The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture March 21, 2014
St. John’s College presents
Music on the Hill
™
ELEVATED Jazz Concert Series
Saturday, March 29, 7:30 p.m.
Alan Pasqua Great Hall, Peterson Student Center 1160 Camino Cruz Blanca (Doors open at 7:00 p.m.)
$25 admission at the door; wine, beer, and small plates available for purchase, $7 each. For advance tickets, call 505-984-6118.
RESIDE
Sponsored by AHL Foundation, DMC Construction, Friends from Dallas, NM Bank & Trust, Verve Gallery of Photography Proceeds of the event support financial aid for New Mexico students attending St. John’s College 1160 Camino Cruz Blanca| Santa Fe| New Mexico 87505 | www.stjohnscollege.edu
where the santa feans eat...
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New! Happy Hour Special: Our ‘Classic’ appetizers – 50% off Wines-by-the-glass, ‘Well’ cocktails & House Margarita – $5.00 each (4 – 6 p.m. Mon. thru Fri.)
FULL BAR • FREE WI-FI • HDTV
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please visit our website www.santacafe.com 231 washington ave • santa fe 2
PASATIEMPO I March 21 - 27, 2014
505-490-6550 • ThunderbirdSantaFe.com • Facebook.com/ThunderbirdBarGrill 50 Lincoln Ave, on the Santa Fe Plaza
Get Completely Fit! Quail Run Club offers membership options that fit your needs and your schedule. Conveniently located, Quail Run features a complete set of health club amenities including: • a fully equipped fitness center • ozone purified indoor lap pool • an extensive schedule of classes • special spa services • full-service restaurant Call today for a tour.
3101 Old Pecos Trail 505.986.2200 quailrunsantafe.org
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regiStratiON SuggeSted fOr all prOgramS. tO regiSter, pleaSe viSit OkeeffemuSeum.Org Or call 505.946.1039.
breakfast with o’keeffe o4.o7
8:3o–9:45 aM
=
abiquiu: a brief history
Georgia O’Keeffe Museum, 217 Johnson St. Free with Museum Admission
lectures & conversations o4.o3
6 PM
the commission: tips and tools for artists
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Santa Fe Community Gallery, Community Convention Center, 201 W. Marcy St. Free 2–3 PM = santa fe botanical Garden and Georgia o’keeffe Museum: a collaboration
o4.o7
Santa Fe Woman’s Club, 1616 Old Pecos Trail. $10. Botanical Garden and Museum Members and Business Partners, Free 6 PM = the commission: tips and tools for collectors and Patrons
o4.21
Museum education Annex, 123 Grant Ave. $5. Members and Business Partners, Free o4.23 6 PM = at the limits of history: alan Michelson and the (Post)Modern landscape
Museum research Center, 135 Grant Ave. $5. Members and Business Partners Free
Modernisms in new Mexico
o4.24
6 PM
o4.3o
12:3o PM
=
Look at the
Museum research Center, 135 Grant Ave. $10; Members, Business Partners, and members of SITe Santa Fe, Free =
loo’k closer: art talk at lunchtime
Georgia O’Keeffe Museum, 217 Johnson St. Free with Museum admission
workshoPs o4.o8
6–8 PM
=
it’s only a circle: floral wreaths
Museum education Annex, 123 Grant Ave. $8. Members and Business Partners $5
o4.17 1o aM–1 PM = Georgia o’keeffe and the art of eating well
Santa Fe School of Cooking, 125 N. Guadalupe St. $80 plus tax per person
youth ProGraMs o4.25 5–7 PM = celebrate creativity: artwork from santa fe high school
Museum education Annex, 123 Grant Ave. Free
faMily ProGraM
Free for children 4–12 accompanied by an adult o4.o5
9:3o–11:3o
o4.26
9:3o–11:3o
=
opera Makes sense
Stieren Hall, Santa Fe Opera. rSVP to aquintana@santafeopera.com =
tropical watercolors
Georgia O’Keeffe Museum, 217 Johnson St.
readers’ club o4.15 6–7:3o PM = The Element: How Finding Your Passion Changes Everything
Museum education Annex, 123 Grant Ave. Free
217 JOHNSON St., SaNta fe
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PASATIEMPO I March 21 - 27, 2014
5O5.946.1OOO
=
OkeeffemuSeum.Org
half-price tickets for children 6 to 14, with adult purchase
Lensic Presents
Prepare to be dazzled by Luma, a visual circus of light, color, and motion.
April 6 2 pm & 7 pm
Style and performance worthy of center stage.
Sponsored by
On Stage: GS 350
Ce rri
llo
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$15–$35 | Half price for kids 12 and under
I-25
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
Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room • Bedroom • Entertainment • Lighting • Accessories
Our Warehouse Showroom on Airport Road features over 8,000 sq. ft. of quality southwestern furniture at reasonable prices
Please come in, you’ll be pleasantly surprised!
UNIQUE MESQUITE LAMPS WITH COPPER SHADES Subtle Turquoise Inlay • Handmade in New Mexico
SANTA FE COUNTRY FURNITURE 525 Airport Road • 660-4003 • Corner of Airport Rd. & Center Dr. Monday - Saturday • 9 - 5 • Closed Sundays www.santafecountry.com
PASATIEMPOMAGAZINE.COM
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THE SANTA FE NEW MEXICAN
March 21 - 27, 2014
www.pasatiempomagazine.com
ON THE COVER 30 Interior designs Behind Closed Doors: Art in the Spanish American Home, 1492-1898, the current exhibition at the Albuquerque Museum of Art and History, explores the role of art and furnishings in the homes of Spain’s colonial American elite. Here, you can find paintings by Goya, Benjamin West, and Gilbert Stuart, images of 14 Inca emperors, chocolatedrinking vessels, and elaborate Japanese and colonial Mexican screens. On the cover is Miguel Cabrera’s portrait of the very stylish Doña María de la Luz Padilla y Gómez de Cervantes (circa 1760) wearing several beauty marks fashioned of velvet; from the collection of the Brooklyn Museum, image courtesy the Albuquerque Museum.
BOOKS
MOVING IMAGES
16 In Other Words Lexikon of the Hispanic Baroque
36 37 38 40 42
MUSIC AND PERFORMANCE 18 20 22 24 27
Pasa Tempos CD reviews Terrell’s Tune-Up Dateline SXSW Pasa Reviews Organist William Porter Marina Carr Southwest Irish Theater Festival Onstage Adam McKinney’s HaMapah
CALENDAR 49 Pasa Week
ART
AND
34 Art in Review Ronald Davis
13 Mixed Media 15 Star Codes 46 Restaurant Review: Elevation Bistro
ADVERTISING: 505-995-3819 santafenewmexican.com Ad deadline 5 p.m. Monday
Pasatiempo is an arts, entertainment & culture magazine published every Friday by The New Mexican. Our offices are at 202 E. Marcy St. Santa Fe, NM 87501. Editorial: 505-986-3019. E-mail: pasa@sfnewmexican.com PASATIEMPO EDITOR — KRISTINA MELCHER 505-986-3044, kmelcher@sfnewmexican.com
From Yeats’ Cathleen ni Houlihan, part of the Southwest Irish Theater Festival; photo Petr Jerabek
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Art Director — Marcella Sandoval 505-986-3025, msandoval@sfnewmexican.com
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Assistant Editor — Madeleine Nicklin 505-986-3096, mnicklin@sfnewmexican.com
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Chief Copy Editor/Website Editor — Jeff Acker 505-986-3014, jcacker@sfnewmexican.com
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Associate Art Director — Lori Johnson 505-986-3046, ljohnson@sfnewmexican.com
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Calendar Editor — Pamela Beach 505-986-3019, pambeach@sfnewmexican.com
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STAFF WRITERS Michael Abatemarco 505-986-3048, mabatemarco@sfnewmexican.com James M. Keller 505-986-3079, jkeller@sfnewmexican.com Bill Kohlhaase 505-986-3039, billk@sfnewmexican.com Paul Weideman 505-986-3043, pweideman@sfnewmexican.com
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CONTRIBUTORS Loren Bienvenu, Taura Costidis, Laurel Gladden, Peg Goldstein, Robert Ker, Jennifer Levin, Robert Nott, Jonathan Richards, Heather Roan-Robbins, Casey Sanchez, Michael Wade Simpson, Steve Terrell, Khristaan D. Villela
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PRODUCTION Dan Gomez Pre-Press Manager
The Santa Fe New Mexican
© 2014 The Santa Fe New Mexican
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Robin Martin Owner
www.pasatiempomagazine.com
Materpieces of Polish Cinema If You Build It Omar The Journey West Pasa Pics
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Ginny Sohn Publisher
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ADVERTISING DIRECTOR Heidi Melendrez 505-986-3007
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MARKETING DIRECTOR Monica Taylor 505-995-3824
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GRAPHIC DESIGNERS Rick Artiaga, Jeana Francis, Elspeth Hilbert
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ADVERTISING SALES - PASATIEMPO Art Trujillo 505-995-3852 Julee Clear 505-995-3825 Matthew Ellis 505-995-3844 Mike Flores 505-995-3840 Laura Harding 505-995-3841 Wendy Ortega 505-995-3892 Vince Torres 505-995-3830
Ray Rivera Editor
Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet
SAR School for Advanced Research
A Tale of Two Pilgrimage Centers: Chaco and Nasca A lecture by John Kantner (University of North Florida)
Thursday, March 27, 6:30 pm
NM History Museum Auditorium (Washington Ave. entrance)
FREE for SAR members • $10 for nonmembers • 954-7203 • sarweb.org (no reservations or advanced tickets)
Sponsored by George Watson, Karen Walker Real Estate and Betty and Luke Vortman Endowment Fund. Lecture series sponsored by SAR President’s Council, Betty and Luke Vortman, and Thornburg Investment Management. Image: Ruins of Cahuachi, the ceremonial center in Nasca, photograph by John Kantner.
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Exclusively available at SplurgeTaos.com T o r e c e i ve t h i s o f f e r, v i si t S p l u rg eT aos .co m b ef o re mid nig ht Wed ne s da y , M arc h 26, a nd purchase the Splu rge c e r t i fi c a t e , w h i c h c a n b e re d ee me d f or th e ab ov e of f e r. Th is a d v ertis em en t is not a S plurge certificate.
PASATIEMPOMAGAZINE.COM
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SFCC inspired me to be an innovator. It’s an incubator, where collaboration happens. It’s at the forefront of the bioenergy world and represents tremendous opportunity.
‘‘
Luke Spangenberg Founder and CEO New Solutions Energy, Inc. SFCC Class of 2010 A.A.S., Environmental Technologies Since 1983, Santa Fe Community College has empowered students and strengthened community.
sfcc.edu | 505-428-1000
Empower Students, Strengthen Community.
Santa Fe’s New, Premier Memory Care Residence The Garden at El Castillo is Now Open and We are Filling Filling Up Up Quickly we are
Since 1971 El Castillo has offered premier retirement residences in Santa Fe, changing, growing and improving to best serve our community. We proudly introduce The Garden at El Castillo — gorgeous private apartment suites for people with Alzheimer’s disease, dementia, and other forms of memory loss. Adjacent to our main campus, we remodeled the historic Valdes family home on East De Vargas Street to provide a beautiful, light, spacious home with a lovely outdoor courtyard. Our dedicated, professional staff is ready to provide expert care in a secure environment where family and friends are always welcome. Please call today for information and a tour.
Main Campus 250 East Alameda • The Garden Memory Center 239 E. DeVargas • Santa Fe • 505.988.2877 • elcastilloretirement.com 8
PASATIEMPO I March 21 - 27, 2014
Santa Fe
Lensic Presents Indian Ink Theatre Company of New Zealand
Guru of Chai
EXCHANGE
Old Time Trading Post • Old Time Prices
Buying Gold & Silver Since 1982 JEWELRY ~ VINTAGE ~ ESTATE ~ MEXICAN OLD INDIAN PAWN ~ ANTIQUES ~ ART
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WHEN YOU MENTION THIS AD. EXCLUDING CONSIGNMENTS.
Happily ever after starts here.
I would like to extend my sincerest appreciation to all candidates who ran for office during the city election, to work for a better Santa Fe. Whether victorious or not, you are all winners and valuable assets to our beautiful city. Sincerely, David Griego
60 East San Francisco Street | Ph: 505.983.4562 | Visit our new website: SANTAFEGOLDWORKS.COM
The contradictions of modern India, with its iPhones and ancient gods, come alive in this funny and beautiful romantic thriller about a poor chaiwallah (tea seller).
April 1, 7:30 pm
$15–$35
“Flawless . . . Cleverly constructed, full of melodramatic twists and humourous asides.” —Sydney Morning Herald
Tickets: 505-988-1234 www.TicketsSantaFe.org S ERVICE C HA RG ES APPLY AT ALL POINTS OF PURCHASE
th e lensic is a non profit, member-supported organ ization
PASATIEMPOMAGAZINE.COM
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A Day of Kite Fun!
Sunday, March 23 · 1:00 – 4:00 PM Presented in conjunction with the exhibition Tako Kichi: Kite Crazy in Japan
SFCA
ThE SANTA FE CONCERT ASSOCIATION Presents
2013 Van Cliburn Competition Winner Vadym Kholodenko
1:00 Lecture by internationally acclaimed kite scholar Mr. Masaaki Modegi, Kites from the Long Island, Japan at the Museum of Indian Arts and Culture 2:00 – 4:00 Japanese Rocket Kite Making for ages 3 to 103 in the Museum of International Folk Art Atrium 3:30 – 4:00 Fly kites outside!
Register for the Sunday, March 23 Advanced Kite-Making Workshop for ages 16 and up. Please call 476-1200 for more information.
April 1, 2014 • 7:30pm St. Francis Auditorium
Free with museum admission. New Mexico residents with I.D. free on Sundays. Youth 16 and under and MNMF members always free. Funded by the Japan Foundation and the International Folk Art Foundation.
Program to include:
Chopin, Schumann, and Brahms TICKETS:
$20-$50 | ticketssantafe.org | (505) 988-1234 or Santa Fe Concert Association (505) 984-8759
INFORMATION: www.santafeconcerts.org
On Museum Hill in Santa Fe · (505) 476-1200 · InternationalFolkArt.org
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PASATIEMPO I March 21 - 27, 2014
Santa Fe Concert Association, 324 Paseo de Peralta, Santa Fe, NM 87501 (505) 984-8759
TIC
In Pursuit of Cultural Freedom A lecture series on political, economic, environmental, and human rights issues featuring social justice activists, writers, journalists, and scholars discussing critical topics of our day.
TREVOR PAGLEN
with REBECCA SOLNIT
WEDNESDAY 19 MARCH AT 7PM LENSIC PERFORMING ARTS CENTER What does a surveillance state look like? Over the past eight months, classified documents provided by NSA whistleblower Edward Snowden have exposed scores of secret government surveillance programs. Yet there is little visual material among the blizzard of code names, PowerPoint slides, court rulings and spreadsheets that have emerged from the National Security Agency’s files. The scarcity of images is not surprising...My intention is to expand the visual vocabulary we use to ‘see’ the U.S. intelligence community. Although the organizing logic of our nation’s surveillance apparatus is invisibility and secrecy, its operations occupy the physical world...If we look in the right places at the right times, we can begin to glimpse America’s vast intelligence infrastructure. — Trevor Paglen, The Intercept, 10 February 2014
DAVE ZIRIN
with DAVID BARSAMIAN
WEDNESDAY 2 APRIL AT 7 PM LENSIC PERFORMING ARTS CENTER Our sports culture shapes societal attitudes, relationships, and power arrangements. It is where cultural meanings – our very notions of who we are and how we see each other, not only as Americans but also as individuals – play out. It frames the ways in which we understand and discuss issues of gender, race, and class. And, as ever, it is crucial for understanding how these norms and power structures have been negotiated, struggled with, and resisted. — from Game Over: How Politics Has Turned the Sports World Upside Down, by Dave Zirin © 2013
Dave Zirin, widely published independent sports journalist, author, sports editor for The Nation magazine and host of Edge of Sports Radio, has brought his blend of sports and politics to multiple television and radio programs, including MSNBC, CNN, ESPN’s Outside the Lines, C-SPAN’s BookTV, Democracy Now! and National Public
Trevor Paglen is a photographer whose work deliberately blurs
Radio. Zirin is well known for his book The John Carlos Story: The
the lines between science, contemporary art, journalism and other
Sports Moment That Changed the World. His new book, forthcoming
disciplines to construct unfamiliar (yet meticulously researched)
in May 2014, is Brazil’s Dance with the Devil: The World Cup, the
ways to see and interpret the world around us. His subjects in-
Olympics and the Future of Democracy.
clude experimental geography, state secrecy, military symbology and visuality. Among his works are Invisible: Covert Operations and Classified Landscapes (co-authored by Rebecca Solnit);
TICKETS ON SALE NOW
Secret World, and most recently, The Last Pictures, a meditation
ticketssantafe.org or call 505.988.1234 $6 general/$3 students/seniors with ID
on the intersections of Deep Time (the concept of geologic time),
Video and audio recordings of Lannan events are available at:
Blank Spots on the Map: The Dark Geography of the Pentagon’s
politics and art.
www.lannan.org PASATIEMPOMAGAZINE.COM
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$5 MILLION BACK TO YOU Join us on our quest to increase literacy one book at a time. Saturday, March 29, 2014 Starting at 5 pm Buffalo Thunder Resort & Casino Tickets Start at $125 litquestgala.org 438-8585 (SFSAS) 474-2740 (Partners in Education) •
Thank You!
To all of our sponsors, authors & donors. Avalon Trust Los Alamos National Bank New Mexico Bank & Trust Big Jo True Value Hardware Christus St. Vincent Regional Medical Center Con Alma Health Foundation Coronado Paint and Decorating Del Norte Credit Union Rosemont Realty
Santa Fe Prep State Employees Credit Union US Bank Hilton Santa Fe Buffalo Thunder Buffalo Thunder Resort & Casino Thank you to our Premier Media Sponsor Hutton Broadcasting
ks. Books o o b ll a d in eh “Torhies be arbeeyst ed e psrinbteh or thie d n “There are st rer o in en ev s of d all books. Books sto ies, ie it s io r u c e h always haavelw t a te ouldysstimhualave stories, even beyond the pr h s d n a , d r o w inted
ng i y f i r r e t e r o m s y a lw a s i y t i l “Rea STARS NEVER FADE PRODUCTIONS PROUDLY PRESENTS:
Santa Fe Farmers’ Market Institute
BETH KENNEDY JONES SINGS THE
WEDNESDAY NIGHT M
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Lena Horne Songbook
S
TRASHED
with the Bert Dalton Trio
W
e buy it, we use it, we throw it away—but where does it end up? Award-winning actor Jeremy Irons guides us on a journey to discover what happens to the billion or so tons of waste that go unaccounted for each year.
Screening with: Irish Folk Furniture This charming animated tale brings new life to the culture and social history of Irish farmhouse furniture through recycling and repair.
7:00 pm at Santa Fe Farmers’ Market Pavilion Admission: General Admission: $12/Institute Members, Seniors & Students over 18: $10/ Under 18 and Santa Fe Farmers’ Market Vendors: Free Tickets: 505.983.7726 or info@farmersmarketinstitute.org
SFFMI is a nonprofit organization
www.farmersmarketinstitute.org
Special thanks to our generous sponsors:
Sunday- March 23 at 6:00PM Seating begins at 5:30 PM
Monday, March 24 at 5:45PM Seating begins at 5:30 PM
La Casa Sena Cantina 125 East Palace Avenue/Santa Fe lakind dental group
BENEFICIAL FARMS
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PASATIEMPO I March 21 - 27, 2014
For reservations please call 505-988-9232
Ticket price: $25.00
MIXED MEDIA
Sallyann Milam Paschall: Mineral Mix (installation view), 2013-2014, mixed media; right, the artist
on your feet | get it together | on your little feet
Daniel Quat
A new spin on the arts Like peanut butter and jelly, art and ping-pong are a timeless match. Both the pursuit and the game create an ideal environment for the interplay of beauty and emotion, often on a flat surface. And just as the artist manipulates paint with the flick of a brush, the table-tennis master controls the ball with the flick of a paddle. Neither one is likely to become wealthy. On Friday, March 21, the Museum of Contemporary Native Arts conjoins these two admittedly disparate entities and invites visitors to put it all on the table. Inspired by a similar happening at the Scottsdale Museum of Contemporary Art called Arm Wrestling for Art, the event is based on a fairly straightforward (if unconventional) premise — at an exhibition, a fitness instructor teaches visitors how to arm-wrestle, and then oversees a competition. The lucky winner receives a piece of art by the exhibited artist. By substituting ping-pong for arm wrestling, MoCNA is prioritizing finesse over brute strength. Sallyann Milam Paschall provides the artistic reward. A member of the Cherokee Nation, the painter, printmaker, and multimedia artist is currently exhibiting her work at MoCNA in a two-person show with Alex Peña. Guest curator Merry Scully (New Mexico Museum of Art’s chief curator) will be on hand to discuss Paschall’s work, and the Institute of American Indian Art’s resident table-tennis expert Deepak Maharjan is scheduled to give novices a few pointers. The museum is at 108 Cathedral Place, with the free event taking place in the Allan Houser Art Park starting at 4 p.m. Details are available at www.iaia.edu/museum or by calling 505-428-5907. — Loren Bienvenu
FINAL SAVE UP TO BLOW % OUT! ONE DAY ONLY: SAT., MARCH 22
SPECIAL LOCATION SIDEWALK SALE INSIDE SANBUSCO
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10:00–3:00 • 530 Montezuma Ave. • Sale info line 983-3900
Babies are on the way... Support their moms by volunteering with us 983-5984
www.manymothers.org PASATIEMPOMAGAZINE.COM
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Sho Chiku Bai Symbols of Celebration
1 0 th
A N N I V E R S A R Y
Japanese cultural Festival
Smokin’ Bachi Taiko Madi Sato Timothy P McLaughlin Tom Berkes Kite Making Demo
March 22 S AT U R DAY
Celebrate Japanese Culture in Santa Fe • Japanese dance • Ikebana display • Games and origami • Invitation to tea
Aikido
Kyudo
Karate
• Shopping for
Japanese art finds & boutique items • Intro to Seimei • Japanese food
Santa Fe Community Convention Center
Doors open at 9:30 a.m. — 5:00 p.m Admission: $3.00 12 and under FREE Japanese lunch and art goods for sale
Free posters
to the first 100 guests
See complete program at
www.santafejin.org
A N D R E W S M I T H G A L L E RY I N C . At the Andrew Smith Gallery - ANNEX at 203 West San Francisco St., Santa Fe, NM:
Patrick Nagatani
Outer/Inner-Contemplation on the Physical and the Spiritual
Orange/3 from The Race
Manjushri, 2009 from Tape-estries
Th rough A pri l 30th , 2014
At 122 Grant Ave.:
Paul Caponigro Old and New
Th rou gh April 14, 2 014 Apple, Winthrop, MA, 1964
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PASATIEMPO I March 21 - 27, 2014
STAR CODES
Heather Roan Robbins
Spring Workshops with Daniel Bruce Mindfulness Based Stress Reduction
Center for Conscious Living
Tuesday evenings, from april 15 through June 3, 6–8:30 pm
Daniel J. Bruce
Tai Chi-Qi Gong Spring has sprung. The sun entered feisty Aries and brings a fresh,
adventurous mood, as restless as the southern winds. It’s time to renew. Aries brings us back to ourselves, reminds us who we are, and makes it challenging to hear what others need. This is going to be a personally, politically, and geologically active spring. We can hear the rumble growling in the background and can expect the unexpected for the next couple of months. There are so many wild cards in play that it’s not useful to predict outcomes, but we can get ready now for whenever things get strange. Our bodies may be sitting at our desks, but our minds are elsewhere as the weekend begins with the moon in cheerful, exploratory Sagittarius. Our thinking may be forgetful and imaginative as Mercury in intuitive Pisces conjuncts Neptune. Feeling emotionally restless and intellectually foggy can be problematic, so before reacting to the news or a comment from a spouse, make sure we have our facts straight. When we’re in a groove, our intuition can match our enthusiasm, and we can move with grace. With Mars now in egalitarian Libra and Venus in connective and communal Aquarius, we really want to get along but will go to the mat for the sake of equal rights and our philosophical policies, and fight against ugliness of mind, body, or soul. Early next week the mood is determined and volatile. Collaboration improves toward the end of the week wherever we find common ground.
Friday, March 21: The garden calls and mountains whisper. Spring fever makes us restless with the trappings of winter and equally restless with anything that appears to hold us back. People are open to new ideas midday. Misunderstanding or misplacements can appear this evening. Safety precautions save time later. Saturday, March 22: Explore possibilities and dream big as Mercury conjuncts Neptune in Pisces. Be open; take it all in but with a grain of salt. Stretch intuitive and creative channels. Mysteries begin to clear up, and lost things are found. Sunday, March 23: The morning is spacey and upbeat. Commune with nature or meditate. Let life be a dance. Leave pragmatic chores until late afternoon, when the moon enters durable Capricorn. Tonight, feel the tug of opposing desires and come back to goodwill. Monday, March 24: Clear up recent confusion and move on. Deal with the tough stuff as the moon opposes Jupiter, squares Uranus, and conjuncts Pluto. Watch a tendency to get pushy under stress or to try to control an uncontrollable situation. Break through the illusion that one person wins if the other loses. Watch for big strategic moves and support a middle way and a win-win strategy.
nationally & internationally recognized Teacher and clinician
Wednesday mornings, from april 16 through June 4, 10–12 am
Serving the Santa Fe Community for 30 years
Day of Mindfulness Retreat Saturday, June 14, 9 am–4:30 pm at upaya
To register visit danieljbruce.com For more information call 988.5106.
Visualize, Clarityand andGet Concern Expect More It!
Dr. Mark Bradley Ophthalmologist
Board Certified Ethical & Caring Professional Serving Santa Fe since 2002
Now accepting former patients and inviting new patients. Call 466-2575
Hours by Appointment • 1925 Aspen Drive, Ste. 500-B Accepting Most Insurance
S AV O R T H E S O U T H W E S T Savor the rich, earthy flavors of creative American cuisine infused with regional ingredients at the Anasazi Restaurant. Three-Course Prix Fixe Lunch Monday-Saturday · $20 Three-Course Prix Fixe Dinner Sunday-Thursday · $40 For reservations, call 505-988-3236 Menu subject to change
A NA SAZ I RESTAURANT
Rosewood Inn of the Anasazi 113 Washington Avenue Santa Fe, NM 87501 505.988.3030 www.rosewoodhotels.com
Tuesday, March 25: Notice pressure to meet deadlines or follow through before an opportunity is lost. Watch key interactions with important players midday. The pressure eases tonight as the moon enters collective Aquarius. Wednesday, March 26: The mood is collaborative if eccentric and willful. Midday, take advantage of a quick response time and decisive mood to express natural leadership. Promote and publish. Let chores slide, get takeout, and keep on with a project as Mercury trines Jupiter. Thursday, March 27: Early-morning pleasantries slide into stubbornness as the moon squares Saturn. The more room we give people, the more interesting they are. Balance dynamics between individual expression and community needs. Feelings soften as the moon enters permeable Pisces tonight. ◀ www.roanrobbins.com PASATIEMPOMAGAZINE.COM
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IN OTHER WORDS book reviews Lexikon of the Hispanic Baroque: Transatlantic Exchange and Transformation, edited by Evonne Levy and Kenneth Mills, University of Texas Press, 352 pages Far more than conquest, the Spanish colonization of the Americas spawned whole new ways of life in the Americas and the Iberian Peninsula alike. Incas and Aztecs took to European oil painting, appropriating Catholic iconography to their own ends. Jesuit priests became skilled anthropologists of indigenous cultures, forcing themselves to reckon with Indian worship practices and languages. For a European society obsessed with limpieza de sangre (purity of blood) Baroque Spain also found itself presiding over some of the most racially hybridized cultures the world has ever seen, mixing African, Amerindian, and European bloodlines in a living, breathing experiment in culture and continuity. Helping the lay reader to make sense of the 300 years of cultural transmission in an A-to-Z, coffee-table format is Lexikon of the Hispanic Baroque: Transatlantic Exchange and Transformation. Edited by art historian Evonne Levy and Kenneth Mills, an anthropological historian, the book draws on a wide range of bilingual scholars who provide concise two-to-three-page entries on topics as wide ranging as sin and architecture, cartography and foodstuffs, science and the supernatural. Each topic is addressed by two authors in parallel essays, one offering a Peninsular perspective, the other providing a New World context. More than 90 black-and-white plates of paintings and engravings keep the book firmly grounded in visual art, as both Spanish and Amerindian societies were obsessed with symbolic imagery. This volume comes hot on the heels of an art-world reappraisal of the legacy of Spanish colonial art. These once overlooked works, particularly those created by Indian painters who were trained in the techniques of European masters, have become an increasingly prized commodity among collectors for their visionary hybridity. The prominent exhibition Contested Visions in the Spanish Colonial World drew crowds in both Los Angeles and Mexico City with its lustrous evidence that Aztecs rapidly assimilated European oil painting, commissioned work within their own communities, and remixed Christian visual symbolism to serve their own ends. Likewise, an ongoing exhibit in Seattle (having already shown in Montreal), Peru: Kingdoms of the Sun and the Moon, examines a region’s glorious Incan past through art and artifacts that demonstrate the myriad ways in which indigenous elites and artists perpetuated, concealed, and blended their culture and religion during the repression of Spanish colonization. 16
PASATIEMPO I March 21-27, 2014
One of the Lexikon’s most fascinating entries is “Knowledge,” a category seemingly too vast for such a short essay. We learn, however, of the systematic method by which Jesuits and Franciscan missionaries set about learning and studying indigenous languages, religions, and medicines with the end goal of Christianizing the Indian population. By training Amerindians in European-style colleges, they hoped to produce Native informers who would reveal their culture’s pagan practices and aid in conversion efforts. But the cross-cultural encounters of the Baroque era are full of unintended consequences. In Mexico, Nahuatl-speaking students were trained in Spanish, Latin, rhetoric, and geometry. To the horror of their religious instructors, they quickly and independently produced multilingual treatises preserving their history, customs, and spiritual practices both pre- and post-conquest. Likewise, Jesuit priests at the Cusco School of painting in Peru trained a cadre of artists in Old Master techniques and traditional Catholic iconography. These Andean painters produced masterful canvases riddled with heresies (as the instructors considered them), adapting biblical stories to narratives of local deities. Spanish rulers soon grew humiliated by these schemes. By 1577, Phillip II issued a fiat forbidding the kingdom’s religious groups from pursuing any more inquiries into indigenous ways of knowledge. Of course, no book on the Hispanic Baroque would be complete without an entry on the era’s cathedrals. Curvilinear fantasies of flowing arches and filtered light, these churches fused Moorish building practices with the decorative intensity of ornate Italian Renaissance cathedrals to create some of the most complex and gilded worship spaces on earth. And that was before cathedral-building commenced in Latin America. With gold and silver at their disposal and a new universe of tropical flora and fauna to illustrate, architects and artisans in the Americas created some of the most theatrically spectacular worship spaces on Earth, with those in Cusco and Lima being notable examples. Simple altars became kaleidoscopic seas of gilded carvings of indigenous flowers and birds. Along church walls, the narratives of saints and biblical stories are rendered in polychromatic paintings. “In its bicultural splendor, the baroque church interior of the Spanish Americas outdid its Iberian cousin because it was more than an exercise in mere ornament,” writes historian Jaime Lara. “The very space and its decoration bridged the linguistic and cultural divide, validating an indigenous world that perceived the divine alive in nature.” If the Hispanic Baroque has become of recently renewed interest, it may be because its plethora of gilded cathedrals and its love of visual symbolism and imagebased identity bear more than a passing resemblance to our own era’s obsessions. Anyone interested in the increasing number of global museum exhibits revisiting Spanish colonial art and its significance in history ought to seek guidance in this volume first. — Casey Sanchez
SUBTEXTS The titles of Frederick Dillen’s novels all come from nicknames. His first, Hero, is about an aging waiter who rediscovers dignity. The second, Fool, centers around a self-obsessed securities trader whose father awards him that moniker. Beauty, which Dillen introduces at 6 p.m. on Tuesday, March 25, at Collected Works Bookstore (202 Galisteo St., 505-988-4226), is about a woman whose co-workers call her “Beast.” Carol — her given name — is a corporate “undertaker.” She shutters businesses and fires workers. Her ruthlessness in executing her duties earns her the title, one that’s not always used behind her back. Why does she do it? Because her bosses have promised she will be the CEO of one of the firm’s holdings once she finishes burying one more business. Beast becomes “Beauty” in Dillen’s story. The new name, given to Carol by a fisherman in the little Massachusetts island town where she has been dispatched to liquidate a fish-packing plant, begins to stick as she uses the knowledge she’s accumulated to start a new business. Carol reinvents herself and learns to give herself up to love after having spent her life keeping it at bay. Beauty (published by Simon & Schuster) gives Dillen a chance to engage a number of topics — the cruelty of the leveraged-buyout business, the fate of small-town America, environmental impacts of the fishing industry, the place of women in both the financial and labor markets, the promise of late-in-life reinvention — as he tells a fairly predictable story. The book recalls such movies as Up in the Air (from the novel of the same name by Walter Kirn), Oliver Stone’s Wall Street, and 1983’s Local Hero, in which representatives of an oil magnate fall in love with a seaside town the boss’s company plots to destroy. The book’s message is one we hear often but seldom heed: money isn’t everything — even if it’s no lower than second place. — Bill Kohlhaase
Goya’s gone, but we’re still here!
oN VIeW IN APrIL foCus oN PHotoGrAPHY Beneath our Feet: Photographs by Joan Myers · The Photo Lab: Where Ideas Develop · Grounded Three new shows launching a year-long celebration of photography.
APrIL eVeNts PuBLIC LeCture WeDNesDAY, MArCH 26 · 6–7:30 PM · FRee The Pueblo Canes and Spanish Vara: Enduring Symbols of Authority and Pueblo Sovereignty By Robert J. Tórrez, former New Mexican State Historian GALLerY tALK frIDAY, APrIL 4 · 5:30–6:30 PM · FRee New Mexico photographer Joan Myers will discuss her work in Beneath Our Feet. fAMILY fuN DAY suNDAY, APrIL 6 · 1–4:00 PM · FRee Get to Know Your Art Museum Learn how a museum works and why through lively conversation and art projects. oPeNING reCePtIoN frIDAY, APrIL 25 · 5:30–7:30 PM · FRee Southwestern Allure: The Art of the Santa Fe Art Colony Refreshments and music MuseuM tours DAILY · 10:30 AM & 2:00 PM WeDNesDAYs · 12:15 PM · FocUS oN SPeciFic ARTiSTS oR ToPicS · FRee wiTH MUSeUM ADMiSSioN
tHrouGH APrIL 13 50 Works for 50 States: New Mexico The Dorothy and Herbert Vogel Collection
oNGoING Spotlight on Gustave Baumann
Join our knowledgeable and friendly guides as they shine the spotlight on our current exhibitions. New Mexico senior residents with ID free on Wednesdays. sIGN uP · NMARTMUSeUM.oRG Sign up for our e-newsletter at www.nmartmuseum.org to make sure you keep up to date with new exhibitions and events at the museum. CLoCKWIse froM toP: Joan Myers, Shiprock, 2012, pigment print. courtesy of the artist. Gustave Baumann, Aspen Thicket (detail), 1943, color woodcut. collection of the New Mexico Museum of Art. Photo by Blair clark. edward Hopper, Ranch House (detail), Santa Fe, 1925, watercolor over pencil on paper. williams college Museum of Art, Bequest of Lawrence H. Bloedel, class of 1923, (77.9.6). Marsden Hartley, El Santo (detail), 1919, oil on canvas. collection of the New Mexico Museum of Art. Photo by Blair clark. Michael Lucero, Untitled (detail), 1988, watercolor on paper. collection of the New Mexico Museum of Art
oNGoING New Mexico Art Tells New Mexico History
oPeNING APrIL 25 Southwestern Allure: The Art of the Santa Fe Art Colony
New Mexico MuseuM of Art 107 w. palace ave | on the plaza in santa fe | 505.476.5072 | nmartmuseum.org |
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17
PASA TEMPOS
album reviews
HAFEZ NAZERI NORMA Rumi Symphony Project: WINSTONE/KLAUS Untold (Sony Masterworks) Be GESING/GLAUCO VENIER suspicious of recorded music packaged Dance Without Answer (ECM) with suggestions of what you should think Norma Winstone’s career has while listening to it. “Imagine yourself embraced both jazz standards and traveling back in time inside a small spacewordless vocals more in the avantcraft, watching the dawning of time” might garde realm of the musical spectrum. sound like something from Neil deGrasse She has performed with Kenny Tyson’s Cosmos narration, but in fact it’s from Wheeler, John Taylor, and Fred Iranian composer-vocalist-instrumentalist Hafez Nazeri’s liner Hersch and written lyrics to songs by Steve Swallow, Ivan Lins, notes for his cross-cultural music inspired by the Sufi poet Rumi. and many other composers. For her new ECM disc, she sings with We’ll let Rumi devotees decide if Nazeri’s compositions — scintillating Italian pianist Glauco Venier and German reed player Klaus Gesing, combinations of viola and cello, Middle Eastern percussion, voice, two collaborators who go back more than a decade with Winstone. chorus, and the lutelike Persian setar (a new version of which, according to The disc opens with the title cut, the bass clarinet and piano evoking the liner notes, has been christened the “hafez”) — reach the transcendent a setting of grand twirls before the entrance of the singer, who added levels for which the 13th-century poet is still revered. Nazeri’s claim that he lyrics to a Gesing instrumental. On “High Places,” a single-note piano has created a “threefold innovation in one recording” seems a leap. Despite the pulse establishes an edgier place and Winstone waxes poetic: “As he flew braggadocio, there is some fine music here — even if the declared innovainto the clouds that swallowed him, they took an imprint of his face tion sounds like something previously done, in smaller settings, and it was all that she could see.” The program ranges into a by Yo Yo Ma’s Silk Road Ensemble. Nazeri’s setar, especially when pair of Friulian pieces, the poem “Gust da essi viva” and the backed by strings, is vigorous and meaningful. His father, nursery rhyme “Ator Ator,” both sung in Italian, and then Shahram Nazeri, sings with warmth and clarity, which make to a straightforward, even stately cover of the Madonna hit his son’s vocals seem pale in comparison. On “Dance of the “Live to Tell.” “It Might Be You,” the Dave Grusin song ‘Blank Project’ is raw Galaxies,” Glen Velez’s hand-drum play is a rippling view from Tootsie, is one of several that relate to films (or to The to a cosmic landscape. This music is meditative, yes, and Muppet Show). The band also offers gorgeous covers of like sushi, a stripped-down beautifully weaves together Eastern and Western tradisongs by Nick Drake and Tom Waits. — Paul Weideman tions. Nazeri should let it speak for itself. — Bill Kohlhaase affair that combines the spare WOO When the Past Arrives (Drag City) Mark and NENEH CHERRY Blank Project (Smalltown Supersound) Clive Ives are a pair of British brothers who have beats of early hip-hop with Neneh Cherry charted early in her career with “Buffalo been creating dulcet acoustic-electronic compositions jazz instrumentation. Stance,” a rap-influenced club banger from her 1989 album together since the 1970s. With Mark contributing guitar, Raw Like Sushi, and then didn’t do much charting since. clavinet, bass, and occasional vocal parts and Clive addDon’t call her a one-hit wonder, though. She’s the daughter ing percussion, violin, and electronics, the two operate of jazz trumpeter Don Cherry, who played with a daring under the name Woo. When The Past Arrives is their abandon that endeared him to his peers, and Neneh has applied latest in only a handful of releases since 1989’s It’s Cosy Inside that spirit to her whole career. After years of oddball collaborations (a descriptor that works for pretty much everything the duo has and group projects, she returned in 2012 fronting a jazz outfit called ever done). The album’s promo materials declare the new album to be The Thing; now, she offers her first solo album since 1996. Recorded with “a collection of deceptively airy jams, addictive, crystalline.” A more apt the duo RocketNumberNine and produced by electronic-music star Kieran description might be: a collection ideal for dolphin love makin’. This is Hebden (aka Four Tet), Blank Project is raw like sushi, a stripped-down especially true with the track “Om Shanti,” which additionally helps affair that combines the spare beats of early hip-hop with jazz improconfirm the perennial comparison Woo receives to Brian Eno. Because visation, as Cherry articulates her thoughts in a gymnastics routine the brothers were constrained for years by the sound complaints of somewhere between singing, slam poetry, and scatting. Her lyrics neighbors, much of their work on all instruments is toned down. As skip between matters of personal finance, body issues, confidence, Clive explains, “Drums became triangles, clarinets were played real romantic commitment, and a whole lot more — and often within breathy, guitars were plucked, not strummed. Even hitting the the same verse. She trades lines with keyboard, keys were not to be struck Robyn on the feisty duet “Out of the Black” too hard.” The album has a strong and sings nearly a cappella on the lovely closer with “Ruby,” a breezy piece fea“Across the Water.” Hebden keeps up with turing clavinet and gentle background an array of sounds, from the ratatat beat bird chirps. Its cadence is similar of “Naked” to the fuzzy, grinding bass of enough to the opener, “First Night “Weightless.” It’s a relatively minimalist Nerves,” that we feel like we have album that proves fuller than many of truly arrived back at the beginning. its overstuffed contemporaries. Or would that be the past? — Robert Ker — Loren Bienvenu
18
PASATIEMPO I March 21-27, 2014
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19
TERRELL’S TUNE-UP Steve Terrell
Dateline SXSW I had just sat down to blog about what a fun evening of rock ’n’ roll I’d had on the opening day of the South by Southwest music festival on March 12 — all the great music I heard, all the cool people I saw, and all the friends I got to hang out with — when I got a Facebook message from my brother in Santa Fe. He had news of a bizarre tragedy at SXSW and wanted to know if I was OK. It seems that a car that was the subject of a police pursuit plowed into a crowd in front of The Mohawk near 9th and Red River Streets. At that point, two people had died and five more were critically injured. By Monday morning, one of those five had died from injuries she’d sustained in the incident. A couple of dozen people injured by that driver were transported to hospitals that night. I’ve heard grumbling for years about how the festival has grown too big and how the streets of Austin can’t handle the traffic, the crowds, and the insanity. You can’t blame the festival organizers for the alleged actions of the defendant, Rashad Owens, an aspiring rapper and music producer, who reportedly had a gig on the festival’s last night. According to police he was fleeing from a DWI checkpoint, may have been intoxicated, and had outstanding arrest warrants. But this is a music column, not an op-ed piece, and I did hear lots of great music at the festival and at the unofficial events that surrounded SXSW. There were a couple of singers I hadn’t planned on seeing who I saw at my very first SXSW in 1995. One was Lucinda Williams, who played a brief set at the Austin Music Awards. Accompanied by her own guitar and a lead guitarist, Williams played mostly old songs like “Passionate Kisses,” “Lake Charles,” and “Drunken Angel.” She was wonderful. Another unexpected pleasure was Howe Gelb, who I’d caught two or three times before with his old group
20
PASATIEMPO I March 21-27, 2014
Giant Sand. I stumbled into the Continental Club, where he was playing with a trio. On his quieter songs, he sounded like Marty Robbins after a three-week peyote trip. But Gelb can also tear loose on electric guitar with the same weird vision and fire that made me love Giant Sand to begin with.
Left Lane Cruiser has a raw slide-guitar-based sound you might call “damaged blues.” And of course, I didn’t miss the Waco Brothers playing at the annual Bloodshot Records party at the Yard Dog Gallery. The original “insurgent country” band did some of my favorites, including “See Willie Fly By” and “Plenty Tuff Union Made.” They also did their covers of Johnny Cash’s “Big River” (which Jon Langford introduced as “Hotel California” by The Eagles), “I Fought the Law,” and a rousing (and I suspect spontaneous) “Hey! Bo Diddley.” I caught the classic Texas cowpunk crazies, The Hickoids (which includes longtime Santa Fe musician Tom Trusnovic), twice this year — at an east Austin joint called The White Horse, right after they were inducted into the Austin Music Hall of Fame, and later at the Triple Crown, a bar in San Marcos. As usual, they lean on the punk much heavier than the cow, but their raunchy tunes never fail to delight. Barrence Whitfield and the Savages performed a set at C-Boy’s Heart & Soul that was sheer intensity. Playing lots of stuff from his latest, Dig Thy Savage Soul, Whitfield raised the energy level several notches. Guitarist (and Taos resident) Peter Greenberg’s fingers were bleeding well before he left the stage. Possessed by Paul James, the musical superhero whose secret identity is mild-mannered teacher Konrad Wert, played at the off-the-beaten-track Austin Moose Lodge, at a showcase by the small but impressive Hillgrass Bluebilly Records. Wert was in his one-man-band mode, playing a small arsenal of stringed instruments and using his trademark stomp-box — which is basically a wooden board that is miked — as percussion. All that, and his voice. When Wert gets to wailing, sometimes it seems as if he really is possessed. Veteran Dallas soul man Bobby Patterson, who was celebrating his 70th birthday that night,
performed at C-Boy’s. Never very famous as a performer, Patterson is known mainly as a producer and a DJ. He produced records for Little Johnny Taylor, Fontella Bass, and Chuck Jackson. He was backed by a band that included a horn section, and at one point he was joined onstage by Whitfield. I first latched onto The Grannies two years ago at SXSW. Appearing in colorful wigs, horrible frocks, and muumuus, the band just tore up the Triple Crown. They attacked the music with humor as much as fury. Singer Wizard Sleeves was wearing some kind of flesh-colored body suit, and guitarist Sluggo ended his set with a classic-rock guitar smashing demonstration. Playing at the Moose Lodge show were several bands new to me, including The Pine Hill Haints, an acoustic group (with a washtub bass) from Alabama who describe their sound as “Alabama ghost music.” Peewee Moore, a Tennessee-born songwriter, also played with an acoustic band, though his honkytonk sound would work with a full country band — fiddle, steel, drums etc. (Apparently Moore has played the Cowgirl BBQ. I hope he comes back so I can catch him again.) The Rock Bottom String Band is a gaggle of countrified hippie kids who play a variety of instruments and sing with so much enthusiasm it was impossible not to get into the spirit. Left Lane Cruiser has a raw slide-guitar-based sound you might call “damaged blues.” The group’s bass player also made crazy noises on a bizarre homemade instrument fashioned from an old skateboard and a beer bottle on a couple of songs. It’s a type of diddley bow he calls “skidley bow.” Playing harmonica on the band’s first song was J.D. Wilkes from The Legendary Shack Shakers. Wilkes made a similar cameo earlier in the evening with The Pine Hill Haints. The Woggles, who played at C-Boy’s, is a neo-garage band that’s been around several years. You can hear a little Count Five in The Woggles’ guitar and see a little Paul Revere & The Raiders in their moves. But mostly I heard echoes of Mitch Ryder & The Detroit Wheels in The Woggles’ music. A Pony Named Olga, who played at the Triple Crown, is a high-energy psychobilly trio from Berlin (they call themselves “country-punk and polkabilly”), featuring an electric guitarist/singer, a doghouse bassist, and a drummer. They have the basics of psychobilly down pat, but they also have a few unusual melodies and chord changes that bring a twist to that sound. And then there are The Beaumonts, a tight little honky-tonk band from Lubbock led by singer Trow Wayne Delco. They play sweet country music with foul-mouthed lyrics about sex, drugs, getting drunk, and more sex. But that’s not all. They also have a song called “Toby Keith,” in which they declare that the jingoistic country star is the “ugliest woman I swear I’ve ever seen.” ◀
ASPEN SANTA FEBALLET
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March 21-22 7:30pm Encore!
April 19 7:30pm
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21
Wisdom of Astrology
A Talk & Book Signing
PASA REVIEWS
with
Alan Oken & Erin Sullivan
Wednesday March 26th • 6:30 - 7:30 pm 133 Romero St, 988-3709 • In the Railyard behind REI www.arkbooks.com
LIV san & E M ta fe NI U GH SIC TL IFE
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NEW LISTINGS DAILY 22
santafenewmexican.com/calendar
PASATIEMPO I March 21-27, 2014
William Porter, organ First Presbyterian Church, March 14
Channeling Hindemith
F
irst Presbyterian Church provides a boon to Santa Feans every Friday afternoon through its free TGIF series. These concerts usually spotlight local musicians, but occasionally they present performers from afar, most notably organists who are attracted by the 41-rank, 31-stop, threemanuals-plus-pedal, tracker-action organ by C.B. Fisk that the church installed in 2008. On March 14, the visiting artist was William Porter, formerly on the faculties of Oberlin, Yale, the New England Conservatory, and the Eastman School of Music and now teaching at McGill University in Montreal. He described to the audience a now-retired organ that in the mid-20th century resided at Oberlin College. On its case were carved the names of leading organ composers, French on one side, German on the other. The three Germans were Bach, Mendelssohn, and Hindemith. From this he drew the inspiration for his Germanic program: Bach’s Toccata, Adagio, and Fugue in C Major; Mendelssohn’s Organ Sonata No. 4; and Hindemith’s Organ Sonata No. 1. The church’s unforgiving acoustic provides no reverberation, and the resulting sound tends by default to invite a more intellectual than sensual response. That proved in no way inimical to the Bach. Porter shaped the fleet scales of the opening toccata with an elegant touch, and he negotiated the extended pedal solo with impressive virtuosity. The Italianate middle movement was captivating, its expressive possibilities enhanced by his use of the tremulant feature. The Mendelssohn sonata allowed for a generally fuller sound and a fair measure of sonic variety as it unrolled through its four movements, redolent of a modestly scaled organ symphony. Porter’s take on the slow movement, marked Andante religioso, did not stress the religioso aspect, which might come naturally on a more Victorian organ in a more Victorian setting. It was, instead, an amiable, flowing moderato for our more secular age — a logical strategy for the space. The ensuing Allegretto was also faster than one is accustomed to hearing, a sort of Mendelssohnian song without words but in an anti-Romantic interpretation in which the soloist extended his objective stance by avoiding the use of the swell mechanism, which is not what one might have anticipated. The full organ voicing of the opening movement and especially the concluding four-voiced fugue proved pure and bracing. Hindemith’s star has sunk some distance from where it stood when his name was selected to adorn the Oberlin organ Porter mentioned, but his three organ sonatas remain in the repertoire, the third showing less staying power than the first two. The First, from 1937, is a forthright example of the Hindemith sound, sporting a modernity that people at the time appreciated for not being serial, marching to its own drummer in harmonic terms, not unpleasant if a bit dense and sometimes lumpish. Porter, however, showed affection for the piece, enveloping its first movement in a spirit of mystery and rendering its second with a combination of sturdiness and lyricism, now abetted by tremulant and carefully plotted dynamic shadings. The art of improvisation has largely disappeared from classical musicmaking apart from organists. Porter concluded his recital with two adept improvisations on themes submitted to him the day before. He said he would take Hindemithian language as his model, but his feet and fingers seemed of a different mind, leading him across the border toward the France of Widor and Vierne. — James M. Keller The next TGIF concert takes place at 5:30 p.m. on Friday, March 21, when organist Linda Raney celebrates Bach’s birthday by playing several of his compositions. First Presbyterian Church is at 208 Grant Ave.; see www.fpcsantafe.org.
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READINGS & CONVERSATIONS brings to Santa Fe a wide range of writers from the literary world of fiction, nonfiction, and poetry to read from and discuss their work.
with Chef Mark Connell from Arroyo Vino where we will demo the amazing PolyScience system.
BENJAMIN ALIRE SÁENZ
with CECILIA
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AFTERNOON
Still Life
Kevin Gorges 9:30 am – 12:30 pm 8 weeks $169.95 March 31 – May 19
Figure Drawing Kevin Gorges 1:30 pm – 4:30 pm 8 weeks $169.95* March 31 – May 19
Watercolor & Oil Lee Rommel 9:30 am – 12:30 pm 8 weeks $169.95 April 1 – May 20
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Intro Figure Painting
WEDNESDAY
Portrait
Roberta Remy 9:30 am – 12:30 pm 8 weeks $169.95* April 2 – May 21
Pastel Painting James Roybal 1:30 pm – 4:30 pm 8 weeks $169.95 April 2 – May 21
Watercolor & Oil Lee Rommel 6:00 pm – 8:30 pm 8 weeks $169.95 April 2 – May 21
THURSDAY
Watercolor & Oil Lee Rommel 9:30 am – 12:30 pm 8 weeks $169.95 April 3 – May 22
Watercolor Michael McGuire 1:30 pm – 4:30 pm 8 weeks $169.95 April 3 – May 22
Watercolor Mell Feltman 9:30 am – 12:30 pm 7 weeks $149.95 April 4 – May 23
Mixed Media collage Darlene McElroy 1:30 pm – 4:30 pm 7 weeks $149.95 April 4 – May 23
Oil Painting Richard Guzman 9:30 am – 1:30 pm 6 weeks $169.95 April 5 – May 17
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Seven stunningly evocative short stories … a haunting tableau of characters wrestling with the boons and burdens of existence … Sáenz, with these masterfully hewn stories, presents this hardscrabble yet tenacious city as beautiful in its contradictions, disquieting in its ambiguities, and heartbreaking in its quotidianness. Filtered through this book are the lives of its singular people: doomed, broken, resourceful, and, above all else, faithful — to the city and to the parts they play in its intricate dimensions. — Texas Books in Review Benjamin Alire Sáenz’s latest book, Everything Begins and Ends at the Kentucky Club, is a collection of stories whose characters are all tied in one way or another to a famed watering hole on the Avenida Juárez, where the author says, “people go when they’re in trouble, when they’re looking for trouble or when they’re trying to get out of trouble.” A prolific writer and master of many genres, his books include the novel Carry Me Like Water, the young adult book Sammy & Juliana in Hollywood, and the poetry collection Dark and Perfect Angels. Born in Old Picacho, New Mexico in 1954, Sáenz has been a member of the faculty at the University of Texas at El Paso since 1992. TICKETS ON SALE NOW
ticketssantafe.org or call 505.988.1234 $6 general/$3 students/seniors with ID Video and audio recordings of Lannan events are available at:
www.lannan.org
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23
PORTRAIT OF THE PLAYWRIGHT Marina Carr and the Southwest Irish Theater Festival
Jack Sherman and Elise Manning in The Cordelia Dream
W
hen Marina Carr is teaching playwriting at Dublin City University and St. Patrick’s College, Drumcondra, where she is currently a writer in residence, she tells her students, “Forget ideas, describe things.” “I try to teach them to be discerning, to read like a writer,” she told Pasatiempo. “We look at the architecture of sentences and of speech. ‘Go ahead, imitate,’ I tell them. ‘Then make it your own.’ After all, the only thing we really have is our style.” Carr is considered one of Ireland’s leading playwrights. She has collected a number of accolades including the E.M. Forster Prize and a Puterbaugh fellowship. She has taught at Trinity College Dublin and Villanova and Princeton in the U.S. She was writer in residence and has had several plays produced at the Abbey Theatre in Dublin. She is also a member of the exclusive artists’ organization Aosdána, which is supported by the Arts Council of Ireland. “Children are raped, mutilated, and murdered in Marina Carr’s plays. What’s that all about?” ran the 24
PASATIEMPO I March 21-27, 2014
Michael Wade Simpson I For The New Mexican lead-in to a feature about her in The Guardian. Her style is grounded in a “search for the light,” as she once described it, though it may not always seem that way to audiences. “Her plays have frequently attracted controversy for their portraits of damaged women, bad mothers, and unholy families,” wrote Lyn Gardner in the Guardian piece. Carr has written 16 plays, although that number is liable to change at any moment, as she is one of her country’s most prolific theater artists and has projects in process at any given time. “I’m always working on something,” she said. “With me it’s, What can’t I do that I need to figure out? What’s keeping me awake at night?” She visits New Mexico for the Southwest Irish Theater Festival, held during March and April in Santa Fe and Albuquerque. As part of the festival, Theaterwork presents a production of Carr’s play The Cordelia Dream, with shows beginning Friday, March 21. Carr appears for an on-stage talk at the James A. Little Theater on Saturday, March 22. Born in 1964 in County Offaly, Carr is the product of a playwright father and poet mother. She studied
English and philosophy at University College Dublin and did graduate work on the writing of Samuel Beckett. Although her earliest produced plays were abstract and experimental, she rose to prominence when she made a foray into semirealism, with works set in rural locales and employing the Hiberno-English dialect she was raised on — a form of English blended with Irish language and Old English terms. In By the Bog of Cats, Carr’s 1998 transfer of Euripides’ Medea to the marshlands of rural Ireland, the character Catwoman says, “‘I’ve as much right to this place as any of yees, for it holds me to it in ways it has never held yees. And as for me tinker blood, I’m proud of it. It give me an edge over all of yees around her[e], allows me to see yees for the inbred, underbred, bog-brained shower yees are.” Although many of Carr’s works reflect an interest in Greek literature, 2011’s 16 Possible Glimpses takes inspiration from Chekhov. The work being presented in Santa Fe, The Cordelia Dream, is a look at a father and daughter that invokes and echoes characters from King Lear.
“Lear is such a talismanic work. It gives us writers courage to do the impossible, to explore monstrous passions and ideas of murder and rage. It’s so huge. I took a small idea, the father-daughter relationship. They are composers. It was the idea of an artistic area of rivalry between the two of them.” The Cordelia Dream was commissioned by the Royal Shakespeare Company and premiered in 2008 at Wilton’s Music Hall in London. In King Lear, the title character decides to divide his kingdom between his three daughters based on which one loves him the most. The results are tragic, but they offer a look at some of the basic characteristics of human nature — good, bad and horrible. “I particularly love the monsters, “ Carr said in a 2012 interview for World Literature Today. “It is within us all to behave badly and sublimely. Becoming human is a process ... there’s a bit of shark in us, and we also have the divine in us. Eternity has a claim on us.” Carr’s plays often seem based in realism and then depart from it. “Time is a construct,” she said. “In memory and thought, in sleep and dreams, time is different. When you’re a child, summer seems endless. The older you get, the more you feel that time is colliding. “Scientists have discovered that there are 11 dimensions. There are some people out there who understand what each of those dimensions is. I’d like to write a play with 11 dimensions, or have a life with 11 dimensions. If you had 11 lives, how would you spend them?” ◀
T
he Southwest Irish Theater Festival was inaugurated in Albuquerque in 2013 by Alan Hudson, a Dublin native and emeritus professor of linguistics at the University of New Mexico. This year’s festival includes four productions in Santa Fe, all presented by Theaterwork: The Cordelia Dream by Marina Carr at 7 p.m. on Friday, March 21, and Saturday, March 29; Molly Sweeney by Brian Friel at 2 p.m. Saturday, March 22, and 7 p.m. Friday, March 28; A White Notebook: The Mystical Marriage of Maude Gonne & W.B.Yeats by Leslie Harrell Dillen, paired with Yeats’ Cathleen ni Houlihan at 7 p.m. on March 22 and 2 p.m. on March 29. Playwright Marina Carr discusses her work and answers questions in a free appearance at 10:30 a.m. on March 22. Finally, a poetry and music program called All the Doors Swing Wide! is performed at 2 p.m. on Sunday, March 23, and Sunday, March 30. All Santa Fe productions take place at the James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Road. All shows are $5; tickets are available at the door. Call 505-471-1799 or see www.theaterwork.org. Albuquerque productions are JunoandthePaycock by Sean O’Casey, through April 6 at TheVortexTheater (2004 Central Ave. S.E., 505-247-8600, www.vortexabq.org); Dancing at Lughnasa by Brian Friel, opening April 4 at The Adobe Theater (9813 Fourth St. N.W., 505-898-9222, www.adobetheater.org); and Gibraltar by Patrick Fitzgerald, opening April 11 at The Aux Dog Theatre (3011 Monte Vista Blvd. N.E., 505-254-7716, www.auxdog. com). For these performances, contact the theaters.
All the Doors Swing Wide!
All photos Petr Jerabek
Molly Sweeney
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SOUNDSOF SANTAFE CELEBRATING LOCAL MUSIC March 28 LUKE CARR’S 7:30 pm Storming the $12 Beaches with
Logos in Hand
iNKoNpAPER Mi(BenWright)
Cathleen ni Houlihan
A White Notebook: The Mystical Marriage of Maude Gonne & W.B. Yeats
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It’s time for Bien. Are you in?
Bienvenidos Living la vida local
2013 Summer Guide to Santa Fe and Northern New Mexico
Legendary art markets Farmers and ranchers Day trips from Santa Fe Northern pueblos
The SanTa Fe new Mexican | www.santafenewmexican.com
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PASATIEMPO I March 21 - 27, 2014
ON STAGE
Sharen Bradford
Behind the 8 ball-et: Aspen Santa Fe Ballet
THIS WEEK
Aspen Santa Fe Ballet performs at the Lensic Performing Arts Center (211 W. San Francisco St.) in a program that includes the world premiere of a piece by Nicolo Fonte, who danced with Les Grands Ballets Canadiens in Montreal and Nacho Duato’s Compañia Nacional de Danza in Madrid before retiring from performance in 2000 to focus on choreography. This is the eighth piece the company has commissioned from Fonte, who is now in his second season as resident choreographer for Salt Lake City’s Ballet West. The program also includes Cayetano Soto’s Beautiful Mistake and Fold by Fold by Norbert De La Cruz III. Performances take place at 7:30 p.m. on Friday, March 21, and Saturday, March 22. Tickets ($25 to $72) are available by calling 505-988-1234 or visiting www.ticketssantafe.org. — J.M.K.
The grandad of DADGAD: Pierre Bensusan
Pierre Bensusan boasts having played more than 3,000 concerts over the last four decades. The French-Algerian guitarist is known for a fingerpicking style based on the alternative guitar tuning known as DADGAD — most often associated with Celtic music — as opposed to the standard EADGBE tuning. Currently celebrating 40 years of live performance across the globe, Bensusan first hit the road as a teenager in 1974, when hired by banjo and bluegrass luminary Bill Keith for a European tour. On Wednesday, March 26, he appears at Garrett’s Desert Inn Music Room. Tickets for the 7 p.m. show are $25 and can be purchased in advance through www.brownpapertickets.com or by calling 800-838-3006. The Music Room is at 311 Old Santa Fe Trail. — L.B.
Whirling ancestry: Adam McKinney’s HaMapah
Dancer Adam McKinney’s solo performance HaMapah combines movement, music, spoken word, and projected images to explore ancestry. The Hebrew title suggests a map tracing familial lineage or a tablecloth of woven heritage. Directed by Daniel Banks and presented by DNAWorks at NDI New Mexico’s Dance Barns (1140 Alto St.) at 7:30 p.m. on Saturday, March 22, and at 2 p.m. on Sunday, March 23, HaMapah is a graceful reaching back. Tickets, $20, with discounts available, can be purchased from Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org). — B.K.
Baton up: Case Scaglione leads the SF Symphony
Chris Lee
This season and next, the Santa Fe Symphony and Chorus is hosting a succession of guest conductors who are under consideration to become the organization’s principal conductor. This week’s contender is Case Scaglione, who has served as assistant conductor of the New York Philharmonic since 2011 and next season will be elevated to associate conductor. The concert he leads at the Lensic Performing Arts Center (211 W. San Francisco St.) at 4 p.m. on Sunday, March 23, comprises familiar fare: the Polovtsian Dances from Borodin’s opera Prince Igor (with the Symphony Chorus participating), Bruch’s Violin Concerto No. 1 (with the German violinist Clara-Jumi Kang, gold medal winner of the 2010 International Violin Competition of Indianapolis), and Rachmaninoff’s Symphony No. 2. Tickets ($22 to $76) can be acquired by calling 505-988-1234 or visiting www.ticketssantafe.org. A 3 p.m. lecture is free to ticket holders. — J.M.K.
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PAYNE’S
Celebrate Spring’s Arrival at Payne’s 11th Annual
Staff experts will be on hand to answer all your gardening questions.
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Payne’s North 304 Camino Alire 988-8011 Payne’s South 715 St. Michael’s 988-9626
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We want to say THANK YOU to our loyal customers and meet new people, too, so we’re inviting YOU to our FIESTA!
Spring Hours Start March 23
Saturday, March 22 and Sunday, March 23 10 am to 4 pm
Monday - Saturday 9 to 5:30 Sunday 10 to 4
Payne’s Organic Soil Yard 6037 Agua Fria 424-0336 Monday - Friday 8 to 4 Soil Yard Saturday hours start April 5
There will be lots of in-store specials, refreshments and drawings at each store for
Lynn and Judy Payne
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South Store (St. Michael’s Dr.) 11 am to Noon North Store (Camino Alire) 1 pm to 2 pm
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www.paynes.com 28
PASATIEMPO I March 21 - 27, 2014
Hablamos Español!
Discount Does Not Apply to Easter Lilies or Other Items on SALE.
*Total purchase price before tax is applied. Coupon must be presented at time of purchase. Limit one coupon per customer, please. Cannot be combined with any other coupon or offer. Good through 3/24/14. PASATIEMPOMAGAZINE.COM
29
Khristaan D. Villela I For The New Mexican
INTERIOR DESIGNS Four centuries of art in the Spanish American home
W
here can you see an important portrait by Francisco Goya, images of 14 Inca emperors, a catechism book in the Aztec language, Japanese and colonial Mexican screens, chocolate-drinking vessels, plus paintings by Gilbert Stuart, George Singleton Copley, and Benjamin West? In the Albuquerque Museum of Art and History’s exhibition Behind Closed Doors: Art in the Spanish American Home, 1492-1898. The show, organized by Brooklyn Museum curator Richard Aste and drawn in large part from that institution’s holdings, tells the story of the lives of the colonial Latin American elite through their possessions. The curatorial premise is to resituate paintings, furniture, carpets, and even china and service vessels into their original contexts, using as a model the rooms of the home of the Count of San Bertolomé de Xala, a welldocumented example from 1700s Mexico City. Along the way, Aste and Albuquerque Museum curator Andrew Connors make fascinating comparisons of Latin American and colonial U.S. display practices and portraiture as well as material culture. The native peoples of Mexico and the Andean nations of Peru and Bolivia also appear as elite participants in the performance of status in the colonial Americas. A well-illustrated catalog edited by Aste accompanies the exhibition. The function of the rooms in these homes was closely related to prestige, gender roles, and even race. The most formal room in the Spanish colonial elite home was the salón del dosel, or the baldachin room, so named because in its most luxurious form it featured a richly upholstered chair on a dais, the whole covered by a cloth canopy, the baldachin. Such chairs symbolized the absent Spanish monarch, who ruled the Americas through viceroys. The king was also the ultimate source of the noble titles the Latin American elites held — generally marqués, or marquess, and conde, or count. In the baldachin room, the male head of household received honored guests, who could be impressed by his family lineage, objectified by painted portraits. The exhibition includes an extraordinary series of five portraits of the counts of Santiago de Calimaya, whose 18th-century palace now houses the Museum of Mexico City. They were painted between about 1750 and 1820 by some of the most prominent names in Spanish colonial Mexican art. Its centerpieces are Miguel Cabrera’s portraits of Don Juan Xavier Joachín Gutiérrez
30
PASATIEMPO I March 21-27, 2014
Altamirano Velasco and Doña María de la Luz Padilla y Gómez de Cervantes. Both hailed from among the most prominent families of Creoles, the term used to refer to American-born Spanish. Don Juan, the seventh count of Santiago de Calimaya, was the descendant of two Spanish-born viceroys of New Spain. The first, Luis de Velasco, was viceroy in Mexico City from 1550 to 1564; his son, Luis de Velasco hijo, ruled New Spain for the king from 1590 to 1595 and then again from 1607 to 1610. During his second term, the youner Velasco appointed Pedro de Peralta the second governor of New Mexico. In 1610, Velasco received the first embassy to Spain’s American colonies from Hidetada, the second Tokugawa shogun of Japan. That episode led to the visit of more than 140 Japanese in 1614. On that occasion, the group passed through Mexico en route to Europe. The Japanese visual and material culture they brought with them had a significant impact in colonial Mexico. In the Brooklyn Museum portrait, Cabrera depicts Don Juan with all of the features essential for proclaiming his status. He is shown full-length, white-wigged, and wearing a spectacular embroidered frock coat and pants and holding a tricorn. A red velvet curtain frames him above and at right, while his coat of arms appears before him, larger
than his face. At lower left is a lengthy inscription with all of Don Juan’s titles, including governor in perpetuity of the Philippines. Hanging next to Don Juan in the gallery is Cabrera’s near-contemporary portrait of Doña María de la Luz Padilla y Gómez de Cervantes, who was descended from a conquistador who fought with Hernán Cortés in the conquest of Mexico. Her son married Don Juan’s granddaughter, the 11th countess of Santiago de Calimaya, uniting the families. Cabrera depicts her before a velvet curtain, wearing a gold brocade Spanish-style pannier dress and heavily adorned with jewels of gold and pearls. She also wears several chiqueadores, false beauty marks fashioned of velvet. While her portrait features no coat of arms, there is a large painted escutcheon in the exhibition, commissioned by her son to commemorate the union of the Altamirano de Velasco and Gómez de Cervantes families. Viewing these portraits alongside that of John Singleton Copley’s image of Mrs. Sylvester (Abigail Pickman) Gardiner from around 1772 provides an effective comparison between Spanish colonial and colonial English works. Copley shows the wife of a prominent Boston merchant dressed in a Turkish-style outfit popular in London at the time. The work is also a good example of British Grand Manner neoClassical portraiture, with its characteristic restraint and cool tone. In contrast, María de la Luz and other wealthy Spanish colonials of the time wear pounds of jewelry and sumptuous baroque dresses and are often accompanied by coats of arms and texts identifying the sitters and their families. The exhibition also includes several portraits made for South American elites, with the most important being that of Don Tadeo Bravo de Rivero, painted in 1806 by Francisco de Goya y Lucientes. Bravo de Rivero was a Peruvian Creole who enjoyed a successful career in colonial administration in Madrid. Not only did he proclaim his status by commissioning Goya to paint his portrait, but he also appears wearing the badge of the royal Order of Santiago. While many prominent Spaniards were made knights of Santiago, it was a particular feat for an American-born Spanish subject to be elevated to the order.
A
fter being suitably impressed by the great family’s real or fictive connections to Spain’s ruling house and its illustrious dynasty in the New World, male visitors might be invited to the sala, or grand reception room, while women would repair to the cuadra de estrado, or women’s sitting room. Like the baldachin room, the grand reception room was filled with artworks and furnishings intended to impress, from Turkish carpets on tables (too costly to be placed on the floors in Spanish America) to collections of religious paintings and statues, tapestries, and rich furniture. The women’s sitting room could be a separate space, or it might be a subdivided section of the reception room, as it is in the exhibition. The folding screen that separates the two spaces is a good example of the colonial Latin American elite exposure to luxury trade goods, especially those from the Far East. The Mexican screen, or biombo, is an oil-on-
Folding Screen With Hunting Scene, Mexico, circa 1697-1701, oil on wood, inlaid with mother-of-pearl Opposite page, top left, Francisco de Goya y Lucientes (1746-1828): Don Tadeo Bravo de Rivero, 1806, oil on canvas Opposite page, below left, José Joaquín Bermejo (active 1760-1792) or Pedro José Díaz (active 1770-1810): Doña Mariana Belsunse y Salasar, circa 1780, oil on canvas Opposite page, right, Virgin, Philippines and possibly Mexico, Guatemala, or Ecuador, probably 18th century, wood, ivory, pigment, gilding, gessoed cloth, and silver All works from the collection of the Brooklyn Museum; images courtesy Albuquerque Museum of Art and History
wood version of the Japanese ink-on-silk by¯obu, first imported to Mexico in 1614. This example shows the Siege of Belgrade from Spain’s Great Turkish War (1683-1699) on one side and hunting scenes on the other. It was made in Mexico City in about 1700 for José Sarmiento de Valladares, viceroy of New Spain from 1696 to 1701. Like the conquistador and settler of New Mexico Juan de Oñate a century earlier, Sarmiento de Valladares married a descendant of the Aztec emperor. After her death he was made count of Moctezuma and was appointed New Spain’s viceroy. The screen is the only known example combining painting with enconchado, or mother-of-pearl inlay, a technique of east Asian origin. In the cuadra de estrado the women of the household would spend the day entertaining visitors, sewing, drinking chocolate, and according to the sources, smoking incessantly. The exhibition includes a number of serving pieces related to drinking chocolate and tea, including Mexican talavera chocolate storage jars and silver serving pieces. There are also examples of Chinese porcelain emblazoned with the family crests of
Spanish colonial elites, which speak to their ability to command their manufacture on the other side of the globe. But the Spanish colonial elites also filled their homes with objects made by their native American subjects, such as large-scale luxury versions of objects like lacquer decorated trays and chests. In the Andes, their homes also featured camelid-fiber tapestries made by Aymara and Quechua peoples, with a mixture of European designs like mermaids and ancient Peruvian and Bolivian symbols. Native textiles also decorated the alcoba, or state bedroom, and the asistencia, or family sitting room. These rooms differed from one another in their formality. The state bedroom was used to receive important guests, and its bed and the linens were among the costliest furnishing in the house. The formal bed was used only to consummate marriages, for childbirth, and for the passing of a family member. The asistencia was an informal sitting room used only by the family and their closest acquaintances. continued on Page 32
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UPCOMING EVENTS www.santafebotanicalgarden.org | 471-9103
SANTA FE BOTANICAL GARDEN AT MUSEUM HILL, 715 CAMINO LEJO Open now Wed–Sun, 10am–3pm; Apr–Oct Open 7 days, 9am–5pm
• Birds in the Garden Sculpture Reception | SAT, APR 5, 3–5PM
Porcelain bird sculpture exhibition by Christy Hengst. Free, open to public, refreshments (Exhibition through Apr 23)
• Origami in the Garden | APR 25–OCT 25 Sculpture exhibition by Kevin Box • Community Day/Earth Day | SUN, APR 27, 9AM–5PM Origami making. Free to NM residents/students
• The American Popular Song | SUN, APR 6, 4–6PM
Vanessie of Santa Fe, 427 W. Water St. – Cabaret songs sung by Patty Stephens and David Jenness, with the John Rangel Trio. All proceeds benefit SFBG. $25 call 471-9103 for tickets, space is limited.
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Interior designs, continued from Page 31
N
ative elites were also patrons of the arts and active players in Spanish colonial practices of self-representation and status demonstration. An imposing series of paintings imagines the portraits of the 14 Inca emperors, beginning with Manco Capac and concluding with Atahualpa, who the Spanish garroted in 1533. There is no tradition for this kind of ruler portrait or for any kind of portraiture as likeness in Inca visual culture, and the works owe their inspiration to an illustration on the frontispiece of one of the volumes of Antonio de Herrera y Tordesillas’ Historia general de los hechos de los Castellanos en las islas y tierra firme del Mar océano, published in Madrid in 1615. They may have been made by a prominent family of Inca descent in the mid-17th century to demonstrate a connection to the pre-Columbian ruling house, boosting their status both in America as well as in peninsular Spanish eyes. Another important work generated by native patrons is the Lienzo de Ihuitlan, a genealogical painting on cotton cloth measuring 97 by 62 inches. Made in the Coixtlahuaca Valley of Oaxaca, Mexico, in the mid16th century, the painting shows the dynastic relationships of 170 individuals, including their names, Manco Capac, First Inca, Peru, probably marriages, and the lands mid-18th century, oil on canvas they owned. It has captions written in both Mixtec hieroglyphs and in the native Mixtec, Nahua, and Chocho languages using European characters. Works like these were displayed in the palaces of the native elites to show their family history, like the paintings of the counts of Santiago de Calimaya, with the added information of land holdings. The final sections of the exhibition address the oratorio (or family chapel) and life in the country ranches many of these families also owned and feature a chronologically arranged group of objects from the Brooklyn Museum that takes viewers from the early 16th century to 1898, when the U.S. seized the former Spanish colonies of Puerto Rico and the Philippines. The homes where the objects in the exhibition were displayed can still be seen in many Latin American cities where wealthy families had access to large quantities of luxury goods, from Quito to Cusco and Mexico City to Zacatecas. Needless to say, the range of goods on exhibit represents a way of life unknown in the province of New Mexico during the Spanish colonial era. Although there were individuals who had both status and resources here on New Spain’s northern frontier, the spare period rooms at the Palace of the Governors convey a feeling for the way that even the governor lived, so far from Mexico City. And at Santa Fe’s Museum of Spanish Colonial Art, the Delgado Room, reconstructed from the testament of Manuel Delgado, who died in 1815, gives an idea of the range of goods available to a person of status in New Mexico. While he owned many things, there is one Mexican religious painting, by Bernardo Miera y Pacheco, for example, not 15 works hung salon-style, as in elite salas in Mexico City and Lima. But nonetheless, the objects in Delgado’s house demonstrated his status, not for the minor nobility of New Spain, but for his peers, the ranchers, merchants, and royal governor in New Mexico at the twilight of the Spanish colonial period. ◀
details ▼ Behind Closed Doors: Art in the Spanish American Home, 1492-1898 ▼ Through May 18 ▼ Albuquerque Museum of Art and History, 2000 Mountain Road N.W. ▼ By museum admission; 505-243-7255
In Pursuit of Cultural Freedom
A lecture series on political, economic, environmental, and human rights issues featuring social justice activists, writers, journalists, and scholars discussing critical topics of our day.
DAVE ZIRIN with DAVID
BARSAMIAN
WEDNESDAY 2 APRIL 7PM LENSIC PERFORMING ARTS CENTER Our sports culture shapes societal attitudes, relationships, and power arrangements. It is where cultural meanings — our very notions of who we are and how we see each other, not only as Americans but also as individuals – play out. It frames the ways in which we understand and discuss issues of gender, race, and class. And, as ever, it is crucial for understanding how these norms and power structures have been negotiated, struggled with, and resisted. — from Game Over: How Politics Has Turned the Sports World Upside Down, by Dave Zirin © 2013
Dave Zirin, widely published independent sports journalist, author, sports editor for The Nation magazine and host of Edge of Sports Radio, has brought his blend of sports and politics to multiple television and radio programs, including MSNBC, CNN, ESPN’s Outside the Lines, C-SPAN’s BookTV, Democracy Now! and National Public Radio. Zirin is well known for his book The John Carlos Story: The Sports Moment That Changed the World. His new book, forthcoming in May 2014, is Brazil’s Dance with the Devil: The World Cup, the Olympics and the Future of Democracy. TICKETS ON SALE NOW
ticketssantafe.org or call 505.988.1234 $6 general/$3 students/seniors with ID Video and audio recordings of Lannan events are available at:
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33
ART IN
REVIEW
Ronald Davis: Lavender-Blue Slabette, 1985, Cel-Vinyl acrylic on canvas
Ronald Davis: Unidentified Floating Objects, Charlotte Jackson Fine Art, 554 S. Guadalupe St., 505-989-8688; through March
I
t has been more than 30 years since Ronald Davis has publicly exhibited his Floater Series, a body of work created in the late 1970s and last shown at the Nicholas Wilder Gallery in Los Angeles. Davis had his first solo exhibition at the gallery in the decade before. Between the mid1960s and late 1970s he transitioned from Abstract Expressionist works to making hard-edged paintings and geometric forms, including minimalistshaped canvases. In the Floater Series, he explored Abstract Illusionism, using two-point perspective and painting shadows of elements within a composition to create the illusion of depth and dimensionality of objects floating above the surface of the painting. A selection of work from the series is included in Unidentified Floating Objects along with examples of his Flatland Series from the early 1980s, Slabettes (shaped canvases) from the mid-1980s, and some of his more recent Pixel Dust Renderings, pigment prints created using state of the art 3-D computer software. The exhibit cannot be considered a retrospective because it lacks works from the beginning of Davis’ career and includes no pieces from the late 1980s and 1990s. But it does show how Davis translated his interest in geometric form and illusion across mediums. Some forms in the Floater Series, such as the cube in his painting Yoder, give a subtle impression of translucency. Davis made some Floater works using Cel-Vinyl acrylics, and other paintings in the series were done in watercolor. The effect of the thin applications of paint allows the viewer to see into elements of the works, adding to the sense of depth already apparent through his use of painted shadows and perspective. In Yoder, Stroner, Platte, and Lamont, rectangular forms appear to hover over nondescript fields, their shadows cast beneath them. The Flatland Series, despite its similarity to the Floater paintings in terms of medium (Cel-Vinyl acrylic) and use of geometry, may be the most distinct works in the exhibit because they lack the illusionism apparent in the other series, including the Pixel Dust images. The Flatland Series are minimalist compositions on either canvas or paper, rendered flat and without shadows. Davis juxtaposes linework with pentagons, squares, triangles, and wedges. Rather than use solid colors for backgrounds, he makes them more nuanced and atmospheric, blending warm and cool colors.
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PASATIEMPO I March 21-27, 2014
Stroner, from the Floater Series, 1979, Cel-Vinyl acrylic on canvas
Davis’ Slabettes are uniformly coated but not always in solid hues. Theta Splatter Slabette, for instance, makes use of flecked paint across the surface. The Slabettes take the illusion of three-dimensional form a step further than the Floater Series because each overall piece is a self-contained shape rather than an element of a larger composition. They hang on the wall in relief, some with beveled edges several inches thick, giving them a sculptural feel. Large Black Slabette, more than 5 inches thick and 9 feet wide, is a highlight of the exhibition, commanding a wall of its own. Had Davis set the slab’s angles at 90 degrees for all four corners, the form would simply be a rectangle. By varying the degrees of the slab’s angles as well as the length of each side, he created the appearance, instead, of a rectangle receding in space. The effect works best when viewed head on. The surface of the work looks uniformly black from a distance, but flecks of blue and violet can be detected on closer inspection. Davis is a major figure in several movements that occurred in post-war Los Angeles, and his work was included in Pacific Standard Time: Art in L.A. 1945-1980, the Getty Center’s regionwide series of exhibitions chronicling the Southern California art scene. He has shown at Charlotte Jackson’s for several years and was instrumental in providing work for the show. The Floater Series has been in Davis’ own collection since it was last exhibited. While some selections of work made between 1985 and 2011 would provide a greater sense of what Davis was doing before immersing himself in computer-generated imagery, the exhibit, as it stands, attests to his versatility as a craftsman, a geometrician who found a way to experiment with basic forms in series that are clearly related but distinct. — Michael Abatemarco
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Wheelwright Museum of the American Indian
704 Camino Lejo, Museum Hill, Santa Fe, NM 87505 505-982-4636 or 1-800-607-4636 www.wheelwright.org
March 22 Artist at Work Series
Book Signing
Randy Brokeshoulder Katsina Carver Demo in the Case Trading Post
It’s in the Details: Kenneth Williams and Orlando Dugi
10:00 a.m. – 2:00 p.m.
Wheelwright Museum Library 1:00 p.m. – 3:00 p.m.
PASATIEMPOMAGAZINE.COM
35
MOVING IMAGES film reviews
Poles apart Jonathan Richards I For The New Mexican Masterpieces of Polish Cinema; screenings begin Saturday, March 22; contact The Screen (505-473-6494, www.thescreensf.com) and the Jean Cocteau Cinema (505-466-5528, www.jeancocteaucinema.com), 4 chiles The mean streets of Martin Scorsese’s Little Italy were born in the mean streets of Łódz´, Poland. In his introduction to Masterpieces of Polish Cinema, a collection of 21 films that will be shown over the next few months at The Screen and the Jean Cocteau Cinema, the director talks about his early influences. “It was at NYU — a school modeled after the legendary film program at Łódz´ — that I learned not just how films are made but why. The school nurtured in me an unshakable belief in artistic expression grounded in Italian neorealism, the French New Wave, the surreptitious poetry of the old Hollywood masters, and Polish cinema: the great, sweeping, humanistic, intimate, and profound movies that were an integral part of what, looking back, seems more and more like a golden age of international cinema.” If you didn’t already know Scorsese was a great artist, you’d have to suspect something from that lovely phrase, “the surreptitious poetry of the old Hollywood masters.” Scorsese came of age at an intoxicating time in cinema. By 1966, the year he received his MFA from NYU, the French Nouvelle Vague was well under way, and Hollywood would soon be looking nervously over its shoulder at a brash new wave of young American directors named Cassavetes, Coppola, De Palma, Bogdanovich, Spielberg, Schrader, and Scorsese. The Polish School marked one of the significant movements in world cinema history. The movement has its roots in the period at the end of World War II, when Poles found themselves being shoved from the frying pan of Nazi domination into the fire of Communist repression. In an NPR interview, Scorsese
talked about one of the highlights of his series. “Ashes and Diamonds is set on the last day of World War II and the first day of peace. And between them, a night that changes everything. Seen through the eyes of Maciek, a young Polish resistance soldier, the old is rapidly mixing with the new. In a few hours dawn will end the Nazi slavery of the country but will also bring a new Communist regime to Poland. This is not the independence the idealistic young man and his brothers in arms have been fighting and dying for.” One of the revelations American audiences will discover is Zbigniew Cybulski, the charismatic star of Ashes and Diamonds. Known as “the Polish James Dean,” he died a premature death when he slipped and fell from a moving train. The Łódz´ Film School was founded in 1948 and launched a daring, dedicated, and talented group of young filmmakers. The generally accepted dates of the Polish school movement run from the mid-’50s to the mid-’60s. Scorsese’s selections, however, cover three decades, from Andrzej Munk’s Eroica (1957) to A Short Film About Killing (1987), directed by Krzysztof Kie´slowski, whose Blind Chance (1981) is also in the program. “It’s a phenomenal series, with fabulous restorations,” said Brent Kliewer, curator of The Screen. “You’ll see a good three generations of filmmakers here — the Polish School that was somewhat dying out by the early ’60s, and then a new wave. Andrzej Wajda, he’s
Black Cross (1960); above, Blind Chance by Krzysztof Kie´slowski (1987)
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PASATIEMPO I March 21-27, 2014
the preeminent director; he’s the face of Polish cinema over the decades. He never left, unlike Polanski or even Skolimowski. They bolted pretty quickly, to France and Britain. Wajda is the one who stayed the course.” Roman Polanski isn’t represented here, although his Knife in the Water (1962) is one of the best-known films of the Polish School period. In an interview with Film Comment, Wajda remarked somewhat tartly that “Polanski is a case apart. From the very beginning, he never intended to remain in Poland. He only made his first film there so as to use it as a springboard toward making films abroad.” Kliewer is more diplomatic. “I think [Scorsese and the organizers of Masterpieces of Polish Cinema] felt he’d been seen enough.” The idea for this series was born when Scorsese visited Poland in 2011 at the invitation of Wajda. “It was a trip I had wanted to make for years,” he says in his introduction (viewable on YouTube), and he seized on the opportunity to put together a slate of films that would bring these neglected Polish masterpieces to US audiences. The 21 films that made his roster include work by directors such as Wajda, Kie´slowski, Munk, Krzysztof Zanussi, Jerzy Kawalerowicz, Wojciech Jerzy Has, Aleksander Ford, and others. (The Screen’s manager, Peter Grendle, notes that a list compiled separately by Kliewer was virtually identical.) “I think what’s going to amaze people is the visuals, the aesthetic accomplishments of these films,” Kliewer said. “The Eastern Europeans saw filmmaking as the highest of art forms. Wajda was a painter; Zanussi studied physics and philosophy. Most of these people were highly skilled and educated in other realms before they even went into film.” Poland’s history contains some agonizing chapters. For a period of more than a hundred years, from the end of the 18th century up until the end of the first World War, Poland ceased to exist as an independent nation, “so people lived in a state of mind of holding their culture together through literature,” Kliewer pointed out. “The Polish School was this group of filmmakers who reached back into their collective history that had been taught and known through literature.” Masterpieces of Polish Cinema gives American audiences a chance to peer into that culture, and to see some remarkable filmmaking. ◀
MOVING IMAGES film reviews
The completed Windsor farmers market building
Coop de grace Paul Weideman I The New Mexican If You Build It, documentary, not rated, Center for Contemporary Arts, 4 chiles One student just looks forward to graduating high school so he can leave town. Another who loves horses and cows would “rather shovel crap than be in school with calculus.” They and several other kids are transformed by a design-and-build class led by Emily Pilloton and Matthew Miller. If You Build It, a film about the couple’s two-year project in North Carolina’s poorest county, is a glorious true story. As Pilloton puts it, it’s about “public education and rural communities and what design might do to improve both.” “I don’t think that everyone is a natural designer,” she says as the students are at work on concepts for their third project: designing a better chicken coop. “But what design does is it allows creativity to have a sort of structure that results in solutions you wouldn’t normally come up with.” Not long into the film we see a newspaper headline that Chip Zullinger, the school superintendent who invited them there, has been suspended. Then the conservative school board withdraws Pilloton and Miller’s salaries. But the designers keep going. Pilloton has talked to the kids about Buckminster Fuller’s geodesic dome, and their cardboard chicken-coop models are totally inventive. “Coopus Maximus,” the idea from students Erick, Kerron, Alexia, and Cameron, is a fracturedgeodesic form. Anthony, Colin, Jamesha, Rodecoe, and Danielle’s Chick-Topia” is a long twist of slats between two solid boxes. “Chicken Circus” by Stevie and CJ looks like a multiplane ribbon bent around a geometrical armature. Next the class starts work on design and material ideas for the final project, a new farmers market building for the city of Windsor. They come up with some very cool designs, one from each student. Their pride is growing. “We didn’t know that we were going to be doing all this,” CJ says. “We just thought it would be a class where we’d just make little toys or something.” The design by CJ and Stevie (the kid who likes working with livestock) is chosen to be built. It’s the summer of 2011, and the sweat is flowing. The heat’s also on timewise, and everyone is reaching their physical and emotional limits. We even see the tension between the leaders, who remain uncompensated. The result of everyone’s work is nothing but beautiful. Filmmakers Patrick Creadon, Christine O’Malley, and Neal Baer include good measures of humor and honesty, the latter aided by their decision to add segments filmed by the students. The ending, focusing on filmed exit interviews with the kids, is a tear-jerker. ◀ PASATIEMPOMAGAZINE.COM
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FROM STEPHEN CHOW, DIRECTOR OF KUNG FU HUSTLE
“A
BONA-FIDE MASTERPIECE . Incredibly fun, powerfully meaningful and entirely unique. The triumphant end result of a virtuoso working at the absolute peak of his talents.”
MOVING IMAGES film reviews
– Todd Gilchrist, The Wrap
A SuBlIME
“
CROwD-PlEASER! Do not miss this undeniably fun and striking adventure-comedy masterwork!” – Kwenton Bellette, TWiTch Film
“OuTSTANDINGlY ENTERTAINING!” – Evan Saathoff, Badass digesT
Stuck in the middle: Adam Bakri
Who can you trust? Laurel Gladden I For The New Mexican Omar; political drama, thriller, and love story; not rated; in Arabic and Hebrew with subtitles; The Screen; 3 chiles
ExCluSIvE ENGAGEMENT
STARTS TODAY
Santa Fe The Center For Contemporary Arts (505) 982-1338 FRI-SUN: 8:00 PM MON-THU: 7:45 PM
magnetreleasing.com/journeytothewest
“VirtUosic.
adaZZler!
Infused with originality and expertly executed. The suspense is as taut and responsive as piano wire.” – Marjorie Baumgarten, The AusTIn ChronICle
“HUgelY entertaining!
An acting and directing tour de force that holds the viewer in its vice-like grip from start to finish.” – Chris Tilly, IGn
“a pUlse-poUnding
eXperimentin terror. Maybe risk hasn’t died yet in filmmaking.”
GRANDPIANO
– Peter Travers, rollInG sTone
elijah wood john cusack
EXCLUSIVE ENGAGEMENT
STARTS TODAY
Santa Fe Jean Cocteau Cinema (505) 466-5528 FRI-SUN: 6:30 & 8:30 PM TUE-THU: 6:30 PM
magnetreleasing.com/grandpiano
38
PASATIEMPO I March 21-27, 2014
Paradise Now, the 2005 feature from writer-director Hany Abu-Assad, was the first Palestinian film to be nominated for an Oscar. Abu-Assad’s follow-up proves that success wasn’t a fluke: Omar also received an Oscar nomination for best foreign film and won the Jury Prize at Cannes. While Paradise Now centers on two young men recruited to be suicide bombers, Omar is about a group of friends who want to fight the Israeli occupation of Palestine. If the very idea of a film that hinges on Middle Eastern politics turns you off, though, don’t dismiss it — Omar is also a love story of the Shakespearean sort and a chesspiece political thriller with chase scenes worthy of James Bond or Jason Bourne. To see his girlfriend, Nadia (Leem Lubany), Omar (Adam Bakri) has to clamber over the high separation wall. Nadia’s brother Tarek (Iyad Hoorani) — Omar’s best friend and the alpha male of his group of friends — doesn’t know the two are in love, so Omar sneaks around to her bedroom window. Some days he meets her after school to deliver his latest love letter, a tiny packet of tightly folded paper. He’s waiting for the perfect time to ask Nadia’s family for permission to marry her, after which he plans to take her honeymooning in Paris. But the course of true love never did run smooth. Omar, Tarek, and Amjad (Samer Bisharat) want to become freedom fighters, and they plot to kill an Israeli soldier — which, late one night, they do. Omar gets nabbed by security forces, though, and is imprisoned and brutally tortured; the only condition for his release is that he deliver Tarek, whom the Israelis suspect is the real shooter. When Omar returns home, people are suspicious of him — even Nadia, who has been spending lots of time with Amjad. Abu-Assad infuses the film with almost Hitchcockian suspense. There’s talk of a leak among the young men or their families — who could it be? An Israeli agent named Rami (Waleed Zuaiter) becomes Omar’s “handler,” and the two strike up a peculiar rapport verging on friendship. But can Rami be trusted? Will Omar betray Tarek? Will he win Nadia’s hand? What’s Amjad really up to? The performers, most of them first-timers, acquit themselves well and naturally. Bakri in particular has the handsome face and steely screen persona to handle the leading role. The film has been criticized for being pro-Palestinian. You could certainly interpret it that way, but to my mind, it does something different. It creates a lovely detailed portrait of daily life in the West Bank — families, friends, jobs, schools, and customs — and then reveals the way ongoing unrest casts a shadow over it all, interrupting and disrupting it and blurring all sorts of lines. It’s a story about bad decisions, about love, coercion, oppression, and betrayal of the political and personal sort. Those things know no borders. ◀
THE CINEMATHEQUE
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March 21-27
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Santa Fe’s only not-for-profit, community-supported independent theater, showing the best in cinema since 1983
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“A STIMULATING DETECTIVE STORY THAT HOLDS YOU IN THRALL!” -Peter Travers, ROLLING STONE “GRADE A! EXQUISITELY FUN!” -Owen Gleiberman, ENTERTAINMENT WEEKLY
“IT’S-JoeTHRILLING TO WATCH.” Morgenstern, WALL STREET JOURNAL
Tim’s Vermeer A Penn & Teller Film
BEST DOCUMENTARY NOMINEE
ACE EDDIEAWARDS EDDIE AWARDS
jake Gyllenhaal
mélanie laurent
sarah Gadon
isabella rossellini
ENEMY from denis villeneuve
director of prisoners
FROM STEPHEN CHOW, DIRECTOR OF KUNG FU HUSTLE
“A
BONA-FIDE MASTERPIECE. Incredibly fun, powerfully meaningful and entirely unique. The triumphant
BEST EDITED DOCUMENTARY NOMINEE
BAFTA AWARD
BEST DOCUMENTARY NOMINEE
FOR SOME STRONG LANGUAGE STR
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HAPPINESS HAS NO FORMULA
From the makers of WORDPLAY and I.O.U.S.A. “NUANCED... INSPIRING... A design story at its core, but stand back a bit and you find something grander: a document of America at its most vulnerable.”
SAM ROCKWELL OLIVIA WILDE MICHELLE MONAGHAN RAY LIOTTA JANE FONDA
- ARCHITECTURAL RECORD
“A
HEARTENING STORY ABOUT THE POWER OF DESIGN.” - SLATE
end result of a virtuoso working at the absolute peak of his talents.” – Todd Gilchrist, THE WRAP
A SUBLIME
“
CROWD-PLEASER! Do not miss this undeniably fun and striking adventure-comedy masterwork!” – Kwenton Bellette, TWITCH FILM
IF YOU BUILD IT Shop class. Redesigned.
“OUTSTANDINGLY ENTERTAINING!” – Evan Saathoff, BADASS DIGEST
7:00p Sunday, March 23
Matt Miller IN PERSON! $10/$8 for CCA & AIA Members Presented by Friends of Architecture Santa Fe
NOT RATED
Sun March 23
Fri-Sat March 21-22 11:30a 12:15p 1:30p 2:15p 3:20p 4:10p 5:10p 6:10p 7:10p 8:00p -
- Walking the Camino - Enemy* Tim’s Vermeer Walking the Camino* Tim’s Vermeer Better...Chemestry* Enemy Tim’s Vermeer* Enemy Journey to the West*
11:00a 12:15p 1:00p 2:15p 3:00p 4:10p 5:00p 6:10p 7:00p 8:00p -
- Walking the Camino - Enemy* Tim’s Vermeer Walking the Camino* Tim’s Vermeer Better...Chemestry* Enemy Tim’s Vermeer* If You Build It Journey to the West*
Mon-Weds March 24-26 12:45p 1:45p 2:30p 3:45p 4:30p 5:45p 6:30p 7:45p 8:20p -
- Tim’s Vermeer Walking the Camino* Tim’s Vermeer Better...Chemestry* Enemy Enemy* Tim’s Vermeer Journey to the West* Enemy
Thurs March 27 12:45p 1:45p 2:30p 3:45p 4:30p 5:45p 6:30p 7:45p 8:20p -
- Tim’s Vermeer Bad Johnson* Tim’s Vermeer Better Living* Enemy Enemy* Tim’s Vermeer Journey to the West* Enemy
*indicates showing is
COMING SOON to CCA:
• Particle Fever • The Face of Love for a price of $8.00, or • Nymphomaniac Pt. 1 & 2 • The Missing Picture $6.00 for CCA Members •Finding Vivian Maier...& more in The Studio at CCA,
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39
MOVING IMAGES film reviews
Fri and Sat at 1:00, 3:10 and 7:45 • Sun at 1:00 and 3:10 • Mon at 1:00, 3:10 and 7:45 Tues at 1:00 and 7:45 • Wed at 2:30 and 4:40 • Thurs at 1:00, 3:10 and 7:45
The least action hero
“STUNNING! A ferocious psychological drama with
Michael Abatemarco I The New Mexican
the pace of a thriller. AS GOOD A FOREIGN LANGUAGE FILM AS YOU WILL LIKELY SEE ALL YEAR!” —Kenneth Turan, LOS ANGELES TIMES
S ’ D L I CH POSE BY A FILM
TZER
E ETER N
CALIN P
Fri through Mon 5:15 • Tues 3:20 • Thurs at 5:15
by A Film unk M j Andrze
EROICA
Sat at 11:00am • Tues at 6:00 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
NYFCC Sneak Preview with host Peter Travers
Wed at 7:00
Live Q and A via Skype with the cast
SANTA FE University of Art and Design 1600 St. Michael’s Dr. information: 473-6494 www.thescreensf.com
Bargain Matinees Monday through Friday (First Show ONLY) All Seats $8.00 40
PASATIEMPO I March 21-27, 2014
Journey to the West, comedic fantasy, rated PG-13, in Mandarin with subtitles, Center for Contemporary Arts, 3 chiles An infectious silliness pervades Journey to the West, much like 2004’s Kung Fu Hustle, which was also helmed by director Stephen Chow (co-director Chi-Kin Kwok helps out on Journey). When a small fishing village is beset by demons, a naive demon hunter named Xuan Zang leaps into action, singing songs from his book of 300 nursery rhymes to lull them into a stupor. Zang, played by Zhang Wen, is a wild-haired Buddhist monk who has renounced worldly possessions and romantic love. When he meets the resourceful Miss Duan (Qi Shu), leader of a band of demon hunters whose magical powers are more effective than his nursery rhymes, he struggles against his burgeoning fondness for her and spurns her persistent advances. A running joke has Miss Duan closing her eyes awaiting Zang’s kiss, but he never seems to get the clue. The spectacular opening sequence involving a water demon, a massive fish with a maw that would put the shark in Jaws to shame, is simultaneously thrilling and hilarious and is one of the film’s most effective set pieces. The film goes a little downhill from there as the plot grows more predictable, but the action sequences are enlivened by inventive visual effects and plenty of laughout-loud moments. The water demon proves to be the least of the hunters’ concerns. When they meet the brutal and murderous KL Hog, a demon that takes the form of a massive wild boar, they find themselves up against a darker, more murderous force than the hungry water demon. To discover the most effective means of ridding the village of their nemeses, Zang seeks the council of the dangerous Monkey King, an exiled foe of the Buddha, imprisoned in a cave. The Monkey King, played with insidious glee by Bo Huang, has been biding his time for 500 years and proves to be the demon hunters’ greatest challenge when he’s accidentally set free. While the story goes as expected, Journey to the West throws in some welcome messages amid the special effects and relentless action. Zang attempts to escape the lovelorn Miss Duan because he’s seeking a greater, spiritual love, but he comes to find that romance is a part of that greater love, and his feelings for her may help save the day. As in Kung Fu Hustle, the characters here are often goofy and not too bright. It is a miracle Zang manages to pull off some heroics — he bumbles through death and danger with little more than a desire to help others, but he is all the more lovable for that. ◀
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MOVING IMAGES pasa pics
— compiled by Robert Ker
DIVERGENT This adaptation of the first book in Veronica Roth’s popular series tells the story of a society in which citizens are split into different groups based on their virtues. A girl named Tris (Shailene Woodley) learns she is a “divergent” and doesn’t fit into any group. Soon after, she discovers that a politician (Kate Winslet) is trying to kill all divergents, and so Tris joins a group that aims to fight back. Rated PG-13. 143 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)
Frog-out-of-water comedy: Muppets Most Wanted, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española
opening this week AMÉLIE This eccentric and highly stylized romantic comedy, about a Parisian woman (Audrey Tautou, channeling cinema’s most famous Audrey) who decides to perform random acts of kindness and ends up finding love, came over to the States in 2001 and was a smash hit as foreign films go. It remains a delicious French pastry, but it has gone a bit stale over the years, as quirky and borderline saccharine films often do. The career of gifted director Jean-Pierre Jeunet (The City of Lost Children) sadly went downhill from here. Rated R. 122 minutes. In French with subtitles. Jean Cocteau Cinema, Santa Fe. (Robert Ker) BACK TO THE FUTURE PART II As if it wasn’t enough that 1985’s Back to the Future is one of the best popcorn flicks ever, this 1989 follow-up is one of the best sequels of all time — and arguably better than the first film. Director and co-writer Robert Zemeckis achieve this by sending Marty (Michael J. Fox) and Doc (Christopher Lloyd) to the distant future of 2015 (dig the hoverboard scene), then to an alternate-reality 1985, and then back to 1955, where they wander through scenes from the first film like 42
PASATIEMPO I March 21-27, 2014
the leads in Rosencrantz and Guildenstern Are Dead. Rated PG. 108 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Ker) BETTER LIVING THROUGH CHEMISTRY The personal life of Douglas Varney (Sam Rockwell), an emasculated pharmacist, takes a chaotic turn when he is embroiled in an affair with a wealthy customer (Olivia Wilde). Varney begins pilfering his own supply of prescription drugs to increase his confidence, improve his love life, and deal with his overbearing wife and despondent child. Rockwell is likable up to a point as the increasingly desperate pharmacist, but when amped up on drugs he’s a bit of a jerk, not to mention having questionable parenting skills. Better Living Through Chemistry is more uncomfortable than funny, which is too bad because it could have been both. Not rated. 92 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) BREATHE IN The New York Film Critics Series continues with a sneak preview of this drama about love and music. The film comes with a simulcast Q & A hosted by critic Peter Travers, featuring director Drake Doremus and stars Guy Pearce, Amy Ryan, and Felicity Jones. 7 p.m. Wednesday, March 26, only. Rated R. 98 minutes. The Screen, Santa Fe. (Not reviewed)
ENEMY Director Denis Villeneuve’s follow-up to last year’s disturbing Prisoners is a moody, slow-burn thriller that pits Adam, a sullen history teacher, against his alter ego. When Adam spies his doppelgänger, an actor named Anthony, in a rented movie, he sets out to track him down. The two men meet and the unlikable Anthony takes to Adam with all the antagonism of a spider to a fly. Jake Gyllenhaal’s dual role as Adam/Anthony is the latest in a streak of memorable performances for the actor. Reminiscent of David Lynch’s Lost Highway, Enemy is a sinister Möbius strip of a film that peers into the shadowy side of human nature. Rated R. 90 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) 50 TO 1 Skeet Ulrich plays a cowboy in a film based on the true story of Mine That Bird, the racehorse that was partly trained in New Mexico and won the Kentucky Derby in 2009. Rated PG-13. 110 minutes. DreamCatcher, Española. (Not reviewed) GAME OF THRONES MARATHON The Jean Cocteau shows the first three seasons of the HBO series Game of Thrones, based on George R.R. Martin’s Song of Ice and Fire books. Several episodes screen per week (first come, first served). Occasionally, Martin will drop by or a cast or crew member will appear via Skype. Season 3 episodes 9 and 10 screen at 7 p.m. on Monday, March 24. Not rated, but not suitable for children. Each episode runs roughly 55 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) GOD’S NOT DEAD Kevin Sorbo (TV’s Hercules: The Legendary Journeys) plays a college professor who loses his faith and teaches his students that God is dead, until a plucky freshman (Shane Harper) challenges him. Willie Robertson, one of the Duck Dynasty dudes, appears as himself. Rated PG. 113 minutes. DreamCatcher, Española. (Not reviewed) GRAND PIANO A nerdy young concert pianist plays his comeback performance while fending off malefactors who promise to kill him and his movie-star girlfriend unless he renders a flawless interpretation of four reputedly unplayable measures that will engage a mechanism that will release a key that will unlock a safe in an overseas
bank vault. Director Eugenio Mira’s principal blunder is his failure to decide whether this is a suspense thriller or a camp comedy. Should you attend, you can help him out by imagining the pianist as played not by bewildered Elijah Wood but instead by Pee-wee Herman, which is actually not hard to visualize and, in one fell swoop, could make the experience perversely enjoyable. Rated R. 90 minutes. Jean Cocteau Cinema, Santa Fe. ( James M. Keller) IF YOU BUILD IT Designers Emily Pilloton and Matthew Miller work on a series of projects with a high-school class in North Carolina. The premise of the studio they establish “is inspired by this raw and unadulterated talent and creativity and brilliance that youth have,” Pilloton says, “and that I think we just see being drained out of them systematically and it breaks my heart.” The couple’s journey with the students — from drawings to models to a new market building for the town — is gloriously transformative. Miller attends the screening, at 7 p.m. Sunday, March 23. No rating. 85 minutes. Center for Contemporary Arts, Santa Fe. (Paul Weideman) See review, Page 37. JOURNEY TO THE WEST Likable characters, infectious humor, and amazing visual effects enliven a ho-hum story about a disheveled Buddhist monk who attempts to rid his village of three powerful demons. Reluctantly enlisting the aid of Miss Duan (Qi Shu), a young and pretty demon hunter with greater powers than his own, Xuan Zang (Zhang Wen) must learn the value of romantic love and summon the courage to defeat a demon imprisoned in a cave for 500 years. Co-directed by Stephen Chow (Kung Fu Hustle). Rated PG-13. 110 minutes. In Mandarin with subtitles. Center for Contemporary Arts, Santa Fe (Michael Abatemarco) See review, Page 40. MARTIN SCORSESE PRESENTS: MASTERPIECES OF POLISH CINEMA This collection of Polish classics, most of them seldom seen in this country, covers three decades, from the mid-’50s to the mid-’80s. The 21 films include work by Andrzej Wajda, Krzysztof Zanussi, Andrzej Munk, Krzysztof Kie´slowski, and others. Munk’s Eroica (1957, 85 minutes) is shown on Saturday and Tuesday March 22 and 25, at The Screen, Santa Fe. Aleksander Ford’s Black Cross (1960, 173 minutes) screens on Sunday and Thursday, March 23 and 27, at the Jean Cocteau Cinema, Santa Fe. Not rated. In Polish with subtitles. ( Jonathan Richards) See story, Page 36. MUPPETS MOST WANTED The 1978 film The Muppet Movie was followed by the 1981 heist flick The Great Muppet Caper. Now that 2011’s The Muppets breathed some life back into the property,
here is another heist flick — with an evil doppelgänger Kermit trying to pull off the crime of the century with a partner named Dominic Badguy (Ricky Gervais). Tina Fey and Ty Burrell co-star. Rated PG. 112 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) OMAR This follow-up to writer-director Hany Abu-Assad’s acclaimed 2005 feature Paradise Now is about a group of friends who want to fight the Israeli occupation of Palestine. If the very idea of a film that hinges on Middle Eastern politics turns you off, though, don’t dismiss it. Omar is also a love story of the Shakespearean sort and a chess-piece political thriller with chase scenes worthy of James Bond or Jason Bourne. The film creates a lovely, detailed portrait of daily life in the West Bank and then reveals the way ongoing political unrest casts a shadow over it all. It’s a story about love, coercion, oppression, and betrayal — of the political and personal sort. Not rated. 96 minutes. In Arabic and Hebrew with subtitles. The Screen, Santa Fe. (Laurel Gladden) See review, Page 38.
now in theaters AMERICAN HUSTLE Irving Rosenfeld (Christian Bale) and Sydney Prosser (Amy Adams) bond over the music of Duke Ellington at a party. This is appropriate, because David O. Russell has orchestrated his wild and wonderful riff on the 1978 Abscam sting operation like an Ellington suite. The film weaves themes and rhythms, tight ensemble work and electrifying solos, and builds to a foot-stomping climax. Rated R. 138 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) CHILD’S POSE Luminita Gheorghiu electrifies the screen in this Romanian story about a mother seeking to clear her son’s name when he’s accused of manslaughter. Convinced of his innocence despite the evidence, Cornelia (Gheorghiu) insinuates herself into his life, setting the stage for a struggle between an adult son seeking to cut his ties with his controlling mother, whose judgment is clouded by a perverse sense of loyalty. Director Calin Peter Netzer keeps the pace taut in this psychological family drama that also manages to be a telling portrait of class distinctions. Not rated. 112 minutes. In Romanian with subtitles. The Screen, Santa Fe. (Michael Abatemarco) FROZEN Disney’s latest fable, which won the Academy Award for Best Animated Feature Film, is strange: it is a breezy tale
of misunderstanding with no real villain or central conflict. Two princess sisters in a fantasy kingdom part ways when one is revealed to have magical powers to summon snow and ice. With the help of a big lug (voiced by Jonathan Groff), younger sis (Kristen Bell) must pull older sis out of her withdrawal from society. Rated PG. 108 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) GLORIA Chile’s official submission for Best Foreign Language Film at this year’s Oscars is an understated comedy that tells an honest story about middle-aged romance. In Santiago an outgoing sexy divorcée with a youthful spirit (Paulina García) makes a fresh start at dating in this light-hearted but keenly observed film about the challenges of finding love later in life. After meeting a former naval officer (Sergio Hernández) who owns a paintball park, Gloria is swept into a whirlwind romance. She’s a woman seeking freedom from the past, and he’s a man who can’t let go of his. García gives a strong but measured performance as Gloria. Rated R. 110 minutes. In Spanish with subtitles. Regal DeVargas, Santa Fe. (Michael Abatemarco) GRAVITY You’ve never seen a movie like this before. Tense and gripping but also tranquil and meditative, this thriller from director Alfonso Cuarón centers on two astronauts (George Clooney and Sandra Bullock) whose shuttle is destroyed while they are on a space walk. The resulting struggle to survive — like the special effects of the film — showcases humankind’s vast resourcefulness and potential. Cuarón won the Best Director Academy Award, and the film cleaned up in the technical categories as well. Rated PG-13. 91 minutes. Screens in 3-D only at Regal Stadium 14, Santa Fe. (Robert Ker) HER Writer and director Spike Jonze has spun a modern fable about a melancholy man ( Joaquin Phoenix) and his computer operating system (voiced by Scarlett Johansson). The breadth of the themes makes Her a Rorschach test: one could see it as a movie about the definition of love, our reliance on technology, the shifting of gender roles, or the merits of Buddhist philosophy. Jonze won the Academy Award for Best Original Screenplay. Rated R. 119 minutes. Regal DeVargas, Santa Fe. (Robert Ker) THE LEGO MOVIE Emmet Brickowski (voiced by Chris Pratt) is an ordinary LEGO worker in a city where everyone follows instructions to build the perfect world. Then, Brickowski learns from some rebels that he can build whatever he wants, continued on Page 44
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MOVING IMAGES pasa pics
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and they set out to defeat the evil President. What sounds like a long commercial is one of the best family films in recent years, with subversive humor, nifty twists, wild visuals, catchy music, guest spots by the likes of Batman, and an anarchic plot that snaps together as perfectly as a certain plastic toy. Rated PG. 101 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker)
NON-STOP An ordinary trans-Atlantic flight is terrorized by someone who threatens to kill all the passengers on board. Fortunately, one of those passengers is a federal air marshal. Unfortunately, the terrorist has a vendetta against this marshal. Fortunately, the marshal is played by Liam Neeson. Go get ’em, Liam! Rated PG-13. 106 minutes. Regal Stadium 14, Santa Fe. (Not reviewed)
THE MONUMENTS MEN During World War II, the U.S. put together a team of art scholars and academics under the aegis of the military to try to locate art treasures looted by the Nazis. As the war wound down, it became apparent that the Germans were prepared to destroy these works if they couldn’t keep them. George Clooney, wearing the hats of writer, director, producer, and star, has crafted a hugely enjoyable old-fashioned war movie in the tradition of The Dirty Dozen out of this gripping, funny, and moving material. Rated PG-13. 118 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards)
PHILOMENA Steve Coogan plays a down-on-his-luck journalist who takes on a human-interest story by bringing an Irish woman ( Judi Dench) to America to find her long-estranged son. The set-up seems a lighthearted, odd-couple comedy — and there are laughs — but the material runs much deeper and darker than that. Before director Stephen Frears is done taking us on all of his unpredictable and often rewarding turns, we’ve pondered aging, forgiveness, the existence of God, and how well we can truly know another person. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. (Robert Ker)
MR. PEABODY & SHERMAN Those old enough to have watched The Rocky and Bullwinkle Show may remember “Peabody’s Improbable History,” a smart segment about the time travels of a brilliant beagle and his human. This adaptation, which complicates those goofy adventures considerably, will remind you that this concept worked better in 5-minute doses. Some terrific animation, good gags, and cute characterizations don’t quite offset the general lack of excitement and jokes based on stale internet memes. Rated PG. 91 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker)
THE SINGLE MOM CLUB It’s been more than three months since A Madea Christmas, so it’s time for a new film written and directed by Tyler Perry. This time, he chronicles the difficult plight of the single mother, which — according to the trailer — mainly seems to involve living in big houses, drinking wine with your girlfriends, and doing a lot of wild dating. Rated PG-13. 111 minutes. Regal Stadium 14, Santa Fe. (Not reviewed)
NEED FOR SPEED The Fast and the Furious franchise is widely loved and only shifting to higher gears of popularity, so the imitators are starting to get the green light. Need for Speed hews so close to the Furious make and model that it features a multicultural band of outlaws who crack wise and drive colorful cars in an attempt to pull off a wild heist. Starring Aaron Paul of Breaking Bad. Rated PG-13. 124 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)
spicy
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PASATIEMPO I March 21-27, 2014
SON OF GOD Diogo Morgado plays Jesus Christ in this biopic, which covers everything from Christ’s birth to death in epic, action-movie style. Some afternoon screenings at Regal Stadium 14 are dubbed in Spanish. Rated PG-13. 138 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) 3 DAYS TO KILL Kevin Costner attempts to reinvent his career as an action star the same way Liam Neeson did with Taken. He plays a spy who speaks in a gravelly voice and really loves his daughter. He also has a fatal disease and is offered an assignment to take out a terrorist with the promise that if he kills it, a cure will come. Rated PG-13. 117 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) 300: RISE OF AN EMPIRE In the years since the 2006 blockbuster 300, there’s been no shortage of movies attempting to copy that film’s distinct visual style and Roman-era subject matter. So, finally, here is an official follow-up — but without Zack Snyder as director (he co-writes and produces) or star Gerard Butler, is this still Sparta? The plot centers on greased-up, shirtless men waving swords and shouting. Rated R. 103 minutes. Screens in 3-D and
2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española.(Not reviewed) TIM’S VERMEER There are two essential questions posed by this richly entertaining movie created by Penn and Teller around a quixotic experiment by their friend Tim Jenison, a tech multimillionaire. One: Did Johannes Vermeer use optical devices to create his extraordinary paintings? Two: If he did, does that make them less extraordinary? Jenison embarks upon what can only be described as an obsessive quest as he sets out to prove that he, a non-artist, can produce a Vermeer using optics available in 17th-century Holland. Rated PG-13. 80 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) 12 YEARS A SLAVE Director Steve McQueen takes us into America’s slave trade with clinical observation and exquisite composition, but he tarnishes his adaptation of Solomon Northup’s 1853 autobiography — about the free-born man’s stint as a slave after being captured and shipped south — with too many movie moments, blunting the impact. The film won the Academy Award for Best Picture; supporting actress Lupita Nyong’o took home an Oscar as well. Rated R. 133 minutes. Regal DeVargas, Santa Fe. (Robert Ker) WALKING THE CAMINO: SIX WAYS TO SANTIAGO This documentary looks at a few of the many people who walk across northern Spain on the pilgrimage path known as the Camino de Santiago. Not rated. 84 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed)
other screenings Center for Contemporary Arts 1:45 p.m. Thursday, March 27: Bad Johnson. Jean Cocteau Cinema 4:30 p.m. Friday and Saturday, March 21 and 22: The Secret of Kells. 11 p.m. Friday and Saturday, March 21 and 22: Almost Human. Regal Stadium 14 2 p.m. Sunday, March 23; 2 & 7 p.m. Wednesday, March 26: The Shawshank Redemption. 7 p.m. and 10:05 p.m. Thursday, March 27: Noah. 8 p.m. and 10:30 p.m. Thursday, March 27: Cesar Chavez. 8 p.m. and 10:35 p.m. Thursday, March 27: Sabotage. ◀
“GYLLENHAAL DELIVERS BOTH OF HIS BEST PERFORMANCES.” JAKE GYLLENHAAL “A TRANSFIXING FILM.COM
WHAT’S SHOWING Call theaters or check websites to confirm screening times. CCA CINEMATHEQUE AND SCREENING ROOM
1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org
Bad Johnson (NR) Thurs. 1:45 p.m. Better Living Through Chemistry (NR)
Fri. to Sun. 4:10 p.m. Mon. to Thurs. 3:45 p.m. Enemy (R) Fri. and Sat. 12:15 p.m., 5:10 p.m., 7:10 p.m. Sun. 12:15 p.m., 5 p.m. Mon. to Thurs. 4:30 p.m., 5:45 p.m., 8:20 p.m. If You Build It (NR) Sun. 7 p.m. Journey to the West: Conquering the Demons
(PG-13) Fri. to Sun. 8 p.m. Mon. to Thurs. 7:45 p.m. Tim’s Vermeer (PG-13) Fri. and Sat. 1:30 p.m., 3:20 p.m., 6:10 p.m. Sun. 1 p.m., 3 p.m., 6:10 p.m. Mon. to Thurs. 12:45 p.m., 2:30 p.m., 6:30 p.m. Walking the Camino: Six Ways to Santiago (NR) Fri. to Sun. 11:30 a.m., 2:15 p.m. Mon. to Wed. 1:45 p.m. JEAN COCTEAU CINEMA
418 Montezuma Avenue, 505-466-5528 www.jeancocteaucinema.com Almost Human (NR) Fri. and Sat. 11 p.m. Amelie (R) Fri. and Sat. 2 p.m. Sun. 4 p.m. Wed. 1:30 p.m. Thurs. 4 p.m. Back to the Future: Part II (PG) Tue. and Wed. 4 p.m., 8:30 p.m. Thurs. 8:30 p.m. Black Cross (NR) Sun. 1 p.m. Thurs. 1 p.m. Game of Thrones (NR) Mon Grand Piano (R) Fri. to Sun. 6:30 p.m., 8:30 p.m. Tue. to Thurs. 6:30 p.m. The Secret of Kells (NR) Fri. and Sat. 4:30 p.m. REGAL DEVARGAS
562 N. Guadalupe St., 505-988-2775, www.fandango.com 12 Years a Slave (R) Fri. and Sat. 1:10 p.m., 4:10 p.m., 7:10 p.m., 10:05 p.m. Sun. to Thurs. 1:10 p.m., 4:10 p.m., 7:10 p.m. American Hustle (R) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 10 p.m. Sun. to Thurs. 1 p.m., 4 p.m., 7 p.m. Gloria (R) Fri. and Sat. 1:40 p.m., 4:40 p.m., 7:40 p.m., 10:15 p.m. Sun. to Thurs. 1:40 p.m., 4:40 p.m., 7:40 p.m. Her (R) Fri. and Sat. 1:20 p.m., 4:20 p.m., 7:20 p.m., 10:10 p.m. Sun. to Thurs. 1:20 p.m., 4:20 p.m., 7:20 p.m. The Monuments Men (PG-13) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 10:10 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m. Philomena (PG-13) Fri. and Sat. 1:50 p.m., 4:50 p.m., 7:50 p.m., 10:15 p.m. Sun. to Thurs. 1:50 p.m., 4:50 p.m., 7:50 p.m. REGAL STADIUM 14
3474 Zafarano Drive, 505-424-6296, www.fandango.com 3 Days to Kill (PG-13) Fri. to Wed. 12:25 p.m. 300: Rise of an Empire (R) Fri. to Wed. 3 p.m., 5:30 p.m., 8 p.m. 300: Rise of an Empire 3D (R) Fri. to Wed. 12:20 p.m., 10:30 p.m. 50 to 1 (PG-13) Fri. to Wed. 12 p.m., 2:35 p.m., 5:10 p.m., 7:45 p.m., 10:20 p.m. Cesar Chavez (PG-13) Thurs. 8 p.m., 10:30 p.m. Divergent (PG-13) Fri. to Wed. 12:15 p.m., 12:30 p.m., 3:30 p.m., 4 p.m., 6:55 p.m., 7:10 p.m., 10:05 p.m., 10:20 p.m. Frozen (PG) Fri. to Sun. 11:20 a.m., 2:05 p.m., 4:40 p.m. Mon. to Wed. 2:05 p.m., 4:40 p.m. Gravity 3D (PG-13) Fri. to Wed. 3:05 p.m., 5:20 p.m., 8 p.m., 10:20 p.m. The Lego Movie (PG) Fri. to Sun. 11:30 a.m., 2:10 p.m., 4:35 p.m., 7:15 p.m., 9:40 p.m. Mon. to Wed. 2:10 p.m., 4:35 p.m., 7:15 p.m., 9:40 p.m. Mr. Peabody & Sherman (PG) Fri. to Wed. 2:35 p.m., 5:05 p.m., 7:35 p.m., 10:05 p.m.
Mr. Peabody & Sherman 3D (PG) Fri. to Wed.
12:05 p.m.
Muppets Most Wanted (PG) Fri. to Sun. 11:15 a.m.,
1:05 p.m., 2 p.m., 4:10 p.m., 4:45 p.m., 7 p.m., 7:30 p.m., 9:45 p.m., 10:15 p.m. Mon. to Wed. 1:05 p.m., 2 p.m., 4:10 p.m., 4:45 p.m., 7 p.m., 7:30 p.m., 9:45 p.m., 10:15 p.m. Need for Speed (PG-13) Fri. to Wed. 1 p.m., 4:25 p.m., 7:25 p.m., 10:25 p.m. Need for Speed 3D (PG-13) Fri. to Wed. 7:15 p.m., 10:15 p.m. Noah (PG-13) Thurs. 7 p.m., 10:05 p.m. Non-Stop (PG-13) Fri. and Sat. 12:10 p.m., 2:45 p.m., 5:15 p.m., 7:50 p.m., 10:25 p.m. Sun. 11:30 a.m., 5:15 p.m., 7:50 p.m., 10:25 p.m. Mon. to Wed. 12:10 p.m., 2:45 p.m., 5:15 p.m., 7:50 p.m., 10:25 p.m. Sabotage (R) Thurs. 8 p.m., 10:35 p.m. The Shawshank Redemption (R) Sun. 2 p.m. Wed. 2 p.m., 7 p.m. Son of God (PG-13) Fri. to Wed. 12:50 p.m., 4:05 p.m., 7:10 p.m., 10:20 p.m. Tyler Perry’s The Single Moms’ Club (PG-13) Fri. to Tue. 1:30 p.m., 4:25 p.m., 7:20 p.m., 10:10 p.m. Wed. 10:10 p.m.
ENEMY
MÉLANIE LAURENT
GRAND SLAM. A RIVETING EXAMINATION
SARAH GADON ISABELLA ROSSELLINI
OF INTIMACY, IDENTITY, DUALITY AND OUR UNCONSCIOUS DESIRES.” THE PLAYLIST
FROM DENIS VILLENEUVE
DIRECTOR OF PRISONERS
EXCLUSIVE ENGAGEMENT
STARTS TODAY
FRI & SAT: 12:15, 5:10 & 7:10 PM SUN: 12:15 & 7:10 PM MON-THU: 4:30, 5:45 & 8:20 PM NO PASSES ACCEPTED
THE SCREEN
Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com Breathe In (R) Mon. 7 p.m. Child’s Pose (NR) Fri. to Mon. 5:15 p.m.
Tue. 3:20 p.m. Thurs. 5:15 p.m. Eroica (NR) Sat. 11 a.m. Omar (NR) Fri. and Sat. 1 p.m., 3:10 p.m., 7:45 p.m. Mon. 1 p.m., 3:10 p.m. Tue. 1 p.m., 7:45 p.m. Wed. 2:30 p.m., 4:40 p.m. Thurs. 1 p.m., 3:10 p.m., 7:45 p.m. MITCHELL DREAMCATCHER CINEMA (ESPAÑOLA)
15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com 300: Rise of an Empire (R) Fri. 4:45 p.m., 7:25 p.m., 9:45 p.m. Sat. 2:20 p.m., 4:45 p.m., 7:25 p.m., 9:45 p.m. Sun. 2:20 p.m., 4:45 p.m., 7:25 p.m. Mon. to Thurs. 4:45 p.m., 7:25 p.m. 50 to 1 (PG-13) Fri. 4:50 p.m., 7:20 p.m., 9:50 p.m. Sat. 2:10 p.m., 4:50 p.m., 7:20 p.m., 9:50 p.m. Sun. 2:10 p.m., 4:50 p.m., 7:20 p.m. Mon. to Thurs. 4:50 p.m., 7:20 p.m. Divergent (PG-13) Fri. 4:55 p.m., 6:50 p.m., 8 p.m., 9:50 p.m. Sat. 1:50 p.m., 2:30 p.m., 4:55 p.m., 6:50 p.m., 8 p.m., 9:50 p.m. Sun. 1:50 p.m., 2:30 p.m., 4:55 p.m., 6:50 p.m. Mon. to Thurs. 4:55 p.m., 6:50 p.m. God’s Not Dead (PG) Fri. 4:45 p.m., 7:15 p.m., 9:45 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:15 p.m., 9:45 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:15 p.m. Mon. to Thurs. 4:45 p.m., 7:15 p.m. Mr. Peabody & Sherman (PG) Fri. 4:35 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m. Mon. to Thurs. 4:35 p.m., 7:05 p.m. Muppets Most Wanted (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. Need for Speed (PG-13) Fri. 4:25 p.m., 7:10 p.m., 9:55 p.m. Sat. 1:45 p.m., 4:25 p.m., 7:10 p.m., 9:55 p.m. Sun. 1:45 p.m., 4:25 p.m., 7:10 p.m. Mon. to Thurs. 4:25 p.m., 7:10 p.m. Ride Along (PG-13) Fri. 5 p.m., 7:30 p.m., 9:40 p.m. Sat. 2:35 p.m., 5 p.m., 7:30 p.m., 9:40 p.m. Sun. 2:35 p.m., 5 p.m., 7:30 p.m. Mon. to Thurs. 5 p.m., 7:30 p.m. Son of God (PG-13) Fri. 4:40 p.m., 7:35 p.m. Sat. and Sun. 1:45 p.m., 4:40 p.m., 7:35 p.m. Mon. to Thurs. 4:40 p.m., 7:35 p.m.
Reservations: 505-986-5858 • 58 S. Federal Place
See Lunch and Dinner menus on the website www.osteriadassisi.com
HAPPINESS NESS HAS N NO FORMULA SAM ROCKWELL OLIVIA WILDE MICHELLE MONAGHAN RAY LIOTTA JANE FONDA
NOT RATED
STARTS TODAY
CCA CINEMATHEQUE 1050 Old Pecos Trail, Sante Fe (505) 982-1338
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RESTAURANT REVIEW Bill Kohlhaase I The New Mexican
Almost-midnight specials Elevation Bistro 103 E. Water St., 505-820-0363 Lunch 11 a.m.- 3 p.m., dinner 5-11 p.m. daily Take out available Vegetarian options Outdoor dining in season Noise level: nicely contained by the high ceiling Beer & wine Credit cards, no checks
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The Short Order Elevation Bistro, occupying the site of the old Atomic Grill, doesn’t stay open as late as the former tenant did, but it does serve until 11 p.m. seven nights a week. It offers a good selection of late-night food — burgers, pork sliders, huevos rancheros, and the like. The kitchen’s best work, however, comes in entree specials that take expected fare like grilled pork chops and chicken breasts, and using innovative sides and complex sauces, turns them into something unexpected. The place needs to perfect a few dishes, like the French onion soup, but overall it does a good job with nearly everything that comes from the small open kitchen. The wine list needs work, but the local tap brews are good for washing down almost anything. Recommended: roasted coconut-milk mussels, warm spinach salad, roasted garlic bulb, special pork chop with fig purée, and grilled chicken breast special with polenta cakes.
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.
46
PASATIEMPO I March 21-27, 2014
A step up and far back from the sidewalk, Elevation Bistro might be invisible to passers-by if it weren’t for a sign announcing its hours. Hung hip high on a low wroughtiron fence that fronts the place, the glossy new banner says “the El” is open until 11 p.m. seven days a week, a late hour for this sleepy, retiring town. True, the location’s previous occupant, the Atomic Grill, was open later, but we’ll take what we can get. Elevation has burgers and baby-back ribs, as the Atomic did. Improvements to the long covered patio are underway. But real change is documented on a folding chalkboard near the sidewalk, where the day’s specials are written in a crowded script. The place looks much the same inside. There’s a bar facing a wall hung with a pair of flat-screen TVs and a counter facing the modest kitchen. There’s not a pizza on the menu, so the colorfully tiled wood-burning pizza oven is now used for storage. The menu is crowded with what passes for bistro food in our inclusive scene: a few modest salads, a truffle-and-brioche grilled-cheese “loaf,” chile cheese fries, a ciabatta B.L.T., blue-corn chicken enchiladas, and French onion soup. Some of the listings are misleading, though probably not intentionally. Roasted coconut-milk mussels, with neither the coconut milk nor the mussels roasted, are a pile of delicious black mussels sautéed in white wine and garlic, splashed with a boiling hot coconut sauce and served in a little cast-iron skillet. The green-chile mac and cheese was not baked as the menu claimed — it’s easy to notice these things when you’re sitting at the kitchen-facing counter — and would have been better had it been. Its three-cheese sauce was delicious but soupy, its crumbled bacon soft, its crumb topping pale rather than golden. The oyster po’ boy was fine, though its tiny, very crisply fried oysters were mostly lost beneath the slaw of shaved jicama and bell peppers and the mango-flavored dressing. A barbecue sauce tart with balsamic vinegar distinguished the pulled-pork slider. The sweet-potato fries it came with were the thinnest we’ve ever seen. A warm spinach salad with bacon and feta was heightened by a minty vinaigrette. Scraping cloves out of a roasted garlic bulb and spreading them on toast points along with goat cheese (green-tinted with parsley and rosemary) and a tomato jalapeño jam was a fun exercise in flavor combination. It’s the specials that stand out. Maybe the ultra-high ceiling encourages lofty thoughts — the cook’s imagination seems to soar. Dishes often contain an unexpected extra twist that might rationally seem a step too far but works more often than not. One evening, a perfectly roasted and peeled poblano chile — stuffed with couscous, corn kernels, and bits of mushroom — sat on a couple of grilled potato wedges surrounded by a wonderfully creamy mango-red-chile sauce. Small slices of pink, almost sweet
grapefruit sat atop the green of that naked chile, and their juices gave the sauce a touch of citrus tang. A nicely grilled pork chop lay in a flavorful veal reduction and was topped with a dollop of puréed figs. As it blended with the sauce, the purée added a characteristic sweetness. The dish was served with a tasty, lasagna-like “bake” of layered sweet potato, cheese, and green chile. A chicken breast, its outside blackened from grilling, its inside marvelously juicy, was accompanied by a stack of two polenta cakes separated by a sun-dried-tomato pesto and topped with a sweet-pea pesto, both wonderful but not so great in combination. The only out-and-out miss was a cup of French onion soup, its dark broth light on onion, a sorry slice of rubbery cheese floating on top. Contrast that with a thick, grainy carrot-ginger soup that was delightfully fresh flavored and sweet. One meal ended with a delectable mango crème brûlée and firm poached pear slices drizzled with thick chocolate. Elevation is not a place — yet — for indulging in wine. Selections are of the supermarket variety and predictably dull. Tap beers from Santa Fe Brewing Company and Albuquerque’s La Cumbre Brewing Company are the drinks of choice and fairly priced. Service here is enthusiastic and responsive, if not always professionally exacting. It’s a surprise when servers remember every detail of a particular dinner special, considering how many details there can be. And don’t prejudge if it sounds like the chef has gone a step too far. He seems to know where he’s going. ◀
Dinner for two at Elevation Bistro: Warm spinach salad ............................................ $ 9.00 Stuffed poblano chile in mango-chile sauce ..................................... $ 15.00 Grilled pork chop ............................................... $ 18.00 Glass, Cavit pinot grigio ..................................... $ 6.00 Poached pear in chocolate .................................. $ 8.00 Mango crème brûlée ........................................... $ 6.00 TOTAL ................................................................ $ 62.00 (before tax and tip) Lunch for two, another visit: Cup, carrot-ginger soup ..................................... $ 3.00 Cup, French onion soup ..................................... $ 4.00 Oyster po’ boy ..................................................... $ 9.00 Grilled chicken ................................................... $ 16.00 TOTAL ................................................................ $ 32.00 (before tax and tip)
PASATIEMPOMAGAZINE.COM
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PASATIEMPO I March 21 - 27, 2014
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pasa week Friday, March 21
Randall Davey house tours Docent-led tours, 2 p.m. weekly on Friday, Randall Davey Audubon Center, 1800 Upper Canyon Rd., $5, RSVP to 505-983-4609.
GALLERY/MUSEUM OPENINGS
Georgia O’Keeffe Museum Education Annex 123 Grant Ave., 505-946-1039. Celebrate Creativity: Artwork From Eldorado Elementary and Middle Schools, reception 5-7 p.m., through April 4. Heidi Loewen Porcelain Gallery 315 Johnson St., 505-988-2225. Sustenance in the World of Porcelain, new work by Loewen, reception 5-7:30 p.m., through April. Jean Cocteau Cinema Gallery 418 Montezuma Ave., 505-466-5528. Mortal Mirrors, drawings by Todd Ryan White, reception 4-7 p.m., through April 11. Phil Space 1410 Second St., 505-983-7945. Kawashokachakraboom/Compensatory Decorative Exhilaration/For Ella, multimedia performance art by Hannah Hughes, 6-8 p.m. through Saturday. Turner Carroll Gallery 725 Canyon Rd., 505-986-9800. Woven, group show of tapestries, reception 5-7 p.m., through April 7.
NIGHTLIFE
CLASSICAL MUSIC
TGIF organ recital Bach’s Birthday Bash with Linda Raney, 5:30 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations welcome, 505-982-8544, Ext. 16.
THEATER/DANCE
Aspen Santa Fe Ballet Choreography by Nicolo Fonte, Cayetano Soto, and Norbert De La Cruz, 7:30 p.m., the Lensic, $25-$72, 505-988-1234, ticketssantafe.org. Southwest Irish Theater Festival Theaterwork presents The Cordelia Dream by Marina Carr, 7 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $5 at the door, March 29 encore, visit theaterwork.org for full schedule. (See story, Page 24)
BOOKS/TALKS
Georgia O’Keeffe: White Bird of Paradise, Georgia O’Keeffe Museum, 217 Johnson St.
Esther Melvin The author reads from and signs copies of Walking Going, 5 p.m., Op. Cit. Books, 500 Montezuma Ave., Suite 101, Sanbusco Center, 505-428-0321. Interaction in Art: The Art of Ping-Pong At 4 p.m., Merry Scully, New Mexico Museum of Art chief curator, discusses Sallyann Paschall’s prints in the exhibit The Place Between; followed by Ping-Pong lessons by Deepak Maharjan and game competitions to win one of Paschall’s works, Allan Houser Art Park, Museum of Contemporary Native Arts, 108 Cathedral Place, no charge, 505-428-5907.
Pasa’s Little Black Book......... 50 Elsewhere............................ 52 People Who Need People..... 52 Pasa Kids............................ 52
compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com
Santa Fe Opera Guild talk Joanne Birdwhistell, lecturer on Asian philosophy and civilization, discusses the Chinese revolutionary Sun Yat-Sen (18661925), the subject of Huang Ruo’s opera Dr. Sun Yat-Sen making its American premiere in the Santa Fe Opera’s 2014 season; 5:30 p.m., Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., $10, 505-629-1410, Ext. 109.
OUTDOORS
Enchanted Hikes The City of Santa Fe Recreation Division offers easy to moderate treks along the following trails:
In the Wings....................... 53 At the Galleries.................... 54 Museums & Art Spaces........ 54 Exhibitionism...................... 55
Dale Ball, Dorothy Stewart, Tesuque Creek, and Galisteo Basin Preserve; Session I, 10 a.m. noon Fridays, March 14-28; Session II, 11 a.m.1 p.m., Saturdays, March 15-29, preregister at Genoveva Chavez Community Center, 3221 Rodeo Rd., $20, contact Michelle Rogers for registration information, 505-955-4047, chavezcenter.com.
EVENTS
Daffodil Days for The Hospice Center Annual spring fundraiser; 10 a.m.-6 p.m. at the following: Sam’s Club, 4201 Rodeo Rd., Kaune’s Food Town, 511 Old Santa Fe Trail, and DeVargas Center, 564 N. Guadalupe St., 505-988-2211.
(See Page 50 for addresses) Café Café Trio Los Primos, Latin favorites, 6 p.m., no cover. Cowgirl BBQ Felix y Los Gatos, zydeco/Tejano/juke-swing, 8:30 p.m., no cover. Duel Brewery Eric George’s Man No Sober, 7-10 p.m., call for cover. El Farol Jay Boy Adams, rock, 9 p.m., call for cover. Hotel Santa Fe Guitarist/flutist Ronald Roybal, 7-9 p.m., no cover. Junction Dance cover band Chango, 10 p.m.-1 a.m., call for cover. La Fiesta Lounge at La Fonda R & B band The Pleasure Pilots, 8-11 p.m., no cover. Lodge Lounge at The Lodge at Santa Fe Pachanga! Club Fridays with DJ Gabriel “Aztec Sol” Ortega spinning salsa, cumbia, bachata, and merenge, dance lesson, 8:30-9:30 p.m., call for cover. Low ’n’ Slow Lowrider Bar at Hotel Chimayó Revolver Jazz Trio, 9:30 p.m., no cover. Palace Restaurant & Saloon Vanilla Pop Spring Fling, ’80s-infused lounge music, 10 p.m., call for cover. Pizzeria da Lino Accordionist Dadou, European and American favorites, 6-9 p.m., no cover. Pranzo Italian Grill David Geist, piano and vocals, 6-9 p.m., call for cover. Second Street Brewery Alpha Cats, jazz, 6-9 p.m., no cover. Second Street Brewery at the Railyard Hot Club of Santa Fe, Gypsy jazz, 7-10 p.m., no cover. Shadeh DJ 12 Tribe, 9 p.m.-4 a.m., call for cover. Tiny’s Guitarist Mark Yaxley, 5:30-8 p.m.; classic-rock band The Jakes, 8:30 p.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 505-820-0803. Pasatiempo does not charge for listings, but inclusion in the calendar and the return of photos cannot be guaranteed. Questions or comments about this calendar? Call Pamela Beach, Pasatiempo calendar editor, at 505-986-3019; or send an email to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. See our calendar at www.pasatiempomagazine.com, and follow Pasatiempo on Facebook and Twitter. PASATIEMPOMAGAZINE.COM
49
22 Saturday GALLERY/MUSEUM OPENINGS
Phil Space 1410 Second St., 505-983-7945. Kawashokachakraboom/Compensatory Decorative Exhilaration/For Ella, multimedia performance art by Hannah Hughes, 6-8 p.m.
IN CONCERT
Round Mountain and Selkies Folk-rock duo Char and Robby Rothschild and the Celtic band celebrate the spring equinox, 3 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $12, discounts available, 505-424-1601, teatroparaguas.org.
THEATER/DANCE
HaMapah/The Map Dancer Adam McKinney’s multimedia performance, 7:30 p.m., The Dance Barns, 1140 Alto St., $20, discounts available, 505-988-1234, ticketssantafe.org. Aspen Santa Fe Ballet Choreography by Nicolo Fonte, Cayetano Soto, and Norbert De La Cruz, 7:30 p.m., the Lensic, $25-$72, 505-988-1234, ticketssantafe.org. The Jewel Box Cabaret A homage to burlesque with gender-bending performances by Guava Chiffon and Mena Domina, 8:30 p.m., María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr., $10, VIP tickets $20, 505-428-7781. Southwest Irish Theater Festival Theaterwork presents Molly Sweeney by Brian Friel, 2 p.m. (March 28 encore); A White Notebook by Leslie Dillen and W.B. Yeats’ Cathleen ni Houlihan, 7 p.m. (March 29 encore); James A. Little Theater, New Mexico School
317 Aztec 20-0150 317 Aztec St., 505-8 the Inn at ge un Lo Agoyo a ed on the Alam 505-984-2121 303 E. Alameda St., nt & Bar ra Anasazi Restau Anasazi, the of Inn d Rosewoo e., 505-988-3030 113 Washington Av Betterday Coffee 5-555-1234 , 50 905 W. Alameda St. nch Resort & Spa Ra e Bishop’s Lodg Rd., 505-983-6377 1297 Bishops Lodge Café Café 5-466-1391 500 Sandoval St., 50 Casa Chimayó 5-428-0391 409 W. Water St., 50 ón ¡Chispa! at El Mes 505-983-6756 e., 213 Washington Av Cowgirl BBQ , 505-982-2565 319 S. Guadalupe St. Café te The Den at Coyo 83-1615 5-9 50 , St. r ate W 132 W. Duel Brewing 5-474-5301 1228 Parkway Dr., 50 lton El Cañon at the Hi 88-2811 5-9 100 Sandoval St., 50
50
PASATIEMPO I March 21-27, 2014
for the Deaf, 1060 Cerrillos Rd., $5 at the door, visit theaterwork.org for full schedule. (See story, Page 24)
BOOKS/TALKS
Elizabeth Gaylynn Baker A reading and signing by the author of Gifts of Gratitude: The Joyful Adventures of a Life Well Lived, 4 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. I Mattered memoir-writing workshop Led by Pamela Boyd, 1-3 p.m., Op. Cit. Books, 500 Montezuma Ave., Suite 101, Sanbusco Center, $20, 505-428-0321. Judith McConnell Steele and Phyllis Hotch The authors read from their respective books, 3 A.M. and The Angel of Esperança, 4-6 p.m., Op. Cit. Books, 500 Montezuma Ave., Suite 101, Sanbusco Center, 505-428-0321. Southwest Irish Theater Festival talk Theaterwork presents Irish playwright Marina Carr on her play The Cordelia Dream, 10:30 a.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., no charge, theaterwork.org. (See story, Page 24)
OUTDOORS
Bird-watching walks Led by local enthusiasts every Saturday, 8 a.m., Randall Davey Audubon Center, 1800 Upper Canyon Rd., no charge, 505-983-4609. Enchanted Hikes The City of Santa Fe Recreation Division offers easy to moderate treks along the following trails: Dale Ball, Dorothy Stewart, Tesuque Creek, and Galisteo Basin Preserve; Session I, 10 a.m.-noon Fridays, March 14-28; Session II, 11 a.m.-1 p.m., Saturdays,
PASA’S LITTLE BLACK BOOK Spa Eldorado Hotel & St., 505-988-4455 o isc nc 309 W. San Fra El Farol 5-983-9912 808 Canyon Rd., 50 ill El Paseo Bar & Gr 92-2848 5-9 208 Galisteo St., 50 Evangelo’s o St., 505-982-9014 200 W. San Francisc erging Arts High Mayhem Em 38-2047 2811 Siler Lane, 505-4 Hotel Santa Fe ta, 505-982-1200 1501 Paseo de Peral asters Iconik Coffee Ro -0996 28 5-4 50 , 1600 Lena St. La Boca 5-982-3433 72 W. Marcy St., 50 ina La Casa Sena Cant 5-988-9232 50 e., Av e 125 E. Palac at La Fonda La Fiesta Lounge , 505-982-5511 St. o isc 100 E. San Franc a Fe Resort nt Sa La Posada de e Ave., lac and Spa 330 E. Pa 00 505-986-00 g Arts Center Lensic Performin St., 505-988-1234 o isc nc 211 W. San Fra
March 15-29, preregister at Genoveva Chavez Community Center, 3221 Rodeo Rd., $20, contact Michelle Rogers for registration information, 505-955-4047, chavezcenter.com. Santa Fe River Walk Casual stroll and conversation with Bobbe Besold, Valerie Martinez, and Dominique Mazeaud on the state of the river; 12:452:45 p.m. Meet along the river at the end of Constellation Dr. off Airport Rd., contact Littleglobe for information, 505-980-6218.
EVENTS
Contra dance Folk dance with easy walking steps, live music by the ATC String Band, beginners’ class 7 p.m., dance 7:30 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $9, students $5, 505-820-3535. Daffodil Days for The Hospice Center Annual spring fundraiser; 8 a.m.-12:30 p.m., Flying Star Café, Santa Fe Railyard; 10 a.m.6 p.m. at the following: Sam’s Club, 4201 Rodeo Rd., Kaune’s Food Town, 511 Old Santa Fe Trail; and DeVargas Center, 564 N. Guadalupe St., 505-988-2211. Opera 101 Workshop focusing on Santa Fe Opera’s 2014 season; led by singer Kathleen Clawson and the SFO production team, 9 a.m., 8:30 a.m. check-in and refreshments, Santa Fe Opera, 301 Opera Dr., $20 in advance online at opera101santafe.com, call the Santa Fe Opera Guild for more information, 505-629-1410, Ext. 102. Santa Fe Farmers Market Local goods sold weekly on Saturday; this week’s live music by Lizzette, 8 a.m.-1 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, santafefarmersmarket.com, no charge.
Lodge Lounge at The Lodge at Santa Fe 750 N. St. Francis Dr., 505-992-5800 Low ’n’ Slow Lowrider Bar at Hotel Chimayó de Santa Fe 125 Washington Ave., 505-988-4900 The Matador 116 W. San Francisco St. Mine Shaft Tavern 2846 N.M. 14, Madrid, 505-473-0743 Molly’s Kitchen & Lounge 1611 Calle Lorca, 505-983-7577 Museum Hill Café 710 Camino Lejo, Milner Plaza, 505-984-8900 Music Room at Garrett’s Desert Inn 311 Old Santa Fe Trail, 505-982-1851 Palace Restaurant & Saloon 142 W. Palace Ave., 505-428-0690 The Pantry Restaurant 1820 Cerrillos Rd., 505-986-0022 Pranzo Italian Grill 540 Montezuma Ave., 505-984-2645 Santa Fe Community Convention Center 201 W. Marcy St., 505-955-6705
Sixth Annual Bollywood Club Invasion Dance Party DJ-driven dance rhythms, Indian-dance class, Indian bazaar, and food, 7 p.m., Scottish Rite Center, 463 Paseo de Peralta, $15, ages 11 and under $7, 512-694-4375, proceeds benefit Amma Center of New Mexico. Tenth Annual Japanese Cultural Festival Folk dances; kite-making demonstrations; live entertainment, including singer Madi Sato and drum ensemble Smokin’ Bachi Taiko, 10 a.m.5 p.m., Santa Fe Community Convention Center, 201 W. Marcy St., $3 at the door, ages 11 and under no charge, for more information visit santafejin.org.
NIGHTLIFE
(See addresses below) ¡Chispa! at El Mesón Acoustic guitarists Ramón Bermudez and Chuscales, with percussionist Mark Clark, 7 p.m., no cover. Cowgirl BBQ Bill Hearne Trio, classic country, 2-5 p.m.; Broomdust Caravan, juke-joint, biker-bar, honky-tonk, 8:30 p.m.; no cover. Duel Brewery Singer/songwriter Lisa Carman, 7-10 p.m., call for cover. El Farol The Gruve, rock and R & B, 9 p.m., call for cover. Hotel Santa Fe Guitarist/flutist Ronald Roybal, 7-9 p.m., no cover. La Fiesta Lounge at La Fonda R & B band The Pleasure Pilots, 8-11 p.m., no cover.
Santa Fe Sol Stage & Grill 37 Fire Place, solofsantafe.com Second Street Brewer y 1814 Second St., 505-982-3030 Second Street Brewer y at the Railyard 1607 Paseo de Peralta, 505-989-3278 Sweetwater Harvest Kitchen 1512-B Pacheco St., 505-795-7383 Taberna La Boca 125 Lincoln Ave., 505-988-7102 Tiny’s 1005 St. Francis Drive, Suite 117, 505-983-9817 The Underground at Evangelo’s 200 W. San Francisco St. Upper Crust Pizza 329 Old Santa Fe Trail, 505-982-0000 Vanessie 434 W. San Francisco St., 505-982-9966 Warehouse 21 1614 Paseo de Peralta, 505-989-4423 Zia Dinner 326 S. Guadalupe St., 505-988-7008
Pranzo Italian Grill David Geist, piano and vocals, 6-9 p.m., call for cover. Second Street Brewery Railyard Reunion Band, 6-9 p.m., no cover. Second Street Brewery at the Railyard Christina Herr & Wild Frontier, Americana, 7-10 p.m., no cover. Shadeh DJ 12 Tribe, 9 p.m.-4 a.m., call for cover. Sweetwater Harvest Kitchen Hawaiian slack-key guitarist John Serkin, 6 p.m., no cover. Tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m., no cover. Vanessie Pianist/vocalist Bob Finnie, ’50s-’70s pop, 6:30 p.m., call for cover.
23 Sunday CLASSICAL MUSIC
Concordia Santa Fe States of Being, wind orchestrations of works by Copland, Ryan George, and Roger Zare, 2 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., donations appreciated, concordiasantafe.org, 505-913-7211. Santa Fe Symphony Featuring violinist Clara-Jumi Kang; music of Bruch, Rachmaninov, and Borodin, 4 p.m., the Lensic, 211 W. San Francisco St., $22-$76, 505-988-1234, ticketssantafe.org.
IN CONCERT
Beth Kennedy Jones Music from the Lena Horne Songbook, with the Bert Dalton Trio, 6 p.m., La Casa Sena Cantina, 125 E. Palace Ave., $25, 505-988-9232, Monday encore.
THEATER/DANCE
HaMapah/The Map Dancer Adam McKinney’s multimedia performance, 2 p.m., The Dance Barns, 1140 Alto St., $20, discounts available, 505-988-1234, ticketssantafe.org. Southwest Irish Theater Festival Theaterwork presents All the Doors Swinging Wide!, music and poetry of Ireland with music director Marilyn Barnes, 2 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $5 at the door, visit theaterwork.org for full schedule, March 30 encore. (See story, Page 24)
BOOKS/TALKS
Journey Santa Fe Presents Earl Kessler, former Peace Corps volunteer and author of Letters From Alfonso: Learning to Listen, in conversation with KSFR Radio host Xubi Wilson, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.
EVENTS
Advanced kite making Led by Mikio Toki; in conjunction with the exhibit Tako Kichi: Kite Crazy in Japan, 11 a.m.-3:30 p.m., Museum of International Folk Art, 706 Camino Lejo, Museum Hill, $30 includes materials, lunch, and lecture, preregister with Stephanie Riggs, 505-476-1215. Life Drawing Weekly figurative-drawing class with models, 11 a.m.-1 p.m., Duel Brewing, 1228 Parkway Dr., $25 includes refreshments, 505-474-5301.
Argos Studio/Gallery, 1211 Luisa St., shows drawings by Kathaman.
Railyard Artisan Market This week’s musician, multi-instrumentalist Gerry Carthy, 10 a.m.-4 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, no charge, 505-231-5803.
NIGHTLIFE
(See Page 50 for addresses) Cowgirl BBQ Neil Young tribute band Drastic Andrew & The Cinnamon Girls, noon-3 p.m.; Bat, acoustic folk-rock, 8 p.m.; no cover. El Farol Chanteuse Nacha Mendez, 7:30 p.m., call for cover. La Posada de Santa Fe Resort and Spa Guitarist Wily Jim, Western swingabilly, 7-10 p.m., no cover. Palace Restaurant & Saloon Milanga Tango, 6 p.m., call for cover. Vanessie Pianist/vocalist Bob Finnie, ’50s-’70s pop, 6:30 p.m., call for cover.
24 Monday IN CONCERT
Beth Kennedy Jones Music from the Lena Horne Songbook, with the Bert Dalton Trio, 6 p.m., La Casa Sena Cantina, 125 E. Palace Ave., $25, 505-988-9232.
BOOKS/TALKS
Santa Fe Photographic Workshops Instructor Image Presentations Open conversation and slide presentation of works by David Robin, Eddie Soloway, Charles Needle, and Jason Langer, 8-9 p.m., Sunmount Room, Immaculate Heart of Mary Retreat and Conference Center, 50 Mount Carmel Rd., no charge, 505-983-1400, Ext. 11.
EVENTS
Game of Thrones costume party Final night of the HBO series season three screenings; 7 p.m., Jean Cocteau Cinema, 418 Montezuma Ave., jeancocteaucinema.com. Swing dance Weekly all-ages informal swing dance, lessons 7-8 p.m., dance 8-10 p.m. at Odd Fellows Hall, Odd Fellows Hall, 1125 Cerrillos Rd., dance only $3, lesson and dance $8, 505-473-0955.
NIGHTLIFE
(See Page 50 for addresses) La Fiesta Lounge at La Fonda Buffalo Nickel, boot-scootin’ music, 7:30 p.m., no cover. Vanessie Geist cabaret with pianist David Geist, 6:30-9:30 p.m., call for cover.
25 Tuesday BOOKS/TALKS
Fred Dillen The author discusses and signs copies of Beauty: A Novel, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. (See Subtexts, Page 16) Judith McConnell Steele The author discusses The Angel of Esperança, 6-8 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, call 505-955-8550 for information.
EVENTS
Future Voices of New Mexico Seventh Annual Awards Ceremony Honoring student winners of the annual photography and filmmaking contest, the Lensic, no charge, contact Connie Schaekel to RSVP, 505-988-7050, Ext. 1210.
International folk dances Weekly on Tuesdays, dance 8 p.m., lessons 7 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5 donation at the door, 505-501-5081 or 505-466-2920.
NIGHTLIFE
(See Page 50 for addresses) ¡Chispa! at El Mesón Argentine Tango Milonga, 7:30 p.m., no cover. Cowgirl BBQ Pete Springer & Don Curry, classic rock, 8 p.m., no cover. El Farol Canyon Road Blues Jam, 8:30 p.m., call for cover. La Fiesta Lounge at La Fonda Buffalo Nickel, boot-scootin’ music, 7:30 p.m., no cover. Second Street Brewery at the Railyard Open-song night hosted by Ben Wright, 7:30 p.m., no cover. Vanessie Classical and jazz guitarist Marc Yaxley, 6:30-9:30 p.m., call for cover. Zia Diner Weekly Santa Fe bluegrass jam, 6-8 p.m., no cover.
26 Wednesday IN CONCERT
Pierre Bensusan French-Algerian acoustic guitarist, 7 p.m., Garrett’s Desert Inn, 311 Old Santa Fe Trail, $25, brownpapertickets.com, 800-838-3006.
BOOKS/TALKS
Dharma talk Hozan Alan Senauke of Berkeley Zen Center, 5:30 p.m., Upaya Zen Center, 1404 Cerro Gordo Rd., donations appreciated, 505-986-8518. ▶▶▶▶▶▶▶▶
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NIGHTLIFE
(See Page 50 for addresses) Cowgirl BBQ Todd Tijerina & Dave Heidt, blues and rock, 8 p.m., no cover. El Farol Nacha Mendez and Santastico, 8 p.m., call for cover. Junction Karaoke Night hosted by Michelle, 10 p.m.-1 a.m., call for cover. La Fiesta Lounge at La Fonda Bill Hearne Trio, classic country tunes, 7:30 p.m., no cover. La Posada de Santa Fe Resort and Spa Guitarist Wily Jim, Western swingabilly, 7-10 p.m., no cover. Palace Restaurant & Saloon Blues/rock guitarist Alex Maryol, 7:30 p.m., call for cover.
27 Thursday GALLERY/MUSEUM OPENINGS
Fogelson Library Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 505-473-6569. Works by photography department alumni, closing reception 5-7 p.m. Visual Arts Gallery Santa Fe Community College, 6401 Richards Ave., 505-428-1501. Gray, Matters, group show of contemporary Native works, reception 5-7 p.m., through April 22.
THEATER/DANCE
The Lyons sneak preview Final dress rehearsal of Santa Fe Playhouse’s production of Nicky Silver’s comedy, 7:30 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $10, 505-988-4262. Flamenco Fiesta! 2014 Dancer Juan Siddi, choreographer/dancer Mina Fajardo, guitarist Chuscales, percussionist
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PASATIEMPO I March 21-27, 2014
TAOS
Seventh Annual Taos Shortz Film Fest Meet industry professionals at parties, panel discussions, and award ceremonies during the event showcasing more than 120 international films, Friday-Sunday, March 21-23, for tickets and schedules visit taosshortz.com.
▶ People who need people Artists
Joshua Sage
Heritage and Hierarchy in the Art of Hemispheric Defense GOM’s lecture series continues with Breanne Robertson, Wesleyan University assistant art and art history professor, 6 p.m., Georgia O’Keeffe Museum Research Center, 135 Grant Ave., $5, 505-946-1039. Look Closer GOM’s exhibit-talk series continues, 12:30 p.m., Georgia O’Keeffe Museum, 217 Johnson St., by museum admission, 505-946-1000. Sharing the Creative Spirit: Indigenous Community Art Projects MOCNA panel discussion; panelists include artists Christi Belcourt, Dylan Miner, and Douglas Miles, noon-2 p.m., Museum of Contemporary Native Arts Main Gallery, 108 Cathedral Place, no charge, 505-983-1777. Speaking of Traditions: New Perspectives on Old Traditions NMMA and El Rancho de las Golondrinas lecture series; former New Mexico state historian Robert J. Tórrez discusses The Canes of Sovereignty: Enduring Symbols of Pueblo Independence, 6 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., no charge, 505-476-5068 or 505-471-2261. Thomas H. Guthrie The author discusses and signs copies of Recognizing Heritage: The Politics of Multiculturalism in New Mexico, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. William H. “Buck” Dunton The docent-led Artist of the Week series continues with a discussion of the member of the Taos Society of Artists, 12:15 p.m., New Mexico Museum of Art, 107 W. Palace Ave., by museum admission, 505-476-5075.
Folk-rock duo Round Mountain, Char and Robby Rothschild, perform at Teatro Paraguas Studio Saturday, March 22.
Alejandro Valle, and singer Vicente Griego, 6 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $20, 505-424-1601, encore March 28.
▶ Elsewhere
BOOKS/TALKS
Southwest Irish Theater Festival Albuquerque Theatre Guild presents its second annual event; runs daily through April 27, visit abqtheatre.org for schedule and venues. (See story, Page 24) Opera Southwest Bizet’s The Pearl Fishers, 2 p.m. Sunday, March 23 and 30, 7:30 p.m. Wednesday and Friday, March 26 and 28, National Hispanic Cultural Center, 1701 Fourth St. S.W, $12-$82, 505-243-0591 or 505-724-4771. Outpost Performance Space concerts 5:30 and 8:30 p.m. Sunday, March 23, contemporary ensemble Portland Cello Project, $22 in advance, $27 day of show, ampconcerts.org; 7:30 p.m. Thursday, March 27, jazz pianist Alan Pasqua, with bassist Earl Sauls and percussionist John Trentacosta, $15 and $20; 210 Yale Blvd. S.E., 505-268-0044. Water Crisis in the West: Thinking Like a Watershed series Monthly revolving panel discussions; led by Santa Fe author and radio producer Jack Loeffler; panelists Rina Swentzell (Santa Clara Pueblo), Lyle Balenquah (Hopi Independent Nation), and Embudo acequiero Estevan Arellano discuss multicultural land and water use, 7 p.m. Thursday, March 27, KiMo Theatre, 423 Central Ave. N.W., no charge, visit kimotickets.com for information.
School for Advanced Research lecture A Tale of Two Pilgrimage Centers: Chaco and Nasca, by archaeologist John Kantner, 6:30 p.m., New Mexico History Museum Auditorium, 113 Lincoln Ave., $10, 505-954-7203. SFAI 140 Twenty short presentations on creativity; 7 p.m., speakers include artist-in-residence Jamie Allen, curator/art historian Amber-Dawn Bear Robe, and Radius Books publisher and creative director David Chickey, Santa Fe Art Institute, SFUA&D, 1600 St. Michael’s Dr., no charge, 505-424-5050. Sixtieth anniversary of Salt of the Earth Santa Fe Community College continues its celebration of the once-controversial 1954 drama; 3 p.m. panel discussion; 5 p.m. screening of the 1982 documentary A Crime to Fit the Punishment; West Wing Board Room; 7 p.m. screening of Salt of the Earth, followed by a Q & A session, Room 216, 6401 Richards Ave., no charge, 505-428-1000.
NIGHTLIFE
(See Page 50 for addresses) ¡Chispa! at El Mesón Jazz pianist Bert Dalton and bassist Milo Jaramillo, 7 p.m., no cover. Cowgirl BBQ John Kurzweg Band, rock, 8 p.m., no cover. El Farol Guitarras con Sabor, Gypsy Kings style, 8:30 p.m., call for cover. La Fiesta Lounge at La Fonda Bill Hearne Trio, classic country tunes, 7:30 p.m., no cover. Low ’n’ Slow Lowrider Bar at Hotel Chimayó Tenor guitarist and flutist Gerry Carthy, 9 p.m., no cover. Pizzeria da Lino Accordionist Dadou, European and American favorites, 6-9 p.m., no cover. The Matador DJ Inky Inc. spinning soul/punk/ska, 8:30 p.m., no cover. Tiny’s Country Blues Revue, 8 p.m., no cover. Upper Crust Pizza Fastheartmart & Martha Reich, guitar and vocals, 6-9 p.m., no cover.
ALBUQUERQUE
LOS ALAMOS
Fuller Lodge 2132 Central Ave., 505-661-4844. It’s Not Easy Being Green, group show; Sisters in Art — Sisters at Heart, works by Santa Fe photographer Kip Walker and watercolorist Jan Wright, reception 5-7 p.m. Friday, March 21, through April 26. More Than Muscle: What Can We Build out of Protein? A brown-bag lecture with Eva Rose Balog of LANL, noon-1 p.m. Wednesday, March 26, Bradbury Science Museum, 1350 Central Ave., no charge, 505-667-4444, lanl.gov/museum. Quotes: The Authors Speak Series Mesa Public Library lecture series; 3: A Taos Press acquisitions editor Veronica Golos and founding publisher and editor Andrea Watson, 7 p.m. Thursday, March 27, Upstairs Rotunda, Mesa Public Library, 2400 Central Ave., no charge, 505-662-8254.
42nd Annual Girls Inc. Arts & Crafts Show Application forms for the Aug. 2-3 event are available online at girlsincofsantafe.org; apply by March 31; 505-982-2042, acshow@girlsincofsantafe.org. Call for sculpture One-inch-high sculptures sought for The Royal Breadshow; sculptures will be exhibited and then baked into breads; March 31 deadline; see theroyalbreadshow.com or axleart.com for submission guidelines. MasterWorks of New Mexico 2014 Open to all New Mexico artists; accepting miniatures, pastels, watercolors, and oils/ acrylics; miniatures must be hand-delivered by Saturday, March 22; for prospectus and information visit masterworksnm.org.
Filmmakers/Performers/Writers
Santa Fe Playhouse: 93rd season Accepting proposals from local directors for fall 2014-summer 2015 season; any genre (no original plays considered); 505-988-4262, March 31 deadline, santafeplayhouse.org.
Volunteers
Nominations for Santa Fe Community Foundation’s 28th Annual Piñon Awards Honoring Santa Fe and Northern New Mexico nonprofit organizations; four categories: Courageous Innovation, Quiet Inspiration, Visionary, and Tried-and-True; visit santafecf.org for guidelines and nomination forms, April 15 deadline. Plant a Row for the Hungry A Food Depot program encouraging home gardeners to plant extra produce for donation to the organization; 505-471-1633.
▶ Pasa Kids Bee Hive parent/child craft times Make a Bird, in celebration of the annual spring migration, 10 a.m.-noon Fridays through March, Bee Hive Kids Books, 328 Montezuma Ave., no charge, 505-780-8051. Santa Fe Public Library events John Polinko’s magic show; 4 p.m. Friday, March 21, La Farge Branch, 1730 Llano St., 505-955-4863; 10:30 a.m. Saturday, March 22, Main Branch, 145 Washington Ave., 505-955-6783; 2:30 p.m. Saturday, March 22, Southside Branch, 6599 Jaguar Dr., 505-955-2828, no charge. Amtrak train exhibit Vintage advertising, dinnerware, period uniforms, and photographs; interactive exhibits include railroad horns, trivia questions, workable signals, and an engineer’s stand, 10 a.m-5 p.m. Saturday, March 22, Santa Fe Depot, Railyard Park, visit nmrailrunner.com for details, no charge. Santa Fe Children’s Museum Weekly events including open art studio, drama club, jewelry-making club, and preschool programs, 1050 Old Pecos Trail, by museum admission, santafechildrensmuseum.org, 505-989-8359. ◀
In the wings MUSIC
Sounds of Santa Fe Local musicians showcase series; featuring Luke Carr’s Storming the Beaches with Logos in Hand and Ben Wright’s iNK oN pAPER, 7:30 p.m. Friday, March 28, Lensic Performing Arts Center, 211 W. San Francisco St., $12, 505-988-1234, ticketssantafe.org. Santa Fe Music Collective The jazz series continues with New York bassist Earl Sauls, joined by Brian Bennett on piano and John Trentacosta on drums, 7 p.m. Friday, March 28, Museum Hill Café, 710 Camino Lejo, $25, 505-983-6820, santafemusiccollective.org. Joe Ely Alt-country singer/songwriter, with David Ramirez, 8 p.m. Saturday, March 29, Santa Fe Sol Stage & Grill, 37 Fire Place, $32 in advance, $40 at the door, 505-988-1234. Scott & Johanna Hongell-Darsee Medieval and traditional ballads, 7:30 p.m. Saturday, March 29, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com. San Miguel Chapel Concert Series 7:30 p.m. March 29, April 26, and May 31, Balkan folk-music ensemble Rumelia, $15 in advance, $10-$20 suggested donation at the door, 505-577-2676; 7 p.m. May 10, Bill Williams, trumpet and chamber ensemble, $10 at the door; 4 p.m. May 31, Cantus Spiritu Chamber Choir, no charge; 7:30 p.m. June 20, Baroque Ensemble, $15 suggested donation; San Miguel Church, 401 Old Santa Fe Trail, call 505-660-3188 for more information. Santa Fe Men’s Camerata Journeys: Music of Scotland and America, directed by Karen Marrolli, 3 p.m. Sunday, March 30, Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $20, students under 18 no charge, 225-571-6352. An Evening With Joyce DiDonato Mezzo-soprano, 6:30 p.m. Monday, March 31, the Lensic, 211 W. San Francisco St., concert only $25-$95, 505-988-1234, ticketssantafe.org; premium seats and dinner $325, tickets available through the Santa Fe Concert Association, 505-984-8759. Vadym Kholodenko 2013 Van Cliburn Piano Competition winner, music of Schumann, Brahms, and Chopin, 7:30 p.m. Tuesday, April 1, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$50, for tickets call the Santa Fe Concert Association, 505-984-8759, or ticketssantafe.org, 505-988-1234. Joshua Redman Jazz saxophonist, 7 p.m. Friday, April 4, Outpost Performance Space, 210 Yale Blvd. S.E., Albuquerque, $30, students $25, holdmyticket.com. Fourteenth Annual Nuestra Musica Celebrating New Mexico’s diverse musical heritage, 7 p.m. Friday, April 4, Lensic Performing Arts Center, $10, discounts available, 505-988-1234, ticketssantafe.org. Awna Teixeira Singer/songwriter, 7:30 p.m. Saturday, April 5, Gig Performance Space, 1808-H Second St., $17 in advance, brownpapertickets.com, $20 at the door. The Met at the Lensic The season continues with Puccini’s La Bohème, 11 a.m. and 6 p.m. Saturday, April 5, the Lensic, $22, ticketssantafe.org, 505-988-1234.
Celebration of the Enduring American Popular Song Vocalists Patty Stephens and David Jenness with the John Rangel Trio, 4 p.m. Sunday, April 6, Vanessie, $25 in advance online at santafebotanicalgarden.org and at the door, proceeds benefit Santa Fe Botanical Garden, 505-471-9103. The Mavericks Veteran country/rock/Tex-Mex-fusion band, 7:30 p.m. Monday, April 7, the Lensic, $36-$54, 505-988-1234, ticketssantafe.org. Serenata of Santa Fe Spring for Mozart, music of Pärt, Schnittke, and Mozart, 7 p.m. Friday, April 11, Scottish Rite Center, 463 Paseo de Peralta, $25, 505-988-1234, ticketssantafe.org. Lori Carsillo Jazz vocalist, with Bert Dalton on piano, Jon Gagan on bass, and John Trentacosta on drums, 7 p.m. Friday, April 11, Museum Hill Café, 710 Camino Lejo, $25, 505-983-6820, santafemusiccollective.org. Santa Fe Community Orchestra Chorale arrangement of Elijah, music of Mendelssohn; soloists baritone Carlos Archuleta, soprano Christina Martos, and mezzo-soprano Jacqueline Zander-Wall, 7:30 p.m. Saturday, April 12, Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Place, donations accepted, 505-466-4879, sfco.org. Santa Fe Symphony Steven Smith returns to lead the orchestra in Mahler’s Symphony No. 7, 4 p.m. Sunday, April 13, the Lensic, $22-$72, 505-988-1234, ticketssantafe.org.
UPCOMING EVENTS Neko Case Singer/songwriter, with The Dodos, 7:30 p.m. Monday, April 14, the Lensic, $34-$44, 505-988-1234, ticketssantafe.org. Rickie Lee Jones Singer/songwriter, 7:30 p.m. Thursday, April 17, the Lensic, $40-$60, 505-988-1234, ticketssantafe.org. Santa Fe Pro Musica Baroque Ensemble Featuring soprano Kathryn Mueller, 7:30 p.m. Thursday and Friday, 6 p.m. Saturday, April 17-19, Loretto Chapel, 207 Old Santa Fe Trail, $20-$65, 505-988-1234, ticketssantafe.org, 505-988-4640. The Dandy Warhols Power-pop rockers, 7:30 p.m. Tuesday, April 29, Santa Fe Sol Stage & Grill, 37 Fire Place, $27 in advance, ticketssantafe.org, 505-988-1234, $35 at the door.
THEATER/DANCE
The Guru of Chai Jacob Rajan’s one-man portrayal of modern India, 7:30 p.m. Tuesday, April 1, the Lensic, 211 W. San Francisco St., $15-$35, 505-988-1234, ticketssantafe.org. When the Stars Trembled in Río Puerco Teatro Paraguas and Recuerdos Vivos New Mexico present a play by Shebana Coelho, 7:30 p.m. Fridays and Saturdays, 4 p.m. Sundays, April 4-13, Teatro Paraguas Studio, 3205 Calle Marie, $15; discounts available; Sundays pay-what-you-wish; 505-424-1601. 27th Annual Choreographers Showcase Organized by New Mexico Dance Coalition; including Echo Gustafson, Monica Mondragon, Pomegranate Studios, and 3HC Holy Faith, 7:30 p.m. Friday and Saturday, April 4-5, Railyard Performance Center, 1611-B Paseo de Peralta, $10-$15 sliding scale, ages 12 and under $5, tickets available at the door. Luma Experimental-light theater performance, 2 and 7 p.m. Sunday, April 6, the Lensic, $15-$35, discounts available, 505-988-1234, ticketssantafe.org.
Joshua Redman performs at Albuquerque’s Outpost Performance Space, April 4.
Louder Than Words Belisama Dance and Moving People Dance Theatre present a student repertory concert, 7 p.m. Friday and Saturday, April 11-12, James A. Little Theater, 1060 Cerrillos Rd., $20, children $10, 505-988-1234, ticketssantafe.org. Left to Our Own Devices: Staying Connected in the Digital Age Just Say It Theater presents a collaborative performance by students of Santa Fe University of Art & Design and New Mexico School for the Arts, 7 p.m. Thursday-Saturday, 2 p.m. Sunday, April 24-27, Warehouse 21, 1614 Paseo de Peralta, $10, 505-820-7112. Tribes Fusion Theatre Company presents Nina Raine’s drama, 8 p.m. Friday, 2 and 8 p.m. Saturday, May 2-3, the Lensic, 211 W. San Francisco St., $20-$40, 505-988-1234, ticketssantafe.org. Spring Dance Concert Student showcase with choreography by the SFUA&D faculty and guest artists, 7 p.m. Wednesday, May 14, Greer Garson Theatre, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $12 and $15, 505-988-1234, ticketssantafe.org. Flexion Wise Fool New Mexico’s touring stilt and aerial performance, Santa Fe Railyard Park, 740 Cerrillos Road, donations accepted, wisefoolnewmexico.org. Seventh Annual Crawdaddy Blues Fest Includes Mississippi Rail Company, Junior Brown, Desert Southwest Blues Band, and Felix y Los Gatos, Saturday and Sunday, May 17-18, Madrid, $15 daily, kids under 12 no charge, crawdaddybluesfest.com.
HAPPENINGS
The Art of Systems Biology and Nanoscience Exhibit of watercolors, illustrations, and videos by UNM and LANL researchers, 4:30-8 p.m. Friday, 10 a.m.-7:30 p.m. Saturday, March 28-29, 333 Montezuma Arts, 333 Montezuma Ave., visit stmc.health.unm.edu for reception reservations, no charge. Paper Dosa Collaborative event between the owners of the San Francisco restaurant Dosa and the local art collective SCUBA in support of the CCA; sample South Indian fare on handmade plates, 7-10 p.m. Saturday, March 29, Center for Contemporary Arts, 1050 Old Pecos Trail, $50, 505-982-1338, ccasantafe.org. Lannan Foundation In Pursuit of Cultural Freedom series Sports journalist Dave Zirin in conversation with Alternative Radio director David Barsamian, 7 p.m. Wednesday, April 2, the Lensic, $6, 505-988-1234, ticketssantafe.org. National Poetry Month Six free events; including a lecture by Santa Fe Poet Laureate Jon Davis, readings by Angela Janda, young poets presented by New Mexico CultureNet, and an all-ages poetry slam presented by the Cut + Paste Society, beginning Saturday, April 5; Santa Fe Arts Commission Community Gallery, 201 W. Marcy St., 505-955-6705. The Armory Show Multimedia group exhibit and public-program series; opening reception 6-8 p.m. Friday, April 11; armory show gala honoring the Santa Fe Rotary Foundation 6 p.m. Saturday, April 12; Capital High School Film Festival, 11 a.m. Saturday, May 10, Center for Contemporary Arts, 1050 Old Pecos Trail, exhibit reception $5, gala $100, film festival no charge, 505-982-1338, ccasantafe.org.
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8-9 p.m.,
AT THE GALLERIES A Gallery Santa Fe 154 W. Marcy St., 505-603-7744. A Life in Art, high-relief sculpture by Tom Morin, through Monday, March 24. Argos Studio/Gallery 1211 Luisa St., 505-988-1814. Skin Deep, works by members of the Tuesday Night Drawing Group, through April 2. Charlotte Jackson Fine Art 554 S. Guadalupe St., 505-989-8688. Unidentified Floating Objects, work by painter Ronald Davis, through March. (See review, Page 34) Counter Culture 930 Baca St., 505-995-1105. Photographic montage by Melvin Duncan, through March 27. Manitou Galleries 225 Canyon Rd., 505-986-9833. Western Images, group show of works by gallery artists, through Thursday, March 27. Red Dot Gallery 826 Canyon Rd., 505-820-7338. Concept, Curves, and Whimsey, sculptural works by Cary Cluett, Tom Osgood, and DeeAnne Wagner, through March 28. Zane Bennett Contemporary Art 435 S. Guadalupe St., 505-982-8111. View/ Review: Contemporary Masters, including works by Robert Motherwell (1915-1991), Ellsworth Kelly, and Pierre Soulages, through Saturday, March 22.
MUSEUMS & ART SPACES SANTA FE
Center for Contemporary Arts 1050 Old Pecos Trail, 505-982-1338. Icepop, installation by Sandra Wang and Crockett Bodelson of the art collective SCUBA, Muñoz Waxman Gallery • All the News That’s Fit to Print, group show, Spector-Ripps Project Space, both shows through March 30. Open Thursdays-Saturdays; visit ccasantafe.org. Georgia O’Keeffe Museum 217 Johnson St., 505-946-1000. Georgia O’Keeffe and Ansel Adams: The Hawaii Pictures • Abiquiú Views; through Sept.14. Paintings, drawings, sculptures, photographs, and sketches by O’Keeffe in the permanent collection. Open daily; visit okeeffemuseum.org. Museum of Contemporary Native Arts 108 Cathedral Place, 505-983-1777. Articulations in Print, group show, through July • Bon a Tirer, prints from the permanent collection, through July • Native American Short Films, continuous loop of five films from Sundance Institute’s Native American and Indigenous Program. Visit iaia.edu/museum, closed Tuesdays. Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 505-476-1269. Native American Portraits: Points of Inquiry, vintage and contemporary photographs, through January 2015 • The Buchsbaum Gallery of Southwestern Pottery, traditional and contemporary works • Here, Now, and Always, more than 1,300 artifacts from the museum collection. Closed Mondays through Memorial Day; visit indianartsandculture.org. Museum of International Folk Art 706 Camino Lejo, Museum Hill, 505-476-1200. Tako Kichi: Kite Crazy in Japan, exhibition of Japanese kites, through March • New World
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PASATIEMPO I March 21-27, 2014
Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Place, 505-988-8900. Gathering of Dolls: A History of Native Dolls, through April 27. Closed Mondays; visit pvmiwa.org. Poeh Cultural Center and Museum 78 Cities of Gold Rd., 505-455-3334. Nah Poeh Meng, 1600-square-foot installation highlighting the works of Pueblo artists and Pueblo history. Closed Saturdays and Sundays; visit poehcenter.org. Santa Fe Children’s Museum 1050 Old Pecos Trail, 505-989-8359. Houses current interactive exhibits. Closed Mondays and Tuesdays through May; visit santafechildrensmuseum.org. SITE Santa Fe 1606 Paseo de Peralta, 505-989-1199. Feast: Radical Hospitality in Contemporary Art, through May 18. Closed Mondays-Wednesdays; visit sitesantafe.org. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 505-982-4636. The Durango Collection: Native American Weaving in the Southwest, 1860-1880, through April 13. Open daily; visit wheelwright.org.
ALBUQUERQUE
The Museum of International Folk Art exhibit Tako Kichi: Kite Crazy in Japan closes March 31.
Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, international collection of toys and folk art • Brasil and Arte Popular, pieces from the museum’s Brazilian collection, through Aug.10. Closed Mondays; visit internationalfolkart.org. Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 505-982-2226. Filigree & Finery: The Art of Adornment in New Mexico, through May • Window on Lima: Beltrán-Kropp Peruvian Art Collection, through May 27 • San Ysidro/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 young Spanish Market artists • The Delgado Room, late-colonialperiod re-creation. Closed Mondays; visit spanishcolonialblog.org. New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 505-476-5200. Transformed by New Mexico, Mezzanine Gallery exhibit of work by photographer Donald Woodman, through Oct. 12 • Water Over Mountain, Channing Huser’s photographic installation • Cowboys Real and Imagined, artifacts and photographs from the collection, through March 16 • Telling New Mexico: Stories From Then and Now, core exhibit • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe. Closed Mondays; visit nmhistorymuseum.org. New Mexico Museum of Art 107 W. Palace Ave., 505-476-5072. Focus on Photography, rotating photography exhibits: • Beneath Our Feet, photographs by Joan Myers • Grounded, landscapes from the museum collection • Photo Lab, interactive exhibit explaining the processes of color and platinum-palladium prints from the collection, through March 2015 • 50 Works for 50 States: New Mexico, through April 13. Closed Mondays; visit nmartmuseum.org.
Albuquerque Museum of Art & History 2000 Mountain Rd. N.W., 505-243-7255. Behind Closed Doors: Art in the Spanish American Home, 1492-1898, works from the Brooklyn Museum, through May 18 (See story, Page 30) • Arte en la Charrería: The Artisanship of Mexican Equestrian Culture, more than 150 examples of craftsmanship and design distinctive to the charro • African American Art From the Permanent Collection, installation of drawings, prints, photographs, and paintings by New Mexico African American artists, through May 4. Closed Mondays; visit cabq.gov/culturalservices/albuquerque-museum/ general-museum-information. Holocaust and Intolerance Museum of New Mexico 616 Central Ave. S.W., 505-247-0606. Exhibits on overcoming intolerance and prejudice. Closed Sundays and Mondays; visit nmholocaustmuseum.org. Indian Pueblo Cultural Center 2401 12th St. N.W., 866-855-7902. Our Land, Our Culture, Our Story, a brief historical overview of the Pueblo world, and exhibit of contemporary artwork and craftsmanship of each of the 19 pueblos. Open daily; visit indianpueblo.org. Maxwell Museum of Anthropology UNM campus, 1 University Blvd. N.E., 505-277-4405. The museum collection includes over 10 million individual archaeological, ethnological, archival, photo, and skeletal items. Closed Sundays and Mondays; visit unm.edu/ maxwell. National Hispanic Cultural Center 1701 Fourth St. S.W., 505-604-6896. En la Cocina With San Pascual, works by New Mexico artists. Hispanic visual arts, drama, traditional and contemporary music, dance, literary arts, film, and culinary arts. Closed Mondays; visit nationalhispaniccenter.org. New Mexico Museum of Natural History & Science 1801 Mountain Rd. N.W., 505-841-2804. Timetracks, core exhibits offer a journey through billions of years of history. Open daily; visit nmnaturalhistory.org. UNM Art Museum 1 University of New Mexico Blvd., 505-277-4001. Melanie Yazzie: Geographies of Memory, works by the printmaker and sculptor • 400 Years of Remembering and Forgetting: The Graphic Art of Floyd Solomon, etchings by the late artist
• The Blinding Light of History: Genia Chef, Ilya Kabakov, and Oleg Vassiliev, Russian paintings and drawings • Breakthroughs: The Twentieth Annual Juried Graduate Exhibition, all through May 17. Closed Sundays and Mondays; visit unmartmuseum.org.
ESPAÑOLA
Bond House Museum and Misión Museum y Convento 706 Bond St., 505-747-8535. Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). Call for hours; visit plazadeespanola.com.
LOS ALAMOS
Bradbury Science Museum 1350 Central Ave., 505-667-4444. Information on the history of Los Alamos and the Manhattan Project, as well as over 40 interactive exhibits. Open daily; visit lanl.gov/museum. Los Alamos Historical Museum 1050 Bathtub Row, 505-662-4493. Exhibits on area geology, early homesteaders, and the Manhattan Project. Housed in the Guest Cottage of the Los Alamos Ranch School. Open daily; visit losalamoshistory.org. Pajarito Environmental Education Center 3540 Orange St., 505-662-0460. Exhibits of flora and fauna of the Pajarito Plateau; herbarium, live amphibians, and butterfly and xeric gardens. Closed Sundays; visit pajaritoeec.org.
TAOS
E.L. Blumenschein Home and Museum 222 Ledoux St., 575-758-0505. Hacienda art from the Blumenschein family collection, European and Spanish colonial antiques. Open daily; visit taoshistoricmuseums.org. Harwood Museum of Art 238 Ledoux St., 575-758-9826. Ken Price: Slow and Steady Wins the Race, Works on Paper 1962-2010, drawings by the late artist • Charles Mattox: Poetry in Motion, works on paper from the 1970s • Art for a Silent Planet: Blaustein, Elder and Long, works by local artists Jonathan Blaustein, Nina Elder, and Debbie Long, exhibits up through May 4 • Highlights From the Harwood Museum of Art’s Collection of Contemporary Art • Death Shrine I, work by Ken Price • works of the Taos Society of Artists and Taos Pueblo Artists. Closed Mondays; visit harwoodmuseum.org. Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson displaying artifacts, antique firearms, pioneer belongings, and Carson memorabilia. Open daily; visit kitcarsonhomeandmuseum.com. La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. One of the few Northern New Mexico-style, late-Spanish-colonial-period “great houses” remaining in the American Southwest. Built in 1804 by Severino Martin. Open daily; visit taoshistoricmuseums.org. Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. Historical collections of Native American jewelry, ceramics, and paintings; Hispanic textiles, metalwork, and sculpture; and a wide range of contemporary jewelry. Closed Mondays through March; visit millicentrogers.org. Taos Art Museum and Fechin House 227 Paseo del Pueblo Norte, 575-758-2690. Housed in the studio and home that artist Nicolai Fechin built for his family between 1927 and 1933. Open 10 a.m.-4 p.m. Closed Mondays; visit taosartmuseum.org
EXHIBITIONISM
A peek at what’s showing around town
Eddie Adams: Muhammad Ali, undated, archival Epson print. When Cool Was King, an exhibition of photographs from the 1950s and 1960s, continues at Monroe Gallery of Photography (112 Don Gaspar Ave.) through April 20. The show includes images of Andy Warhol, Frank Sinatra, Marlon Brando, and other celebrities by photographers such as Steve Shapiro, Richard C. Miller, and Bill Ray. Their pictures helped define what was cool for a generation. Call 505-992-0800.
Crystal Worl: Bear Man, painting. The Visual Arts Gallery at the Santa Fe Community College (6401 Richards Ave., 505-428-1501) presents Gray, Matters: An Exhibition of Contemporary Native American Art and Design. It is the gallery’s inaugural show in a series of exhibits focusing on Native American artists in the Santa Fe area and includes work by Sam Haozous, Pilar Agoyo, and Frank Buffalo Hyde. The reception is Thursday, March 27, at 5 p.m. A free panel discussion with the artists and curator David Gaussoin, moderated by Rod Lambert, director of the Community Gallery, takes place in room 711 of SFCC’s Fine Arts Center on April 3 at 1 p.m.
Todd Ryan White: A Game Of Thrones: Wolf Dream, 2014, ink on paper. Mortal Mirrors is an exhibit of works on paper by Todd Ryan White that are inspired by author George R.R. Martin’s fantasy series A Song of Ice and Fire. White infuses his artwork with symbolic references and characters derived from Martin’s novels. The reception is at 4 p.m. on Friday, March 21, at the Jean Cocteau Cinema (418 Montezuma Ave.) at 4 p.m. Limited-edition screen prints are available for purchase during the run of the show. Call 505-466-5528.
Helen Maringer: Study With Hands 3, 2011, cyanotype on handkerchief. An exhibition of images by alumni of the photography department at the Santa Fe University of Art and Design continues through March 30. The show includes works by Helen Maringer, Cliff Shapiro, and Thea Rose Light. The exhibition is at the university’s Fogelson Library (1600 St. Michael’s Drive); a closing reception is scheduled for Thursday, March 27, at 5 p.m. Call 505-473-6569.
Jonathan Sobol: Sloucher, 2014, ink on aluminum. Wilder Nightingale Fine Art (119 Kit Carson Road, Taos) presents The Fringes of Beauty: Celebration of the Infinite, an exhibit of grotesque portraits by Jonathan Sobol. Sobol’s works include monstrous figures such as werewolves and ogres as well as people. The imagery in his Grotesque series expresses a range of feelings and emotions and is rendered in vibrant colors using an iPad paint application. The show opens with a 5 p.m. reception on Saturday, March 22. Call 575-758-3255.
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