb. 10: Most people would prefer to stay in bed this morning under a cozy Cancer moon. Midday, be patient and make a heart connection before jumping into work. Personal connections open the door. Share visions rather than corrections. Uncomfortable adjustments are needed around dinnertime, but the mood sweetens later as the moon conjuncts Jupiter.

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In Other wOrds book reviews The Burglary: The Discovery of J. Edgar Hoover’s Secret FBI by Betty Medsger, Alfred A. Knopf, 596 pages Never doubt that a small group of thoughtful, committed citizens can change the world. Indeed, it is the only thing that ever has.

— attributed to Margaret Mead On Monday, March 8, 1971, on a night when America was glued to its radios and televisions for the titanic showdown between two undefeated heavyweight champions, Joe Frazier and Muhammad Ali, a team of amateur burglars broke into an FBI field office in Media, Pennsylvania, and cleaned out every last file.

It was a small-time criminal enterprise undertaken to shed a cleansing light on the huge criminal enterprise that was J. Edgar Hoover’s FBI. The Media burglary gave Hoover fits, and nabbing the culprits (and retrieving the stolen files before they could be released) immediately became the obsessive priority of the Bureau. But the FBI did not get its man or men or people. The Media burglars were never caught. The files were copied and distributed to select members of the press and a few other key parties, and Hoover’s hermetically sealed empire was blown irreparably open.

In light of recent revelations by Edward Snowden about the pervasive spying on Americans and foreign allies by the National Security Agency, despite repeated denials, obfuscations, and lies under oath, the timing of Betty Medsger’s massive examination of the FBI and its transgressions could hardly be better. The post-9/11 paranoia that spawned the Patriot Act and the NSA’s far-reaching embrace recalls the America of the Palmer Raids and the Red Scare, during which Hoover gained his foothold and built his career.

“In late 1970,” Medsger begins, “William Davidon, a mild-mannered physics professor at Haverford College, privately asked a few people this question: ‘What do you think of burglarizing an FBI office?’”

Davidon, a veteran of anti-war protests, chose his recruits carefully, and of the nine people he approached with his question, eight agreed to take part in the burglary. The one who declined offered to help in other ways, and one person dropped out days before the break-in. They were young and middle-aged, single and with families. They were all peace activists in the anti-war movement of the Vietnam era. They all knew one another, but not well. After the job was done they disbanded, seldom saw each other again, and agreed to take their secret to their graves.

They all held pretty closely to that vow for many years, although a married couple, John and Bonnie Raines, told their children of their involvement when 16

PASATIEMPO I February 7-13, 2014

they reached college age. It was the Raineses who revealed their secret to Medsger many years later, long after the statute of limitations had expired on their crime, and opened the way for this book to be written.

A few weeks ago, The New York Times ran a story headlined “Burglars Who Took on FBI Abandon Shadows,” as five of the eight had agreed to be interviewed in advance of the release of Medsger’s book. A photograph in the newspaper shows the Raineses, now a handsome white-haired couple, at home in Philadelphia with their grandchildren.

Medsger was one of the handful of sources to whom the burglars sent their documents. A former Philadelphia journalist who had reported on the protest scene, she was then at The Washington Post. After a tense internal debate, The Post decided to publish the story. It was the beginning of the process of dismantling the fortress Hoover had constructed around his operation, a process that would culminate in hearings launched by Sen. Frank Church in 1975 and usher in reforms that have since begun to erode. Hoover was dead by the time the Church Committee began its work, but if physical activity is vouchsafed the departed, he was spinning in his grave.

The Media haul, and subsequent discoveries by journalists and investigators, revealed that there were in effect two FBIs: one the square-jawed crime-fighting outfit celebrated in movies, TV, and dime novels that had built Hoover a legendary reputation; the other a squalid, law-breaking rogue monster that indulged in illegal wiretapping and surveillance, intimidation, politics, blackmail, character assassination, and even murder. This was the operation Hoover had assiduously protected from public and congressional scrutiny with a hand that grew ever stronger as his illegal and incriminating files on public figures grew deeper. Nobody dared mess with the top G-man.

The biggest bombshell concealed in the Media documents was something called COINTELPRO, which was discovered to be the agency’s dirty tricks program, a vast operation that included illegal surveillance of virtually all African American organizations in the country, campus or otherwise, with special venom for Martin Luther King Jr. and files on anybody who had ever expressed opposition to the Vietnam War, the FBI, or anything else that Hoover considered worth noting.

There was no oversight and no regard for the law, and these activities were kept deeply buried until the Media burglary exposed them to the light of day.

The Media burglars expected to be caught but hoped to get the files and distribute them first. They planned well but made some mistakes; thanks to a combination of luck and FBI blunders, they were never apprehended.

Their break-in was an act of tremendous courage and principle, and they changed the world beyond their imagining. In this day of renewed discussion of the ethics and legality of domestic espionage, when you sometimes hear people say, “Let them snoop. I have nothing to hide,” Medsger’s excellent and exhaustive book comes along to change our world a little more.

— Jonathan Richards

SubtextS All that glitters is not gold A new book by Dennis Herrick counters Winston Churchill’s (alleged) dictum that history is written by the victors. Winter of the Metal People: The Untold Story of America’s First Indian War elucidates the failures of conquistador Francisco Vázquez de Coronado’s expedition through the Southwest in the early 1540s. Herrick notes of Coronado, “He is a heroic figure to many presentday Americans who know almost nothing about the man — and what they do know is more myth than fact.” The author is correct in pointing out that Coronado’s legacy remains vibrant, as evidenced by the schools, streets, and public spaces named in his honor throughout the Southwest (including Coronado Historic Site in New Mexico and Coronado National Memorial in Arizona).

To demythologize this figure, Herrick interweaves primary material with his own imagination in a lucid account of the expedition told mostly from the perspective of the Tiwa populations that were brutalized by Coronado’s forces.

At the heart of the narrative is the little-known Tiguex War — cited as one of the first wars between Native Americans and European explorers — which occurred along the Río Grande, north of what would become the city of Albuquerque, in the years 1540 to 1542. In Herrick’s account, the young Coronado (not yet 30) was overeager to establish his career by ensuring that the expedition was a financial success. Many early missionary and “pacification” ventures into “New Spain” were funded by private investors, not the Spanish Crown, and Coronado himself had invested all his personal holdings into this one. Frustrated by his failure to discover the Seven Cities of Gold (a legend that the expedition ultimately discredited), Coronado reacted with increasing aggression toward the Native groups he encountered. His actions during and after the Tiguex War were severe enough that, shortly after he returned to Spanish-held territories around Mexico City, the Council of the Indies formally tried him on charges of war crimes (in part because of Spanish casualties sustained during the expedition and its overall financial failure). The beleaguered conquistador managed to prevail over these charges, and as the centuries passed, his legacy became increasingly renowned.

Dennis Herrick reads from Winter of the Metal People at 6 p.m. on Tuesday, Feb. 11, at Collected Works Bookstore (202 Galisteo St., 505-988-4226). Joining him is Johnny D. Boggs, reading from his new novel Valley of Fire.

— Loren Bienvenu

Wine, Chocolate,& Jewelry Join us Friday, February 7th from 5-7:30pm at our West Palace location for our annual Wine, Chocolate, & Jewelry event.

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17

Another light, another answer — Pith of the moon visible through low clouds.

Worry treads gray circles somewhere else.

Thinking he is lost, He shall remember that this is the sky With everything in it.

— from Hyperboreal by Joan Naviyuk Kane

Paul Weideman I The New Mexican

LINES FROMTHE NORTH poet and novelist Joan Naviyuk Kane

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PASATIEMPO I February 7-13, 2014

nupiaq writer Joan Naviyuk Kane’s literary imperatives — which include expositions grounded in life in the continent’s far north — can be glimpsed in the lines of her poems. She also deals with a heritage trauma: the forced relocation of her mother’s people from their King Island home in 1959.

Those attending a Thursday, Feb. 13, event with Kane and poet Malena Mörling at the School for Advanced Research will find out that King Island is in the north Bering Sea, northwest of Nome. It was a prime hunting area for marine mammals, and the place had another special advantage: a cleft in the island that holds what Kane calls a “cold-storage cave.” Lined in permafrost, it’s a perfect place to store meat and other food year-round.

So why did the U.S. Bureau of Indian Affairs move the people away? “In history, federal Indian policies moved from extermination to assimilation to the self-determination we see today,” the poet said. “In 1959, which is also the year that Alaska became a state, it was the height of the assimilation era. Also, it was increasingly difficult to keep teachers out on King Island, and they finally shut down the school. It was also about access to medical care. And the BIA said this big boulder could fall down and crush the school, so they said it was too dangerous. Of course, the boulder is still up there.”

Kane earned her undergraduate degree from Harvard and her MFA from Columbia. Her awards include a literature fellowship from the Native Arts and Cultures Foundation and the AWP Donald Hall Prize in Poetry. She had early prompts into the world of literature from her father. A native of Tullamore, County Offaly, Ireland, he encouraged her to read Blake, Yeats, and other writers when she was a youngster. “He was also an English major like me. He liked to teach me the old Irish songs and stories.”

Kane is currently working at the School for Advanced Research, having been awarded the institution’s 2014 Indigenous Writerin-Residence Fellowship. She is composing for her third volume of poetry and for her first novel. “It’s great to have a six-week residency. At home I can’t get into prose mode. I started the novel a year and a half ago, and I wrote 24 pages in a year. I considered this third book of poetry done a year and a half ago, and I’ve since written about 50 more poems. Now I’m trying to figure out what I want and what I don’t want in there. My poems are very elliptical, not expository; the novel is kind of the back story for the poems, the what, why, and where.”

Among the topics she deals with, besides the relocation, is the disappearance of the King Island dialect of the Inupiaq language.

“I hate to perpetuate the stereotype of us being a vanishing people, but the fact of the matter is that most of the people in my generation do not understand the dialect at all. My mother was emphatic about speaking the dialect to me.

“My mother’s generation, people who lived on the island before relocation, are fully bilingual. I’ve been very fortunate to attend public schools in Anchorage and have my parents supportive of my wanting to learn things. My mother worked very hard to make me feel proud of who I was.”

One reason was that she saw how much her own father was ostracized, how much he struggled. “My grandfather never spoke a word of English,” Kane said. “Providing for his 10 children was entirely dependent on hunting seals and walrus and trading with mainlanders for reindeer and salmon. It was a very hard life. I don’t

Courtesy Library of Congress

North Pole

King’s Island, Alaska

King Island village, circa 1929, photo by Edward S. Curtis

know how to, say, split a walrus skin to make a kayak. I don’t know how to do any of the things that were just a part of daily life.”

Another interest is ethnobotany. “Most of the subarctic is not a treed landscape, but I’ve always been interested in plants, not just as living things but for their symbolism. It’s very interesting to come down here and think of all the agricultural traditions. King Islanders are hunters and gatherers.” The people traditionally gathered berries, greens, masru (Eskimo potato), and bird eggs. “King Island is an amazing migratory bird spot. Murre eggs are so good.”

As a poet, Kane has been interested in working with images of living things. Her Eskimo name relates etymologically to navaktuk, “the grown thing,” and the subject ties in with issues of Inupiaq survival and women’s independence. One of the ideas she has for the first line of her novel is, “My father’s not a hunter and I have no brothers.” Traditionally, a woman alone on King Island was doomed to die because she had no way of being nourished.

Living on mainland Alaska after the forced move offered some advantages, but it was a painful separation. “I grew up with a real knowledge that that relocation was deeply traumatic for my mother. Another thing I’ve looked at is the role of the artist in asserting individuality, working with given traditions, and especially because my grandfather’s only participation in the cash economy was as a commercial ivory carver.” King Islanders have always been expert carvers of walrus and mastodon ivory. Kane was astounded to find that Santa Fe’s Museum of Indian Arts & Culture has King Island materials in its collection.

“One particular strand has 104 hand-polished mastodon beads. It’s just beautiful. It happens that there was a woman from Santa Fe, Patricia Benson, who lived in Nome in the early 1930s. There’s an article about her in a 1941 issue of El Palacio.

Her daughter donated these items.

“Part of the reason why King Islanders were renowned carvers, singers, and dancers was because they had this supreme location for marine mammal hunting, so that part of survival was not a big issue.” The dancing that was done in the winters on King Island is a traditional art Kane would like her children to practice. She and her husband, an Irishman with his own law practice in Anchorage, have a 3-year-old and a 5-year-old. “My boys know a couple of dances. My 22-year-old niece, who is living with us now, is a fabulous, graceful Eskimo dancer. The only video she lets my boys put on is Eskimo dancing. I’m extremely ungainly and awkward,” Kane laughed, “but I’m trying to learn.”

The poet’s first book, The Cormorant Hunter’s Wife, was written primarily in New York City, where she lived for five years and worked in information technology. In 2006, she moved back to Alaska. Her second collection, Hyperboreal, was published in 2013.

Her favorite writer is the poet Jean Valentine. “I almost left Columbia,” Kane recalled. “In fact, I was told to leave by one of the

co-directors of the poetry division. He just didn’t like me. Then I had Jean for a writing workshop instructor, and it changed everything. She got it; she understood my work.

She finally said that not everything has to make sensetoeveryone.Writethepoemsyouneedtowrite.

“With this third collection I realize it’s like, having grown up as a teenager loving Plath and Sexton [both poets who battled depression and committed suicide] and such, I don’t want my kids to read the poems I wrote in this period when they were under five years old and I was dealing with what I perceived as failures in my professional life, outside of writing.

I didn’t consider writing ever to be my professional life.”

After her 2006 move, she taught English to high-school students in the Upward Bound program in Fairbanks for a summer. Then she worked stints as a public-policy analyst/consultant, as the director of the Alaska Native Policy Center, and as planning and evaluation manager for the Denali Commission. For three years, she did strategic planning for the Financial Alaska brokerage.

She worked as communication and planning manager for the Sitnasuak Native Corporation, Nome, until last November.

When her part-time position on the creative-writing faculty at the Institute of American Indian Art ends, Kane will be unemployed. She is excited about being able to spend more time with her family and about her new healthcare package that she was able to purchase as a result of the Affordable Care Act. At the tail end of January, Kane was looking forward to workshopping with Mörling prior to the reading-and-conversation event at SAR. And she is eager to visit her mother’s birthplace.

“I’m going to visit King Island. I’m looking at a window of May 15 to July 1, probably earlier rather than later. We want to go at that time because the sea is much calmer, with a little bit of ice. Normally there’s three to six feet of sea ice and it’s really cold.

Right now it’s over 50 and there are only six inches of sea ice.”

She and her husband will make the 24-hour trip from the mainland aboard a crab tender. She’s thinking she won’t take her boys — maybe in the future, when they’re a little older. “It will be dangerous.” ◀

details ▼ Joan Naviyuk Kane reading & conversation with Malena Mörling ▼ 5:30 p.m. Thursday, Feb. 13 ▼ School for Advanced Research boardroom, 660 Garcia St.

Malena Mörling

▼ No charge; call 505-954-7205 for reservations

PASATIEMPOMAGAZINE.COM

19

Bill Kohlhaase I The New Mexican

George Saunders

Evan Agostini/Invision/AP

Into the black box

Author George Saunders wants to change your thinking.

It’s not an exaggeratIon. Enter any of the stories in author George Saunders’ latest collection — Tenth of December, published by Random House — and you’ll come out the other side changed. That’s exactly what Saunders wants. The tales are at once engaging, entertaining, and sometimes emotionally exhausting. Though not preachy, they bring you to a place where the connection you make with his characters, even the repulsive ones, opens your heart, if only a crack. Hope is found even in the face of evil. In the book’s opening story, “Victory Lap,” a boy from a regimented, duty-bound family witnesses the abduction of a neighbor girl and must decide between what he was taught to do in cases of emergency and what he knows might save the girl’s life. In “Escape From Spiderland,” human trials of moodand mental-ability-enhancing drugs present one of the subjects with a terrible choice. In the book’s title story, a boy who escapes his awkward life through heroic fantasies crosses paths with a man bent on suicide. The resolutions of the stories aren’t quite what the reader expects. But their effect is undeniable.

Since the release of his first collection in 1996, CivilWarLand in Bad Decline, Saunders has been celebrated as a fresh, satirical voice with an honest and unerring way of steering readers’ emotions. A glowing profile in The New York Times by its Sunday magazine deputy editor Joel Lovell — who appears with Saunders at the Lensic Performing Arts Center on Wednesday, Feb. 12 — describes him as a genius, someone “you might peg ... as the superfriendly host of a woodworking show on daytime public access.”

Lovell’s opinion of the writer has only strengthened since he worked on the story. “Well, I really think George is just a remarkable human being, in addition to being a freaky genius,” he told Pasatiempo in an email. “He’s

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PASATIEMPO I February 7-13, 2014

just one of those rare people around whom you want to be your best and most generous and honest self. And that quality as a person comes out in the writing in all sorts of ways — the intense empathy on display, the outrageous humor, the delight he clearly takes as a writer in being entertaining, trusting that the serious stuff — big questions about morality and death and responsibility to fellow human beings and etc. — will mean more to a reader when it arrives in these surprising and pleasing packages.” Saunders, who says the two became friends as the Times piece was written, seemed to prove the point, telling Pasa that “Joel is a fantastically nice guy, far nicer than I am.

He’s a person who’s always thinking how to be more present and generous with people. I wasn’t sure I wanted to do that story at all until we did the first interview and I saw who he was.”

Don’t let the love fest give you the wrong idea about Saunders’ work. His stories are often dark, set in a gone-askew America drugged on capitalism, where class distinctions decide who has grace and who can only aspire to it.

But the stories in Tenth of December do seem more optimistic than his earlier work in CivilWarLand and his four other books of short fiction. “I think it’s a matter of that old story, if you had some huge object to describe that’s beyond description, the object being life, you would see it from where you stood in relation to it. In my early books I’m looking at it from a young person’s perspective, with nothing going on in my life, being overworked, and struggling. And then for the first time, I realized that life had been a burden.

The longer you live, other forces come into play — generosity, community, family — it all starts to leach in.”

Asked what reading Saunders is like, Lovell wrote, “You’re going along being wowed by the language and the hilarity and the speed at which often preposterous things are unfolding, and then suddenly you’re contemplating humanity and your place in it in a way you’d never quite considered. It’s a pretty singular effect. You get the feeling he understands human frailty/ stupidity/arrogance/etc. so well, and he’s so sympathetic to the vulnerable places from which his characters’ and all of our worst impulses bubble up, and he kind of loves and forgives and holds out hope for them and us. To be

able to do that and never, ever come off as sanctimonious is really something — I don’t know another writer who does what he does.”

Saunders’ realization that stories should change readers is explained in an essay found in his 2007 collection The Braindead Megaphone. In it, he tells how he came to understand the reading of fiction as an entry into “a kind of black box.” The essay, titled “Mr. Vonnegut in Sumatra,” describes his evolution from “untrained reader” who understood “the function of art to be primarily descriptive” to one who saw reading as a transformative act. The reader enters the box “in one state of mind and exits in another. The writer gets no points just because what’s inside the box bears some linear resemblance to ‘real life’ — he can put whatever he wants in there. What’s important is something undeniable and nontrivial happens to the reader between entry and exit.”

What happens inside the box of a Saunders story can be an emotional roller coaster of fear, dread, and emotional release. In some stories, what happens can be a more soothing experience akin to the dressing of a wound. The settings and situations resemble reality in ways that brothers carry a resemblance: they are similar but different. Economic struggles are often in play. Saunders has serious working-class credentials, including work with his father on oil rigs outside Rosebud, New Mexico, and a stint as a seismic engineer in Sumatra with an oil-exploration team. He spent a discouraging period in Los Angeles, unable to find work, and then moved to Chicago, where he lived in an aunt’s basement and did roofing work. Even after earning a degree in creative writing from Syracuse University in 1988, he took a job doing technical writing for a New York company.

Money concerns are shared by many of his characters. In “The Semplica-Girl Diaries,” a father of modest means is tormented by his inability to provide for his children in a way that wealthier fathers do. Did Saunders’ own workingclass struggles motivate his writing? “I really don’t know what motivated what I wrote,” he said. “I spent a long period doing imitation Hemingway and not getting anywhere. My writing started to take off when I began to write about things that bothered me, my not working enough, my not having enough money. That’s when my writing started to spark.”

Saunders admits to being an Ayn Rand conservative when he was young, a position he discarded after witnessing the poverty in Asia. “I’m pretty much left of left now when I used to be right of right. A country should be judged by how well it takes care of the least among them. If the people of the one percent are doing great, that’s fine, but what about bringing everybody else along? That’s been the American project from the beginning. My feeling is that the country has gone down a cul-de-sac. Everyone is either a liberal or a conservative, with no traffic, no communication between them. That’s nonsense. Actually, there’s a third way, the true American way.”

Saunders has taught some 17 years in the creative-writing department of Syracuse University, a job he admits to loving. “I can’t write for 15 hours a day anyway and wouldn’t want to. Interacting with the students and their enthusiasm keeps my love of literature burning. I don’t see any negative effect [from reading student work]. At this point in my career it doesn’t hurt me a bit.” He has spent much of the last year traveling in support of his book, taking something of a break from writing. “It’s been good to have an interruption. My feeling is that to write fiction you have to put as much data into your head as you can: what it feels like to live rich, to be poor, to be despondent, ecstatic, what it’s like in this part of the country and that. You become a more expansive person, which allows you to write from a place of genuineness. Even just roaming Syracuse, going to the DMV with eyes and ears open, all of this can figure into the work.”

And what will he be working on? “I really don’t know what’s next. That’s always been the most productive way for me to work — to keep expectations low. If I have three or four nice pieces, I’ll stitch them together, make a sweater, but I might not have had that sweater in mind at the beginning.” ◀

details ▼ George Saunders with Joel Lovell, a Lannan Foundation Literary Series event ▼ 7 p.m. Wednesday, Feb. 12 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $6, seniors & students $3; 505-988-1234, www.ticketssantafe.org

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PASATIEMPOMAGAZINE.COM

21

PASA TEMPOS

album reviews

ANDREW SUPREME CUTS RINDFLEISCH In the Divine Ecstasy (Dovecote Zone (Innova) Since 2009, when Records) Chicago duo Austin he wrote his first piece for the Meridian Kjeultes and Mike Perry are figuring out Arts Ensemble (an esteemed brass-andtheir careers as music producers on the fly. percussion sextet), Cleveland-based composer Individually, they tried their hands at hipAndrew Rindfleisch has presented the group hop, and it didn’t take; together, they formed with a rivulet of compositions. Five of them Supreme Cuts and released the scattershot (several being sets comprising distinct pieces) 2012 album Whispers in the Dark. They’re figure on this CD, along with his considerably still bouncing between dance-floor-oriented earlier brass quintet. Rindfleisch proves to be genres, but on Divine Ecstasy they seem to be an imaginative and unpredictable composer, shading to alternative R & B. The first souland these appealing works accordingly cover a diverse stylistic ful saxophone appears just over a minute in and is impressively reprised landscape. Often Rindfleisch casts an eye toward the past, as in the title on the penultimate track, “It’s Like That.” In between they flirt with rap track, which suggests one of Gabrieli’s canzones glimpsed in a fun-house (“Isis”), instrumentals (check out the avalanches of drums on “Divine mirror that Stravinsky had a hand in forging. (Zone — canzone: get it?)

Ecstasy”), and even something that resembles indie rock (“Envision,” Rindfleisch’s Four Fanfares for Two Trumpets make the trumpeters jump featuring Channy of the band Poliça). They make the most of numerous guest difficult hurdles, and they fly by more quickly than one might wish. “A Little vocalists, but the best collaborations are on the soul songs, particularly those that Fanfare Music (by Lady MacBeth),” for trumpet and trombone, is boast the jazz-informed singing of Mahaut Mondino. “Gone” is a ravish(the composer states) a “lop-sided and deranged” Shakespeareing R & B number that finds Mondino launching her voice from a inspired grotesquerie that, to Lady Macbeth’s “sickly ears … is a whisper to a scream, while the duo clears a similar range with stately fanfare of elegant royalty and refinement.” This enterharps, horns, and synthesized effects. Supreme Cuts doesn’t taining recital concludes with a handful of Rindfleisch’s put together compelling enough beats to take them across arrangements of 19th-century standards, including a multiple genres, but they’ve stumbled into a wonderful partJaka takes full advantage barbershop-quartet-ish setting of James Thornton’s “When nership with Mondino. I’d look for those songs online and You Were Sweet Sixteen,” a rollicking arrangement of hope for a whole album of this in the future. — Robert Ker of the controlled freneticism Stephen Foster’s “Ring de Banjo,” and a take on the hymn “Abide With Me” that infuses the piece with evocatively PHILIP GLASS Visitors: Original Film Soundtrack that can result from the staccato (Orange Mountain Music) Godfrey Reggio’s Visitors, detailed timbral touches and acid dissonances. Fine performances of fun and witty music. — James M. Keller a movie that has been described as looking back at its interplay of mbira and audience, may be listening to its own soundtrack as well, JAKA Glow ( Jaka Music) The third release in the last with the film’s languid pace and subtle mood changes marimba lines.

15 years by Santa Fe’s self-described “Afropop funk dance seeming to follow the music rather than the other way band,” Glow is a strong and thoughtful collection of original around. Audio images that reflect the watching — the tracks that draws on more than just Afropop, funk, and dance. last cut is called “The Reciprocal Gaze” — follow Glass’ The band is anchored by Dan Pauli, who wrote all the songs on characteristic formula of steady pulsation and repetition but Glow and provides marimba, mbira (sometimes known as thumb with more refinement and variation. A romantic tone is set in the piano), guitar, and vocal elements. Rounding out the personnel are Marco beginning with a string figure that recalls the opening of Beethoven’s Topo (bass), Lee Steck (drums, vocals), Hountor Gent (mbira, djembe, vocals), Ninth Symphony. The counterpointed minimalism that follows, its backand Jesse Garcia (guitar, vocals), with a number of guests appearing throughand-forth movement like waves at sea without a beach to break on, supports out. Jaka takes full advantage of the controlled freneticism that can result from contrasting phrases that resemble abbreviated fanfares or animal calls. The the staccato interplay of mbira and marimba lines. The star of the album music moves forward gently but often without arrival; most of it is as is the third track, “Glow,” which opens with an extended instrumental placid as a long-held gaze. It seldom reaches the intensity of the pieces featuring a tightly syncopated bass and percussion line. This song, like the composer wrote for Reggio’s film Koyaanisqatsi and its followmany of the others, displays the band’s attention to range, with the low, ups. It turns on small changes, reaching subtle peaks on persistent middle, and high registers all well filled out string backdrops. Softness is the prevalent by instrumentals and with punchy percussion feel. The instrumentation, warm and and drums further defining the mix. There compatible, accents the counterpoints or is something plaintive to many of the vocal signals changes that contrast brass, strings, melodies and harmonies on this record, a feeland woodwinds. These subtle intricacies, ing accentuated by the near-primal yearning performed with reserve by the Bruckner quality of some of the lyrics. In “Tree Song,” for Orchestra Linz under the direction of Dennis example, one refrain meditates on “the beauRussell Davies, make for engaging standtiful thing about being a tree … you alone listening that’s both visually get to be witness to the world.” and emotionally suggestive.

— Loren Bienvenu — Bill Kohlhaase

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PASATIEMPO I February 7-13, 2014

TAO:

Francisco Pacheco, Saint John the evangeliSt, 1632. © courtesy trustees oF the British MuseuM, London.

Lensic Presents

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The amazing Taiko drummers from Japan

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

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

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Offering A Special Prix Fixe Valentine’s Day Menu February 14th Through February 16th.

Available In The Main Dining Room & La Cantina.

An A La Carte Menu Will Also Be Available.

For Our Complete Menus Visit LaCasaSena.com

February happenings Spanish Art Lecture Series

Friday, February 7, 5:30–6:30 pm

“Renaissance to Goya: Spanish Painting in the Golden Age.” Independent curator and scholar Barbara Anderson will introduce some of Spain’s greatest painters, their influences, styles and subjects including Goya, Ribera, Zurbaran, Murillo, and others. Free.

Sunday, February 16, 2–3 pm

“What’s Spanish about New Mexico Art: Some Things to Look for in Renaissance to Goya.” Curator of Education Ellen Zieselman will present an illustrated talk highlighting some works that convey the influence of Spanish art on New Spain’s artists. Free.

For Reservations Call 505.988.9232

Renaissance to Romance

Friday, February 14, 5–7 pm

Join us for a special Valentine’s Day celebration of art, music, and Spanish-inspired delectables including tapas, pomegranate punch and chocolates. Free.

Open Daily 11:00am until 10:00pm | 125 East Palace, Santa Fe (505) 988-9232 | www.lacasasena.com

New Mexico MuseuM of Art 107 w. palace ave | on the plaza in santa fe | 505.476.5072 | nmartmuseum.org |

PASATIEMPOMAGAZINE.COM

23

TERRELL’S TUNE-UP Steve Terrell

Twang for two

Has Les Claypool “gone country”? Not exactly. His new album, Four Foot Shack, credited to Les Claypool’s Duo de Twang, could almost be mistaken for “Primus Unplugged,” except for the fact that Claypool’s usual sidemen have been replaced here by guitarist Bryan Kehoe. The group even plays a couple of acoustic takes on Primus classics: “Jerry Was a Racecar Driver” and “Wynona’s Big Brown Beaver.”

Like Primus, Duo de Twang features Claypool’s bass as basically a lead instrument. Kehoe, reportedly an old high school buddy of Claypool’s, plays a lot of slide guitar. The only percussion is what Claypool calls a “mini-tambourine-doohickey” played via a foot pedal.

The duo originally formed to play the Hardly Strictly Bluegrass Festival in San Francisco. They definitely lived up to the “hardly strictly” part and then decided to make this album and do a small tour. (Alas, the closest they’re coming to New Mexico is Austin, during next month’s South by Southwest festival, and Snowmass, Colorado, in June.)

Too be sure, it’s obvious that Claypool likes country from 40 or 50 years ago. On this album you’ll find covers of Johnny Horton’s 1959 hit “The Ballad of New Orleans” (Claypool takes it, as Horton might have said, to places where a rabbit wouldn’t go) and Jerry Reed’s 1970 swamp-country masterpiece about a one-armed Cajun alligator hunter, “Amos Moses.”

This is the second time Claypool has recorded “Amos.” Primus also took a crack at it on the 1998 CD Rhinoplasty.

While the Horton and Reed songs were big hits, Claypool also plows more obscure country-music ground. The duo does a version of “The Bridge Came

Tumblin’ Down,” originally performed by Canadian country star “Stompin’” Tom Connors, who died last year at 77. The song has a good basic Johnny Cash chunka-chunka beat, with Kehoe doing some of his best slide work on the cut.

In many ways, Duo de Twang’s relation to country music is similar to what you hear on Merles Just Want to Have Fun, the album that Bryan & The Haggards and Eugene Chadbourne released last year. Both groups use C&W as a jumping-off place — before they jump into the sonic abyss.

But no, even with these songs, you’re never going to see Duo de Twang on the Grand Ole Opry. And you especially aren’t going to hear Claypool’s “Red State Girl,” a near-metallic-sounding ditty about a woman with breast implants made of recycled bottles who “wants to grow up to be Sarah Palin” and is fortunate enough to meet a young man with a tattoo of the Budweiser frogs (as well as a naked picture of the former Alaska governor, or so Claypool says).

As Claypool has shown with Primus and his many side projects, he loves wacky covers of a wide variety of songs, and despite the band’s name, most of the covers on this record are not from the world of country. On Four Foot Shack, he and Kehoe do a suave remake of the iconic surf instrumental “Pipe Line” (including “la la la” vocals on the bridge, where they sound like some lost battalion of the Russian army). The Duo makes Alice in Chains’ nightmarish “Man in the Box” even more nightmarish (with bluegrass mandolin).

And the Bee Gees’ disco landmark “Stayin’ Alive” is transformed into an alien hoedown.

I still believe that Claypool’s most satisfying album is Primus’ Pork Soda, released more than 20 years ago.

Jeremy Scott

Les Claypool’s Duo de Twang

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PASATIEMPO I February 7-13, 2014

But even though this one doesn’t reach that level, it’s a doggone fun record. I hope that some staunch fans of acoustic roots music open their ears to it. Point your mouse to http://atorecords.com/featured/stream-lesclaypools-new-album-four-foot-shack.

Also recommended: Spanish [expletive] Magnet by Billy Joe Winghead. No, Billy Joe Winghead is not a person. It’s a band name, like Jethro Tull. Fronted by singer John (not Jono) Manson, the band, from my hometown of Oklahoma City, plays raw, obscene, metal-edged scuzz rock. I hear echoes of The Dictators, Joan Jett, Nashville Pussy, and The Hickoids (hey, they’re on The Hickoids’ label, Saustex) but definitely not Jethro Tull.

Did I mention obscene? Yes, nearly every song is packed with lewd language that unfortunately will limit radio play. Too bad. There are lots of rocking and frequently catchy tunes here. The title song is a tale of decadence and perversion that name-checks Frankie Goes to Hollywood and lifts a riff from the Hendrix song the title parodies (“Spanish Castle Magic”).

Songs like “Dayglo Blacklite,” “Devil’s Advocate,” and “Gravedigger” are hard-punching rockers, the latter with a melody inspired by The Runaways’ signature song “Cherry Bomb.” Meanwhile the ferocious “Okie, Arkie and Tex” sounds like a grittier version of Guns N’ Roses before that band sunk beneath our wisdom like a stone. Billy Joe proves they can actually play it pretty on “Lana Don’t Go,” which has musical allusions to The Shangri-Las, Phil Spector, and other ’60s teen-drama rock.

Billy Joe also does a version of “Planet of the Apes” by garage-punk idols The Mummies. The band does it justice, but it’s only the second-most-remarkable cover on this album.

Without a doubt, the highlight here is the inspired medley of Broadway showtunes — I’m not kidding — that Billy Joe calls “Springtime for Argentina.”

Yes, this is a combination of “Springtime for Hitler” from Mel Brooks’ The Producers and “Don’t Cry for Me Argentina” from Andrew Lloyd Webber and Tim Rice’s Evita. It’s a magical Okie punk-rock ode to a dictator and the wife of a dictator. The track becomes even more demented when you watch the video. It’s a crazed fascist puppet show that shouldn’t be missed.

Visit http://tinyurl.com/Springtimeargentina.

This is followed by a slow, dreamy, synthy song called “With a Hate Like Mine.” After so much breakneck craziness from the previous songs, it might seem at first as if Billy Joe just ran out of steam. But as the six-minute song drones on with its iggly-squiggly computer effects and smoky atmospherics, it seems to transport a listener to a distant crazy dimension. Make friends with Billy Joe Winghead at www.winghead.com. ◀ ▼

2014 Community LeCtures Santa Fe Institute Community Lectures offer a glimpse inside the Institute’s research to understand the physical, computational, biological, and social complex systems that underlie many of the profound issues facing humankind today. By transcending disciplines, breaking academic molds, and bringing together an international network of unorthodox thinkers, SFI is seeking insights that offer hope for science and society.

Lectures begin at 7:30 p.m. and take place at the James A. Little Theater, 1060 Cerrillos Road, Santa Fe. Admission is free, but seating is limited. For more information please visit www.santafe.edu.

Getting our Arms around obesity Why the internet Won’t Gain you Any more Friends is Free Will an illusion?

WeDnesDAy, FebruAry 12

Ross Hammond, Senior Fellow and Director, Center on Social Dynamics and Policy, Brookings Institution WeDnesDAy, mArCh 12

Robin Dunbar, Director, Social and Evolutionary Neuroscience Research Group, Department of Experimental Psychology, University of Oxford WeDnesDAy, mAy 14

Daniel Dennett, Austin B. Fletcher Professor of Philosophy and Director, Center for Cognitive Studies, Tufts University

the Fabric of our Lives: Cities, slums, neighborhoods, People

WeDnesDAy, June 18

time travel: testing the Grandfather Paradox

WeDnesDAy, JuLy 16

the Joy of x: Doing math in Public seeing the Future in our Past: Why Archaeology matters i Get All the news i need From the sports section

Luis Bettencourt, Professor, Santa Fe Institute Seth Lloyd, Professor, Mechanical Engineering, Massachusetts Institute of Technology; External Professor, Santa Fe Institute WeDnesDAy, AuGust 6

Steven Strogatz, Jacob Gould Schurman Professor of Applied Mathematics, Cornell University tuesDAy & WeDnesDAy, sePtember 9 & 10 • 2014 STANISLAw ULAM MEMORIAL LECTURES

Jeremy Sabloff, President, Santa Fe Institute WeDnesDAy, oCtober 15

Sidney Redner, Professor, Santa Fe Institute

Why We Kill: the WeDnesDAy, noVember 12 socialization of Violence Richard Rhodes, journalist, historian, and author of both fiction and non-fiction including

the Pulitzer Prize-winning The Making of the Atomic Bomb and most recently Why They Kill: The Discoveries of a Maverick Criminologist, and Ginger Rhodes, a licensed psychologist who specializes in working with people who have experienced violent trauma

SFI’s 2014 Community Lecture series is generously sponsored by Thornburg Investment Management

PASATIEMPOMAGAZINE.COM

25

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26

PASATIEMPO I February 7 - 13, 2014

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ON STAGE Grand piano: Bang Lang Do

THIS WEEK

A native of Saigon and a graduate of London’s Royal College of Music and the University of Montreal (from which she earned her doctorate in piano performance), Bang Lang Do has toured widely as a recitalist and chamber musician in the United States, Canada, Europe, and Asia. She is currently based in Iowa, where she teaches at Divine Word College (an undergraduate school that trains Roman Catholic missionaries) and performs in the Dubuque Trio, a trumpet, violin, and piano ensemble. She presents the weekly half-hour-long TGIF concert at First Presbyterian Church (208 Grant Ave., 505-982-8544) at 5:30 p.m. on Friday, Feb. 7. She begins her program with a rarely encountered but masterly piece, the Prelude, Arioso, and Fughette on the Name of Bach, written in 1932 by Swiss composer Arthur Honegger, who was a colleague of Poulenc, Milhaud, and other pals in the famous Parisian group Les Six. The recital continues with four preludes by Rachmaninoff and an excerpt from Messiaen’s Vingt regards sur l’Enfant Jésus. There is no admission charge, but freewill donations are welcome. — J.M.K.

Without a Hitch: Herrmann’s Souvenirs

Bernard Herrmann is mostly remembered for his movie scores, especially those he wrote for Hitchcock films, including Psycho, Vertigo, and North by Northwest. (When Hitchcock adamantly insisted that the shower scene in Psycho be played out in silence, Herrmann privately penned some music just in case, and his shrieking violins persuaded the director to change his mind.) In all, he composed some 50 film scores, from Citizen Kane to Taxi Driver. He also wrote an opera (Wuthering Heights) and numerous concert works, most of which go unheard today. Serenata of Santa Fe has included his Souvenirs de Voyage for clarinet quintet on its program at 3 p.m. on Sunday, Feb. 9, at the Scottish Rite Center, 463 Paseo de Peralta. Also on the program are Joan Tower’s Island Prelude (for oboe and strings) and Brahms’ Clarinet Trio in A Minor, op. 114. For information or reservations, call 505-989-7988 or visit www. serenataofsantafe.org. Tickets ($25) can also be had from Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org). — J.M.K.

Unconstitutional amendments: Colin Quinn

Mike Lavoie

Comedian Colin Quinn has always exercised his First Amendment rights. Best known for his 1995-2000 tenure on Saturday Night Live, Quinn has appeared in a number of feature films and recently starred in a successful Broadway show directed by Jerry Seinfeld: Colin Quinn: Long Story Short. In his latest one-man show, Unconstitutional, he contrasts the United States of today with what he imagines were the expectations of the founding fathers. The none-too-soft-spoken Brooklyn native does not don a powdered wig or stockings for the performance, but he does channel the spirit of America, starting in 1787 and continuing through to the present. Quinn appears at the Lensic Performing Arts Center (211 W. San Francisco St.) on Friday, Feb. 7, at 7 p.m. Tickets ($15-$35) are available through www.ticketssantafe.org and by calling 505-988-1234. — L.B.

Period pieces: Albuquerque Baroque Players

This week marks the launch of a new concert series at the San Miguel Chapel (401 Old Santa Fe Trail). The inaugural performance features the Albuquerque Baroque Players, a period-instrument ensemble comprising oboist/recorder player MaryAnn Shore, viola da gamba player Mary Bruesch, and harpsichordist Susan Patrick. At 7:30 p.m. on Friday, Feb. 7, they are joined by guest violinist Stephen Redfield for a program of chamber works by French Baroque composers: from the 17th century, music by Lully and Charpentier; from the 18th, pieces by Couperin “le Grand” (excerpts from his suite L’Espagnole), Boismortier, Leclair, and Rameau.

For information or to reserve tickets ($18, discounts available), call 505-400-9385.

The series includes eight further concerts through June 20, spotlighting various soloists and ensembles, including Balkan folk music trio Rumelia (on March 29, April 26, and May 31), trumpeter Bill Williams (April 12 and May 10), and Baroque ensemble New Mexico 430 ( June 20). For general information on the series, call 505-660-3187. — J.M.K PASATIEMPOMAGAZINE.COM

27

James McGrath Morris I For The New Mexican

VISUAL RACONTEUR The evolving tales of Norman Rockwell IN 1963, Norman Rockwell’s paintings ceased to grace the cover of The Saturday Evening Post, Post once America’s most popular weekly magazine.

Since May 1916, the illustrator had painted 323 of those covers, but the Saturday Evening Post,, now being passed over by readers in the dawning age of television, was going off in a new direction. Rockwell’s gentle and realistic style seemed to the editors unsuitable for the dissonant age of rock and roll, war protests, and the civil rights struggle. In short, he was a quaint fixture of days gone by.

At 69, Rockwell could well have put away his brushes, capped the tubes of his paints, and pulled down the shades on the windows of his studio in the New England town of Stockbridge, Massachusetts. After all, in becoming the nation’s most famous and beloved illustrator, he had achieved the goal he set for himself at the start of his career.

Even more rewarding, his work was finally earning respect as art with a capital “A.” Instead, according to a new biography of the artist, Rockwell went off in an astounding new direction that risked alienating his loyal fans. “He was well aware that no magazine was eager to commission paintings of Santa Claus or solicitous policeman at a time when a new generation was turning on the radio and hearing Bob Dylan admonish in a vaguely pissed-off voice that the times they are a-changing,” writes Deborah Solomon in the 2013 book American Mirror: The Life and Art of Norman Rockwell (Farrar, Straus and Giroux). “And so Rockwell took up social realism — belatedly, perhaps.”

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PASATIEMPO I February 7-13, 2014

For the first work in his new approach to this new age, Rockwell executed a two-page spread in Look magazine that became one of the most enduring painted images of the civil rights movement. Rockwell painted a 6-yearold African American girl clad in a white dress with a matching bow in her hair being escorted to school by four federal marshals in front of a stucco wall etched with racial slurs. “The girl, we can see, is a person of exemplary dignity,” Solomon writes. “She stares ahead as she walks, declining to acknowledge the graffiti or the still-dripping mess in the center of the wall, a tomato that was tossed by a demonstrator and which thankfully missed the girl’s head.”

While Rockwell had consulted photographs of Ruby Bridges, the young African American girl who was famously escorted to an all-white elementary school in New Orleans in 1960, he invented a new scene for the painting rather than reproducing what the photographers had captured. In the girl’s hands he put red and blue pencils and a notebook with a starspangled blue cover echoing, as Solomon points out, the design of the American flag.

He cut off the men at their shoulders so viewers could see just their shoes, pant legs, and jackets. Ruby’s is the only face seen. “By granting us a chance to see her face, Rockwell has depicted Ruby as a heroic representative from the ranks of a black America that was prepared to face — and even to outface — the bullies out there.”

While the gritty approach to this subject was alien to Rockwell’s longtime fans, at its core the Look magazine painting shared the

most enduring trait of all his works — it told a story. For biographer Solomon, to properly understand Rockwell’s work is to view his paintings as visual stories, not static images. Take for instance, his most recognizable works, such as those capturing a young couple applying for a marriage license, a family coming and going on vacation, a scene of a policeman in the diner with a young runaway, or even his series of paintings representing the Four Freedoms. Every one of them tells a tale.

“Rockwell offered engrossing fictions about everyday life and its comical bumps,” Solomon writes. “He offered the rewards of a story well told, a story that could seem remarkably complete and true despite the absence of words.” Thus his paintings could reaffirm a cultural, religious, or political belief, usually a comfortable one, or in his new phase, they could highlight an uncomfortable truth and venerate those — even a child — who dared challenge the status quo. “Underlying Rockwell’s every painting and gesture was his faith in the redemptive power of storytelling — stories, he believed, were a buffer against despair and emptiness,” Solomon writes.

And according to American Mirror, there was certainly plenty of despair and emptiness in Rockwell’s life. It turns out that the image of the man as a cheery pipe-smoking avuncular artist was like a character in his paintings, a representation of an idea that left out the shadowy harsh realities of life. The painter was a sad, lonely figure, taunted by depression, consumed by a sense of inadequacy exacerbated by the art world’s rejection of his work, and beset by several unfulfilling marriages complicated by his unresolved sexual identification. Solomon’s careful research reveals a man more comfortable with his school-age models than almost anyone else and one who enjoyed emotional and physical closeness with men. At one point, after recounting a camping trip Rockwell took with other men and the suggestive remarks he inscribed in his diary, the author asks: Was Rockwell homosexual?

Despite much public gnashing of teeth among members of Rockwell’s family who believe otherwise, Solomon never answers the question in the affirmative. Instead, with grace and sensitivity, Solomon presents her research and her interpretation of the homoerotic elements of his art in a nuanced fashion.

“He was afraid of all physical intimacy, male or female,” she writes, “but decidedly more comfortable in homosocial male groups than in any standard domestic role, be it that of husband, father, or man of the house.”

In the same vein, one of the most deeply touching portions of American Mirror revolves around the artist’s close relationship with Billy Payne, a young boy who posed for 15 Saturday Evening Post covers early in Rockwell’s career.

As he matured, Payne outlived his purpose

and was cast off by the artist. “The experience of an artist’s model can amount to its own intense drama: the thrill of capturing an artist’s gaze, the pain of losing it,” Solomon empathically notes. Soon after being dismissed, Payne fell to his death from a thirdstory ledge in the midst of a reported prank.

Self-reproachful for his callous abandonment of Payne, Rockwell used his likeness one last time in an elegiac cover.

American Mirror abounds in anecdotes, vignettes, and emotionally poignant moments, much like those contained in Rockwell’s paintings. And despite the harsh realities of the artist’s personal landscape, Solomon’s writing is joyous, clever, and unvaryingly insightful. In a rewarding trick, she offers enlightening descriptions of Rockwell’s paintings prior to their appearance in the book.

When the page is turned, the reader is fully prepped for an assessment of the work. An art critic by profession, Solomon weaves a course in Rockwell appreciation into her biography.

Her treatment of Rockwell’s art alone would make this biography a worthy investment. Yet there is much more to the book.

Solomon provides a compelling tale of the boy who grew up with little and set aim early in his life to become an illustrator like Howard Pyle, the brilliant father of American illustration. Dropping out of high school to study at the Art Students League of New York, the aspiring illustrator took away an almost religious commitment to the field.

“Rockwell wanted to believe that illustra-

tion was a noble calling.” There is no lack of drama in his climb to the top of his field.

“Rockwell had the misfortune to begin his career at the precise moment that storytelling in art was about to get clobbered by a new generation of modernists,” Solomon notes.

In the end Rockwell found not necessarily happiness but a home for his work, a very public one, on the covers of a magazine that sat on the coffee tables of homes and in the waiting rooms of doctors’ and dentists’ offices.

“When Rockwell looked at the cover, he saw an illustration that measured about eleven inches wide and fourteen inches tall, and that, in his eyes, was the biggest thing in the world.”

It is a tribute to Solomon that she pulled off this book. An art-history major, she came out of a world that rejected Rockwell. “He was viewed as a cornball and a square, a convenient symbol of the bourgeois values modernism sought to topple.” But over time, Rockwell earned Solomon’s respect, and her unabashed admiration for his work combined with an unvarnished treatment of his life animates the pages.

Norman Rockwell’s brush made him one of the 20th century’s most loved American painters, but Deborah Solomon’s pen has safeguarded for him an enduring place in cultural history. There is no other way to put it: Solomon’s work is both a masterpiece of biographical writing and a work of art equal to that of its subject. ◀

Norman Rockwell: Let’s Give Him Enough and On Time, 1942, Library of Congress; opposite page, top, Rockwell images courtesy Farrar, Straus & Giroux; opposite page, below, magazine cover by Rockwell, Library of Congress

PASATIEMPOMAGAZINE.COM

29

Photos Clyde Mueller/The New Mexican

Jennifer Levin I For The New Mexican

Sometimes a bench is just a bench Bench Warmers 13 offers a sampler of local theater

G

uidelines may sometimes be conducive to creativity, because as much as the mind wants to revel in free-flowing expression, a few rules can give shape to a mess of ideas. The annual Bench Warmers playwriting competition at the Santa Fe Playhouse offers writers a bench to work with and around — a set piece that can serve as a chair or other surface or even a building or object in nature, such as a mountain or a fallen tree. In one of this year’s winning pieces, A Walk in the Park, written by first-time playwright Alix Hudson and directed by Jonah Winn-Lenetsky, the bench is exactly what it seems to be.

“I wanted to be very literal,” Hudson told Pasatiempo during a conversation with several of the directors and playwrights. Hudson, who recently moved to Santa Fe from Zuni, has an undergraduate degree in drama and is earning her nursing degree at Santa Fe Community College. Although the play isn’t based on real-life events, Hudson said it was “emotionally true, in that it’s about being queer in a public space.”

A Walk in the Park, along with seven other one-act plays, opens on Friday, Feb. 7, as part of Bench Warmers 13 at the Santa Fe Playhouse. This year’s competition attracted 68 entries, which initial readers whittled down by half, looking for the

30

PASATIEMPO I February 7-13, 2014

strongest work. Plays in the series must include the bench and run no longer than 15 minutes, and they cannot have been produced nationally or in Santa Fe. Thirty-five plays were then given to the full board of directors at the Playhouse, who voted on their favorites. Judging at every level was done blind, meaning that the playwrights’ names were not attached to their submissions. Final selections came down to balancing the number of comedies with dramas to create the best possible night of theater.

“There are more serious plays being done this year than in the last five years that I’ve been involved. There were quite a few years where it seemed like it was mostly comedies,” said Kelly Huertas, executive producer of Bench Warmers 13 and author of Senior Trip, a comedic piece about three women in their 60s on a senior singles cruise skipping out on ’80s night. Though she usually writes darker dramas, she was aiming for high comedy this year and wanted to provide roles for some of the actresses of a certain age who show up at Bench Warmers auditions.

This is Huertas’ first year as executive producer. She took over from Dan Gerrity, who passed away in November. He was in charge for seven years, during which time Bench Warmers became known for incorporating multimedia elements. This

year, it’s a return to basics. “Dan was a media whiz,” Huertas said. “Stepping into this role, there is no way I’d attempt to do the kind of things he did. So we’re making it maybe a little more about the play itself, a little less about the accoutrement.”

Another literal use of the bench comes in Tech 13, written by Alma Reposadas and directed by Andrew Primm, a local musician, writer, and videographer.

Though the play was originally written for two male actors, Primm decided that there weren’t enough roles for men this year and asked Reposadas to add a character to the play, which entailed adding dialogue. “This nice lady wrote a play, and I destroyed it,” he said. “I think they asked me to direct this because a lot of the plays are very serious, or otherwise they’re very classy comedies, and Tech 13 is going to be ridiculous. I directed the [Fiesta] Melodrama. I think they thought they needed someone who could be really silly.”

The darker plays include Prevailing Winds, written by Mary Boliek and directed by Winn-Lenetsky, and From Falling Down, written by Chadney Everett and directed by Vanessa Rios y Valles, which tackles a mother-son relationship complicated by memory and violence. Everett, known in Santa Fe for his scenic design work, was inspired by a picture he found online of a man who had clearly taken quite a beating about the face but looked radiantly happy.

“I wondered if maybe someone he loved did it.”

The Shower, written by Larry Glaister and directed by Peggy Long, careens back and forth between comedy and drama and is best described as Edward Albee meets Gilmore Girls. Two sisters spend their time at a baby shower hotly resenting the existence of their judgmental mother, but not everything is as it seems. The setting of Hijacked is Santa Fe-specific: a creative-writing workshop at the community college. The play is written by Lisa Gray Fisher, an English teacher at Santa Fe Preparatory School, and directed by her son, Eliot Fisher, who teaches digital media at Prep and is among the newest members of Santa Fe Playhouse’s board of directors. Hijacked features a range of Santa Fe types, from the dreamy to the neurotic to the delightfully eccentric bordering on obnoxious, trying to get through a writing exercise.“I made the teacher very young and inexperienced so that she would have to fight it out with the student who’s so exuberantly unbridled and has come there for a very different purpose than the teacher has,” Lisa Gray Fisher said.

Bench Warmers has become known as a community event that showcases emerging writers and provides an opportunity for new directors to get their feet wet on full — but still small-scale — productions. Erin O’Shaughnessy, a first-time director, is in charge of Huertas’ play. She relocated to Santa Fe from Los Angeles three years ago and has been involved with Bench Warmers ever since. “When I moved here, the first week someone told me to go audition at the Playhouse because I would meet lots of actors. I’m so glad I followed that advice, because this is my home. The first year I acted, and then I wrote for two years. I never thought I would be a writer, but I’ve felt encouraged to leave my comfort zone.”

The Playhouse board has lately been discussing ways to enhance the Bench Warmers experience for everyone involved. This year, they’re implementing an audience choice award. “It’s called Best of the Bench,” Huertas said. “Audiences will vote throughout the run — we’re hoping no one stuffs the ballot box! It’s such a community project, anyway; the audience should be a part of it beyond sitting and watching. I want them engaged with the work. An audience award encourages everyone to be critical about what they’ve seen, both positively and negatively.” ◀

Lensic Presents

Saturday Night Live and MTV alum

February 7, 7 pm $15–$35

Legendary comedian Colin Quinn returns to the stage, tackling 226 years of American Constitutional history in 70 minutes.

“Fast, furious and funny!

In Quinn we trust.”

—New York Daily News

“Hilarious!

Wonderfully riotous!”

—Hollywood Reporter

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

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

santafe newmexican .com/ WEATHER

details ▼ Bench Warmers 13 ▼ Gala opening (6:30 p.m. reception, 7:30 p.m. curtain) Friday, Feb. 7; 7:30 p.m.

Saturday, Feb. 8; 4 p.m. Sunday, Feb. 9; 7:30 p.m. Thursday, Feb. 13; continues Thurdays-Sundays through March 2 ▼ Santa Fe Playhouse, 142 E. De Vargas St. ▼ $20; $15 for 17 & under; gala $30; at the door or in advance (505-988-4262, www.santafeplayhouse.org)

Opposite page, clockwise from upper left, Shawna Howley and Mary Beth Lindsey in A Walk in the Park; Matthew Montoya and Malcom Morgan in Tech 13; Karen Leigh in From Falling Down; Ashlie Hughes, Amanda Hanson, and Lucinda Marker in The Shower

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31

Michael Abatemarco I The New Mexican

Lovely detritus, ugly innovation

T

here is a dark side to renewable-energy equipment such as solar panels and wind turbines.

While the infrastructure for renewable energy seems to have less impact on the environment than drilling for oil, mining coal, and hydraulic fracturing (commonly known as fracking), the structures that harness that energy still mar the landscape.

Photographer Kevin O’Connell has made a career photographing pump jacks, tanks, and machinery once used for energy production as well as contemporary structures still in use. O’Connell has two shows running concurrently in February: Conventional Entropy at Photo-eye Gallery and Everything Comes Broken at the Marion Center for Photographic Arts at the Santa Fe University of Art and Design. Conventional Entropy focuses on structures used in oil and gas production that have succumbed to the ravages of time, rusting and degrading. Everything Comes Broken focuses on machinery currently used to produce energy. The clean wind turbines that appear in Everything Comes Broken look relatively new when compared to the equipment

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PASATIEMPO I February 7-13, 2014

depicted in Conventional Entropy. But Everything Comes Broken suggests that these structures too will eventually serve as deteriorated monuments to our time.

“Most of these photographs were made in eastern Colorado,” O’Connell told Pasatiempo. “I live in Denver. I’ve been making pictures in eastern Colorado since the early ’90s — a long time — and I can see the changes that have happened just in my brief period here that have been occurring really rapidly. Some of my favorite places I used to go to — for example, the Pawnee Grasslands up in northern Colorado, which is a National Grassland — suddenly were filled with wind turbines, and I was really distressed by it. That’s just how I felt about what I was seeing done to the land.

Then I started thinking about it in a larger context, how the Great Plains have been this really abused area of the country. You can go back to the buffalo hunts and the genocides of Native Americans. We have nuclear weapons out there. We’ve drilled and spilled oil and gas, and now we’re fracking and building wind turbines. Most people don’t see this area. It’s flyover country. When you spend a lot of time there it really hits home what

Kevin O’Connell: Untitled, archival inkjet print mounted on Dibond; opposite page, Untitled (CE-1035), from Conventional Entropy, pigment ink print

Kevin O’Connell evaluates the nation’s energy infrastructure

we’re doing in the name of consumption and the whole sociological impact people have on the environment.”

Fracking is controversial — among other reasons, because there may be groundwater contamination from high levels of extracted methane and because of the possibility that the practice can induce earthquakes due to the pressure it puts on seismic faults. Nevertheless, O’Connell photographs his subjects with a kind of reverence. An old rusted tank may not be the Acropolis, but it is among the ruins that could remain a part of the record of our culture. The wind turbines have an

appeal due to their sleek designs, and their spinning blades appear silent from a distance. “I was trained as an engineer back in the late ’70s and early ’80s. So I do have a respect for science and technology. When you look at them, they’re great feats of engineering.

But there’s the paradox. I’ve heard things described as terrible beauties before, and whether it’s the amazing design of an F30 fighter plane or these wind turbines, they are elegant in their own way, but they’re going to end up just like the oil and gas infrastructure, make no mistake about it. They are machines, and they’re going

to wear out. They’re already decommissioning lots of them. I have a friend, Donald Lipski, who does a lot of public artwork, and he just appropriated three spent first-generation wind turbine blades. He got them for free. They just sit in boneyards now.”

O’Connell still photographs more pristine landscapes without any silos, turbines, pumps, and tanks in sight, but there is often a suggestion of previous human activity continued on Page 34

PASATIEMPOMAGAZINE.COM

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Kevin O’Connell, continued from Page 33

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PASATIEMPO I February 7-13, 2014

Untitled (CE-572), from Conventional Entropy, pigment ink print

on the land, captured in features such as scorched trees and grasses, depressions in the earth that may indicate the locations of old mines, and desert vistas with smoke rising in the distance.

Early in his career, O’Connell was interested in photographing the Colorado landscape, with its majestic vastness as his subject. “I grew up in the Chicago area in northwest Indiana,” he said. It’s a rust belt now. At the time, we had steel mills and refineries, so I came from a very different visual landscape. When I moved to Colorado in 1981, I couldn’t get my head around all this space. It took me 10 years before I could even try to photograph it. I would make these massive landscapes and print them as 5 x 7 platinum prints. They were small pictures of really immense things.

Then I picked up on the changes in the land and was more interested in the infrastructure. A lot of the things that are out there you don’t see at first. There was a whole slew of abandoned oil structures out there.

That lasted until maybe within the last five years, when they developed fracking and figured out how to get more out of them. Then I discovered all the Minuteman III silos out there. I think there are something like 29 Minuteman silos on the Pawnee Grasslands. It’s really kind of freaky.

It’s one of those things where you have an awe, but it’s an uncomfortable awe. You think, My God, this 100-square-yard fenced-in area has the power to destroy an entire city, and there it is just sitting there.”

Because of the attention paid to the remnants and mechanisms of America’s energy infrastructure, O’Connell’s work may put you in mind of German photographers Bernd and Hilla Becher and their numerous images of Europe’s old and new water towers, cooling tanks, oil refineries, and grain silos. But the Bechers viewed these subjects as variations on sculptural or architectural themes, while O’Connell’s work is tied more to energy consumption’s long-term effects. “People have made the comparison before, but I don’t really see these as typologies,” O’Connell said. “My work is really about being in this land. I am interested in the formal aspects of things, but I don’t obsess with that. I’m interested more in the infrastructure and where that’s going.” ◀

details ▼ Kevin O’Connell: Conventional Entropy Reception 5 p.m. Friday, Feb. 7; through April 5 Photo-eye Gallery, 376-A Garcia St., 505-988-5159, Ext. 2 ▼ Kevin O’Connell: Everything Comes Broken Exhibit through May 17 Marion Center for Photographic Arts, Santa Fe University of Art and Design, 1600 St. Michael’s Drive, 505-473-6341

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C A N C E R F O U N DAT I O N F O R N E W M E X I C O

Thursday, February 13th, 2014, 5:0 0 p.m.

Valentine's Eve, Santa Fe Convention Center, $75 per person Dinner Buffet

Open Wine & Beer Bar

Fantastic Silent and Live Auctions!

Just some of our amazing auction items:

Navajo Eye Dazzler Weaving, 1890’s

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Costa Rica oceanfront beach house for one week

Alegria,

by Elias Rivera

Dinner for 10 guests with Valerie Plame Wilson and Amb. Joseph Wilson

To purchase tickets, visit our website at www.cffnm.org or call 505-955-7931, ext. 1 Our mission: To help save lives by providing the needed support to enable every northern New Mexican with cancer to access treatment in Santa Fe. Thank you to our Co-Presenting Sponsors:

Beaver Toyota Texas Hole Charities X-Ray Associates of New Mexico New Mexico Cancer Care Associates Sweers Lopez Hogan Group at Merrill Lynch and CHRISTUS St. Vincent Regional Medical Center PASATIEMPOMAGAZINE.COM

35

Return of the

Son of Shut Up‘n playYer Guitar Dweezil zappa

d

weezil Zappa, son of Frank, had carved out something of a diverse career before his father died in 1993. He had already recorded a handful of guitar-heavy hard-rock albums under his own name — including Havin’ a Bad Day, My Guitar Wants to Kill Your Mama, and Confessions — and had done some studio work, playing guitar in a style influenced

by Eddie Van Halen, the late Quiet Riot and Ozzy Osbourne guitarist Randy Rhoads, and other hard-rock and heavy-metal instrumentalists.

He was also something of a Hollywood personality, having done a stint as an MTV video jockey while still a teenager and taking bit parts in movies — most notably the Brat Pack hit Pretty in Pink. He appeared in a short-lived CBS sitcom, Normal Life, with Laverne & Shirley star Cindy Williams and his sister Moon Zappa, and in the music video to Miami Vice star Don Johnson’s song “Heartbeat.”

After his father died, Dweezil continued on a similar path, doing studio work, recording with members of his father’s band, composing music for The Ben Stiller Show, and serving as the voice of Ajax Duckman in the USA Network’s animated series Duckman. His recording Go With What You Know, released in 2006,

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PASATIEMPO I February 7-13, 2014

Bill Kohlhaase I The New Mexican continued his movement toward more involved compositions, which had begun with Confessions.

That same year, the guitarist premiered a new project, Zappa Plays Zappa, which recreates his father’s music, both familiar and obscure, with a group of musicians that sometimes includes former members of Frank Zappa bands. The project, which comes to the Greer Garson Theatre on Wednesday, Feb. 12, has challenged him as a musician and a bandleader.

Not content to mimic the Zappa sound or present altered versions of the music, the Zappa Plays Zappa musicians rely on the composer’s charts — Frank wrote detailed scores of his music, right down to the drum introductions. “There’s no approach change or any difference at all in how we execute [Frank’s] music,” Zappa said in a call from his home in Los Angeles. “It’s always been about trying to learn the music as it was written. I like to use the analogy of an orchestra carrying on a tradition of music written by Beethoven or someone. Frank’s music was all written out in that way. Our job is to play it as written, to do it in a way that is true to the way it was composed.”

The 2006 tour was captured in Pierre and François Lamoureux’s documentary Zappa Plays Zappa and on a 2008 soundtrack recording of the same name,

featuring Zappa alumni — drummer Terry Bozzio, saxophonist Napoleon Murphy Brock, and guitarist Steve Vai, who gave the young Dweezil guitar lessons — as well as a core group of like-minded musicians with knowledge of the Zappa legacy. The recording contains some of the elder Zappa’s better-known numbers — “Peaches En Regalia,” “Don’t Eat the Yellow Snow” — as well as tunes recognized only by die-hard fans.

“What people still hear of Frank’s music on the radio, songs like ‘Valley Girl’ and ‘Yellow Snow,’ gives people the impression that he was just about novelty songs,” Zappa said. “What we do is re-educate the audience, give them the back story on the compositions. The casual awareness that most people have [of the music] gives them the exact wrong impression.”

The original goal of the project was to introduce a new generation to the scope of his father’s music — those who are too young to have heard it in the ’60s and ’70s and who may have only a passing knowledge of Zappa from such songs as “Valley Girl.” “We’ve definitely seen the audience change over the period of time we’ve been doing this. At first the kind of people who came to the shows were mostly males over 60. As much as they might love it, that’s not the generation

that’s going to carry this music into the future. Now we’re seeing a difference in the makeup of the audience, lots of younger people, many of them females.”

The makeup of the band has changed as well. The only original member of that first Zappa Plays Zappa tour is saxophonist and keyboardist Scheila Gonzalez.

Zappa points to the group’s latest member, keyboardist Chris Norton, as one of the new converts to his father’s music. “Chris — he’s still in his 20s — had never played Frank’s music or even heard it. After hearing us, he wanted to audition for the band. That’s what we’re set up to do: attract people who want to gain a new appreciation, to learn new skills.”

When touring, Zappa has been surprised to find what he called “pockets” of people who appreciated his father’s music. “We played a town in Montana a couple years ago, and we discovered that they had a weekly radio program devoted to Frank, and people knew his music pretty well. It was strange. Frank never played Montana, though a lot of people know the song.” (That would be “Montana” — “I might be movin’ to Montana soon/Just to raise me up a crop of dental floss.”) “It just seemed like an unusual thing for his music to be on the radio there and not in other, larger places.”

By its very nature, the Zappa Plays Zappa music isn’t an exact replication. Frank — who, over his career, occasionally used jazz-savvy musicians, including the keyboardist from his Mothers of Invention band Don Preston, violinist Jean-Luc Ponty,

and the late keyboardist George Duke — worked improvisational space into his music, passages in which everything was notated except for the soloist’s part. Often it was Frank doing the improvisation.

“Frank’s music is very structured in some ways. The genius of it was always the solos. That is when you completely do whatever is inspiring at the moment.

We have the opportunity to do that every night, to be ourselves, inside these strict compositions.”

Some of Frank’s solos were so involved and so integral to the music that Dweezil transcribed them and then learned to play them — which wasn’t easy to do. But often the music allows him a chance for self-expression as well. “Frank’s music is something I’ve always been connected with. When it comes to his guitar style, you realize he has a very unique, very idiosyncratic approach. It’s one thing to know how it was constructed. It’s another thing to play it in context, using his style and his [instrumental] voicing.

I’ve had to learn those voicings and then intersperse it with my own ideas.”

While the last collection of his father’s music, 2010’s Return of the Son of ..., was released under his own name, Dweezil’s solo composing and recording career as been on hold of late. “I’ve been working on some things but haven’t had enough time to focus on it. Later this year, I hope to incorporate some of my own music in the [Zappa Plays Zappa] show. And I have recorded a few things of my own that I hope to release this fall.” In the meantime there’s plenty to do

with his father’s music. A previous tour focused on Zappa’s 1974 recording Apostrophe (‘), the recording that included “Don’t Eat the Yellow Snow.” The current tour celebrates the 40th anniversary of Frank’s album Roxy & Elsewhere, a collection of material originally recorded live at the Sunset Boulevard club in Los Angeles and then overdubbed in the studio.

Zappa said he’s interested in taking on other material from his father’s oeuvre, including some of the pieces he did for chamber and symphonic orchestration.

“I’d like to explore some of the other scenarios, play some of the classical stuff. We’re working on going to Europe to play with a wind ensemble. There are always options with this music. It keeps you challenged.” ◀

details ▼ Zappa Plays Zappa ▼ 7:30 p.m. Wednesday, Feb. 12 ▼ Greer Garson Theatre, Santa Fe University of Art & Design, 1600 St. Michael’s Drive ▼ $32-$67; at the door or in advance from Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org) ▼ Guitar master class 3 p.m. Feb. 12; contact Tickets Santa Fe at the Lensic for details

Gene Baines Photography

PASATIEMPOMAGAZINE.COM

37

ART IN

REVIEW

Under 35: Part II, Zane Bennett Contemporary Art, 435 S. Guadalupe St., 505-982-8111; through Feb. 15

F

or 2012’s Under 35 exhibit, Zane Bennett Contemporary Art featured a selection of the work of nine artists, many of them gallery regulars. The second Under 35 offers work by four artists: Sonya Kelliher-Combs, Heidi Brandow, Moira Garcia, and Brandee Caoba. Each has a connection to the Institute of American Indian Arts. Brandow, Caoba, and Garcia are former students, and Kelliher-Combs is a current board member. What draws them together for Under 35: Part II is that each works in series, often abstractly, and experiments with materials.

The four gallery spaces on Zane Bennett’s second floor are given over to these artists, and each is shown to good effect. Garcia’s Inside U Abides series greets viewers in the first room. The central image of each of her monoprints is similar — a free-floating coil horizontally spread across the paper, with triangular forms seeming to enter or emerge from the coil at each end — and conveys mood through color changes. The triangular forms are like bodies separated by time and space but connected by the coils, expressing separation and unity not through mathematical formulas but simply with line. Garcia’s images seem to represent a symbolic vision in which forms are reduced to their most basic. In The Universe Inside, a mixed-media work on paper, Garcia uses the same coil form and triangles, but the composition, in which the coil flows between a dark-colored plane and a lighter one, suggests an inexorable bond between the planes. The binary of the planes is joined by the coil, and as with the Inside U Abides series, Garcia seems to have given expression to a universal concept of dual states — past and present, day and night — as mirror reflections of each other or as inextricably linked. The concept of a linkage over time and space is expressed somewhat more directly in Time Traveller, an installation of four wall-mounted works connected by a ribbon of red thread representing a quipu, a knotted cord used historically in Andean cultures for record keeping and notation. Garcia incorporates the dots and lines of the Maya numerical system into the piece. The thread physically connects the four two-dimensional artworks and trails off to the gallery floor, bringing the viewer along a trajectory from the ancient past to the contemporary.

Brandow’s mixed-media work features two distinct sets of images. One is a group of small whimsical monsters. They are cartoonlike beasties, more cute than frightening. Her other works are line drawings, rendered largescale, that blend topographic maps and schematics with human and animal imagery. These juxtapositions suggest a mapping of bodies. Object: Hand +

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PASATIEMPO I February 7-13, 2014

Brandee Caoba: Duende, 2013 mixed media; above left, Sonya KelliherCombs: Cream Walrus Family Portrait With Qupak 1-6, acrylic polymer, sheep intestine, nylon thread, paper, polyurethane, and walrus stomach; above right, Moira Garcia: Inside U Abides, 2013, photo, intaglio, monoprint

Mechanism, for instance, depicts the outline of a human hand overlaid with numerical notations, a kind of mechanical schema, a codified body part suggesting a reduction of form to component elements. These drawings are not works on paper but heavy two-dimensional images rendered thickly in a plasterlike material, polished to a smooth glassy finish, and occupying a place somewhere between drawing and painting. Brandow’s are minimalist works concerned with geometry and line. In that, they are like Garcia’s, and the two bodies of work are complementary, although Brandow takes a more figurative approach to imagery.

Caoba’s is the most expressly figurative of the four artists’ work. She uses mixed media, blending collage, photography, painting, and printmaking techniques. Her Smoke and Mirrors series shows a masked man in a suit posed in expressive gestures, like a dancer. The masks he wears are animal faces concealing his true identity and suggesting personae that can be

taken on and off like garments. The work also suggests that the animal states from which people attempt to divorce themselves are an inseparable part of human nature — no matter how fine the cut of our suits.

The underlying feeling in these images is a haunting, unnerving one of mystery, in which identity itself is a question mark. Her Duende, another mixed-media piece, follows a similar theme of a masked figure; the title references a fairylike being of myth and folklore. The subject is also a man wearing a mask. There is an internal conflict where man seems to struggle against a nature from which he can never truly be separated. This idea is reinforced by the inclusion of Caoba’s Ex Nihilo series, depicting hybrid human and tree forms. One thinks of Ovid’s Metamorphoses and Daphne’s transformation into a tree.

Kelliher-Combs makes unorthodox use of materials, some found traditionally in Native arts, such as porcupine quills and walrus gut, and includes them in work that is primarily abstract but with the suggestion of figuration. Cream Walrus Family Portrait With Qupak 1-6 shows a lightly pigmented group of forms in a cream-white field. The forms are organic and indistinct, as though seen through a haze. Kelliher-Combs references her Alaskan Inupiaq heritage in her art. For example, a qupak is a traditional decorative trim used by the Inupiaq to decorate clothing.

In this piece, she reduces figurative elements to outline forms, bodies in nondescript ephemeral landscapes. She builds up her pieces in layers, incorporating organic material into the compositions. Works on paper include Small Drawings, a series of images arranged in a grid, also with a nontraditional approach to material. Human hair is arranged on the surface of each rectangle of paper in linear compositions. Another grid of images, called Double-Sided Drawings, has markings on both sides of thin, translucent paper, so that traces of drawn forms on the reverse show through faintly to become part of the composition.

Under 35: Part II is a balanced exhibition, and there is a flow between the bodies of work, from the minimalism of Garcia’s and Brandow’s largely abstract mixed-media pieces to the more figurative work of Caoba and Kelliher-Combs. The pieces relate to each other while remaining distinct. All four artists commit to reimagined uses of artistic mediums, breaking from traditional and straightforward uses of photography, painting, and line drawing without abandoning them altogether. Under 35: Part II, like the previous show, doesn’t make much of the fact that these are all younger artists; nor should the viewer. These are mature, wellexecuted, well-developed bodies of work.

— Michael Abatemarco

RENAISSANCE to ROMANCE

friday, february 14 · 5:00 to 7:00 pM · free!

Join us for a very special Valentine’s celebration of art, music, and Spanish-inspired delectables including tapas, pomegranate punch and chocolates.

107 west palace avenue on the plaza in santa fe nMartMuseuM.org · 505-476-5072 Fernando Selma after Bartolomé Esteban Murillo, Saint Ildephonsus Receiving the Chasuble from the Virgin (detail), 1789–1800, engraving and etching. © The Trustees of the British Museum. The presentation of this exhibition is a collaboration between the British Museum, London and the New Mexico Museum of Art.

PASATIEMPOMAGAZINE.COM

39

Pineapple expressionism

James M. Keller I The New Mexican

A

sked to name a state particularly associated with the painter Georgia O’Keeffe, most people would point without hesitation to New Mexico, and particularly to the high desert region surrounding her residences at Ghost Ranch and in Abiquiú. The same question about the photographer Ansel Adams would doubtless invite the response of California, thanks to his iconic images of the Yosemite Valley and other expanses of the Sierra Nevada range. But art lovers who look past their most famous images quickly discover that both artists roamed far from their signature locales. They created bodies of work relating to their separate visits to a region considerably more distant than what comes to mind as the American West, oeuvres that are explored in the exhibition opening at the Georgia O’Keeffe Museum on Friday, Feb. 7: Georgia O’Keeffe and Ansel Adams: The Hawaii Pictures.

The exhibition has been assembled by Theresa Papanikolas, curator of European and American art at the Honolulu Museum of Art, where it was on display for six months beginning last July.

(The exhibition is accompanied by a catalog of the same title by Papanikolas and published by the museum.) Although the two artists were close friends from their first meeting in Taos, in 1929, until Adams’ death, in 1984, their visits to Hawaii did not overlap.

O’Keeffe got there first, spending nine weeks in Hawaii in 1939 at the invitation of the Hawaiian Pineapple Company, which later evolved into the Dole Food Company. The corporation’s advertising firm, N.W. Ayer and Son, approached O’Keeffe about visiting the islands and painting canvases that might be used in the fruit company’s advertising.

“At that time,” Papanikolas told Pasatiempo, “it was very common and professionally acceptable for artists to support themselves through commercial enterprises. There were some purists — like O’Keeffe’s husband, Alfred Stieglitz — who staunchly maintained that artists should support themselves strictly through their artistic work and starve if necessary. But for the most part, the boundary between the commercial and fine arts was blurred. Not until the art market began to pick up after World War II was a strong boundary

40

PASATIEMPO I February 7-13, 2014

Clockwise from opposite page, lower left, Georgia O’Keeffe: Black Lava Bridge, Hana Coast – No. 1, 1939, oil on canvas, Honolulu Museum of Art, gift of the Georgia O’Keeffe Foundation Harold Stein: Georgia O’Keeffe in Hawaii, 1939 Georgia O’Keeffe: Papaya Tree – ‘Iao Valley – Maui, 1939, oil on canvas; Honolulu Museum of Art, gift of the Georgia O’Keeffe Foundation Ansel Adams: Leaves, Foster Gardens, Honolulu, Hawaii, 1957-1958, gelatin silver print, Center for Creative Photography, University of Arizona Imogen Cunningham: Ansel Adams, Yosemite Valleys 4, 1953, Center for Creative Photography collection, University of Arizona, gift of Ansel and Virginia Adams Ansel Adams: Nobuo Yoshida, Farmer Near Kaunakakai, Moloka‘I, 1958, reproduction print, gelatin silver print; Center for Creative Photography, University of Arizona Images courtesy Georgia O’Keeffe Museum

articulated that separated what was accepted as fine art compared to commercial art.” Indeed, in the 1930s and ’40s, many of America’s best-known corporations arranged for highly respected artists to paint canvases relating in some way to their product line, including Coca-Cola, International Business Machines, Steinway & Sons, and Caterpillar Tractor. Among the artists who rendered works through such commissions were Picasso, Dalí, Dufy, and Léger. The Hawaiian Pineapple Corporation alone reeled in commissioned pieces from such midcentury American modernists as Yasuo Kuniyoshi, Millard Sheets, and Isamu Noguchi, in addition to O’Keeffe.

O’Keeffe seems to have been torn over where she stood on the matter. “She took her time deciding and setting her terms,” Papanikolas said. “In letters, she writes about how tempted she was by the flowery language and the pictures in the Hawaii tourist brochures she was sent, but all the time she was negotiating with the advertising firm to ensure her artistic autonomy.” In the end, the company facilitated the practical aspects of her visit but left her to her own devices when it came to artistic matters. She made the rounds of Oahu, Maui, Kauai, and Hawaii (the Big Island), but for her paintings she steered clear of images of a touristic sort.

This exhibition brings together 12 of the 19 paintings that resulted from this trip. A few are dramatic landscape paintings of mountains and waterfalls on Maui, but for the most part it was the flora that inspired O’Keeffe’s brush — the exorbitantly dramatic blooms of such exotic plants as the bird of paradise, ornamental banana, lotus, and ginger. In the end, the Hawaiian Pineapple Company would use two of her images in advertisements: Pineapple Bud and Heliconia — Crab Claw. Proclaimed the copy on one of the layouts: “Hospitable Hawaii cannot send you its abundance of flowers or its sunshine. But it sends you something reminiscent of both — golden, fragrant Dole Pineapple Juice.”

Papanikolas finds O’Keeffe’s Hawaiian paintings distinctive even apart from their specific imagery. “I like to zero in on the paintings of the heliconia and the white bird of paradise as uniquely Hawaiian. Those two are super-outlandish flowers — big flowers, impressive when you see them in person. In White Bird of Paradise, continued on Page 42

PASATIEMPOMAGAZINE.COM

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O’Keeffe and Adams in Hawaii, continued from Page 41

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Valentine’s Day Weekend 35mm Classics!

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Casablanca Starring Humphrey Bogart & Ingrid Bergman

February 14 7 pm $5

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there’s a palette of blue, white, and reflective pinks, and they make a really cool color-field background, rather than just be a traditional ‘botanical painting.’

The realism breaks down. She leaves out the mess that would be part of these plants in nature. It’s a very selective approach to depicting plants, such that sometimes the specimens are not immediately recognizable. In Heliconia — Crab Claw, there’s a low horizon line with a distant island. If you are familiar with the region, you know immediately that this is Maui. There is an unmistakable sense of place.”

Unlike O’Keeffe, Adams visited Hawaii repeatedly; like her, his trips were motivated by commercial enterprises. He first went in 1948, when a Guggenheim Fellowship funded a photographic assignment about the national parks he was undertaking for the Department of the Interior. He then returned repeatedly in 1957 and 1958, carrying out a project for the Bishop National Bank of Hawaii, which evolved into what is today the First Hawaiian Bank. The bank had decided to produce a book, titled The Islands of Hawaii, that it would distribute privately, especially to other banks in the mainland United States and internationally. “The book was never available commercially,” Papanikolas said, “but it served a clear business purpose: to get out the ‘secret history’ of Hawaii.”

Adams was perfectly in tune with the idea of documenting a Hawaii that was more comprehensive than the fantasy paradise of tourist brochures. “There are undoubtedly many conventional subjects that we must include,” he wrote in 1957 to the Bishop Bank’s advertising firm, “but they should be done in an un-conventional way, without obvious striving for superficial effects. The interplay of large and small things — details of nature, people and vast vistas — will all combine to produce an experience, rather than just a series of statements of fact.”

“There is one instance where O’Keeffe advises Adams to go to Hawaii,” Papanikolas said. “She says it was one of the best things she ever did.” But Hawaii had changed considerably between 1939, when O’Keeffe visited, and 1957-1958, when Adams carried out most of his work. “Hawaii was by then poised for statehood,” Papanikolas observed, “and a second building boom was in the works. Adams’ photographs for the book were, in effect, a work of boosterism, but it was a sort of ‘honest’ boosterism that got away from just the island tropes. So he gives us portraits of ‘real Hawaiians’ — the guy with the fruit truck, the chief of police. He gives us pictures of regional architecture, industrial images, a television antenna, emblems of the military presence. As with O’Keeffe, Hawaii lends a strong sense of place to Adams’ work, and he reveals Hawaii as a modern, cosmopolitan, racially diverse, economically sound society within modern America.” ◀

details ▼ Georgia O’Keeffe and Ansel Adams: The Hawaii Pictures ▼ Opens Friday, Feb. 7; through Sept. 14 ▼ Georgia O’Keeffe Museum, 217 Johnson St. ▼ By museum admission; 505-946-1000, www.okeeffemuseum.org ▼ Also opening at the museum on Friday, Feb. 7, is Georgia O’Keeffe: Abiquiú Views, an exhibition featuring scenes the artist painted looking from the window of her Abiquiú studio, paintings of her house and garden there, and personal effects from her studio.

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

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PASATIEMPO I February 7-13, 2014

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

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FOR TICKETS VISIT: SERENATAOFSANTAFE.ORG OR CALL the Lensic Box office: (505) 988-1234. For program details: (505) 989-7988.

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43

Range of motion Michael Abatemarco I The New Mexican

W

hen it comes to Abstract Expressionism, formal qualities such as brushwork, color relationships, and composition take precedence over representation. Gesture itself — which can encompass the sweep or movement of a line or mark, its curve, and its length — is one of Abstract Expressionism’s hallmarks. But what exactly do we mean when we say that a work of art is gestural? The term is not so easy to define. To say that art is gestural might imply that it has an impromptu quality, or that the marks on the canvas are emotive, or that the manner of applying the paint is reflected in the finished product — with the physical act of painting itself being the gesture. David Richard Gallery tackles these thorny topics in the exhibit Gesture Then and Now: The Legacy of Abstract Expressionism. The exhibit, along with a panel discussion on Saturday, Feb. 8, is part of the Art Matters: Collections series of events sponsored by the Santa Fe Gallery Association.

The discussion at David Richard includes New Mexico artists Lilly Fenichel, Phillis Ideal, and Eugene Newmann. Works by all of these artists are in the show. “The first thing would be to define what Abstract Expressionism means, because if you try to understand it by the words themselves — abstract and expressionist — you don’t cover the range of people associated with that whole thing,” Newmann told Pasatiempo. “I think it’s really about what happened in New York in the 20 years between 1940 and 1960. That includes a lot of work that isn’t evidently gestural in the sense that you’re aware of the body movements of the artist. Gesture is supposed to be some way of moving your body

Gesture in Abstract Expressionism

Lilly Fenichel: #14, 2013, oil on polypropylene Opposite page, from left, Eugene Newmann: Riff 3, 2013, oil on linen; Matsumi Kanemitsu: Cat, 1958, sumi ink on paper

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PASATIEMPO I February 7-13, 2014

that explains something or points to something or is symbolically meaningful.

In the context of the more loose painting within Abstract Expressionism the gesture had a strong place. Painting was a kind of drama that was important in the image. A lot of these guys — Willem de Kooning especially — were very smart about these things. De Kooning said that painting is a situation, and you live your way through that situation, and that allows for certain kinds of spontaneity and looseness. He said, I’m not trying to make a good painting.

I’m engaged in something, a conflict or impulse arises, and I’m going to follow that out to see where it goes. That’s the more experimental path. But it also can become an established style.”

Gesture Then and Now includes East and West Coast artists connected to the heyday of Abstract Expressionism — among them Jack Jefferson, Deborah Remington, Matsumi Kanemitsu, and John Connell — as well as contemporary painters such as Newmann. “What we’re showing in this exhibition is the range of the gesture over time in different media and as artists use it in different ways as an expressive tool,” said gallery co-director David Eichholtz.

If you think of gestural work as primarily a free-flowing manner of painting, with bold swaths of paint that move the eye from one side of the canvas to the other, Gesture Then and Now will have you rethinking that assumption.

Consider the work of Jefferson, who was active in the Bay Area, where he studied at the California School of Fine Arts under painter Clyfford Still. Some of Jefferson’s early work, from the late 1940s, had a kind of staccato movement in the composition, with fat, squat lines that look more like massing, coalescing forms than brush strokes, somewhat characteristic of the abstract painters from the California School. “Their work ended up being structured and organized, having some kind of form or shape versus being purely gestural and emotive,” Eichholtz said. “Not that it was premeditated or thought out. That’s just the way the California School was. Deborah Remington was a student of these guys. We’re showing two different types of work that she did, both from the 1950s. She was famous for being very bright, very colorful, very flowing.” The Remington works on view include a number of canvases as well as monotypes.

The East Coast artists include Ward Jackson, who started out doing Abstract Expressionist painting but gradually moved into hard-edged minimalism, and Kanemitsu, who was associated with the New York Abstract Expressionists but

ended up working in Los Angeles for much of his career. Known for his sumi ink works such as Cat, which is on view at David Richard, Kanemitsu drew on an old Japanese painting tradition that invites comparison with Abstract Expressionism because of the similarities between the calligraphic marks of sumi painting and the energetic flow and grand gestures seen in much of the postwar painting style he’s associated with.

Newmann has several paintings in the show from a recent series called Riffs.

He employs figuration in the series, in contrast with the generally nonobjective work of most of the other artists in the show. Gesture in Newmann’s work is rooted in the movements and postures of yoga. “The original notion was like in jazz, where the musician knows a melody and plays with it, sometimes coming back to the melody itself and sometimes playing around it. I started with a rendering of a yoga posture; then I just free-associated my way through them.

I think most of the paintings here represent a kind of separation of gesture from the creation of any resemblances. By the time I was beginning to understand this in 1960 there was resistance already to the premise of Abstract Expressionism.

One of the complaints by the Pop artists and others was that it was kind of a failure to acknowledge realities of everyday life and abandoning the human contact with the material of everyday life. That, of course, was a big discussion or debate during those 20 years of Abstract Expressionism: what the artist’s relationship to the manufacture of resemblance might be. And it’s still an issue.”

When it comes to bold, dynamic gestures in art, Ideal, who titles many paintings with verbs such as flutter, chatter, and ignite, emphasizes movement and emotional qualities in her work. Her Zowie features a vibrant red burst of color that seems to jump from the canvas, a writhing form counterbalanced by more somber colors and some hard-edged work. Together, these elements convey an idea of excitement or surprise. “These big brush strokes I did with a broom,” she said. “It’s very mixed media. There’s computer-generated material. There’s collage. The whole thing is somewhat sealed with resin that I sanded. It’s an additive process, like any kind of abstract painting, where you’re jabbing at the

canvas here and there and adding things to it. It speaks to all the possibilities of abstraction.”

The gallery also features a selection of images Ideal made using an app on her iPhone. “They’re inkjet, archival paper,” she said. “I liked the idea of making a big gesture with just my finger on the iPhone. Then I printed them. The title of the show is Gesture Then and Now, and I thought these were very now, using a contemporary device.” The iPhone images are at once photographic and painterly, black-and-white abstractions that contrast with the spirited use of color in her paintings. “I think these have human emotional qualities in them,” she said. “I see them as big feelings, big gestures. The big gesture is the subject.”

In the exhibition’s context, gesture itself is an abstract concept. Even in Newmann’s work, references to the figure, as well as suggestions of landscape and horizon lines, are oblique, reduced to a series of marks that leave interpretation up to the viewer, who is guided by the feeling a work conveys rather than by any inherent meaning. “The whole question of how a painting is read for its meanings is still a very tricky question,” Newmann said. “People want to see something they can say exists there. A lot of what happened in modern art in the early 20th century was the separation of the elements of painting — the linear elements, the color elements, the compositional elements — from the obligation to make a narrative. That was a great territory for experimentation that allowed them to set aside the issue of resemblance and narration. One of those elements is gesture.” ◀

details ▼ Gesture Then and Now: The Legacy of Abstract Expressionism ▼ Exhibit through Feb. 22; panel discussion 2:30 p.m. Saturday, Feb. 8 (no charge) ▼ David Richard Gallery, 544 S. Guadalupe St., 505-983-9555

PASATIEMPOMAGAZINE.COM

45

Restaurant Week is your opportunity to try Chef Deena Chafetz’s fresh, contemporary cuisine at the Quail Run Grille. The Grille serves lunch and dinner during the week and brunch on weekends for those with the most distinguished tastes! Try the Grille and learn about our dining and Club memberships. Call today for reservations and more details.

Be our guest and enjoy a three-course prix fixe dinner for $30 or a two-course prix fixe lunch for $15 during Restaurant Week, February 23-March 2 3101 Old Pecos Trail 505.795.7218 quailrunsantafe.org

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ursdays & Saturdays 7:30 pm / Sundays 2 pm (no Friday performances) Warehouse 21, 1614 Paseo de Peralta Call 505 983-8159 for information & tickets Weekend admission, $20 ursdays, two for $20 or $15/each h����� �� �������� ����� �� ����� � ����� �� � ������ h����� ���������� ����� � ������������� ���� �������� ��� ��� ��� ��� ������� �� ��� ������� �� ������� ����� ��� ������ ���� �� ��� ����� ��� ��� ����� “. . . the struggle between divinity and humanity is at the heart of e Jewel in the Manuscript and of Anna and Fyodor’s relationship.” (Alibi review) 46

PASATIEMPO I February 7 - 13, 2014

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47

movIng Images film reviews

Second chances Jonathan Richards I For The New Mexican The Callback Queen, romantic comedy, not rated, Jean Cocteau Cinema, 2.5 chiles The Callback Queen is a movie about young filmmakers making movies. Brimming with in-jokes about the business, it’s as cute, endearing, and clumsy as a puppy rescued from the pound.

Kate Loughlin (Amy-Joyce Hastings) is an Irish actress trying to make her mark in the London film world. She’s a pretty redhead with a good head on her shoulders, but so far her career has been a series of near misses; she’s often called back for a second audition but never manages to land the role.

Her agent tells her she’s becoming known as “the callback queen” and suggests that it’s time to start sleeping her way to the top.

We get a glimpse of some of her frustrations, including an audition for a toothpaste commercial and another for a film where the sleazy director asks her to try a line reading topless. But Kate’s not that kind of girl.

Writer-director Graham Cantwell (Anton) is Irish, and so is most of his cast, and the movie keeps up a running gag about the lot of the Irish in England.

One of these expatriate Irishmen is Daithí Carroll (Seán T. Ó Meallaigh), a film-school student who desperately wants Kate for his thesis film. He’s full of film-student philosophy, including notions about the irrelevancy of a script for a movie — life just happens, so why shouldn’t a movie do the same?

— and he’s been enthralled by Kate since he saw her in a school play with his sister back in Ireland.

“She inspires me,” he tells his producer girlfriend Joanne (Kate Braithwaite). “She’s the reason I want to become a director.”

Sweet nothings like that are catnip to a struggling actress, and Kate agrees to star in his student film.

But at the same time she’s been called to audition

48

PASATIEMPO I February 7-13, 2014

The best offer: Mark Killeen and Amy-Joyce Hastings; below, Hastings and Killeen with Morgan Deare

for Vincent Catalano (Mark Killeen from Game of Thrones), a famous director who’s in London casting a major-studio fantasy epic called Prince of Chaos.

Both her audition and her insights into the movie catch the attention of the director, who wonders aloud, “You’re an actress. How do you know so much about film?” But with her agent urging her toward the casting couch (“When did my agent turn into a pimp?”), Kate is wary of Vincent and his interest, despite the fact that he is broad-shouldered, handsome, charismatic, and a damned good guy to boot. Kate does have a boyfriend, Pete (Ben Wigzell), but after a few looks at him, including a sex scene in which she chats distractedly about her professional prospects while he ruts away, you won’t need a GPS to tell you which road the romantic plot will be taking.

The two film projects continue side by side, intertwining when Vincent’s pursuit of Kate brings him into the camp of Daithí’s film as a kind of big-brother consultant. When the obligatory series of comic

audition travesties fails to turn up a leading man for his scriptless film, the student director decides to turn it into a lesbian story and casts blond bombshell Luci (Sophie Berenice) as Kate’s love interest. This sets up a cute girl-on-girl moment with Kate and a bare-breasted Luci; Cantwell may lampoon the sleaziness of the director in that earlier audition scene, but he travels the same path himself later on.

Still, it all manages to preserve a kind of dewy-eyed comic innocence.

When Kate turns Vincent down for a date (“I like to keep my professional and personal lives separate”), he tries to demonstrate the professional bona fides of his interest in her by inviting her to a working supper with Horatio King (Morgan Deare), the plump elderly author of the hugely successful fantasy novel series on which Vincent’s movie is based. (It’s impossible to ignore the similarity to George R.R. Martin’s A Song of Ice and Fire franchise.) King is impressed with Kate, and her long drought as the callback queen may be coming to an end.

The two prongs of the movie’s satirical pitchfork are moviemaking and Irish-English friction, and the latter provides some of the film’s funniest moments.

These include a lovely supporting bit by Ger Ryan as Daithí’s feisty Irish mama and a role-playing sex scene between the film student and his English girlfriend that makes hilarious hash of the Troubles. Cantwell keeps a light touch going throughout. Sometimes it’s a little too light, with supporting characters tending toward the jokily two-dimensional and scenes running to the clichéd or the just plain awkward. But Hastings (who co-produced this low-budget romantic comedy with Cantwell) is smart and appealing, and if the satire sometimes leans toward the broad rather than the insightful, there’s still plenty of sharpness and wit on display as well. ◀

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PASATIEMPOMAGAZINE.COM

49

MOVING IMAGES pasa pics

— compiled by Robert Ker

Piotr Beczala and Dolora Zajick. Approximately 240 minutes. 11 a.m. Saturday, Feb 8, with a 6 p.m. encore. Lensic Performing Arts Center, Santa Fe. (Not reviewed) THE MONUMENTS MEN George Clooney, Matt Damon, Bill Murray, John Goodman, and Cate Blanchett headline this Clooney-directed drama about the World War II unit charged with rescuing artistic masterpieces from the Nazis. The film sounds like a masterpiece itself, but remember that movies are often bumped out of prime award-eligibility season and into the next year (which is what happened here) for a reason. Rated PG-13. 118 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) PARTICLE FEVER Director Mark Levinson, physicist Goeffrey West, and Valerie Plame are all scheduled to attend the screening of this documentary about the Large Hadron Collider, which shows as part of the Santa Fe Institute’s “Science on Screen” series to benefit the Center for Contemporary Arts. 7 p.m.

Tuesday, Feb. 11, only. The Lensic Performing Arts Center, Santa Fe. (Not reviewed) New blocks for the kids: The Lego Movie, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week THE CALLBACK QUEEN Writer-director Graham Cantwell’s second feature is a light, endearing comedy. Amy-Joyce Hastings plays a young Irish actress trying to make her mark in the London film world. She’s pretty and has a good head on her shoulders, but so far her career has been a series of near misses. The two prongs of the movie’s satirical pitchfork are moviemaking and Irish-English friction. Sometimes Cantwell’s touch is a little too facile, with scenes running to the clichéd or the just plain awkward. But Hastings is smart and appealing, and if the satire sometimes leans toward the broad rather than the insightful, there’s still plenty of sharpness and wit on display. Not rated. 87 minutes. Jean Cocteau Cinema, Santa Fe. ( Jonathan Richards) See review, Page 48.

CUTIE & THE BOXER Noriko and Ushio Shinohara have been struggling in the New York art scene for more than 40 years. For much of that time, Noriko worked as her more-famous husband’s assistant and neglected her own art. But in recent years she has emerged, largely through her alter ego, the cartoon character Cutie.

In this Oscar-nominated documentary, filmmaker 50

PASATIEMPO I February 7-13, 2014

Zachary Heinzerling gives us a window on a relationship that has been through the strain of ego, poverty, and alcoholism. Not rated. 82 minutes. In English and Japanese with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) GAME OF THRONES MARATHON The Jean Cocteau shows the first three seasons of the HBO series Game of Thrones, based on George R.R. Martin’s Song of Ice and Fire books. Two or three episodes screen per week (first come, first served). Occasionally, Martin will drop by or a cast or crew member will appear via Skype. Season 2 episodes 4 and 5 screen at 7 p.m. on Wednesday, Feb. 12. Not rated but not suitable for children. Each episode runs roughly 55 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) THE LEGO MOVIE If it sounds strange to you that they’ve made a movie about a set of blocks, then you haven’t noticed that LEGOs have taken on a new life in video games and cartoons. This animated movie brings the oddball humor from those franchises to the screen, with cameos by Batman, the Teenage Mutant Ninja Turtles, and Abraham Lincoln. Rated PG. 101 minutes.

Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE MET LIVE IN HD: RUSALKA Renée Fleming stars in this staging of Dvorˇák’s opera, which is broadcast live from the Met. The cast also includes

PERFORMANCE: ROMEO AND JULIET The series of high-definition screenings from afar continues with a showing of Romeo and Juliet from the Rodgers Theatre in New York. David Leveaux directs. Orlando Bloom and Condola Rashad star. 7 p.m. Thursday, Feb. 13, only. Not rated. 150 minutes, plus one intermission. The Screen, Santa Fe. (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 (where a statue of RoboCop is set to go up). This remake looks like a sleek action pic; whether the satire is intact remains to be seen. Opens Wednesday, Feb. 12. Rated PG-13. 117 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) 7 BOXES An action/adventure film from Paraguay, 7 Boxes takes place in an eightblock indoor/outdoor marketplace where vendors hawk everything from meat to electronics.

Victor (Celso Franco), a teenage wheelbarrow delivery boy, becomes an unwitting accessory to a crime and must escape violent rivals and criminals in order to deliver some important cargo. This film is well acted and interesting for its peek into Paraguayan culture but predictable in its plotting and pacing. Not rated. 100 minutes. In Spanish and Guarani with subtitles. Jean Cocteau Cinema, Santa Fe. ( Jennifer Levin) SHUN LI AND THE POET Director Andrea Segre tells the story of Shun Li (Tao Zhao), a Chinese woman who has

immigrated to Italy, wound up in a fishing village in the Venetian lagoon, and must work to pay her debt to the syndicate that paid her passage. Screens as part of the New Mexico Italian Film and Culture Festival; proceeds benefit the UNM Children’s Hospital. Dinner at Osteria d’Assisi follows the screening and is included in the ticket price. 4 p.m. Sunday, Feb. 9, only. Not rated. 92 minutes. In Italian with subtitles. The Screen, Santa Fe. ( Jonathan Richards)

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 (for Bale, Adams, Bradley Cooper, and Jennifer Lawrence). Rated R. 138 minutes. Regal Stadium 14, Santa Fe. ( Jonathan Richards)

THE SQUARE Jehane Noujaim’s Academy Award-nominated documentary offers a ground-level view of the 2011 Egyptian revolution in Cairo’s Tahrir Square. It’s well-shot but doesn’t offer many insights for those who were paying attention to the news, particularly given that the events took place so recently. Not rated. 108 minutes.

In English and Arabic with subtitles. Center for Contemporary Arts, Santa Fe. (Robert Ker)

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 2014 OSCAR NOMINATED SHORTS Each category of this year’s shorts — animated, documentary, and live action — includes cutting-edge technique and storytelling that often best those of the nominated features. The excellent animated series boasts “Get a Horse!” — a seeming restoration of something from Mickey Mouse’s “Steamboat Willie” days until the characters tear through the screen. “Mr. Hublot” is 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 revolutionaries of the Yemen uprising. 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) VAMPIRE ACADEMY Richelle Mead’s bestselling books do for vampires what Harry Potter did for wizards: show us how a school full of them works. The stories center on the teenage vampire girls in a manner similar to Mean Girls and Heathers, which is fitting, as the director of Mean Girls (Mark Waters) and writer of Heathers (Daniel Waters) are on board for this adaptation. Rated PG-13. 104 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

now in theaters 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

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. The dialogue and plot twists are contrived, but the film is enjoyable viewing and was a big winner at Italy’s equivalent of the Oscars. Rated R. 131 minutes.

The Screen, Santa Fe. ( Jonathan Richards) BROKEN CIRCLE BREAKDOWN In this Belgian indie, Didier ( Johan Heldenbergh) and Elise (Veerle Baetens) fall in love, have a baby, and perform in a bluegrass band until tragedy strikes. Director Felix Van Groeningen throws time in a blender, whirring around from the middle to the beginning and back.

The film boasts artful cinematography, a fantastic soundtrack, and now an Oscar nomination for Best Foreign Language Film. Not rated. 111 minutes.

In Flemish with subtitles. Jean Cocteau Cinema, Santa Fe. (Laurel Gladden) DALLAS BUYERS CLUB In 1985 a homophobic 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 and Regal Stadium 14, Santa Fe; DreamCatcher, Española. ( Jonathan Richards) 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 wintery 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). Everything from the fashion to the architecture builds a sophisticated depiction of a utopian near-future, and 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) THE HOBBIT: DESOLATION OF SMAUG As if in reaction to criticism that the first Hobbit flick was too slow, director Peter Jackson keeps the action pumping in this sequel. Given that the film is nearly three hours long, it gets exhausting. It also feels shorter than many 90-minute films, thanks to its attention to detail, swashbuckling action, operatic drama, and a jim-dandy of a dragon (voiced by Benedict Cumberbatch). Rated PG-13. 160 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) continued on Page 52

PASATIEMPOMAGAZINE.COM 51

MOVING IMAGES pasa pics

continued from Page 51

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)

LONE SURVIVOR A movie based on a memoir of a combat mission and titled Lone Survivor has to find its strengths in something other than suspense. Peter Berg’s blood-and-guts 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 INVISIBLE WOMAN Over the last dozen or so years of his life, Charles Dickens (Ralph Fiennes) kept a young mistress, the actress Nelly Ternan (Felicity Jones), hidden from the world. In Fiennes’ film, adapted by Abi Morgan (The Iron Lady) from Claire Tomalin’s book, he tells a distinctly Victorian tale of illicit love.

Dickens burned all his correspondence and diaries in part to keep this story secret, but it seeped out.

Fiennes has built a detailed and beautifully presented Victorian world, but he has not quite managed to make the romance come alive. Rated R. 111 minutes.

Regal DeVargas, Santa Fe. ( 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. As important as the characters is the film’s black-and-white photography, which brings out the lonely feeling of an era and a generation disappearing into the past. Dern and director 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)

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. (The real stars, Dinklage and Summer Glau of Firefly, do what they can.) But if you’ve got time to burn, feel free to burn one with these guys. 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. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

spicy bland

medium

mild

heartburn

Read Pasa Pics online at www.pasatiempomagazine.com

52

PASATIEMPO I February 7-13, 2014

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; DreamCatcher, Española. (Not reviewed) PHILOMENA Steve Coogan plays a down-on-his-luck journalist who takes on a human-interest story by bringing 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 Best Picture at the Oscars. 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 basic ride-along. And then, presumably, things get crazy. Rated PG-13. 100 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. The trailer promises penis jokes and people getting hit by cars. Rated R. 94 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(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) VISITORS Godfrey Reggio, the man who made Koyaanisqatsi (and two subsequent films to complete his Qatsi trilogy), has returned with Visitors, which was 10 years in the making and represents a new approach for the filmmaker. It is composed of long, quiet takes that create an unspoken dialogue between the film and the viewer. The first image, which returns during the film and at its end, is a remarkable close-up of the staring face of a gorilla. Not rated. 87 minutes. The Screen, Santa Fe. ( Jonathan Richards) THE WOLF OF WALL STREET Martin Scorsese’s celebration of chicanery and gluttony in the world of finance is based on the true story of Jordan Belfort (Leonardo DiCaprio), who fleeced his way to the top selling penny stocks. Scorsese has turned his story, which is nominated for Best Picture, into a dazzling but repetitious movie. It halfheartedly masquerades as a cautionary tale laced with dwarf-tossing contests, exotic cars, yachts, helicopters, naked women, and drugs. Scorsese, DiCaprio, and co-star Jonah Hill are nominated for Oscars. Rated R. 179 minutes. Regal Stadium 14, Santa Fe. ( Jonathan Richards)

other screenings Center for Contemporary Arts 11:30 a.m. Sunday, Feb. 9: Joe Papp in Five Acts.

2:30 p.m. Sunday, Feb. 9: The Discreet Charm of the Bourgeoisie. Presented by SITE Santa Fe. Jean Cocteau Cinema 9 p.m. Friday, Feb. 7: Welcome to the Jungle.

11 p.m. Friday & Saturday, Feb. 7 & 8: Little Shop of Horrors (1960).

Regal Stadium 14 I, Frankenstein; Jack Ryan: Shadow Recruit.

2 p.m. Sunday, Feb. 9; 2 & 7 p.m. Wednesday, Feb. 12: Sleepless in Seattle.

7 and 9:40 p.m. Thursday, Feb. 13: About Last Night.

8 p.m. Thursday, Feb. 13: Endless Love.

8:30 p.m. Thursday, Feb. 13: Winter’s Tale. ◀

7

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 Cutie and the Boxer (R) Fri. and Sat. 12:30 p.m.

Sun. 7:15 p.m. Mon. 3 p.m. Wed. and Thurs.

5:30 p.m.

Dallas Buyers Club (R) Fri. and Sat. 3 p.m., 4:45 p.m., 7:15 p.m., 8:15 p.m. Sun. 12 p.m., 7:45 p.m. Mon. 12 p.m., 2:30 p.m. Wed. and Thurs.

2:30 p.m., 7:15 p.m., 7:45 p.m.

The Discreet Charm of the Bourgeoisie (PG) Sun. 2:30 p.m.

The Great Beauty (NR) Fri. and Sat. 12 p.m., 5:30 p.m. Sun. 5 p.m. Wed. and Thurs. 5 p.m.

Joe Papp in Five Acts (NR) Sun. 11:30 a.m.

The Square (NR) Fri. and Sat. 2:30 p.m. Sun. 3 p.m.

Mon. 12:30 p.m. Wed. and Thurs. 3 p.m.

JeAn CoCteAu CinemA

418 Montezuma Avenue, 505-466-5528, www.jeancocteaucinema.com 7 Boxes (NR) Fri. 3:45 p.m. Sat. 8:30 p.m.

Sun. 1:30 p.m., 6:20 p.m. Mon. and Tue. 8:30 p.m.

Thurs. 1:30 p.m., 6:20 p.m.

The Broken Circle Breakdown (NR) Fri. 1:30 p.m.

Sat. 3:45 p.m. Thurs. 3:45 p.m.

The Callback Queen (NR) Fri. 6:20 p.m.

Sat. 1:30 p.m., 6:20 p.m. Sun. 3:45 p.m.

Mon. and Tue. 6:20 p.m.

Game of Thrones (NR) Wed. 7 p.m.

Knights of Badassdom (R) Sun. 8:30 p.m.

Thurs. 8:30 p.m.

The Little Shop of Horrors (NR) Fri. and Sat. 11 p.m.

Welcome to the Jungle (NR) Fri. 9 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.

Inside Llewyn Davis (R) Fri. and Sat. 1:40 p.m., 4:40 p.m., 7:40 p.m., 10:05 p.m. Sun. to Thurs.

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

The Invisible Woman (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 About Last Night (R) Thurs. 7 p.m., 9:40 p.m.

American Hustle (R) Fri. to Tue. 12:55 p.m., 4:20 p.m., 7:25 p.m., 10:30 p.m.

Dallas Buyers Club (R) Fri. and Sat. 1:20 p.m., 4:25 p.m., 7:15 p.m., 10:10 p.m. Sun. 4:30 p.m., 7:15 p.m., 10:10 p.m. Mon. and Tue. 1:20 p.m., 4:25 p.m., 7:15 p.m., 10:10 p.m.

Endless Love (PG-13) Thurs. 8 p.m., 10:30 p.m.

Frozen (PG) Fri. to Tue. 1:30 p.m., 4:40 p.m., 7:15 p.m.

The Hobbit:The Desolation of Smaug (PG-13) Fri. to Tue. 10 p.m.

I, Frankenstein (PG-13) Fri. to Tue. 9:45 p.m.

Jack Ryan: Shadow Recruit (PG-13) Fri. to Tue. 12:15 p.m., 2:45 p.m., 5:20 p.m., 7:50 p.m., 10:25 p.m.

Labor Day (PG-13) Fri. to Tue. 12:50 p.m., 3:55 p.m., 7 p.m., 9:50 p.m.

The Lego Movie 3D (PG) Fri. to Tue. 1 p.m., 4 p.m., 7 p.m., 9:30 p.m.

The Lego Movie (PG) Fri. to Tue. 12 p.m., 2:30 p.m., 5 p.m., 7:30 p.m., 10 p.m.

Lone Survivor (R) Fri. to Tue. 1:05 p.m., 4:10 p.m., 7:10 p.m., 10:15 p.m.

The Monuments Men (PG-13) Fri. to Tue. 1:15 p.m., 4:30 p.m., 7:20 p.m., 10:10 p.m.

The Nut Job (PG) Fri. to Tue. 12:20 p.m., 2:50 p.m., 5:05 p.m., 7:25 p.m.

Ride Along (PG-13) Fri. to Tue. 12:05 p.m., 2:35 p.m., 5:05 p.m., 7:35 p.m., 10:05 p.m.

RoboCop (PG-13) Wed. and Thurs. 1:30 p.m., 4:40 p.m., 7:35 p.m., 10:15 p.m.

Sleepless in Seattle (PG) Sun. 2 p.m. Wed. 2 p.m., 7 p.m.

That Awkward Moment (R) Fri. to Tue. 12:35 p.m., 3 p.m., 5:25 p.m., 7:45 p.m., 10:15 p.m.

Vampire Academy (PG-13) Fri. to Tue. 12:10 p.m., 2:45 p.m., 5:20 p.m., 7:55 p.m., 10:30 p.m.

Winter’sTale (PG-13) Thurs. 8:30 p.m.

The Wolf of Wall Street (R) Fri. to Tue. 12:25 p.m., 4:15 p.m., 8:10 p.m.

boxes

A Maneglia Schembori Film

OPENS AT JEAN COCTEAU CINEMA 418 Montezuma Avenue

FEB. 7

(505) 466-5528

jeancocteaucinema.com

the SCreen

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com The Best Offer (R) Fri. 1:20 p.m. Sat. 3:40 p.m.

Sun. 11:15 a.m. Mon. 1:20 p.m. Wed. 1:20 p.m.

Oscar Nominated Animated Shorts

Fri. 4 p.m. Sat. 11 a.m., 8:10 p.m. Sun. 9:15 a.m.

Mon. 8:10 p.m. Tue. 2:30 p.m. Wed. 4 p.m.

Oscar Nominated Live-Action Shorts (NR) Fri. 8:10 p.m. Sat. 1:10 p.m. Mon. 4 p.m. Tue. 4:30 p.m.

Wed. 8:10 p.m.

Oscar Nominated Documentary Shorts (NR) Sun. 6:30 p.m. Thurs. 3:30 p.m.

Romeo and Juliet (NR) Thurs. 7 p.m.

Shun Li and the Poet (NR) Sun. 4 p.m.

Visitors (NR) Fri. and Sat. 6:15 p.m. Sun. 2 p.m.

Mon. 6:15 p.m. Tue. 12:30 p.m. Wed. 6:15 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 Dallas Buyers Club (R) Fri. 4:45 p.m., 7:20 p.m., 9:50 p.m. Sat. 1:55 p.m., 4:45 p.m., 7:20 p.m., 9:50 p.m. Sun. 1:55 p.m., 4:45 p.m., 7:20 p.m.

Mon. and Tue. 4:45 p.m., 7:20 p.m.

Labor Day (PG-13) Fri. 4:40 p.m., 7:10 p.m., 9:40 p.m. Sat. 2:10 p.m., 4:40 p.m., 7:10 p.m., 9:40 p.m. Sun. 2:10 p.m., 4:40 p.m., 7:10 p.m.

Mon. and Tue. 4:40 p.m., 7:10 p.m.

The Lego Movie in 3D (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m.

Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. and Tue. 4:30 p.m., 7 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. and Tue. 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. and Tue. 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. and Tue. 4:30 p.m., 7:15 p.m.

The Nut Job (PG) Fri. 4:35 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m.

Mon. and Tue. 4:35 p.m., 7:05 p.m.

Ride Along (PG-13) Fri. 4:50 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:25 p.m.

Mon. and Tue. 4:50 p.m., 7:25 p.m.

That Awkward Moment (R) Fri. 4:55 p.m., 7:20 p.m., 9:45 p.m. Sat. 2:25 p.m., 4:55 p.m., 7:20 p.m., 9:45 p.m. Sun. 2:25 p.m., 4:55 p.m., 7:20 p.m. Mon. and Tue. 4:55 p.m., 7:20 p.m.

Vampire Academy (PG-13) Fri. 4:45 p.m., 7:10 p.m., 9:50 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:10 p.m., 9:50 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:10 p.m.

Mon. and Tue. 4:45 p.m., 7:10 p.m.

THE RULES ARE SIMPLE: DELIVER OR DIE.

Lensic Presents

BROADCAST IN HD

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

In association with the award-winning Handspring Puppet Company

February 27, 7 pm

$22/$15 students

 —The Times (UK)

“A landmark theatre event.”

—Time

SPONSORED BY

WINNER OF 5 TONY AWARDS 2011

Tickets: 505-988-1234 www.TicketsSantaFe.org S ERVICE CHA RGES A PPLY AT ALL POINTS OF PURCHASE

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

PASATIEMPOMAGAZINE.COM 53

RESTAURANT REVIEW Bill Kohlhaase I The New Mexican

Fly me to the Mu

Mu Du Noodles 1494 Cerrillos Road, 505-983-1411 Dinner 5:30-9 p.m. Tuesdays-Saturdays; closed Sundays & Mondays Takeout available Vegetarian and gluten-free options Noise level: subdued to moderately chatty Beer, wine, and sake Credit cards, no checks

•

The Short Order The imaginative cooking at Mu Du Noodles is influenced by a variety of Asian traditions and inspired by the adventurous thinking of owner Mu Jing Lau. Mu employs locally sourced, often organic components in dishes that evolve as ingredients become available and as ideas strike her. Appetizer and entree specials best express Mu’s creative personality. Go for the excellent rice, wheat, and mung-bean noodles and revel in the delicious broths, wonderfully flavored sauces, and perfectly finished meat, seafood, and tofu. The informed service, even when busy, provides just the right amount of attention, but parking can be difficult.

Don’t leave without trying at least one of the desserts. Recommended: lamb martabak, daily fritter specials, lemongrass soup, emerald seafood sauté, Malaysian laksa, and coconut-ginger gelato.

Ratings range from 0 to 4 chiles, including half chiles.

This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value.

54

PASATIEMPO I February 7-13, 2014

No two visits to Mu Du Noodles are alike. One time, the Japanese okonomiyaki fritters might be paired with a mild aioli-style sauce with just a touch of heat. Another time, that dipping sauce will look the same but be sparked with some chile to jack up the clean taste of the tiny shrimp in the fritters. One day, a lightly dressed salad of shredded cabbage, daikon radish, carrot, and toasted peanuts is simplicity itself.

Another day, added pickled pineapple gives it an awakening bite. While a dish’s components may change depending on what the kitchen has found freshly available, there’s consistency in preparation, with everything carefully balanced, each pot sticker perfectly browned, each shrimp and scallop well cooked, each cube of fried tofu ideally golden.

The cross-cultural influences and Far East ingredients found at Mu Du certainly place the restaurant in the “Asian fusion” category, a term probably coined by someone with a marketing degree (or worse, by a food critic). But that’s only a partial description of what’s cooked up by owner Mu Jing Lau. You’ll find the labels Singapore, Vietnamese, Malaysian, and Thai on the menu, but the dishes aren’t purely authentic or likely found in the sort of pan-Asian restaurants that list spring rolls, barbecued pork, and sushi on the same menu.

Mu’s dishes — everybody calls her Mu — display her personality. She experiments and tries new combinations.

Her long commitment to using locally raised organic meats and vegetables, now common in many better restaurants, is a big part of who Mu is. But the invention and flair she demonstrates in the conception of her dishes and the care she takes in preparing them are what really distinguish her cooking.

The pea pods added to an udon pesto and other dishes during a recent visit had the stringless snap of spring peas and that unmistakable freshly picked pea-pod flavor. The brightly flavored kimchi dressing on a salad of kale, shredded cabbage, and carrots pulled all the ingredients together without the typical fermented sourness of Korean kimchi. The vegetables swirling in the lemongrass soup, a perfect balance of broth and coconut milk, were crisp and lively tasting. The housemade fish balls bobbing in the soup expanded my idea of comfort food.

The variety of ever-changing specials keeps visits to Mu Du Noodles from being repetitive. One time we tried a lamb stew, the meat locally sourced from Talus Wind Ranch near Galisteo, with roasted kabocha squash and cauliflower served on jasmine rice. Another time, we enjoyed empanada-sized pot stickers filled with a savory mix of walnuts and mushrooms.

Regular entrées are mostly anchored by house-made rice or wheat noodles. Firm udon noodles were dressed with an “Asian pesto” that contained no garlic or cheese but was dominated by assertively fresh basil. The dish harbored those wonderful pea pods and tender, succulent chunks of dark chicken meat. The wide rice noodles in the Malaysian laksa were equally firm and a bit springy; the dish’s fried tofu was softly yielding, the bok choy and broccoli quickly finished, and the glowing coconut-curry broth just warm enough to let the vegetable flavors shine through. Bits of Brazil nuts, a welcome addition to all our entrées that night, added some contrasting crunch.

Not every combination that Mu imagines works. Those wonderful mushroom-and-walnut-stuffed pot stickers were served on a base of stir-fried eggplant and yellow squash. The eggplant, good on its own, didn’t seem to fit with those fine stuffed pockets, flavor-wise or texturally. But pot stickers filled with white chicken meat, mushrooms, and scallions — a perfect combination — were wonderfully matched with a deep green dipping sauce redolent of mint.

Desserts fail only when they’re unavailable. A creamy, barely sweet lemon mousse held slices of strawberry and was sandwiched with wonderfully crisp wafers. While the kitchen was out of tapioca one night, we quickly got over our disappointment by spooning up coconut-ginger gelato sporting an almond wafer.

The place is often crowded, especially on weekends, and the parking, which sometimes requires backing into the river of traffic along Cerrillos Road, can be atrocious. But the food is worth the trouble. Once inside Mu Du’s two modest rooms (the one on the northeast side of the building is quieter than the one on the southwest), you can anticipate your meal as you watch bowls and plates being delivered to other tables.

The service is neither sleepy nor overbearing, though it occasionally lacks the pinpoint precision one expects in fine dining. Then again, you probably won’t mind your companion’s dish accidentally being set down in front of you, if only for a moment. It might invite an offer to share. ◀

Check, please Dinner for three at Mu Du Noodles: Okonomiyaki fritters with shrimp ...........................$ 9.00 Lamb martabak.........................................................$ 8.00 Kale, cabbage, carrot, and pickled-pineapple salad ....$ 8.00 Udon pesto with chicken..........................................$ 21.00 Malaysian laksa with tofu .........................................$ 16.00 Emerald sauté...........................................................$ 25.00 Coconut-ginger gelato..............................................$ 8.00 Lemon mousse .........................................................$ 9.00 Pot, white oolong tea................................................$ 6.00 Can, Modus Hoperandi beer ....................................$ 5.00 Sake ..........................................................................$ 11.00 TOTAL .....................................................................$ 126.00 (before tax and tip) Dinner for two, another visit: Lemongrass soup entrée ...........................................$ 24.00 Special fritters...........................................................$ 9.00 Walnut-mushroom pot stickers................................$ 9.00 Doughnut holes with caramel sauce.........................$ 9.00 Pot, chrysanthemum tea...........................................$ 4.00 TOTAL .....................................................................$ 55.00 (before tax and tip)

Museum Hill Café Presents: Bella

Gigante’s “My” Valentine Dinner Show Friday, February 14th Special four-course prix fixe menu

at four seasons resort rancho encantado Experience a twist on contemporary American cuisine inspired by northern New Mexico at Terra.

Join us for lunch or dinner.

1st course: Queso Fundido with house made corn chips Or Sweet Corn Custard with a Rich Poblano Cream Sauce Paired with a Macon Villages Chardonnay 3oz pour

COMPLIMENTARY

2nd course: Smoked Duck Flautas with Mole Or Pork Empanadas with green olives, capers and raisins Paired with Don & Sons Pinot Noir 3oz pour

Complimentary transportation to and from select downtown locations, based on availability. Lunch 11:30 am – 2:30 pm, dinner 5:30 pm – 10:00 pm; please call (505) 946-5700 to place your order from Terra or arrange transportation.

TRANSPORTATION to and from DOWNTOWN

3rd course: Petite Filet with a Chilean spice rub Or Fresh Grilled Salmon Paired with Coppola Votre Santé 3 oz pour 4th course: Chocolate Truffle Grahm Tart Paired with Segura Viudas Brut 3oz pour The Show and Dinner $130. Per Couple Limited Seating | Call for Reservations | 505-984-8900 A Benefit for Human Rights Alliance Santa Fe

ask us about

TREAT YOURSELF at Four Seasons Resort Rancho Encantado

For reservations or information, please call (505) 946-5700 or visit fourseasons.com/santafe

February at La Posada Valentine’s Day

Friday, February 14th Enjoy a romantic three-course dinner for two with a glass of champagne for just $99

Spa Gift Certificates

The perfect Valentine’s Day present is a spa gift certificate – call 505-954-9630 to order or visit the spa

Restaurant Week

Sunday, February 23rd through Sunday, March 2nd Delight your palate with a three-course gourmet dinner in Fuego for just $30 per person For reservations call 505-954-9670 or visit opentable.com

Dinner prices exclude tax and gratuity.

fashionable healing for women & men

330 East Palace Avenue • Santa Fe, New Mexico • laposadadesantafe.com PASATIEMPOMAGAZINE.COM

55

ROMANCE BY CANDLELIGHT Anasazi Restaurant Valentine's Dinner Special three-course prix fixe menu $75 per person February 14 Menu also available Saturday, Feb. 15

For restaurant reservations, call 505-988-3236 Inquire about special room rates at the hotel

A NA SAZ I RESTAURANT Rosewood Inn of the Anasazi 113 Washington Avenue Santa Fe, NM 87501 (505) 988-3030 rosewoodhotels.com

We have great Valentine's Day cards and gifts!

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PASATIEMPO I February 7 - 13, 2014

Promote your child or family related business or activity to Santa Fe’s families with the 2014 KIDS

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pasa week Friday, Feb. 7 GALLERY/MUSEUM OPENINGS

Axle Contemporary 505-670-7612 or 505-670-5854. Aeternum, installation by Myriam Tapp, reception 5:30-7:30 p.m., look for the mobile gallery in the Railyard near the Santa Fe Farmers Market Pavilion, visit axleart.com for van locations through March 2.

Georgia O’Keeffe Museum 217 Johnson St., 505-946-1000. Georgia O’Keeffe and Ansel Adams: The Hawaii Pictures; Abiquiú Views; through Sept. 14. (See story, Page 40) Manitou Galleries 123 W. Palace Ave., 505-986-0440. Wine, Chocolate & Jewelry, group show of Native, vintage, and contemporary work, reception 5-7:30 p.m.

Marigold Arts 424 Canyon Rd., 505-982-4142. North Country, watercolors by Robert Highsmith, reception 5-7 p.m.

Photo-eye Gallery 370-A Garcia St., 505-988-5159. Conventional Entropy, works by photographer Kevin O’Connell, reception 5-7 p.m., through April 5. (See story, Page 32) Vivo Contemporary 725 Canyon Rd., 505-982-1320. Giving Voice to Image 2, collaborative group show of poetry and art, reception with readings 5-7 p.m., through March 4.

CLASSICAL MUSIC

Snow Falling on Love (detail), by Diana Stetson, Commissioner’s Gallery, New Mexico State Land Office, 310 Old Santa Fe Trail

Albuquerque Baroque Players Chamber works of Lully, Rameau, and Couperin, featuring violinist Stephen Redfield, 7:30 p.m., San Miguel Church, 401 Old Santa Fe Trail, $18, discounts available, 505-400-9385, albuquerquebaroqueplayers.com.

Piano and violin recital Tim Schwarz and Daniel Weiser perform music of Copland, Amy Beach, and William Grant Still, 6:30 p.m., Quail Run Clubhouse, 3101 Old Pecos Trail, $30 in advance at amicimusic.org, $35 at the door, 770-490-9134.

Bang Lang Do Piano recital, music of Honnegger, Rachmaninoff, and Messiaen, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations accepted, 505-982-8544, Ext. 16.

THEATER/DANCE

Benchwarmers 13 gala opening night Festival of eight playlets by local playwrights, reception 6:30 p.m., curtain 7:30 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $30, 505-988-4262, santafeplayhouse.org, runs Thursday-Sunday through March 2.

(See story, Page 30)

Pasa’s Little Black Book......... 58 Elsewhere............................ 60 People Who Need People..... 60 Under 21............................. 60 Pasa Kids............................ 60

Hearts of the West: Stories of the Mail Order Brides Staged reading in conjunction with Art Matters/Santa Fe, 7 p.m., Casweck Galleries, 203 W. Water St., $15, 505-988-2966.

Colin Quinn The stand-up comic shares his political views in Unconstitutional, 7 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $15-$35, 505-988-1234, ticketssantafe.org.

BOOKS/TALKS

Flavored With Chocolate: A Spanish Colonial Tradition A gallery talk with Josef Díaz, curator of Southwest and Mexican Colonial Art and History Collections, on the exhibit Telling New Mexico: Stories From Then and Now, 5:30 and 6:30 p.m., New Mexico History Museum, 113 Lincoln Ave., no charge, 505-476-5200.

Nancy King The author celebrates the launch of Changing Spaces with a reading, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.

Rennaissance to Goya: Spanish Painting in the Golden Age Illustrated talk by art historian Barbara Anderson, 5:30 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., no charge, 505-476-5072.

The Shape of Musical Time Andy Kingston examines the role music plays in the writings of philosophers F.W.J. Schelling and Edmund Husserl, 3:15 p.m., Great Hall,

In the Wings....................... 61 At the Galleries.................... 62 Museums & Art Spaces........ 62 Exhibitionism...................... 63

Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, no charge, 505-984-6000.

The Soldier and the Refusenik Two Israeli activists discuss the occupied territories, 7 p.m., Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., no charge, 505-982-9674.

OUTDOORS

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

EVENTS

ValenTime Benefit party for Warehouse 21; with DJ Feathericci and funk band The Sticky; includes speed dating event (18+), food, and a raffle, 7 p.m., Warehouse 21, 1614 Paseo de Peralta, singles $10, couples $15, holdmyticket.com.

NIGHTLIFE

(See Page 58 for addresses) ¡Chispa! at El Mesón Three Faces of Jazz, revolving piano trio, 7:30-10:30 p.m., no cover.

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

Cowgirl BBQ Gleewood, acoustic rock, 5 p.m.; Jay Boy Adams and Zenobia, with Mister Sister, R & B and soul, 8 p.m., no cover.

Duel Brewing Rock band Anthony Leon and The Chain, 7-10 p.m., no cover.

El Farol Boom Room Collective, rock, 9 p.m., call for 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 Nacha Mendez Trio, pan-Latin rhythms, 6:30-9:30 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; dance lesson, 8:30-9:30 p.m., call for cover.

Mine Shaft Tavern DJ Sass-a-Frass, 5 p.m.; Gypsy dancers, 8 p.m.; call for cover.

Palace Restaurant & Saloon Eric George Trio, rock and Americana, 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 Bill Hearne Trio, classic country and Americana, 6-9 p.m., no cover.

Second Street Brewery at the Railyard Broomdust Caravan, cosmic Americana, 7-10 p.m., no cover.

Vanessie Pianists/vocalists Doug Montgomery (6-8 p.m.); Bob Finnie (8-11 p.m.), call for cover.

8 Saturday GALLERY/MUSEUM OPENINGS

David Richard Gallery 544 S. Guadalupe St., 505-983-9555. Selections From June Wayne’s Friends, works from the Robin Park Collection, reception 1-2 p.m., through March 1.

Tina Davila Pottery 933 Nicole Place, 505-986-9856. Open house and Valentine pottery sale, 10 a.m.-4 p.m., through Sunday.

OPERA IN HD

The Met Live in HD The series continues with Renée Fleming in Dvoˇrák’s Ruasalka, 11 a.m. and 6 p.m.. Lensic Performing Arts Center, 211 W. San Francisco St. $28, encore $22, 505-988-1234, ticketssantafe.org. ▶▶▶▶▶▶▶▶

calendar guidelines Please submit information and listings for Pasa Week no later than 5 p.m. Friday, two weeks prior to the desired publication date. Resubmit recurring listings every three weeks. Send submissions by mail to Pasatiempo Calendar, 202 E. Marcy St., Santa Fe, NM, 87501, by email to pasa@sfnewmexican.com, or by fax to 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.

PASATIEMPOMAGAZINE.COM

57

Talking Heads

Flavored With Chocolate: A Spanish Colonial Tradition Join curator Josef Díaz for two gallery talks held at 5:30 and 6:30 p.m. Friday, Feb. 7, as he discusses the New Mexico History Museum exhibit Telling New Mexico: Stories From Then and Now, 113 Lincoln Ave., 505-476-5200.

There is no charge for admission.

CLASSICAL MUSIC

Piano and violin recital Tim Schwarz and Daniel Weiser perform music of Copland, Amy Beach, and William Grant Still, 7 p.m., Quail Run Clubhouse, 3101 Old Pecos Trail, $30 in advance at amicimusic.org, $35 at the door, 770-490-9134.

IN CONCERT

Nosotros Horn-driven Latin rhythms, 9 p.m., salsa lesson 8 p.m., La Tienda Performance Space, 7 Caliente Rd., Eldorado, $10 at the door.

317 Aztec 20-0150 317 Aztec St., 505-8 the Inn at ge un Lo Agoyo a ed on the Alam 505-984-2121 303 E. Alameda St., nt & Bar ra Anasazi Restau Anasazi, the of Inn d oo Rosew e., 505-988-3030 113 Washington Av Betterday Coffee 5-555-1234 , 50 905 W. Alameda St. nch Resort & Spa Ra e Bishop’s Lodg Rd., 505-983-6377 1297 Bishops Lodge 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., 213 Washington Av Cowgirl BBQ , 505-982-2565 319 S. Guadalupe St. Café te The Den at Coyo 83-1615 5-9 50 , St. r ate W 132 W. Duel Brewing 5-474-5301 1228 Parkway Dr., 50 lton El Cañon at the Hi 88-2811 5-9 100 Sandoval St., 50

58

PASATIEMPO I February 7-13, 2014

THEATER/DANCE

Benchwarmers 13 Festival of eight playlets by local playwrights, 7:30 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20, ages 17 and under $15, santafeplayhouse.org, 505-988-4262, runs Thursday-Sunday through March 2.

(See story, page 30) The Jewel in the Manuscript Rosemary Zibart’s play about Fyodor Dostoevsky, 7:30 p.m., Warehouse 21, 1614 Paseo de Peralta, $20, 505-989-4423, Thursday, Saturday, and Sunday performances through Feb. 16.

Art Matters/Santa Fe events Staged reading of Hearts of the West: Stories of the Mail Order Brides, 7 p.m. followed by The Art of Collections, a talk by Wiz Allred, Casweck Galleries, 203 W. Water St., no charge for the talk, reading $15, 505-988-2966.

BOOKS/TALKS

Exhibit panel discussion Gesture Then and Now: The Legacy of Abstract Expressionism, 2:30 p.m., David Richard Gallery, 544 S. Guadalupe St., 505-983-9555.

Opera Breakfast Lecture A pre-opera lecture series in conjunction with The Met at the Lensic season, Desirée Mays discusses Dvoˇrák’s Rusalka, 9:30 a.m., Collected Works Bookstore, 202 Galisteo St., $5 suggested donation at the door, 505-988-4226.

EVENTS

Collectors, Dealers, and Museums: A Shared Future A presentation by O’Keeffe Museum curatorial affairs director Cody Hartley, reception, drawing, and private viewing follow, 5:30-7:30 p.m., Georgia O’Keeffe Museum, 217 Johnson St., call David Richard Gallery, 505-983-9555, for information. $75 includes entry in drawing; advance tickets available online at okeeffemuseum.org. (See story, Page 44)

Pasa’s little black book Spa Eldorado Hotel & St., 505-988-4455 o isc nc Fra 309 W. San 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 2811 Siler Lane, 505-4 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 e., Av e 125 E. Palac at La Fonda La Fiesta Lounge , 505-982-5511 St. o isc 100 E. San Franc a Fe Resort nt Sa La Posada de e Ave., lac and Spa 330 E. Pa 00 -00 505-986 g Arts Center Lensic Performin St., 505-988-1234 o isc nc Fra 211 W. San

Directing-actors workshop Two-part class led by Wendy Chapin, 9 a.m.noon, Santa Fe Playhouse, 142 E. De Vargas St., $50, wendychapin@cybermesa.com, continues Feb. 15.

Santa Fe Farmers Market Local goods sold weekly on Saturday; this week’s live music by Pedro Romero, 8 a.m.1 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 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.

Winter-garden workshop Led by Michael Clark, 1-3 p.m., Stewart L. Udall Center for Museum Resources, 725 Camino Lejo, Museum Hill, $15, santafebotanicalgarden.org, 505-471-9103.

NIgHTLIFE

(See addresses below) Anasazi Restaurant & Bar Guitarist Jesus Bas, 7-10 p.m., no cover. ¡Chispa! at El Mesón Tierra Soniquete, with J.Q. Whitcomb on trumpet and Joaquin Gallegos on guitar, 7:30 p.m., no cover.

Café Café Trio Los Primos, Latin favorites, 6 p.m., no cover.

Cowgirl BBQ Gypsy jazz and bluegrass band Hot Club of Santa Fe, 2-5 p.m.; Mark’s Midnight Carnival Show, indie-rock;, 8:30 p.m., no cover.

Duel Brewing Jazz-funk trio Mushi, 7-10 p.m., no cover.

El Farol Tone and Company, rock, 9 p.m., call for cover.

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

La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio, featuring vocalist Whitney Carroll Malone, 6-9 p.m., call for cover.

Palace Restaurant & Saloon Rock band Anthony Leon and The Chain, 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 Bluesgrass band Mystic Lizard, 6-9 p.m., no cover.

Second Street Brewery at the Railyard The Attitudes, blues and rock, 7-10 p.m., no cover.

Sweetwater Harvest Kitchen Hawaiian slack-key guitarist John Serkin, 6 p.m., no cover.

Tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m., no cover.

Vanessie Pianists/vocalists Doug Montgomery (6-8 p.m.); Bob Finnie (8-11 p.m.), call for cover.

9 Sunday gALLERY/MUSEUM OPENINgS

Tina Davila Pottery 933 Nicole Place, 505-986-9856. Open house and Valentine pottery sale, noon-4 p.m.

Waxlander gallery 622 Canyon Rd., 505-984-2202. The Power of the Hebrew Alphabet, prints by Gloria Abella Ballen, reception 2-5:30 p.m., through Monday.

CLASSICAL MUSIC

Serenata of Santa Fe Twists and Turns, music of Brahms, Bernard Herrmann, and Joan Tower, 3 p.m., Scottish Rite Center, 463 Paseo de Peralta, $25, 505-988-1234, ticketssantafe.org.

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

Melanie Monsour Piano recital with bassist Paul Brown; jazz and Latin music, noon-2 p.m., Museum Hill Café, 710 Camino Lejo, melaniemonsour.com, no charge.

IN CONCERT

Santa Fe Archaeological Society lecture On the Trail in the Jornada del Muerto, with Elizabeth A. Oster, 7:30 p.m., Santa Fe Community Foundation, 501 Halona St., no charge, call 505-982-2846 or 505-455-2444 for more information.

THEATER/DANCE

EVENTS

Benchwarmers 13 Festival of eight playlets by local playwrights, 4 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20, discounts available, 505-988-4262, santafeplayhouse.org, runs Thursday-Sunday through March 2. (See story, Page 30) Cascarones Teatro Paraguas and DNAWorks present a staged reading of Irma Mayorga’s new play, 6:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, by donation, 505-424-1601.

The Jewel in the Manuscript Rosemary Zibart’s play about Fyodor Dostoevsky, 2 p.m., Warehouse 21, 1614 Paseo de Peralta, $20, students $10, 505-989-4423, Thursday, Saturday, and Sunday performances through Feb. 16.

Zane Bennett Contemporary Art’s Salon Sundays Art2Art, a multimedia event featuring performance artist Glen Neff and visual artist Brandee Caoba, moderated by David Schwartz, New Mexico Music Commission chairman, 2 p.m., Zane Bennett Contemporary Art, 435 S. Guadalupe St., $25 at the door, students $10, 505-982-8111.

BOOKS/TALKS

The Art of Collections A talk by Wiz Allred, 2 p.m., Casweck Galleries, 203 W. Water St., 505-988-2966.

Building an Oasis of Culture in a Geopolitical World: The Renewed Israel Museum A talk by museum director James Snyder, 2 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., no charge, presented by the Harvard-Radcliffe Club of New Mexico.

IAIA student and faculty readings Hearts Afire, a Valentine celebration, 2-4 p.m., Museum of Contemporary Native Arts, 108 Cathedral Place, no charge, 505-428-5907.

Journey Santa Fe Diane Wood, founder of New Mexico Women’s Foundation, talks about legislative issues with KSFR Radio host Xubi Wilson, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.

Laurie Arnold The author reads from and signs copies of her children’s book Hello There, We’ve Been Waiting for You!, 3 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.

EVENTS

Life Drawing Weekly figure-drawing class led by Cari Griffo, 11 a.m.-1 p.m., Duel Brewing, 1228 Parkway Dr., $25 includes refreshments, 505-474-5301.

Railyard Artisan Market This week’s music by Lucy Barna and Lisette de la Paz, 10 a.m.-4 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, no charge, artmarketsantafe.com.

Santa Fe Jewish Film Festival The 2010 documentary Joe Papp in Five Acts; preceded by complimentary coffee and copies of the Sunday New York Times crossword puzzle; Q & A with costume designer Patricia McGourty follows, 11 a.m., Center for Contemporary Arts, 1050 Old Pecos Trail, $10 and $12 in advance, santafejff.org or 505-216-0675, $15 at the door.

CCA Cinematique fundraiser A screening of Particle Fever, Mark Levinson’s documentary on the search for the Higgs boson particle; with guest speakers Levinson and physicist Geoffrey West, introduced by Valerie Plame, 7 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $10, students $5, 505-988-1234, ticketssantafe.org.

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.

Wine tasting Valentine week event; includes hors d’oeuvres, 2:30-4:30 p.m., Il Piatto, 95 W. Marcy St., singles $15, couples $25.

NIGHTLIFE

Photo-eye Gallery, 730-A Garcia St., shows prints by Rachel Philips.

Seventh Annual New Mexico Italian Film & Culture Festival Showing the 2012 film Shun Li and the Poet, proceeds benefit UNM Children’s Hospital, 4 p.m., The Screen, 1600 St. Michael’s Dr., $100 includes dinner at Osteria D’Assisi, 505-473-6494, thescreensf.com.

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.

NIGHTLIFE

(See Page 58 for addresses) Cowgirl BBQ Country Blues Revue, noon-3 p.m.; Alto Street Band, bluegrass, 8 p.m.; no cover.

Duel Brewing Divino Trio, mariachi, 3-5 p.m., no cover.

El Farol Pan-Latin chanteuse Nacha Mendez, 7-10 p.m., call for cover.

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

La Posada de Santa Fe Resort and Spa Wily Jim, Western swingabilly, 7-10 p.m., no cover.

Mine Shaft Tavern Soulful-blues band The Barbwires, 3-7 p.m., call for cover.

Vanessie Pianist Doug Montgomery, 6:30-9:30 p.m., call for cover.

10 Monday THEATER/DANCE

Dear Liar A reading of Jerome Kilty’s adaptation of correspondence between George Bernard Shaw and Mrs. Patrick Campbell, with Alaina Warren Zachary and Jonathan Richards, 3 p.m., St. John’s Methodist Church, 1200 Old Pecos Trail, $15, visit renesan.org for details.

BOOKS/TALKS

Friends of the Wheelwright lecture Santa Clara Pueblo potter Nathan Youngblood demonstrates traditional pottery-making methods, 2:30 p.m., refreshments served at 2 p.m., Wheelwright Museum of the American Indian, 704 Camino Lejo, Museum Hill, $10, 505-982-4636.

Land Grants, Trails, and People in Southwest Santa Fe A Southwest Seminars lecture with archaeologist Steve Post, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 505-466-2775.

NIGHTLIFE

(See Page 58 for addresses) Cowgirl BBQ Cowgirl karaoke hosted by Michele Leidig, 8 p.m., no cover.

Duel Brewing Blue Monday with James T. Baker, Delta blues, 6-8 p.m., no cover.

El Farol Tiho Dimitrov, R & B, 8 p.m., call for cover.

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

Vanessie Pianist Doug Montgomery, 6:30-9:30 p.m., call for cover.

11 Tuesday BOOKS/TALKS

Eva Scott Fenyes, Leonora Scott Muse Curtin, Leonora Curtin Paloheimo, and the Cultural Crafting of Santa Fe A talk by Santa Fe author Carmella Padilla, 3 p.m., School for Advanced Research, 660 Garcia St., no charge, 505-954-7203.

Johnny D. Boggs and Dennis Herrick The authors read from their respective books Valley of Fire and Winter of the Metal People: The Untold Story of America’s First Indian War, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. (See Subtexts, Page 16)

(See Page 58 for addresses) ¡Chispa! at El Mesón Argentine Tango Milonga, 7:30-11 p.m., no cover.

Cowgirl BBQ Singer/songwriter/rock guitarist Tiffany Christopher, 8 p.m., no cover.

Duel Brewing El Trios Los Gallos, high-octane mariachi tunes and Norteno music, 6-8 p.m., no cover.

El Farol Canyon Road Blues Jam, 8:30 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, 10 p.m., no cover.

Vanessie Pianists/vocalists Doug Montgomery (6-8 p.m.); Bob Finnie (8-11 p.m.), call for cover.

Zia Diner Weekly Santa Fe bluegrass jam, 6-8 p.m., no cover.

12 Wednesday IN CONCERT

Zappa Plays Zappa Guitarist Dweezil Zappa’s band, 7:30 p.m.; Dweezilla on the Road, Zappa’s master class, precedes the concert at 3 p.m.; Greer Garson Theatre, 1600 St. Michael’s Dr., concert $32-$67, class $75, 505-988-1234, ticketssantafe.org.

(See story, Page 36)

BOOKS/TALKS

A Question of Ruins: Buildings and Persons After Political Violence A talk by Haverford College professor Laurie Hart, noon, School for Advanced Research, 660 Garcia St., no charge, 505-954-7203.

Dharma talk Drawing a Circle, with calligrapher Kazuaki Tanahashi, 5:30 p.m., Upaya Zen Center, 1404 Cerro Gordo Rd., donations accepted, 505-986-8518.

Lannan Foundation Literary Series Author George Saunders in conversation with New York Times Magazine deputy editor Joel Lovell, 7 p.m., the Lensic, $6; seniors and students $3, ticketssantafe.org, 505-988-1234. (See story, Page 20) ▶▶▶▶▶▶▶▶

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Santa Fe Institute 2014 Community Lecture The series continues with Getting Our Arms Around Obesity, by Ross Hammond of the Brookings Institution, 7:30 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., no charge, santafe.edu.

Taos Town hall 400 Camino de la Placita, 575-751-2017. Group show of handwoven textiles, through March 28, for more information call 575-779-8579, no charge.

Valerie Plame The author reads from and signs copies of Blowback, 7 p.m. Friday, Feb. 7, followed by an interview with Joan Livingston, Taos News managing editor, Mable Dodge Lujan House, 40 Morada Lane, $15, VIP seating $30 (includes wine and refreshments), tickets availble online at somostaos.org or call Society of the Muse of the Southwest, 575-758-0081.

OUTDOORS

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

▶ People who need people

EVENTS

Game of Thrones Free weekly screenings of the HBO at 7 p.m. through March 24, Jean Cocteau Cinema, 418 Montezuma Ave., jeancocteaucinema.com.

Artists

NIghTLIFE

(See Page 58 for addresses) ¡Chispa! at El Mesón Flamenco guitarist Joaquin Gallegos, 7 p.m., no cover.

Cowgirl BBQ Rob Nance & The Lost Souls, Southern and contemporary folk and roots-rock, 8 p.m., no cover.

El Farol Nacha Mendez with Santastico, 8 p.m., no cover.

Iconik Coffee Roasters Ravensong@Iconik, monthly singer/songwriters’ showcase, this week, Martha Reich, 7 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, acoustic 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.

Vanessie Pianist/vocalist Bob Finnie, ’50s-’70s pop, 6:30 p.m., call for cover.

13 Thursday ThEATER/DANCE

Benchwarmers 13 Festival of eight 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 Thursday-Sunday through March 2.

The Jewel in the Manuscript Rosemary Zibart’s play about Fyodor Dostoevsky, 7:30 p.m., Warehouse 21, 1614 Paseo de Peralta, $15 or two for $20, students $10, 505-989-4423, Thursday, Saturday, and Sunday performances through Feb. 16.

BOOKS/TALKS

Fifth Annual Storytelling at the Roundhouse Members of New Mexico Storytellers spin yarns for all ages, 1-2 p.m., New Mexico State Capitol, Old Santa Fe Trail and Paseo de Peralta, newmexicostorytellers.org, no charge.

Joan Naviyuk Kane The SAR indigenous writer-in-residence in conversation with writer Malena Mörling followed by Kane’s reading of her work, 5:30-7 p.m., School for Advanced Research, 660 Garcia St., no charge, 505-954-7205.

(See story, Page 18)

60

PASATIEMPO I February 7-13, 2014

Revel Classical Band performs for Chatter Sunday and Chatter Cabaret in Albuquerque at 10:30 a.m. and 5 p.m. Sunday.

Nickel Stories Open five-minute prose readings, 6 p.m., Op. Cit. Books, 500 Montezuma Ave., Suite 101, Sanbusco Center, 505-428-0321.

Serigraphs as Reproductions: Reviving a Time-honored Process A lecture by printmaker Jason Rodriguez of Serigrafix Studio, 6-8 p.m., William & Joseph Gallery, 727 Canyon Rd., no charge, 505-982-9404.

EVENTS

Cancer Foundation for New Mexico Sweetheart Auction Buffet dinner, live and silent auctions, and vacation raffle, 5 p.m., Santa Fe Community Gallery, Santa Fe Community Convention Center, 201 W. Marcy St., $75, 505-955-7931, cffnm.org.

NIghTLIFE

(See Page 58 for addresses) ¡Chispa! at El Mesón Guitarists Chuscales and Ramón Bermudez and percussionist Mark Clark, 7 p.m., no cover.

Cowgirl BBQ Abo & Roots Is Dem, roots-rock and reggae, 8 p.m., no cover.

El Farol A cappella Latin music, 8 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.

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

Vanessie Pianist/vocalist Bob Finnie, ’50s-’70s pop, 6:30 p.m., call for cover.

▶ Elsewhere Events/Performances AlbuquErquE

Chatter Sunday Violin, cello, and piano trio Revel Classical Band, 10:30 a.m. Sunday, Feb. 9, poetry reading

by Nathan Brown follows, $15 at the door, discounts available, chatterabq.org.

Chatter Cabaret Revel Classical Band, 5 p.m. Sunday, Feb. 9, Hotel Andaluz, 125 Second St. N.W., $25, brownpapertickets.com, chatterabq.org. harwood Art Center 1114 Seventh St. N.W., 505-242-6367. Recycled Heart: Re-Claimed, Re-Purposed, and Re-Done, group show, reception 6-8 p.m. Friday, Feb. 7, through Feb. 27.

Latin Diva Series Performances by Lysa Flores, East L.A. Taiko, and Yuujou Daiko, 7:30 p.m. Saturday, Feb. 8, Albuquerque Journal Theatre, National Hispanic Cultural Center, $17-$27, discounts available, nhccnm.org, 505-246-2261.

The Importance of Seeing: The Work of Documentary Photographer Dorothea Lange Illustrated talk by Lange’s granddaughter Dyanna Taylor, 2 p.m. Saturday, Feb. 8, Salón Ortega, National Hispanic Cultural Center, no charge, nhccnm.org, 505-246-2261.

UNM Art Museum Center for the Arts Complex, 1 University of New Mexico Blvd., 505-277-4001. Saturday, Feb. 8 openings: 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, $5 suggested donation, unmartmuseum.org.

Water Crisis in the West: Thinking Like a Watershed series Five monthly revolving-panel discussions held at the KiMo Theater; led by Santa Fe author and radio producer Jack Loeffler; panel one, Historic Overview, with William DeBuys, Patty Limerick, and John Nichols, 7 p.m. Thursday, Feb. 13, no charge, visit kimotickets.com for information.

GloriEtA

gallery Zip Interstate 25 north to Valencia Exit 297, turn right at the gate, 575-757-6428. Bling Fling, pre-Valentine group show of jewelry, 10 a.m.4 p.m. Sunday, Feb. 9.

tAos

David Anthony Fine Art 132 Kit Carson Rd., 575-758-7113. Exothermic Reactions, photographs of pyrotechnic tableaus

by David Mapes, through Feb. 28.

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.

Santa Fe Society of Artists spring jury New Mexico artisans are invited to apply for weekly Saturday outdoor art shows located downtown; jury held on Feb. 22; for applications visit santafesocietyofartists.com; 505-455-3496.

Donations/Volunteers

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, Visitor’s Center, 37 Main St., Cerrillos.

Food for Santa Fe The nonprofit organization needs help with packing and distributing groceries to needy families between the hours of 6 and 8 a.m. on Wednesdays and Thursdays; 505-471-1187 or 505-603-6600.

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.

▶ under 21 Whipped: QTPOC Recipes for Love, Sex, and Disaster Arts incubator Mangos With Chili presents its cabaret with queer and transgender performers, 7 p.m. Saturday, Feb. 8, Warehouse 21, 1614 Paseo de Peralta. $10-$20 suggested sliding scale, 505-989-4423, all ages.

▶ Pasa Kids Flying Cow gallery Warehouse 21, 1614 Paseo de Peralta, 505-989-4423. Group show of works

by Dragonfly Art Studio students (ages 5-14), through Tuesday, Feb. 11.

Santa Fe Children’s Museum science exhibit Cultivate the Scientist in Every Child: The Philosophy of David and Frances Hawkins, descriptions of the team’s work in education and observations of children and teachers; also, hands-on activities for children ages 2-10, through Feb. 9. Santa Fe Children’s Museum, 1050 Old Pecos Trail, 505-989-8359.

Closed Monday and Tuesday; $7.50 admission,.

Story time For ages 3-5, 10:30 a.m. Wednesday, Feb. 12, Bee Hive Kids Books, 328 Montezuma Ave., no charge, 505-780-8051. ◀

In the wings With Your Valentine

at the artists’ table Valentine’s Day dinner prepared by chef Michelle Roetzer and conversation with Roetzer and artist Susan Contreras, 6-9 p.m.

Friday, Feb. 14, held in support of Partners in Education Foundation for Santa Fe Public Schools, Santa Fe School of Cooking, 125 N. Guadalupe St., $175, couples $300, 505-474-0240, eventbrite.com.

35mm archival Film Series The 1942 drama Casablanca, 7 p.m. Friday, Feb. 14, $5; the 1939 musical The Wizard of Oz, 7 p.m. Saturday, Feb. 15, $7; presented by the Lensic and the Academy Film Archive, the Lensic, 211 W. San Francisco St., 505-988-1234, ticketssantafe.org.

KSFr radio Benefit Valentine’s Day Comedy Concert Charles Maynard, Al Staggs, and Debrianna Mansini, 7:30 p.m. Friday, Feb. 14, Casweck Galleries, 203 W. Water St., $20, 505-428-1527.

Kindred Spirits’ Valentine’s Day Party For the Love of Our Senior Animals, 1-4 p.m.

Saturday, Feb. 15, with tour at 2 p.m., Kindred Spirits Animal Sanctuary, 3749-A NM 14, donations appreciated, 505-471-5366.

Cathy Faber’s Swingin’ Country Band Valentine’s dance party and potluck for two-step and swing dancers, 7-10 p.m. Saturday, Feb. 15, complimentary dance lesson 6 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $15, 21 and under $8. la Catrina Quartet Violinists Daniel Vega-Albela and Roberta Aruda, violist Jorge Martínez, and cellist Javier Arias, music of Brahms, Mozart, and Amy Beach, 7 p.m. Saturday, Feb. 15, Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $25, discounts available, 505-474-4513. let’s Dance Santa Fe Community Orchestra’s annual swing and ballroom dance event, 7-10 p.m. Saturday, Feb. 15, Santa Fe Community Gallery, Santa Fe Community Convention Center, 201 W. Marcy St., donations appreciated; table reservations 505-466-4879, sfcoinfo@gmail.com.

Spirit of uganda Dance troupe, 7 p.m. Saturday, Feb. 15, Greer Garson Theatre, 1600 St. Michael’s Dr., $25, proceeds benefit the nonprofit organization Empower African Children, 505-988-1234, ticketssantafe.org.

McFish trio Cellist Erika Duke Kirkpatrick, violist Marlow Fisher, and harpsichordist Kathleen McIntosh, 3 p.m. Sunday, Feb. 16, Santa Fe Woman’s Club, 1616 Old Pecos Trail, $5 at the door, 505-670-8273.

Santa Fe Symphony: in honor of lincoln Presentations include Copland’s Lincoln Portrait with narration by N. Scott Momaday, and George Walker’s Pageant and Proclamation, 4 p.m. Sunday, Feb. 16, lecture at 3 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $20-$70, 505-988-1234, ticketssantafe.org.

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 Folk singer/songwriter and his band, 7:30 p.m.

Friday, Feb. 28, the Lensic, 211 W. San Francisco St., $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

Upcoming events in commemoration of Black History Month, 7 p.m. Saturday, March 1, First Presbyterian Church of Santa Fe, 208 Grant Ave., $20 through Feb. 24, $25 in advance and at the door afterward, 505-652-2403, naacpsf.blogspot.com.

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.

Concerts at San Miguel Series running from March to June; performers include Balkan folk ensemble Rumelia, Bill Williams Trumpet & Chamber Ensemble, and NM430 Baroque Ensemble, San Miguel Church, 401 Old Santa Fe Trail, prices vary, 505-983-3974. notes on Music: Mendelssohn Illustrated talk with Santa Fe Concert Association artistic director Joseph Illick, 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.

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.

Curtis on tour The Santa Fe Concert Association presents students from the Curtis Institute of Music, performing works by Mozart, Poulenc, and others, 7:30 p.m. Wednesday, March 19, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$40, ticketssantafe.org, 505-988-1234.

MuSiC

Santa Fe Community orchestra The season continues with music of Dvoˇrák, Sibelius, and Michael Bowen, 2:30 p.m. Sunday, Feb. 23, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., donations appreciated.

theater/DanCe

Winter Dance Escape NDI New Mexico student showcase; featuring Prokofiev’s Peter and the Wolf, 7 p.m. Friday and Saturday, 2 p.m. Sunday, Feb. 21-23, The Dance Barns, 1140 Alto St., $11 and $16, 505-983-7661.

Magic shows Magic and Mystery, with magician Misty Lee, 6:20 p.m. Friday, 2 and 9 p.m.

Saturday, Feb. 21-22, Jean Cocteau Cinema, 418 Montezuma Ave., $20, discounts available, 505-466-5528. tao Phoenix rising Contemporary dance and taiko drum troupe, 7:30 p.m. Saturday, Feb. 22, the Lensic, 211 W. San Francisco St., $25-$45, ticketssantafe.org, 505-988-1234. the Jewel Box Cabaret Gender-bending musical comedy and burlesque series, featuring Guava Chiffon, 8:30 p.m.

Saturday, Feb. 22, María Benítez Cabaret at The Lodge, 750 N. St. Francis Dr., $10, VIP seating $20, 505-428-7781. national theatre live in hD War Horse, based on Michael Morpurgo’s novel set in France during WWI, 7 p.m. Thursday, Feb. 27, the Lensic, 211 W. San Francisco St., $22, student discounts available, 505-988-1234, ticketssantafe.org.

Southwest irish theater Festival Theaterwork presents four plays and a concert, March 21-30, James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., reservations 505-471-1799.

haPPeninGS

Wayard Shamans: the Prehistory of an idea The School for Advanced Research presents a lecture by Silvia Tomásková on humanity’s earliest expressions of art, religion, and creativity through shamanism, 6:30-7:30 p.m.

Thursday, Feb. 20, New Mexico History Museum Auditorium, 113 Lincoln Ave., $10, 505-950-7200. edible art tour (eat) Members of the Santa Fe Gallery Association team with local restaurants; stroll from doorway to doorway or take shuttle buses between downtown and Canyon Road; 5-8 p.m. Friday, Feb. 21, EAT $35; EAT and Fashion Feast dance party $70, artfeast.com, 505-603-4643. lannan Foundation literary event Greg Grandin, author and New York University professor, with Canadian television journalist Avi Lewis, 7 p.m. Wednesday, Feb. 26, the Lensic, 211 W. San Francisco St., $6, discounts available, 505-988-1234, ticketssantafe.org. 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, Muñoz Waxman Gallery, Center for Contemporary Arts, 1050 Old Pecos Trail, $5-$20 sliding scale, 505-982-1338.

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.

La catrina Quartet performs Feb. 15 at immaculate Heart of mary Retreat and conference center.

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At the GAlleries

UNM Art Museum 1 University of New Mexico Blvd., 505-277-4001.

Saturday, Feb. 8 openings: 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.

Commissioner’s Gallery, New Mexico State Land Office 310 Old Santa Fe Trail, 505-827-5762. One Tree, Many Roots, works

by Diana Stetson and Noel Chilton, through February.

Ellsworth Gallery 215 E. Palace Ave.,505-989-7900. Sculptures

by Ilan Ashkenazi, through Feb. 22.

Santa Fe Clay 545 Camino de la Familia, 505-984-1122. In House II, through Feb. 22.

Santa Fe Community Gallery 201 W. Marcy St., 505-955-6705. In/Visible Borders: New Mexico Photographers, including works by Carlan Tapp, Patrick Nagatani, and Norman Mauskopf, through Feb. 21.

Zane Bennett Contemporary Art 435 S. Guadalupe St., 982-8111. Under 35: Part II, group show of mixed media, through Feb. 15. (See review, Page 38)

eSpAñolA

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

loS AlAmoS

MuseuMs & Art spAces 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, Spector-Ripps Project Space, both shows through March 30. Visit ccasantafe.org.

Georgia O’Keeffe Museum 217 Johnson St., 505-946-1000. Georgia O’Keeffe and Ansel Adams: The Hawaii Pictures • Abiquiú Views, opening Friday, Feb. 7, through Sept. 14. (See story, Page 40.)

Paintings, drawings, sculptures, sketches, and photographs 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, 505-476-1256.

Woven Identities, baskets representing 60 culture areas of western North America, through 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. Visit indianartsandculture.org; closed Mondays.

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 spring 2014 • BeltránKropp Peruvian Art Collection, exhibit of gift items, including a permanent gift of 60 art

62

PASATIEMPO I February 7-13, 2014

Museum of contemporary Native Arts, 108 cathedral place, shows work by Norman Akers.

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.

New Mexico History Museum/ Palace of the Governors 113 Lincoln Ave., 505-476-5200. Water Over Mountain, Channing Huser’s photographic installation • Cowboys Real and Imagined, artifacts and photographs from the collection, through March 16 • Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author, through Sunday, Feb. 9 • Telling New Mexico: Stories from Then and Now, main exhibit. Closed Mondays; visit nmhistorymuseum.org.

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 for50 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.

SITE Santa Fe 1606 Paseo de Peralta, 505-989-1199. Feast: Radical Hospitality in Contemporary Art, group show, through May 18. Closed Mondays-Wednesdays; 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. Visit wheelwright.org.

Albuquerque

Albuquerque Museum of Art & History 2000 Mountain Rd. N.W., 505-243-7255.

Arte en la Charrería: The Artisanship of Mexican Equestrian Culture, more than 150 examples of craftsmanship and design distinctive to the charro, through March 30 • 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-museuminformation.

Holocaust and Intolerance Museum of New Mexico 616 Central Ave. S.W., 505-247-0606. Exhibits on overcoming intolerance and prejudice. Closed Sunday and Monday. 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 contemporary artwork and craftsmanship of 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. Closed Mondays; visit nationalhispaniccenter.org.

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 day. Open daily; visit nmnaturalhistory.org.

Bradbury Science Museum Information on the history of Los Alamos and the Manhattan Project, as well as over 40 interactive exhibits.

1350 Central Ave., 505-667-4444. Open daily; visit lanl.gov/museum.

Pajarito Environmental Education Center 3540 Orange St., 505-662-0460. Exhibits of flora and fauna of the Pajarito Plateau; herbarium, live amphibians, and butterfly and xeric gardens.

Closed Sundays; visit pajaritoeec.org.

tAoS

E.L. Blumenschein Home and Museum 222 Ledoux St., 575-758-0505. Hacienda art from the Blumenschein family collection, European and Spanish colonial antiques.

Open daily; visit taoshistoricmuseums.org.

Harwood Museum of Art 238 Ledoux St., 575-758-9826. Highlights From the Harwood Museum of Art’s Collection of Contemporary Art • Death Shrine I, work by the late Ken Price • works of the Taos Society of Artists and Taos Pueblo Artists.

Closed Mondays; visit harwoodmuseum.org.

Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson displaying artifacts, antique firearms and other 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.

12th Annual Miniatures Show & Sale, through March 2. Historical collections of Native American jewelry, ceramics, paintings, and weaving; Hispanic textiles, metalwork, sculpture; and a wide range of contemporary jewelry. Closed Mondays through March; visit millicentrogers.org.

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

Robert highsmith: Canyon Residents, 2013, watercolor. Marigold Arts (424 Canyon Road) presents North Country, an exhibition of realist watercolor paintings by Robert Highsmith, including landscapes of New Mexico. Highsmith’s work often features wildlife, architecture, railroad scenes, and canyonlands. The reception is Friday, Feb. 7, at 5 p.m. Call 505-982-4142.

Gloria Abella ballen: Yud, 2013, digital archival pigment print.

Gloria Abella Ballen presents The Power of the Hebrew Alphabet, an exhibition of art based on Hebrew letters and drawing from esoteric Jewish traditions such as the kabbalah. A 2 p.m. reception on Sunday, Feb. 9, at Waxlander Gallery (622 Canyon Road) includes a signing by the artist of her book by the same title, which was recently published by Gaon Books. Call 505-984-2202.

Myriam Tapp: Aeternum (detail), 2014, mixed-media installation, video projection.

Axle Contemporary presents Myriam Tapp’s Aeternum, which explores the theme of mythical lost cities using sculpture and video projection. The opening reception is Friday, Feb. 7, at 5:30 p.m. in the Railyard near the Santa Fe Farmers Market Pavilion (1607 Paseo de Peralta). Visit www.axleart.com or call 505-670-7612 for the mobile gallery’s daily schedule.

JoAnn Garges: Untitled #3, 2013, mixed media. JoAnn Garges’ abstract designs include floral imagery and arrangements of juxtaposed shapes and patterns.

Her exhibit Cutups is on view at the Tybie Davis Satin Gallery in the main branch of the Santa Fe Public Library (145 Washington Ave.) through Feb. 28. Call 505-955-6780.

Ansel Adams: Mount Clarence King, 1923, gelatin silver print.

Andrew Smith Gallery (122 Grant Ave.) continues a series of small shows of Ansel Adams’ photographs from the collection of Texas oilman David H. Arrington. Included are the mini-exhibits On Closer Inspection, The Sierra Club Photographs, Trees, and Gems of New Mexico. The shows contain recognizable and lesser-known works by Adams, including photographs he made as a teenager. The exhibits are on view through June. Call 505-984-1234.

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