Pasatiempo, May 9, 2014

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

May 9, 2014

In search of the SANTA FE ART COLONY

“Spring is natureʼs way of saying, “Letʼs party!”

– Robin Williams

Locally Grown Globally Inspired

MOTHERS DAY DINNER FREE DESSERT FOR ALL MOTHERS WITH THE PURCHASE OF A MEAL

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526 Galisteo Street • 820.0919 www.restaurantmartin.com

Sunday -Thursday 5:30-6:30 pm

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11tha la carte Mother’s Join Day Brunch May 11th 10 Brunch a m. – 3:00 menu 10 a m. – 3:00 p.m. a la carte menu Upcoming: Rombauer Wine Dinner, May 15 th from 5:30 $75. p.p. includes wine pairings

featuring new ‘casual favorites’ on our dinner menu: Chicken Confit Enchiladas – 12.00 Santacafé Green Chile Burger w/ Rosemary Potato Chips & Judy’s Catsup – 9.50 w/ NM Sharp Cheddar – 10.50 Sherried Chicken Salad – 12.00

lunch / dinner / brunch – open every day!

Happy Hour: 4 – 6 p.m. Mon. thru Fri.

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Our ‘Classic’ appetizers – 50% off

Selected W ines-by-the-glass, ‘W ell’ cocktails & House Margarita - $5.00 each FULL BAR ● FREE WI-FI ● HDTV

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PASATIEMPO I May 9 - 15, 2014

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PAYNE’S Blooming Plants

NURSERIES for Mother’s Day!

Payne’s South 715 St. Michael’s 988-9626 Payne’s North 304 Camino Alire 988-8011 Spring/Summer Hours

Mon - Sat 8 to 6 Sun 10 to 4 Payne’s Organic Soil Yard 6037 Agua Fria 424-0336 Mon - Fri 8 to 4 Sat 8 to Noon

Flowering plants that last way longer than cut flowers!

Choose ready-made hanging baskets, color bowls or roses in full bloom!

We also have beautiful tropical plants including orchids, bromeliads, geraniums, bonsai plants and more!

Gift wrapping for a small fee.

Local delivery available.

Payne’s Discount Coupon

25% OFF

Clematis 8” Pots AND Virginia Creeper 1 gal. Pots Good at either St. Michael’s Dr. or Camino Alire location.

Coupon must be presented at time of purchase.

Applies to cash, check or credit card sales only.

Limit one coupon per customer, please.

Cannot be combined with any other coupon or offer. Good through 5/15/14.

www.paynes.com

Lensic Presents BroAdcAsT in Hd

King Lear

by William Shakespeare

May 15, 7 pm $22

2014 HIGH SCHOOL PRIZE FOR SCIENTIFIC EXCELLENCE AWARD WINNERS!

SANTA FE ALLIANCE FOR SCIENCE

Since 1996 the Santa Fe Institute has awarded an annual Prize for Scientific Excellence to a graduating senior from each of the city’s high schools. The award honors outstanding science students in our community and encourages them to pursue science in college and beyond. Since 2008, we have been pleased to award the Prize jointly with the Santa Fe Alliance for Science.

The Outstanding Teacher Award, presented to local teachers each year since 2005, acknowledges the creativity, originality, academic rigor, and professional excellence of local math, science, and computer science instructors.

Starring Simon Russell Beale Directed by Sam Mendes



“Riveting. Simon Russell Beale is extraordinary.” —Daily Express (UK) SponSoReD By

Tickets: 505-988-1234 www.TicketsSantaFe.org SERVICE CHARGES APPLY AT ALL POINTS OF PURCHASE

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

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PASATIEMPO I May 9 - 15, 2014

SFI and SFAFS are proud to recognize our 2014 Prize winners: Front Row (from left to right): Sabrina Narvaiz, Capital High School; Mohit Dubey, New Mexico School for the Arts; Rosemary Elliott-Smith, Monte del Sol Charter School; Katie Wheeler, Desert Academy; Elijah Andes, Santa Fe Waldorf High School; Chris Brown, The MASTERS Program; Jasmine Sisneros, New Mexico School for the Deaf; Tiyaporn Tangpradabkul, Santa Fe High School.

Back Row (from left to right): Drew Nucci (Outstanding Teacher), Santa Fe Preparatory School; Robert Eisenstein, Santa Fe Alliance for Science; Johnny Sanchez, Santa Fe Indian School; Ian McClaugherty, Santa Fe Preparatory School; Rachel Saladen, St. Michael’s High School; Takeshi Kobayashi, Santa Fe Institute CAMP Alumnus and the Academy for Technology and the Classics; Ginger Richardson, Santa Fe Institute; Austin Tyra, Academy at Larragoite.

New Linen Cotton Tencel $20 Sale Racks 223 Galisteo between Water & Alameda • 505.983.6331 Monday-Saturday 10-6 • Sunday 11-5 Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room

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Our Warehouse Showroom features over 8000 sq. ft. of handcrafted furniture. Please come in, you’ll be pleasantly surprised.

SANTA FE COUNTRY FURNITURE Open daily 11am to sunset.

525 Airport Road • 660-4003 • Corner of Airport Rd. & Center Dr. Monday - Saturday • 9 - 5 • Closed Sundays www.santafecountry.com

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THE SANTA FE NEW MEXICAN

May 9 - 15, 2014

www.pasatiempomagazine.com

ON THE COVER 34 In search of the Santa Fe Art Colony From Robert Henri to Marsden Hartley and John Sloan, the exhibition Southwestern Allure at the New Mexico Museum of Art presents rarely seen work by artists who traveled to and worked in Santa Fe from the 1910s to the rise of the Transcendentalist painters in the late 1930s. Our cover image, an untitled Santa Fe scene, is an undated oil on canvas by Olive Rush. Rush first visited New Mexico in 1914 and had a solo show at the Palace of the Governors shortly afterward. She moved to Santa Fe in 1920, mentoring Native artists at the Santa Fe Indian School and painting many murals in downtown buildings. Upon her death in 1966, she left her historic Canyon Road home to the Santa Fe Friends Meeting. Cover image courtesy New Mexico Museum of Art.

MOVING IMAGES

BOOKS 14 16

40 Blue Ruin 42 Hateship Loveship 44 Only Lovers Left Alive 45 Watermark 46 Pasa Pics

In Other Words Chasing the Santa Fe Ring Put a bird on it Birdhouses of the World

MUSIC AND PERFORMANCE 18 Terrell’s Tune-Up Pixies pooh-poohed 20 Pasa Tempos CD reviews 22 Julie Brette Adams Two-timers 25 Onstage The Cave Singers

CALENDAR 53

ART 28 38

AND The spaces between Janet Lippincott Richard Long Diorama-rama

11 13 50

PASATIEMPO EDITOR — KRISTINA MELCHER 505-986-3044, kmelcher@sfnewmexican.com 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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19th-Century Painting

by Richard Long

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, Ashley Gallegos-Sanchez, Laurel Gladden, Peg Goldstein, Robert Ker, Jennifer Levin, James McGrath Morris, Robert Nott, Jonathan Richards, Heather Roan Robbins, Casey Sanchez, Michael Wade Simpson, Steve Terrell, Khristaan D. Villela

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PRODUCTION Dan Gomez Pre-Press Manager

The Santa Fe New Mexican

© 2014 The Santa Fe New Mexican

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Robin Martin Owner

www.pasatiempomagazine.com

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Mixed Media Star Codes Restaurant Review: Thunderbird Bar & Grill

ADVERTISING: 505-995-3852 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

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Pasa Week

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, Joan Scholl

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ADVERTISING SALES - PASATIEMPO Art Trujillo 505-995-3852 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

Saturday, May 17 — 7:30 p.M. Sunday, May 18 — 4:00 p.M. FEATURING

The Symphony Chorus, Dr. Linda Raney, Choral Director Highlands University Concert Choir, André García-Nuthmann, Choral Director, and renowned opera stars:

Discearning Patients Choose Expect More and Get 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

TickeTs from $22 Special ThankS To concerT UnderwriTer ann neUberger aceveS in honor of The Symphony’S 30Th anniverSary

 TheSe concerTS are dedicaTed To The memory of Jim SUllivan and ‘dick’ charleS kUhn, m.d.

PASATIEMPOMAGAZINE.COM

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The human spirit never retires!

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PASATIEMPO I May 9 - 15, 2014

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From the Classic to Your Dream Ring...

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De Bella Collectibles For more information contact Joe De Bella, Graduate Gemologist at 505.231.5357 or joseph.debella505@gmail.com

Join Us For Mother’s Day

Chef Gharrity Is Featuring A Three-Course Brunch Menu

Sunday, May 11, 2014 from 10:00am – 3:00pm $30 per person and $13 for children under twelve For reservations please call (505) 988-9232 Open Daily 11:00am until 10:00pm 125 East Palace, Santa Fe complete menu at lacasasena.com FOllOw US On FACEBOOk

The new Budapest Collection is infused with show-stopping brights inspired by strolling the banks of the Danube. Day or night, stand out in a crowd boldly and unapologetically.

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Desert AcADemy Performing Arts Presents

Watch our 8th grade sing & dance their way through the golden age of Broadway!

A Night of Rodgers & Hammerstein

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Sound of MuSic Oklahoma!

Thursday & Friday • May 15th & 16th, 7:00pm Warehouse 21 • Adults $8 • Students $5 10

PASATIEMPO I May 9 - 15, 2014

Desert Academy

Engaging the mind. Engaging the world.

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A fundraiser for Dragonfly School

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10-2pm Featuring entertainment for the whole family, silent auction (11-1pm)*, food, crafts, games, book and plant sales. $5 suggested donation at the door.

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ycle Motorc rides sidecar

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MIXED MEDIA

Dome construction at DeVargas Park; photos by Katelyn Peer

Experience New World Cuisine at

Lunch Hours: 11am–2:30pm, Sunday Brunch Closed Wednesdays

Brother, can you spare a dome?

Local artists and bands converge on DeVargas Park on the evening of Friday, May 9, for the FANTASE Dome Fest presented by Creative Santa Fe. Much of this free multimedia light festival takes place inside a group of geodesic domes. The heart of the event is a series of installations funded by a $20,000 grant from New Mexico Arts. “There were five pieces selected,” said Katelyn Peer, Creative Santa Fe program coordinator. “The one by Marion Wasserman, titled Find Your Fortune, is outside, and the four others are dome pieces. They’re all very different and are all about light and sound.”

The domes are from Zia Domes, an aspect of the Algodones company Lumenscapes Illumination Media. The artists employ visual and sonic effects from Lumenscapes in their pieces. Tunnels by Jacob Snider of Santa Fe and Sensorius by the Española collective Domasulon are interactive: visitors trigger light and sound effects in various ways. The other dome works are The Logic of Falling by Brad Wolfley of Albuquerque and Horsepower

by Richard, Sandra, and Justin Duval and Amy Filbeck of Cerrillos.

The events begin with a skate jam presented by Initiate Skateboarding and a performance by the 3HC hip-hop crew. At 6:30 p.m. Angel Babies perform and the art installations open. Also on-site is a 16-foot geodesic dome showing works by Santa Fe University of Art & Design and Institute of American Indian Arts students. Other performers are Luke Carr’s Storming the Beaches With Logos in Hand (7:30 p.m.), Thieves & Gypsys (8:30 p.m.), and As In We (9:30 p.m.).

“The intention of the Dome Fest is to show the city what downtown vibrancy can really look like, and how to leverage the creative and mostly young people we’re working with to showcase the musical, art, and design talent in Santa Fe,” said Creative Santa Fe executive director Cyndi Conn. “This was our first Kickstarter project, the whole idea to see how much local support we could generate. This was a 44-day campaign for the Dome Fest, and we’ve reached our $10,000 goal. The beauty is that we had lots of local artists and creative people contribute like $10 or $20.”

On Wednesday, May 14, the Santa Fe nonprofit brings Dan Burden and Robert Ping of the Walkable and Livable Communities Institute to give a free public talk at 6 p.m. at the Santa Fe Community Convention Center (201 W. Marcy St.). “This is continuing on our Connect Santa Fe project looking at making Santa Fe a more walkable, bikeable, and livable community,” Conn said.

The May 9 festival runs from 6 p.m. to midnight. DeVargas Park is bordered by Guadalupe, West Alameda, Sandoval, and De Vargas streets. For information, call 505-989-9934 or see www.creativesantafe.org.

— Paul Weideman

Epazote on the Hillside 86 Old Las Vegas Highway • Santa Fe, New Mexico 87505 • 505-982-9944 www.epazotesantafe.com • www.santafehillside.com

...because your Mom deserves the best!

Mother’s Day Buffet 2 0 1 4 11am until 5pm - $12 per person

Carving Station featuring Dijon Herb Crusted Roast Beef & Chorizo Stuffed Pork Loin Hot Entrees & Salad Bar PLUS Special Desserts: Coconut Fruit Salad, Mini Cream Puffs drizzled w/chocolate & filled with chocolate & vanilla cream, Traditional vanilla caramel flan w/fresh whipped cream & strawberries Earn 50 points with your Club Rock Card and receive a 4 inch potted gerber daisy for Mom!

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Celebrate her special day at Four Seasons Resort Rancho Encantado. Enjoy our special prix fixe Mother’s Day brunch and 20% off select Spa treatments.

Call to make your reservations today.

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MAY 10 | 5 – 7 p.m.

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BRUNCH 11:00 a.m. - 3:00 p.m.

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FOR ADULTS FOR CHILDREN AGES 6-12

Open seating; please call for availability.

TREAT YOURSELF at Four Seasons Resort Rancho Encantado

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

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PASATIEMPO I May 9 - 15, 2014

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STAR CODES Heather Roan Robbins

Last week the stars asked us to work hard; this week they call us

to explore. The stars crank up the volume on our creativity, compassion, and independence, and on our desire to protect women, love, and art as Venus in fierce Aries conjuncts electrifying Uranus and challenges macho Mars, transformative Pluto, and liberating Jupiter.

We may feel fed up with an old situation or mind-set that left us stuck, and we are now ready to do something about it. Our emotions may be intense, but let’s not jump to conclusions or change the course of our life’s plans based only on a strong emotional reaction. We won’t be able to see whether we’re creating a permanent or temporary change until the dust settles.

Because we’re emotionally restless, it’s good to take care of our primary relationships and bond by exploring fresh territory. If we’re single, it may be that the relationship that needs attention most is with our creative muse.

We tend to take things seriously as the weekend begins and the sun opposes focused, structural Saturn under an improvement-oriented Virgo moon. We’re warmer and fuzzier late Saturday and Sunday under a friendly Libra moon. Mercury squares Neptune and stirs our idealism and imagination but can create confusion and uncertainty. Our imagination can be overstimulated and small items easily lost. A tempestuous Scorpio moon brings storm clouds midweek. Act to improve the world, but don’t make long-term personal decisions from this reactive place.

Friday, May 9: A magical chain of events occurs if we are diligent — the Virgo moon supports thoughtful, consistent effort as it sextiles Jupiter.

Feelings run deep and earthy underneath this intelligent critical voice; choose to heal by not breaking unspoken trust.

Saturday, May 10: Sleep in, take care of health matters, and putter productively. If we push too hard this morning we become less productive as the sun opposes Saturn. Honor one another’s concerns but avoid becoming controlling. Offer one another security and respect, and feel the love.

Sunday, May 11: Although the mood is generally warm under a friendly Libra moon, we can expect a range of emotions and memories to be triggered as the moon conjuncts Mars, opposes Uranus, and squares Pluto and Jupiter. The morning brings fuzzy thinking and impatience. A midday Venus-Mars opposition engages contrariness and calls us back to our peer group or ongoing emotional dramas. We can project our discontent upon one another. The mood softens tonight.

Monday, May 12: Restless and flirtatious spring fever seeps in. Enjoy the buzz but finish the term paper as Mercury trines Mars. A fresh honesty may help us exercise our free will, but be tactful. The evening growls and intensifies as the moon enters Scorpio.

Tuesday, May 13: Don’t create more drama than necessary — make life a meditation and look deep into the soul as the waxing Scorpio moon trines perceptive Neptune. Feel the pulse of primal energy, but act from the wisest self.

Wednesday, May 14: An intense obsessive streak can rake up our heart’s coals; we can dance with and lay to rest haunting painful memories under a full Scorpio moon while emotional Venus squares Pluto, the planet of loss and transformation.

Thursday, May 15: Wander and talk to strangers after an intense couple of days. We have more room to breathe and laugh as the moon enters upbeat Sagittarius. The right words make a difference tonight as Mercury sextiles creative Venus. ◀ www.roanrobbins.com

DON’T DRIVE DROWSY

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IN OTHER WORDS book reviews Chasing the Santa Fe Ring: Power and Privilege in Territorial New Mexico by David L. Caffey, University of New Mexico Press, 320 pages The heyday of the notorious Santa Fe Ring, a cadre of prominent citizens who cooperated in enriching themselves at the public’s expense, began at the conclusion of the Civil War in 1865 and extended through 1885. The subject has been much written about by historians, including New Mexico land-grant authority Victor Westphall and Yale professor Howard R. Lamar. Yet until now, no one has given us an in-depth treatment of the Ringites and their shadowy doings.

David L. Caffey, New Mexico educator, has admirably accomplished that task. He opens his book with a warning that the Santa Fe Ring has long been something of a black hole in the history of territorial New Mexico. By this he means that the Ring’s story is a tangled web, shrouded in controversy and deficient in provable facts.

Indeed, the actual existence of an organized body dedicated to dishonest practices in the business world is open to question.

Furthermore, many of the Ring’s alleged members gained notoriety in the public eye but managed to stay clear of offenses that would have landed them in jail.

Such persons interacted with one another in an informal association that included not only businessmen but also politicians, judges, attorneys, bankers, and journalists. Their overriding interest lay in promoting development of New Mexico’s resources, by which they expected to profit handsomely. Caffey defines them as “the power seekers and influence wielders that was the Santa Fe Ring.”

Two men credited as early leaders within the Ring, Thomas B. Catron and Stephen B. Elkins, both lawyers from Missouri, shared common political and financial interests. Prominent among the latter was ongoing adjudication involving old Spanish and Mexican land grants. That brought Anglo-American lawyers into the picture, and they often ended up with sizable blocks of land received as compensation for their legal services.

Both Elkins and Catron became wealthy in this activity, as did other Anglo newcomers who are now recognized as Ring stalwarts. In the process, much real estate passed out of the hands of Hispanic New Mexicans and into the ownership of their legal counsels. By late 1870, Caffey relates, Elkins and Catron had acquired 16 separate interests in historic land grants.

A Spanish-language newspaper denounced Catron as a “perpetrator of fraudulent land

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PASATIEMPO I May 9-15, 2014

claims ... and boss of the inquisitorial Republican Ring.” Lingering resentment over failure of the federal government to protect legitimate land titles echoes down to the present day.

Ring associates did not confine their questionable operations to Santa Fe and its environs.

They played roles in the Colfax County War, which concerned the fate of much of northeastern New Mexico, and the Lincoln County War, in the southeastern part of the state — each of which is covered in detail by Caffey.

Over time, Caffey writes, The New Mexican became an organ of the Ring and the Republican Party. The newspaper’s advocacy was in line with its “progressive, enterprising spirit” and its desire to promote agriculture, mining, and industry to boost the territorial economy.

The rough-and-tumble tactics used by early Ring participants had scarcely begun to wane by the time reformist governor Edmund G. Ross came to office in 1885. He faced an uphill battle to curb the Ring’s influence in the legislature and local government offices.

Caffey has delivered a straightforward and well-researched book, in which he concludes that the Ring was “a clique of like-minded men who took care of themselves first.”

— Marc Simmons

SUBTEXTS

Back and forth As a sophomore at Ohio State University in 1967, Peter Eichstaedt spent time studying at Mexico City’s University of the Americas. There he developed a background in Mexican and Central American history, an appreciation of Mexican culture, and a love for carnitas and mole. The complexities of Mexican migrant-labor issues first came to him in the mid’70s, when he was seeking a source of cheap adobe brick for a home he was building south of Santa Fe. He describes his findings at one gravel lot in his latest book, The Dangerous Divide: Peril and Promise on the U.S.-Mexico Border (Lawrence Hill Books): “Garage-sized rooms made of concrete blocks flanked the brickyard and Peter housed families of Mexican Eichstaedt migrants who made what I was about to buy. ... The bricks were the cheapest in town, and despite my reservations about supporting what was most likely illegal labor and profits, I bought them.” The book is a breakdown of factors that contribute to the troublesome and sometimes deadly history of border policy. Eichstaedt, who has written books on Afghanistan, Somalia, Uganda, and the impact that uranium mining has had on Native American communities, reads from The Dangerous Divide at 6 p.m. on Friday, May 9, at Collected Works Bookstore (202 Galisteo St., 505-988-4226).

Eichstaedt has crafted a comprehensive, on-the-ground account consisting of anecdotes, statistics, and personal interviews. He goes into the desert with members of the Tucson Samaritans, who place jugs of water along migrant routes, hoping to stem the tide of deaths among those crossing into the country. He travels with Glenn Spencer, a critic of the U.S. Border Patrol, the founder of the vigilante American Border Patrol, and, according to the Southern Poverty Law Center, promoter of the idea that immigration is a secret Mexican conspiracy to retake the Southwest. He traces the history of cross-border smuggling — whether it is drugs to America or guns to Mexico — and finds a thread between the 1916 raid of Pancho Villa into Columbus, New Mexico, and a 2011 raid by federal agents attempting to stop the illegal flow of weapons into Mexico from the same town. As Eichstaedt addresses the tangle of individual issues, he sees how they’re woven together. And he offers suggestions for something we all want: a resolution to the heartbreak, violence, and economic degradation of the current circumstances.

— Bill Kohlhaase

C o m m u n i ty L e C t u r e

Is free will an illusion?

What can cognitive science tell us?

Wednesday, May 14 7:30 p.m.

James A. Little Theater 1060 Cerrillos Rd., Santa Fe Lectures are free and open to the public. Seating is limited.

Serious thinkers contend that free will cannot exist in a deterministic universe — one in which events are the singular outcomes of the conditions in which they occur. The alternative view, that free will is prerequisite for personal responsibility and morality, is the basis of our legal and religious institutions. Philosopher Daniel Dennett unravels this conundrum and asks whether we must jettison one of these notions, or whether they can co-exist.

He then asks: if free will is an illusion, as many scientists say, should we conclude that we don’t need real free will to be responsible for our actions?

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

DanieL Dennett

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

PASATIEMPOMAGAZINE.COM

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James M. Keller I The New Mexican

CubeBirdhouse

DULUTH, MINNESOTA

Red Double-bell Birdhouse HOUSTON, TEXAS

o judge from the imaginative birdhouses in Anne Schmauss’ new book, Birdhouses of the World, some birds are inhabiting stylish architecture of the sort most of us can only dream about. Schmauss is well known to birders in the Santa Fe area. Her column, “For the Birds,” alerts readers of The Santa Fe New Mexican to comings and goings among the flying feathered folk, and for 20 years she has co-owned the store Wild Birds Unlimited in Santa Fe, which purveys avian necessities and serves many locals as a hub through which to share information about the species they spy through their binoculars. On Saturday, May 10, bird aficionados will flock to her store to celebrate the launch of Birdhouses of the World (Stewart, Tabori & Chang/Abrams). The book spotlights birdhouses created by 28 designer-builders around the world, ranging from extravagant edifices in the Hansel and Gretel mold to sleek modernist structures of minimalist chic.

Pasatiempo: A basic bluebird house is one thing, but the birdhouses you feature in your new book are really extraordinary. What was involved in gathering the photographs for this book?

Schmauss: My sisters and I had written a previous book for Abrams, For the Birds, which was about feeding birds, and for that we mostly used existing photographs that we bought from professional photographers. This time it was a different story. A lot of people who built the birdhouses that are highlighted in this book submitted their own photographs, but most of them just weren’t of high enough quality for Abrams.

In some cases I hired photographers across the country and sent them out to people’s homes and workshops to photograph the birdhouses. For some of the smaller ones, I had the builders ship them to me and I hired a local photographer.

Pasa: Did you find that people were eager to share the houses they had constructed?

Schmauss: They really were. Most of these folks consider these to be works of art that they’ve created, and they were very excited when I contacted them about showing their work in my book. Especially the guys who build just a handful of houses in their workshop — these fellows were so psyched! And I do mean fellows. It was almost all men. Believe me, I

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PASATIEMPO I May 9-15, 2014

looked hard for women who built cool and interesting houses, but there just weren’t many. I don’t know why that is. But these fellows were so excited to be involved.

Pasa: Have you seen most of these birdhouses in person?

Schmauss: I’ve seen quite a few of them, but I haven’t seen all of them. They are all over the place — Japan, the Netherlands, London. There are lots of people who make birdhouses, mostly in the United States and Canada, but less in other parts of the world, I discovered.

Pasa: In the book, you mention that some were built specifically for this project.

Schmauss: Only a couple. There is only one that I really commissioned. That was from Jerry Shoemaker, a furniture maker I know personally in Albuquerque.

He is really into the Arts and Crafts movement, so I asked him to come up with a design and build a birdhouse in that style. My editor describes the birdhouses in this book as a “curated collection.” I didn’t create it, and in only that one case did I cause it to happen.

Pasa: Shoemaker’s birdhouse mimics an actual “human house.” You have a couple of others in the book that are modeled after existing homes. One is of the main house at George Lucas’ Skywalker Ranch in California, and another is of Cantitoe Corners, which is Martha Stewart’s house in New Bedford, New York.

Oddly, the latter is installed in Wilmington, Delaware.

Do you think Martha Stewart ever saw it?

Schmauss: Those are both by Thomas Burke. He builds these elaborate birdhouses, and he has built houses for members of the royal family and for very wealthy clients on Park Avenue. If you are wealthy and want a birdhouse built on the model of your home, he’s your man. He loved Martha Stewart’s house, and when he was featured on CBS’s Sunday Morning show with this particular birdhouse, they had to secure permission from her to talk about her house, so she was certainly aware of it. Some of his houses cost $10,000-$20,000. That Skywalker Ranch birdhouse is the size of a Mini Cooper.

Pasa: What do you think the birds see when they encounter birdhouses like this? Would these be their dream homes?

Schmauss: Most birds don’t nest inside a birdhouse; most nest in a tree or a shrub or on the ground. Cavitynesters are just looking for a cavity, and it’s important

to them that it have the right kind of drainage, proper ventilation, the right size hole, and that it doesn’t have a perch that allows easy entry to predators. A lot of these houses are, frankly, not all that bird friendly.

Many of the houses I chose are more for art’s sake than for birds’ sake. Birds are most attracted to plain types of birdhouses. When they’re laying their eggs and raising their babies, they don’t want something that stands out; they want to blend in. The goal of this book was not to find bird-friendly birdhouses but rather the coolest birdhouses on the planet.

Pasa: Do you have a remarkable birdhouse at your own home?

Schmauss: The birdhouses I have in my yard are the plainer kind of bird-friendly houses I sell in my store.

I do have half a dozen really cool birdhouses inside my house, though, including several I bought that builders shipped to me to photograph.

Pasa: Some of the most striking houses you picture are based on sleek, modern concepts. One builder was inspired by the Case Study Houses, a program through which Arts & Architecture magazine arranged for leading architects to design homes to promote creativity in residential architecture at mid-century.

Schmauss: Yes, that is Dail Dixon. He has built birdhouses inspired by [the work of architects] J.R. Davidson, Richard Neutra, and Ralph Rapson, and it’s his Rapson house I feature. In fact, I own one. That’s one I had shipped to me to photograph, and I kept it.

Pasa: Wouldn’t designing birdhouses be a terrific project for design students?

Schmauss: I think that’s not uncommon. Actually, the AIGA is having a birdhouse design exhibition and auction in Santa Fe this week.

Pasa: In your book, you provide comments about the history of birdhouses, accompanied by some very unanticipated photographs of historic birdhouses.

One, for instance, is an elegantly crafted birdhouse built into the facade of an 18th-century mosque in Istanbul. How did you learn about that?

Schmauss: I found the image online and tracked down the person who took the picture. We spoke, and she talked to the man who takes care of the mosque.

In addition to maintaining the mosque, he is also in charge of keeping that birdhouse cleaned out and available for the birds to use. It’s part of his job. The woman I spoke with told me it’s quite common to find them built into the facades of old mosques.

Pasa: People in this part of the country will be struck by another picture in your book: dovecotes carved into cliff dwellings in the Cappadocia region of Turkey. It looks like something we might encounter hereabouts.

Schmauss: It almost looks like Mesa Verde or some Anasazi ruin. Some of the dovecotes there have decorations above them, painted with natural dyes — really very intricate decorations above the openings. It seems very much like something you might imagine in a Native American setting. ◀

B I R D H O U S E

P A R T Y

This weekend marks the culmination of Birdhouse 2014, a fundraising endeavor of the nonprofit design organization AIGA New Mexico. Designers and architects were invited to submit “any interpretation of a birdhouse — 3D or 2D — functional or nonfunctional,” and the entries are on display through Saturday, May 10, in the gallery at Eldorado Hotel & Spa, 309 W. San Francisco St. The event concludes there with a reception and silent auction of the birdhouse entries from 5 to 8 p.m. See www.newmexico.aiga.org.

AURORA, NEW YORK

SACRAMENTO, CALIFORNIA

Museum Birdhouse SPOKANE, WASHINGTON

Crooked Creations Birdhouse DENVER, COLORADO

details ▼ Anne Schmauss signs Birdhouses of the World ▼ Noon Saturday, May 10 ▼ Wild Birds Unlimited, 518 W. Cordova Road, 505-989-8818

PASATIEMPOMAGAZINE.COM

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TERRELL’S TUNE-UP Steve Terrell

Wave of critical mutilation

I pity the poor Pixies. For all those years since they reunited in the early part of the 21st century (after breaking up more than a decade before that), their fans, myself among them, thought it was wonderful that Kim Deal, Joey Santiago, David Lovering, and Black Francis were back together singing their hits (a relative term in the realm of indie rock) from back in the day.

But wouldn’t it be great if they actually started writing new songs, making new music together — before they turn into to a self parody, playing lifeless versions of “Wave of Mutilation,” “Gigantic,” and “Monkey Gone to Heaven” to sleepy casino crowds?

Lo and behold, they did just that. (Well, three of the four did. Bassist/singer Deal left the band last year.) But the reaction to the new album, Indie Cindy, has ranged from blah to vicious.

“There’s something un-Pixielike about that tentativeness,” writes Dan LeRoy of Alternative Press. “The most surprising thing about the Pixies’ first album in 23 years is that it holds so few surprises,” says The Independent’s Andy Gill. Meanwhile, writing for Paste, Stephen M. Deusner snarls that the album “represents either an act of masochistic bravado, a display of stark determination, or — and this is the worst option — an act of blindered ignorance.”

Cole Waterman of Pop Matters sighs, “In many ways, it regrettably falls in the bin of most reunion albums, being a dispatch from a band that is still technically capable, but should have just left well enough alone.”

You can’t win for losing. You’re damned if you do, damned if you don’t. Insert your own cliché.

I hate when the jackals of criticdom close in on musicians I love. But I must admit that many of the points expressed above are good ones. It’s true that even the best songs on Indie Cindy aren’t up to the ridiculously high standards The Pixies set for themselves in the late ’80s. And it’s true that many of the songs here are overproduced and fussy, with too many flourishes of techno. Some songs sound like third-rate Bob Mould outtakes.

And it’s true that if you’re a hopeless Pixies geek and got the three EPs the band released during the past few months (I bought two of the three), you already have all the songs on this album. A 13th tune, the “bonus” track “Women of War,” one of the better rockers here, is available as a free download at www.pixiesmusic.com/store.

But old-time Pixies fans shouldn’t dismiss this album offhand. There are some healthy demon babies splashing around in the bath water of Indie Cindy. The first song, “What Goes Boom,” lives up to its title. It starts with a metallic guitar roar but somehow wanders into a sweet melodic chorus. The lyrics are built around 18

PASATIEMPO I May 9-15, 2014

some inspired Black Francis horndog gibberish: “I like that slinky little punky, little bit funky/Itty bitty chunky right there/Little bit lippy, a whipped cream hippie/Zip and unzippy and I want her.” The song also has shout-outs to Ringo Starr and Chet Baker.

“Greens and Blues” is the newest Black Francis alien tune, and, with prominent acoustic guitar strumming, it’s gorgeously catchy. “I said I’m human, but you know I lie/I’m only visiting this shore.” While some complain that “Ring the Bell” sounds too polished for its own good, what I hear is Francis’ not-so-secret Brian Wilson influence hanging out for all to see.

(Remember, he covered Wilson’s “Hang On to Your Ego” on one of his early solo records.)

Old-time Pixies fans shouldn’t dismiss this album offhand.

There are some healthy demon babies splashing round in the bath water of ‘Indie City.’

The title song uses lots of tried-and-true Pixies tricks — herky-jerky changes, fast-slow, minor keymajor key, harsh-mellow, sweet crooning and wacko ranting: “Put this down for the record,” Francis dares you. “It’s more or less un-checkered/Wasted days and wasted nights/Made me a [expletive] beggar/ No soul, my milk is curdled/I’m the burgermeister of purgatory.” At the moment, my favorite song is “Blue

Eyed Hexe,” a stripped-down stomper with audible chunks of shameless refried glam rock. (There’s even some cowbell.)

To riff on one of the song titles, by releasing Indie Cindy, the Pixies have put a toe in the ocean. I just hope the sharks that ripped into it don’t scare them away from jumping in again.

Recommended: Solo by Cheetah Chrome. Gene O’Connor, better known in the mists of punk-rock lore as Cheetah Chrome, is the fierce guitarist whose work with The Dead Boys — and, before them, Rocket From the Tombs — helped define the basic sound of the genre. He’s the guy behind “Sonic Reducer,” for the love of Elvis! He deserves eternal love, respect, and gratitude from anyone claiming to be a rock ’n’ roll fan for that alone.

But even though he’s been on the fringes of the music biz for about 40 years, Solo is Cheetah’s first solo studio album. (He did a live one, Alive in Detroit, back in 2000. Some of Solo’s songs are found there, too.) And it’s not really an album, just a 7-song EP. But that’s just about my only gripe about it. There are some great tunes here.

The material on this record comes from two major sessions: three tracks are from a 1996 (!) session in Woodstock, New York, produced by Genya Ravan (she also produced the first Dead Boys album, Young, Loud and Snotty), while others came more than a decade later, from sessions for The Batusis, a bitchen little one-off “supergroup” featuring Cheetah and New York Dolls guitarist Syl Sylvain.

The record starts off with a tasty little instrumental called “Sharky.” Cheetah’s ragged voice comes in with the next number, “East Side Story.” The jangly guitar in this song is much closer to folk-rock than to “Sonic Reducer,” but the lyrics paint some harsh scenery. “There’s a devil in my left ear, there’s an angel in my right/And there’s a ghost in my face daring me to dive/Got a junkie inside me who wants to get high/Got a dead man inside me who didn’t want to die.”

It probably won’t shock anyone familiar with the Chrome story that some of the songs here deal with heroin addiction. In “Nuthin’,” he spits, “For all of my life I wanted to be, more than just another junkie out on Avenue C.” But a cheetah belongs in the jungle, and that’s where he heads in “Rollin’ Voodoo,” a menacing, percussionheavy workout complete with “woo woos” straight out of “Sympathy for the Devil.” Bo Diddley and Screamin’ Jay Hawkins would probably be jealous, but I think deep down they would approve. Check out Cheetah at www.plowboyrecords.com/cheetah-chrome. ◀ ▼

M O T H E R ’ S D AY B R U N C H AT T H E A N A S A Z I R E S TA U R A N T Sunday, May 11th 10:00 a.m.-2:30 p.m.

Delightful buffet brunch menu prepared

by Executive Chef Juan Bochenski.

Featuring traditional brunch fare while showcasing the local flavors of spring in the American Southwest. $57 for adults $32 for seniors (65 and older) $20 for children (12 and under) Live music with Jesus Bas For Reservations, please call (505) 988-3236

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May 10 & 11 Mother’s Day Weekend 10:00 - 5:00 17th annual free, self-guided tour to 50 artists at 42 studios. Preview the artists and map at:

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Take I-25 to Placitas EXIT 242 and follow the yellow signs.

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PASATIEMPO I May 9-15, 2014

Santa Fe 141 Paseo de Peralta, Suite C Mon Wed -- Fri Fri 505-983-2909

PASA TEMPOS

album reviews

LISA HILTON Kaleidoscope (Ruby Slippers) Lisa Hilton has a clear touch on the piano, but her style is hard to define. You can hear jazz tradition, but she also specializes in the unexpected.

Her playing is dramatic and truly unique, and she is perfectly abetted by her quartetmates J.D. Allen on tenor saxophone, bassist Larry Grenadier, and drummer Marcus Gilmore. As a leader, she has recorded more than 15 albums since her 1997 debut. Kaleidoscope highlights the leader’s strength as a composer as well as her proficiency on the piano; the opener, “Simmer,” is the first of nine songs that are Hilton originals. It’s a showcase for Allen, who improvises alongside the off-kilter, almost robotic piano and bass structures. After the soft, cymbal-steamed “Whispered Confessions” comes the dense “Labyrinth,” in which the pianist alternates laying down a gently thunderous cadence and taking short flights of fancy. “Bach/Basie/Bird Boogie Blues Bop” is a light, fun trio piece, while “Kaleidoscope” is peaceful and beautifully impressionistic. On “Midnight Mania” the band adventures in the polymelodic, sometimes to near-jarring effect, but the momentum of the headlong rhythm holds it all together.

“Blue Horizon” is, in a sense, just an opportunity for the ever-inventive Hilton to do something different with a blues. There’s also a multidimensional cover of the standard “When I Fall in Love” and a dazzling, stately version of Adele’s “One and Only.” — Paul Weideman CHAD HOOPES Mendelssohn & Adams: Violin Concertos (Naïve Classique) Just 19 years old, Chad Hoopes is rising rapidly through the ranks of emerging violinists, having recently signed a three-CD deal with the Naïve label and, earlier this month, been welcomed into CMS Two, the prestigious journeyman program of Chamber Music Society of Lincoln Center. He visited Santa Fe in 2012 and again in 2013 as a guest of Santa Fe Pro Musica, and in the first of those appearances he played Mendelssohn’s E-Minor Violin Concerto. That evergreen masterwork receives a spot-on performance on his debut CD for Naïve. It’s easy for soloists to go on automatic pilot in this elegantly crafted concerto, but Hoopes keeps listeners on the edge of their seats, infusing the piece with an urgency that is matched point-for-point by the MDR Leipzig Radio Symphony Orchestra, conducted decisively by Kristjan Järvi. Not less impressive is their rendition of John Adams’ Violin Concerto. Composed in 1993, this sizzling work has by now become borderline familiar — this is, I believe, its fourth recording — and each exposure confirms its intense joyfulness.

It’s a deeply American piece, born from the loins of Copland, Barber, and (in its rhythmic complexity) Nancarrow. This concerto is all about adrenaline, which Hoopes seems to have in abundant supply. But it is also generous in its lyricism, as he demonstrates with hovering weightlessness in the slow movement.

— James M. Keller

Please join us Saturday, May 17th 2:00 pm to 4:00 pm

for hors d’ oeuvres and cocktails, and browse for inspiration or finally find the perfect piece for that perfect place in your home.

We look forward to meeting you!

Phone: 505.820.0853 Fax: 505.983.9989 314 S. Guadalupe • Santa Fe, NM 87501 www.santafeorientalrugs.com

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Luke is just one success story out of thousands. Since 1983, Santa Fe Community College has empowered students and strengthened community.

LEARN MORE. sfcc.edu | 505-428-1000

Empower Students, Strengthen Community.

PASATIEMPOMAGAZINE.COM

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TWO-TIMERS JULIE BRETTE ADAMS & KATE EBERLE COLLABORATE ONCE MORE

Paulo T. Photography

J

Michael Wade Simpson I For The New Mexican

ulie Brette Adams’ annual solo dance concert, One Woman Dancing, is not actually a solo performance this year. When Adams began to turn a duet she had choreographed with Kate Eberle in 2006 into a solo for this weekend’s production at the Santa Fe Playhouse, she decided, on a lark, to see if Eberle would come out of retirement to join her in the piece.

Eberle has quit dance and come back several times before — both in New York, where she danced professionally in her 20s, and again after moving to Santa Fe. “I have this bar I hold really high for myself as a dancer. If I don’t think I can meet it, I quit,” she said. “I’m extremely type A.” Adams and Eberle produced six Two Women Dancing concerts from 2004 to 2010. After that, Eberle was quite clear, according to Adams, that their collaboration was over — until Adams sent a recent email with the subject heading, “You’ll probably say no, but …”

“I’m 51. I’m in the prime of my life,” Eberle said.

“I had decided that I would be open to all experiences 22

PASATIEMPO I May 9-15, 2014

this year. When I got the email, I thought for about 30 seconds and then said yes.”

“I saw her reply and screamed, ‘Oh my God!’ and starting jumping up and down,” Adams said. “When we began to rehearse, I felt such joy. I didn’t anticipate being so happy to dance with Kate. I realized how much I missed it. It really hit me how deeply poignant and meaningful the sharing of a dance space with her had been.”

The duet, Raindance, features the two in matching gray raincoats dancing in the wind and rain — not as Gene Kelly did on a street corner in Singin’ in the Rain but with a more modern-dance approach, like seedlings awakening in the midst of spring showers, feeling the first inkling to grow. “I hadn’t been to a dance class since 2010,” Eberle said. “I didn’t think I was going to be able to get through it.” The two watched videotapes of their 2006 performance to relearn the choreography. “I wasn’t prepared for the feeling I got. It felt exactly how I felt when I danced with you before,” she said, turning to speak to Adams after a run-through at Adams’ home studio.

“Some of the best and most magical moments in my life have been with Julie, on stage and off. There is a vast and bottomless well of creativity and ingenuity, an inexhaustible will and desire to create,” Eberle said.

“When we collaborate, it is a phrase from me and a phrase from her,” Adams said. “It is a wonderful, frequently hilarious and fun process. There is no negativity.

There are no obstacles. We are able to hear each other without any defensive, reactionary responses.”

Eberle will also dance a solo in the concert, Rest, Rise, Fall. She gave a preview of the piece at Adams’ studio. From small details like a palm sliding slowly across the floor to lyrical, full-body movements that contain echoes of a Latin-jazz score by Omar Sosa, Eberle is clearly back in her element.

Also on the program is a new piece by Adams called Bride of the Icefields. The dance, according to the choreographer, is a very abstract look at climate change.

“I dance on a small platform that represents a piece from a broken-up ice field.” Her character suggests elements of Japanese anime, and her costume is reminiscent of steampunk style. “The absurdity of actually dancing on a piece of ice led me to create something more surreal.

The bride is a person trying to embrace the reality of the tragedy of global warming. Eventually, you can’t go anywhere else. She has her experience of that fear. It’s very cryptic, whispered.”

Tango on Steel gives Adams an opportunity to put on high-heeled shoes. A devotee of Argentine tango, she loves the sinuous movement, sensuality, lines, and improvisation involved in the form. But in Tango on Steel, instead of expressing this dance of passion with a male partner, her partner will be a rectangular steel framework.

Absence deals with yearning and melancholy, according to Adams. “Often in the piece, the stage is empty. It is meant to convey both how I feel and to evoke a feeling in the audience, especially when the stage is left empty for a prolonged period of time — longer than an audience is used to.”

Nightshade was choreographed on Adams by Rulan Tangen, founder and director of Dancing Earth, a contemporary Native American dance company in Santa Fe. The piece is about seeds, earth, and growth.

The final piece on the program is Blues Trilogy.

In the center section, which Adams said offered the initial inspiration for the piece, the voice of bluesman Mississippi Fred McDowell offers a rambling riff on the definition of the musical form, caught in a long-ago performance as an introduction to a song that never comes, at least in this dance. “I liked the abstraction of the voice, the rhythm of his voice. When I first heard the recording, I couldn’t understand a thing he was saying. It was more about the sound waves of his voice. That helped to generate a gestural dance. I imagine being in somebody’s backyard. It’s really hot.

There’s music, and I’m just doing my own thing.” ◀

details ▼ One Woman Dancing, Julie Brette Adams with guest artist Kate Eberle ▼ 8 p.m. Friday & Saturday, May 9 & 10; 2 p.m. Sunday, May 11 ▼ Santa Fe Playhouse, 142 E. De Vargas St. ▼ $20, discounts available; call 505-986-1801 for reservations

Discover Your Potential

Digital Arts classes are available in:

Graphic Design • Marketing and Social Media Photography and Videography Computer Graphics • Animation and Video Editing Music Production • Apple Creative Pro Web Design and Development Classes are non-credit and are offered at various dates and times to fit your schedule.

Digital Arts Information Session Wednesday, May 21, 5:15pm-6:30pm Get information on certificate programs, courses and employment for Graphic Design, Web Design and Development, Digital Photography, Digital Filmmaking, Multimedia, Apple Certified Professional, and more. RSVP at digitalarts@unm.edu if you plan to attend.

505-277-6037 • digitalarts.unm.edu • 1634 University Blvd. NE

NDI NEW MEXICO THANK YOU FOR YOUR SUPPORT Sotheby’s International Realty Foundation & Shane Cronenweth Ann Aceves New Mexico Bank & Trust Woods Design Builders Klinger Constructors LLC Charmay Allred Eileen Wells Cynthia & Alan Coleman Charles Dale & Leigh Moiola and Dan & Ashlyn Perry Diane & Peter Doniger Kathy & Rick Abeles Box Studio LLC Toma & Joe Corda Paula & Steve Fasken Diane Fisher Bill & Elinor Fries Gail & Jim Goodwin Medora & Jim Jennings Luci Tapahanso & Robert Martin Beth & Steve Moise Barbara & Chuck Moore Meredith & Ed Tinsley Sasha Wilcoxon May & Charlie Wilson

SPECIAL SuPPoRT: Amanda’s Flowers Arosa/David Morris International Body Daniel (NYC) Four Seasons Rancho Encantado Hyatt Regency Tamaya Resort and Spa Inn of the Five Graces La Boca, Taberna & Mas La Posada de Santa Fe The Club at Las Campanas Loews Regency Hotel NYC Lululemon Nambe, LLC Sanctuary Day Spa The Spa at Hotel Santa Fe Studio J Yoga Source THANK You: Russell Baker Devin Arvio Debi Baciocco Robert Benavidez Melissa Briggs Joseph M. Bryan, Jr.

Cristiane C de oliveira Ruben Corriz Bert Dalton Lindsay Dandeo Aline Harris-Ellis Miya King-Flaherty Lizeth Garcia David Geist Brian Jensen Nam Khalsa Barbara Kastner Nicole Larson Tammy Leyba Allegra Lillard Emily Lowman Kristin Macdonald Alison Montoya Josh McIntosh Sandra ortiz Cecily Peterson Danny Silver Liz Salganek Leslie Stamper Gemtria St Clair Jodi Stumbo Gretchen Williams

Maria Wolfe Classic Party Rentals Santa Fe Audio Visual Walter Burke Catering Governor’s Residence Preservation Fund Lorraine Rosenbloom, Julia Ruetten, Gloria Marquez & Claire Romero Arrow Protective Services uSA Security Michael’s Valet Private Ride Soul Kitchen Kelly/Liquor Barn SANTA FE GALA CoMMITTEE: Linda DiPaolo Love, Co-Chair Mayo Miller, Co-Chair Kristina Alley Laura Altomare Shane Cronenweth Michael D’Alfonso Valerie T. Diker Diane Doniger Lynn Heffron Katherine Jetter Stefan Lark

Linda Vega May Wilson DANCE SPoNSoRS: Valerie T. & Charles Diker Diane & Peter Doniger Innovate + Educate Thomas & Brenda Nickoloff The Santa Fe New Mexican John L. Tishman SPECIAL THANKS To: Catherine oppenheimer Governor Susanna Martinez & Chuck Franco

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23

MOTHER’S DAY WEEKEND ESTATE SALE under the direction of Karen Marrolli, present their annual dessert concert

18th Century Mexican Mesquite Table, Vintage Leather Couch and Pr. Chairs, Antique New Mexican Bench, Spanish Dining Table, Pr. Carved Wood Upholstered Chairs, Sabino wood Cabinet/Desk, Spanish Carved Side Table w/ Iron, 6 Upholstered Mexican Dining Chairs, New Mexican Sideboard, Pr. Leather & Iron Chairs, 19th Century Mexican Table, 4 Upholstered Dining Chairs, Pr. Cane Benches, Table, Desk & Shelf by D. Marsh, Modern Wood & Steel Table, 3 Modern Chairs, Chest of Drawers, Wicker Bench & Chair, Iron & Glass Console Table & Side Table, 19th Century Burmese Buddha, Pr. Large Chinese Celedon Jars, Pr. Chinese Foo Does, Slate & Iron Coffee Table, Antique Painted Wood Chair, New Mexican Straw Inlay Trunk, 30s-40s Mexican Pottery, Textiles, Folk Art Tinware, Saltillos & Clothing, Native American Pottery, Fetishes & Kachinas, Linens, Rugs, Standing & Table Lamps, Kitchenware, Bedding and More!

Friday, Saturday, Sunday • May 9, 10, 11 • 9a..m. to 4p.m.

517 Calle Corvo WWW Estate Sales • Follow Signs

4:00pm, Mother's Day, May 11, 2014 First Presbyterian Church

208 Grant Avenue, Santa Fe, New Mexico

Tickets $20, students free Come sing with us, send us a note on our website at www.TheZiaSingers.com.

Celebrate Mothers Day Open Studios & Sale Priscilla & Denise

10 Via la Puente 466-2255

pots murals paintings

Vicki & Lucinda

9 B Marcellina Lane 466-4799

woodfired functional pottery

including pottery by Triesch & Cindy

Vicki Snyder / Slip & Soda Priscilla Hoback Studio Saturday, May 10 | 10:00 to 4:00 | Galisteo Village 24

PASATIEMPO I May 9 - 15, 2014

ON STAGE African queen: Leni Stern

Sandrine Lee

Leni Stern’s restless musical curiosity took her from Germany (where she was born) to the United States (where she studied at Berklee College of Music) to Mali (where she picked up the traditional African banjo known as the n’goni). The guitarist and singer made a splash in the jazz world in the early 1980s, but in more recent years she has focused her attention on the music of West Africa. Her album Jelell (2013) was recorded in Senegal with Mamadou Ba (bass) and a family of percussionists led by Alioune Faye. She comes to Gig Performance Space (1808 Second St.) with her African Trio on Sunday, May 11. Tickets for the 7:30 p.m. show cost $20 at the door. Visit www.gigsantafe.com. — L.B.

THIS WEEK

Jazz-matazz: NMSA Jazz Ensemble

About a dozen students from the New Mexico School for the Arts perform in a new jazz combo at the high school (275 E. Alameda St.) at 6 p.m. Thursday, May 15. The musicians come to school early twice a week for a performance class, directed by jazz pianist Bert Dalton and drummer John Trentacosta on alternating days. This first concert features Nat King Cole’s “Straighten Up and Fly Right,” the Duke Ellington composition “In a Sentimental Mood,” and music by Billy Strayhorn, Miles Davis, and Sonny Rollins. There is no charge for the show. The NMSA Jazz Ensemble also performs Aug. 4 in the Santa Fe Bandstand series. — P.W.

Craving some cave: The Cave Singers

The very first cave dwellers to strike up a song probably did not sound as cheerful or as polished as the Pacific Northwest band The Cave Singers. The indie-folk quartet is composed of veteran rockers from the bands Pretty Girls Make Graves and Fleet Foxes, among others. Since 2007 The Cave Singers have released four well-received albums, touring far and wide in the process. Their latest effort is Naomi, a collection of upbeat tunes about abstract topics expressed in guttural and sometimes incomprehensible lyrics, which contrast with the clarity of the instrumentals. The band plays at Santa Fe Sol Stage & Grill (37 Fire Place) at 7:30 p.m., Tuesday, May 13. Local band Todd and the Fox opens. Tickets ($12) are available in advance from Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org). — L.B.

PASATIEMPOMAGAZINE.COM

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paSSeD horS D’oeuvreS banana brioche crostini

lobster and pear citrus crema achlote Pork and Mango skewers

orange chimichurri contratto, brut, ‘Millesimato, ‘09

Join Us For A Very Special Wine Dinner Featuring Wines From Piedmont

firSt Grilled Texas Quail breast

saffron black rice and guava barbecue

Special Guest Steve Lewis From Giuliana Imports

GD Vajra, barbera d’alba, ‘11

SeConD

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.

Chef Gharrity will be G r i l l i n G o n t h e pat i o

Rabbit confit and Grilled House bacon

rosewater biscuit, dehydrated strawberries

Thursday, May 15, 2014 at 5:30pm

cavallotto, Dolcetto d’alba, “Vigna scot,” ‘12

Main Dry aged beef Ribeye

grilled local pearl oyster mushrooms, aged balsamic-veal demi-glace

$65 Per Person. For Reservations Please Call 505-988-9232

l. Pira, “Margheria,” barolo, ‘03

DeSSert Grilled apple Tart

lemon-lavender cream Proprietà sperino Rosé, ‘13

open Daily 11:00am until 10:00pm 125 east palace, Santa fe complete menu at lacasasena.com follow

us

on

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COLM TÓIBÍN

with Michael

Silverblatt

WEDNESDAY 21 MAY AT 7PM LENSIC PERFORMING ARTS CENTER Lovely, understated and powerfully sad, The Testament of Mary finally gives the mother of Jesus a chance to speak.

And, given that chance, she throws aside the blue veil of the Madonna to become wholly, gloriously human.

— Annalisa Quinn NPR

custom jewelry design

Colm Tóibín is one of the most distinct and multi-layered voices in modern Irish fiction, noting, “I think fiction lends itself to messiness rather than the ideal, and plays well with the ironies surrounding what happens versus what should happen.” Aside from being a novelist, he is also a playwright, essayist, editor and journalist. Two of his books, The Blackwater Lightship and The Master, a novel depicting the interior life of writer Henry James, were shortlisted for the Booker Prize, and his play The Testament of Mary was nominated for a 2013 Tony Award. Tóibín’s Love in a Dark Time: And Other Explorations of Gay Lives and Literature considers the topic through the lives and works of notable cultural figures such as Oscar Wilde, Elizabeth Bishop and Pedro Almodóvar.

TICKETS ON SALE NOW

ticketssantafe.org or call 505.988.1234 $6 general/$3 students/seniors with ID

celebrating 10 years in the railyard and 26 years in santa Fe

Video and audio recordings of Lannan events are available at:

www.lannan.org

328 S. Guadalupe Stree t, Suite e • 505.820.1080 www.marc-howard.com PASATIEMPOMAGAZINE.COM

27

MOTheR’S Day bRuNCh aT RiO ChaMa Executive Chef Tony Blankenship & Corporate Chef Russell Thornton Are Featuring A Special Brunch Menu For Mother’s Day Sunday, May 11, 2014 from 11:00am – 3:00pm Call for Reservations: 505-955-0765 LoBSTER QuiChE huEvoS RAnChERoS STEAk & EggS STuFFED FREnCh ToAST ShRiMp BiSQuE FRuiT pLATE ChiLLED oySTERS SESAME CRuSTED TunA pRiME RiB SpECiAL DESSERTS & CoCkTAiLS

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PASATIEMPOMAGAZINE.COM

33

VIAJES PINTORESCOS Y ARQUEOLÓGICOS Khristaan D. Villela

In search of the Santa Fe Art Colony aintings, drawings, and prints by Marsden Hartley, Edward Hopper, Robert Henri, Gustave Baumann, and many familiar names in Southwestern art can be seen in an exhibition at the New Mexico Museum of Art. Organized by independent curator Valerie Ann Leeds, Southwestern Allure: The Art of the Santa Fe Art Colony comes to Santa Fe after showing in Florida, at the Boca Raton Museum of Art and the Mennello Museum of American Art in Orlando. Leeds is no stranger to Santa Fe’s museum and gallery scene, having curated two exhibitions of Henri’s paintings for the Gerald Peters Gallery (in 1998 and 2011), and another on his work in Ireland, which was shown at the Georgia O’Keeffe Museum in 2011. As might be expected, the main subjects of the works in the present exhibition include the landscape, Native peoples and their ceremonies, and Southwestern scenes, with many images of adobe buildings. The works are executed in a variety of styles, from realism to Impressionism, Post-Impressionism, and other modernist formulations. The last date to the late 1930s and the rise of the Transcendental school of painting. Before you begin to wonder if there are better examples of early-20thcentury Southwestern paintings in Florida collections than there are here, rest assured that the majority of works in the show actually come from New Mexico, with Gerald and Kathleen Peters the principal lenders.

The label on one of the Baumann woodblock prints includes a quote by the artist that calls into question

P

Cady Wells, Taos, circa 1947; Negative No. 04169, courtesy Palace of the Governors Photo Archives (NMHM/DCA) Top left, painter Andrew Dasburg, New Mexico, 1932, photo by Will Connell; Negative No. 059740, courtesy Palace of the Governors Photo Archives (NMHM/DCA) Top right, Edward Hopper: Ranch House, Santa Fe, 1925, watercolor over pencil on paper; courtesy New Mexico Museum of Art

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the exhibition’s curatorial premise: “While Santa Fe has its quota of artists, it never was a colony in the accepted sense. Its interests are too diversified, which as far as I was concerned was a lucky break.” What do you need for a colony to be a colony? Can we count any artist who passed through Santa Fe and made work here? Does the work need to conform to a certain subject matter or style? What about the Native American and Hispano artists who were already working in the Southwest before Henri and O’Keeffe were born? The label “Santa Fe Art Colony” refers to both a time frame between about 1910 and World War II and a collection of artists who were mostly trained outside of Santa Fe in traditional mediums like painting and sculpture. So Bernardo Miera y Pacheco, a Spanish colonial painter and the sculptor of the retablo in Cristo Rey Church, was not a member of the colony. Neither was Georgia O’Keeffe, although she is represented in the exhibition by a painting on loan from the Orlando Museum of Art.

T

he colony can be said to have begun about a century ago, when Santa Fe was experiencing a remarkable period of growth in its cultural institutions. Edgar Lee Hewett was the ringleader of Santa Fe’s cultural renaissance then, and the Palace of the Governors was the place. Within a year of moving into the Palace, Hewett began offering artists studio space in the rooms on the north side of the courtyard, as well as exhibitions of their work. The painter Warren Rollins had the first solo show in 1910. In 1915 the Palace hosted an impor-

Robert Henri; Negative No. 020110, courtesy Palace of the Governors Photo Archives (NMHM/DCA) Top left, Olive Rush working on fresco at New Mexico State University Biology Building, Las Cruces, 1936, photo by Ina Sizer Cassidy; Negative No. 091578, courtesy Palace of the Governors Photo Archives (NMHM/DCA) Top right, George Wesley Bellows: Santuario de Chimayó, 1917, oil on canvas; courtesy New Mexico Museum of Art

tant early exhibition of photography, as well as what was promoted as the First Annual Exhibit of Santa Fe Artists. The exhibit was repeated in 1916 and expanded in 1917 with the opening of the new Museum of Fine Arts. And all through these years, The New Mexican ran a column called “Notes From the Museum and Artists’ Colony.” Referring to the diverse output of artists who worked in or passed through Santa Fe this way was both aspirational and a marketing strategy by Hewett and other boosters of the era.

One reason the New Mexico Museum of Art was interested in Southwestern Allure was the approaching centennial of the museum, which opened (as the Museum of Fine Arts) in November 1917. Also, several of the artists whose work is included, especially Henri, Kenneth Chapman, and Carlos Vierra, played key roles in making the museum possible, The museum owes its creation as much to Hewett’s efforts to promote Santa Fe as an art colony as it does to his and his team’s participation in the Panama-California Exposition, held in San Diego in 1915 to celebrate the opening of the Panama Canal. Hewett was tapped to organize the art and ethnology exhibitions at the fair.

An earlier Viajes column (“Simulacrum, simulacrum on the wall,” April 27, 2012) discusses the casts Hewett’s staff made of ancient Maya monuments at Quiriguá, Guatemala, which were the most imposing displays in the anthropological and archaeological building at the San Diego fair. The exhibit, housed in what was called the California Building (now the San Diego Museum of Man), also included large-scale paintings of Maya ruins by Vierra, as well as low-relief sculptural scenes of ancient Maya life by Jean CookeSmith, Sally James Farnham’s sculptural panels on the

history of the discovery and conquest of the Americas, and architectural models. Three other fair venues featured art displays, and all can be connected to the founding of the Museum of Fine Arts. The fair’s New Mexico Building housed exhibits on the state’s history, including paintings of Spanish colonial churches and Catholic festivals by Donald Beauregard and Gerald Cassidy. There were paintings of mission churches

by Karl Fleischer and Southwestern scenes by Ernest Blumenschein, Victor Higgins, Bert Phillips, Joseph Henry Sharp, and Walter Ufer of the Taos Society of Artists. The building was designed by Rapp, Rapp, and Hendrickson in the Pueblo-Spanish Revival style, modeled after several New Mexico mission churches, especially San Estévan del Rey at Acoma Pueblo.

A

s Chris Wilson has discussed in detail in The Myth of Santa Fe (1997), Isaac Rapp’s Museum of Fine Arts was essentially a reconstruction of the building at the fair, with some modifications. At the fair, the Indian Arts Building displayed some 5,000 examples of Southwestern pottery, from ancient to modern, along with paintings by Cassidy. Among all the artists who contributed work to the San Diego fair, none had the reputation of Henri, who was introduced to Hewett in 1914 by the painter’s former student Alice Klauber.

Henri was one of most respected painters in the U.S. in the early decades of the 20th century. In 1908 he organized an exhibition in New York at The Macbeth Gallery of his work and that of seven colleagues, who together were called The Eight. They included, in addition to Henri, Arthur B. Davies, William Glackens,

continued on Page 36 PASATIEMPOMAGAZINE.COM

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Viajes, continued from Page 35

Ernest Lawson, George Luks, Maurice Prendergast, Everett Shinn, and John Sloan. The group was soon referred to as the Ashcan School for their interest in depicting the gritty realities of modern urban life. In San Diego Hewett had appointed Klauber to the Fine Arts Committee for the fair, and she enlisted Henri’s aid and influence in assembling a group of artists to show their works in the Fine Arts Building in 1915.

In an article published in 1975 in American Art Review, Jean Stern notes that Henri’s proposal for artists to show at the fair essentially involved The Eight plus a few new faces: Sloan, Prendergast, Davies, Glackens, Lawson, and Luks, as well as George Bellows, Carl Sprinchorn, Childe Hassam, and Guy Pène du Bois. Stern writes that by 1914 there was bad blood between Henri and Davies over the direction American art should take. Davies was a key figure in promoting a vision of modern art epitomized by many of the works exhibited at the famous Armory Show in 1913. The show introduced Americans to European avant-garde artists and styles for the first time. While several members of Henri’s circle exhibited at the Armory Show, he seems to have resented the implication that European art styles such as Cubism were the only voice of modernism. Although the scales of the exhibitions were quite different — 49 works in San Diego in 1915 versus more than 1,000 in New York in 1913 — Stern argues that Henri’s vision for the Panama-California exhibition was to promote a uniquely American version of modern art, as opposed to imported styles.

But it is difficult to consider his final roster of painters “uniquely American,” as so many of them had studied in Paris. In the end, Davies declined Henri’s invitation, Glackens was busy, and Joseph Henry Sharp was added

Artists John Sloan, Stuart Davis, and Will Shuster, New Mexico, 1923; Negative No. 028815, courtesy Palace of the Governors Photo Archives (NMHM/DCA) Top, Stuart Davis: Pajarito Plateau, 1923, oil on canvas; courtesy New Mexico Museum of Art

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PASATIEMPO I May 9-15, 2014

as a substitute. Only a few of the paintings in the San Diego exhibition had Southwestern themes, at least as far as can be discerned from the list of works in the fair’s official guidebook. Although all the paintings were for sale, Stern notes that none were sold when the fair closed at the end of 1916 and that the exhibit received scant notice in the press.

O

n April 12, 1916, The New Mexican reported that the Museum of New Mexico board had just met and accepted a certified check for $30,000 from Frank Springer, thus matching the funds appropriated by the state legislature for a new museum. Construction was set to begin within two weeks. Springer was an amateur scientist, an attorney for the Maxwell Land Grant, and a longtime patron of Hewett’s. If Henri introduced Hewett to leading figures in American art, Springer provided the material support that made the fine arts museum possible. In Robert Henri in Santa Fe (1998), Leeds notes that, according to articles in The New Mexican and El Palacio, Henri was instrumental in organizing the inaugural exhibition at the museum, which opened on Nov. 24, 1917. The painters in the show included many familiar names from San Diego, with notable additions from the Taos Society.

As printed in Vol. 4, No. 4 of El Palacio, the artists who exhibited were Henry Balink; George Bellows; Oscar Berninghaus; Ernest L. Blumenschein; Paul Burlin; Edgar S. Cameron; Gerald Cassidy; Kenneth Chapman; Mrs. E.E. Cheetham; E.S. Coe; E. Irving Couse; Leonard H. Davis; Katherine Dudley; Helen Dunlap; W. Herbert Dunton; Lydia Dunham Fabian; W. Penhallow Henderson; E. Martin Hennings; Robert Henri; Victor Higgins; Leo F. Hirsch; Alice Klauber; Leon Kroll; Ralph Meyers; Arthur F. Musgrave; Sheldon Parsons; Bert G. Phillips; Grace Ravelin; Julius Rolshoven; Doris Rosenthal; Joseph Henry Sharp; Eve Springer; G.C. Stanson; Walter Ufer; Mrs. Walter Ufer; Theodore Van Soelen; Carlos Vierra; and Mrs. Cordelia Wilson.

The small number of women on the list is notable, since the story of Southwestern painting during this era is often presented as a boys club. Indeed, there is just one painting by a woman in Southwestern Allure, an untitled Santa Fe scene by Olive Rush. The only works in the current show from the inaugural exhibition are Henderson’s End of Santa Fe Trail (1916), lent by Ray and Kay Harvey, and Vierra’s Zia Pueblo Mission (circa 1914-1918), from the Panhandle-Plains Historical Museum in Canyon, Texas. The show includes works by many artists who were not yet residents of Santa Fe in 1917 (or had not yet visited the city) or whose work did not conform to Henri’s taste. Among the works by artists who moved to the area after 1917 are Raymond Jonson’s 1927 Portrait of a Painter (Self-Portrait), in the background of which we can see his Earth Rhythms No. 9 (1926), also included in the show. Cady Wells’ ink and gouache Black Mesa (circa 1938) is a remarkable meditation on the New Mexico landscape, poised at the edge of abstraction.

Southwestern Allure is installed in royal-blue galleries that contrast in a pleasing way with the ornate gilded frames of many of the works. This is a show that must be seen in person, as many of the pieces are in pristine condition, their oil paints undimmed by time or grime.

The exhibition catalog contains a short essay by Leeds, but the quality of the reproductions leaves much to be desired. Ultimately, whether or not there really was a Santa Fe Art Colony may be academic. The place, and the museum, attracted a broad spectrum of artistic talent, which we can appreciate in this exhibition.

While Robert Henri’s status and Frank Springer’s money were significant factors in the museum’s creation and early success, much credit is also due Edgar Lee Hewett, whose body is entombed in the courtyard wall. ◀ “Southwestern Allure: The Art of the Santa Fe Art Colony” is on view at the New Mexico Museum of Art (107 W. Palace Ave., 505-476-5072) through July 27.

Entrance to the exhibit is by museum admission.

Dr. Maxine Thévenot -­‐ Artistic Director

2014 Spring Concert

Baroque Fireworks!

Los Alamos: Friday, May 9 at 7:00 p.m.

Bethlehem Evangelical Lutheran Church 2390 North Road 87544 Santa Fe: Saturday, May 10 at 5:30 p.m.

First Presbyterian Church 208 Grant Avenue 87501

Creating

Photo © Bob Smith

SangredeCristo Sangre de Cristo Chorale

A Program of

International Folk Art Alliance

The Work of Art

Join the Chorale, with the orchestra led by Debra Terry and guest soloists Kate Winchester, Drea Pressley, Jason Vest and Edmund Connolly, as they perform selections from Baroque masterworks:

− G.F. Handel’s Coronation Anthems − J.S. Bach’s Cantata # 78 − G.F. Handel’s Messiah – Part 3

Community

Through

SONG

Tickets available at sdcchorale.org or at the door − Adults: $20 − Students: $10 − 18-­‐and-­‐under with an adult: Free

P.O. Box 4462, Santa Fe, New Mexico 87502 | www.sdcchorale.org

Meet the World in Santa Fe!

Painting the Land of Enchantment PAPNM Members’ Annual Juried Exhibition May 2–17, 2014

Peggy Immel, Seven Below, 2013

International FolkArtMarket | Santa Fe July 11,12, &13, 2014

Featuring more than 150 master folk artists from around the world.

Tickets on Sale Now! Visit folkartalliance.org to buy online.

Tickets also available at the Museum of New Mexico Shops & Los Alamos National Banks or by calling 505.886.1251 The International Folk Art Market is a program of the International Folk Art Alliance, a tax-exempt, 501(c)3 nonprofit organization in partnership with the New Mexico Department of Cultural Affairs, Museum of International Folk Art, Museum of New Mexico Foundation, and City of Santa Fe. Partially funded by the City of Santa Fe Arts Commission and the 1% Lodgers’Tax and the County of Santa Fe Lodgers’Tax.

Opening Reception: Friday, May 2, 5:00–7:00pm

Santa Fe Trails

Gary Kim Gallery, 228 Old Santa Fe Trail, Santa Fe, NM

www.papnm.org

PASATIEMPOMAGAZINE.COM

37

Michael Abatemarco I The New Mexican

THE STAGE IS SET Richard Long rearranges the classics

S

culptor Richard Long has a ready-made source of imagery to draw from for his inventive, meticulously crafted dioramas. Culling from some of art history’s most well-known masterworks, as well as from mythology and cinema, Long combines his source figures into richly colored tableaux, recontextualizing original works through his arrangements. You can have great fun identifying who’s who in each diorama, but it helps to know your art history. Take, for example, Long’s Romans and Demoiselles. In the foreground, revelers based on figures in Thomas Couture’s 1847 painting Romans During the Decadence cavort in a drunken orgy, while off in the distance are Pablo Picasso’s figures from Les Demoiselles d’Avignon (1907). Couture’s painting, though set in the days of the waning Roman Empire, was intended as a critique of decadence in 19th-century French society.

Contrasting the classical figures with Picasso’s early Cubist work provides another meaning. Romans and Demoiselles juxtaposes the decline of French academic painting styles with the eventual rise of Modernism, staging its figures against a backdrop of sunset. “In the 19th century, Couture’s painting was one of the most highly regarded paintings of its time by the French Academy,” Long told Pasatiempo. “Of course the academy was replaced by guys like Picasso. That was the first time he started experimenting with abstraction and was influenced by African masks, things like that.

It’s the beginning of Cubism.” Long’s dioramas are on exhibit in Beyond Surrealism, at his gallery, Richard Long Fine Art, through June 7.

In Long’s Impressionist Dreams, he encapsulates the history of Impressionism through appropriations of some of the late 19th century’s most well-known works.

Beneath a starry sky rest figures from Paul Gauguin’s Tahitian Women on the Beach from 1891, Georges

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PASATIEMPO I May 9-15, 2014

Seurat’s 1884 pointillist masterwork A Sunday Afternoon on the Island of La Grande Jatte, and Édouard Manet’s barmaid from his 1881 painting A Bar at the FoliesBergère. In the background we glimpse the four central figures from Manet’s Luncheon on the Grass, considered scandalous by the French Academy when submitted to a jury for inclusion in a Salon exhibition in 1863.

The controversy resulted in the formation of the Salon des Refusés, for display of works rejected for the Salon exhibition.

The Luncheon figures show up again in Long’s daytime beach scene 19th Century Painting. Here, they are dressed in contemporary bathing suits in a peaceful setting, where we see additional familiar figures, including a saltimbanque from Picasso’s 1905 Family of Saltimbanques. At the far right, a pendulously breasted sphinx gives her prophecy to a doomed Oedipus as depicted in Jean-Auguste-Dominique Ingres’ Oedipus and the Sphinx from circa 1826. “It’s kind of a tranquil, pleasant scene of the fin de siècle,” Long said. “I threw Oedipus in for kind of an unpleasant feeling to the thing, sort of like the coming apocalypse of the First World War that’s about to wipe out the feeling that everything was right in heaven and earth.”

Long, known for life-sized sculptures of nudes cast in bronze and painted resin, casts the individual elements of each diorama and then paints them with acrylics and patinas. “I used to work in art foundries, so I was able to make rubber molds of all these things.

That’s why there’s duplicates of these things around. I cast them separately and weld them on. Acrylic paint works better on bronze. Oils change color over time.

You just make the wax figure, and from that you make a plaster mold. Just pour the resin into the plaster mold and there they are. They have threaded rods in them to keep them together so they don’t break. You end up

doing about half of the shaping and finishing with files after casting.”

Long’s Poseidon and Laocoön, set in a stately, handbuilt wooden hutch, tells a dramatic story tied to the fall of Troy. On the right of the diorama rests the infamous wooden horse that hid the Greeks from their Trojan foes. In the background the figures of Laocoön and his sons, from a first-century sculpture attributed to Athanadoros, Hagesandros, and Polydoros of Rhodes and based on a Hellenistic original, writhe in struggle with sea serpents. “The story of the death of Laocoön and his sons is that he’s a Trojan priest who tells the Trojans not to bring that horse in through the gates or it will mean the doom of the city,” Long said. “Poseidon is not on the side of the Trojans, so he sics his serpents on Laocoön.”

Long’s Homage to Cecil B. DeMille stands out for its lack of art historical references. Long drew from the tale of Moses and the parting of the Red Sea as depicted in DeMille’s 1956 film The Ten Commandments. Set in an alcove in the sculpture’s wooden base is a depiction of Charlton Heston coming down from the mountain with the commandments. “I was thinking about spectacle and the influence that motion pictures have had on popular culture.” While Homage to Cecil B. DeMille is Long’s only cinema-inspired diorama as yet, he hopes to make others, including one based on the tales of science run amok that terrified movie audiences in the 1950s, with a slew of giant monsters. Long envisions the piece set into a wooden base with columns. “The columns would be girls in poodle skirts. Down below would be an atomic bomb blast and a tiny little tarantula in a beer can. At the top would be a giant tarantula coming over the horizon with the Army tanks that will stop him, that sort of thing. I’m a big fan of ’50s science fiction.” ◀

details ▼ Beyond Surrealism, Dioramas by Richard Long ▼ Opening reception 5 p.m. Friday, May 9; exhibit through June 7 ▼ Richard Long Fine Art, 715 Canyon Road, 505-913-9762

Richard Long: Romans and Demoiselles, painted resin and wood

%)"" (! &'*($!#

The Horse Shelter’s Annual Auction Benefit on May 18th, 2014 at 12 p.m.

Tickets still available for Santa Fe’s best auction!

Get some amazing deals and enjoy this great event surrounded by our horses at our ranch in Cerrillos.

Tickets $75 per person (90% tax deductible), luncheon by restaurant martín Our success depends on YOUR support and attendance!

The Horse Shelter 1600 Lena St, C.10, Santa Fe, NM 87505 • 505-471-6179 info@thehorseshelter.org • www.thehorseshelter.org

YOUR MORNING FIX.

Daily headlines from santafenewmexican.com and Fridays from pasatiempomagazine.com.

May 9, 10, 11, & 16, 17, 18 FRI & SAT @ 7:00pm

SANTAFE NEWMEXICAN .COM/ NEWSLETTERS

Be Our Guest!

SUN @ 2:00pm

You turn to us.

505 982--3327 for Tickets & Info 505--982 www.pandemoniumprod.org PASATIEMPOMAGAZINE.COM

39

MOVING IMAGES film reviews

Blood brother Jonathan Richards I For The New Mexican Blue Ruin, thriller, rated R, Center for Contemporary Arts, 2.5 chiles Revenge, it is said, is a dish best served cold. In Blue Ruin, a thriller by Jeremy Saulnier (Murder Party) that made a bloody splash at Cannes last year, the dish may be cold, but it is served by warm sweaty hands that fumble and spill and make a sloppy mess of things.

I’m not talking about the quality of the movie, which is generally tight and neatly crafted. But the central character — it would be an overreach to call him a protagonist — is not your Liam Neeson-style efficient master of revenge. This guy is a sad sack, a loser, a schlub.

When we first meet Dwight (Macon Blair), he’s a homeless loner who lives in his blue ruin of a Pontiac and breaks into houses to use the bathroom or pick up a change of clothes. He feeds from dumpsters, scavenging bottles to collect the deposits. His hair and beard are untended, and his eyes are vacant. He looks like Zach Galifianakis with a really bad hangover.

A cop taps on the window of his car, where he sprawls untidily asleep, and we expect a brusque “Move along.” Instead, in a kindly, nurturing way, she takes him down to the station. Reassuring him that he’s not in trouble, she shows Dwight a newspaper. In the headline, we catch a fleeting glimpse of something about a double-murder conviction overturned. “I thought you should be somewhere safe when you found this out,” she tells him. “He’s going to be released.”

The hate-y bunch: Eve Plumb

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PASATIEMPO I May 9-15, 2014

Hirsute vengeance: Macon Blair

It takes quite a while for specifics to emerge in this movie, but the time is spent building atmosphere and suspense. There’s virtually no dialogue for long stretches. The soundtrack pulses with tuneless menace. The camera stays in close, keeping context and surroundings to a minimum as it follows Dwight, or parts of Dwight: feet, hands, the back of his head. We see him slumped in his car outside the prison, watching a limousine full of well-wishers arrive to welcome the freed convict. We follow the party to a roadhouse where they go to celebrate the release. We watch as Dwight breaks into parked cars, trying to steal a gun.

For a long time not much happens, but when the eruptions of blood come, they come thick, fast, and furious, spurting and splattering in freshets and pools.

We soon learn the source of the mission of vengeance that drives Dwight. But his facts and his justifications may be as messy as his actions.

As the blood clears, we become aware that this involves a feud between clans (one member is played

by Eve Plumb, Jan Brady from The Brady Bunch), a suburban Hatfields and McCoys, the sort of maelstrom of violence and revenge that never ends until the last clan member has been terminated. There’s no calling the police and no headlines in the local news. This is a battle that will be pursued and settled on strictly personal terms.

The bloody thrusts and counterthrusts seem crafted from the toolbox of Tarantino, tempered in the wry savagery of early Coen brothers movies. There will be things the squeamish may not want to watch, from the obliteration of a face with a high-caliber bullet to the impaling of a thigh with an arrow from a crossbow, and its grisly removal. There is a subtext of satire here, a splattering of dark humor, and there is little question that the filmmakers are having fun, whether or not you feel like joining in.

Writer-director Saulnier (who also wields the camera) and Blair are boyhood pals who grew up in suburban Virginia watching movies like Rambo and Aliens and reveling in the gore. They started making Super 8 movies in grade school, shooting in sequence and editing in the camera because they didn’t have the equipment for a proper edit. The blood in those schoolboy efforts flowed freely from plastic bags of paint. Now they’re in their late 30s, and their tricks have grown more sophisticated, but you still sense that boyish glee and the spirit of “Hey kids, we can make our own movie” flow through the veins of Blue Ruin.

At a turning point in the movie, Dwight cleans up, cutting his hair, shaving his beard, and trading in his rags for some purloined chinos and a preppy shirt. It’s a shock to see that this wild man is actually a person a lot like us, or at least like someone we know. He’s not a hardened killer. He’s more like an accountant or a church organist.

A man’s gotta do what a man’s gotta do, although Dwight doesn’t have much of an idea how to go about it. But in our brave new world, where guns are lovingly protected by courts and legislatures, where they’re carried in churches and libraries and bars and schools — and probably in the movies, in a seat near you — he knows where to start. ◀

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MOVING IMAGES film reviews

The Munro doctrine Jennifer Levin I For The New Mexican Hateship Loveship, drama, rated R, The Screen, 3 chiles They say the book is always better than the movie.

Though there are some exceptions to this rule — most notably, Gone With the Wind — it’s usually true, because of the challenges inherent in transferring narrative voice and interior monologue from page to screen with 100-percent accuracy. It’s not possible. Among the many artistic liberties a screenwriter or director might take with an adaptation, invariably what is complex and nuanced gets simplified and compressed to fit the dramatic arc of a different medium. In director Liza Johnson’s Hateship Loveship, the film adaptation of the 2001 short story “Hateship, Friendship, Courtship, Loveship, Marriage” by Nobel Prize winner Alice Munro, many such liberties are taken. The time frame is updated from the 1950s to the present; the setting is moved from Ottawa and Saskatchewan to Iowa and Chicago; and character motivations and descriptions are altered.

The plot is essentially the same, though the order in which the information is presented is turned inside out. Sabitha and Edith, two teenage girls, make Sabitha’s new housekeeper, Johanna, believe that Sabitha’s ne’er-do-well father is romantically interested in her. Based on this lie, Johanna makes a series of bold decisions that change her life. In both book and movie, the plot is merely a wire frame for peeks into

Kristen Wiig

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the psyche of each character. Hateship Loveship doesn’t resort to voice-overs in an attempt to get at that missing interior monologue, which is a relief. It’s a quiet, earnest film with a timeless visual style, as though shot through an Instagram filter.

As with Robert Altman’s 1993 film Short Cuts, another famously just-off-the-mark cinematic adaptation of short fiction by a luminary (Raymond Carver, whose stories, like Munro’s, dwell in the details of ordinary people in their daily lives), the movie is better if you haven’t read the book. The better you know the author, the weaker the movie feels.

Hard-core Munro fans might take issue with the fact that in the movie, Johanna, the mid-30s spinster protagonist, is played not by a lumpy woman with frizzy red hair but by the lanky, ash-blond Kristen Wiig, an actress known for her comedic chops on Saturday Night Live and in the movie Bridesmaids. Casting is as good a place as any to revel in the opportunities adaptations present, and Wiig is great in this role. In fact, everyone in this movie is great — especially Nick Nolte as Mr. McCauley, Guy Pearce as Ken, and Sami Gayle as Edith.

Wiig uses her talent for physical comedy with admirable restraint, not saying much but letting emotions play at the corners of her mouth and eyes. In her first scenes, she deals with the death of an elderly woman for whom she was responsible. Watching her wrestle with the body to dress it as it slips into rigor mortis isn’t funny exactly, but through her exertions, Wiig is able to communicate the kind of person Johanna is. She’s isolated. She has lived without friendship or fun or love — yet she is capable of caring for others in a way that, especially in the movie’s updated setting, feels old-fashioned. Nolte, known for playing cantankerous, dangerous men, is charming and warm as the story’s patriarch. Though similarly

predisposed against his son-in-law, Mr. McCauley in the movie is not as stern and mercenary as he is in the book. Pearce, as a remorseful drug addict struggling toward a new life, delivers the movie’s most subtle and affecting performance. He wants to establish roots but doesn’t know how, and he isn’t trustworthy. He’s not a bad man. He’s just a man who doesn’t know how to get back what he’s lost, or whether he deserves to.

Hateship Loveship is about life’s basics — what drives us, what scares us, what gives us hope. It is about the ways that injustice and kindness are not mutually exclusive, and the way time and experience change how we look at other people. In the beginning, Johanna can keep a house, but she is naive about social cues and easy to take advantage of. She is also steely and determined when she has a goal, and her naiveté acts as a shield against social intimidation.

She ignores the hostility and suspicion of others and finds something to clean. We watch Sabitha (Hailee Steinfeld) watching her and see Johanna transform in her eyes from a strange interloper with no place in her life to a friend and confidante. We also see — although not as effectively as in the source material — the inevitable growing apart of two teenage girls from different socioeconomic backgrounds. In the movie, their individual moral compasses are more relevant than their class.

“Hateship, Friendship, Courtship, Loveship, Marriage” is the second of Munro’s stories to be adapted into a film. The first, “The Bear Came Over the Mountain,” was adapted and directed by Sarah Polley as Away From Her, which was nominated for two Oscars and won a Golden Globe. Despite the challenges in adapting literature into meaningful cinematic experiences, it’s a noble endeavor. In this age of sequels, retreads, and comic-book flicks, serious directors would be advised to turn more often to such authors as Munro for original, thought-provoking narratives. ◀

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11:00a - Particle Fever 12:30p - Vivian Maier* 1:45p - Bicycling with Moliere 2:30p - Under the Skin* 4:00p - Vivian Maier 4:45p - Big Men* 6:00p - Bicycling with Moliere w/ French Film Salon 7:00p - Blue Ruin* 8:15p - Under the Skin 9:00p - Blue Ruin*

Mon-Wed May 12-14 1:00p - Bicycling with Moliere 1:45p - Under the Skin* 3:15p - Vivian Maier 4:00p - Big Men* 5:15p - Bicycling with Moliere 6:15p - Blue Ruin* 7:30p - Under the Skin 8:15p - Blue Ruin*

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MOVING IMAGES film reviews

Plasma screen Jonathan Richards I For The New Mexican Only Lovers Left Alive, drama, rated R, Regal DeVargas, 3.5 chiles It’s a rough start. Jim Jarmusch begins his vampire movie with alternating overhead shots of his two principals, eons-old lovers Adam (Tom Hiddleston) and Eve (Tilda Swinton). They are in separate locations, on (as we will soon discover) separate continents, sprawled on separate beds in languorous repose as the camera spins languorously above them, round and round him, then her, then him, then her, and on, and on, for no discernible purpose other than to make us feel slightly queasy.

But maybe that’s the point. We’re in a world of junkies. What are vampires, after all, but creatures with a dependency on a controlled substance? It’s more than a habit, it’s a way of life — eternal life, and without that blood fix, a vampire just doesn’t feel right.

In the 21st century we’re long past the medieval practice of sinking our fangs into the necks of virgins, thank goodness. The plasma that slakes the blood lust of the sophisticated modern vampire comes from blood banks, medically supervised and quality controlled. Which is no small or inexpensive thing; the blood supply in this day and age is sadly contaminated by disease and poor nutrition.

Eve lives in Tangier. When the craving is upon her, she rises, throws a scarf around her face, and strolls through nocturnal neighborhoods familiar to international spies and authors like Paul Bowles and William S. Burroughs, to a café where she meets her supplier, another venerable writer and fellow vampire, the ageless, craggy Kit Marlowe. Marlowe ( John Hurt), still nursing a centuries-old grudge against an imposter

Ben or Jerry’s?

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PASATIEMPO I May 9-15, 2014

Jonesing for the jugular: Tilda Swinton and Tom Hiddleston

named Shakespeare who got credit for his work, procures vials of “the good stuff” for his lovely protégée.

Meanwhile, some 4,000 miles away, Adam holes up in a ramshackle house on the outskirts of Detroit, living the life of a reclusive rock star. His rooms are piled high with audio equipment, classic blues and jazz records, and vintage guitars procured by a fan named Ian (Anton Yelchin), one of the ordinary mortals whom the vampires disparagingly refer to as “zombies.”

Story elements are sketchy in Jarmusch’s world.

We don’t know when Adam was a rock star, or what would have possessed him to perform and court fame outside his hermetic existence. He has, after all, been around for many centuries, and seems the permanently retiring type. In the sort of slip of the tongue that seems irresistible to people in movies who have an identity secret to hide, Adam lovingly fondles a vintage Gretsch G6120 guitar that Ian has brought him and reminisces about seeing Eddie Cochran (a rock icon who died in 1960) play it in a concert.

He quickly covers the slip.

When Adam’s blood supply runs low, he heads for a Detroit hospital where, dressed in scrubs and a surgical mask and wearing a name tag that identifies him as Dr. Faust, he exchanges a fist-sized wad of cash for polished cylinders of the finest Type O from a Dr. Watson, played with deadpan delight by Jeffrey Wright.

Adam and Eve communicate via FaceTime, and when she senses that his permanent depression is deepening, she books a night flight to Detroit. Their

reunion is marred by the arrival on Adam’s doorstep of Eve’s little sister, Ava (Mia Wasikowska), a rambunctious teenybopper of the vampire world. Forget the logic of an eons-old vampire having a teenage sister — she’s there for a purpose, and she serves it.

Only Lovers is not without its flaws, and among them is a penchant for the obvious in some of its dialogue, where names are dropped with the unobtrusiveness of pots and pans clattering in a monastery kitchen. But sins of logic and historical name-dropping scarcely draw blood in this elegant, broodingly witty reflection on the modern world through the prism of the long view. Jarmusch’s satire is bitingly sharp; not screamingly funny, perhaps, but smart and rewarding. His use of Detroit, the bankrupt Motor City that spawned such great 20th-century music, as a metaphor for the undead is perfectly tuned, and the gorgeous sooty-dark digital cinematography

by Yorick Le Saux gives us a haunting tour of that crippled giant on the banks of Lake Michigan that will rise again, or so says Eva, and with its ample water will “survive when the cities of the South are burning.”

Jarmusch has not bothered much with plot, and the movie adopts the careless, meandering pace of a story not moored in time. But with atmosphere enough to sublet to a score of lesser movies and a wealth of style fashioned out of deep pockets of music, philosophy, aesthetics, and the pitch-perfect performances of his two deathlessly beautiful protagonists, he leaves us with more than enough to sink our teeth into. ◀

MOVING IMAGES film reviews

$5 MILLION BACK TO YOU

Liquid assets Michael Abatemarco I The New Mexican Watermark, documentary, rated PG, in English, Bengali, Mandarin, Hindi, and Spanish with subtitles, The Screen, 2.5 chiles Photographer and filmmaker Edward Burtynsky and co-director Jennifer Baichwal’s documentary Watermark explores the relationship between water and humanity. The filmmakers rely on hypnotic, haunting imagery, shot in high-definition video, to tell this story — their second collaboration, after Manufactured Landscapes (2006). Visually, the movie is stunning.

An opening shot of water rushing through a dam in China cuts to a dry river delta baking in the desert sun. This is the Colorado River in Mexico, dried up after its water was diverted to U.S. communities. Watermark covers a lot of ground, showing the lifeways of abalone fishermen on a floating farm off the coast of China, scientists in Greenland studying ice core samples, tanneries in Bangladesh, and the construction of the Xiluodu Dam on China’s Jinsha River, which will be six times larger than the Hoover Dam when completed.

The trouble with jumping about from location to location is that Watermark never settles into a definitive position on water use, its overconsumption, and the impact of human activity, but messages are suggested in the way Burtynsky edits his shots — juxtaposing, for instance, images of pristine beauty with the clanking of machinery in hydroelectric plants. A disturbing scene at a tannery in Dhaka, Bangladesh, shows chemicals used in stages of the tanning process draining into a river. Inside, workers toil in sweatshop conditions, their products destined for markets in Europe and the U.S., but the topic is never explored in much detail.

Burtynsky and Baichwal include segments depicting water as a setting for play or spiritual cleansing, making sequences depicting misuse more confounding, but it’s unclear how we should feel about all this. Inserting a scene of one of Burtynsky’s photography books being printed by a German publisher feels like self-promotion. It is an irksome sequence that moves the focus away from the subject. But if you are starved for images, Watermark has some doozies. Particularly foreboding are shots of the Xiluodu Dam rising more than 900 feet above the river. A tracking shot over the dam is awe-inspiring and terrifying, drawing comparison to the CGI shot of industrial pits at Isengard in Peter Jackson’s Lord of the Rings films. The dam is a remarkable feat of engineering but a blight upon the land. In the end we are left with a lot of great photography but only trite statements amounting to what every schoolchild knows: we are composed almost entirely of water, and without it, we are nothing. ◀

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MOVING IMAGES pasa pics

— compiled by Robert Ker

tone is much darker than those who grew up with goofy “Godzilla as giant wrestler” films may expect.

The movie is harrowing and sorrowful, which is apt for the atomic-bomb symbol that it is. Not rated.

96 minutes. In Japanese with subtitles. Jean Cocteau Cinema, Santa Fe. (Robert Ker) HATESHIP LOVESHIP This adaptation of a story by Nobel Prize-winning author Alice Munro, in which two teenage girls play an epistolary prank on a young spinster, is a noble effort. The acting is uniformly good, with a standout performance by Guy Pearce. The film has an appealingly timeless visual style and doesn’t hit every expected emotional mark or tie up too many loose ends. Rated R. 104 minutes. The Screen, Santa Fe. ( Jennifer Levin) See review, Page 42.

Let’s just agree that we all like beer and reggae: Zac Efron, Seth Rogen, and Rose Byrne in Neighbors, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week BICYCLING WITH MOLIÈRE Fabrice Luchini plays a retired actor who is approached by another actor (Lambert Wilson) who’d like to try directing. Together, they work to stage Molière’s The Misanthrope, and along the way they eat, drink, ride bicycles, flirt with women, and frolic in the way that only the people who invented the phrase joie de vivre can truly manage. Not rated. 104 minutes. In French with subtitles. Center for Contemporary Arts, Santa Fe. (Not reviewed) BIG MEN This documentary by Rachel Boynton (Our Brand Is Crisis) takes us to Ghana, where the Dallasbased firm Kosmos Energy has discovered significant oil reserves just off the coast. She gains access inside the company, and also inside a militant gang in Nigeria, to show the myriad effects that oil extraction has on poor nations. Not rated. 99 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) BLUE RUIN Revenge, it is said, is a dish best served cold. In Blue Ruin, a thriller by Jeremy Saulnier that made a bloody splash at Cannes last year, the dish may be cold, but it is served by warm sweaty hands. Dwight (Macon Blair) is not your typical movie avenger. He fumbles along implacably, shedding copious blood — his own and 46

PASATIEMPO I May 9-15, 2014

his enemies’. There is a subtext of satire here, a splattering of dark humor, and there will be things the squeamish may not want to watch. Rated R. 90 minutes. Center for Contemporary Arts, Santa Fe ( Jonathan Richards) See review, Page 40.

FADING GIGOLO With John Turturro writing, directing, and starring, and Woody Allen in a featured role and hovering in the creative background as éminence grise, this is several movies wrapped up in one, and most of them are pretty good. Turturro and Allen developed the script together, and it shows. Allen plays a Brooklyn bookstore owner facing hard times; when his dermatologist (Sharon Stone) confides a desire to hire a stud to complete a threesome with her best friend (Sofía Vergara), he persuades his friend Fioravante (Turturro) to take the job. Nice work if you can get it. But there’s more going on here, including a subplot involving a Hasidic community and a lonely widow (Vanessa Paradis).

Turturro holds it together with an uncaricatured, moving performance and a director’s hand that mostly avoids the obvious. Rated R. 90 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) GODZILLA Before the latest Americanized version of Godzilla stomps into multiplexes on May 16, check out the 1954 Japanese original, in which the giant lizard rises from the ocean and destroys Tokyo for the first time. The effects remain brilliant, and the

LEGENDS OF OZ: DOROTHY’S RETURN L. Frank Baum’s Oz books are in the public domain, so anybody who has the desire can make a cheap, lousy movie based on them — and now it looks like somebody has. In this animated film, Dorothy (voiced

by Lea Michele) returns to Oz to save the realm from the evil Jester (Martin Short). Her new companions include a giant owl that gets tree bark stuck up its butt, which is not even the worst joke in the trailer.

Rated PG. 88 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; screens in 2-D only at DreamCatcher, Española. (Not reviewed) MARTIN SCORSESE PRESENTS: MASTERPIECES OF POLISH CINEMA This series of Polish classics, most of them seldom seen in the U.S., covers three decades, from the mid-’50s to the mid-’80s. The 21 films include work by Andrzej Wajda, Andrzej Munk, and Krzysztof Kieslowski. Wajda’s The Promised Land (1974, 170 minutes) is shown on Saturday, May 10, and Jerzy Kawalerowicz’s Austeria (1982, 107 minutes) screens on Tuesday, May 13, at The Screen, Santa Fe. Krzysztof Zanussi’s Camouflage (1976, 101 minutes) shows on Sunday, May 11, and Wajda’s Man of Iron (1981, 153 minutes) is screened on Thursday, May 15, at the Jean Cocteau Cinema, Santa Fe. Not rated. In Polish with subtitles. ( Jonathan Richards) THE MET LIVE IN HD: LA CENERENTOLA Joyce DiDonato and Juan Diego Flórez star in this staging of Rossini’s opera, which is broadcast live from the Met. The cast also includes Alessandro Corbelli and Luca Pisaroni. 11 a.m. Saturday, May 10, with a 6 p.m. encore. 220 minutes. Lensic Performing Arts Center, Santa Fe. (Not reviewed) MOMS’ NIGHT OUT You may have noticed that there are suddenly a lot of Christian movies in the multiplex. The latest, Moms’ Night Out, is the first that looks like a regular Hollywood production,

with a zany poster and a high-concept plot (overworked moms go out and leave the kids with their dads). There is no mention of its faith-based roots in the trailer or title of the movie, which comes courtesy of Affirm, a division of Sony Pictures devoted to religious films. Sarah Drew and Sean Astin star. Rated PG. 98 minutes. DreamCatcher, Española. (Not reviewed) NEIGHBORS Seth Rogen and Rose Byrne play a married couple who get knocked up and have themselves a baby. Everything seems perfect in their new house, until a fraternity moves in next door.

After the young couple calls the police, the frat boys, led by one particularly unruly chap (Zac Efron), wage a war of pranks on the folks next door.

Rated R. 96 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) ONLY LOVERS LEFT ALIVE In Jim Jarmusch’s deliciously stylish vampire flick, Adam (Tom Hiddleston) and Eve (Tilda Swinton) are eons-old lovers, vampires currently living apart (she in Tangier, he in Detroit) who maintain a close bond and chat via FaceTime. The plasma that slakes the blood lust of these sophisticated modern vampires comes from banks, medically supervised and quality controlled.

The film has a weakness for the obvious in dialogue and a carelessness in plotting, but its sins of logic and historical name-dropping scarcely draw blood in this elegant, broodingly witty reflection on the modern world through the prism of the long view. Rated R. 122 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) See review, Page 44.

OTHELLO Orson Welles produced, directed, starred in, and adapted the screenplay for this 1952 film based on Shakespeare’s drama about love, betrayal, and racism. Welles plays the title character, a Moorish general who is tricked into believing his wife Desdemona (Suzanne Cloutier), is having an affair with his ensign, Iago (Micheál MacLiammóir).

Not rated. 90 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) PERFORMANCE AT THE SCREEN The series of high-definition screenings continues with a showing of Juliet and Romeo by choreographer Mats Ek, danced by members of the Royal Swedish Ballet.

Music by Tchaikovsky accompanies this unusual take on Shakespeare’s tragedy. 11 a.m. Sunday, May 11, only. Not rated. 105 minutes, plus one intermission.

The Screen, Santa Fe. (Not reviewed) 13 SINS The latest horror film to hit the Jean Cocteau is a tale of a salesman (Mark Webber) who is deep in debt and gets a phone call inviting him to appear in a game show, where he must perform 13

real-life tasks of increasing depravity, each of which pays off in instant transfers to his bank. But is he playing the game, or a pawn in someone else’s game?

Ron Perlman co-stars. Rated R. 88 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) WATERMARK Canadian photographer Edward Burtynsky and Jennifer Baichwal, the duo behind 2006’s Manufactured Landscapes, teamed up to make Watermark, a documentary that explores our relationship with water. The film touches on global warming, over consumption, and pollution, but only skims the surface of these issues, relying on the photography to tell the story.

The documentary includes self-promotional sequences that detract from its bigger messages, but it is saved by haunting imagery shot in high definition at locations around the world. Particularly memorable are shots of China’s Xiluodu Dam, a massive project still under construction that inspires words like “madness” and “folly.” Rated PG. 92 minutes. In Mandarin, Bengali, Hindi, Spanish, and English with subtitles. The Screen, Santa Fe. (Michael Abatemarco)

now in theaters THE AMAZING SPIDER-MAN 2 The machine that pumps out Spider-Man movies must be about to blow a gasket, as we’ve now got our second one in less than two years. Andrew Garfield returns as Peter Parker, the unassuming wisecracker whose wall-crawling alter ego is tangled in a web of intrigue between the Green Goblin (Dane DeHaan) and Electro ( Jamie Foxx).

It’s a rushed sequel to a remake, it’s well over two hours, and it has seven credited writers — what could go wrong? Rated PG. 142 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Not reviewed) BEARS The Disneynature documentary series adds narratives to the lives of animals and presents the natural world in a kid-friendly way. Here, John C. Reilly tells the story of a bear and her two cubs in the Alaskan wilderness. Rated G. 77 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) BRICK MANSIONS This remake of the French action movie District B13 stars Paul Walker in one of his final roles. He plays an undercover cop whose task is to infiltrate dangerous, walled-off housing projects in a dystopian Detroit. RZA is the villain, and District B13’s David Belle co-stars. Expect a flurry of punching, kicking, running up walls, jumping down stairwells, and so on. Rated PG-13. 90 minutes. Regal Stadium 14, Santa Fe. (Not reviewed)

CAPTAIN AMERICA: THE WINTER SOLDIER Following the events in The Avengers, the star-spangled superhero (Chris Evans) returns to fight an evil plan that is ridiculous even by funnybook standards. There are some neato action effects, and some supporting characters work — Robert Redford, as a world security council leader, proves he still looks better than you do in a vest, while Scarlett Johansson once more makes the case for a Black Widow solo film. Otherwise, the humor is missing, the film is too violent for a theater full of kids, and there’s too much story — by the time it’s over, you’ll feel like you’ve been frozen in ice since the 1940s. Rated PG-13. 135 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) FINDING VIVIAN MAIER Photography fans were astounded when the previously unknown work of Vivian Maier was discovered in the late 2000s. Here, director John Maloof interviews dozens of acquaintances of the late nanny-photographer, filling out the story of a most peculiar woman. Not rated. 83 minutes. Center for Contemporary Arts, Santa Fe. (Paul Weideman) GOD’S NOT DEAD Kevin Sorbo 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. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE GRAND BUDAPEST HOTEL It is truly a joy to witness the work of Wes Anderson, who devotes such attention to his creative vision that he crafts his own singular world. This time, Anderson tells a tale of an Eastern European hotel manager (Ralph Fiennes) who is willed a priceless painting by a former lover (Tilda Swinton). This angers a relative (Adrien Brody), who feels he should be the true heir. For some of his new tricks, Anderson adds suspense worthy of Hitchcock or Carol Reed to his impeccably designed “dollhouse” aesthetic. Willem Dafoe, Jeff Goldblum, Edward Norton, Jude Law, and Harvey Keitel co-star in this caper, which plays out like a youth novel or a board game. Rated R. 100 minutes.

Regal DeVargas, Santa Fe. (Robert Ker) HEAVEN IS FOR REAL This movie, based on the book Heaven Is for Real: A Little Boy’s Astounding Story of His Trip to Heaven and Back (co-written by Lynn Vincent, who helped Sarah Palin write Going Rogue), recalls the account of the young son (Connor Corum) of a Nebraska pastor (Greg Kinnear) who continued on Page 48

PASATIEMPOMAGAZINE.COM

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MOVING IMAGES pasa pics

continued from Page 47

dies on an operating table, goes to heaven, and comes back to tell the tale. Rated PG. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Not reviewed) JOE Actor Nicolas Cage and director David Gordon Green have individually frustrated audiences with their combination of highbrow talent and lowbrow taste. Here they collaborate on a sweltering slice of Southern gothic.

Cage brilliantly plays the title character, an ex-con who oversees a rural landscaping crew. A boy named Gary (Tye Sheridan) approaches him for a job, and Joe — impressed by Gary’s work ethic and troubled by his abusive home life — takes the kid under his wing.

Together, they try to adhere to the goodness in their hearts rather than their angry impulses. Rated R. 118 minutes. The Screen, Santa Fe. (Robert Ker) LE WEEK-END Meg (Lindsay Duncan) and Nick ( Jim Broadbent) are a notvery-happily-married couple from Birmingham, England, who have decided to perk things up for their 30th anniversary by returning to Paris, where they spent their honeymoon in happier days. The movie’s turning point comes when they run into an old friend of Nick’s, a successful American economist ( Jeff Goldblum). For the most part, it’s an engaging story, although we are occasionally aware of manipulative button-pushing from director Roger Michell. An homage to Jean-Luc Godard’s New Wave classic Band of Outsiders is at work, providing a bittersweet perspective on aging. Rated R. 93 minutes.

The Screen, Santa Fe ( Jonathan Richards) THE LUNCHBOX A woman (Nimrat Kaur) who seeks to connect with her distant husband prepares a meal to be delivered to him in a lunchbox, but the food is mistakenly sent to a man (Irrfan Khan) who is mourning the loss of his wife. By exchanging notes in the lunchbox, the two begin to build a relationship.

Rated PG. 104 minutes. In Hindi with subtitles.

Regal DeVargas, 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

spicy

medium

bland

heartburn

mild

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PASATIEMPO I May 9-15, 2014

of the military to try to locate 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. This is gripping, funny, and moving material, and George Clooney, wearing the hats of writer, director, producer, and star, has crafted a hugely enjoyable old-fashioned war movie. Rated PG-13. 118 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) NOAH Darren Aronofsky follows his decorated Black Swan by turning to the Old Testament and reimagining the story of Noah’s ark. The result is an ambitious, odd movie.

The first half combines elements of classic Bible epics, Lord of the Rings blockbusters, and Terrence Malick’s art films; in the more-pensive back half, Noah (Russell Crowe) ponders the full ramifications of God’s message to him. Concepts of faith, servitude, environmental preservation, and the responsibilities of dominion give viewers a lot to meditate on. As expected, Noah is often dreary, grim, and monochromatic, but Crowe wears the gravity well, and many thematic and visual aspects of the film linger long after the water recedes. Rated PG-13. 138 minutes.

Regal Stadium 14, Santa Fe. (Robert Ker) THE OTHER WOMAN Mark (Nikolaj CosterWaldau) is such a ladies’ man — and such a big jerk.

Not only does he have a wife (Leslie Mann), but he has another woman (Cameron Diaz) and another other woman (Kate Upton). What happens when the women in this comedy all find out about each other? Rated PG-13. 109 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) PARTICLE FEVER Director Mark Levinson filmed events at the Large Hadron Collider as they unfolded during the most expensive scientific experiment to date, during which scientists from many nations sought to prove or disprove the existence of the Higgs boson, a theorized particle that would help explain how matter is given mass. The discovery of the boson is a dramatic and entertaining story that opens wide the door on a mystery of the universe, and it leaves you fascinated.

A Skype Q & A with Levinson follows the 11 a.m.

Sunday, May 11, screening. Not rated. 99 minutes.

Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) THE RAILWAY MAN Colin Firth plays a World War II veteran who has found love but not peace. He remains traumatized by the torment he suffered at a Japanese labor camp. His wife (Nicole Kidman) and a friend (Stellan Skarsgård) locate one of the men who tortured him (played by Hiroyuki Sanada), and a confrontation ensues. Rated R. 116 minutes. Regal DeVargas, Santa Fe. (Not reviewed)

THE QUIET ONES Jared Harris (Mad Men) plays a college professor who seeks to disprove the existence of the supernatural. He and some students retreat to an old country house (bad sign #1), where there’s a toddler that only one of them sees (#2). As they try to transfer their negative energy to a creepy doll (#3), some of them develop strange symbols on their bodies (#4). How many bad signs do you need? Get out of there! Rated PG-13. 98 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) RIO 2 In this sequel to the 2011 animated hit, a macaw from Minnesota (voiced by Jesse Eisenberg) and his family are relocated to the Amazon rainforest. Rated G. 96 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) TRANSCENDENCE Johnny Depp plays a scientist who, when faced with death, has his consciousness uploaded into a computer, where he soon becomes all-powerful and highly corrupt. But does he hook up with Scarlett Johansson’s operating system from Her? Rated PG-13. 119 minutes. Regal DeVargas, Santa Fe. (Not reviewed) UNDER THE SKIN In Jonathan Glazer’s visually stunning, unsettling, and loose adaptation of Michel Faber’s 2000 debut sci-fi novel, an alien takes the form of a human female (Scarlett Johansson) and cruises the streets of Glasgow in a van, preying on men. Her human emotions are learned and not pervasive. As the story wears on, we begin to see a gradual slide toward something approaching empathy in the alien creature. It may be that after all, the most contagious thing in the universe is humanity. Rated R. 107 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards)

other screenings Center for Contemporary Arts 6 p.m. Thursday, May 15: Bright Days Ahead.

Jean Cocteau Cinema 11 p.m. Friday and Saturday, May 9 and 10; 8:30 p.m. Sunday, May 11: A Clockwork Orange.

8:15 p.m. Wednesday, May 14: DamNation.

7 p.m. Thursday, May 15: Cheetah: The Nelson Vails Story.

Regal Stadium 14 7 p.m. Thursday, May 15: Million Dollar Arm. 7:15 & 10 p.m. Thursday, May 15: Godzilla.

7 & 9:45 p.m. Thursday, May 15: Godzilla (3-D).

2 p.m. Sunday, May 11; 2 & 7 p.m. Wednesday, May 14: Titanic (1997). ◀

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 Bicycling With Molière (NR) Fri. and Sat. 1:45 p.m., 6 p.m. Sun. 1:45 p.m., 6 p.m. Mon. to Thurs.

1 p.m., 5:15 p.m.

Big Men (NR) Fri. to Sun. 4:45 p.m. Mon. to Thurs. 4 p.m.

Blue Ruin (R) Fri. to Sun. 7 p.m., 9 p.m. Mon. to Wed. 6:15 p.m., 8:15 p.m. Thurs. 8:15 p.m.

Bright Days Ahead (NR) Thurs. 6 p.m.

Finding Vivian Maier (NR) Fri. to Sun. 12:30 p.m., 4 p.m. Mon. to Thurs. 3:15 p.m.

Particle Fever (NR) Fri. 11 a.m. Sun. 11 a.m.

Under the Skin (R) Fri. to Sun. 2:30 p.m., 8:15 p.m.

Mon. to Thurs. 1:45 p.m., 7:30 p.m.

JEAN COCTEAU CINEMA

418 Montezuma Avenue, 505-466-5528 www.jeancocteaucinema.com 13 Sins (R) Fri. and Sat. 8:30 p.m. Thurs. 9 p.m.

Camouflage (NR) Sun. 2 p.m.

Cheetah:The Nelson Vails Story (NR) Thurs. 7 p.m.

A Clockwork Orange (R) Fri. and Sat. 11 p.m.

Sun. 8:30 p.m.

DamNation (NR) Wed. 8:15 p.m.

Godzilla:The Japanese Original (NR) Fri. and Sat. 2:30 p.m., 6:45 p.m. Sun. 4:30 p.m. Tue. 6:45 p.m.

Wed. 4 p.m.

Man of Iron (NR) Thurs. 1 p.m.

Othello (NR) Fri. and Sat. 4:30 p.m. Sun. 6:45 p.m.

Tue. 8:30 p.m. Wed. 2 p.m., 6:15 p.m. Thurs. 4 p.m.

REGAL DEVARGAS

562 N. Guadalupe St., 505-988-2775, www.fandango.com Fading Gigolo (R) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 9:50 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m.

The Grand Budapest Hotel (R) Fri. and Sat. 1:50 p.m., 4:40 p.m., 7:40 p.m., 10 p.m. Sun. to Thurs. 1:50 p.m., 4:40 p.m., 7:40 p.m.

The Lunchbox (PG) Fri. and Sat. 1:40 p.m., 4:20 p.m., 7:20 p.m., 9:55 p.m. Sun. to Thurs.

1:40 p.m., 4:20 p.m., 7:20 p.m.

The Monuments Men (PG-13) Fri. to Thurs.

1:10 p.m., 6:50 p.m.

Only Lovers Left Alive (R) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 9:45 p.m. Sun. to Thurs. 1 p.m., 4 p.m., 7 p.m.

The Railway Man (R) Fri. and Sat. 1:20 p.m., 4:10 p.m., 6:50 p.m., 9:30 p.m. Sun. to Thurs.

1:20 p.m., 4:10 p.m., 6:50 p.m.

Transcendence (PG-13) Fri. and Sat. 3:50 p.m., 9:30 p.m. Sun. to Thurs. 3:50 p.m.

REGAL STADIUM 14

3474 Zafarano Drive, 505-424-6296, www.fandango.com The Amazing Spider-Man 2 in 3D (PG-13) Fri. to Wed. 12:10 p.m., 1 p.m., 3:30 p.m., 4:30 p.m., 7 p.m., 8 p.m., 10:25 p.m.

The Amazing Spider-Man 2 (PG-13) Fri. to Sun. 12:15 p.m., 1:30 p.m., 4 p.m., 5:10 p.m., 7:15 p.m., 8:30 p.m., 10:30 p.m. Mon. to Wed. 12:15 p.m., 1:30 p.m., 4 p.m., 5:10 p.m., 7:15 p.m., 8:30 p.m., 10:30 p.m.

Bears (G) Fri. to Wed. 12:25 p.m., 2:45 p.m., 5:05 p.m., 7:10 p.m., 9:20 p.m.

Brick Mansions (PG-13) Fri. to Tue. 7:50 p.m., 10:10 p.m.

Captain America:The Winter Soldier (PG-13) Fri. to Wed. 1:10 p.m., 4:20 p.m., 7:25 p.m., 10:25 p.m.

God’s Not Dead (PG) Fri. and Sat. 12:05 p.m., 2:40 p.m., 5:15 p.m. Mon. and Tue. 12:05 p.m., 2:40 p.m., 5:15 p.m.

Godzilla (PG-13) Thurs. 7:15 p.m., 10 p.m.

Godzilla 3D (PG-13) Thurs. 7 p.m., 9:45 p.m.

Heaven Is for Real (PG) Fri. to Wed. 12:05 p.m.,

2:45 p.m., 5:20 p.m., 7:55 p.m., 10:30 p.m.

Legends of Oz: Dorothy’s Return (PG) Fri. to Wed.

“GRAND ISN’T GOOD ENOUGH A WORD FOR THIS ‘BUDAPEST HOTEL.’

GREAT IS MORE LIKE IT.” TIME Richard Corliss

12:40 p.m., 3 p.m., 5:20 p.m., 7:40 p.m., 10 p.m.

Legends of Oz: Dorothy’s Return 3D (PG)

Fri. to Wed. 12:20 p.m., 2:40 p.m., 5 p.m., 7:20 p.m., 9:40 p.m.

Million Dollar Arm (PG) Thurs. 7:10 p.m., 10:10 p.m.

Neighbors (R) Fri. to Wed. 12 p.m., 2:30 p.m., 5 p.m., 7:30 p.m., 10 p.m.

Noah (PG-13) Fri. to Wed. 12:50 p.m., 4:05 p.m., 7:25 p.m.

The Other Woman (PG-13) Fri. to Wed. 1:10 p.m., 4:10 p.m., 7:15 p.m., 9:50 p.m.

The Quiet Ones (PG-13) Fri. to Wed. 10:25 p.m.

Rio 2 (G) Fri. to Wed. 1:20 p.m., 4:45 p.m., 7:35 p.m., 10:10 p.m.

Titanic (PG-13) Sun. 2 p.m. Wed. 2 p.m., 7 p.m.

THE SCREEN

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com Austeria (NR) Tue. 7:30 p.m.

Hateship Loveship (R) Fri. 3:10 p.m., 7:30 p.m.

Sat. 12 p.m., 6 p.m. Sun. 1:15 p.m., 3:30 p.m. Mon. and Tue. 1 p.m. Wed. and Thurs. 1 p.m., 7:30 p.m.

Joe (R) Wed. and Thurs. 3:15 p.m.

Le Week-end (R) Fri. 1 p.m. Sat. 2:10 p.m.

Mon. 3:15 p.m.

Promised Land (R) Sat. 9 a.m.

Royal Swedish Ballet: Juliet and Romeo (NR) Sun. 11 a.m.

Watermark (PG) Fri. 5:30 p.m. Sat. 4 p.m.

Sun. 5:40 p.m. Mon. 5 p.m. Tue. 3 p.m. Wed. and Thurs. 5:30 p.m.

EXCLUSIVE ENGAGEMENT NOW PLAYING SANTA FE UA De Vargas Mall 6 (800) FANDANGO #608

MoM’s Night out 2:10** 4:40 7:10 9:40* spiderMaN 2 2d 1:45/2:30** 4:45 6:45 7:45/9:45* god is Not dead 1:55** 4:25 7:30 9:55* heaVeN is For reaL 2:15** 4:45 7:15 9:35* the Quiet oNes 2:35** 5:00 7:35 9:50* LegeNd oF oZ 2d 2:00** 4:30 7:00 9:30* rio 2 2d 2:05** 4:35 7:05 9:40* the other WoMaN 2:25** 4:55 7:25 9:55* NeighBors 2:20** 4:50 7:20 9:50* **saturday & sunday only *Friday & saturday only times for Friday, May 9 - thursday, May 15

MITCHELL DREAMCATCHER CINEMA (ESPAÑOLA)

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com The Amazing Spider-Man 2 (PG-13) Fri. 4:45 p.m., 6:45 p.m., 7:45 p.m., 9:45 p.m. Sat. 1:45 p.m., 2:30 p.m., 4:45 p.m., 6:45 p.m., 7:45 p.m., 9:45 p.m.

Sun. 1:45 p.m., 2:30 p.m., 4:45 p.m., 6:45 p.m.

Mon. to Thurs. 4:45 p.m., 6:45 p.m.

God’s Not Dead (PG) Fri. 4:25 p.m., 7:30 p.m., 9:55 p.m. Sat. 1:55 p.m., 4:25 p.m., 7:30 p.m., 9:55 p.m. Sun. 1:55 p.m., 4:25 p.m., 7:30 p.m.

Mon. to Thurs. 4:25 p.m., 7:30 p.m.

Heaven Is for Real (PG) Fri. 4:45 p.m., 7:15 p.m., 9:35 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:15 p.m., 9:35 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.

Legends of Oz: Dorothy’s Return (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.

Moms’ Night Out (PG) Fri. 4:40 p.m., 7:10 p.m., 9:40 p.m. Sat. 2:10 p.m., 4:40 p.m., 7:10 p.m., 9:40 p.m. Sun. 2:10 p.m., 4:40 p.m., 7:10 p.m.

Mon. to Thurs. 4:40 p.m., 7:10 p.m.

Neighbors (R) Fri. 4:50 p.m., 7:20 p.m., 9:50 p.m.

Sat. 2:20 p.m., 4:50 p.m., 7:20 p.m., 9:50 p.m.

Sun. 2:20 p.m., 4:50 p.m., 7:20 p.m. Mon. to Thurs.

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

The Other Woman (PG-13) Fri. 4:55 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:25 p.m., 4:55 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:25 p.m., 4:55 p.m., 7:25 p.m.

Mon. to Thurs. 4:55 p.m., 7:25 p.m.

The Quiet Ones (PG-13) Fri. 5 p.m., 7:35 p.m., 9:50 p.m. Sat. 2:35 p.m., 5 p.m., 7:35 p.m., 9:50 p.m.

Sun. 2:35 p.m., 5 p.m., 7:35 p.m. Mon. to Thurs.

5 p.m., 7:35 p.m.

Rio 2 (G) Fri. 4:35 p.m., 7:05 p.m., 9:40 p.m.

Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:40 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.

HIDDLESTON AND AND SWINTON SWINTON BRING BRING IMMORTAL IMMORTAL HIDDLESTON ROMANCE TO JARMUSCH’S DIVINE DIRGE.” ROMANCE TO JARMUSCH’S DIVINE DIRGE.” -Richard Corliss, Corliss,TIME TIME MAGAZINE MAGAZINE -Richard

JIM JARMUSCH

Written and Directed by JIM JARMUSCH

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SANTA FE The Center For Contemporary Arts (505) 982-1338

CHECK DIRECTORIES FOR SHOWTIMES NO PASSES ACCEPTED

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49

RESTAURANT REVIEW Laurel Gladden I For The New Mexican

Consume with a view Thunderbird Bar & Grill 50 Lincoln Ave., 505-490-6550, www.thunderbirdsantafe.com Lunch & dinner 11:30 a.m.–close daily; happy hour 4-6 p.m. and 9 p.m.-close daily Takeout available Vegetarian options Patio dining in season Handicapped accessible via elevator Sound level: mellow chatter unless the bar is crowded Full bar Credit cards, no checks The Short Order Thunderbird Bar & Grill, which occupies the site of the former Ore House restaurant, on the second floor above Lincoln Avenue, is now operated by the building’s owner, Armand Ortega. The dining room has been changed into one big, pleasingly open space, with stacked Anasazi stone on the walls, a clear view of the kitchen, and a long bar, popular with locals and sports fans. More than a dozen beers are offered on tap, and the list of tequilas is impressively lengthy.

The restaurant serves lunch and dinner, and while the evening menu includes upscale items like steaks and seafood dishes, the best route to take is the informal one — bar food, happy-hour specials, burgers, and sandwiches — but even then, it’s a mixed bag. The balcony is still a great spot for looking out over the Plaza while you enjoy a snack or a drink. Recommended: New Mexican burger, calabacitas wrap, steak tacos, and the dip and chip trio.

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.

50

PASATIEMPO I May 9-15, 2014

In the wake of Mayor Javier Gonzales’ original proposal to close the streets surrounding the Plaza (an idea he has since revised), there’s been a lot of discussion lately about whether the Plaza is a place for locals or tourists. Whether you spend time downtown regularly or visit the Plaza only when you have out-of-town guests, you’ll find yourself on one of its avenues eventually. It’s good to know what spots are worth visiting and what spots you should skip.

You probably remember the funky, warrenlike dining room of the old Ore House restaurant, perched on the second floor above Lincoln Avenue. That space is now occupied by the Thunderbird Bar & Grill, operated by the building’s owner, Armand Ortega. It has been changed into one big, pleasingly open space, with stacked Anasazi stone on the walls, a clear view of the kitchen, and a long, handsome bar. Rumor has it that the management, eager to lure more Santa Feans to this Plaza location, is considering offering locals-only specials and promotions.

If you see locals at Thunderbird, they’ll probably be at the bar — especially if they’re solo diners or sports fans, who appreciate the multiple big-screen TVs. More than a dozen beers are offered on tap (including tasty IPAs from Stone and La Cumbre). The list of tequilas is impressively lengthy, but the house margarita is watery and too sweet. Don’t fret — the balcony is still here. It’s a great spot for looking out over the Plaza while you sip tequila and crunch on chips.

The servers are professional, although their friendliness seems forced. On one visit, after being seated, we waited at least 10 minutes for someone — anyone — to stop by our table. The food arrives promptly, but after that, you might not see your server again until it’s time for the check.

The restaurant serves lunch and dinner, and the evening menu includes upscale items like steaks and seafood dishes.

The best route to take, though, is the informal one — bar food, happy-hour specials, burgers, and sandwiches — but even then, it’s a mixed bag.

The salsa (available solo or as part of the dips and chips trio) had a fresh, sharp flavor, and the guacamole had an ideal chunky-to-creamy ratio. The queso had a sharp cheddar-y tang and the very mild grittiness that suggested it had been made in-house from scratch. The queso fundido, on the other hand, was blandly creamy in a processedcheese kind of way. It was sparsely flecked with lentil-sized nubbins of nearly flavorless chorizo, and the caramelized onions and roasted poblanos mentioned in the menu were nowhere in sight.

The nachos are a generous mound of thin, golden chips thoroughly lacquered in melted cheeses. They’re strewn with pinto beans and salty, spicy pickled jalapeños; dolloped lightly with pico de gallo and guacamole; and Jackson Pollock-ed with sour cream.

The calamari was piping hot but undercooked and greasy, the still-mushy batter easily sliding off the slippery squid.

I appreciated the inclusion of vegetables — broccoli florets, zucchini, and red and green peppers — in the mix, though.

Thunderbird’s green chile stew is nothing to be trifled with: plentiful hunks of potato and pork in an herby, chile-heavy

face-flushing broth. The fresh-tasting house salad mixes colorful greens with grape tomatoes, candied (but not too sweet) walnuts, and Maytag blue cheese in a slightly oily red-chile vinaigrette.

Our thoroughly stuffed rolled cheese enchiladas lived up to their name. It’s a generous plate, including red rice, pinto beans, and calabacitas. While the red and green chiles had noticeable heat, both were overly soupy.

For the steak tacos, beef tenderloin with a hearty grilled flavor is mixed with tomato and cilantro and served simply in corn tortillas with rings of pickled red onion. They disappeared quickly, but we wondered how much better they would have been with the tomatillo salsa that was missing from our plate.

The calabacitas wrap was a vegetarian’s delight and nutritionally generous, as bar food goes. It was stuffed with still-toothy squash and zucchini, roasted red peppers, spinach, sautéed onions, avocado, and asadero cheese. The slightly tinted, mildly flavored red chile wrapper was a flashback to the ’90s, but it contained the veggies without becoming soggy and had a pleasant chewiness.

The green chile cheeseburger, here called the New Mexican, is a respectable outing, a sizable but not monstrous burger crowned with cheese and a thick layer of fiery green chile that had a peculiar sugary sweetness. It might not win any citywide contests, but if you want your burger with a beer and a view of the Plaza, it’s worth coming downtown for, whether you can park on a nearby street or not. ◀

Lunch for three at Thunderbird Bar & Grill: Nachos .................................................................. $ 11.00 Green chile stew ................................................... $ 6.00 Calabacitas wrap .................................................. $ 11.00 New Mexican burger ............................................ $ 12.00 Steak tacos ............................................................ $ 14.00 TOTAL .................................................................. $ 54.00 (before tax and tip) Happy hour for three, another visit: Queso fundido ...................................................... $ 3.00 Chip trio ............................................................... $ 12.00 Two La Cumbre Elevated IPAs ............................. $ 6.00 Stone IPA .............................................................. $ 5.50 Excellia Reposado tequila .................................... $ 15.00 TOTAL .................................................................. $ 41.50 (before tax and tip) Dinner for two, another visit: Calamari ............................................................... $ 10.00 Lincoln house salad .............................................. $ 6.00 Bandelier enchiladas (cheese) .............................. $ 10.00 TOTAL .................................................................. $ 26.00 (before tax and tip)

Chef Pontiggia only gets to see his mother once a year, so let our chef here at Osteria d’Assisi cook for your mother like he was cooking for his own on Mother’s Day.

Mother’s Day Brunch May 11th @ 11-2:30pm.

Call 505-986-5858 to reserve your table for your Mother’s Special Day!

Save the date for the next Italian Dinner with Osteria d’Assisi, May 28th @ 6:30pm.

Call to make reservations now before the seats are filled up.

Reservations: 505-986-5858 • 58 S. Federal Place See Lunch and Dinner menus on the website www.osteriadassisi.com

Celebrate the best of Hispanic culture at our five day festival

INCLUDING:

JULY 22-26

Historic art, a family day, great rhythms, short films, lectures, flamenco, and sumptuous food and celebration!

FEATURING : Cipriano Vigil, Nasario Garcia, Nicolasa Chavez, La Sociedad Folklórica, the Nacha Mendez Quartet, La Sociedad Colonial Española de Santa Fe, AnnaMaria Cardinalli, Dolores Valdez de Pong and Nosotros, among others!

The Museum of Spanish Colonial Art

750 Camino Lejo, Santa Fe, NM 87505

For more information, and tickets, please call 505-982-2226, ext 109, or go to www.spanishcolonial.org

PASATIEMPOMAGAZINE.COM

51

Congratulate your graduate

with a

GRADGram!✮ in

The New Mexican’s special keepsake publication for local grads!

2014 SALUTE TO LOCAL GRADS On June 8 the Santa Fe New Mexican will publish a keepsake special section devoted to the local high school classes of 2014. Including:

• Memorable Moments • School Accomplishments Featured High Schools: Academy at Larragoite Academy for Technology and the Classics Capital High School Desert Academy Monte del Sol Charter School NM School for the Arts NM School for the Deaf Santa Fe High Santa Fe Indian School Santa Fe Prep Secondary Learning Center St. Michael’s High School Tierra Encantada Charter School at Alvord Santa Fe Waldorf High School Pojoaque Valley High School MASTERS Program-SFCC

ow h t s u j d a r g r u Show yo pecial s d n a t n a t r o p im ! they are to you 52

PASATIEMPO I May 9 - 15, 2014

• Student Comments • List of Graduates • Ceremony Photos • Personalized GRADGram!✮ • Actual Size •

Alejandro Mendez SANTA FE HIGH

Congratulations Ale! We are so proud of you!

We love you!

Mom, Kat, Nina, Tito and Jasmine

25

$

includes one color photo of your grad plus your

personal message (75 characters max).

Visit santafenewmexican.com/gradgrams or fill out a form at The Santa Fe New Mexican, 202 E. Marcy St., to create your custom GRADGram!✮ !

Deadline: May 28, 5pm You turn to us.

pasa week

THEATER/DANCE

TO LIST EVENTS IN PASA WEEK: Send an email or press release two weeks before our Friday publication date.

Beauty and The Beast An adaptation of the 1991 Disney film presented by Pandemonium Productions students (ages 5-17), 7-9 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10, children under 12 $6, 505-982-3327.

Broadway Bound!

Performances by National Dance Institute students, 5 and 7 p.m., NDI Dance Barns, 1140 Alto St., $10-$15, 505-983-7661.

I Love You, You’re Perfect, Now Change Joe DiPietro and Jimmy Roberts’ musical on dating, love, and marriage, 7:30 p.m., Los Alamos Performing Arts Center, 1670 Nectar St., Los Alamos, $12, discounts available, lalt.org, 505-622-5493.

One Woman Dancing 2014 Julie Brette Adams’ annual solo performance; guest soloist Kate Eberle, 8 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20, discounts available, 505-986-1801, Saturday and Sunday encores. (See story, Page 22) Art Spring 2014 New Mexico School for the Arts year-end shows featuring dance, theater, visual arts, and music, gala reception 5 p.m., performance 6 p.m., the Lensic, tickets available at the Lensic box office, 505-988-1234, ticketssantafe.org.

SUBMISSION GUIDELINES Provide the following details for each event/occurrence: • • • • •

Time, day, and date Place/venue and address Website and phone number Brief description of events Tickets? Yes or no. How much?

All submissions are welcome, however, events are included in Pasa Week as space allows.

Friday, May 9 GALLERY/MUSEUM OPENINGS

BOOKS/TALKS

Peter Eichstaedt The journalist discusses his book The Dangerous Divide: Peril and Promise on the U.S.-Mexico Border, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-989-4226. (See Subtexts, Page 14)

Ken Howard

Art Exchange Gallery 60 E. San Francisco St., 505-603-4485. People, Places, and Faces, group show, reception 4-6 p.m., through May. Gallery 822 822 Canyon Rd., 505-989-1700.

11th anniversary group show, including works

by Jami Tobey, Peter Krusko, and Joshua Tobey.

GVG Contemporary 202 Canyon Rd., 505-982-1494. Humans I Wouldn’t Mind Being, portraits by Oliver Polzin, reception 5-7 p.m., through May 23.

Karan Ruhlen Gallery 225 Canyon Rd., Suite 18, 505-820-0807. Janet Lippincott: Composing in Black and White, watercolors, drawings, and lithographs by the late artist, reception 5-7 p.m., through May 18. (See story, Page 26) Passport to the Arts Annual event at Canyon Road galleries and businesses; includes student music performances; live music; artist receptions and demonstrations; opening-night receptions 5-7 p.m., details available online at visitcanyonroad.com, through Sunday.

Richard Long Fine Art 715 Canyon Rd., 505-913-9762. Beyond Surrealism, dioramas by Long, reception 5-7 p.m., through June 7. (See story, Page 38) Sage Creek Gallery 421 Canyon Rd., 505-988-3444. Ten Still Life Painters, reception 5-8 p.m., through May 20.

Santa Fe Art Collector Gallery 217 Galisteo St., 505-988-5545. The Best of Burros, paintings by Jo Sherwood, reception 5-8 p.m., through May 23.

Pasa’s Little Black Book......... 54 Elsewhere............................ 56 People Who Need People..... 56 Under 21............................. 56 Pasa Kids............................ 56

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

OUTDOORS Joyce DiDonato reprises her role as Angelina in Rossini’s La Cenerentola at the Metropolitan Opera, HD broadcast Saturday at the Lensic.

Studio Vaillancourt 821 Canyon Road, 505-231-8961. The Tree of Life and Love, paintings by Sandy Vaillancourt, reception 6-8 p.m., through Sunday.

Tom Ross Gallery 409 Canyon Rd., 505-984-8434. Metamorphosis, paintings by Rosenberg, reception 5-7 p.m., through May 22.

Uli’s Boutique 208 W. San Francisco St., 505-986-0577.

Art Couture, mixed-media sculpture by Dana Chodzko, reception 5-8 p.m.

Ventana Fine Art 400 Canyon Rd., 505-983-8815. Works by John Axton, Doug Dawson, and Barry McCuan, reception 5-7 p.m., through May 19.

In the Wings....................... 57 At the Galleries.................... 58 Museums & Art Spaces........ 58 Exhibitionism...................... 59

Winterowd Fine Art 701 Canyon Rd., 505-992-8878. Secret Place, landscapes by Jamie Kirkland, reception 5-7 p.m., through May 22.

IN CONCERT

Music at the Museum of Art Local musicians perform on the patio and in the galleries weekly on Fridays through June 27; this week: Tom Adler and the Bootleg Prophets, bluegrass and folk tunes, 5:30 p.m., New Mexico Museum of Art, 107 W. Palace Ave., no charge, 505-476-5072.

Souren Baronian Woodwind player, with jazz bassist Paul Brown and percussionist Polly Tapia Ferber, 7:30 p.m., Gig Performance Space, 1808-H Second St., $20 at the door.

Enchanted Hikes The City of Santa Fe Recreation Division offers monthly easy to moderate treks along the following trails: Dale Ball, Dorothy Stewart, Tesuque Creek, and Galisteo Basin Preserve; Session I, 9-11 a.m. Fridays through May 30, Genoveva Chavez Community Center, 3221 Rodeo Rd., $6.50 per hike or $20 for full session, contact Michelle Rogers for registration information, 505-955-4047, chavezcenter.com.

EVENTS

Dance party Music by Americana band American Jem, with Jay Cawley, Ellie Dendahl, and Michael Umphrey, 7:30-10:30 p.m., Dance Station, 901 W. Alameda St., Solana Center, $15 at the door, americanjem.com.

Fantase Dome Fest Outdoor multimedia interactive light and art installations, music by Luke Carr’s Storming the Beaches With Logos in Hand, Thieves and Gypsys, and As In We; presented by Creative Santa Fe, 6 p.m.-midnight, De Vargas Park, W. Alameda and S. Guadalupe streets, no charge, 505-989-9934, creativesantafe.org. ▶▶▶▶▶▶▶▶

calendar guidelines

Please submit information and listings for Pasa Week no later than 5 p.m. Friday, two weeks prior to the desired publication date. Resubmit recurring listings every three weeks. Send submissions by mail to Pasatiempo Calendar, 202 E. Marcy St., Santa Fe, NM, 87501, by email to pasa@sfnewmexican.com, or by fax to 505-820-0803. Pasatiempo does not charge for listings, but inclusion in the calendar and the return of photos cannot be guaranteed. Questions or comments about this calendar?

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

PASATIEMPOMAGAZINE.COM

53

Randall Davey house tours Docent-led tours, weekly on Fridays, 2 p.m., Randall Davey Audubon Center, 1800 Upper Canyon Rd., $5, RSVP to 505-983-4609.

St. John’s College Film Institute open house Screening of and conversation about Luis Buñuel’s 1929 surrealist silent film Un Chien Andalou, reception 6:30 p.m., Levan Hall, St. John’s College, 1160 Camino de Cruz Blanca, no charge, RSVP to 505-984-6050.

Star Party Meet on the terrace behind the Hyde Memorial State Park lodge for a green-laser tour of stars and constellations; then view Jupiter, Mars, and star clusters through telescopes, 8:3010 p.m., 740 Hyde Park Rd., $5 per vehicle or free with New Mexico State Parks pass, emnrd.state.nm.us/spd/hydememorialstatepark. html.

NIGHTLIFE

(See addresses below) Café Café Trio Los Primos, dance to Latin favorites, 6 p.m., no cover.

The Den Ladies night with DJ Luna, 9 p.m., call for cover.

Duel Brewing Native R & B band Saving Damsels, 7-10 p.m., no cover.

El Farol J.J. and the Hooligans, rock/blues/Americana, 9 p.m., call for cover.

La Fiesta Lounge at La Fonda Buffalo Nickel, boot-scootin’ country tunes, 8-11 p.m., no cover.

Mine Shaft Tavern Tim Arnold, blues jam, 8 p.m., call for cover.

Omira Bar & Grill Guitarist Marquito Cavalcante, Brazilian jazz, 6:30 p.m., no cover.

the Inn Agoyo Lounge at 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 Spa Eldorado Hotel & St., 505-988-4455 o isc nc Fra n Sa .

W 309

54

PASATIEMPO I May 9-15, 2014

Palace Restaurant & Saloon Reggae band Boomroots Collective, 10 p.m., call for cover.

Pranzo Italian Grill Pianist David Geist, 6-9 p.m., call for cover.

Second Street Brewery Bill Hearne Trio, country and honky-tonk, 6-9 p.m., no cover.

Second Street Brewery at the Railyard Electro-marimba-trance-dance band Jaka, 7-10 p.m., no cover.

10 Saturday GALLERY/MUSEUM OPENINGS

American Indian Photography & Encaustic Studio 1036 Canyon Rd., 505-819-1103. Bison & Beewax, work

by Marilyn Angel Wynn, through Sunday.

Byzantium Lofts 1348 Pacheco St., Suite 105, 505-982-3305. Fabrications, digital drawings

by Jonathan Morse, reception 4-7 p.m.

Eldorado Hotel & Spa Gallery 309 W. San Francisco St. Birdhouse 2014, group show of birdhouses in support of the nonprofit design organization AIGA New Mexico, reception and silent auction 5-8 p.m., newmexico.aiga.org.

Liquid Outpost Coffeehouse Inn at Loretto, 211 Old Santa Fe Trail, 505-983-6503. Four Directions, Ricardo Gutierrez’s abstract paintings, reception 4-6 p.m., through May. Passport to the Arts Canyon Road galleries and businesses host artists’ demonstrations; silent auctions; receptions; and student music performances; events begin at 11 a.m. and run through the day, details available online at visitcanyonroad.com.

Wade Wilson Art 217 W. Water St., 505-660-4393. Variations: Structure and Surface, works by Lucinda Cobley and Joan Winter, reception 5-7 p.m., through June 14.

PASA’S LITTLE BLACK BOOK El Farol 5-983-9912 808 Canyon Rd., 50 ill Gr El Paseo Bar & 92-2848 5-9 50 , St. teo lis 208 Ga Evangelo’s o St., 505-982-9014 200 W. San Francisc erging Arts High Mayhem Em 38-2047 5-4 50 , 2811 Siler Lane Hotel Santa Fe ta, 505-982-1200 1501 Paseo de Peral asters Iconik Coffee Ro -0996 28 5-4 50 , St. na 1600 Le ma ne Ci u ea ct Co Jean 505-466-5528 e., Av ma zu 418 Monte Junction , 505-988-7222 530 S. Guadalupe St. La Boca 5-982-3433 72 W. Marcy St., 50 ina nt La Casa Sena Ca 5-988-9232 50 e., Av e lac Pa 125 E. at La Fonda La Fiesta Lounge , 505-982-5511 St. o isc nc Fra 100 E. San a Fe Resort nt Sa de da La Posa and Spa 5-986-0000 330 E. Palace Ave., 50 Arts Center g in Lensic Perform St., 505-988-1234 o isc nc Fra n Sa 211 W.

OPERA IN HD

The Met at the Lensic The broadcast series continues with Rossini’s La Cenerentola, 11 a.m. and 6 p.m., the Lensic, $22 and $28, 505-988-1234, ticketssantafe.org.

CLASSICAL MUSIC

Concerts at San Miguel series Bill Williams: trumpet and chamber ensemble, 7 p.m., San Miguel Chapel, 401 Old Santa Fe Trail, $10 at the door.

Sangre de Cristo Chorale The ensemble performs Baroque Fireworks, 5:30 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., $20 in advance and at the door, discounts available, sdcchorale.org.

I Love You, You’re Perfect, Now Change Joe DiPietro and Jimmy Roberts’ musical on dating, love, and marriage, 7:30 p.m., Los Alamos Performing Arts Center, 1670 Nectar St., Los Alamos, $12, discounts available, lalt.org, 505-622-5493.

One Woman Dancing 2014 Julie Brette Adams’ annual solo performance; guest soloist Kate Eberle, 8 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20, discounts available, 505-986-1801, Sunday encore.

(See story, Page 22)

BOOKS/TALKS

SFUA&D spring ensemble performance Balkan-Mideast Ensemble, 8 p.m., O’Shaughnessy Performance Space patio, Benildus Hall, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., no charge.

Roshan Bhartiya Sitarist, 7:30 p.m., Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com.

Anne Schmauss The author discusses and signs copies of Birdhouses of the World, noon, Wild Birds Unlimited, 518 W. Cordova Rd., 505-989-8818.

Opera Breakfast Lecture Desirée Mays’ discusses Rossini’s La Cenerentola, 9:30 a.m., Collected Works Bookstore, 202 Galisteo St., $5 donation at the door, 505-988-4226.

Santa Fe Opera 2014 Spotlight Series Lecturer Oliver Prezant discusses opera themes and previews the SFO season, 2-3:30 p.m., Collected Works Bookstore, 202 Galisteo St., no charge, 505-989-4226.

THEATER/DANCE

OUTDOORS

IN CONCERT

Beauty and The Beast An adaptation of the 1991 Disney film presented by Pandemonium Productions students (ages 5-17), 7-9 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10, children under 12 $6, 505-982-3327.

Broadway Bound!

Performances by National Dance Institute students, 3 and 5 p.m., NDI Dance Barns, 1140 Alto St., $10-$15, 505-983-7661.

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 NM 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 Omira Bar & Grill 1005 S. St. Francis Dr., 505-780-5483 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

Animal Superpowers Guided hike highlighting the link between wildlife and comic book superheroes, 11 a.m., Cerrillos Hills State Park, 16 miles south of Santa Fe off NM 14, $5 per vehicle, 505-474-0196.

Enchanted Hikes Monthly easy to moderate treks along the following trails: Dale Ball, Dorothy Stewart, Tesuque Creek, and Galisteo Basin Preserve; Session II, 9:30-11:30 a.m. Saturdays through May, Genoveva Chavez Community Center, 3221 Rodeo Rd., $6.50 per hike or $20 for full session, contact Michelle Rogers for registration information, 505-955-4047, chavezcenter.com.

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 Shadeh Buffalo Thunder Resort & Casino, Pojoaque Pueblo, U.S. 84/285, 505-455-5555 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

12 Monday

EVENTS

2014 IAIA Pow Wow Held 10 a.m.-7 p.m.; gourd dancing 10-11 a.m., grand entry 11 a.m.; dancing contests continue to 7 p.m., Institute of American Indian Arts, 83 Avan Nu Po Rd., no charge.

Contra dance Folk dance with easy walking steps, live music by the Chilitones, beginners’ class 7 p.m., dance 7:30 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $9, students $5, folkmads.org.

Dance party Contraband, ska/world beat/jazz fusion instrumental quintet, with The Dashboard Romeos, 8 p.m.-midnight, The Lodge at Santa Fe, 750 St. Francis Dr., $10 at the door, 21+.

Vista Grande Social Club Saturday Night Salsa Party Music by Havana Son, dance lesson 8-9 p.m., dance 9 p.m.-12:30 a.m., La Tienda Performance Space, 7 Caliente Rd., Eldorado, $10 at the door.

VJ Tom Yaz Video-dance bar with tunes from the ’70s to the present, 8 p.m., Palace Restaurant & Saloon, $20, 505-988-1234, ticketssantafe.org.

IN CONCERT

SFUA&D spring ensemble performance Rock Ensemble and Funk/R & B Ensemble, 8 p.m., O’Shaughnessy patio, Benildus Hall, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., no charge.

BOOKS/TALKS

John Sandford The novelist discusses Field of Prey, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-989-4226.

Southwest Seminars lecture The series continues with Cultural Context of Hopi Arts and Crafts, by Joe Day and Janice Day, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 505-466-2775.

NIGHTLIFE

(See Page 54 for addresses) Cowgirl BBQ Karaoke night with Michele Leidig, 8 p.m., no cover.

Duel Brewing David Castro Band, indie Americana rock, 7-9 p.m., no cover.

El Farol Tiho Dimitrov, R & B, 8:30 p.m., no cover.

La Fiesta Lounge at La Fonda Blues/soul artist Zenobia, 7:30-11 p.m., no cover.

Monday Music at Jean Cocteau Cinema Busy & The Crazy 88!, Busy McCarroll, Kevin Zoernig, Baird Banner, and Justin Bransford, hipster pop, 7:30 p.m., call for cover.

Vanessie Pianist/vocalist Kathy Morrow, 6:30 p.m., call for cover.

NIGHTLIFE

(See Page 54 for addresses) ¡Chispa! at El Meson Ryan Finn Quartet, trombone-driven jazz, 7:30-10:30 p.m., no cover.

El Farol R & B singer/songwriter John Carey, 9 p.m., call for cover.

La Fiesta Lounge at La Fonda Buffalo Nickel, boot-scootin’ country tunes, 8-11 p.m., no cover.

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

Mine Shaft Tavern One-man blues band C.W. Ayon, 3-7 p.m. on the deck; reggae and soul band Iyah, 7 p.m.-close, call for cover.

Pranzo Italian Grill Pianist David Geist, 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 Bluegrass band Mystic Lizard, 7-10 p.m., no cover.

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

The Underground at Evangelo’s Reggae band Brotherhood Sound, 9 p.m., call for cover.

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

Vanessie Pianist/vocalist Kathy Morrow, 6:30 p.m., call for cover.

11 Sunday GALLERY/MUSEUM OPENINGS

Las Chivas Coffee Roaster 7 Avenida Vista Grande, Suite B-7, Eldorado, 505-466-1010. Reflections, landscapes

by Michele Tisdale, reception 1-3 p.m., through June 7.

Passport to the Arts Canyon Road galleries and shops host artists’ demonstrations beginning at 11 a.m.; Mother’s Day brunch offred at Geronimo Reastaurant and El Farol, details available online at visitcanyonroad.com.

Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 505-982-4636. Exhibit of works by Diné photographer Will Wilson, through April 19, 2015.

Adobe Gallery shows work by the former Santa Fe Indian School artist Gerald Nailor (1917-1952), 221 Canyon Rd.

CLASSICAL MUSIC

Música Antigua de Albuquerque Music of the Middle Ages and Renaissance, 4:30 p.m., Christ Lutheran Church, 1701 Arroyo Chamiso, $16, discounts available, 505-842-9613.

IN CONCERT

Leni Stern African Trio Jazz ensemble; featuring Senegalese musicians Mamadou Ba and Alioune Faye, 7:30 p.m., Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com.

SFUA&D spring ensemble performance Gamelan Guntur Giri and sitarist Ustad Roshan Bhartiya, 5 p.m., Quad Bandshell; Jazz Ensemble, Afro-Cuban Ensemble, and University Chorus, 8 p.m., O’Shaughnessy patio; Santa Fe University of Art & Design, 1600 St. Michael’s Dr., no charge.

Zia Singers The choir performs popular standards, 4 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., $20 at the door, no charge for students.

THEATER/DANCE

Beauty and The Beast An adaptation of the 1991 Disney film presented by Pandemonium Productions students (ages 5-17), 2 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10, children under 12 $6, 505-982-3327.

I Love You, You’re Perfect, Now Change Joe DiPietro and Jimmy Roberts’ musical on dating, love, and marriage, 2 p.m., Los Alamos Performing Arts Center, 1670 Nectar St., $12, discounts available, lalt.org, 505-622-5493.

One Woman Dancing 2014 Julie Brette Adams’ annual solo performance; guest soloist Kate Eberle, 2 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20, discounts available, 505-986-1801. (See story, Page 22)

BOOKS/TALKS

Journey Santa Fe Presents The Gorilla Phenomenon, a discussion with KSFR Radio host Xubi Wilson on the elimination of manual-labor jobs for men, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.

EVENTS

2014 Mother’s Day Tour Historic Santa Fe Foundation hosts its annual event on the grounds of the School for Advanced Research, 1-4 p.m., 660 Garcia St., $5 at the gate, 505-983-2567.

NIGHTLIFE

(See Page 54 for addresses) Duel Brewing Jazz guitarist Tony Duran, 3-5 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.

Mine Shaft Tavern Hello Dollface, blues and soul, 3-7 p.m., call for cover.

Molly’s Kitchen & Lounge Blues band Gary Farmer & The Troublemakers, 6-9 p.m., call for cover.

13 Tuesday IN CONCERT

The Cave Singers Indie-folk quartet, 7:30 p.m., Santa Fe Sol Stage & Grill, $12 in advance, 505-988-1234, ticketssantafe.org.

BOOKS/TALKS

Craig Johnson The author discusses and signs copies of Any Other Name: A Longmire Mystery, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-989-4226.

NIGHTLIFE

(See Page 54 for addresses) ¡Chispa! at El Mesón Argentine Tango Milonga, 7:30 p.m., no cover.

La Fiesta Lounge at La Fonda Blues/soul artist Zenobia, 7:30-11 p.m., no cover.

Second Street Brewery at the Railyard Open-mic song night with Ben Wright, 8 p.m., no cover.

Tiny’s Song Circle, monthly open-mic song swap hosted by Percolator John, 7-9 p.m., no cover.

Vanessie Pianist/vocalist Kathy Morrow, 6:30 p.m., call for cover.

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

14 Wednesday THEATER/DANCE

Spring Dance Concert Student showcase with choreography by SFUA&D faculty and guest artists, 7 p.m., Greer Garson Theatre, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $12 and $15, 505-988-1234, ticketssantafe.org. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM

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PLACITAS

BOOKS/TALKS

17th Annual Placitas Studio Tour Fifty artists open their studios for this Mother’s Day weekend tour; works include glass art, jewelry, sculpture, and more, 10 a.m.-5 p.m.

Saturday and Sunday, May 10-11, details available online at placitasstudiotour.com,

Connecting People and Places: A Livable and Walkable Santa Fe Public lecture and Q & A session with Dan Burden and Robert Ping of Walkable and Livable Communities Institute, 6 p.m., Santa Fe Community Convention Center, 201 W. Marcy St., no charge, contact Creative Santa Fe for information, 505-288-3538.

Santa Fe Institute 2014 Community Lecture The series continues with Is Free Will an Illusion? by Daniel Dennett of Tufts University, 7:30 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., no charge, santafe.edu.

Santa Fe Master Gerald Cassidy The docent-led Artist of the Week series continues with a discussion of the late Santa Fe Art colony painter, 12:15 p.m., New Mexico Museum of Art, 107 W. Palace Ave., by museum admission, 505-476-5075.

School for Advanced Research lecture Costly and Cute: How Helpless Newborns Made Us Human, by Karen Rosenberg and Wenda Trevathan, noon-1 p.m., SAR, 660 Garicia St., no charge, 505-954-7203.

▶ People who need people Artists

Fourth Annual National Juried Encaustic/Wax Exhibit Artists 18 years and older may enter up to three images for the Oct. 4-Nov. 2 exhibit held at the Encaustic Art Institute in Cerrillos; Aug. 4 submission deadline; award details and applications available online at juriedartservices.com.

Taos Art Glass Invitational Glass artists may submit sculptural, functional, or wearable works for international, biennial exhibit held Oct. 11-Nov. 9; entries and artists’ statements must be received by June 1; details and forms available online at tiganm.org.

NIGHTLIFE

(See Page 54 for addresses) ¡Chispa! at El Meson Flamenco guitarist Chuscales, 7-9 p.m., no cover.

Duel Brewing Harmonica Mike Handler and members of the Country Blues Revue Pat Burns, Larry Diaz, and Marc Malin, 7-10 p.m., no cover.

Iconik Coffee Roasters Ravensong; a monthly singer/songwriter showcase hosted by Dave Tutin; performers include Karen Marolli, Dave Tutin, and Laurianne Fiorentino, 7 p.m., no cover.

La Fiesta Lounge at La Fonda Bill Hearne Trio, classic country, 7:30-11 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 DJ Obi Zen, 8:30 p.m., call for cover.

Filmmakers/Performers/Writers

Auditions for The Fantasticks Must be able to sing; roles open for men and women ages 16-55; 7 p.m. Friday, May 16, 2 p.m. Saturday, May 17, Christ Lutheran Church, 1701 Arroyo Chamiso, production dates Aug. 14-16; call 505-471-6596 for more information.

New Mexico Dance Coalition Student Scholarships 2014 Two scholarship awards distributed in time for fall tuition; available to residents ages 8 and up; nmdancecoalition.org; apply by Friday, Aug. 15.

Richard Levy Gallery shows paintings by Matt Magee, 514 Central Ave. S.W., Albuquerque.

BOOKS/TALKS

15 Thursday

Daniel Lenihan The author reads from and signs copies of Submerged: Adventures of America’s Most Elite Underwater Archeology Team, 5:30 p.m., Op. Cit. Books, 500 Montezuma Ave., Suite 101, Sanbusco Center, 505-428-0321.

GALLERY/MUSEUM OPENINGS

OUTDOORS

Jean Cocteau Cinema Gallery 418 Montezuma Ave., 505-466-5528. Work by photographer Shari Kessler, reception 5-7 p.m., through June 16.

IN CONCERT

NMSA Jazz Ensemble Directed by Bert Dalton and John Trentacosta, 6 p.m., New Mexico School for the Arts, 275 E. Alameda St., no charge.

San Miguel Chapel Bell Tower Restoration Concert Series Guitarist AnnaMaria Cardinalli, 7:30 p.m., San Miguel Chapel, 401 Old Santa Fe Trail, $20 at the door.

SFUA&D spring ensemble performance Jason Goodyear and Steven Paxton perform electroacoustic music, 9 p.m., O’Shaughnessy Performance Space, Benildus Hall, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., no charge.

THEATER/DANCE

National Theatre Live in HD The series continues with Shakespeare’s tragedy King Lear, 7 p.m., the Lensic, $22, 505-988-1234, ticketssantafe.org.

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PASATIEMPO I May 9-15, 2014

Nature hike Robert Martin of The Nature Conservancy leads an easy hike; meet at the Santa Fe Canyon Preserve parking lot, 1-2:30 p.m., Santa Fe Canyon Preserve, near the intersection of Upper Canyon and Cerro Gordo roads, no charge, RSVP to Martin, 505-946-2029, nature.org/newmexico.

NIGHTLIFE

(See Page 54 for addresses) ¡Chispa! at El Meson Tom Rheam and Chris Ishee, trumpet and piano, 7-9 p.m., no cover.

Duel Brewing Les Malzman, retro rock, 5:30-6:30 p.m.; gothic-Americana band Cloacas, 7 p.m.-close, no cover.

La Fiesta Lounge at La Fonda Bill Hearne Trio, classic country, 7:30-11 p.m., no cover.

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

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

Vanessie Pianist/vocalist Kathy Morrow, 6:30 p.m., call for cover.

Zia Diner Trio Bijou, vintage string jazz, with Gemma DeRagon on violin and vocals, Andy Gabrys on guitar, and Andy Zadrozny on bass, 6:30-8:30 p.m., no cover.

▶ Elsewhere ALBUQUERQUE

Eureka!

National Dance Institute New Mexico celebrates 20 years with a student showcase, 6:30 p.m.

Friday, 2:30 and 5:30 p.m. Saturday, May 9-10, Hiland Theater, 4800 Central Ave. S.E., $10, 505-340-0219, final weekend.

Chatter Sunday Music of Britten and Haydn, 10:30 a.m. Sunday, May 11, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, chatterabq.org.

J.Q. Whitcomb & Five Below Santa Fe trumpeter; with Ben Finberg on trombone, Dimi DiSanti on guitar, Andy Zadrozny on bass, and Arnaldo Acosta on drums, 7:30 p.m. Thursday, May 15, Outpost Performance Space, 210 Yale Blvd. S.E., $20, student discounts available, holdmyticket.com.

Morrissey British pop singer/songwriter, 8 p.m.

Wednesday, May 14, Sunshine Theater, 120 Central Ave. S.W., $53 in advance at holdmyticket.com.

Regina Carter The violinist celebrates the release of her CD Southern Comfort, 7:30 p.m. Friday, May 9, Outpost Performance Space, 210 Yale Blvd. S.E. $30, students $25, holdmyticket.com.

Richard Levy Gallery 514 Central Ave. S.W., 505-766-9888. Color Rhythms, group show including work by Matt Magee and Suzanne Caporael, through May 30.

Volunteers

Tear Mirror art project Santa Fe Art Institute artist-in-residence Tomoko Hayashi invites individuals to share written personal stories behind their tears, as well as their actual tears to be made into jewelry; call 505-424-5050 for more information, tomokohayashi.com.

▶ Under 21 UNDER 21

Warehouse 21 benefit concert Autumn Faulkner, Almost a Lie, and On Believer, 7 p.m.

Saturday, May 12. Warehouse 21, $5 at the door.

▶ Pasa Kids Craft Time Make mom some paper posies for Mother’s Day, 11 a.m.-noon Saturday, May 10, Bee Hive Kids Books, 328 Montezuma Ave., no charge.

Dragonfly School Spring Fair Games, prizes, arts & crafts, food, and a silent auction, 10 a.m.-2 p.m. Saturday, May 10, 935 Alto St., $5 at the door, 505-995-9869.

Children’s Story Hour Readings from picture books for children up to age 5; 10:45-11:30 a.m. Wednesdays and Thursdays, Collected Works Bookstore, 202 Galisteo St., no charge, 505-988-4226.

Santa Fe Children’s Museum Weekly events including open art studio, drama club, jewelry-making club, and preschool programs. Santa Fe Children’s Museum, 1050 Old Pecos Trail, by museum admission, 505-989-8359, for ongoing programs and special events visit santafechildrensmuseum.org. ◀

In the wings MUSIC

Jenny Bird Taos singer, with Omar Rane on guitar, Andy Zadrozny on bass, and John Trentacosta on drums, 7 p.m. Friday, May 16, Museum Hill Café, 710 Camino Lejo, $25, 505-983-6820, santafemusiccollective.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, 505-988-1234, ticketssantafe.org.

Santa Fe Symphony Beethoven’s Ninth wraps up the 30th anniversary season, 7:30 p.m. Saturday, May 17, the Lensic, $22-$76, 505-988-1234, ticketssantafe.org.

Dave Grusin & Friends Santa Fe Waldorf School presents the jazz pianist/composer; accompanied by John Rangel, Michael Glynn, and Ryan Lee; vocals by Barbara Bentree, 6:30 p.m. Thursday, May 22, James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $25-$65, 505-988-1234, ticketssantafe.org.

Austin Piazzolla Quintet Tango ensemble, 7:30 p.m. Saturday, May 24, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com.

Country singer/songwriter Rodney Crowell, 7:30 p.m. Tuesday, June 17, the Lensic, $35-$45, 505-988-1234, ticketssantafe.org.

Greg Grissom’s Guys and Dolls Memorial performance honoring the late showman; includes David Geist, Beth Kennedy Jones, John Trentacosta, and Tad Jones and the Bert Dalton Trio, 2 p.m. Saturday, May 24, Scottish Rite Center, 463 Paseo de Peralta, no charge, starsneverfade.com.

Ingrid Laubrock and Tom Rainey Saxophonist and percussionist, 8 p.m. Thursday, May 29, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com.

Santa Fe Women’s Ensemble The choral group’s 33rd season continues; 3 p.m. Saturday and Sunday, June 7-8, at First Presbyterian Church of Santa Fe (Saturday) and Immaculate Heart of Mary Chapel (Sunday), $25, students $10, ticketssantafe.org, 505-988-1234, visit sfwe.org for details.

Xavier Rudd Australian singer/songwriter, 7:30 p.m.

Wednesday, June 11, Santa Fe Sol Stage & Grill, $20, 505-989-1234, ticketssantafe.org.

Carrie Rodriguez Fiddler/songwriter, 7 p.m. Saturday, June 14, Gig Performance Space, 1808-H Second St., $25 in advance at brownpapertickets.com, $29 at the door.

Santa Fe Bandstand 2014 The annual free music series featuring local and national acts returns with an expanded 10-week run beginning Monday, June 23, and continuing weekly through August on the Plaza; including local favorites Bill Hearne, Nacha Mendez, and Bert Dalton; plus, Candace Bellamy, Lipbone Redding and his two-man orchestra, and Joy Harjo, santafebandstand.org.

The Soulshine Tour Michael Franti and Spearhead, SOJA, Brett Dennen, and Trevor Hall, 6 p.m. Saturday, July 5, Downs of Santa Fe, 27475 W. Frontage Rd., $44 and $61, kids $12, ticketssantafe.org, 505-988-1234, and holdmyticket.com.

Ninth Annual New Mexico Jazz Festival July 11-27 in Albuquerque and Santa Fe; Terri Lyne Carrington’s Mosaic Project, Jack DeJohnette Trio, Claudia Villela Quartet, Henry Butler with Steven Bernstein & The Hot 9, visit newmexicojazzfestival.org for schedule.

Santa Fe Chamber Music Festival July 20 marks the beginning of the 42nd season; performers include the Mark O’Connor String Quartet, the Orion String Quartet, pianist Inon Barnatan, and violinist William Preucil, visit santafechambermusic.com for details.

Ray Lamontagne Singer/songwriter, 6:30 p.m. Tuesday, Aug. 5, Downs of Santa Fe, 27475 W. Frontage Rd., $40 and $62, 505-988-1234, ticketssantafe.org.

Tony Bennett With Antonia Bennett, 7 p.m. Sunday, Aug. 24, Santa Fe Opera, 301 Opera Dr., advance tickets available online at santafeopera.org, 505-986-5900.

Lila Downs Singer/songwriter, 7:30 p.m. Wednesday, Aug. 27, the Lensic, 211 W. San Francisco St., $39-$69, 505-988-1234, ticketssantafe.org.

UPCOMING EVENTS The Sad Room Playwright Patricia Crespín’s drama, 7:30 p.m.

Friday and Saturday, 2 p.m. Sunday, May 23-25, Teatro Paraguas, 3205 Calle Marie, $12, discounts available, 505-424-1601, teatroparaguas.org.

Frankie & Johnny in the Clair de Lune A play by Terrence McNally, 7:30 p.m.

Thursdays-Saturdays, 4 p.m. Sundays, May 30-June 8, Santa Fe Playhouse, 142 E. De Vargas St., gala opening $30; general admission $20; discounts available; 505-988-4262, contains nudity.

John Hodgman Comedian, 9 p.m. Monday, June 2, Jean Cocteau Cinema, 418 Montezuma Ave., $20 at the box office and online at jeancocteaucinema.com.

The Sound of Music Musical Theatre Works Santa Fe presents the musical, 7 p.m. Fridays and Saturdays, 2 p.m. Sundays, June 6-15, Greer Garson Theatre, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $17 in advance, students $12, musicaltheatreworks.net, $20 at the door.

National Theatre Live in HD The broadcast series continues with A Small Family Business, Alan Ayckbourn’s comedic exposé of entrepreneurial greed, 7 p.m. Thursday, June 12, $22, 505-988-1234, ticketssantafe.org.

Antonio Granjero and EntreFlamenco Flamenco dance troupe, with Estefania Ramirez, 8 p.m. nightly from July 2 through August, María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr., $25-$45, 505-988-1234, ticketssantafe.org.

HAPPENINGS

Lannan Foundation Literary Series Irish novelist Colm Tóibín in conversation with Michael Silverblatt, 7 p.m. Wednesday,

May 21, the Lensic, 211 W. San Francisco St., $6, discounts available, 505-988-1234, ticketssantafe.org.

New Mexico History Museum Fifth Anniversary Bash Highlighting objects from the permanent collection with Toys and Games: A New Mexico Childhood, games held in the Palace of the Governors Courtyard, 2-4 p.m.

Sunday, May 25, New Mexico History Museum, 113 Lincoln Ave., by museum admission, 505-476-5200.

Santa Fe Opera Insider Day Saturdays from June 7 through Aug. 23, refreshments 8:30 a.m., staff-member-led backstage tours and talks 9 a.m., Santa Fe Opera, 301 Opera Dr., no charge, 505-986-5900.

Currents: Santa Fe International New Media Festival 2014 2014 Featuring works by international and local artists; exhibits, outdoor video projections, and digital dome screenings beginning Friday, June 13, with events scheduled through Sunday, June 29, at various venues including El Museo Cultural de Santa Fe, Railyard Plaza, Jean Cocteau Cinema, and Warehouse 21, for details visit currentsnewmedia.org.

Santa Fe Opera Ranch Tours Offered at 10 a.m. Fridays, June 27, July 25, and August 22, Santa Fe Opera, 301 Opera Dr., $12, combined backstage tour $20, tickets available at the box office, 505-986-5900. ¡Viva la Cultura! Hispanic cultural festival running Tuesday, July 22, through Saturday, July 26; including performances by Cipriano Vigil y la Familia Vigil and Nosotros, a Spanish Market preview, lunch and dinner events, and film screenings; hosted by the Spanish Colonial Arts Society, Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, call 505-982-2226, Ext. 109 for advance tickets.

THEATER/DANCE

Flexion Wise Fool New Mexico’s touring stilt and aerial performance, 7:30 p.m. Friday and Saturday, May 16-17, Santa Fe Railyard Park, donations accepted, wisefoolnewmexico.org.

Austin Piazzolla Quintet on stage at Gig Performance Space, May 24.

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AT THE GALLERIES Adobe Gallery 221 Canyon Rd., 505-955-0550. Paintings by former Santa Fe Indian School student artists Gerald Nailor, Allan Houser, Quincy Tahoma, Pablita Velarde, and others, through June 4.

Andrew Smith Gallery 122 Grant Ave., 505-984-1234. Love and Other Reasons … To Love, tableau photographs

by Joel-Peter Witkin, through June 21.

Blue Rain Gallery 130-C Lincoln Ave., 505-954-9902.

Paintings by Brad Overton, through May 19.

Chiaroscuro Contemporary Art 702½ Canyon Rd., 505-992-0711. The Black Place: Two Seasons, Walter W. Nelson’s photographic landscape series, through May. Evoke Contemporary 550 S. Guadalupe St., 505-995-9902.

Spring Fever, paintings by the late artist Louisa McElwain, through May 23.

Photo-eye Gallery 376-A Garcia St., 505-988-5159. Synergy, figurative photography by Tony Bonanno, through June 6.

Tansey Contemporary 652 Canyon Rd., 505-995-8513. Art + Design New York Fare, group show, through May 20.

MUSEUMS & ART SPACES SANTA FE

Center for Contemporary Arts 1050 Old Pecos Trail, 505-982-1338. The Armory Show, multimedia group exhibit and program series in celebration of CCA’s 35th anniversary, Muñoz-Waxman Gallery, through May • Enveloping Space: Walk, Trace, Think, Jane Lackey’s immersive site-specific installation, Spector-Ripps Project Space, through May. Open Thursdays-Sundays; ccasantfe.org.

Georgia O’Keeffe Museum 217 Johnson St., 505-946-1000. Georgia O’Keeffe and Ansel Adams: The Hawaii Pictures • Abiquiú Views; through Sept. 14. Paintings, drawings, sculptures, sketches, and photographs

by O’Keeffe in the permanent collection. Open daily; okeeffemuseum.org.

Museum of Contemporary Native Arts 108 Cathedral Place, 505-983-1777. BFA Student Exhibit, traditional and contemporary showcase of works, through May 18 • Articulations in Print, group show, through July • Bon à Tirer, prints from the permanent collection, through July • Native American Short Films, continuous loop of five films from Sundance Institute’s Native American and Indigenous Program. Closed Tuesdays; iaia.edu/museum.

Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 505-476-1269.

Turquoise, Water, Sky: The Stone and Its Meaning, highlights from the museum’s collection of jewelry • 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, artifacts from the museum collection.

Closed Mondays through Memorial Day; indianartsandculture.org.

Museum of International Folk Art 706 Camino Lejo, Museum Hill, 505-476-1200.

Wooden Menagerie: Made in New Mexico, early 20th-century carvings, through Feb. 15, 2015

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PASATIEMPO I May 9-15, 2014

Maxwell Museum of Anthropology UNM campus, 1 University Blvd. N.E., 505-277-4405. The museum’s collection includes individual archaeological, ethnological, archival, photographic, and skeletal items. Closed Sundays and Mondays; maxwellmuseum.unm.edu.

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; nationalhispaniccenter.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; unmartmuseum.org.

LOS ALAMOS

New Mexico History Museum exhibits Donald Woodman’s photographic series Transformed

by New Mexico, through Oct. 12, 113 Lincoln Ave.

• Tako Kichi: Kite Crazy in Japan, exhibition of Japanese kites, through July 27 • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, international collection of toys and folk art • Brasil and Arte Popular, pieces from the museum’s collection, through Aug. 10. Closed Mondays; 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-colonial-period re-creation. Closed Mondays; spanishcolonialblog.org.

New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 505-476-5200. Poetics of Light: Pinhole Photography, through March 29, 2015 • Transformed by New Mexico, work by photographer Donald Woodman, through Oct. 12 • Water Over Mountain, Channing Huser’s photographic installation • 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; nmhistorymuseum.org.

New Mexico Museum of Art 107 W. Palace Ave., 505-476-5072. Southwestern Allure: The Art of the Santa Fe Art Colony including early 20th-century paintings by George Bellows, Andrew Dasburg, Marsden Hartley, and Cady Wells, through July 27 (See story, Page 34) • Focus on Photography, rotating exhibits • Beneath Our Feet, photographs by Joan Myers • Grounded, landscapes from the museum collection • Photo Lab, interactive exhibit explaining the processes used to make color and platinum-palladium prints from the collection, through March 2015 • 50 Works for 50 States: New Mexico. Closed Mondays; nmartmuseum.org.

Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Place, 505-988-8900. Closed Mondays; 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; poehcenter.org.

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

Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 505-982-4636. Works by Diné photographer Will Wilson, through April 19, 2015. Core exhibits of contemporary and historic Native American art. Open daily; wheelwright.org.

ALBUQUERQUE

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

Everybody’s Neighbor: Vivian Vance, family memorabilia and the museum’s photo archives of the former Albuquerque resident, through January 2015 • Behind Closed Doors: Art in the Spanish American Home, 1492-1898, works from the Brooklyn Museum, through May 18 • Arte en la Charrería: The Artisanship of Mexican Equestrian Culture, more than 150 examples of craftsmanship and design distinctive to the charro. Closed Mondays; cabq.gov/culturalservices/albuquerquemuseum/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; nmholocaustmuseum.org.

Indian Pueblo Cultural Center 2401 12th St. N.W., 866-855-7902. Our Land, Our Culture, Our Story, a brief historical overview of the Pueblo world, and contemporary artwork and craftsmanship of each of the 19 pueblos.

Weekend Native dance performances; indianpueblo.org.

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; lanl.gov/museum.

Los Alamos Historical Museum 1050 Bathtub Row, 505-662-4493. Edith and Tilano: Bridges Between Two Worlds, photographs and artifacts of the early homesteaders, through May. Core exhibits on area geology, homesteaders, and the Manhattan Project. Housed in the Guest Cottage of the Los Alamos Ranch School. Open daily; 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; 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; taoshistoricmuseums.org.

Harwood Museum of Art 238 Ledoux St., 575-758-9826. Highlights From the Harwood Museum of Art’s Collection of Contemporary Art • Death Shrine I, work

by Ken Price • works of the Taos Society of Artists and Taos Pueblo artists. Open daily through October; harwoodmuseum.org.

La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. One of the few Northern New Mexico-style, Spanish-colonial “great houses” remaining in the American Southwest.

Built in 1804 by Severino Martin. Open daily; 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. Open daily through October; millicentrogers.org.

Taos Art Museum at Fechin House 227 Paseo del Pueblo Norte, 575-758-2690.

Intimate and International: The Art of Nicolai Fechin, paintings and drawings, through Sept. 21.

Housed in the studio and home that artist Nicolai Fechin built for his family between 1927 and 1933. Closed Mondays; taosartmuseum.org.

EXHIBITIONISM

A peek at what’s showing around town

Jonathan Morse: Fabrications 7, 2014, pigment print on Moab Colorado Fiber Gloss paper. Byzantine Project in the Byzantium Lofts (1348 Pacheco St., Suite 105) presents Fabrications, an open house and exhibit of Jonathan Morse’s abstract digital pigment prints. The artist prints on photo paper to achieve sharp contrasts in black and white and an enamellike buildup of colors. The show includes selections from his Fabrications and Filaments series. There is a 4 p.m. reception on Saturday, May 10. The exhibit is open by appointment after that. Call 505-982-3305.

Oliver Polzin: Archetype, 2014, gouache and ink on paper. GVG Contemporary (202 Canyon Road, 505-982-1494) presents Humans I Wouldn’t Mind Being, an exhibition of portraits by Oliver Polzin. Polzin blends symbolism and narrative imagery into his work in oil, gouache, and mixed media. The show’s opening reception is at 5 p.m. on Friday, May 9. The exhibit is shown in conjunction with Passport to the Arts 2014 (www.visitcanyonroad.com), a three-day art event at various venues from Friday to Sunday, May 11. Polzin participates in the Artist Quick Draw at 11 a.m. Saturday, May 10 (he will be outside Pippin Contemporary, 200 Canyon Road), during which more than 70 artists have two hours to start and finish an original work. Quick Draw art is auctioned beginning at 5 p.m. on Saturday outside Ventana Fine Art (400 Canyon Road).

Michele Tisdale: Toward the Seine, 2012, oil on board.

Michele Tisdale paints landscapes, floral imagery, still lifes, and portraits with a soft, atmospheric touch achieved by mixing varnish and beeswax using an impasto technique.

Reflections, a show of her work, opens at Las Chivas Coffeehouse (7 Avenida Vista Grande, Eldorado) with a reception at 1 p.m. on Sunday, May 11. Call 505-466-1010.

Emma Felt: Daikon Radish, 2014, graphite on Bristol board. New Mexico School for the Arts presents 17 Kites of Discord and Delight, an exhibition of works by seniors in the NMSA Visual Arts Department. The students were given freedom to create works in series, installations, or a single large piece for the show. Each student worked independently. The show is at the Georgia O’Keeffe Museum Education Annex (123 Grant Ave.) through May 18.

Call NMSA at 505-310-4194.

Rosenberg: Genesis (triptych), 2014, acrylic on acrylic panels. Tom Ross Gallery (409 Canyon Road) presents Metamorphosis, an exhibit of paintings by Tom Ross and Rosenberg. (Rosenberg is Ross’ family name, changed when his father arrived at Ellis Island after escaping the Holocaust.) Using a reverse painting technique, Ross creates representational images that contrast with the vibrant abstractions he makes as Rosenberg. The reception is Friday, May 9, at 5 p.m.

Call 505-984-8434.

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