Pasatiempo, March 15, 2013

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

Deborah Madison Vegetable Literacy

March 15, 2013

SUMMER TRUNK SHOW Summer at its Best - Santa Fe Casual!

Friday, March 15 Monday, March 25 10 PM - 5 PM Wiseman, Gale & Duncan Interiors 150 S. St. Francis

Phyllis Frier | 601.918.3651 Nicole Perez, Margot Tewes & Marja Martin Sizes 0 - 20 & Petites Credit cards accepted WORTHNEWYORK.COM

$4 LUNCH GIFT CERTIFICATE Present certificate Tues. - Sat., 11:30 - 2:30 through April 6 One certificate per person 548 Agua Fria, Santa Fe | 982-8608 | RistraRestaurant.com

St. Patrick’s Day Weekend Dinner Entrée

Corned Beef, Cabbage & Ricotta Cheese stuffed Green Ravioli w/ Stone Ground Pommery Mustard Cream & Toasted Rye Breadcrumbs - 24.00

3 -Course Dinner Special 30.00 per person

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Free People Frye Joe’s Jeans Michael Stars Velvet And...

Contemporary Clothing for Women

Lensic Presents

FUSION SANTA FE SEASON

70 WEST MARCY STREET SANTA FE 505.982.1399 www.wearaboutssf.com wearaboutssf@yahoo.com

Santa Fe Community Orchestra Oliver Prezant, Music Director

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

Brenna Covington-Noonan Kim Schilling JayChristopher Williams Friday, March 15, 6:00 pm Stieren Hall at The Santa Fe Opera Free admission, Donations appreciated Call 466-4879 for more information or to submit works for consideration

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

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

BRUCE NORRIS

CLYBOURNE

PARK

BANFF THE BANFF CENTRE PRESENTS

The Santa Fe Conservation Trust and The Lensic are proud to host

2012 2013

MOUNTAIN FILM FESTIVAL WORLD TOUR

March 22 & 23

March 18–19 7 pm

Directed by Fred Franklin

Friday 8 pm Saturday 2 pm & 8 pm

$16 one night $28 both nights

$20–$40/$10 students

A wickedly funny, fiercely provocative play about race, real estate, and the volatile values of each.

www.banffmountainfestival.ca

THE WORLD’S BEST MOUNTAIN FILMS

Winner: 2011 Pulitzer Prize for Drama, 2012 Tony Award for Best Play

Proceeds benefit the Santa Fe Conservation Trust and The Lensic

FUSIONTheatre Company Tradition // Innovation // Excellence

FUSIONnm.org

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

March 15 - 21, 2013

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

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

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

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

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

Celebrate St. Patrick’s Day! The Craic will be Mighty, Great Food, Great Drink, Great Music!

Corned Beef and Cabbage, Guinness Stew, Fisherman's Pie, Ploughman's Lunch Sticky Toffee Pudding, Irish Coffee Milkshake, Bailey’s Cream Cheesecake

A Gaelic word with no exact English translation, but meaning a uniquely Irish form of fun, which typically includes music, great conversation and, just perhaps, drink......

Railyard Reunion Bluegrass Band playing from 3-7pm in the Dining Room

326 S. Guadalupe •

988-7008 • www.ziadiner.com

Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room • Bedroom • Entertainment • Lighting • Accessories Featuring Attractive Handcrafted Furniture Southwestern Style • One-of-a kind Pieces

San Juan Flat Screen TV Credenza Six Adjustable Shelves • Superior Grade Alder 72”L x 21”D x 32”H $1592 60”L x 21”D x 32”H $1382

Handcrafted in Santa Fe!

Bridal F ashio nS Make all your wedding dreams come true at our how at 3

First Annual Wedding Fair

p.m.

Saturday, March 23rd • 12 P.M. - 5 P.M. Wedding dresses by Laura Sheppherd, Atelier Designers, Conscious Clothing and Joyce Harrington Gowns. Jewelry by Jewel Mark and Jacqueline’s Place.

Catering by Caffé Greco. Live music by DJ Zion and Rumelia.

Wedding cake tasting by Tree House Bakery.

Floral arrangements by Enchanted Leaf.

OPEN EVERY DAY 10-6 • 505.820.6304 • 233 Canyon Road • www.jewel-mark.com

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PASATIEMPO

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THE SANTA FE NEW MEXICAN

March 15 - 21, 2013

On the cOver 32 meet your veggies: deborah madison digs botany The gardening season is fast approaching, and vegetarian-cooking authority Deborah Madison is here to reassure you that there is much more to take away from horticulture than an overabundance of basil and heirloom tomatoes. Madison’s James Beard Award-winning book Vegetarian Cooking for Everyone took the mystery out of artful veggie preparation in the kitchen. In her new volume, Vegetable Literacy, Madison takes a more botanical approach to vegetables by exploring 12 families of edible plants whose properties and uses may surprise you. On the cover: Madison at Seed Savers Exchange in Iowa; photo by Christopher Hirsheimer and Melissa Hamilton.

bOOks

mOvinG imaGes

16 in Other Words André Brink’s Philida

42 46 50 52

art and architectUre 18 28 34 36

art of space Sketches by John McHugh art defined Southwest Art Defined art in review Joe Anna Arnett Jay defeo Parade of roses

calendar 56 Pasa Week

mUsic and PerfOrmance 20 22 24 27 40 63

and

theater Grottesco Eventua festival terrell’s tune-Up Terry Allen Pasa tempos CD reviews Onstage this Week Erin go Bragh!

Homegrown Sounds As seen on TV sound Waves We Drew Lightning

13 mixed media 15 star codes 54 restaurant review

advertisinG: 505-995-3819 santafenewmexican.com ad deadline 5 p.m. monday

Pasatiempo is an arts, entertainment & culture magazine published every friday

by The New Mexican. Our offices are at 202 e. marcy st. santa fe, nm 87501. editorial: 505-986-3019. fax: 505-820-0803. e-mail: pasa@sfnewmexican.com PasatiemPO editOr — kristina melcher 986-3044, kmelcher@sfnewmexican.com ■

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

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

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

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

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

theater Grottesco; photo marc romanelli

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

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cOntribUtOrs doug fairfield, laurel Gladden, robert ker, bill kohlhaase, Jennifer levin, susan meadows, adele Oliveira, Jonathan richards, heather roan-robbins, casey sanchez, michael Wade simpson, roger snodgrass, steve terrell, khristaan d. villela

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PrOdUctiOn dan Gomez Pre-Press Manager

The Santa Fe New Mexican

© 2013 The Santa Fe New Mexican

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Robin Martin Owner

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www.pasatiempomagazine.com

Phil Grabsky Pasa Pics The Gatekeepers Shun Li and the Poet

Ginny Sohn Publisher

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advertisinG directOr Tamara Hand 986-3007

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marketinG directOr Monica Taylor 995-3824

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art dePartment directOr Scott Fowler 995-3836

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GraPhic desiGners Rick Artiaga, Dale Deforest, Elspeth Hilbert

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advertisinG sales mike flores 995-3840 stephanie Green 995-3820 margaret henkels 995-3820 cristina iverson 995-3830 rob newlin 995-3841 Wendy Ortega 995-3892 art trujillo 995-3852

Rob Dean editor

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet

EL RANCHO DE LAS GOLONDRINAS PRESENTS

MANUEL ARMIJO: FA C T & M I S P E R C E P T I O N A Presentation by John Barham

Thursday March 21, 2013, 7 pm Santuario de Guadalupe, at Agua Fria and Guadalupe Streets, Santa Fe As New Mexico’s last governor of the Mexican Period (1821-46), Manuel Armijo was both a colorful and controversial administrator.

Maligned by some, but respected by many who dealt with him, Armijo proved to be a shrewd and calculating businessman who saw advantages in playing both sides of the Mexican/American conflict of 1846. Join us in discovering more about this intriguing and important personality from our state’s past!

FREE! Arrive early for a good seat (505) 471-2261/golondrinas.org Support provided by the Santa Fe Arts Commission

PASATIEMPO

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Arlo Guthrie Lensic Presents

8001 Wyoming Blvd. Ste B 3/4 AlBuq nm 87113 505.856.5009 • Adobe-bungAlow.com

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HANDMADE BOOTS, BELTS, BUCKLES, HANDBAGS & JEWELRY

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A M USI C A L TR I B U TE TO WO O DY G U T H R I E

J O I N F O L K I CO N A R LO G U T H R I e

for an unforgettable evening of music and stories celebrating his father, the legendary Woody Guthrie, in his 100th birthday year.

April 4

7: 3 0 p m

$ 2 0 -$ 4 5

Discounts for Lensic members & students

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

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

t h e l e n s i c i s a n o n p r o f it, m e m b e r- s u p p o rt e d o rga n i zat i o n

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March 15 - 21, 2013

Represent ing Hen r y B egu el i n , N u m ero 10 & Offi c i n e Crea t i ve 725 Canyon Rd. • 505-982-9499 • www.desertsonofsantafe.com

MEET, MUNCH, & MINGLE

SEMINAR AND BREAKFAST

Join us and learn more as you mingle with members of our team and munch on a delicious breakfast provided by the Eldorado. Come and be curious about our resort-style retirement community located in Tucson, Arizona. Hear about our investment protection, 90% refundable entrance fees, 18-hole putting course, restaurants, movie theater, fitness center, spa, and more!

THURSDAY, MARCH 21, 9:30 A.M. Eldorado Hotel & Spa, Sunset Room 309 West San Francisco Street, Santa Fe Breakfast will be served.

Complimentary valet parking

Kindly R.S.V.P. by Monday, March 18 by calling (520) 762.4090.

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SPLENDIDO IS AN ALL-INCLUSIVE COMMUNITY FOR THOSE 55 AND BETTER IN TUCSON, AZ PASATIEMPO

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Chants for Lent

Please join the Monks from the Monastery of Christ in the Desert

Saturday, March 16th 11am - 1pm at

Winemaker dinner series F e at u r i n g t h e c r e at i o n s o f C h e f K a’a i n o a R av e y

c a l l 5 0 5 . 8 1 9 . 2 0 5 6 f o r r e s e r vat i o n s

$75 PER PERSON

MARCH 21 ST

SUNDAY LECTURE SERIES

CONTEMPORARY NATIVE ARTISTS

presented in conjunction with the exhibition What’s New in New: Recent Acquisitions March 17, 2 pm: Diné jewelers Veronica and Ernest Benally

Lectures are free with regular museum admission and are held in the theater; seating is limited. Also happening on Sunday at 2 and 3 pm: “GranMary’s Place,” a Native American story-telling program for all ages.

NM residents with ID are free on Sunday; children 16 and under are always free.

merlot & Chat du papes

APRIL 18 TH

BIG JAMMY ZINFANDELS

MAY 16 TH

SUPER CABERNETS Veronica Benally (Diné), Bracelet and Concho Belt, 2012 Friends of Indian Art Purchase Fund, 58193 a, b

Museum of Indian Arts & Culture

30 BUFFALO THUNDER TRAIL • SANTA FE, NM • 877-THUNDER

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March 15 - 21, 2013

Museum Hill off Old Santa Fe Trail | (505) 476-1250 | indianartsandculture.org |

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LOS ALAMOS

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CB FOX/FURNITURE

1735 Central • Los Alamos • 662-2864 • WWW.CBFOX.COM

The Lensic Presents

World Music

FROM ZIMBABWE

Oliver Mtukudzi & The Black Spirits

Hypnotic melodies, irresistible rhythms, and songs about his people’s struggles have made Oliver Mtukudzi an Afropop superstar.

MUSTANG MADNESS March 1 - 30

MUSTANG MADNESS GivEAwAyS will bE hElD oN MARCh 16, 23 & 30.

Qualifying drawings at 6 pm, 7 pm, 8 pm, 9 pm and 10 pm.

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

Don’t miss this legendary musician, performing with his band, The Black Spirits!

March 28, 7 pm

$20–$40 Player receives one entry for every 30 points earned on their Lightning Rewards card, March 1 through March 30, 2013. Drawings will be simulcast at Cities of Gold.

Management reserves all rights.

U N DERWRITI NG GEN EROUSLY PROVI DED BY

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

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

BuFFalOThunderReSORT.com

8 7 7 - T h u n d er

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PASATIEMPO

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PAYNE’S NURSERIES

SANTAFENEWMEXICAN.COM and have a chance to

win the new

Winter Hours

Mon - Sat 9 - 5

Payne’s Organic Soil Yard 6037 Agua Fria 424-0336 Mon - Fri 8 - 4

Samsung Chromebook

No purchase necessary.

Must be 13 years or older to win.

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March 15 - 21, 2013

You turn to us.

March 16 Sam McCarthy: Compost and Organic Soil Improvement March 23 Lynn Payne: What To Do in the Garden Now

Sam McCarthy

March 30 Lynn Payne: Pruning March 31 CLOSED Easter Sunday April 6 Valerie Jones & Leanne Lopez: Introduction to NEW Plants for 2013

Valerie Jones

See all 7 workshops and details at paynes.com

www.paynes.com

Now through April 9, you’ll be automatically entered to win when you sign up for a FREE account on PasatiempoMagazine.com or SantaFeNewMexican.com.

Lynn Payne

Save the Date!

Saturday, March 23 & Sunday, March 24 Payne’s 10th Annual

clip & save

THE ALL new

Payne’s North 304 Camino Alire 988-8011

Seven fun, interesting & informative talks absolutely FREE! All participants receive a 20% discount card to use the day of the workshop. The first four workshops will be at our NORTH store at 304 Camino Alire.

The final three workshops will be at our SOUTH store. All workshops start at 11:00 AM.

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Register for a FREE account with

Payne’s South 715 St. Michael’s 988-9626

SPRING WORKSHOPS

8p

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JAPANESE TAPAS & SUSHI

Late Night Special

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Downtown next to Lensic on Burro Alley

Across from Regal Cinema 14

992-0304

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Variety of Japanese Tapas and $2 Draft Beer all day, everyday

Lloyd Kiva New

Clothes conscious: Native American fashion

De Bella Collectibles Your Personal Jeweler

c.1920 platinum diamond and sapphire ring

platinum, diamond and sapphire bracelet handmade c.1940

deBella-designed 1.25ct. Marquis diamond and platinum ring

selling, consigning, & buying fine estate jewelry Contact Joe De Bella, Graduate Gemologist at 505.231.5357 or joseph.debella505@gmail.com

Courtesy SAR

The legendary Lloyd Kiva New (1916-2002) is best known for launching the Southwest Indian Arts Project, co-founding the Institute of American Indian Arts, and teaching Native artists for decades. But you might be surprised to learn that got his start in fashion design. “While everyone knows that the world of fashion is indeed strange and capricious,” New said, “it nonetheless represents one of the most basic and compelling of artistic impulses.”

In the 1940s and ’50s, New created pieces, from blouses and minidresses to purses, all of which incorporated materials, symbols, cuts, and colors from various Native tribes. He sold his designs to Neiman Marcus and other stores, and in 1951 in Atlantic City, he became the first Native American to show at an international fashion show. Because of his work, Nativeinfluenced styles were “rampant in current sportswear” in the early 1950s, according to the Los Angeles Times.

New’s work is at the heart of “Native American Fashion From the 1940s to the Present and Into the Future,” a lecture by Jessica Metcalfe at 6:30 p.m. on Thursday, March 21, at the New Mexico History Museum (113 Lincoln Ave., 476-5200).

Jessica Metcalfe The talk, sponsored by the School for Advanced Research, also highlights Wendy Ponca, Patricia Michaels, and Virgil Ortiz, three luminaries of the contemporary Native fashion world.

A former Harvey W. Branigar Jr. Native intern at SAR’s Indian Arts Research Center and a Ruth Landes Memorial Research Fund fellow, Metcalfe received her Ph.D. in American Indian Studies from the University of Arizona. Her lecture takes place in the museum’s auditorium.

Tickets, $10, are available at the door. Call 954-7203 for information.

— Laurel Gladden

PASATIEMPO

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Santa Fe Farmers’ Market Institute

WEDNESDAY NIGHT M

O

V

I

E

S

E

R

I

E

S

Genetic Roulette

Alarming questions & profit-driven politics behind GMO’s!

Top Transformational Film of 2012 by AwareGuide!

March 20 7:00 pm

at Santa Fe Farmers’ Market Pavilion

Place: Santa Fe Farmers’ Market Pavilion Admissions: General Admission: $12, Institute Members, Seniors & Students over 18: $10, Under 18 and Santa Fe Farmers’ Market Vendors: Free

505.983.7726

www.farmersmarketinstitute.org

Beneficial Farms CSA Crumpackers Café & Bakeshop Intergalactic Bread and Space Sauces

SOUTHWEST ANTIQUES & ARTS GREAT DEALS!

Jacona Farm La Fonda on the Plaza Lakind Dental Group Dan Merians and MorganStanley

Red Mesa Meats Refugio Verde Romero Farms South Mountain Dairy

St. John’s College honors award-winning New Mexico artists who work in the Spanish Colonial Tradition at its

2013 Auction & Market

’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’

A special juried event showcasing exemplary creations by local artists Friday, March 15, 2013

Reception and Auction 5 - 7 p.m.

Music by Amanda Quintana

’ Market Opening 7:15 to 9 p.m.

Admission is free

’ Saturday, March 16, 2013

Saturday: 8-3 Sunday:10-4

Market continues 9 a.m. - 4 p.m.

Lecture by Ralph Sena at 11:30 a.m.

All events in Peterson Student Center, 2nd floor

’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’ For details, visit: www.stjohnscollege.edu/events or call Deborah Spiegelman, 505-984-6199 14

March 15 - 21, 2013

“The Mortgage Experts”

STAR CODES

Personalized Face-to-Face Service Professional Mortgage Planning Conventional, Jumbo, FHA, VA Call for a free 30-minute Mortgage Consultation

Heather Roan Robbins Team Alvarez & Doehr

Patience, steadiness, and grounded practical thinking — these are so valuable this week because they are in such short supply. Expect the unexpected. Go full speed ahead on creative endeavors, but hold major decisions until next week.

The general mood is honest, emotional, and impatient with strong political crosscurrents and an accidental streak as our astrological energizer, Mars, now it its own energetic (if short-fused) sign of Aries, approaches unpredictable Uranus. Mars in Aries makes us unusually irritated by delays, but mental Mercury is still retrograde and makes occasional holdups inevitable. Headaches or minor accidents can bother us if we contain our feelings with too much force; it can be therapeutic to go chop wood or throw rocks in the lake.

Aries’ impatient impulsiveness grows to a crescendo over this week and into next as the sun and Venus enter fiery Aries and Mars conjuncts Uranus.

Through the weekend and into the following weekend, watch impulsive reactions to problems or slights from the past. Deal with this springtime regenerating impatience. Breathe into it. Search for that still, calm place in the center, visit it briefly, and return to it often; from there, let the Aries energy regenerate in a healthy and centered way.

Over the weekend people are fresh, energetic, and talkative, and they may feel like they are spinning their wheels. Mercury turns direct late on Sunday and picks up speed on Monday. We begin to get some traction on our new direction by the end of the week.

Check in with all projects cooking on the back burner. Get résumés and proposals out after Monday. Opportunities abound as Saturn trines Chiron next week and calls us to share our talents with the world.

Annette Alvarez

Mortgage Loan Originator NMLS# 296002

Wendy Doehr

Mortgage Loan Originator NMLS# 866716

502 W. Cordova Road | Santa Fe, NM 87505 505-428-0331 | 505-428-0337 Fax

Wendy.Doehr@gatewayloan.com Annette.Alvarez@gatewayloan.com

EQUAL Housing Lender

Hate Your CPAP? Using your CPAP is really important for your health. But if you can‛t use it, there may be another choice. Dental splints for sleep apnea are small and silent, and help you breathe well during sleep. Be comfortable, healthy, and happy. Visit SantaFeTMJ.com. Call today for an appointment.

Traveling with a sleep splint requires no extra luggage. & We are providers for Improving the quality of your life Blue Cross Blue Shield Presbyterian Health Plan 2019 Galisteo St, J2 Lovelace Health Plan Santa Fe, NM 87505 United Healthcare Robert L.Wartell, DMD Medicaid

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Friday, March 15: The energy pushes us to hurry up and wait, but it’s better if we can make smooth, steady progress under an earthy Taurus moon. A boring moment midmorning may be necessary to support later efforts; don’t lose concentration. Tonight, offer comfort and clarify priorities.

Saturday, March 16: Honor obligations, but don’t take anything else too seriously as the sun sesquisquares Saturn. Get as organized as possible, and wing it from there. Notice a desire to prove oneself, and expect authority to be challenged. The evening grows sensual around dinnertime and wittier toward midnight as the moon approaches Gemini.

Sunday March 17: Life is a jig — we jump up and down in place. There are good connections but little progress until afternoon. Watch for loose wiring and strange crosswinds. Things begin to make sense tonight; keeps the conversation going.

Monday, March 18: Breathe through impatience. We need people to come through for us as Venus sesquisquares Saturn, but let’s not make it a test — life is testing us enough already.

www.moleculedesign.net 505.989.9806 • Floor hrs.: tues-sat 10-5 1226 Flagman Way (behind Recollections) Santa Fe, NM 87505

Tuesday, March 19: Touchy people take everything personally and get discombobulated as the moon challenges the sun and Venus then enters deep-feeling defensive Cancer. Loving kindness flickers with impatience midday. Impersonal plans blossom, but if human resources are tricky, return to the shared vision.

Wednesday, March 20: Spring begins at 5:02 a.m. After a blustery morning, a new understanding can be reached if we keep the dialogue open and listen as much as we speak. Look for a chance to rectify inequality midday as the moon opposes Pluto. Avoid oppositional behavior and encourage all to come alive and express themselves this first day of spring.

Thursday, March 21: Prepare today, and be ready to get on with it all tomorrow. This morning we feel the conflicts between home life and ambition and between coziness and adventure. Our intuition is clarified as Mercury pulls away from Neptune. Later, the world speeds up as Venus enters Aries. ◀ www.roanrobbins.com PASATIEMPO

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In Other wOrds Philida by André Brink, Vintage/Random House, 310 pages Skin color was the easiest way to distinguish the people who were slaves on the southern tip of Africa from the people who were not. This division, however, doesn’t come close to telling the whole story.

The period of social and economic transition that came in the early 19th century on the Cape of Good Hope made it possible for the young slave Philida to carry the hope for freedom, however improbable. When author André Brink begins Philida’s tale, it’s two years before the 1834 emancipation of slaves in the English colony.

Philida’s main job is to knit clothing for the white household she serves. Her days pass in neat rows of wool, and she does her best to stand tall despite repeated indignities. The way her mind crafts knitting as a symbol of life is poetic. But there’s no poetry in chicken shit and orchestrated rape. Those are also part of Philida’s daily life on the white man’s farm, where “we are only the hands that work here, the feet that tread the grapes in the big vat.”

Slaves didn’t wear shoes — not for working among grapevines or collecting eggs, and not for walking distances that took days. Even so, Philida’s “narrow feet” are one of the features that endear her to Frans, the son of her master. Of all the promises he makes to her, the one about shoeing her feet resonates most deeply. Even though Philida bears him four children, Frans doesn’t keep his promise. When Philida asks for help from the Office of the Slave Protector, she’s disappointed with the results.

Brink does not hold his historical novel at a comfortable fictitious distance. The family in the book that shares his name is indeed based on his real family. Cornelis Brink, the white patriarch in the story, was the brother of one of the author’s direct ancestors.

Records kept in a small museum at the Zandvliet farm and in government offices and private libraries became the building blocks of the work. For example, much of what transpired between Philida and Frans is told in her words in a complaint recorded ded in the Office Of of the Slave Protector. Slave rolls confirm the presence of other key characters in the novel and of Philida’s eventual sale to another family. In between, it’s up to Brink’s imagination and deduction to read between the lines.

His version of the story replays a pattern in societies in which slavery is sustained through generations. The lines between master and servant blur with unmistakable biology. When the bossman rapes the slave woman or when the two have a somewhat consensual sexual relationship, the resulting children are claimed in disparate ways. The ones destined for slavery sometimes die at the hands of their mothers — the only way to guarantee life won’t be spent in chains. For the children who become part of the white world, the juxtaposition of black and white is swiftly ignored. Cornelis is the son of a slave mother and a free white father, yet he’s the vintner and head of a household with many children and slaves. He sees brown skin as a sign of an animal to be dominated — not a fellow human on a similar journey. When his son hints that he wants to make a family from what Cornelis sees as a natural indiscretion, the tensions mount.

Brink spends most of the time using Philida’s perspective to frame his tale, but the first-person accounts from the bossmen illuminate their recognition of the social evolution at play. “What will become of them [the white masters]?” Philida contemplates as she thinks ahead to emancipation and sets her mouth against obedience. “We are like the foundation of their house. Their lives and everything is built on us. This whole land is built with our sweat and our blood.” Cornelis filters the same issue through his own lenses. “It was God himself who made them to be the hewers of wood and the carriers of water for us. What will become of them? And what will then become of us? We all need one another.”

Religious symbolism has a significant role in the story, especially in how slave masters use the Bible to shore up what they interpret as a manifest destiny promulgated by “their Jesus.” Both Islamic teaching and indigenous Khoe theology offer more liberation than Christianity to the brown-skinned Africans in this account. Brink uses a spiritual and philosophical approach as much as a solid grounding in natural and geographical details. So the author employs both figurative, contemplative language and literal, sensual storytelling. Identified as one of South Africa’s most accomplished writers, Brink has written dozens of works that offer a lifetime of insight about the Afrikaner colonial period, the apartheid atrocities that followed, and the ongoing repair of torn social fabric.

For his character Philida, this process is akin to what happens when something is not knitted right. “Knitting and knitting and knitting, longstitch and plainstitch and purlstitch and tacking stitch, and unraveling everything when you drop one … doing it all once more from the beginning if there is one wrong stitch in it, even if the day burn out into night and your fingers get numb in the dark yellow light of the candle.”

— Julie Ann Grimm

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book reviews

SubtextS What becomes a legend At 2 p.m. on Sunday, March 17, Ana Pacheco signs copies of her new book, Legendary Locals of Santa Fe at the Genoveva Chavez Community Center. Legendary Locals (Arcadia Publishing) is a national series, and the cover of Santa Fe’s edition features a few of the familiar faces profiled within: Georgia O’Keeffe flashing a smile, Archbishop Jean Baptiste Lamy scowling, a precharred Zozobra furrowing his eyebrows, and “the first lady of the Santa Fe Fiesta,” Genoveva Chavez, wearing a very large sombrero, part of a traditional mariachi outfit. Santa Fe native Pacheco (whose column, “A Wonderful Life,” runs every Sunday in The New Mexican) drew on her childhood when researching subjects for the book, and she knew many of the legendary locals, including Chavez. The book is organized into sections (history, literature, art, entertainment, sports, business, military service, and public service) and offers succinct bios of everyone from the architect John Gaw Meem to actor Wes Studi to Ahmed Obo, owner of Jambo Café. An enticing aspect of Legendary Locals is its many photographs of life in old Santa Fe. One 1917 photograph depicts six girls on the St. Michael’s High School basketball team, clad in floor-length skirts and white lace-up shoes.

An 1872 shot of the First National Bank of Santa Fe recalls the town’s frontier days, showing about 20 men wearing top hats looking out from the bank’s two-story porch. While Pacheco’s text recounts the major accomplishments of the usual suspects, it also profiles the unexpected and the unknown, like giant-vegetable grower Jannine Cabossel or Cholene Espinoza, the second woman in the U.S. Air Force to fly the U-2 reconnaissance aircraft. The center is at 3221 W. Rodeo Road; call 955-4000.

— Adele Oliveira

ALAN ROGERS, M.D., P.C.

Comprehensive .Compassionate .Patient Centered Health Care

Family Physician | Board Certified ABFM In Santa Fe since 1987

An Eternity of Eagles: The Human History of the Most Fascinating Bird in the World by Stephen J. Bodio, Lyons Press, 202 pages “On a steeply slanting talus slope ten miles north of the little New Mexico town where I have lived for more than thirty years, a shadow falls across me, as silent and swift as a blowing cloud,” naturalist Stephen J. Bodio writes in the prologue to his new book. “I should be ready. I know there is an eagle’s nest tucked into a hollow in the vertical wall above. But the shadow crosses me as it must cross a prey animal, and I involuntarily flinch and stumble.”

Big, powerful eagles have been flying on Earth for millions of years, and their majesty and hunting feats have been recorded by every culture that has encountered them, “from the ancient Greeks to the Japanese to the Aztecs, who knew the enormous crested harpy, whose name comes to us from the Greek for ‘snatcher.’ ” One of the best known is the golden eagle.

This is the species that lives near Bodio’s house; in fact, it lives throughout most of North America, much of Asia and Europe, and down into northern Africa. A big golden has a wingspan of about 78 inches and weighs about 14 pounds.

That might not seem like much, but it’s all ferocity.

The idea of eagles nabbing children is probably a myth, but these are still mighty raptors. Bodio, who is also a falconer, quotes explorer-scientist Douglas Carruthers, who wrote in his 1949 book Beyond the Caspian about eagles preying on foxes, deer, and even wolves.

Bodio offers insights into eagles all over the world but of course includes the U.S. big shot, the handsome bald eagle, known for its hunting prowess — which includes stealing fish caught by the more nimble osprey — and for its successful comeback after an extinction threat from human use of the pesticide DDT. The book’s foreword is by author Annie Proulx, who met Bodio decades ago. She relates that, after the naturalist contracted malaria in Zimbabwe (which stimulated him to undertake an impassioned investigation into the evolution of parasites), he “continued his examination of the world from a home base in one of the emptier regions of New Mexico in a house full of books, bones, dogs, and raptors and with a shady backyard mellifluous with his extensive pigeon collection.”

Proulx, whose own house affords her views of both bald and golden eagles, says she was hard put to find detailed published information about their behavior; most books lump eagles in with other members of the Accipitridae family, such as hawks, ospreys, and kites. Bodio’s new book (his earlier works include Aloft: A Meditation on Pigeons and Pigeon-Flying, Eagle Dreams: Searching for Legends in Wild Mongolia, and On the Edge of the Wild: Passions and Pleasures of a Naturalist) offers just that missing detail, the fascinating text punctuated by photographs and reproductions of paintings by Louis Agassiz Fuertes, John James Audubon, and others.

In An Eternity of Eagles, you will see and read about sea eagles, jungle eagles, and steppe eagles; eagles in art, mythology, and heraldry; eagles as hunting allies, transported on horseback and in motorcycle sidecars in Kazakhstan; eagles as enemies, shot from airplanes; and the future of eagles.

— Paul Weideman

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PASATIEMPO

17

ART OF SPACE

Paul Weideman

Rough draft: architect John McHugh Fans of architect John McHugh have two reasons for excitement: an exhibition of his paintings at Matthews Gallery and the publication of John McHugh Travel Sketches: A Record of His Travels and Observations and a Guide to Sketching in the Field. You’re right: neither one is obviously about McHugh’s architecture. Instead, they involve the other two-thirds of his “three-sided artistic endeavor,” as author Norman Crowe puts it.

Crowe’s new book, from Sunstone Press, features more than 100 drawings taken from eight sketchbooks that survived McHugh, who died in 1995.

The drawings depict buildings in New Mexico, other areas of the United States, and Europe. An objective of the book, besides featuring some wonderful sketches by a beloved Santa Fe architect, is to encourage others to embark on “the enjoyable lifelong habit of sketching.”

McHugh loved both traveling and sketching.

Rather than using a camera for later interpretation in pencil or watercolors, he worked on location.

Crowe approves, writing that “photography does not train our minds to decipher the information before us in the way that sketching can do. That is what Le Corbusier meant when he said ‘cameras get in the way of seeing.’ ” Crowe, a Colorado native now living in Albuquerque, is an architect and emeritus professor at the University of Notre Dame and an adjunct professor in the University of New Mexico’s School of Architecture and Planning. In John McHugh 18

March 15 -21, 2013

Travel Sketches, he writes that the act of sketching leads to discoveries otherwise overlooked. “So many of my students, when forced to sit and sketch something, comment afterward that they had never noticed or wouldn’t have noticed [something] had they not sketched certain characteristics of the building,” Crowe said in a talk with Pasatiempo.

The McHugh sketches demonstrate a great sensitivity to well-designed buildings, most of them probably conceived in the vernacular. “His European and early New Mexico drawings tend to show buildings more in context, which is the way that architecture appears and which is probably why he liked Santa Fe — that the architecture all works together in the center of Santa Fe rather than independent buildings free-standing on vacant lots,” Crowe said.

McHugh’s New Mexico sketches capture the apparently timeless adobe buildings, although in some he includes motel and gas-station signs. His wide-ranging artistic taste shows in the sketches’ stylistic variety. The watercolor shapes in his U.S. City Scene and in Fish Town, Malmo are simple, almost childlike. Such works contrast with the jaunty attitude of his pen-andwatercolor San Francisco and with the perhaps more literal European Street Scene in watercolor and graphite pencil.

For his sketch of the Irish town An Clochán, McHugh used a background watercolor wash and colored pencil and then added watercolor tones to highlight each building in the row.

“He’s much more experimental than his mentor, Francesco Montana, with whom he studied at Notre Dame,” Crowe said. That predilection also shows in the subjects of his paintings at Matthews Gallery, one of which, Untitled (View from the Mountain), is enclosed in a skewed pentagonal frame. The Santa Fe gallery shows the architect’s vibrant oil paintings, watercolors, and serigraphs in The Art of John McHugh, opening Friday, March 15.

McHugh was born in Springfield, Ohio, and graduated cum laude from the School of Architecture at the University of Notre Dame. He served in the Army Air Corps during World War II and then returned to Notre Dame to teach for two years in the art department. In 1946, he set out on a road trip across the country. His fondness for rendering on paper what he witnessed is described

by Gillian Wethey McHugh (whom he married in 1954) in the new book: “Anything that took his eye was sketchable, and in order to keep his skill sharp he would stop every hour or so and draw and/or paint anything that happened to be at hand, whether monumental building or telephone pole!”

On his trip west, he stopped in Santa Fe for car repairs and thought he would check into the office of architect John Gaw Meem for short-term employment. He ended up working with Meem for a decade, and then started his own firm with Van Dorn Hooker in 1956.

McHugh occupied himself with what Crowe called “the pure design phase” of the practice.

Hooker took care of the other end, the production of

documents for the contractor. The firm McHugh & Hooker designed homes and commercial and institutional buildings and did restoration work on historic churches, but its best-known project was the first Santa Fe Opera pavilion. That 1957 theater burned down 10 years later, and McHugh designed its replacement (which itself was replaced 30 years later with a design by Polshek Partnership Architects).

At various times during his 35 years in private practice in Santa Fe, McHugh teamed with other partners: Bradley Kidder, Robert Plettenberg, James Burran Jr., George Wright, and Wayne Lloyd.

“Most of his training would have been in the design of the building,” Crowe said. “There is an expression, ‘The plan is the generator of the form,’ and McHugh would have bought that argument.

I think he wanted to make buildings that were New Mexican and that reminded you of the place and the things he loved about this state. He was a regionalist, a proponent of regional conditions, and refining those ideas. A favorite phrase of mine, from Boston Globe architecture critic Robert Campbell, is ‘innovating on the edge of tradition,’ and I think that’s how McHugh worked.”

It is an unfortunate truism that famous “starchitects” sometimes pay less attention to program — the needs of a building’s users — than to form.

“Among avant-gardists, that’s a general condition,” Crowe remarked. “I often discourage my students from thinking of themselves as entering the realm of avant-gardism. You can make very beautiful

John McHugh: top, from left, Fish Town, Malmo, Sweden, watercolor; Mora, 1953, felt-tip pen and black ink; U.S. city scene, opaque media; Big Ben, London, watercolor and black ink; below right, Salisbury, watercolor Images courtesy Sunstone Press

buildings that work beside other buildings and satisfy their function without being bizarre. There’s a subtlety of detail and form and proportion that’s really more important.”

Beauty and practicality — these attributes were expressed in McHugh’s practice and in his “recreational” drawings. “He did this travel sketching for his own enjoyment. There was no intention of ever selling them,” Crowe said. “He just liked to draw and looking back through them to recall what he saw. And they informed his work, because it sharpened his ability to see the form and detail and proportion of the buildings.” ◀ “John McHugh Travel Sketches: A Record of His Travels and Observations and a Guide to Sketching in the Field” by Norman Crowe was published by Sunstone Press in 2012. “The Art of John McHugh” opens with a 5 p.m. reception at Matthews Gallery (669 Canyon Road, 992-2882) on Friday, March 15, and runs through March 28.

PASATIEMPO

19

T H R O U G H T H E

Rob DeWalt I The New Mexican 20

????. ? - ?, 2012

Friday, March 15, Theater Grottesco begins its Eventua festival, a 30thanniversary celebration with performances at the Center for Contemporary Arts’ Muñoz Waxman Gallery. (In the company’s honor, Mayor David Coss proclaims that Friday “Theater Grottesco Day.”) In collaboration with the CCA, the alwayscutting-edge and highly physical Grottesco ensemble and its performance partners from the U.S. and Canada present two series. The first, Exquisite Absurdity: 30 Years of Looking Forward, is a trip through some of Grottesco’s many original past productions, which began taking shape in Paris in 1983. A retrospective of select scenes is on offer.

The second part showcases new work created by visiting performers and performance troupes.

Leading up to dress rehearsals for Exquisite Absurdity, Pasatiempo spoke with Grottesco cofounder John Flax, who is still an active performer in the ensemble.

Pasatiempo: How far back will Exquisite Absurdity take audiences?

John Flax: Way back. We’re actually going back to the very beginning, right before Grottesco formed.

Elizabeth [associate artistic director Elizabeth Wiseman] and I were students at École Jacques Lecoq in Paris back in the early ’80s, and we did a short piece for Lecoq, who said, “You’re going to turn that into a full-length piece someday.” That piece became Grottesco’s second piece, called The Insomniacs. It’s the story of a couple that can’t sleep and are wide awake in the middle of the night. We first did The Insomniacs in 1984 in Santa Fe as part of Grottesco’s first U.S. tour. We hadn’t opened the trunk on this show in 25 years, and to be honest, doing so was a frightening adventure.

Pasa: How many scenes are you planning to showcase from your repertoire? Are you covering particular thematic ground?

Flax: We’re shooting for 11 short scenes, and a number of shows are being represented. We have 11 original full-length shows under our belts, so you’re going to see a good variety. People can look forward to scenes from Fortune: The Rise and Fall of a Small Fortune Cookie Factory [1987], The Richest Deadman Alive! [1988], This Is Life as We Know It ...

[2001], The Angels’ Cradle [1993], and many others.

We might sneak in A Dream Inside Another [2005] a little bit, and then there are a few short pieces that were just short pieces to begin with that we’ll have on the bill. It was interesting to curate this series. There aren’t a lot of retrospectives going on in theater right now. We tried to look at the fine-arts world and figure out how to curate this. We wanted to focus on scenes that we experimented with and that allowed Grottesco’s palette to grow and put us in the creative places we are now.

Pasa: Grottesco has never really done anything small scale in the last decade. The group’s fulllength shows are known more for their immersive nature. How did that reality affect your curation of scenes, and what impact does it have on the physical stage and performances over the next few weeks?

Flax: We toured for 15 years before coming to Santa Fe, and just the fact that we had to fit in just a van and a car limited the size of the cast and sets

and what we could do visually. One of the things we focused on when we began to talk about what kind of compromises we would have to make with this retrospective-style show was what to leave in and take out. We decided to zero in on more intimate moments, and we’re back to a four-person cast: Elizabeth Wiseman, Todd Anderson, David Salowich from Detroit, and me. The biggerensemble elements of these scenes will be projected on the walls so that people can still enjoy them between the more intimate acts.

Pasa: How did you decide which ensembles to work with for the festival?

Flax: We’ve toured for so many years and have been a part of a network of ensemble theaters. All of these people we have either seen perform or collaborated with, or both, in the past. One of the great things about bringing them into this series is that they’ll do master classes for Grottesco ensemble members and the Santa Fe community at large while they’re here.

Pasa: What sort of work are the ensembles performing?

Flax: Lisa Fay and Jeff Glassman are presenting Depth of a Moment: In Four Parts. They will be standing next to each other having a naturalistic conversation while their bodies are belying that conversation with something completely different.

The choreography is so intricate that it’s hard not to think of their bodies as a gallery exhibit. Vermont’s Sandglass Theater is going to do some gorgeous puppet work. One of the things that drew me to Sandglass is something that Eric Bass, the ensemble’s co-artistic director, said about what they do. He said that in order for a puppet to live, it has to come through the breath. It starts with the breath of the manipulator. And that’s the basis of Grottesco’s own physical work: it all comes out of the breath. We brought Sandglass to Santa Fe in 2009 to perform at Wise Fool Studios and have always wanted to do more with them. Toronto’s Faustwork Mask Theater brings spectacular mask work. Rob Faust, the artistic director, was with Pilobolus Dance Theater back in the day and was trained as a dancer, but he does amazing things with masks and illusion theater. Cole Bee Wilson and Cheryl are presenting H. Thunderbolt and The Big Hoot, which are, respectively, experimental sonic performances blended with historical truth and fiction and a huge dance party.

Pasa: Are you nervous at all about looking that far back into the ensemble’s closet while also incorporating new work from other ensembles with no close ties to Santa Fe? Flax: Our partnerships and networks keep us strong. Actually, CCA curator Erin Elder comes from a fine-arts background, and these are visiting groups that really blur the lines between fine art and performance. Elder is bringing in younger performances, and that’s bringing in younger audiences, which is always good for performance ensembles and art spaces, no matter what their specialties are.

Pasa: Given that the Grottesco ensemble is spare for the retrospective, what will the nature of the stage setup be? How will you transition from one scene to the next?

Flax: We’re mostly working with a blank stage and props that we can roll onstage. We’re thinking we can comfortably seat an audience of around 150.

There are a few informal interludes where we will discuss the origins of works and war stories of past Grottesco tours. For example, Grottesco was in Budapest when the Chernobyl nuclear plant went catastrophic in 1986.

Pasa: What’s next for Theater Grottesco?

Flax: Actually, we’re putting most of our energy into scenes from Life as We Know It, a short piece that premiered in 2001. We’re revisiting it as a full-length piece in 2014. We’re looking at a smaller version of it as part of the retrospective to see what themes and concepts we want to carry over to the expanded production. We’re also very excited about this collaboration with the CCA. This is basically a seed year for us, a prototype of what we hope will come. We’ll keep experimenting, and we’re hoping Eventua will become an annual event. ◀

T H E A T E R G R O T T E S C O M O V E S F O R W A R D details ▼ Theater Grottesco’s Eventua festival Friday, March 15-May 4 Exquisite Absurdity: 30 Years of Looking Forward Opening-night gala 6 p.m. Friday, March 15, 7 p.m. performance (party continues after show), 7 p.m.

Saturday & Thursday, March 16 & 21, 4 p.m. Sunday, March 17; 7 p.m. Thursdays-Saturdays, 4 p.m.

Sundays, through April 7 Lisa Fay/Jeff Glassman Duo’s Depth of a Moment: In Four Parts 7 p.m. April 11-13, 4 p.m. April 14 Sandglass Theater’s D-Generation: An Exaltation of Larks 7 p.m. April 18-20, 4 p.m. April 21 Faustwork Mask Theater’s The Mask Messenger 7 p.m. April 25-27, 4 p.m. April 28 Eventua finale 8 p.m. May 3 & 4 ▼ All performances are at the Center for Contemporary Art’s Muñoz Waxman Gallery, 1050 Old Pecos Trail, 982-1338. ▼ Tickets are $25, $10 for students; Thursdays are pay what you wish; March 15 gala tickets are $100. ▼ A season pass is $115 for six performances.

Tickets are available from www.theatergrottesco.org and by calling 474-8400

Opposite page, Elizabeth Wiseman; photo Marc Romanelli PASATIEMPO

21

TERRELL’S TUNE-UP Steve Terrell

A talent to a muse I was Googling Terry Allen the other night, looking for a recent interview I’d heard about. The Lubbock-born Santa Fe resident has just released Bottom of the World, his first CD of new material since 1999.

At the top of the Google news page was a little web ad that read “Terry Allen’s records www.instantcheckmate.com/ Did you know Terry Allen’s criminal history is searchable?”

How’s that for outlaw cred? No, I didn’t run Allen’s name through the search. I seriously doubt that it has anything on the artist. And even if it did, I’m sure it wouldn’t be nearly as interesting as the record of his records.

You can’t call Allen a prolific musician — he’s just a henchman of his weird muse, which often commands him to work in other mediums, such as sculpture, painting, theater, and multimedia installation. The albums he has released since the 1970s are full of poignant stories, hard-eyed observations, sardonic wit, unforgettable characters, and occasionally some righteous rage.

The first thing that Allen fans might notice on the new record is that it seems more somber and quieter than most of his others. There are no raucous roadhouse rockers like you find on earlier records. Here the songs tend to be slow, the melodies are mostly sad, and the lyrics are clear — and they often sting. It’s the kind of album you have to sit down and listen to. Do it. It’s worth it.

Except for Allen’s keyboards, this is basically an acoustic affair with longtime Lubbock crony Lloyd Maines adding some guitar and steel guitar; Richard Bowden, another longtime Allen collaborator, on fiddle; Brian Standefer on cello; and Allen’s son Bukka on accordion and B3 organ. Bukka’s wife, Sally Allen, does harmony vocals on some tunes.

Bottom of the World starts out in familiar territory. The opening track, “Four Corners,” is a new version of an old song that originally appeared on Allen’s 1975 debut album, Juarez (which a wise critic once described as “a breathtaking tour of the underbelly of the Southwest, the barrooms,

22

March 15 -21, 2013

Terry Allen is just a henchman of his weird muse, which often commands him to work in other mediums, such as sculpture, painting, theater, and multimedia installation.

the whorehouses, the trailer parks, and the highways by hard-bitten and not entirely lovable characters”). It’s a bittersweet memory of a lost love and a wistful way to open the new album. After nearly 40 years, the song (as well as the entire Juarez album) has aged quite well.

“Four Corners” is followed by “Queenie’s Song,” which Allen co-wrote with Guy Clark more than a decade ago. It appeared on Clark’s 2002 album The Dark. This is the story of a crime that took place in Santa Fe. On New Year’s Day in 1999, Allen’s dog Queenie, who had been missing, was found shot to death. “Bet you got a gun for Christmas/That don’t make it right/What in the hell were you thinkin’/With little Queenie in your sights,” Allen sings, the anger still in his voice. It makes me pigbitin’ mad too. I hope the jerk who shot Allen’s dog is reading this.

But this is only the beginning. Allen’s new songs show he’s still got the knack. “Do They Dream of Hell in Heaven” would tickle the ghosts of Mark Twain and William Blake. “Do they dream of hell in heaven?/ Do they regret how hard they’ve tried/Wish now they’d been much more sinful/And repented just a minute before they died?” Here he raises an important theological question: “Is there something strange about heaven they just don’t want you to know?”He ends the song with the image of “the golden gates of forever” closing “tight on all the fun.”

Some of the best songs on this album show earthly situations in which fun doesn’t seem like an option. “Emergency Human Blood Courier” wouldn’t sound out of place in a sequel to Juarez. In an ominous minor-key Mexican-style melody, Allen speaks the lyrics: “Emergency human-blood courier headed south down to Mexico/Where there’s been a whole lot of bleeding, and there’s going to be a whole lot more/ Emergency human-blood courier in a vehicle red as nails/Haulin’ blood down to the borderlines/Where all systems seem to have failed.”

The album’s biggest punch in the gut is “The Gift,” a song ripped from the headlines. It was apparently inspired by the suicide of Wall Street swindler Bernie Madoff’s eldest son, who hanged himself in December 2010, on the second anniversary of his father’s arrest. “Ah, oooh, it’s a gift from daddy,” Allen sings. “Everything you see, is daddy’s.” In the last verse he describes the suicide — how Mark Madoff put his young son to bed and then went and hanged himself in the kitchen doorway. “It’s a gift from daddy/He lost all he had, and he gave it to you.”

While “The Gift” might leave you feeling bleak, Allen ends the album with two songs of love and commitment. “Sidekick Anthem” assures a friend that “I’m just a call away.” Then the last track, “Covenant (for Jo Harvey),” is a sweet love song for his wife of five decades. Some of the people he sings about in Bottom of the World have indeed hit bottom.

Allen may empathize with them, but he knows he’s got a refuge. Check out www.terryallenartmusic.com. ◀

Glass & Ethnographic Bead Show

Special Evening Opening March 15, 5 - 7pm Welcome to the Bead Fest

Traveler’s Market DeVargas Center, (Behind Office Depot) 153B PaSEO De Peralta, Santa Fe. NM. 87501 505-989-7667 43 Dealers of Fine Tribal and Folk Art, Jewelry, Books, Antiques, Furniture, Textiles and Beads

www.travelersmarket.net

Native American Fashion from the 1940s to the Present, and into the Future A lecture by Jessica Metcalfe (Turtle Mountain Chippewa)

Thurs., March 21, 6:30 pm

NM History Museum Auditorium (use Washington Ave. entrance)

No reservations or advanced tickets FREE for SAR members $10 for nonmembers 954-7203 • www.sarweb.org

Lecture series sponsored by The William H. Donner Foundation, The Donner Fund of the Pikes Peak Community Foundation, Lannan Foundation, Thornburg Investment Management, and Betty and Luke Vortman Endowment Fund Sponsored by Flora Crichton Lecture Fund and Los Alamos National Bank

128 West Palace Avenue • Santa Fe NM 87501 (two blocks south of the Convention Center) www.WadleGalleries.com • 505-983-9219

PASATIEMPO

23

PASA TEMPOS

album reviews

Samuel BarBer Wayne An American Romantic SHorter Quartet (Harmonia mundi) Within the Without a net (Blue note) network of professional chamber choirs The hottest quartet in jazz is led by in the United States, Conspirare has Wayne Shorter, age 79, and Without gained considerable national acclaim a Net is an event — it’s just the for the finesse it has achieved under third album set down by the quarits director Craig Hella Johnson, tet he formed in 2000, with Danilo who founded the group in Austin in Perez, piano; Brian Blade, drums; 1991. Of the five CDs it has released and John Pattitucci, bass. It opens on Harmonia Mundi in the past five with a new take on “Orbits,” first years, its latest is the most significant, recorded on 1967’s Miles Smiles. bringing together nine choral works by Perez sets up the action with a Barber. Notwithstanding the popularity of Barber’s choral arrangedeep, repeating, four-note pulse; Shorter plays some fast flourishes ments of his Adagio for Strings (here as Agnus Dei) and his song “Sure and calms down for a moment to repeat the theme; and then the quartet on This Shining Night,” many of these items remain underrepresented launches with its fabled loose-but-tight chemistry. In recent interviews, in concert programming, although several have benefited from recordings Shorter talks about dignity and “playing what you wish for” rather than in recent years. Nearly half the disc is devoted to The Lovers, an autobiotrying to explain how the quartet does what it does. What it comes down to graphically charged 10-movement cantata (for baritone, chorus, and is excellence in the players’ intentions and their ability to surrender symphony orchestra) set to erotic poems by Pablo Neruda. to spontaneous interplay, what Perez calls “comprovisation.”

Connoisseurs applaud this passionate work for its lyric and The opener is followed by “Starry Night,” which starts out dramatic appeal, but it has gone practically unheard since slow, rubato, and impressionistic; but after the halfway its premiere in 1972. “I have always felt that it would point, the quartet begins pulling out plugs until the receive many more performances in a smaller version music is screaming with the intensities of van Gogh’s The hottest that is better suited to the sublime intimacy of Neruda’s screaming sky. The music on this CD is fierce, joyful, and poetry,” writes composer Robert Kyr, whose muchoften beautifully free. Included is the feral 23-minute quartet in jazz is led reduced orchestration is employed here. His setting gets “Pegasus,” recorded live with the five-piece Imani Winds; a compelling reading, although this version may not and the closer, the brilliant, complex, and wild “(The

by Wayne Shorter, age 79, displace memories of Barber’s stunningly colorful origiNotes) Unidentified Flying Object.” — Paul Weideman nal. David Farwig is the finely honed baritone soloist, and ‘Without a Net’ and Johnson’s choir is outstanding. — James M. Keller rHye Woman (Innovative leisure loma Vista) Strings is an event. and horns stretch their muscles and crack their knuckFear oF men Early Fragments (Kanine records) In pop les during the warm-up to “Open,” the first track on music, sometimes originality isn’t the point — just a fresh Rhye’s debut album. The instruments are preparing not variation on an old favorite is all that is needed. In this case, for a sprint but for the musical version of an 800-meter run: the Brighton, England-based Fear of Men takes the learned twee 35 minutes of minimalist cool dotted with finger snaps, polished funk guitar, and plunks of piano. This is buttery soul pop of The Vaselines (“Jesus Don’t Want Me for a Sunbeam”) and music so tasteful that a clarinet or harp may stop by, and the vocals sets it to the jangle-pop of early R.E.M. Early Fragments is pure ear candy sound so much like Sade Adu that you have to double-check the liner to anyone whose iPod playlists take their cues from college radio stations notes. These smooth operators are two men from Denmark and Canada circa 1989. Over ringing guitars, singer Jess Weiss crafts lyrics she says are — Robert Hannibal and Michael Milosh, respectively. Milosh is fortunate inspired by early modernist writers like Walter Benjamin and Anaïs Nin. enough to have a sultry timbre in Sade’s range. With its title and cover The lead single, “Green Sea,” is a hook-laden exploration of the ways in art, along with Milosh’s androgynous voice, Woman is an album that which desire warps personality, with Weiss musing, “Some days I need blurs the lines of gender presentation in pop. It’s deeply sexy without way more than I’ve got.” On “Born,” the band pairs catchy guitar work being specific; much of the mood with dark lyrics, exploring intimacy and rests on the duo’s lush production violence: “Remember to understand and the way Milosh draws out the protection or you will be voiceless.” notes. The best songs have already A palpable sense of restraint and introbeen earmarked for singles: “The version haunts this record, and the Fall” coasts on a snappy piano band sounds quite seasoned for a troupe line and vocals that swell and whose members are barely out of college. relax, while “Last Dance” struts Unlike first albums with strong openers and plenty of filler, this CD has tracks with a subdued disco beat. This that are remarkably consistent in their collection simmers masterfully quality and assured in their style. from start to finish.

— Casey Sanchez — Robert Ker

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PASATIEMPO

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2013 summer guide publishes: sunday, may 12 space deadline: friday, april 12

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ON STAGE All aboard: The Free Range Ramblers return to the Railyard

Spawned from the College of Santa Fe’s Contemporary Music Program in 2007 and continuing to play together after officially forming a band in 2011, The Free Range Ramblers take traditional American string music seriously. Many of the five-member ensemble’s early gigs were played on train cars in the Railyard, and on St. Patrick’s Day, Sunday, March 17, the musicians return to their old stomping grounds.

At 7 p.m. at Second Street Brewery at the Railyard (Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 989-3278), the Ramblers roll out traditional bluegrass classics, folk standards, old-timey fiddle numbers, and some original tunes. Irish soda bread, cream stout/cheddar soup, Irish potato nachos, corned beef and cabbage, and vegan shepherd’s pie are on the menu at the Railyard location and at the original Second Street Brewery location (1814 Second St., 982-3030) on Saturday, March 16, as well as Sunday. If you want a more traditional St. Patrick’s Day music experience, the original pub presents Celtic band Wallop the Spot and the Albuquerque and Four Corners Pipes and Drums on Sunday at 3 p.m. There’s no cover at either restaurant. — RDW

THIS WEEK

Good for what ales you: The Irish Benders

What’s could be nicer on St. Patrick’s Day than an afternoon of great Irish music with The Irish Benders? An afternoon and evening of Irish music with The Irish Benders. Technically it’s The Backwoods Benders, but mid-March each year, band members Mike Barker (autoharp, banjo, and vocals), Hilary Schacht (violin, fiddle, and vocals), Denise Dixson (guitar, accordion, and vocals), Reiney Brown (upright bass, electric bass, and vocals), and Arne Bey (percussion) change the band’s name and transform into Santa Fe’s answer to The Irish Rovers. Their repertoire stretches from melancholy to raucous, and their endurance is worth a toast or two. The Irish Benders do a set at Cowgirl BBQ (319 S. Guadalupe St., 982-2565) from noon to 3 p.m. Sunday, March 17, and return at 8 p.m. to keep the dance floor hopping into the cabbage- and ale-soaked night. — RDW

328 and counting

Johann Sebastian Bach will turn 328 years old on Thursday, March 21 — or would do so if it had not been demonstrated in 1750 that he was, in a literal sense, mortal. First Presbyterian Church (208 Grant Ave.) celebrates him at its TGIF Recital Series this week and next. On Friday, March 15, at 5:30 p.m., Linda Raney, the church’s music director, performs four of his much-loved organ compositions, concluding with the renowned Toccata and Fugue in D Minor. (Well, maybe that chestnut is by Bach; scholars have voiced serious doubts about its attribution in recent decades.) Then on March 22, also at 5:30 p.m., Raney leads the church’s Chancel Choir, plus vocal and instrumental soloists, in excerpts from several of his cantatas and his Magnificat, including the original setting of his beloved “Sheep May Safely Graze.” No tickets are required; donations are appreciated. Call 982-8544. — JMK

Smilin’ eyes: Gerry Carthy celebrates his Irish roots

Born in Castlebar, County Mayo, in western Ireland, Gerry Carthy has been a fixture on Santa Fe’s music scene for more than two decades. Whether he’s playing the tenor banjo, tin whistles, mandolin, fiddle, guitar, bouzouki, or accordion, Carthy has a knack for delivering heartfelt Northern New Mexico folk music and Americana. But this time of year, he can usually be found performing sweet Irish ditties at local pubs and restaurants. Catch Carthy and some friends — musical guests from Ireland — at 8 p.m.

Friday and Saturday, March 15 and 16, at Bishop’s Lodge Ranch Resort & Spa, 1297 Bishop’s Lodge Road, 819-4035; no cover.

(A special St. Patty’s Day menu will be available.) At 3 p.m.

Sunday, March 17, Carthy performs with the Santa Fe University of Art & Design Celtic Ensemble at O’Shaughnessy Performance Space in Benildus Hall, on the campus of SFUAD (1600 St. Michael’s Drive, 473-6196). Tickets are $10 at the door. — RDW PASATIEMPO

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REFINING

DEFINING

AN ABC OF SOUTHWESTERN ART AND ARCHITECTURE Paul Weideman I The New Mexican

ueblo pottery, Western Apache beadwork, Córdova woodcarving, San Juan Paiute baskets, and Two Grey Hills/Toadlena textiles are all covered in Margaret Moore Booker’s new book Southwest Art Defined: An Illustrated Guide (Río Nuevo Publishers). So are nearly 500 other art and craft forms and related matters, illustrated with about 370 photographs. On Thursday, March 21, Booker discusses and signs copies of her book at Collected Works Bookstore. In addition, five Native American and Hispano artists give demonstations of their work.

Among the more esoteric entries in the book is the estípite column, “a Baroquestyle, richly decorated column or pilaster that has the shape of an inverted cone or obelisk,” one of which can be seen on the 252-year-old altar screen inside Cristo Rey Church in Santa Fe. Another is the sillón frailero, a type of armchair with a “distinctive decorative front stretcher known as a chambrana.” Once a church piece used only by priests and friars, it evolved into the “master’s chair” of households in Spanish Colonial New Mexico.

The material is presented in an eminently useful encyclopedic format. “I began work on this about three years ago, and that was the format from the beginning,” Booker said. I was working on other projects, including my last book [2009’s The Santa Fe House: Historic Residences, Enchanting Adobes, and Romantic Revivals], and I just felt that there was a need for this, a book with all the terms relating to the different arts and architecture, both Hispano and Native American, of the region.”

Individual artists don’t get their own entries in Southwest Art Defined, but they are treated within the definitions of their specialties — for example, Maria Martinez 28

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under the black-on-black-pottery entry, Eliseo and Paula Rodríguez in the explanation of straw appliqué, and Helen Cordero in the section about ceramic storyteller figures.

There is a wealth of detail on ceramics and textiles, the author admitted.

“Naturally, with any book the writer’s passion comes through, and those are two areas I have a particular interest in.”

The Chicago-born Booker grew up in Greenwich, Connecticut, and earned her bachelor’s degree at Boston College and her master’s degree in art history at George Washington University. Historic preservation is another passion. Before moving to Santa Fe in 2004, she lived in Nantucket for 10 years and was a founding board member of the Nantucket Preservation Alliance.

Many photographs in the book are items from the author’s Booker Collection, which takes in pottery, bultos and retablos, silver buttons, fetishes, a coral necklace, and a Navajo saddle blanket. Booker and her husband, Martin, have been collecting for many years. “In my preface, I mention that it was one little pot I bought by a Santa Clara potter that started everything nearly 20 years ago. It’s a sweet little black-on-black carved pot by Denise Chavarria, and I brought it home [from Babbitt’s Cottonwood Trading Post on San Ildefonso Pueblo], and when I told my husband what I paid for it, he thought I was insane.”

Martin Booker is a gemologist. “Jewelry is his thing, estate jewelry in particular, but when we moved out here, he learned a lot about turquoise and silver. There’s continued on Page 30

Center, Navajo sand-cast sterling silver brooch; clockwise from top left, Darryl Growing Thunder (Assiniboine/Sioux): Leading the Way, 2011, ledger drawing, colored pencil, India ink, and metal leaf on vintage lined paper; Apache tanned-hide saddle bag, circa 1900; spreads from Southwest Art Defined; Sandra Quandelacy (Zuni): double Corn Maiden fetish; opposite page, Jennifer Moquino (Santa Clara): jar with horned lizards; Rose Herbert, Woman with Cats, 2010, sun-dried mud and commercial paint PASATIEMPO

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Southwest Art Defined, continued from Page 28 an example in the book, a bracelet by Benson Manygoats that he bought, and it’s a piece of sculpture. You couldn’t possibly wear it, because it’s so wide and heavy, but it’s just an amazing piece. It’s a very cool example of inlay with little katsina faces and feathers and pictorial elements done with gems and coral.”

Despite the book’s title, there’s almost as much about architecture and traditional buildings and furnishings — about adobe and rammed-earth homes, about vigas (peeled tree-trunk roof beams) and latillas (saplings laid across vigas), about trasteros (free-standing closets) and alacenas (cupboards built into adobe walls) — as there is about art. “You’re right. I had a rather lengthy subtitle at one point, but this is what it became. In the beginning of the book, I did have to define what I meant by art, because I do not deal with fine art in the classical sense, which is the sculpture and easel paintings. And I am proud about the architecture terms. I think it does surprise people, and it was important for me to get them in there. The publishers weren’t so excited about that aspect, but I thought it couldn’t be a full, rounded book on the subject without them.”

This really is a multidimensional look at the American Southwest. Between the entries on mosaic inlay (which Booker says was long a characteristic of Santo Domingo and Zuni jewelry) and mud toys (traditionally made by Navajos using sifted earth and water), the author tells us about the mountain mahogany shrub, from which Native peoples made fabric and basketry dyes and weaving implements, and about mud plastering for adobe buildings. She includes entries on Spanish Pueblo Revival-style, Territorial-style, and Pueblo Deco-style architecture and also on the hogan, the Sonoran row house, and the wickiup — and she couldn’t restrain herself from providing a nice long entry on the bungalow, a favorite house type that she also enjoyed profiling in The Santa Fe House.

The book’s exhaustive coverage and detailed definitions are impressive but not all-inclusive. For example, Booker tells the reader about latillas but gives no mention of cedros (or rajas), split-cedar sticks that are traditionally used as an alternative to latilla poles. She also leaves out the torta, the thick layer of earth the Northern New Mexico home builder of yesteryear placed on top of latillas or cedros to form the insulating mass of the roof (this is rarely encountered today — found only on homes with quite old, original roofs).

How on earth did she choose 13 of the scores of Santa Fe galleries to mention in “Places to See Art in the Southwest” in the back matter? The

Mud plastering an adobe wall, Chamisal, New Mexico, 1940; right, Hopi (Third Mesa) wicker plaque; far right, New Mexican colcha, late 18th-early 19th century, wool embroidery on wool background; images courtesy Río Nuevo Publishers

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truth is that she didn’t even want that section included. “I felt it gave the book a commercial aspect I did not want it to have. The publisher started the list, and it had California in there, and that’s not even part of what I’m dealing with as the Southwest. And they only had like four places listed for Santa Fe. I expanded that greatly [and included nine museums]. It is what it is.

“At the very end, we sent out the entries to specialists like [Santa Fe writer] Carmella Padilla, who read the Hispano entries. And Jonathan Batkin at the Wheelwright Museum was one of the people on the Native American entries. Then we had the back-and-forth going on, questioning things. ... That was a great way to verify that everything I pulled together was correct and made sense.

“The most challenging part of the book was the definitions themselves, because so many of these art forms keep changing. I talked to artists and scholars in their fields, and they sometimes will give you slightly different versions, so I did my best to combine their descriptions and to note that in the definitions there were different aspects to a technique.”

Booker is a devoted, longtime collector and art historian, but others didn’t always agree with her definitions. Such was the case with the entry on polishing and burnishing, in which she mentions that one Pueblo potter uses a Popsicle stick to smooth out her clay pottery. “When that was sent to specialists in the field, they came back and said nobody uses a Popsicle stick, but I saw it with my own eyes. A lot of these artists’ studios are a part of their house, and they just use whatever is handy, but some of the so-called experts don’t want to hear that.” ◀

details ▼ Book signing & discussion with Margaret Moore Booker, author of Southwest Art Defined: An Illustrated Guide; demonstrations with five Native American and Hispano artists ▼ 6 p.m. Thursday, March 21 ▼ Collected Works Bookstore, 202 Galisteo St,, 988-4226

PASATIEMPO

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Rob DeWalt I The New Mexican

hen Galisteo-based author, chef, and vegetarian-cooking authority Deborah Madison discusses vegetables, she sounds like she’s doting on the smart and beautiful children in her family.

And in some ways, she is.

An early alumna of Berkeley’s Chez Panisse, a founding chef at Greens Restaurant in San Francisco, and a staunch supporter of the Slow Food movement and the Seed Savers Exchange, Madison has invested decades in cultivating strong relationships with farmers, educators, food historians, gardeners, and chefs. And no matter where her work takes her, it always seems to circle back to the humble relationship between the soil and those who tend it.

In her new book, Vegetable Literacy, published

by Ten Speed Press, Madison breaks ground in writing about the humble vegetable. By exploring 12 edible plant families from a botanical perspective, she helps us widen not only our knowledge about veggies but also our kitchen repertoire. Madison reads from and signs copies of Vegetable Literacy on Wednesday, March 20, at Collected Works Bookstore.

Those who think that the nose-to-tail dining concept (in which nothing goes to waste) is reserved only for things with noses and tails might have to reconsider. Madison schools readers on a sort of “whole plant” concept, revealing relationships between vegetables, herbs, and spices within the same plant family that most layperson cooks — and far too many chefs — are unaware of. In the book, roots, stalks, blossoms, and seeds that perhaps you once discarded in the compost pile are revealed as intriguing cooking ingredients.

While Vegetable Literacy contains plenty of easily approachable recipes (around 300 of them), gorgeous pictures, and helpful suggestions for how to use companion ingredients, Madison stresses that the book is much more than a cookbook. It’s a door to creativity, an invitation to be more aware of the beautiful things growing right in your own backyard.

With an arsenal of recipe-building knowledge already in place, Madison took a year and a half to complete Vegetable Literacy. “I had the idea on the back burner for a number of years,” Madison told Pasatiempo. “I’ve been doing cookbooks for a long while, and I began to think it was time to go beyond the pretty-looking

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vegetable approach. But I had to realize at some juncture that not everyone was as jazzed about botany as I am. At this point, given my history as an author, most people are probably going to approach Vegetable Literacy as a cookbook first and foremost, whether that’s my intention or not.”

What Madison most hopes readers take away from the book is the sense that plants are a lot like people: those in the same family share characteristics, like the shape of a nose or eyebrows. “I think knowing more about familiar traits in plants can be useful, as a cook and as a gardener. Gardeners are the ones who are in the position to look into their soil beds and realize, ‘Oh my gosh, the chard is bolting! Say, I wonder if I can eat that part.’ I think those who are interested in gardening are automatically more aware of what’s happening around them in the natural world.”

Madison turned to numerous written botanicalresearch materials to deepen her knowledge of vegetables, and she made use of her own garden to experiment with different types of vegetables. She also drew on her experience teaching for years at Rancho la Puerta spa in Tecate, California. “The spa property has a sixacre organic garden. I always take students out there during the first part of my classes, and they’re usually astonished to see things growing.

They are further surprised to discover which plants are from the same family.”

Take, for instance, the Umbelliferae family, which includes carrots, celery, caraway, chervil, parsley, cumin, dill, and many other plants.

Among the Umbelliferae family are a few surprises, such as the spice asafetida (aka devil’s sweat), which Madison described as “derived from a syrupy crystal resin whose plant source is not too far removed from fennel and not something you see often in more modern cookbooks.

It also gives off a very rank odor.”

People who consider garlic and onions as stimulants to avoid, Madison explained, use asafetida as a substitute. It is used widely in India. “It’s very potent, sulfuric even. But when you put it in some warm ghee [clarified butter], the smell sort of blossoms, and oddly, it takes on aromatic properties very similar to onions and garlic,” she said.

Despite Madison’s knowledge and experience, there was one plant family that gave her

some trouble. She described the members of the Asteraceae or sunflower family as particularly difficult. “It’s somewhat inaccessible, I think.

It’s prickly, or sometimes hairy. It’s artichokes, cardoons, milk thistle, endives, scorzonera [black salsify], prickly burdock. ... I mean, I like burdock, but I can never quite figure out how to use it. I just want to go beyond using it in a Japanese macrobiotic dish. It can go other places. I know it can.”

During her research, Madison came across Helen Morgenthau Fox’s 1943 book Gardening for Good Eating, in which the author laments the loss of certain vegetables from the popular American diet. “Fox mentions scorzonera and other members of the sunflower family among those we have all but lost,” Madison said, “and I thought, well, I want to grow those then. They’re kind of difficult to cultivate, and I hate to admit it, but I can understand why they didn’t remain as popular as many other vegetables have. When you harvest salsify, there’s a million little roots on it, and then you remember, oh, so this is why its other name is goat’s beard. Cardoons ... were easy to get going in the garden, hard to process in the field and, as a result, kind of hard to cook with. I had to learn those cardoons literally from the ground up.”

One of the things Madison’s book does well is broaden the conversation on biodiversity in one’s own garden. It’s worth asking, then, why more of this whole-plant approach hasn’t made it to the shelves of farmers markets or supermarkets. Madison said she already sees it happening in Santa Fe, though. “I did notice that last summer Matt Romero of Romero Farms, who sells at the Santa Fe Farmers Market, started selling something he called broccoli kale,” she said.

“Now, there’s no such thing as broccoli kale.

Matt was simply selling the leaves from the cabbage plants. Not the great big leaves that had been hanging around for six months but the ones closer to the head, which I maintain are quite delicious.

“If you only go to a supermarket you have no idea what the whole plant looks like or how much biomass and energy is involved in creating just one head of cabbage or a leek. It’s a huge investment in time, sunlight, photosynthesis … it’s something we still take for granted.”

If you haven’t grown your own food or aren’t much of a home cook, the photography in

Vegetable Literacy, by Christopher Hirsheimer and Melissa Hamilton, may change your mind on both counts. “I cooked the food and styled it in my kitchen, and they shot the dishes in the office,” Madison said. Hirsheimer, one of two founding editors of Saveur magazine, and Hamilton worked incredibly fast. “They even pulled stuff out of their own gardens back east to shoot for the book.”

Madison admitted that she initially didn’t want to do a book with recipes in it. She found the botanical research fascinating and could have gone on forever with the topic. “But you know, it’s really hard; if you’re known as a cookbook writer, you don’t get set free from that expectation so easily.” But she was happy to write the recipes in the context of the botanical information. “I didn’t want them to be complicated or time-consuming. Still, though, I worried. I looked at my recipe for black-eyed peas with rice, tahini-yogurt sauce, and smoked salt and thought, oh no, is that enough? Five or six ingredients? And you know what? Yes. It’s enough, given the background on the legume itself. Black-eyed peas are known for being drought resistant. So logically I thought, maybe, if they’re drought resistant, we should grow them here, yes? And when I threw some seeds in a dry soil bed in Galisteo, they thrived!”

Vegetable Literacy challenges cooks and gardeners of all experience levels to step out of their comfort zones and experiment more in the loam and larder. Madison recalls growing cilantro, and before the plants went to seed and produced dried coriander, she took some of the greenish spherical buds and popped them in her mouth. It was a forward taste that reminded her of both cilantro and coriander, a flavor that can’t be found on supermarket shelves.

It’s those aha moments that Vegetable Literacy celebrates and that Madison wants her readers to cultivate more of, for themselves, their friends, and their families — both human and vegetable. ◀

details ▼ Deborah Madison reads from and signs copies of Vegetable Literacy ▼ 6 p.m. Wednesday, March 20 ▼ Collected Works Bookstore, 202 Galisteo St., 988-4226

Wilted Red Cabbage With Mint & Goat Feta, top, Peas With Baked Ricotta & Bread Crumbs; photos reprinted, with permission, from Vegetable Literacy by Deborah Madison.

Copyright © 2013 by Deborah Madison. Published by Ten Speed Press, a division of Random House, Inc. Photos © Christopher Hirsheimer and Melissa Hamilton

PASATIEMPO

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ART IN

REVIEW

Joe Anna Arnett: Journey, Zaplin Lampert Gallery, 651 Canyon Road, 982-6100; through March 23

J

oe Anna Arnett: Journey — currently on exhibit at Zaplin Lampert Gallery — can be viewed as a mini retrospective. The more than 40 paintings done in oil give us not only an abridged inventory of what Arnett has painted over the years but also a sense of the many travels that fostered her aesthetic. Market scenes from South America, European landscapes, and a variety of views in the United States — including her backyard garden in Santa Fe — hang as framed testimonials by an artist who has been there and back again. These, together with a handful of floral and figure studies, make for an impressive portfolio.

What first struck me about Arnett’s body of work was craftsmanship in execution and a color scheme tending toward the dark side — or maybe muted is a better descriptor. Yes, there is a range of color, with brief passages of highkey tonalities and deep shadows, but Arnett’s overall palette and deliberate brushstrokes remain the same from painting to painting, importing an artistic methodology with which she is comfortable. Her attention to technique, use of color, and consistent brushstrokes are to be admired. Such fundamentals are rarely emphasized in art schools these days, but a few institutions, such as the Art Students League in New York City, are still known for rigorous instruction.

Guess where Arnett studied?

A venerable venue of art education since 1875, the Art Students League has been a legendary site of pilgrimage for artists from all corners of the country.

At one time or another, League students and faculty have included the likes of Thomas Eakins, Childe Hassam, Norman Rockwell, Jackson Pollock, Mark Rothko, Helen Frankenthaler, Cy Twombly, and Louise Bourgeois — to name only a few. Artists with League and New Mexico connections include Ernest Blumenschein, Robert Henri, John Sloan, Stuart Davis, Marsden Hartley, Andrew Dasburg, and Georgia O’Keeffe. On the local contemporary scene, artist Joan Potter, actor/painter Gene Hackman, and the recently deceased artist Clark Hulings all studied at the League. In short, Arnett’s in good company.

Arnett’s subject matter is representational and conservative. It is what it is.

A weather-beaten barn stands sentinel in The Moore Farm, Vermont; a fishing boat floats unattended in In for Repairs, Rocky Neck; and Market Gossip — one of the largest paintings at 22 by 28 inches — features two South American sheepherders under a tent, engaged in quiet conversation, accompanied by their tethered charges. Titles of other paintings describe matter-of-factly where the artist was and what she was looking at for inspiration. Villa Monesteron on Como;

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Joe Anna Arnett: above, from left, Windmills of Santorini, 9 x 12 inches, oil on linen Market Gossip, 22 x 28 inches, oil on linen Highlander Sea on the Ways, 9 x 12 inches, Oil on linen Left: Iris, Purple Rill With Poppies 16 x 8 inches, oil on linen

Cotopaxi Volcano; Sunderland Union Church, Vermont; and Windmills of Santorini pretty much say it all.

What elevates Arnett’s pictures beyond scenic ruminations are her expressive brushstrokes and keen eye for composition. These two components alone can be seen in her floral arrangements, particularly the smaller, vertically formatted paintings of loosely cut flowers, such as Iris, Purple Rill With Poppies and Iris, Wine Blush With Poppies. In each, there is a bit of bravura reminiscent of marks

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once laid down by William Merritt Chase, an American Impressionist and instructor at the League beginning in 1878. Additionally, Arnett’s simple bouquets import figural qualities. Emerging from nondescript backgrounds, her flowers seem to swag and sway within their diminutive 16-by-8-inch frames, taking on characteristics of human gestures and attitude.

The darkest image in the show, both in color scheme and feeling — call it moody — is Twig Season, a late autumnal scene of aspens in transition amid other mountain foliage. It is one of Arnett’s strongest paintings. The isolated location, the silence it evokes, and the abundance of muted mauve give the picture a distinctively melancholy tone. Add to that the suspended diagonal in the middle of the scene created by a single stripped aspen that bends to the left in the most extreme posture. The visual dynamic it creates gives to an already pensive picture another level of emotion.

But the one painting I kept coming back to was Highlander Sea on the Ways — a smallish picture, at 9 by 12 inches, propped on a tabletop easel apart from the prime wall space. I liked Arnett’s skewed vantage point, directed at the stern of a large sailing vessel in dry dock awaiting repairs.

As though viewed through a fisheye lens, the larboard — the left side of the ship — wraps around to the unseen bow like the bulging girth of a gigantic black whale with a red underbelly. The enormous red keel stands locked in place adjacent to the left propeller, which is downplayed in dirty whites and silver so as not to be too strong a focal point. As a result, our eye freely explores the entire composition only to find the main masts severely cropped off, directing our attention back to the ship and the wooden scaffolding serving as its temporary cradle. This particular piece made me think of the expressive paint application and wonderful muddy palettes of George Bellows (also a League guy and painter of shipyards).

A minor gripe about the exhibit is the way in which it was installed: hung in a scattershot fashion, with little rhyme or reason to its display. It was smart to avoid a cluster of floral pieces and not to position the figure studies in a lineup, but geographically the pieces are all over the map. For instance, Alabama Hills (a California locale famous for movie Westerns) sits above Bridge Over Loire (a French scene), and Walls of Ronda (a cliff-side town in Spain) is placed above Sunderland Union Church,Vermont. One would think that a 24-year relationship between artist and gallery would garner a more sensitive — or sensible — arrangement of work. Regardless, Arnett’s expertise shines through the scramble of imagery.

— Douglas Fairfield

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PASATIEMPO

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Parade of roses

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Michael Abatemarco I The New Mexican

If you have form’d a circle to go into, Go into it yourself, and see how you would do.

— from “To God,” by William Blake

Jay DeFeo retrospective is an idea whose time has come.

Accompanying the retrospective, which opened at the Whitney Museum of American Art on February 28, is a monograph edited by the Whitney’s permanent collection curator, Dana Miller.

DeFeo is renowned primarily for her major work The Rose (1958-1966), the remarkable history of which has gained a legendary, almost mythic status in the art world. But DeFeo had a substantial body of work before and after The Rose. The exhibition and book place the painting in a larger context.

“I had done a [DeFeo] show at the Whitney in 2003,” Miller told Pasatiempo by phone. “We showed The Rose and a couple of works from the period before and a couple of works from the period after — about 20 works in total. The Whitney at this point has the largest institutional holdings of DeFeo’s work. In doing that show, I felt like I had barely scratched the surface. You understand her as an artist much better by seeing more of it and seeing how she worked across media.”

The book Jay DeFeo: A Retrospective is a comprehensive tome.

The many plates, including previously unpublished images, are handsomely reproduced. Miller’s introductory essay, “Jay DeFeo: A Slow Curve,” is part biography and explores the major events of the artist’s career. In addition, the book includes essays by critic Michael Duncan, photography curator Corey Keller, Whitney conservator Carol Mancusi-Ungaro, and columnist Greil Marcus.

Each essay deals with a specific aspect of DeFeo’s work, providing readers with a well-rounded, definitive text. A detailed chronology of her life follows the images.

Born in New Hampshire in 1929, DeFeo relocated to the Bay Area to attend the University of California, Berkeley. In San Francisco, she joined artist and filmmaker Bruce Conner’s Beat-era collective the Rat Bastard Protective Association, and she married Wally Hedrick, co-founder of the Six Gallery, where Allen Ginsberg read his poem “Howl.” DeFeo also showed her work at the Ferus Gallery in Los Angeles alongside contemporaries Clyfford Still and Richard Diebenkorn and was a part of Sixteen Americans, a 1959 exhibition at the Museum of Modern Art in New York that included work by Robert Rauschenberg, Frank Stella, and Louise Nevelson.

In 1958 DeFeo started Deathrose (eventually renamed The White Rose and then The Rose), building up layers of paint so thick that, in time, the piece took on a sculptural appearance, full of deep crevasses. The painting was finally completed nearly eight years after it was begun.

It contains a visual vocabulary and techniques that DeFeo had explored in her earlier work. “You can see the surface variation in the paintings and sculpture in the early years, and her photo collages,” Miller said. “You have a sense of various sensual qualities to the surfaces that often, but not always, go hand in hand with her use of color. She talks about working in not a monochromatic palette, because she didn’t use those terms; she called it a low-key

The Rose, 1958–1966, oil with wood and mica on canvas, 129 x 92.25 x 11 inches; Whitney Museum of American Art, New York; gift of The Jay DeFeo Trust; © 2012 The Jay DeFeo Trust/Artists Rights Society (ARS), New York; photo Ben Blackwell Opposite page, from left, Mimi Jacobs: Jay DeFeo, artist, 1976, gelatin silver print; © 2012 The Jay DeFeo Trust/Artists Rights Society (ARS), New York; DeFeo working on Deathrose, 1960; photo Burt Glinn © Burt Glinn/Magnum Photos

continued on Page 38 PASATIEMPO

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Jay DeFeo, continued from Page 37

Above, The Eyes, 1958, graphite on paper, 42 x 84.75 inches; Whitney Museum of American Art, New York; © 2012 The Jay DeFeo Trust/Artists Rights Society (ARS), New York; photo Geoffrey Clements Below, Untitled, from the Water Goggles series, 1977, synthetic polymer, charcoal, ink, grease pencil, and graphite on paper, 15 x 20 inches; © 2012 The Jay DeFeo Trust/Artists Rights Society (ARS), New York; photo Ben Blackwell Opposite page, Rear Window, 1982, mixed media on paper, 29.75 x 22 inches; © 2012 The Jay DeFeo Trust/Artists Rights Society (ARS), New York; photo Ben Blackwell

palette. It was almost an inverse relationship between the use of color or hue and the use of texture. There’s a set of forms, certain shapes she gravitated to throughout her career. Often it would be a single form within an absent background in the center of the painting. Very often there’s this oculus at the center, whether it’s in an early work like The Illustrated History of the Universe, or later she did a series of drawings in the 1970s derived in part from a Scotch tape dispenser.”

In creating The Rose, DeFeo carved with a palette knife into the paint, which she layered thickly on the canvas. When completed, the painting weighed more than 2,300 pounds. Moving it from her studio to the Pasadena Art Museum, its first venue, was an ordeal. The removal was documented by Conner in the film The White Rose.

Some said the project had so consumed DeFeo that its completion emotionally devastated her. “Even while she was working on it, it achieved a legendary status within the Bay Area,” said Miller.

“She was so committed to it. There was some sense she might be lost without the painting. Obviously, she went on to have a career of 20 more years beyond The Rose.” A brief period of recuperation after its completion, during which DeFeo fell out of touch with many of her colleagues, may have exacerbated the myth of her artistic demise.

The images call to mind these archetypal forms that can be located in so many different places in the real world or in the imagination.

— Whitney curator Dana Miller The painting was later stored in a conference room of the San Francisco Art Institute, where it languished for more than 20 years, hidden for a time behind a false wall. “Before it was placed behind the false wall, they had taken precautions that involved covering the surface of the painting,” Miller said. “The feeling was that the work was deteriorating, and the force of gravity and the thickness of the paint was causing it to shift on the surface, and it was sagging and pulling away from the canvas. In about 1974 they applied a mixture of materials, including plaster, to the surface of the painting. For about five years it was not visible except for this plaster coating. I have heard that people carved into it and put out cigarette butts or joints on the surface of it. It became such an eyesore because it was no longer a work of art and was being mistreated. The second stage of the conservation, which was meant to happen subsequent to the covering of the facing, never occurred.

After a five-year period, they resolved that something needed to be done. The secondary stage was not imminent, and they were tired of looking at it, and that’s when the false wall was built, we believe around 1979.”

Despite her efforts to fund The Rose’s restoration, DeFeo would never see the work again before her death from lung cancer in 1989. “It wasn’t as though it was entirely forgotten,” Miller said.

“People knew it was there. The problem was, in order to conserve the work, it had to be moved — an expensive proposition. In the mid-1990s, a former curator at the Whitney Museum, Lisa Phillips, who is now the director of the New Museum in New York, was organizing a show on the Beat era and became totally fascinated by the story of The Rose. I think she wrote to the Jay DeFeo Trust and asked if they could borrow it for the exhibition and was then informed of its status. Through the efforts of Phillips and

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then [Whitney] director David Ross, and with support from the Jay DeFeo Trust and the Judith Rothschild Foundation, the Whitney paid for the extensive conservation and removal.” The painting, now fully restored, has since become part of the Whitney’s permanent collection.

DeFeo’s art is grounded by a push and pull between representation and abstraction, often inspired by objects or aspects of objects, such as the sweep of a curve. “That’s what makes her work so powerful,” Miller said. “It has these echoes of reality, but it’s not always on the surface or so present. The images call to mind these archetypal forms that can be located in so many different places in the real world or in the imagination. My hope is that I’m illustrating some of the visual concerns she had throughout her life. You start to appreciate them more because you see what a conscious choice it had been on her part. But I still hope that someone could look at each individual object in the show and imagine them in isolation and still see the inherent value.”

The Rose contains a series of lines emanating from the heart of the painting and is similar to an earlier work called The Jewel.

Much of DeFeo’s later work, including her graphite drawings, contains striated lines, merging at the center, that also recall the lines in The Rose. “Once you start looking for those shapes, if you go through the catalog, you’ll see them again and again,” said Miller. “She talked about her own work using these diagrammatic terms, like pinwheel, and she talks about that spiraling vortex.”

While DeFeo’s drawings have been exhibited several times, her photography and photo collages, which also include geometric forms, are less well-known. “Very few people know about that body of work,” Miller said. “My hope is that people will see her not just as a painter but as an artist who explored so many different media.” ◀ “Jay DeFeo: A Retrospective,” edited by Dana Miller, was published by the Whitney Museum of American Art in 2012.

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Rob DeWalt I The New Mexican

Marcus Archie

M U S I C I A N S

G E T

A I R T I M E

three-person digital camera crew adjusts its position inside the film studio at the Santa Fe Community College’s Fine Arts Center.

Musicians pace back and forth doing vocal exercises. One of them hunts around the food and beverage table just beyond the cameras and lights, looking for something to coat her throat.

Director Marshall Martinez scrutinizes the lighting under which the musicians will soon take their place. “It looks a little hot,” Martinez and the lighting crew remark in unison, and out the ladders come for adjustments and the addition of light-softening gels. “You need something to do?” Martinez asks me while I try, in vain, to stay out of everyone’s way. “You can run camera three; we can put you to work, you know.”

Martinez turns his attention back to camera two: “The bounce board [a lightreflecting surface, in this case a poster board covered with plastic] is in the shot.

Dolly right and pan up. We start shooting in 20 minutes.” But there’s a problem with electric cables blocking camera three’s dolly path. Duct tape has been retrieved.

Thirty-five minutes later, the cameras finally roll.

This all takes place on the set of Homegrown Sounds, a public-access television show produced by Marcus Archie, a Santa Fe Community College student and former chef and restaurant consultant on the East Coast. The show, which airs on SFCTV channel 16 in Santa Fe, trains its lens on local musicians. While Archie isn’t in the music business himself, he had heard from numerous locals that many Santa Fe bands and singer-songwriters felt underexposed.

Archie wound up coming to New Mexico when his wife decided to pursue her master’s degree at Southwestern College. “When you’re a chef, or at least a good chef, you can get a job just about anywhere a chef is needed,” Archie told Pasatiempo. “So I went to work with Chocolate Maven as a sous-chef. Then I

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ended up over at the Hotel St. Francis, but they closed down for renovations.

I then went to Lucci’s New York Pizza as a manager. After that I began to ask myself if I still wanted to work in the restaurant field when I was 65. I didn’t have a restaurant of my own, and I didn’t want to keep working for someone else. I also have three daughters — one in college, one in middle school, and one in elementary school. I decided at that point it was time to change course.”

The epiphany led Archie to answer a Saturday-morning audition call for a 2009 Santa Fe Playhouse production of George Bernard Shaw’s Arms and the Man. He was eventually cast as a Russian officer. “I also wanted to pursue an education in filmmaking. I wanted to be a cameraman initially, but I discovered how difficult it can be to find steady jobs working below the line [on the physical, behind-thescenes production of a film]. So I thought maybe my past managerial experience and love of acting would translate into something above the line.”

After enrolling at SFCC in 2011, Archie worked as first assistant director (AD) on a couple of student films and as first unit production manager (AD UPM), location manager, craft services worker, and grip truck driver on the locally produced short film Howling River. While looking for a costume/makeup trailer to rent for the production, Archie met Dick Stewart, the owner of an RV business. Stewart also happened to be King Richard of the Albuquerque rock ’n’ roll band King Richard & The Knights, which got its start as a surf-rock outfit in the early ’60s.

“We talked on the phone for like an hour and a half about the history of rock ’n’ roll in New Mexico,” Archie said, “and I thought it was fascinating. So in my documentary film class at SFCC, I did a piece on him, interviewed him and his son.

There were a lot of folks in Santa Fe that I ran into that had no idea about the rich history of rock in this state.” Archie’s new appreciation for that history spurred him to approach the production team at SFCTV and ask if he could put together a pub-

lic access show about New Mexico’s musical landscape. “I had no crew, no name for the show, just an idea. I was thinking maybe this would be a good way to get some experience as a producer, too.” In November 2012, SFCTV gave Archie the green light to produce two half-hour episodes of Homegrown Sounds. He used the Christmas break for preproduction — lining up talent via word of mouth and Craigslist and arranging shooting schedules.

“After the first episode began coming together, they asked me how many more shows I wanted. I asked for four more, which I got, and the door is now left open for more, as long as musicians are still in the wings and want to get some exposure. I tell people to tune up their guitars and come on down or send me an audition reel or disc. And I’d rather not deal with copyright issues, so I’m looking for original music written by local artists.

I’ve been able to do that so far.”

For the first episode of Homegrown Sounds, Archie brought in Rachel Shreve, Quill Head, and Carole Henderson, aka Seraphic, a harmony trio that hews to the deeply emotional, confessional folk-isms of artists like Joni Mitchell; Joan Baez; and Peter, Paul and Mary. After a few songs, the show’s host, Sarah Hall, asked the group a round of questions, all of them either designed or approved by the musicians themselves. Archie and his crew shot two more episodes on Feb. 13, one featuring a Nambé-based singersongwriter/guitarist who calls herself Little Angel.

“Putting together this show is a bit like opening up a restaurant,” Archie said. “You’ll never have an idea about how it’s going to fly if you don’t know your demographic first. I’ve listened intently in class, particularly to Gene Mederos, the postproduction supervisor of the college’s film program, and to filmmaker/adjunct faculty member Peter Kershaw. The crew? They’re all my fellow students, and none of them are shy about letting me know how we might do things better. It’s like managing a kitchen: you surround yourself with people who are passionate and trustworthy and have a hunger for the work.”

SFCTV channel 16 has a median audience of around 20,000 people, Archie said. In his quest to find favorable markets for Homegrown Sounds throughout New Mexico, Texas, and Arizona, he’s stumbled into a familiar public-access roadblock more than once. “There is often a requirement that you have an annual membership [with the station] to get air time, and that’s not an option for me at the moment. Rio Rancho has a good market, about 90,000 viewers, on channels 15 and 22. I hope to send them the masters after the shows air here and air them there for a week. For New Mexico, with the population being what it is, I don’t consider 120,000 potential viewers to be too shabby for just starting out.”

Yes, like all things in the mediaverse, projects like this boil down to money, and Archie, the epitome of cool and confident, is aware that most musicians aren’t exactly brimming with extra cash after the landlord and tax man take their cuts. It’s a difficult living to make within an often apathetic local nightlife scene, where performance pay is frequently paltry. The first Homegrown Sounds episode picked up Wal-Mart and the local Catering by Ray’s as sponsors, and Archie will hit the streets in the weeks ahead, looking for additional sponsor support.

“The other revenue source I’m hoping to explore is helping local bands and other entertainers shoot their spots for crowd-funding websites like www.indiegogo.com. The spot would be shot either with payment up front, or once a band’s project is funded through the site, I would take a percentage of that. It would already be worked into the funding goal. We have the ability to shoot on location in a pinch.” ◀ “Homegrown Sounds” next airs on SFCTV channel 16 at 5:30 p.m. Friday, March 15. For a schedule of SFCTV programming visit www.sfcc.edu/ marketing_and_public_relations/ santa_fe_community_television/ tv_schedule. To find the schedule for “Homegrown Sounds,” look for the listing titled “Homegrown Sounds.” Musicians interested in appearing on “Homegrown Sounds” and those wishing to provide sponsorship should contact Archie at marcus@homegrownsounds.org.

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41

James M. Keller I The New Mexican

In conversation with filmmaker Phil Grabsky In Search of Mozart, 128 minutes, 3 chiles; In Search of Beethoven, 139 minutes, 3 chiles; Leonardo Live, 100 minutes, 3 chiles; all not rated, The Screen his 25 years as a filmmaker, Phil Grabsky has created some powerfully touching and muchawarded feature documentaries, including Escape From Luanda (2007), which considers heartbreak and hope among students at a music school in Luanda, Angola (one of the world’s poorest and most dangerous places), and The Boy Mir (2011), which tracks an irrepressible boy who grows up over the course of 10 years in war-torn Afghanistan.

Grabsky has become particularly involved in producing documentaries about what we may as well call high culture. His films In Search of Mozart (2006), In Search of Beethoven (2009), and In Search of Haydn (2012) mix cultural tourism with informed commentary and performances by leading international musicians to shed light on the “holy trinity” of Viennese Classical composers, and a further In Search of — about Chopin — is on the way.

His path has also led him into acclaimed museums, yielding Leonardo Live (2012), which delves into the exhibition Leonardo da Vinci: Painter at the Court of Milan at London’s National Gallery. He continues with further guided-visit films in a series he has titled Exhibition: Great Art on Screen, with upcoming releases focusing on outstanding exhibitions of Manet (at London’s Royal Academy of Arts), Munch (at the National Gallery and the Munch Museum in Oslo), and Vermeer (again at the National Gallery in London).

The British filmmaker travels to Santa Fe to speak with audiences before and after screenings of his Mozart and Beethoven films on Friday, March 15, and his Leonardo film on Saturday, March 16, at The Screen. Pasatiempo tracked him down to find out what motivates this genial but outspoken documentary filmmaker.

Pasatiempo: Documentary films have a reputation for being hard to fund and distribute, yet you appear to have succeeded at it. What’s your secret?

Phil Grabsky: I’m rubbish at it. I have been unable to raise a budget for a film for years. We are constantly reinvesting. Any sale we make — DVDs, TV sales, cinema — gets plowed back into the business. It is a bit like the hamster on the wheel: if you stop running, the whole thing grinds to a halt.

The United States is an example of a nation where the types of films I make have virtually no home on your TV networks. That is a terrible indictment of your broadcast media. What it means is that citizens look elsewhere — to cinemas, to DVD outlets — and that makes my job very difficult. Instead of getting one funder, as you would for a TV production, you literally are reliant on every digital download from your website. Every bit of every income stream is significant. Some of the films I made in the past, like those about Afghanistan and Angola, would be virtually impossible to fund now.

Pasa: Hasn’t high art always been a harder sell than pop culture?

Grabsky: Maybe it was a similar attitude in the time of ancient Rome. But it is frustrating for a filmmaker. If an actress trips on her dress going up the steps at an awards ceremony, it’s big news — it’s all over the media everywhere. But if you make a film about very poor people struggling to learn to play piano in a far-off country, it’s very difficult to get that story out there. And yet when people see these films, they are very moved by them.

Pasa: Your recent films are encoded with subtitles in six languages. How important is the international market?

Grabsky: There are hundreds of millions of people out there who are interested in great art and classical music. What has changed is that 10 to 15 years ago you might have one client, which was your national broadcaster, and it might give your film one screening. Today we make a film available internationally, including through our website, and emails come in from viewers around the world: Mexico, South Korea, Japan. ... It’s a hard market to manage; it can be a little “wiggly,” but it holds great opportunity.

Mozart

Phil Grabsky

continued on Page 44 Beethoven 42

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What connects everything — a small boy in Afghanistan, Chopin in a Parisian salon — is that I am fascinated by what humans are capable of.

It is such an extraordinary thing that we humans can be creative at that level with great art or music or be resilient and humorous in a desperately poor country. — Phil Grabsky PASATIEMPO

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Phil Grabsky, continued from Page 42 Pasa: So your success internationally can be, so to speak, all over the map?

Grabsky: Always a bit unpredictable, and I’ve gone from sublime to ridiculous.

One of the most satisfying things for me is that DVDs of my Mozart, Beethoven, and Haydn films are all on sale at the birthplaces of these composers. That’s a great honor. I remember, though, when we arranged for a cinema in Salzburg [Mozart’s birthplace] to schedule a full week’s run of In Search of Mozart. When the week was over, I called the cinema manager to find out how it had gone over.

“Well,” he said, “it set a record for us: in the entire week, not one person came.”

What we realized is that people who live in Salzburg are fed up with two things: The Sound of Music and Mozart.

On the other hand, sometimes I have encountered fantastic surprises. We had a screening in a very big concert hall in Seoul, showing Mozart once and Beethoven twice in the same day, and every single seat sold. That was 6,000 people in that one day — staggering. There’s nothing better for a filmmaker than to show up and see a busy cinema, talk to an audience, get some feedback. In comparison, television is very anonymous; thousands of viewers may have seen your film, but you might not hear a word from any of them.

Pasa: Where did your passion for classical music come from?

Grabsky: There was a bit of Mozart in my youth. My sister’s husband played good amateur clarinet, and he played this beautiful music, which was Mozart.

Then later I had just come back from filming in Afghanistan and was wondering what to do next. My present for completing the film was going to see a Mozart opera, and as it was going on, I started to think: Who was this Wolfgang Mozart?

Where did this creativity come from? Because I film things myself, and cameras were becoming cheaper, making everything more accessible, I thought I should go ask the best practitioners in the world. Along the way I became fascinated with Beethoven, then Haydn, then Chopin. Never say never, but I think I’ll stop at five.

I have an idea for the fifth … but I’ll wait to share that with the audience at The Screen. Of course, if somebody came to me suggesting another composer and brought along a budget …

Pasa: Your composer films mix travelogue footage with connective narration, talking-head commentary, and extended samplings of performance. But you also make time for mood imagery: snow falling, a bird flying. Why is that important when you have so much story to tell and the clock is ticking?

Grabsky: Two weeks after watching a film, a viewer remembers a few facts, but what really sticks with them is the emotional impact. If you just throw endless facts at people, they start not to stick. I’m not trying to show off as a film director; people are watching because they want to learn about Mozart, not so they can see if I can do fancy camerawork and graphics. But even a nature shot conveys emotions. If we see a tree in bloom in the sun or one in winter with a single dead leaf about to fall, those images can do a lot to support the emotional aspect of a story. A film has to be coherent and visually interesting.

Pasa: How does your working method differ when you shoot a composer film or a documentary about a museum exhibition compared to a film about real life in some distant country? Would you like to figure out a way to get back into the nitty-gritty of life in the Third World?

Grabsky: It is a different ball game, in some senses. I loved Afghanistan, and it’s nice to go somewhere just to film uninterrupted for two weeks. With the music and art films, it’s a bit more “bitty.” Even with Manet, the most continuous filming I did was three days in France. I miss the extended shoots; but then again, I have two small children, and I don’t miss having to be away from them for so long. What connects everything — a small boy in Afghanistan, Chopin in a Parisian salon — is that I am fascinated by what humans are capable of. It is such an extraordinary thing that we humans can be creative at that level with great art or music or be resilient and humorous in a desperately poor country. My job is to be a conduit of that through my camera, to bring some of that wonder to other people. ◀

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▼ Filmmaker Phil Grabsky introduces & discusses his films at screenings ▼ In Search of Mozart & In Search of Beethoven 7 p.m. Friday, March 15, $20 ▼ Leonardo Live 7 p.m. Saturday, March 16, $10 ▼ The Screen, Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494

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MOVING IMAGES pasa pics

— compiled by Robert Ker

THE INCREDIBLE BURT WONDERSTONE Steve Carell and Steve Buscemi star as two flamboyant magicians who are made obsolete by a gimmicky upstart ( Jim Carrey). The title character (Carell) turns to the one man who can help him: his childhood idol, the retired Rance Holloway (Alan Arkin). The magic in the film may not be inspired, but the casting sure is. Rated PG-13. 101 minutes.

Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) THE MET LIVE IN HD: FRANCESCA DA RIMINI Eva-Maria Westbroek and Marcello Giordani star in this staging of Riccardo Zandonai’s opera (which draws on an episode in Dante’s Inferno).

Not rated. Approximately 240 minutes. 10 a.m.

Saturday, March 16, with a 6 p.m. encore at Lensic Performing Arts Center, Santa Fe. 10 a.m. Saturday, March 16, at Taos Community Auditorium, 133 Paseo del Pueblo Norte, Taos, 575-758-2052

a killer of the serial variety. When it happens a third time, the operator becomes determined to do whatever it takes not to let the young abductee (Abigail Breslin, whose roles have clearly grown much darker since Little Miss Sunshine) die. Rated R. 95 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Not reviewed)

PHIL GRABSKY SERIES Filmmaker Phil Grabsky has focused his lens repeatedly on high culture, particularly on classical music and revered masters of art. This minifestival includes In Search of Mozart and In Search of Beethoven (in a program that screens at 7 p.m. Friday, March 15, only; 267 minutes total), enticing biographical travelogues with performance excerpts and informed commentary by famous musicians. Leonardo Live (7 p.m. Saturday, March 16, only; 100 minutes) takes viewers inside a recent exhibition at London’s National Gallery, again with style and insight. Not rated. Grabsky introduces all screenings. The Screen, Santa Fe. ( James M. Keller) See story, Page 42.

THE GATEKEEPERS The questions that haunt this documentary are desperately basic ones: Do the things we do in the name of protecting our security work?

Do they work on a moral level? Do they work on a practical level? Do they make things better? Or do they make things worse? Israeli cinematographerturned-director Dror Moreh makes a powerful case that the answer to the first three questions is mostly no. He interviews six former heads of Shin Bet, the Israeli antiterrorism security agency. Each expresses the conviction that the process of brutalizing a hostile occupied enemy is both immoral and counterproductive. The film, which was nominated for an Oscar, has not found favor with official Israel.

Presented by the Santa Fe Jewish Film Festival.

7 p.m. Sunday, March 17, only. Rated PG-13. 97 minutes. In Hebrew with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) See review, Page 50.

SHUN LI AND THE POET A particular form of indentured servitude surrounds the subject of this poignant film by Italian director Andrea Segre. In his fiction feature debut, he tells the story of Shun Li (Tao Zhao), a Chinese woman who has immigrated to Italy, has wound up in a little island fishing community in the Venetian lagoon, and must work to pay off her debt to the Chinese syndicate that paid her passage and to raise money to send for her 8-year-old son. The shy café worker develops a friendship with the Poet (Rade Serbedzija), a middle-aged fisherman from the former Yugoslavia, to the growing displeasure of her Chinese bosses and the Italian locals. Against a lyrical backdrop — cinematographer Luca Bigazzi’s rendering of the Venetian setting — Segre explores issues of prejudice, xenophobia, exploitation, and cultural disconnection. Not rated. 92 minutes.

In Italian with subtitles. The Screen, Santa Fe. ( Jonathan Richards) See review, Page 52.

Halle Berry in The Call, at Regal Stadium 14 in Santa Fe

opening this week BANFF MOUNTAIN FILM FESTIVAL Santa Fe Conservation Trust and the Lensic Performing Arts Center presents the annual touring film festival as a benefit for both organizations. As usual, the screenings highlight short films that focus on adventure, sport, and conservation. 7 p.m. Monday and Tuesday, March 18 and 19, only. Not rated. Lensic Performing Arts Center, Santa Fe. (Not reviewed) BIRTH STORY: INA MAY GASKIN & THE FARM MIDWIVES This documentary looks at one woman who teaches women to deliver babies naturally and finds an extensive network of willing participants.

Mothering magazine’s Peggy O’Mara introduces the 7 p.m. Friday, March 15, screening. Birthing Tree introduces the 7 p.m. Saturday, March 16, screening.

Taos Midwifery introduces the 3 p.m. Sunday, March 17, screening. Not rated. 94 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) THE CALL Halle Berry plays a 911 operator who hears a woman being murdered at the other end of the phone line. When it happens again, everyone suspects

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March 15 -21, 2013

now in theaters AMOUR This exquisitely crafted film is beautifully played by a couple of legends of French cinema. Jean-Louis Trintignant and Emmanuelle Riva portray retired musicians in their 80s. When she suffers a minor stroke and enters an inexorable decline after botched surgery, he honors his promise to keep her at home in their Paris apartment, coping as his beloved wife sinks into a living hell. Austrian filmmaker Michael Haneke turns his unsparing lens on the indignities, sufferings, and helplessness that can attend the end of a long life. Depressing but riveting. Winner of the Academy Award for best Foreign Language Film.

Not rated. 127 minutes. In French with subtitles.

Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) ARGO Ben Affleck takes a true story by the throat and delivers a classic seatsquirming nail-biter that won the Oscars for Best Picture, Film Editing, and best Adapted Screenplay (thanks to writer Chris Terrio). In 1980, as the world watched the hostages in the U.S. embassy in Tehran, a small group of Americans were rescued by the CIA, who pretended to be making a sci-fi film and disguised them as members of a Canadian location-scouting crew. A terrific cast is headed by Affleck, Alan Arkin, and John Goodman.

Rated R. 120 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) BEASTS OF THE SOUTHERN WILD Benh Zeitlin’s inventive and visually stunning debut feature transports viewers to a magical world conjured up by its 6-year-old heroine, Hushpuppy (Quvenzhané Wallis). She lives with her stern father in the Bathtub, a low-lying community in the Louisiana bayou that’s about to be slammed by a hurricane.

The storm unleashes fears, emotions, and reveries for Hushpuppy, who clings to her dreams as the devastation mounts. Rated PG-13. 93 minutes.

Regal DeVargas, Santa Fe. ( Jon Bowman) BLESS ME, ULTIMA In lesser hands, the film adaptation of Rudolfo Anaya’s classic novel could have been cloyingly precious magical realism. But Bless Me, Ultima, directed by Carl Franklin, was shot in and around Santa Fe, which imbues the story of murder and witches in World War II-era Northern New Mexico

with authenticity. Antonio (Luke Ganalon) is 6 years old when his grandmother Ultima (Miriam Colon), a curandera, comes to stay with his family.

Performances are mostly strong, and the dialogue moves quickly, as does the action. Rated PG-13.

105 minutes. In English and Spanish without subtitles. DreamCatcher, Española. ( Jennifer Levin) DEAD MAN DOWN Niels Arden Oplev, who directed the Swedish film version of The Girl With the Dragon Tattoo, comes to American cinema and brings along Dragon star Noomi Rapace. She plays a woman who joins a man (Colin Farrell) in a mutual quest for revenge against a bad, bad guy (Terrence Howard). Expect much in the way of violence.

Rated R. 118 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos.

(Not reviewed) EMPEROR Tommy Lee Jones plays Gen. Douglas MacArthur just as the man finds himself in charge of the American occupation of Japan. He assigns Gen. Bonner Fellers (Matthew Fox), an expert in Japanese culture, to figure out what to do with Emperor Hirohito (Takatarô Kataoka) — hang him as a war criminal or save him? In English and Japanese with subtitles. Rated PG-13. 106 minutes.

Regal DeVargas, Santa Fe. (Not reviewed) ESCAPE FROM PLANET EARTH This film about aliens who try to escape from an aggressive planet comes from Rainmaker Entertainment. The animation appears to be strong, but the jokes look to be the usual wisecracks and burps. Rated PG. 95 minutes. Screens in 3-D only at Regal Stadium 14, Santa Fe. (Not reviewed) 56 UP Can you picture still watching the antics of Honey Boo Boo in 2062? That will give you some sense of the continuity and longevity of Britain’s Up series, broadcast there in installments on TV and appearing every seven years as an assembled film in the U.S. The series began in 1964, introducing 20 British children at age 7.

Fourteen of them are still being profiled; they are 56, and instead of sharing their dreams and aspirations for the future, they’re knocking on the door of old age and reflecting on the sometimes-strange twists and turns that shaped their lives and reshaped their expectations. That the series is still compelling is a testament to filmmaker Michael Apted, who has shepherded this hybrid TV-cinema project for nearly half a century. Not rated. 138 minutes. The Screen, Santa Fe. ( Jon Bowman)

The Incredible Burt Wonderstone

HAPPY PEOPLE: A YEAR IN THE TAIGA Werner Herzog’s documentary deals with both beauty and hardship as it follows a community of Russian fur trappers based in the Siberian wilderness village of Bakhtia. The footage is taken from a four-hour made-for-television Russian documentary. The focus is on the male trappers, whose most important relationship, apart from that with the land, is with their dogs. The conditions these isolated people face can be fierce. But acts of simple industry — the basic ritual chores required to survive — grant contentment. These people are, Herzog tells us, happy to be on their own, self-reliant, and “truly free.” Not rated. 94 minutes. In Russian with subtitles. The Screen, Santa Fe; Taos Community Auditorium, 133 Paseo del Pueblo Norte, Taos, 575-758-2052. (Bill Kohlhaase) IDENTITY THIEF Sandy Patterson ( Jason Bateman) discovers his identity has been stolen. He has one week to clear his name, so he goes to Florida to find the thief (Bridesmaids’ Melissa McCarthy), and they engage in a lot of insulting and punching.

Rated R. 111 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos.

(Not reviewed) continued on Page 48

PASATIEMPO

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MOVING IMAGES pasa pics

continued from Page 47

JACK THE GIANT SLAYER Director Bryan Singer (of the first two X-Men films), a team of special-effects wizards, a crack art-direction crew, and an impressive array of actors — including Stanley Tucci, Ian McShane, and Ewan McGregor — try in vain to make audiences forget they’re watching a movie based on “Jack and the Beanstalk.” The film starts promisingly as an adventure with shades of The Incredible Shrinking Man, but as it lurches to the gigantic climactic battle, the script comes apart.

Nicholas Hoult’s Jack is jarringly modern-looking in his leather hoodie, jeans, and Urban Outfitters-model hair. He also broods too much in a role that requires carefree swashbuckling, proving that all work and no play make Jack a dull movie. Rated PG-13. 115 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española; Storyteller, Taos. (Robert Ker) THE LAST EXORCISM PART II This film, which boasts the most perplexing title since Final Destination 5, centers on Nell Sweetzer (Ashley Bell), whose demon wasn’t exorcised the last time around.

That’s healthcare in America for you. This time, she tries to get it done right. Rated PG-13. 89 minutes.

Regal Stadium 14, Santa Fe. (Not reviewed) LIFE OF PI Ang Lee won the Oscar for Best Director for his adaptation of Yann Martel’s bestselling novel, which is an intriguing exercise in going toward, intense being, and going away. The first and last are the frame in which the story, of a boy on a lifeboat with a Bengal tiger in a wild ocean, is set. That middle part is a fabulous creation of imagination. The lead-in sets it up with a promise of a story that “will make you believe in God.” The real star is the Academy-Award winning visual effects that will make you believe in tigers, at least. The film also won Oscars for Best Original Score and Best Cinematography. Rated PG. 127 minutes.

Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. ( Jonathan Richards)

spicy bland

medium

mild

heartburn

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

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March 15 -21, 2013

OZ THE GREAT AND POWERFUL If Wicked isn’t your cup of tea, try this flimsy prequel to the beloved 1939 classic.

It opens in black-and-white Kansas, where seedy tent-circus magician Oscar ( James Franco, woefully miscast) breaks women’s hearts between shows.

After his hot-air balloon gets caught in a twister, he lands in Oz, the image goes full-color, and he meets three witches (Mila Kunis, Rachel Weisz, and Michelle Williams). Local prophecy predicts that a wizard will save the kingdom and become its new ruler. Could it be Oscar? Problem is, it’s hard to care what happens to a guy who’s “weak, selfish, slightly egotistical, and a fibber” and his one-note sidekicks.

To distract us from the lack of intelligent story and emotional depth, director Sam Raimi slings 3-D gimmicks and sets everything amid eye-popping CGI landscapes. Rated PG. 127 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos.

(Laurel Gladden) QUARTET At 75, Dustin Hoffman makes his debut as a director with appealing geriatric material. Beecham House is a retirement home for musicians, among them brooding Reg (Tom Courtenay); sweet, daffy Cissy (Pauline Collins); and lecherous, fun-loving Wilf (Billy Connolly). When diva Jean (Maggie Smith) arrives, it completes a foursome who once starred together in a noted production of Verdi’s Rigoletto and sets the stage for an encore performance. Rated PG-13. 98 minutes.

Regal DeVargas, Santa Fe; Storyteller, Taos. ( Jonathan Richards) SAFE HAVEN You know what to expect in this film just by hearing that it is based on a novel by Nicholas Sparks (The Notebook, Dear John): a woman learns to love again, everything takes place in the golden light before sunset, and nobody is far from a secluded beach. Rated PG-13. 115 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) SEARCHING FOR SUGAR MAN Malik Bendjelloul’s film about the search for a talented musician named Sixto Diaz Rodríguez is a portrait of a humble man, a rock documentary, and a detective story all in one. It follows the triumphs and frustrations of a journalist and a record-store owner in their efforts to shed light on the mystery surrounding Rodríguez, a superstar in South Africa but virtually unknown in his native United States. The film, which won the Oscar for Best Documentary Feature, packs an emotional wallop.

Rated PG-13. 85 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) SIDE EFFECTS Steven Soderbergh claims to be taking a sabbatical from making movies. He’s leaving us with a nifty psychological thriller starring Jude Law as an earnest shrink who prescribes a new drug to a depressed patient (Rooney Mara) and gets caught up in a maelstrom when a murder occurs. Catherine Zeta-Jones is smooth as a professional colleague, and beefy Channing Tatum is agreeable as the husband of Mara’s character. The movie revels in its twists and turns, and most of them work. Rated R. 105 minutes.

Regal DeVargas, Santa Fe. ( Jonathan Richards) SILVER LININGS PLAYBOOK This story centers on Pat Solatano (Bradley Cooper), who after being released from a mental institution moves in with his parents ( Jacki Weaver and Robert De Niro) and vows to win back his estranged wife. When friends invite him to dinner, he meets Tiffany (Best Actress Oscar winner Jennifer Lawrence), who also has a couple of screws loose. She agrees to help him patch things up with his wife — but only if he will agree to be her partner in a dance competition. The story swerves hilariously around clichés, and the finely honed dialogue, attention to detail, and impressive performances make the movie a near-perfect oddball comedy. Rated R. 122 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) SNITCH Dwayne Johnson plays John, a dad who will do anything for his son. When the son is imprisoned for drug trafficking, John becomes an informant to spring him. If that sounds improbable, wait until you see the crazy gunfights and the tractortrailer chase scene. Rated PG-13. 95 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Not reviewed) 21 AND OVER The writing team of Jon Lucas and Scott Moore made their names in Hollywood by penning 2009’s The Hangover. This, their directorial debut, focuses on the 21st birthday of Jeff Chang ( Justin Chon) and the outrageous antics that occur over the course of his big night out. Apparently if you go drinking with Lucas and Moore, you’re in for one wild evening. Rated R. 93 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Not reviewed) ◀

“WONDERFUL FAMILY THEMES THEMES!” -BISHOp DOMINIck LAGONEGRO, ARcHDIOcESE OF NEW YORk

What’s shoWing Call theaters or check websites to confirm screening times.

CCA CinemAtheque And SCreening room 1050 Old Pecos Trail, 982-1338, ccasantafe.org Amour (PG-13) Fri. 2 p.m., 4:30 p.m. Sat. 2:30 p.m., 5 p.m., 7:30 p.m. Sun. 1:45 p.m., 4:15 p.m.

Tue. to Thurs. 2 p.m., 4:30 p.m., 7 p.m.

Birth Story: Ina May Gaskin and the Farm Midwives (NR) Fri. 1:15 p.m., 7 p.m. Sat. 4:30 p.m., 7 p.m. Sun. 3 p.m., 5:30 p.m. Tue. to Thurs. 3 p.m., 7:30 p.m.

The Gatekeepers (PG-13) Sun. 7 p.m.

Searching for Sugar Man (PG-13) Fri. 3:30 p.m.

Sat. 2 p.m. Sun. 7:30 p.m. Tue. to Thurs. 5:15 p.m. regAl deVArgAS 562 N. Guadalupe St., 988-2775, fandango.com Argo (R) Fri. and Sat. 1 p.m., 3:50 p.m., 6:50 p.m., 9:30 p.m. Sun. to Thurs. 1 p.m., 3:50 p.m., 6:50 p.m.

Beasts of the Southern Wild (PG-13) Fri. and Sat. 1:50 p.m., 4:40 p.m., 7:40 p.m., 10 p.m. Sun. to Thurs.

1:50 p.m., 4:40 p.m., 7:40 p.m.

Emperor (PG-13) Fri. and Sat. 1:20 p.m., 4:10 p.m., 7:10 p.m., 9:45 p.m. Sun. to Thurs. 1:20 p.m., 4:10 p.m., 7:10 p.m.

Quartet (PG-13) Fri. and Sat. 1:40 p.m., 4:30 p.m., 7:30 p.m., 9:55 p.m. Sun. to Thurs. 1:40 p.m., 4:30 p.m., 7:30 p.m.

Side Effects (R) Fri. and Sat. 1:30 p.m., 4:20 p.m., 7:20 p.m., 9:50 p.m. Sun. to Thurs. 1:30 p.m., 4:20 p.m., 7:20 p.m.

Silver Linings Playbook (R) Fri. and Sat. 1:10 p.m., 4 p.m., 7 p.m., 9:40 p.m. Sun. to Thurs. 1:10 p.m., 4 p.m., 7 p.m. regAl StAdium 14 3474 Zafarano Drive, 424-6296, fandango.com 21 and Over (R) Fri. to Thurs. 2:15 p.m., 4:45 p.m., 7:10 p.m., 9:40 p.m.

The Call (R) Fri. to Thurs. 2:30 p.m., 5 p.m., 7:45 p.m., 10:30 p.m.

Dead Man Down (R) Fri. to Thurs. 1:20 p.m., 4:15 p.m., 7:20 p.m., 10:20 p.m.

Escape from Planet Earth 3D (PG) Fri. to Thurs.

2:20 p.m., 4:50 p.m., 7:15 p.m.

Identity Thief (R) Fri. to Thurs. 2:10 p.m., 4:50 p.m., 7:40 p.m., 10:20 p.m.

The Incredible Burt Wonderstone (PG-13) Fri. to Thurs. 2:40 p.m., 5:20 p.m., 8 p.m., 10:35 p.m.

Jack the Giant Slayer 3D (PG-13) Fri. and Sat. 1:05 p.m., 1:40 p.m., 4:30 p.m., 7:10 p.m., 7:40 p.m., 10:30 p.m. Sun. 1:40 p.m., 4:20 p.m., 4:30 p.m., 7:10 p.m., 7:40 p.m., 10:30 p.m. Mon. to Thurs.

1:05 p.m., 1:40 p.m., 4:30 p.m., 7:10 p.m., 7:40 p.m., 10:30 p.m.

Jack the Giant Slayer (PG-13) Fri. and Sat. 4:20 p.m., 10 p.m. Sun. 1:05 p.m., 10 p.m. Mon. to Thurs.

4:20 p.m., 10 p.m.

The Last Exorcism Part II (PG-13) Fri. and Sat. 2:25 p.m., 5:15 p.m., 7:50 p.m., 10:20 p.m. Sun. 5:15 p.m., 7:50 p.m., 10:20 p.m. Mon. to Thurs.

2:25 p.m., 5:15 p.m., 7:50 p.m., 10:20 p.m.

Life of Pi 3D (PG) Fri. to Thurs. 1:15 p.m., 7:15 p.m.

Life of Pi (PG) Fri. to Thurs. 4:15 p.m., 10:15 p.m.

Oz the Great and Powerful 3D (PG) Fri. to Thurs.

1 p.m., 1:30 p.m., 4 p.m., 7 p.m., 7:30 p.m., 9:30 p.m., 10 p.m.

Oz the Great and Powerful (PG) Fri. to Sun. 2 p.m., 4:30 p.m., 8 p.m., 10:30 p.m. Mon. to Thurs. 2 p.m., 4:30 p.m., 8 p.m., 10:30 p.m.

Safe Haven (PG-13) Fri. to Thurs. 5 p.m., 10:45 p.m.

Snitch (PG-13) Fri. to Thurs. 1:50 p.m., 4:40 p.m., 7:20 p.m., 10 p.m. the SCreen Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, thescreensf.com 56 Up (NR) Sat. 11:30 a.m. Sun. 6:30 p.m. Mon. to Thurs. 2:30 p.m.

Happy People:A Year in the Taiga (NR) Fri. to Sun. 2:20 p.m. Mon. to Thurs. 5:30 p.m.

In Search of Beethoven (NR) Fri. 7 p.m. double feature with In Search of Mozart In Search of Mozart (NR) Fri. 7 p.m. double feature with In Search of Beethoven Leonardo Live (NR) Sat. 7 p.m.

Shun Li and the Poet (NR) Fri. and Sat. 4:20 p.m.

Sun. 12 p.m., 4:20 p.m. Mon. to Thurs. 7:30 p.m. mitChell dreAmCAtCher CinemA (eSpAñolA) 15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087 21 and Over (R) Fri. 4:25 p.m., 7:15 p.m., 9:50 p.m.

Sat. 2:20 p.m., 4:25 p.m., 7:15 p.m., 9:50 p.m. Sun. 2:20 p.m., 4:25 p.m., 7:15 p.m. Mon. to Thurs. 4:25 p.m., 7:15 p.m.

Bless Me, Ultima (PG-13) Fri. 4:50 p.m., 7:05 p.m., 9:40 p.m. Sat. 2:05 p.m., 4:50 p.m., 7:05 p.m., 9:40 p.m.

Sun. 2:05 p.m., 4:50 p.m., 7:05 p.m. Mon. to Thurs.

4:50 p.m., 7:05 p.m.

The Call (R) Fri. 4:45 p.m., 7:20 p.m., 9:55 p.m. Sat. 2:10 p.m., 4:45 p.m., 7:20 p.m., 9:55 p.m. Sun. 2:10 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs. 4:45 p.m., 7:20 p.m.

Dead Man Down (R) Fri. 4:20 p.m., 6:55 p.m., 9:25 p.m. Sat. 1:55 p.m., 4:20 p.m., 6:55 p.m., 9:25 p.m.

Sun. 1:55 p.m., 4:20 p.m., 6:55 p.m. Mon. to Thurs.

4:20 p.m., 6:55 p.m.

IdentityThief (R) Fri. 4:40 p.m., 7:10 p.m., 9:35 p.m.

Sat. 2:15 p.m., 4:40 p.m., 7:10 p.m., 9:35 p.m. Sun. 2:15 p.m., 4:40 p.m., 7:10 p.m. Mon. to Thurs. 4:40 p.m., 7:10 p.m.

The Incredible Burt Wonderstone (PG-13) Fri. 4:55 p.m., 7:30 p.m., 9:50 p.m. Sat. 2:25 p.m., 4:55 p.m., 7:30 p.m., 9:50 p.m. Sun. 2:25 p.m., 4:55 p.m., 7:30 p.m. Mon. to Thurs. 4:55 p.m., 7:30 p.m.

Jack the Giant Slayer (PG-13) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m.

Oz The Great and Powerful 3D (PG) Fri. 6:55 p.m., 9:40 p.m. Sat. 2:35 p.m., 6:55 p.m., 9:40 p.m. Sun. 2:35 p.m., 6:55 p.m. Mon. to Thurs. 6:55 p.m.

Oz The Great and Powerful (PG) Fri. 4:40 p.m., 7:25 p.m. Sat. 1:55 p.m., 4:40 p.m., 7:25 p.m. Sun. 1:55 p.m., 4:40 p.m. Mon. to Thurs. 4:40 p.m.

Snitch (PG-13) Fri. 5 p.m., 7:35 p.m., 9:45 p.m. Sat. 2:30 p.m., 5 p.m., 7:35 p.m., 9:45 p.m. Sun. 2:30 p.m., 5 p.m., 7:35 p.m. Mon. to Thurs. 5 p.m., 7:35 p.m. mitChell Storyteller CinemA 110 Old Talpa Canon Road, 575-751-4245 Dead Man Down (R) Fri. 4:35 p.m., 7:05 p.m., 9:45 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:45 p.m.

Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m. Mon. to Thurs.

4:35 p.m., 7:05 p.m.

IdentityThief (R) Fri. 4:40 p.m., 7:10 p.m., 9:35 p.m.

Sat. 2:15 p.m., 4:40 p.m., 7:10 p.m., 9:35 p.m. Sun. 2:15 p.m., 4:40 p.m., 7:10 p.m. Mon. to Thurs. 4:40 p.m., 7:10 p.m.

The Incredible Burt Wonderstone (PG-13) Fri. 4:50 p.m., 7:30 p.m., 9:50 p.m. Sat. 2:25 p.m., 4:50 p.m., 7:30 p.m., 9:50 p.m. Sun. 2:25 p.m., 4:50 p.m., 7:30 p.m. Mon. to Thurs. 4:50 p.m., 7:30 p.m.

Jack the Giant Slayer (PG-13) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m.

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

Oz The Great and Powerful 3D (PG) Fri. 6:55 p.m., 9:40 p.m. Sat. 2:20 p.m., 6:55 p.m., 9:40 p.m. Sun. 2:20 p.m., 6:55 p.m. Mon. to Thurs.

6:55 p.m.

Oz The Great and Powerful (PG) Fri. 4:40 p.m., 7:25 p.m. Sat. 1:55 p.m., 4:40 p.m., 7:25 p.m.

Sun. 1:55 p.m., 4:40 p.m. Mon. to Thurs. 4:40 p.m.

Quartet (PG-13) Fri. 4:45 p.m., 7:20 p.m., 9:55 p.m.

Sat. 2:10 p.m., 4:45 p.m., 7:20 p.m., 9:55 p.m. Sun. 2:10 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs. 4:45 p.m., 7:20 p.m.

IN DIGITAL 3D AND

NOW PLAYING AT THEATERS EVERYWHERE IN

AND DIGITAL 3D. ALSO PLAYING IN 2D.

CHECK DIRECTORIES FOR THEATERS AND SHOWTIMES.

irresistibLe!”

“

Maggie Smith

DirecteD by

Dustin hoffman based on the play by ronald harwood screenplay by ronald harwood

Weinsteinco.com/Sites/Quartet

ARTWORK©2013 The WeinsTein cOmpAny. ALL RiGhTs ReseRVeD.

eXcLusiVe enGaGements

noW PLayinG

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PASATIEMPO

49

moving images film reviews

Six former heads of Shin Bet, Israel’s security agency

Homeland security?

Jonathan Richards I For The New Mexican The Gatekeepers, documentary, rated PG-13, in Hebrew with subtitles, Center for Contemporary Arts, 3.5 chiles The questions that haunt this very haunting documentary are desperately basic ones: Do the things we do in the name of protecting our security work?

Do they work on a moral level? Do they work on a practical level? Do they make things better?

Or do they make things worse?

Israeli cinematographer-turned-director Dror Moreh makes a powerful case that the answer to those first questions is mostly no. Inspired by Errol Morris’ The Fog of War, in which Morris interviewed former secretary of defense Robert McNamara and filleted him like a lost sole, Moreh set out to examine the role of his own country’s record in the business of protecting the homeland.

Shin Bet is the Israeli security agency, established in the early days of Israel under the government of David Ben-Gurion. The organization and its leaders have never courted publicity. Like the Lord, they work in mysterious ways and sometimes tend to their business with mighty and seemingly wanton destruction. A one-ton bomb dropped on the house of a terrorist in Gaza will destroy its target, but precise as it is, it is not surgical, and the collateral damage is devastating and breeds a contagion of revenge.

In an extraordinary coup, Moreh convinced six former heads of this supersecret agency to sit down for his camera and talk about the work they did. Their combined tenure covers more than three decades.

This is the roster: Avraham Shalom (1980 to 1986), 50

March 15 -21, 2013

Yaakov Peri (1988 to 1994), Carmi Gillon (1994 to 1996), Ami Ayalon (1996 to 2000), Avi Dichter (2000 to 2005), and Yuval Diskin (2005 to 2011).

These men have never been interviewed before. Most of them come across as likable, human, and even sympathetic; but you know in their line of work there were times when they were cold-eyed sons of bitches.

As a group, their disdain for politicians seems more robust than their antipathy toward Arab terrorists. “Politicians,” Diskin says, “like their problems distilled into binaries” so that the tough decisions can be reduced to either/or choices. “I don’t take politicians seriously anymore,” Shalom says. “I saw they couldn’t be trusted.” And he adds, “No Israeli prime minister took the Arabs into consideration.”

Shalom is the oldest of the fraternity, a deceptively gentle, plump old man who calls to mind Alec Guinness’ George Smiley. Colleagues remember him as a bully and a monster in his operational days.

When he is pressed by Moreh about an infamous incident under his watch during which a couple of captured terrorists were beaten to death by security forces, he becomes sly and evasive. “I don’t remember,” he says.

The most devastating lapse of Shin Bet vigilance resulted in an attack that came not from Arabs but from Jewish extremists. In 1995 an Israeli fanatic named Yigal Amir assassinated Yitzhak Rabin, the Israeli prime minister who had helped bring about the Oslo Accords. “One punk of an assassin with a gun that barely worked could shatter our hopes,” Peri reflects bitterly. Since then, another says, there has been “no good faith” in the peace process, a statement that Moreh edits over a shot of current prime minister Bibi Netanyahu.

But what is so telling about this documentary is the conviction it shows in these former heads of Israeli security that the process of brutalizing

a hostile occupied enemy is both immoral and counterproductive. They agree with Prof. Yeshayahu Leibowitz, an Israeli thinker who after the 1967 War predicted, “The corruption characteristic of every colonial state will affix itself to Israel too.”

“It’s a brutal occupational force, similar to the Germans in World War II,” Shalom laments.

“Similar, not identical,” he cautions, likening it to German treatment of non-Jewish populations.

“We’ve become ... cruel.” Gillon puts it even more bluntly: “We are making the lives of millions unbearable.”

To a man, they sound a common theme — that the policy of Israel toward the Palestinians simply doesn’t work. “You can’t make peace with military means,” Dichter admits. “Ineffective,” Ayalon says.

“I think,” Peri says, “that after retiring from this job you become a bit of a leftist.” They all are sharply critical of the Jewish settlements on the West Bank, and most believe the only road to peace is a two-state solution.

Moreh fleshes out his presentation with plenty of archival newsreel footage and some smoothly done re-creations. But what makes such a devastating impression is the sometimes ironic, sometimes frank, sometimes impassioned voices of these men who have lived the process of defending the state of Israel from inside the belly of the beast.

“One man’s freedom fighter is another man’s terrorist,” one of them admits. “To them, I was also a terrorist.”

Shalom believes, as do the rest, that Israel must talk to its enemies, “even Ahmadinejad,” at every opportunity. “There is no alternative to talking,” he says.

In a time when the U.S. is breeding enemies around the world with its drone attacks, these are voices we cannot afford to ignore. “We win every battle,” Ayalon says. “But we lose the war.” ◀

Theater Grottesco and The Center for Contemporary Arts present

EVENTUA

a series of cutting edge performances

PHIL GRABSKY DOUBLE FEATURE

Theater Grottesco

presents

exquisite absurdity 30 years of looking forward March 15 – April 7

Lisa Fay/Jeff Glassman Duo Depth of a moment: in four parts April 11 – 14

Sandglass Theater d-generation: an EXALTATION of larks April 18 – 21

FRIDAY OnLY AT 7:00 - FROm LOnDOn PHIL GRABSKY In PERSOn FOR Q & A - $20 FLAT

Faustwork Mask Theatre the mask messenger April 25 – 28

CCA

Phil Grabsky’s

LEONARDO LIVE

SATURDAY OnLY AT 7:00 - FROm LOnDOn PHIL GRABSKY In PERSOn FOR Q & A - $10.00 FLAT

presents

EVENTUA FINALE :

Cole Bee Wilson and guests: H thunderbolt May 3

CHERYL the big hoot May 4

Opening Night Gala TONIGHT!

catered champagne reception 6pm performance 7pm • after party • tickets $100

SAT AT 11:30; SUn AT 6:30; mOn THRU THURS 2:30 FRI & SAT AT 2:20; SUn AT 2:20; mOn THRU THURS AT 5:30

All Performances will be at the CCA’s Munoz–Waxman Gallery

1050 Old Pecos Trail, Santa Fe, NM 87505 GROTTESCO presents: Call 505.474.8400

or visit www.theatergrottesco.org CCA presents: Call 505.982.1338

or visit www.ccasantafe.org Thursdays - Saturdays at 7pm; Sundays at 4pm Ticket prices: $10-$25, discounts for CCA members.

SHUn LI AnD THE POET: FRI AnD SAT AT 4:20; SUn AT 12:00 & 4:20; mOn THROUGH THURS 7:30 Santa Fe’s #1 Movie theater, showcasing the best DOLBY in World Cinema. ®

D I G I T A L

S U R R O U N D •E X

SANTA FE University of Art and Design 1600 St. Michael’s Dr. information: 473-6494 www.thescreensf.com

Bargain Matinees Monday through Thursday (First Show ONLY) All Seats $7.50

All Thursdays are Pay What You Wish. Tickets available on a first-come first-served basis beginning 1 hour before the show at the theater.

Full price tickets available in advance.

This project is made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs, and the National Endowment for the Arts; the city of Santa Fe Arts Commission and the 1% Lodgers Tax; and The McCune Charitable Foundation. D-Generation: An Exaltation of Larks is funded in part by the NEFA National Theater Project with lead funding from the Andrew W. Mellon Foundation and the NEA.

PASATIEMPO

51

Proud Sponsors of the CCA Cinematheque

moving images film reviews

1050 Old Pecos Trail • 505.982.1338 • ccasantafe.org Santa Fe’s only not-for-profit, community-supported independent theatre, showing the best in world and independent cinema.

5 BEST PICTURE ACADEMY AWARD ® NOMINATIONS INCLUDING

WINNER

GOLDEN GLOBE® AWARD

BEST FOREIGN LANGUAGE FILM

©HFPA

125

WINNER BEST PICTURE CANNES

2013 Oscar Winner for Best ON OVER Foreign TOP TENFilm!!!

LISTS

“A MASTERPIECE.” -Manohla Dargis, THE NEW YORK TIMES

JEAN-LOUIS TRINTIGNANT

AMOUR A Film by MICHAEL HANEKE

EMMANUELLE RIVA

WWW.SONYCLASSICS.COM

2013 Oscar Winner for Best Documentary!!!

2013 Oscar Winner for Best Documentary!!!

New Mexico Filmmakers Experience:

Composing For Film 11:00a Sun March 17 Featuring a panel discussion of film composers, what composing means for film, and how it is done. Also, screening of films with and without a score.

Free and open to the public!!

Santa Fe Jewish Film Festival presents a SNEAK PREVIEW screening of

Special Guest intros & Q&As! -7:00p Fri 3/15: Peggy O’Mara of MOTHERING Magazine -7:00p Sat 3/16: Birthing Tree -3:00p Sun 3/17: Taos Midwifery Fri March 15

Sat March 16

1:15p - Birth Story: Ina May Gaskin* 2:00p - Amour 3:30p - Sugar Man* 4:30p - Amour 7:00p - Birth Story: Ina May Gaskin; intro

by Peggy O’Mara

2:00p - Sugar Man* 2:30p - Amour 4:30p - Birth Story: Ina May Gaskin* 5:00p - Amour 7:00p - Birth Story: Ina May Gaskin; intro by Birthing Tree* 7:30p - Amour

2013 Oscar Nominee for Best Documentary!!!

7:00p Sunday, March 17 • $12, no passes Followed by a Skype with an Israeli Terrorism expert

Sun March 17

11:00a - NMFE: Composing for Film Panel-FREE 1:45p - Amour 3:00p - Birth Story: Ina May Gaskin; intro by Taos Midwifery* 4:15p - Amour 5:30p - Birth Story: Ina May Gaskin* 7:00p - Sneak preview: The Gatekeepers 7:30p - Sugar Man

Mon March 18 Cinema Closed

Tues-Thurs March 19-21 2:00p - Amour 3:00p - Birth Story: Ina May Gaskin* 4:30p - Amour 5:15p - Sugar Man* 7:00p - Amour 7:30p - Birth Story: Ina May*

Concessions Provided by WHOLE FOODS MARKET 52

March 15 -21, 2013

It could get verse: Rade Serbedzija and Tao Zhao

Life in Venice Jonathan Richards I For The New Mexican Shun Li and the Poet, drama, not rated, in Italian with subtitles, The Screen, 3 chiles A particular form of indentured servitude surrounds the subject of this poignant film by Italian director Andrea Segre, whose previous work has been in documentaries about immigrants. In his narrative feature debut, he tells the story of Shun Li (Tao Zhao), a Chinese woman who has immigrated to Italy and now must work to pay off her debt to the Chinese syndicate that paid her passage and to raise money to bring over her 8-yearold son.

Shun Li starts off in a factory in Rome, but as the movie opens, she learns that she is being transferred to Chioggia, an island fishing community in the Venetian lagoon. She is assigned to work behind the counter in a Chineseowned workingmen’s café. She shares a room above the store with another Chinese woman.

The café is frequented by a cadre of regulars, mostly local fishermen who come there to drink and to mind one another’s business. One of them is a foreigner, Bepi (the great Croatian actor Rade Serbedzija). His friends call him The Poet. He’s been a fisherman in Chioggia for decades, long enough to be practically accepted as a local. But when a bond begins to develop between Bepi and Shun Li, nobody likes it — not the Chinese and not the Italians. There’s not much tolerance for blurring the boundaries.

The relationship isn’t exactly a romance, but it isn’t exactly not a romance either; at one point Shun Li tells Bepi she wants to marry him. Their friendship grows out of a shared interest in poetry; Bepi is charmed to learn of the annual Chinese observance in which people honor the poet Qu Yuan by floating candles in paper lotuses on the water. Shun Li is not trying to get Bepi to pay off her debt; the syndicate’s rules, we learn, forbid a nonChinese person from doing that. Eventually, faced with having to start her repayment schedule all over again, Shun Li is pressured to put an end to the friendship.

Segre uses his talented leads and his appealing location (beautifully shot

by Luca Bigazzi) to weave a gentle story of cross-cultural friendship and to turn a sad eye on the prejudice that clings to the distinction between races and cultures, closing ranks to shut out the “other” when we should be embracing our differences and rejoicing in our common ground. ◀

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53

RESTAURANT REVIEW Susan Meadows I For The New Mexican

Numbers game

315 Restaurant & Wine Bar 315 Old Santa Fe Trail, 986-9190 Dinner 5-9 p.m. Sundays-Thursdays, 5-9:30 p.m. Fridays & Saturdays Vegetarian options Noise level: convivial bistro Full bar Patio dining in season Wheelchair-accessible Credit cards, no checks

•

The Short Order The house-made charcuterie alone is worth a visit to Louis Moskow’s 315 Restaurant & Wine Bar, popular with locals and visitors since 1995. The menu mostly speaks French, with a smattering of Italian. A major renovation a few years back expanded the bar, where you can order smaller portions of some house specialties plus bar-only specials and chat about wine with the amiable bartender.

In addition to the regular menu, the bistro chalkboard offers a long list of nightly specials.

If there’s a problem, it’s deciding among all the tempting choices. Recommended: oysters, calamari Caesar salad, charcuterie plate, house sausage & sauerkraut, petit New York strip steak, monkfish vol-au-vent, chocolate pot de crème, crème brûlée, and flourless chocolate cake.

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

March 15 -21, 2013

Perhaps 10 fine-dining restaurants in Santa Fe have survived from the 20th century. One of them is Louis Moskow’s 315 Restaurant & Wine Bar — which will celebrate its 20th anniversary in 2015, assuming all goes well. Judging by the busy bar and mostly full-to-packed house that seems typical, even deep in the middle of a cold winter, all is going well.

The cozy wine bar offers a hefty list of wines from around the world, including a large selection from Burgundy and Bordeaux. They’re served by the glass or bottle, from splits to magnums. The white 2010 Faiveley Mercurey, available in a half bottle, was characterized by a distinct Burgundy minerality and was so full-bodied that I enjoyed it with everything — even steak.

In addition to wine, the bar serves cocktails, and the bar menu offers options for a light supper. At $8 a plate, these dishes give you a great way to share and taste a variety of what’s coming out of the kitchen. A winter bar special of oysters on the half shell at $1 a piece was too good to pass up. The Virginia bluepoint oysters were hands-down the best I’ve had in Santa Fe and better than many I’ve had within shucking distance of the sea.

According to the bartender, Moskow buys his seafood — flash-frozen shipboard — from a local company that flies it in directly, a guarantee of quality for our landlocked state. Calamari, both tender and crispy, didn’t really benefit from a bland aioli, but the fresh green salad of baby greens, cucumber, and sprouts was a refreshing bonus on bar menu plates.

As cassoulet was on the bistro specials chalkboard that night, its exquisite house-made sausage turned up on the bar menu, nestled into some of the best sauerkraut (also house-made) I have tasted on two continents. It was slightly sweet and lively with no vinegar burn. The only disappointment with a plate of crispy-outside, creamy-inside potato tots was the small number of tots served. A petit New York strip won over a non-steak-eater with tender medium-rare slices of beef served with irresistible house pomme frites, which bordered on potato chips.

Dinner in the restaurant was no less pleasing, though more formal, with white tablecloths, paintings of sunny Mediterranean scenes, and attentive service. Though Moskow has recently separated the dining rooms and bar from the entry and added curtains, there can still be a nasty draft in winter from a front door too often held open by unthinking guests. It’s hard to blame Moskow for this; he’s obviously trying. In fact, his guests are very clearly a priority. He personally delivered a 315 gift — appropriately a wine glass (empty) — to a table celebrating a birthday. At another, he graciously traded out a bottle of displeasing wine.

The calamari Caesar salad is a combo of favorites: crispy calamari on crunchy Romaine with a suave and flavorful sauce. For salumi and pâté lovers, the mustorder starter is the house-made charcuterie plate, where mortadella is the surprising star in a celebrity lineup of classic pâté and gossamer dry-cured ham. Monkfish volau-vent spilling out of its puff pastry cup shimmers in a buttery mushroom sauce for earth-meets-sea in a perfect encounter. The braised duck leg and sliced duck breast, though perfectly executed, suffered from below-par duck — a pitiful little thing that lacked flavor.

I can’t resist the chocolate pot de crème at 315. The crème brûlée is also a treat. The choux pastry clamshells were heavy and soggy, weighing down the custard-filled profiteroles, however. The flourless chocolate cake, while rich and fudgy (as it should be), just can’t make me stray from the pot de crème.

Moskow flirts with Italian while remaining true to a French-inspired cuisine, with fresh preparation, a devotion to quality, a certain joie de vivre, and the happy variety of a daily chalkboard. I don’t think there’s much risk in wishing Moskow and 315 a happy 20th anniversary just a little bit early. ◀

Check, please

Dinner for two in 315’s wine bar: Six oysters on the half shell ............................. $ Calamari .......................................................... $ Potato tots ........................................................ $ House sausage & sauerkraut ........................... $ Petit New York strip steak ................................ $ Crème brûlée ................................................... $ Profiteroles ...................................................... $ Half bottle, Faiveley Mercurey ......................... $ TOTAL ............................................................. $ (before tax and tip)

6.00 8.00 8.00 8.00 8.00 10.00 10.00 36.00 94.00

Dinner for two in the restaurant: Calamari Caesar salad ...................................... $ 14.00 Charcuterie plate ............................................. $ 14.00 Monkfish vol-au-vent ...................................... $ 28.00 Braised duck .................................................... $ 28.00 Chocolate pot de crème ................................... $ 10.00 Flourless chocolate cake .................................. $ 10.00 TOTAL ............................................................. $ 104.00 (before tax and tip)

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55

pasa week 15 Friday

evenTs

2013 auction & market Music by Amanda Quintana, market 7:15-9 p.m., no charge; reception and auction 5-7 p.m., $10 bid card, St. John’s College, 1160 Camino de Cruz Blanca, 984-6199, continues Saturday, March 16.

Bead Fest santa Fe 10 a.m.-6 p.m., workshops, book signings, and demonstrations through Sunday, March17, Santa Fe Community Convention Center, $15 at the door, through Sunday, March 17. pueblo of Tesuque Flea market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through the year. shift into awakening — oneness meditation 7-9 p.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $10 and $15 at the door, call Margo for information, 280-9163.

gallery/museum openings

arroyo gallery 200 Canyon Rd., 988-1002.

Fine Equine Photography, work by Tony Stromberg, reception 5-8 p.m., through April1.

Bill Hester Fine art 830 Canyon Rd., 660-5966. Argos at Black Mesa, a painting by Ladell and poetry by Billy Dean Hester, reception 5-7 p.m., through March. marigold arts 424 Canyon Rd., 982-4142. Hand-woven rugs

by Sandy Voss, reception 5-7 p.m., through May. matthews gallery 669 Canyon Rd., 992-2882.

The Art of John McHugh, paintings, reception 5-7 p.m., through March 28 (see story, Page 18).

classical music

spotlight on young musicians Annual concert presented by the Santa Fe Youth Symphony Association, 7 p.m., Scottish Rite Center, 463 Paseo de Peralta, $10 in advance and at the door, discounts available, 467-3770.

TgiF organ recital Bach’s Birthday Festival of Organ Music, with Linda Raney, 5:30 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated, 982-8544, Ext. 16.

nigHTliFe

in concerT

lawrence clark Trio New York City-based jazz ensemble, 7 p.m., The Den (Birdland), 132 W. Water St., $75-$250, 670-6482.

THeaTer/dance

Belisama irish dance company Rhythm of Fire; including Michael Patrick Gallagher and regional championship and top-10 world finalist dancers from Santa Fe and Los Alamos, 7:30 p.m., the Lensic, $20, discounts available, ticketssantafe.org, 988-1234. ‘eventua: exquisite absurdity: 30 years of looking Forward’ gala opening night Theater Grottesco celebrates its 30th anniversary with re-created scenes of past performances and previews of works from its 2013 series, 6 p.m., Center for Contemporary Arts, Muñoz Waxman Gallery, 1050 Old Pecos Trail, $100, 474-8400, theatergrottesco.org, continues Thursday-Sunday through April 7 (see story, Page 20). ‘in the Time of the Butterflies’ Teatro Paraguas presents a new play by Caridad Svich, 7:30 p.m., 3205 Calle Marie, $15, discounts available, 424-1601, FridaySunday through March 24.

‘The Three sisters’ Presented by Arden Shakespeare Festival, 8 p.m., Armory for the Arts, 1050 Old Pecos Trail, $20, discounts available, 984-1370, Friday-Sunday through March 24; also Thursday, March 21.

Pasa’s Little Black Book......... 57 Exhibitionism...................... 58 At the Galleries.................... 59 Libraries.............................. 59 Museums & Art Spaces........ 59 In the Wings....................... 60 56

March 15 -21, 2013

compiled by Pamela Beach, pambeach@sfnewmexican.com

Great Cormorant — Phalacrocorax Carbo, by Henry Horenstein, Verve Gallery of Photography

Books/Talks

Birds of prey Santa Fe Raptor Center’s educational program with live raptors; hosted by the Santa Fe Public Library, 4 p.m., Main Branch, 145 Washington Ave., 955-6783, continues Saturday, March 16.

Elsewhere............................ 62 People Who Need People..... 63 Under 21............................. 63 Pasa Kids............................ 63 Sound Waves...................... 63

mary Johnson The author reads from and signs copies of her memoir An Unquenchable Thirst, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

(See Page 57 for addresses) Bishop’s lodge ranch resort & spa Gerry Carthy & Friends get a jump on celebrating St. Patrick’s Day, 8-11 p.m., no cover. café café Los Primos Trio, traditional Latin rhythms, 6-9 p.m., no cover. ¡chispa! at el mesón The Three Faces of Jazz and friends, featuring Bryan Lewis on drums, 7:30-10:30 p.m., no cover. cowgirl BBQ Roots singer/songwriter Daniel Payne, 5-7:30 p.m.; John Kurzweg Band, rock ’n’ roll, 8:30 p.m.; no cover. el Farol Boom Roots Collective, hip-hop and reggae, 9 p.m., call for cover.

Hotel santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. la casa sena cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Blues band Night Train, 8-11 p.m., no cover. la posada de santa Fe resort and spa Nacha Mendez Trio, pan-Latin music, 6:30-9:30 p.m., no cover.

The legal Tender Tornadoes, classic rock/country band, 6-9 p.m., no cover.

The locker room sports Bar & grill Paul Pino and The Tone Daddies, 10 p.m.1:30 a.m., no cover.

calendar guidelines Please submit information and listings for Pasa Week

no later than 5 p.m. Friday, two weeks prior to the desired publication date. Resubmit recurring listings every three weeks. Send submissions by mail to Pasatiempo Calendar, 202 E. Marcy St., Santa Fe, NM, 87501, by email to pasa@sfnewmexican.com, or by fax to 820-0803. Pasatiempo does not charge for listings, but inclusion in the calendar and the return of photos cannot be guaranteed. Questions or comments about this calendar? Call Pamela Beach, Pasatiempo calendar editor, at 986-3019; or send an email to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. Follow Pasatiempo on Facebook and Twitter.

The Palace Restaurant & Saloon Busy McCarroll and the Ambassadors of Pleasure, jazz and pop noir, 9:30 p.m., call for cover.

Pranzo Italian Grill Geist Cabaret with pianist David Geist, 6-9 p.m., call for cover.

Second Street Brewery Hot Club of Santa Fe, Gypsy jazz, 6-9 p.m., no cover.

Second Street Brewery at the Railyard Appalachian-inspired string band Hot Honey, 6-9 p.m., no cover.

Tiny’s Josh Allen McNeill, rock, 5:30-8 p.m.; classic-rock band The Jakes, 8:30 p.m.-close; no cover.

The Underground at Evangelo’s Classic-rock cover band Chango, 9:30 p.m., $5 cover.

Vanessie Blues band The Attitudes, 7:30 p.m.-close, call for cover.

16 Saturday oPERa In hd

The Met Live in hd Zandonai’s Francesca da Rimini, 10 a.m. and 6 p.m., the Lensic, $22-$28, discounts available, ticketssantafe.org, 988-1234.

In concERT

high desert harp Ensemble Music of Ireland, 2 p.m., David Richard Gallery, 544 S. Guadalupe St., 983-9555, no charge.

ThEaTER/dancE

‘Eventua: Exquisite absurdity: 30 Years of Looking Forward’ Theater Grottesco celebrates its 30th anniversary with re-created scenes of past performances and previews of works from its 2013 series, 7 p.m., Center for Contemporary Arts, Muñoz Waxman Gallery, 1050 Old Pecos Trail, $25, discounts available, theatergrottesco.org, 474-8400, continues Thursday-Sunday through March 24 (see story, Page 20).

‘In the Time of the Butterflies’ Teatro Paraguas presents a new play by Caridad Svich, 7:30 p.m., 3205 Calle Marie, $15, discounts available, 424-1601, FridaySunday through March 24.

Jewel Box cabaret Gender-bending burlesque show, 8:30 p.m., doors open at 7:30 p.m., María Benítez Theatre, The Lodge at Santa Fe, 750 N. St. Francis Dr., $10 at the door, VIP tickets $20, 428-7781.

‘The Three Sisters’ Presented by Arden Shakespeare Festival, 8 p.m., Armory for the Arts, 1050 Old Pecos Trail, $20, discounts available, 984-1370, Friday-Sunday through March 24, special performance Thursday, March 21.

BookS/TaLkS

Birds of Prey Santa Fe Raptor Center’s educational program with live raptors hosted by the Santa Fe Public Library, 10:30 a.m., La Farge Branch, 1730 Llano St., 955-4863; 2:30 p.m., Southside Branch, 6599 Jaguar Dr., 955-2828.

opera Breakfast Lecture Mary Kime discusses Zandonai’s Francesca da Rimini, pre-opera lectures series in conjunction with The Met at the Lensic season, 8:30 a.m., Collected Works Bookstore, 202 Galisteo St., $5 donation at the door, 988-4226.

Stephen ausherman The author discusses 60 Hikes Within 60 Miles, 2 p.m., Cerrillos Hills State Park Visitor Center, 37 Main St., Cerrillos, 474-0196.

EVEnTS

2013 auction & Market Local artists showcase, artist demonstrations, music, and lecture by jeweler/blacksmith Ralph Sena, 9 a.m.-4 p.m., St. John’s College, 1160 Camino de Cruz Blanca, no charge, 984-6199.

Bead Fest Santa Fe 10 a.m.-6 p.m., workshops, book signings, and demonstrations through Sunday, March 17, Santa Fe Community Convention Center, $15 at the door, through Sunday, March 17.

The Flea at El Museo 8 a.m.-3 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia, santafeflea.com, 982-2671, weekends through April.

Gardening 101: The Basics of Gardening in Santa Fe 9 a.m.-3:30 p.m., workshop led by Tracy Neal and Jannine Cabossel, Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $45, presented by Santa Fe Master Gardener Association, 471-6251, sfmga.org.

keep It Rolling Santa Fe’s roller derby team, Disco Brawlers, hosts a fundraiser for the Santa Fe Children’s Museum; includes bake-sale items, raffle, and skate rentals, 7:30 p.m., Rocking Rollers, 2915 Agua Fría St., $7 in advance, $10 at the door, sfdiscobrawlers@yahoogroups.com.

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

Santa Fe artists Market 8 a.m.-2 p.m., Saturdays through March at the Railyard plaza between the Farmers Market and REI, 310-1555.

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

nIGhTLIFE

(See addresses below) Bishop’s Lodge Ranch Resort & Spa Gerry Carthy & Friends celebrate St. Patrick’s Day, 8-11 p.m., no cover. café café Los Primos Trio, traditional Latin songs, 6-9 p.m., no cover. ¡chispa! at El Mesón Ryan Finn Quartet, Caribbean-style jazz, 7:30-10:30 p.m., call for cover. cowgirl BBQ Classic-country singer/songwriter Bill Hearne and his trio, 2-5 p.m.; Sean Healen Band, country angst, 8:30 p.m.-close; no cover.

El Farol Tumbao, salsa beats, 9 p.m., call for cover.

pasa week

d Wine Bar 315 Restaurant an 986-9190 il, 315 Old Santa Fe Tra nt & Bar ra au st Re i az as an Anasazi, the of Inn d Rosewoo 988-3030 e., Av 113 Washington h Resort & Spa nc Ra e Bishop’s Lodg ., 983-6377 Rd 1297 Bishops Lodge café café 6-1391 500 Sandoval St., 46 ón ¡chispa! at El Mes 983-6756 e., Av ton ing 213 Wash uthside cleopatra café So 4-5644 47 ., Dr 3482 Zafarano cowgirl BBQ , 982-2565 319 S. Guadalupe St. o dinner for Tw , 820-2075 106 N. Guadalupe St. at The Pink The dragon Room a Fe Trail, nt Sa d Ol 6 adobe 40 983-7712 lton El cañon at the hi 811 8-2 98 , St. al ov nd Sa 100 Spa Eldorado hotel & St., 988-4455 o isc nc Fra n Sa .

309 W El Farol 3-9912 808 Canyon Rd., 98 ill Gr & r Ba El Paseo 2-2848 208 Galisteo St., 99

Pasa’s little black book Evangelo’s o St., 982-9014 200 W. San Francisc hotel Santa Fe ta, 982-1200 1501 Paseo de Peral La Boca 2-3433 72 W. Marcy St., 98 ina nt ca La casa Sena 8-9232 98 e., Av e lac Pa E. 125 La Fonda at La Fiesta Lounge , 982-5511 St. o isc nc Fra n 100 E. Sa a Fe Resort La Posada de Sant e Ave., 986-0000 lac Pa E. 0 and Spa 33 at the The Legal Tender eum us M d Lamy Railroa 466-1650 151 Old Lamy Trail, g arts center Lensic Performin St., 988-1234 o isc nc Fra n 211 W. Sa Sports Bar & Grill om Ro er ck The Lo 3-5259 47 ., Rd 2841 Cerrillos e Lodge Th at ge un Lodge Lo Francis Dr., St. N. at Santa Fe 750 992-5800 rider Bar Low ’n’ Slow Low ó ay im ch at hotel e., 988-4900 125 Washington Av The Matador o St., 984-5050 116 W. San Francisc

The Mine Shaft Tavern 2846 NM 14, Madrid, 473-0743 Molly’s kitchen & Lounge 1611 Calle Lorca, 983-7577 Museum hill café 710 Camino Lejo, Milner Plaza, 984-8900 Music Room at Garrett’s desert Inn 311 Old Santa Fe Trail, 982-1851 The Palace Restaurant & Saloon 142 W. Palace Ave, 428-0690 Pranzo Italian Grill 540 Montezuma Ave., 984-2645 Pyramid café 505 W. Cordova Rd., 989-1378 Revolution Bakery 1291 San Felipe Ave., 988-2100 Rouge cat 101 W. Marcy St., 983-6603 San Francisco Street Bar & Grill 50 E. San Francisco St., 982-2044 Santa Fe community convention center 201 W. Marcy St., 955-6705 Santa Fe Sol Stage & Grill 37 Fire Pl., solofsantafe.com Second Street Brewer y 1814 Second St., 982-3030

continued on Page 61

Second Street Brewer y at the Railyard Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 989-3278 Secreto Lounge at hotel St. Francis 210 Don Gaspar Ave., 983-5700 The Starlight Lounge RainbowVision Santa Fe, 500 Rodeo Rd., 428-7781 Stats Sports Bar & nightlife 135 W. Palace Ave., 982-7265 Steaksmith at El Gancho 104-B Old Las Vegas Highway, 988-3333 Taberna La Boca 125 Lincoln Ave., Suite 117, 988-7102 Thunderbird Bar & Grill 50 Lincoln Ave., 490-6550 Tiny’s 1005 St. Francis Dr., Suite 117, 983-9817 Totemoff Lodge at the Santa Fe Ski Basin N.M. 475, 982-4429 The Underground at Evangelo’s 200 W. San Francisco St., 577-5893 Upper crust Pizza 329 Old Santa Fe Trail, 982-0000 Vanessie 427 W. Water St., 982-9966 Zia diner 326 S. Guadalupe St., 988-7008

PASATIEMPO

57

exhibitionism

A peek at what’s showing around town

monte Yellow bird: Blue Star, 2012, colored pencil on summary of receipts.

NoiseCat on Canyon (618 Canyon Road) presents Celebrating George Flett, an exhibition of work by contemporary Native artists in honor of the ledger artist who died in January. Ledger art began in the 19th century with Plains tribes using ledger paper for narrative paintings and drawings. Artists represented in the exhibition include Lauren Good Day Giago, Dwayne Wilcox, and Monte Yellow Bird. The show runs through March. Call 412-1797.

martin J. Desht: Shankill Parade. Ballygomartin Road, at Woodvale House, Belfast, Northern Ireland, 2006, silver gelatin print. In A Certain Peace: Acceptance and Defiance in Northern Ireland, photographer Martin J. Desht explores the changing social climate in Belfast in the wake of the 1998 Belfast Agreement, which helped to end sectarian violence. The show is at the School for Advanced Research (660 Garcia St., 954-7200). The exhibit is up through July 25.

58

March 15 -21, 2013

mary Cost: Piling Up, 2012, tapestry. Architectural Abstractions is an exhibit of 12 hand-dyed wool tapestries by Mary Cost at Downtown Subscription (376 Garcia St.). Cost’s weavings depict the adobe architecture of the Southwest in bright colors and contrasts of light and shadow. The show runs through March. Call 983-3085.

Linda Fillhardt: Altered Reality: Cycles #1, 2012, mixed media on panel.

Giving Voice to Image, an exhibition pairing visual works of 14 gallery artists with poems by New Mexico writers, continues at Vivo Contemporary (725 Canyon Road.) through March 26.

The show includes work by artists Paul Biagi, Russell Thurston, and Joy Campbell and poems by Mike Burwell, Jeanne Simonoff, and Darryl Williams. Call 982-1320.

June Wayne (1918-2011): Col Noir, 1973, woven tapestry. In the 1970s June Wayne created a series of hand-woven tapestries based on her lithographs prints. The tapestries were made in collaboration with weaving studios in France. For The Tapestries: Forces of Nature and Beyond, David Richard Gallery (544 S. Guadalupe St.) presents 16 of Wayne’s textiles. The exhibition is shown in conjunction with Judy Chicago: Woven and Stitched and Paul Reed: Stained and Unstretched.

The shows are up through March 23. Call 983-9555.

At the GAlleries Axle Contemporary 670-7612 or 670-5854. (no)stalgia, installation

by Cannupahanska Luger, visit axleart.com for van locations through March 24.

Commissioner’s Gallery — New Mexico State Land Office 310 Old Santa Fe Trail, 827-5762. Enchanting Bolos and Paintings of New Mexico, work by Wayne Meyerowitz and Betty Carlson, through Friday, March 15.

David Richard Gallery 544 S. Guadalupe St., 983-9555. The Tapestries — Forces of Nature and Beyond, work by June Wayne (1918-2011); Woven and Stitched, textiles by Judy Chicago; Stained and Unstretched, paintings by Paul Reed; through March 23.

Eight Modern 231 Delgado St., 995-0231. Year of the Snake, group show, through April 6.

El Museo Cultural de Santa Fe 555 Camino de la Familia, 992-0591. Challa: Fiesta Carnaval del Valle de Codpa, photographs

by Rodrigo Villalón Ardisoni, through April 5.

Jane Sauer Gallery 652 Canyon Rd., 995-8513. Questioning Femininity, kiln-formed glass sculpture

by Susan Taylor Glasgow, through Friday, March 15.

Monroe Gallery of Photography 112 Don Gaspar Ave., 992-0800. Sid Avery: The Art of the Hollywood Snapshot, through March 24.

NoiseCat on Canyon 618 Canyon Rd., 412-1797. Celebrating George Flett, new works by ledger artists of the Northern and Southern Plains, through March.

Peyton Wright Gallery 237 E. Palace Ave., 989-9888. Art of Devotion, 20th annual exhibit of art and objects from the Spanish Colonial Americas combined with an inaugural exhibit of European Old Master works of the mid-1500s to the 1800s, through March.

Photo-eye Gallery 376-A Garcia St., 988-5152. The Nude: Classical, Contemporary, Cultural, through April 20.

Santa Fe Art Institute Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5050. The China Express, photographs by Carlan Tapp, through April 5.

Santa Fe Clay 545 Camino de la Familia, 984-1122. Remnants, ceramic sculpture by Peter Christian Johnson and Todd Volz, through April 20.

Santa Fe Public Library Southside Branch, 6599 Jaguar Dr., 955-2820. Photography As Fine Art, work by Lee Manning, through March 30.

Santa Fe University of Art & Design Fine Arts Gallery 1600 St. Michael’s Dr., 473-6500. Al-Mutanabbi Street Starts Here, traveling group show of book art, through March 22.

Santa Fe University of Art & Design Visual Arts Center 1600 St. Michael’s Dr., 473-6560. The Floor Is Lava, works by students Jessica Minnich and Rhea Baxter, through Saturday, March 16.

School for Advanced Research Administration Building, 660 Garcia St., 954-7200.

A Certain Peace: Acceptance and Defiance in Northern Ireland, photographs by Martin J. Desht, through July 25.

Thaw Art History Center Room 503, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 473-6011. Library, Library, installation by Cluster, a student-run initiative, and Andrew Lyman, through Saturday, March 16.

Verve Gallery of Photography 219 E. Marcy St., 982-5009. Works by Henry Horenstein, Linda Ingraham, and Brigitte Carnochan, through May 4.

Zaplin Lampert Gallery 651 Canyon Rd., 982-6100. Journey, new paintings by Joe Anna Arnett, through March 23 (see review, Page 34).

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

Catherine McElvain Library School for Advanced Research, 660 Garcia St., 954-7200. Open Monday-Friday, call for hours.

Chase Art History Library Thaw Art History Center, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 473-6569. Open Monday-Friday, call for hours.

Faith and John Meem Library St. John’s College, 1160 Camino de Cruz Blanca, 984-6041. Visit stjohnscollege.edu for hours of operation. $20 fee to nonstudents and nonfaculty.

Fray Angélico Chávez History Library Palace of the Governors, 120 Washington Ave., 476-5090. Open 1-5 p.m. Tuesday-Friday.

Laboratory of Anthropology Library Museum of Indian Arts & Culture, 476-1264.

Open 1-5 p.m. Monday-Friday, by museum admission.

New Mexico State Library 1209 Camino Carlos Rey, 476-9700. Upstairs (state and federal documents and books) open noon-4:30 p.m. Monday-Friday; downstairs (Southwest collection, archives, and records) open 9 a.m.-4:30 p.m. Monday-Friday.

Quimby Memorial Library Southwestern College, 3960 San Felipe Rd., 467-6825. Rare books and collections of metaphysical materials. Open Monday-Friday, call for hours.

Santa Fe Community College Library 6401 Richards Ave., 428-1352. Open MondayFriday, call for hours.

Santa Fe Institute 1399 Hyde Park Rd., 984-8800. Open 1-5 p.m. Monday-Friday to current students (call for details). Visit santafe.edu/library for online catalog.

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

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

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

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

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

MuseuMs & Art spAces refer to the daily calendar listings for special events. Museum hours subject to change on holidays and for special events.

Center for Contemporary Arts 1050 Old Pecos Trail, 982-1338. Revival, multimedia installation by Billy Joe Miller,

late 19th- early 20th-century comb, in the Museum of spanish colonial Art exhibit Filigree and Finery: The Art of Spanish Elegance

through April14, Muñoz Waxman Front Gallery • Alone Together, mixed-media paintings

by Natalie Smith, through Sunday, March 10, Spector Ripps Project Space. Gallery hours available online at ccasantafe.org or by phone, no charge.

Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Annie Leibovitz: Pilgrimage, through May 5 • Georgia O’Keeffe and the Faraway: Nature and Image, through May 5. Open 10 a.m.5 p.m. Saturday-Thursday, 10 a.m.-7 p.m. Fridays. $12; seniors $10; NM residents $6; students 18 and over $10; under 18 no charge; NM residents free 5-7 p.m. first Friday of the month.

Museum of Contemporary Native Arts 108 Cathedral Pl., 983-8900. Thicker Than Water, lens-based group show • Summer Burial, mixed media by Jason Lujan; through May 12 • Spyglass Field Recordings: Santa Fe; multimedia work by Nathan Pohio • Images of Life, portraits by Tyree Honga • Moccasins and Microphones: Modern Storytelling Through Performance Poetry, documentary by Cordillera Productions; through March. Open 10 a.m.-5 p.m.

Monday and Wednesday-Saturday, noon-5 p.m.

Sunday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays.

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

What’s New in New: Recent Acquisitions, annual exhibit celebrating the gallery’s namesake, Lloyd Kiva New, through 2013 • Woven Identities: Basketry Art From the Collections • Margarete Bagshaw: Breaking the Rules, 20-year retrospective • Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Let’s Take a Look, free artifact identification by MIAC curators, noon2 p.m. the third Wednesday of each month. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents no charge on Sundays; free to NM residents over 60 on Wednesdays.

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

Plain Geometry: Amish Quilts, textiles from the museum’s collection and collectors, through Sept.1 • New World Cuisine: The Histories of Chocolate, Mate y Más • Folk Art of the Andes, work from the 19th and 20th centuries • Multiple Visions: A Common Bond, international collection

of toys and traditional folk art. Open 10 a.m.5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; no charge for NM residents on Sundays.

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

Stations of the Cross, group show of works by New Mexico artists, through Sept. 2 • Filigree and Finery: The Art of Spanish Elegance, an exhibit of historic and contemporary jewelry, garments, and objects, through May 27 • Metal and Mud — Iron and Pottery, works by Spanish Market artists, through April • San Ysidro Labrador/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, Colonial and 19th-century Mexican art, sculpture, and furniture; also, work by Spanish Market youth artists • The Delgado Room, late Colonial period re-creation. Open 10 a.m.-5 p.m. Tuesday-Sunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays.

New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 476-5200. Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author • Telling New Mexico: Stories From Then and Now, core exhibition of chronological periods from the pre-Colonial era to the present.

Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m.

Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; no charge on Wednesdays for NM residents over 60; no charge on Fridays 5-8 p.m.; NM residents no charge on Sundays.

New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Alcove 12.9, works by New Mexico artists Jeff Deemie, Teri Greeves, Joanne Lefrak, James Marshall, and Mary Tsiongas, through April 7 • Art on the Edge 2013, Friends of Contemporary Art and Photography’s biennial juried group show includes work by Santa Fe artists Donna Ruff and Greta Young, through April 14 • Back in the Saddle, collection of paintings, prints, photographs, and drawings of the Southwest, through Sept. 15 • It’s About Time: 14,000 Years of Art in New Mexico, through January 2014. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays.

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

Poeh Museum 78 Cities of Gold Rd., Poeh Center Complex, Pueblo of Pojoaque, 455-3334.

Open 8 a.m.-5 p.m. Monday-Friday; 9 a.m.-4 p.m.

Saturday; donations accepted.

SITE Santa Fe 1606 Paseo de Peralta, 989-1199. State of Mind: New California Art Circa 1970, conceptual and avant-garde works of the late 60s and 70s; Linda Mary Montano: Always Creative, interactive performance; Mungo Thomson: Time, People, Money, Crickets, multimedia; through May 19. Open 10 a.m.-5 p.m. TuesdaySaturday; 10 a.m.-7 p.m. Friday; noon-5 p.m.

Sunday. $10; seniors and students $5; Fridays no charge.

Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 982-4636. A Certain Fire: Mary Wheelwright Collects the Southwest, 75th anniversary exhibit, through April 14. Open 10 a.m.-5 p.m.

Monday-Saturday, 1-5 p.m. Sunday. Docent tours 2 p.m. Mondays, Wednesdays, Fridays, and Saturdays.

PASATIEMPO

59

In the wings MUSIC

Stu Rosner

Serenata of Santa Fe The Apple Hill String Quartet in Outliers, featuring oboist Pamela Epple and pianist Debra Ayers, music of Brahms, Grieg, and Ligeti, 6 p.m. Friday, March 22, Scottish Rite Center, 463 Paseo de Peralta, $25, discounts available, 988-1234, ticketssantafe.org.

New Mexico Women’s Chorus Fundraiser; pop, jazz, and blues revue, 7-9 p.m.

Saturday, March 23, The Starlight Lounge, RainbowVision Santa Fe, 500 Rodeo Rd., 428-7781, $10 donation at the door, call 310-5593 for more information.

Richard goode in recital, 7:30 p.m. tuesday, April 9, at the Lensic.

New Mexico Guitar Duo Jeremy Mayne and Mickey Jones, 7:30 p.m.

Saturday, March 23, Gig Performance Space, 1808 Second Street, gigsantafe.com.

The Chet Baker-Gerry Mulligan Project Jazz trumpeter Jan McDonald, saxophonist Arlen Asher, and the Bert Dalton Trio, 4 p.m.

Sunday, March 24, Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $20 at the door, 662-7950.

Robert Earl Keen Roots-country songwriter, 7 p.m. Wednesday, March 27, Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, $31, ticketssantafe.org, 988-1234.

Oliver Mtukudzi and The Black Spirits African band, 7 p.m. Thursday, March 28, the Lensic, $20-$40, student discounts available, ticketssantafe.org, 988-1234.

Santa Fe Pro Musica Orchestra Baroque Holy Week, featuring mezzo-soprano Deborah Domanski and trumpeter Brian Shaw, music of Bach and Telemann, 7:30 p.m. Thursday and Friday, 6 p.m. Saturday, March 28-30, Loretto Chapel, $20-$65, 988-1234, ticketssantafe.org.

Schola Cantorum of Santa Fe The sacred music ensemble in Good Friday Reflections, 7 p.m. Friday, March 29, Shrine of Our Lady of Guadalupe Catholic Church, 417 Agua Fría St., no charge, schola-sf.org, 474-2815.

Donald Rubinstein Folk-rock singer/songwriter, doors open at 7 p.m., concert begins at 7:30 p.m. Saturday, March 30, Gig Performance Space, 1808 Second St., $15 at the door, gigsantafe.com.

Jeff Mangum Acoustic guitar and vocals, 7:30 p.m. Tuesday, April 2, the Lensic, $20-$32, a portion of the ticket sales benefits the nonprofit, Blue Skies for Children, ticketssantafe.org, 988-1234.

Santa Fe Symphony Chorus, Chamber Ensemble, and Orchestra concerts The chorus and chamber ensemble perform in a free recital of Fauré’s Requiem, 7 p.m. Thursday, 60

March 15 -21, 2013

April 4, Cathedral Basilica of St. Francis of Assisi; the symphony performs in April Joy, joined by the piano duo Anderson & Roe, music of Mozart and Dvoˇrák, 4 p.m. Sunday, April 21, pre-concert lecture 3 p.m.; the Lensic, $20-$70, 988-1234, ticketssantafe.org.

Angel Olsen Singer/songwriter, Villages opens, 7:30 p.m.

Saturday, April 13, High Mayhem Emerging Arts, 2811 Siler Lane., 438-2047, $10, 988-1234, ticketssantafe.org.

Tony Furtado Indie folk-rock singer/songwriter, 7:30 p.m. Saturday, April 13, Music Room at Garrett’s Desert Inn, 311 Old Santa Fe Trail, $15 in advance, $20 at the door, brownpapertickets.com, call 577-8015 for information.

Monterey Jazz Festival 55th anniversary tour featuring Dee Dee Bridgewater, Christian McBride, Benny Green, Lewis Nash, Chris Potter, and Ambrose Akinmusire, 7:30 p.m.

Thursday, April 25, the Lensic, $25-$55, 988-1234, ticketssantafe.org.

Signum Quartet Music of Haydn and Schubert, 7:30 p.m.

Thursday, April 25, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$50, 988-1234, ticketssantafe.org.

Bobby Shew Virtuoso jazz trumpeter, with Jim Ahrend on piano, Andy Zadrozny on bass, and John Trentracosta on drums, 7 p.m. Friday, April 26, KSFR Radio’s Music Café Series, 7 p.m., Museum Hill Café, Milner Plaza, 710 Camino Lejo, $20, 428-1527.

Ozomatli The Los Angeles-based Latin-fusion band performs as part of Santa Fe University of Art & Design’s Artists for Positive Social Change series, Saturday, April 27, 1600 St. Michael’s Dr., no charge, but tickets required, 473-6440.

Upcoming events Darius Brubeck The jazz pianist (and son of the late Dave Brubeck) performs with local ensemble Straight Up and vocalist Maura Dhu Studi in a benefit concert for The Humankind Foundation, 4 p.m. Sunday, May 5, the Lensic, tickets TBA. Lyle Lovett and Robert Earl Keen An acoustic evening with the Texas musicians, 7 p.m. Sunday, May 26, Santa Fe Opera, 301 Opera Dr., $27-$89, on sale March 29 at the SFO box office, santafeopera.org, 986-5900. First 50 tickets available Wednesday, March 27 at the Robert Earl Keen Barn Dance at the Santa Fe Farmers Market.

THEATER/DANCE

New Mexico Dance Coalition 26th Annual Choreographers’ Showcase, 7:30 p.m. Friday and Saturday, March 22-23, companies include New Mexico School for the Arts, Pomegranate Studios, Dance Space Santa Fe, and Four Winds Belly Dance, Railyard Performance Space, 1611 Paseo de Peralta, $10-$15 sliding scale, ages 12 and under $5, 920-0554.

‘Clybourne Park’ Fusion Theatre presents the 2012 Tony Awardwinning play by Bruce Norris, 8 p.m. Friday, 2 and 8 p.m. Saturday, March 22-23, the Lensic, $20-$40, students $10, ticketssantafe.org, 988-1234.

‘Buried Child’ Ironweed Productions in co-production with Santa Fe Playhouse presents Sam Shepard’s drama, 7:30 p.m. ThursdaySaturday, 2 p.m. Sunday, March 28-April 14, 142 De Vargas St., $20, discounts available, santafeplayhouse.org, 988-4262.

‘Einstein: A Stage Portrait’ Spoli Productions International presents Tom Schuch in Willard Simms’ one-man play, 7:30 p.m. Friday and Saturday, 2 p.m. Sunday, April 5-7, Teatro Paraguas, 3205 Calle Marie, $16, discounts available, 424-1601.

Les Ballets Trockadero de Monte Carlo All-male drag dance company that parodies classical ballet, 7:30 p.m. Monday, April 15, the Lensic, $25-$72, 988-1234, ticketssantafe.org.

‘Winning the Future’ Up & Down Theatre Company presents its satirical musical revue, 8 p.m. Friday and Saturday, 4 p.m. Sunday, April 19-21, Teatro Paraguas Studio, 3205 Calle Marie, $10, 424-1601.

Latin-fusion band ozomatli on stage April 27, at the santa Fe University of Art & Design.

Trey McIntyre Poject The contemporary dance company presents Arrantza, Pass, Away, and Queen of the Goths, 7:30 p.m. Friday and Saturday, May 3-4, the Lensic, $20-$45, discounts available, 988-1234, ticketssantafe.org.

‘Humble Boy’ Fusion Theatre presents Charlotte Jones’ comedy, 8 p.m. Tuesday and Wednesday, May 7-8, the Lensic, $20-$40, students $10, ticketssantafe.org, 988-1234.

ArtSpring 2013 New Mexico School for the Arts’ year-end performance gala featuring dance, theater, visual arts, music, and a live auction; 5:30 p.m. gala (venue TBA); performances 7 p.m. Friday and Saturday, May 10-11, the Lensic, performances only ($15 reserved seating; $50 preferred seating), $100 includes gala and performance, 988-1234, ticketssantafe.org.

HAPPENINGS

10th annual Celebración gala Honoring Barbara Carpio Hoover and H. Earl (Bud) Hoover and Patrons of the Spanish Colonial Arts Society; dinner, silent and live auctions of art donated by Spanish Market artists, travel, and gift items, 5 p.m. Saturday, March 23, Santa Fe Community Convention Center, 201 W. Marcy St., $150, 982-2226, Ext. 103, proceeds benefit the Traditional Spanish Markets, the Museum of Spanish Colonial Art, educational programs for children and adults, and the society.

Council on International Relations Buffet dinner followed by a screening of the film Cherry Blossoms, 5-9 p.m. Tuesday, March 26, Cowgirl BBQ, 319 S. Guadalupe St., dinner and film $35, film only $15, 982-4931, sfcir.org.

Lannan Foundation literary events Novelists Russell Banks and Stona Fitch, 7 p.m. Wednesday, March 27; authors Isabel Wilkerson and John Stauffer, 7 p.m. Wednesday, April 10; the Lensic, $6, discounts available, ticketssantafe.org, 988-1234.

Japanese Cultural Festival Santa Fe Japanese Intercultural Network presents its annual matsuri with a vintage kimono exhibit, fashion show, sale of Japanese goods, and Japanese food, 10 a.m.5 p.m. Saturday, April 20, Santa Fe Community Convention Center, $3, children ages 12 and under no charge, proceeds benefit Japan Aid of Santa Fe recovery relief fund, santafejin.org.

2013 Jewish Arts Festival May 3-5, includes multimedia works, gala reception, and music, Temple Beth Shalom, 205 E. Barcelona Rd., art show and sale no charge, gala reception $10 in advance and at the door, for events schedule and to view the artists’ work visit tbsartfest.org.

Santa Fe Opera opening night benefit The opening-night performance of Offenbach’s The Grand Duchess of Gérolstein is preceded by a gala buffet dinner and a talk by Tom Franks, Friday, June 28, Dapples Pavilion, 301 Opera Dr., $70 before March 31, $80 after, hosted by the Santa Fe Opera Guild, 629-1410, Ext. 113, guildsofsfo.org.

Santa Fe Opera The season opens Friday, June 28, with the return of Offenbach’s The Grand Duchess of Gérolstein; other offerings include the premiere of Theodore Morrison’s Oscar, SFO’s first mounting of Rossini’s La Donna del Lago, and two revivals, Mozart’s The Marriage of Figaro and Verdi’s La Traviata; also, two special concerts honoring Wagner, Britten, and Stravinsky; visit santafeopera.org or call 986-5900 for tickets and details on all SFO events.

pasa week

from Page 57

16 Saturday (continued) La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover.

La Fiesta Lounge at La Fonda Blues band Night Train, 8-11 p.m., no cover.

La Posada de Santa Fe Resort and Spa Jazz vocalist Whitney and guitarist Pat Malone, 6-9 p.m., no cover.

The Legal Tender Buffalo Nickel Band, boot-scootin’ tunes, 6-9 p.m., no cover.

The Mine Shaft Tavern Honky Tonk Deluxe, with Susan Holmes and special guest, Earl Poole Ball, 7-11 p.m., call for cover.

The Palace Restaurant & Saloon Victor Alvarez and Savor, Cuban rhythms, 8:30 p.m., call for cover.

Pranzo Italian Grill Faith Amour with John Rangel, jazz vocals and piano, 6-9 p.m., call for cover.

Second Street Brewery Folksy-blues singer/songwriter Zoe Evans, 6-9 p.m., no cover.

Second Street Brewery at the Railyard The Irish Benders, 6-9 p.m., no cover.

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

Vanessie Bob Finnie, pop standards piano and vocals, 6:30 p.m.-close, no cover.

17 Sunday In ConCeRT

Gerry Carthy and the Santa Fe University of Art & Design Celtic ensemble St. Patrick’s Day celebration, 3-5 p.m., O’Shaughnessy Performance Space, Benildus Hall, Santa Fe University of Art & Design,1600 St. Michael’s Dr., 473-6196, $10 at the door, gerrycarthy.com.

High Desert Harp ensemble Music of Ireland, 2 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226, no charge.

THeATeR/DAnCe

‘eventua: exquisite Absurdity: 30 Years of Looking Forward’ Theater Grottesco celebrates its 30th anniversary with re-created scenes of past performances and previews of works from its 2013 performance series titled Eventua, 4 p.m., Center for Contemporary Arts, Muñoz Waxman Gallery, 1050 Old Pecos Trail, $25, discounts available, theatergrottesco.org, 474-8400, continues Thursday-Sunday through March 24 (see story, Page 20).

‘In the Time of the Butterflies’ Teatro Paraguas presents a new play by Caridad Svich, 2 p.m., 3205 Calle Marie, pay-what-youwish, 424-1601, Friday-Sunday through March 24.

‘The Three Sisters’ Presented by Arden Shakespeare Festival, 2 p.m., Armory for the Arts, 1050 Old Pecos Trail, $20, discounts available, 984-1370, Friday-Sunday through March 24, special performance Thursday, March 21.

BookS/TALkS

Ana Pacheco The author signs copies of Legendary Locals of Santa Fe, 2 p.m., Community Room, Genoveva Chavez Community Center, 3221 Rodeo Rd., 955-4000 (see Subtexts, Page 16).

Helen Marie Clarke The author reads from and discusses Over P.J. Clarke’s Bar: Tales From New York City’s Famous Saloon, 2 p.m., Garcia Street Books, 376 Garcia St., 986-0151.

Patricia Lee Sharpe The poet reads from her collections, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

Questions on the Wall Free interactive readings by local poets including Colleen Carias, Catherine Ferguson, and Laurie Hilton, 2 p.m., La Tienda Performance Space, 7 Caliente Rd., Eldorado, email Katherine for information, kdseluja@comcast.net.

What’s new Contemporary native Artists Speak series Diné jewelers Veronica Benally and Ernest Benally discuss their work, 2 p.m., O’Keeffe Theater, Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, no charge, 476-1250.

eVenTS

A Fashion Story: Mixing old and new to Create Modern Designs Fashion show and talk, 2 p.m., Zane Bennett Contemporary Art, 435 S. Guadalupe St., presented by the New Mexico Committee of the National Museum of Women in the Arts, $35, 988-1234, ticketssantafe.org.

Bead Fest Santa Fe 11 a.m.-5 p.m., workshops, book signings, and demonstrations, Santa Fe Community Convention Center, $15 at the door.

The Flea at el Museo 10 a.m.-4 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia, santafeflea.com, 982-2671, weekends through April.

International folk dances 6:30-8 p.m. weekly, followed by Israeli dances 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, beginners welcome.

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

Railyard Artisans Market Saxophonist Brian Wingard 10 a.m.-1 p.m.; flutist Adrian Wall 1-4 p.m.; Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 983-4098, railyardartmarket.com, 10 a.m.-4 p.m. weekly.

St. Patrick’s Day celebration Music by Carol Calvert, dramatic performance piece by Etain O’Malley, and a poetry reading

by Linda Whittenberg, 3 p.m., Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., donations welcome, 982-9674 or 992-0665.

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

The Tides Project Multimedia-arts event including local and international artists presenting music, art, film, and poetry, 2-4 p.m., Institute of American Indian Arts, 83 Avan Nu Po Rd., donations welcome, iaia.edu.

ST. PADDY’S nIGHTLIFe

(See Page 57 for addresses) Cowgirl BBQ The Irish Benders, noon-3 p.m. and 8 p.m.-close, no cover.

Dinner for Two Classical guitarist Vernon de Aguero, 6 p.m., no cover.

The Dragon Room at The Pink Adobe Jazz guitarist Pat Malone, 6-8 p.m., call for cover. el Farol Nacha Mendez and guests, pan-Latin music, 7 p.m.-close, no cover.

La Fiesta Lounge at La Fonda La Fonda Talent Showcase, any music genre, stand-up comedy, and more welcome, $25 to the winners, 7-10 p.m., no cover.

Stealth Palm, by Nicolas Gadbois, Better Day Coffee Shop, 905 W. Alameda St.

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

The Mine Shaft Tavern Americana guitarist Gene Corbin, 3-7 p.m.; bluegrass band Paw & The Clinkers, 7-11 p.m.; no cover.

Second Street Brewery Enjoy more St. Patrick’s Day music with Albuquerque & Four Corners Pipes and Drums, 3-5 p.m.; Wallop the Spot, 6-9 p.m.; no cover.

Second Street Brewery at the Railyard Local string band The Free Range Ramblers, 7 p.m., no cover.

Vanessie Elie Dendahl & Gem, St. Patrick’s Day music, 4-6 p.m.; Bob Finnie, pop standards piano and vocals, 6 p.m.-close, call for cover.

18 Monday In ConCeRT

Biggi Vinkeloe’s Desert Sweets Trio Free-jazz ensemble, 8 p.m., O’Shaughnessy Performance Space, Benildus Hall, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 473-6196, $10 at the door.

Roxbury-Latin Choir Mixed repertoire, 6 p.m., Tipton Hall, St. Michael’s High School, 100 Siringo Rd., 660-3187, no charge.

BookS/TALkS

Antone Dolezal The photographer discusses his work, 6 p.m., Tipton Hall, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 473-6341.

The Chaco era outlier That Wasn’t Lecture by John Kantner, Santa Fe Archaeological Society’s monthly lecture series, 7:30 p.m., Courtyard Marriott, 3347 Cerrillos Rd., no charge, 982-2846 or 455-2444.

The Pueblo Cosmos Through Time and Space A Southwest Seminars’ Ancient Sites and Ancient Stories lecture with Sam Duwe, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775.

eVenTS

Banff Mountain Film Festival 2013 World Tour Annual collection of international films related to adventure sports, expeditions, and mountain cultures, 7 p.m., the Lensic, $16, two-day pass $28, 988-1234, ticketsssantafe.org, continues Tuesday, March 19.

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

nIGHTLIFe

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

La Fiesta Lounge at La Fonda Syd Masters & the Swing Riders, Western swing, 7:30-11 p.m., no cover.

Tiny’s The Great Big Jazz Band, 7-9 p.m., no cover.

Vanessie Bob Finnie, pop standards piano and vocals, 6:30 p.m.-close, no cover.

19 Tuesday BookS/TALkS

Georgia o’keeffe Museum Readers’ Club The discussion series continues with Maria Chabot — Georgia O’Keeffe Correspondence: 1941-1949, 6-7:30 p.m., Education Annex, 123 Grant Ave., 946-1039, no charge.

eVenTS

Banff Mountain Film Festival 2013 World Tour Annual collection of international films related to adventure sports, expeditions, and mountain cultures, 7 p.m., the Lensic, $16, 988-1234, ticketsssantafe.org.

nIGHTLIFe

(See Page 57 for addresses) ¡Chispa! at el Mesón Argentine Tango Milonga, 7:30 p.m., call for cover.

Cowgirl BBQ Singer/songwriter Eryn Bent, 8 p.m., no cover. el Farol Canyon Road Blues Jam, with Tiho Dimitrov, Brant Leeper, Mikey Chavez, and Tone Forrest, 8:30 p.m.-midnight, no cover.

La Casa Sena Cantina Guitarist Ramon Bermudez Jr., contemporary Latin tunes, 6 p.m., no cover.

La Fiesta Lounge at La Fonda Syd Masters & the Swing Riders, Western swing, 7:30-11 p.m., no cover. ▶▶▶▶▶▶▶▶ PASATIEMPO

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The Underground at evangelo’s Rock band Psychothermia, 8 p.m., $5 cover.

Vanessie Singer/songwriters Daniel Link and Chris Chickering, 6:30-9:30 p.m., no cover.

21 Thursday TheaTeR/Dance

‘eventua: exquisite absurdity: 30 Years of looking Forward’ Theater Grottesco celebrates its 30th anniversary with re-created scenes of past performances and previews of works from its 2013 series, 7 p.m., Center for Contemporary Arts, Muñoz Waxman Gallery, 1050 Old Pecos Trail, pay-what-youwish theatergrottesco.org, 474-8400, continues Thursday-Sunday through March 24 (see story, Page 20).

‘The Three Sisters’ Presented by Arden Shakespeare Festival, 8 p.m., Armory for the Arts, 1050 Old Pecos Trail, $10, 984-1370, Friday-Sunday through March 24.

BookS/ TalkS Work by Suzanne Vilmain, at Santa Fe University of Art & Design’s Fine Art Gallery

The Palace Restaurant & Saloon Honky-tonk 101 with Anthony Leon, 7:30 p.m., call for cover.

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

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

Vanessie Bob Finnie, pop standards piano and vocals, 6:30 p.m.-close, no cover.

20 Wednesday in conceRT

The Mavericks Post-modern country band, 7:30 p.m., the Lensic, $34-$49, 988-1234, ticketssantafe.org.

Municipal Waste Crossover-thrash band, Torn Between Worlds and Carrion Kind open, 7:20 p.m., Santa Fe Sol Stage & Grill, 37 Fire Place, $12, solofsantafe.com.

BookS/TalkS

a native american Perspective: T.c. cannon The New Mexico Museum of Art docent talks series continues with a discussion of the late artist’s work, 12:15 p.m., 107 W. Palace Ave., by museum admission, 476-5072.

Deborah Madison The cookbook author speaks with James McGrath Morris, then reads from and signs copies of Vegetable Literacy, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see story, Page 32).

Friends of the Wheelwright lecture Discussion of Blackening Song, a book by Aimee Thurlo and David Thurlo, 1:30 p.m., Wheelwright Museum of the American Indian library, 704 Camino Lejo, Museum Hill, no charge, 474-3315. new Mexico Big Tree Program and the Urban & community Forestry Program A talk by Kelly Washburn, 6:30 p.m., Morgan Hall, New Mexico State Land Office, 310 Old Santa Fe Trail, no charge, presented by the Santa Fe Chapter of the Native Plant Society of New Mexico, 690-5105.

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March 15 -21, 2013

Santa Fe Photographic Workshops’ instructor image presentations Open conversation and slide presentation of work by Bobbie Lane, Aline Smithson, and Peter Yang, 8 p.m., Sunmount Room, Immaculate Heart of Mary Retreat and Conference Center, 50 Mount Carmel Rd., no charge, 983-1400, Ext. 11.

Thomas e. chávez The author (and former director of the Palace of the Governors) discusses his book, Spain and the Independence of the United States: An Intrinsic Gift, at a world-affairs luncheon hosted by the Council on International Relations, 11:30 a.m., Bishop’s Lodge Ranch Resort & Spa, 1297 Bishops Lodge Rd., $32, 982-4931.

eVenTS

‘emergence’ Spring equinox sound meditation concert, 7 p.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $15 at the door, hosted by Santa Fe Harmony Center, santafeharmonycenter.com.

nighTliFe

(See Page 57 for addresses) ¡chispa! at el Mesón Guitarist Chuscales, 7-9 p.m., no cover. cowgirl BBQ Alt-folk duo The Sudden Lovelys, 8 p.m., no cover. el Farol Salsa Caliente, 9 p.m., no cover. la casa Sena cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover. la Posada de Santa Fe Resort and Spa Wily Jim, Western swingabilly, 7 p.m., no cover.

The Palace Restaurant & Saloon Local string band The Free Range Ramblers, 7:30 p.m., call for cover.

Second Street Brewery Vinyl Listening Sessions with DJ Spinifex, 6-9 p.m., no cover.

Tiny’s 505 Jam hosted by Synde and Nick, 8-11 p.m., no cover.

ann gibson The author discusses Abstract Expressionism: Other Politics, 6 p.m., Georgia O’Keeffe Museum Education Annex, 123 Grant Ave., $5, 946-1039, okmuseum.org.

Manuel armijo: Fact and Misperceptions Talk by John Barham, 7 p.m., Santuario de Guadalupe, 100 S. Guadalupe St., El Rancho de las Golondrinas’ winter lecture series, 989-4561, no charge.

Margaret Moore Booker The local author reads from and signs copies of Southwest Art Defined: An Illustrated Guide; also, artist demonstrations, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see story, Page 28). native american Fashion From the 1940s to the Present and into the Future Jessica Metcalfe highlights the works of designers Lloyd Kiva New (1916-2002), Wendy Ponca, Patricia Michaels, and Virgil Ortiz, 6:30 p.m., New Mexico History Museum Auditorium, 113 Lincoln Ave., $10, hosted by the School for Advanced Research, 954-7203.

Thinking about nuclear Deterrence in Today’s World A Renesan Institute for Lifelong Learning lecture by Philip Goldstone, 1 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, $10, 982-9274.

The legal Tender Two-Step Thursdays with Buffalo Nickel Two, 6-9 p.m., no cover.

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

The Palace Restaurant & Saloon Lime Light Karoake with Michele, 8:30 p.m., call for cover.

Steaksmith at el gancho Mariachi Sonidos del Monte, 6:30-8 p.m., no cover.

Tiny’s Country Blues Revue, bluesyAmericana, 8 p.m.-close, no cover.

Vanessie Bert Dalton’s jazz duo with Ninette Torres, 6:30 p.m.-close, no cover.

▶ Elsewhere albuquErquE Museums/art Spaces

albuquerque Museum of art & history 2000 Mountain Rd. N.W., 505-243-7255.

Open 9 a.m.-5 p.m. Tuesday-Sunday; adults $4 ($1 discount for NM residents); seniors $2; children ages 4-12 $1; 3 and under no charge; the first Wednesday of the month and 9 a.m.1 p.m. Sundays no charge.

UnM art Museum Center for the Arts Building, 505-277-4001.

In the Wake of Juarez: Drawings of Alice Leora Briggs • Bound Together: Seeking Pleasure In Books, group show • Martin Stupich: Remnants of First World, inkjet prints, through May 25. Open 10 a.m.-4 p.m. Tuesday-Saturday; $5 suggested donation.

events/Performances

Sunday chatter The ensemble performs music of Mozart, Glass, and Chet Udell, 10:30 a.m. Sunday, March 17, poetry reading by Margaret Randall follows, The Kosmos, 1715 Fifth St. N.W., $15 at the door, chatterchamber.org.

Talking Heads

nighTliFe

(See Page 57 for addresses) ¡chispa! at el Mesón Pianist John Rangel 7-9 p.m., no cover. cowgirl BBQ Americana duo Todd & The Fox, 8 p.m., no cover. el Farol Jazz saxophonist Trey Keepin, 9 p.m., no cover. la Boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover. la casa Sena cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover. la Posada de Santa Fe Resort and Spa Pat Malone Trio, featuring Kanoa Kaluhiwa on saxophone, Asher Barreras on bass, and Malone on guitar, 6-9 p.m., no cover.

Spain and the independence of the United States: an intrinsic gift Author Thomas E. Chávez discusses his book at a world-affairs luncheon hosted by the Council on International Relations at 11:30 a.m. Wednesday, March 20, at Bishop’s Lodge Ranch Resort & Spa, 1297 Bishops Lodge Rd. Admission is $32. Call 982-4931 for reservations.

Opera Southwest The 40th season closes with Puccini’s Madama Butterfly, 2 p.m.

Sunday, March 17 and 24; 7:30 p.m. Tuesday and Friday, March 19 and 22; National Hispanic Cultural Center, 1701 Fourth St. S.W., $10-$80, discounts available, call 505-243-0591, or the NHCC box office, 505-724-4771.

taos

late deadline July 1; final deadline Aug. 1.

Visit santafeindependentfilmfestival.com for rules and guidelines.

Santa Fe Playhouse 92nd season Accepting play proposals of all genres for the fall 2013-summer 2014 season from individuals who would like to direct; call 988-4262 or email playhouse@santafeplayhouse.org for proposal packets by Sunday, March 31.

Museums/Art Spaces

Volunteers

E.L. Blumenschein Home and Museum 222 Ledoux St., 575-758-0505. Hacienda art from the Blumenschein family collection, European and Spanish Colonial antiques. Open 10 a.m.-5 p.m. Monday-Saturday, noon-5 p.m.

Sunday. Adults $8; under 16 $4; children under 5 no charge; Taos County residents no charge on Sunday.

Encore Gallery Taos Community Auditorium, Taos Center for the Arts, 133 Paseo del Pueblo Norte, 575-758-2052. Corporal/Intangible, prints by Randall LaGro and Robbie Steinbach, reception 5 p.m. Friday, March 15, through April 28.

Harwood Museum of Art 238 Ledoux St., 575-758-9826. Red Willow: Portraits of a Town • Eah-Ha-Wa (Eva Mirabal) and Jonathan Warm Day Coming • Eli Levin: Social Realism and the Harwood Suite; exhibits celebrating Northern New Mexico, through May 5. Open 10 a.m.-5 p.m. Tuesday-Saturday, noon-5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday.

Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson. Open 11 a.m.-4 p.m. daily, $5; seniors $4; teens $3; ages 12 and under no charge.

Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. Open 10 a.m.-5 p.m.

Tuesday-Sunday. NM residents $5; non-residents $10; seniors $8; students $6; ages 6-16 $2; Taos County residents no charge with ID. Taos Art Museum and Fechin House 227 Paseo del Pueblo Norte, 575-758-2690.

Director’s Choice: 14 Years at the Taos Art Museum, works from the collection, through June. Open 10 a.m.-5 p.m. Wednesday-Sunday. $8, Taos County residents with ID no charge on Sunday.

▶ People who need people Artists/Photographers

2013 Governor’s Awards for Excellence in the Arts Nominate New Mexican artists, businesses, nonprofits/foundations, or individuals contributing to the arts; nominations may be mailed or hand-delivered no later than Friday, March 22, to New Mexico Arts, 407 Galisteo St., Suite 270, 87501; forms available online at nmarts.org, or call 827-6490.

Photobook workshop scholarship Open to photographers and students ages 27 and younger for a workshop hosted by Radius Books (983-4068) Friday-Sunday, March 22-24; for details contact Alex Webb and Rebecca Norris Webb at webbnorriswebb@gmail.com or visit magnumphotos.com.

Filmmakers/Playwrights

Santa Fe Independent Film Festival Film submissions sought for the Oct.16-20 festival; regular deadline Wednesday, May 1;

Gearing up for Earth Week Earth Care’s fifth annual Day of Service in celebration of Earth Day and Global Youth Service Days takes place Thursday, April 25, 9 a.m.-3 p.m.; volunteers are needed to assist with set-up, break-down, general logistics, and support; contact Casey Moir, casey@earthcarenm.org, 978-290-2792.

Santa Fe Women’s Ensemble Always in need of ushers for concerts; to volunteer email info@sfwe.org or call 954-4922.

▶ Under 21 Call for young artists and filmakers Fifth annual Art to Awaken: enter art in any media (performance, music, dance, spoken word) aimed at making a positive impact on the world; 2013 Youth Creating Change Film Fest, presented by Adelante and Earth Care’s Youth Allies: get your message out in 30-second to five-minute digital files of PSAs, short documentaries, or animated films; deadlines for both events is Friday, April 26; for details email youthallies@earthcarenm.org.

Black Box Theater Warehouse 21, 1614 Paseo de Peralta, 989-4423.

Klang! Sound and Light, continuous loop of 24 short videos by Molly Bradbury, 4-9 p.m. Friday and Saturday, March 15-16.

Metal concert Beyond Fused, The Regulars, Exalt, and On Believer, 7 p.m. Friday, March 15, Warehouse 21, 1614 Paseo de Peralta, $3 at the door, 989-4423.

Posole Latin-fusion band, 7 p.m. Saturday, March 16, Warehouse 21, 1614 Paseo de Peralta, $5 at the door, 989-4423.

‘Buried Child’ sneak peek Ironweed Productions in co-production with Santa Fe Playhouse presents Sam Shepard’s drama, 6:30 p.m. Thursday, March 21, Warehouse 21, 1614 Paseo de Peralta, no charge, 9894423.

▶ Pasa Kids Santa Fe Children’s Museum open studio Learn to paint and draw using pastels, acrylics, and ink, noon-3:30 p.m. Fridays, 1050 Old Pecos Trail, by museum admission, 989-8359.

Birds of Prey Santa Fe Raptor Center’s educational program with live raptors hosted by the Santa Fe Public Library; Friday, March 15, 4 p.m., Main Branch, 145 Washington Ave., 955-6783; Saturday, March 16, 10:30 a.m., La Farge Branch, 1730 Llano St., 955-4863 and 2:30 p.m., Southside Branch, 6599 Jaguar Dr., 955-2828.

Make Tracks Cast foot, hoof, and paw prints of your favorite animals with Cerrillos Hills State Park Manager Sarah Wood, 11 a.m. Sunday, March 17, 16 miles south of Santa Fe off NM 14, parking area one half-mile north of the village of Cerrillos, $5 per vehicle, 474-0196. ◀

Gasps in the machines If you’re roaming the streets of Author & Punisher Santa Fe searching for live music this weekend, you’re bound to come into direct contact with at least one rendition of “When Irish Eyes Are Smiling.”

If by Saturday, March 16, you’ve had about enough of the Irish hullabaloo and yearn to wrap your ears around something completely different, there’s one place you should definitely show your face. At 8 p.m. on Saturday, High Mayhem Emerging Arts (2811 Siler Lane, www.highmayhem.org) welcomes San Diego industrial-doom-drone soloist Author & Punisher (aka Tristan Shone) and local band We Drew Lightning to the stage. The concert is We Drew Lightning’s chance to unleash its brand-new self-produced album, Glitch. It’s also a great opportunity to introduce fans of WDL’s lush experimental psych rock to the band’s newest addition, keyboardist Aaron Jenks.

Roland Ostheim (guitars, keys, bass, brass, and “howls”) and Michael Smith (drums, keys, samples, and “more howls”) have been at the core of WDL since the band’s founding, and fans get weak-kneed over their instrumental prowess as well as their creative live looping and sampling. WDL’s debut album, Swimming With Orange, dropped on High Mayhem Records in 2007 and saw Ostheim and Smith tinkering with the juxtaposition of electro-centric ambient noise and propulsive rock-based instrumental crescendos.

Jenks’ contribution to four of Glitch’s tracks doesn’t just fill empty spaces or even the stylistic odds. His keyboard lines further texturize an already-full-sounding ensemble and challenge preconceptions about a keyboard’s “place” in a band as diverse, dynamic, and technically meditative as WDL. Glitch, which was recorded at High Mayhem Studios and We Drew Lightning’s own Ruthless Sweetheart Studio in 2011 and 2012, draws on many influences, including the Pixies and Sonic Youth. It also contains musical contributions by Carlos Santistevan, Lily Taylor, and Joan Yatsevitch, all of whom have strong Santa Fe ties. This is an album so immersive, so hauntingly beautiful in composition and execution, so expertly produced and infectious that it could propel We Drew Lightning to a type of national recognition it never dreamed of — and perhaps never wanted. Hear for yourself by visiting www.wedrewlightning.bandcamp.com.

Author & Punisher is a sight and sound to behold. Shone received a Bachelor of Science degree from Rensselaer Polytechnic Institute in 2000 and uses many customfabricated machines and instruments to create his industrial sound. A professional background in automation and custom mechanical design came in handy when he was developing his Dub Machines — instruments he describes as “precision industrial sound interfaces: rails, rack & pinion, headgear, big knobs” — and his Drone Machines, which comprise throttles, bellows, a linear actuator (something that creates motion in a straight line, as opposed to the circular motion created by a conventional electric motor), and a rotary encoder, which is commonly used in place of potentiometers in electronic-music devices to ensure that a value selected by the encoder can be recalled and then incremented or decremented without having to account for the position of ... oh hell, nevermind. Ask a DJ. It’s difficult to get a sense of what A&P does without watching him do it. For a taste, head over to his website, www.tristanshone.com, and check out a few performance videos.

There’s a $10 cover at the door for the all-ages High Mayhem show. Oh! One more thing! Pasatiempo is online now. You can read “Sound Waves” and other great stuff at www.pasatiempomagazine.com.

It’s free through April 9.

— Rob DeWalt rdewalt@sfnewmexican.com www.pasatiempomagazine.com Twitter: @Flashpan @PasaTweet

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

PASATIEMPO

63

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