Pasatiempo, November 8, 2013 by The New Mexican

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

November 8, 2013

How will you Last year, New Mexico Educators Federal Credit Union returned 4 million dollars to members in loan rebates and bonus dividends. Members earned not just for checking accounts and auto loans, but mortgages, credit cards, and equity loans too. Did you earn your return? How will you earn your return this year? Go to NMEFCU.org and calculate just how much you can earn. That’s New Mexico Educators.

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Sunday, November 17 4–7 pm Museum Auditorium & La Fonda on the Plaza

See the new film The Harvey Girls: Opportunity Bound in the museum auditorium, then enjoy a Harvey House–inspired reception at La Fonda on the Plaza. A fund raiser for the museum, with KNME-TV and La Fonda. Tickets; $80/$100 reserved seating. Call 505-982-9543.

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Over the centuries, the North American gray wolf, feared as a predator of people and livestock, was hunted nearly to extinction. Today, thanks to the conservation efforts of organizations such as the Rewilding Institute in Albuquerque, the population of the gray wolf, which roamed nearly the entire continent at one time, shows signs of recovery. David Parsons, the Rewilding Institute’s carnivore conservation biologist and a member of the Mexican Gray Wolf Recovery Team when he worked for the U.S. Fish and Wildlife Service, presents an educational talk on the wolf and its ecological role in the wild. “A large body of research supports the conclusion that large carnivores are critical components of healthy and biologically diverse ecosystems,” Parsons writes on the Rewilding Institute’s website. “The presence of large carnivores tends to promote plant and animal diversity and ecosystem complexity, which makes ecosystems more resilient to disturbances and longer term changes such as the consequences of climate change.” The talk “Why Wolves?” takes place at the Education Annex of the Georgia O’Keeffe Museum (123 Grant Ave.) on Tuesday, Nov. 12, at 6 p.m. and includes refreshments. Priority seating will be given to young people between the ages of 13 and 19. There is no charge for admission. Call 505-603-7468. — Michael Abatemarco

Once in a blue moon Lunafest brings nine short films to Santa Fe that at first appear to share little in common. Flying Anne is a documentary about an 11-year-old girl who suffers from Tourette’s syndrome. Running Dry portrays a number of ordinary, though fictionalized, people whose lives were devastated by the recent economic crisis in Athens. In Tiny Miny Magic, a woman and her mailman are drawn together romantically when they start exchanging gifts through the mailbox. The remaining shorts — made by filmmakers from Australia, the Netherlands, Greece, Norway, and the U.S. — are equally diverse. But they share a common thread. All of them are made by, for, and about women. Sponsored by Luna nutrition bars, the festival travels from city to city every year. All the proceeds are donated to local nonprofits. Since its inception in 2000, Lunafest has raised nearly 2 million dollars. The Santa Fe screening benefits Girls Inc. and the Breast Cancer Fund and takes place Saturday, Nov. 9, at Santa Fe University of Art & Design (1600 St. Michaels Drive, 505-473-6011). Kicking things off at 5 p.m. is a red-carpet reception that includes a silent auction and food and drink. Show time follows at 6:30 p.m. Tickets are $35 ($25 for just the screening) and can be purchaed at www.girlsincofsantafe.org or by calling 505-982-2042. Visit www.lunafest.org. — Loren Bienvenu

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Please join us for a booksigning with the authors of the Tony Hillerman Writers Conference Sunday, November 10th 2:00-4:00 pm Authors attending are: Anne Hillerman, Lesley Poling Kempes, James McGrath Morris, Christine Barber, Margaret Coel, Susan Guyette, Steve Havill, Linda Jacobs, David Morrell, Sally Ooms, Deanne Stillman, and Dawn Wink. The event will benefit the Literacy Volunteers of Santa Fe

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The C.G. Jung Institute of Santa Fe Presents:

Jung In The World

Open Public Forum Donald Kalsched, Ph.D., Barry Williams, M.Div., Psy.D., & Jacqueline West, Ph.D. Jungian analysts from Albuquerque, Taos, & Santa Fe

Cultural and Intrapsychic Reflections on Radicalization, Terror and Fundamentalism, based on The Reluctant Fundamentalist by Mohsin Hamid Friday, November 15th 7-9pm $10 2 CEUs In the aftermath of the Boston Marathon bombing, one of the main questions circulating in the news media was “how had these seemingly normal young men become so radicalized?” Had they fallen under the influence of fundamentalist preachers in Chechnya? Had they been indoctrinated by local extremists? Had they been watching polarizing messages on the internet? How do we understand the environmental and psychological factors that impinge on the psyches of young men in our culture, turning their aggression from the boxing ring to murdering innocent civilians with home-made bombs? And what does Jungian psychology have to add to this discussion? Mohsin Hamid’s short novel and recent film, The Reluctant Fundamentalist, explores these issues in the life of his fictional character Changez – a young Pakistani university lecturer – who becomes grievously, possibly violently, disenchanted with the United States. In this panel discussion we will show clips from the film and open a conversation about this vexing and controversial topic. Attendees are encouraged to read Hamid’s short novel before the presentation. Event takes place at Center for Spiritual Living. 505 Camino de los Marquez, Santa Fe

For information contact Jerome Bernstein, 505-989-3200 For expanded program details go to www.santafejung.org 12

PASATIEMPO I November 8 - 14, 2013

STAR CODES

Heather Roan Robbins

The weekend begins internal and productive if we pace ourselves. Our wheels may spin if we try to get traction, so we might as well enjoy being here now. Crosscurrents toss us for a while, but we get an astrological green light at week’s end. Don’t fight delays; they’re probably for the best. We may need to spend time with our soul or rely on memories while dealing with a busy crowd as mental Mercury retrogrades and conjuncts thoughtful Saturn in Scorpio. It’s easy to obsess, particularly about something from the past. Watch where the mind goes, and take responsibility for consequences. We can change our obsession by replacing the focus, not by telling ourselves to stop. The weekend starts out with a good work ethic. We can’t accomplish much, but we can learn skills or organize as active Mars sextiles productive Saturn. The weekend tugs us between a need for personal retreat and a need to connect. From Saturday through Tuesday, Mercury appears to hold still while it turns direct and trines confusing Neptune, making this an intuitive and creative, if confusing and unproductive, time. From Wednesday on, the pace picks up, and the mood is more volatile and impatient. We want to make progress and make some radical emotional or aesthetic change and push away from something too familiar as Venus squares electrical Uranus. Plans, plots, and emotions we brooded about for the past few weeks are exposed. Let’s curb the inner adolescent and act, not react.

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Friday, Nov. 8: A deeply internal mood this morning under a Capricorn moon either discourages or encourages new determination; it’s our choice. Compromise eases midday negotiations. The focus drops by midafternoon as the moon enters sociable Aquarius. Saturday, Nov. 9: Relax and enjoy the scenery. Learn a skill or discipline; learn from community, repetition, and history as Mars sextiles Saturn. Talk over some recent mutual frustration and drop the blame. Consider systems to prevent future problems. The evening is magical and intuitive as Mercury trines Neptune, but it’s dangerous if we are distracted. Sunday, Nov. 10: This pleasant, if awkward, day is riddled with small snafus. Energy currents swirl in place as Mercury turns direct. Morning is more durable; afternoon brings out sensitivities as the moon heads toward Pisces. All is as it should be, just not as we planned. Help people overcome past shames as the moon conjuncts Neptune tonight. Monday, Nov. 11: The day is slow-starting. We may feel emotionally raw and internally dreamy while having lots to deal with. Reassess and correct mistakes. Let dreams become plans. Share gently, and understanding flows. Watch late-night grumpiness as the moon opposes Mars. Tuesday, Nov. 12: The day begins testy but moves into a more harmonious, potential-filled midday; explore possibilities as the sun, moon, and Jupiter form a triangle. Take a gentle personal risk, and become more transparent. Use luck in housing questions or finding a home for a new idea. Wednesday, Nov. 13: The mood is edgy, assertive, and aggressive as the moon enters feisty Aries. Make sure it’s true and wise before telling people off. Afternoon is stormy; evening brings abrupt and interesting events as the moon conjuncts erratic Uranus. Loneliness echoes late tonight. Thursday, Nov. 14: We may want to make a sweeping change, but let’s run toward, not away, as Venus in Capricorn squares Uranus in Aries. Any attempt to control our will stimulates rebellion, but we’re capable of generous heroism if a problem is stated simply. Be honest and succinct, dynamic but not manipulative. ◀ www.roanrobbins.com

Market Fresh Cooking Thanksgiving Series at the Santa Fe Farmers Market

10:00 am Tuesday, November 12th In the Farmers Market Pavilion

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In Other wOrds book reviews Finding Florida: The True History of the Sunshine State by T.D. Allman, Atlantic Monthly Press, 556 pages Florida might well be New Mexico’s opposite. Born of 16th-century contact between Natives and Spanish conquistadores, both states have largely unforgiving terrain that long killed off explorers, farmers, politicians, and settlers. But where New Mexico eventually sought to cultivate its tricultural history as a tourist draw, Florida obliterated its past, opened its gates, and became a peninsula-shaped reset button for nearly 20 million residents. “Florida,” writes T.D. Allman, has a “perpetual role as the place where people come to reinvent themselves, regardless of the consequences, and God help them when they do.” In this scorched-earth account, the journalist — who has covered the state for some three decades — is on a seek-and-destroy mission, out to overturn common notions about the Sunshine State, beginning with that misleading name: the state leads the country in thunderstorms, he writes. It is also the only state, Allman says, that maintains ties to both the Confederate South (in the persistence of the saltire, or diagonal cross, on the state’s flag) and the Spanish- and Creolespeaking Caribbean. In truth, Florida’s contradictions have existed from the start. For its first 250 years after European-Native contact, the province was the ultimate backwater of the Spanish empire, where a small crew of rulers coexisted with a much lar larger mixed-race cultur culture of freed blacks, Indians, and expatriated American whites, who survived and thrived as smugglers of slaves and contraband to the bordering United States. As Allman writes, under the military and later presidential leadership of Andrew Jackson, it was not long before “it was revealed the U.S.’ real enemy in Florida was not the skeleton staff of Spanish leaders but those free black and mixed-race communities whose very existence provoked the ire of slaveholding, white supremacist Confederate states just across the border.” Even as Jackson encouraged American aggression toward Florida, progressive voices attempted to stake their own claim to the state. The most forwardthinking of them was Zephaniah Kingsley, who in 1829 published a widely read treatise that “proclaimed interracial sex to be Florida’s moral salvation as well as the source of its future prosperity.” As a white man, Kingsley encouraged other white slave owners to replace racial hatred with sexual love and to produce a new generation of mixed-race people 14

PASATIEMPO I November 8 -14, 2013

who should be freed by their owners. He lived what he preached. His wife, purchased at a Havana slave market when she was 13, was freed when she was 18, treated as an equal, given her own land, and tasked with the responsibility of running the couple’s plantation near modern-day Jacksonville. Scandal followed Kingsley and his wife everywhere, but their wealth and evident success at growing crops and in the shipping trade gave them two decades of Florida life before new American race laws would force them to decamp for the Caribbean. To some extent, Kingsley’s prophecies had already taken place on a more organic level near Fort Negro in the Panhandle, where Indians, blacks, and whites commingled and intermarried, living off the bountiful oyster crop and agricultural returns afforded by the Apalachicola River. That paradise would soon be imperiled by American expansionism. On the grounds that Spanish and British leaders were instigating an “Indian and Negro war,” Secretary of State John Adams and then Gen, Andrew Jackson attacked the fort in the summer of 1816. American gunboats surrounded the garrison, firing mortars that killed nearly all of the town’s residents — men, women, children, and infants alike. Far from fully vanquishing the freed blacks and mixed-race Seminoles, however, the Americans had merely launched the first volley in a statewide war against the black Seminoles that would last until the start of the Civil War. Despite the violence, the heat, and the tropical diseases (still a threat as late as 1908, when typhoid killed Sen. William James Bryan), Florida became known as a winter retreat for the Eastern elite in the second half of the 19th century. Even reformers like Harriet Beecher Stowe would succumb to the state’s fanciful charms. After the success of Uncle Tom’s Cabin, Stowe penned a flowery public-relations tome called Palmetto-Leaves, about her life on a citrus plantation outside Jacksonville. Her writing would carefully elide the turbulent race relations and the sometimes-hostile climate, as when a typical winter freeze destroyed most of her orange crop. Allman’s book favors the 19th century over the 20th, which can be disappointing for a reader looking for an in-depth exposé of Miami or Disney. But plenty of those books already exist. What he is after in Finding Florida is establishing a link between the sustained racial violence of the 19th century and life in modern-day Florida, a connection the state’s boosters and its amnesiac day-to-day cultural existence have largely abolished. This is not easy reading, but anyone wondering why Florida became both a tourist escape and a place where the killer of an unarmed black teenager named Trayvon Martin could walk on acquittal might come to understand the separate wars, actual and cultural, that were fought and won largely by one side during the 19th century. — Casey Sanchez

SubtextS Creative sentencing Educators agree that the more you talk and read to young children, the better their reading skills and vocabularies will be. And kids who see their parents read are more likely to consider reading an entertaining and worthwhile activity. In Santa Fe, we have no shortage of bookstores from which to stock the shelves. Many of these stores host free readings and even children’s story time. If you’re looking for free or low-priced options, remember that Santa Fe is also home to many used bookstores where you can trade in your old titles for new ones as well as a public library with branches all over town. Here are the recent bestsellers at some of our local book merchants: Collected Works Bookstore (202 Galisteo St., 505-988-4226) The Goldfinch by Donna Tartt Blowback by Valerie Plame and Sarah Lovett Spider Woman’s Daughter by Anne Hillerman Levels of Life by Julian Barnes Bleeding Edge by Thomas Pynchon The Ark (133 Romero St., 505-988-3709) The Dalai Lama on What Matters Most by Noriyuki Ueda The Honeymoon Effect: The Science of Creating Heaven on Earth by Bruce H. Lipton The Untethered Soul: The Journey Beyond Yourself by Michael A. Singer Becoming Kuan Yin: The Evolution of Compassion by Stephen Levine Unlikely Love: 43 Heartwarming True Stories From the Animal Kingdom by Jennifer S. Holland Bee Hive Kids Books (328 Montezuma Ave., 505-780-8051) Rosemary Wells recently read at the store, resulting in top sales of Wells’ books: Max and Ruby’s Bedtime Book Max and Ruby’s Treasure Hunt Voyage to the Bunny Planet Max’s ABC Ruby’s Tea for Two Garcia Street Books (376-B Garcia St., 505-986-0151) The Reason I Jump by Naoki Higashida Dog Songs by Mary Oliver The Lowland by Jhumpa Lahiri The Circle by Dave Eggers Spider Woman’s Daughter by Anne Hillerman — Jennifer Levin

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Bleeding Edge by Thomas Pynchon, Penguin/Random House, 477 pages The publication of a new Thomas Pynchon novel always generates comparisons with his first, most celebrated novels. Critics cite the genius of V. (1963) and Gravity’s Rainbow (1973) and then use them to draw unfavorable comparisons with the new work. These criticisms mostly have to do with style. Pynchon is accused, after all these years, of still writing as he did back then. Consider the slurs leveled at his 1,085-page, 2006 novel Against the Day. Louis Menand, in The New Yorker, said it was “just yards and yards of Pynchonian wallpaper.” In the Los Angeles Times, novelist Christopher Sorrentino also invoked the author’s name to damn it, calling the book “Pynchonesque.” Once celebrated for his unsettling worldview and exhilarating way with words and substance, Pynchon is now criticized for clinging to them. The circumstances of his latest novel provides the perfect Pynchonian backdrop. Bleeding Edge bubbles with they’re-watching-us paranoia and barely visible conspiracies of the sort found in all his work. The book opens in the spring of 2001 in New York City, after the dot-com bust and ahead of the atrocity that’s coming in September, some 316 pages distant. The intrigue emanates from secret organizations hidden away in the deepest recesses of the internet. As in Pynchon’s less-celebrated second novel, The Crying of Lot 49, the main character is a woman. Lot 49 centers on a shadowy ancient organization that exists to shuttle secret information by regular mail. Bleeding Edge brings that idea into the 21st century. It deals with mysterious realms of the World Wide Web (the term takes on a sinister meaning in Pynchon’s hands) — ones that serve, among other things, to conceal insidious investment transactions. Maxine Tarnow is a financial fraud investigator who is delving into a questionable computersecurity organization. A mother with two young boys and an ex-husband who is still a presence in her life, she uncovers, in true Pynchon style, more than she bargained for. The book has the usual abundance of gags, cultural references, and intertwined subplots as well as a bloated cast of characters. But there’s also something different: between the connected closets of the internet and the stampede of conspiracy theories that spread after 9/11, Pynchon seems to say that his brand of paranoia, entertaining as he has made it, served as a prophecy of sorts. Bleeding Edge contains the usual imagined and exaggerated scenarios, at times presenting the virtual world as the real one. But its author didn’t have to invent the conspiracies and entanglements the book harbors. Investment fraud, hidden bank accounts, the Mossad, Islamic front groups disguised as charities, the Russian mob, internet gaming cults, blanket internet spying on behalf of businesses and governments — these things exist, and Pynchon makes them part of a whole. The book has flaws; for example, Pynchon doesn’t do women well, and Tarnow seems out of her element when she’s being most womanly. But these shortcomings don’t hide the book’s achievement. Even as it rambles, it remains Pynchonesque. And that’s high praise. — Bill Kohlhaase

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2013 MODEL RAILROAD OPEN HOUSES

Four Santa Fe area model railroads will be open for public viewing on Saturday afternoon, November 9 For maps and more information go to: www.santafemodelrailroadclub.org

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Bill Kohlhaase I The New Mexican

ATMOSPHERIC ALCHEMY Violinist-vocalist

IVA BITTOVA’S acousti cal interactions 16

PASATIEMPO I November 8 -14, 2013

he work of Czech violinist-vocalist Iva Bittová springs from so many musical categories — classical, Eastern European folk, jazz, minimalism, art music — that it’s impossible to categorize. Mostly, it comes of improvisation, especially when she performs solo, as she does Friday, Nov. 8, at Gig Performance Space. Against the tones of the violin, her voice can be ethereal and warm or strong and sharply pitched. She inserts clicks, pops, and sounds reminiscent of animal cries and bird calls. She sings lyrics from various languages — and from a language of her own. She’s been invited to work with some of music’s more free-thinking performers, including guitarist Fred Frith; Swiss drummer Pierre Favre; jazz musicians Bill Frisell, Don Byron, and Bobby McFerrin; the U.S.-based Calder Quartet; and the Dutch Nederlands Blazers Ensemble. Her latest recording, a solo effort on the German ECM label, required a collaboration of a different kind with ECM founder and producer Manfred Eicher. Eicher, known for putting his signature touch, popularly called “the ECM sound,” on nearly everything he records, was looking for something he would recognize once he heard it. “It was a very long process, some two years to prepare and find a date to come to the studio,” Bittová said in a Skype conversation from São Paulo, where she was doing a series of performances. “Manfred chose a place in Lugano, a performance hall there, because he very much liked the acoustics and the atmosphere. He brought an Italian engineer, so it was just the three of us.” Eicher didn’t initially hear what he was looking for on the first day of recording. “It was my dream to do the work I perform in my solo programs,“ explained Bittová, “so that’s what I brought in. I was playing like crazy, and he was listening, and he wasn’t really acting on anything. So I started improvising. He heard it and told me, ‘This is the way’ — that is the direction he would like to go. I came in the next day with an understanding of what he likes, that sound he likes, pitched a little lower, played in a slower tempo. I tuned my violin a little differently and

added some coloratura, singing more in the alto range. This is the way I played my improvisations. After a few hours, he said, ‘We have enough.’ ” The process didn’t end there. “The rest of the day was spent making choices, finding parts of the improvisations that we liked. I started calling them fragments. We used a few complete songs, but usually we didn’t take the whole piece or composition.” The collection may be Bittová’s most atmospheric. On “Fragment I,” she scats airily while accompanying herself on kalimba, the African thumb piano. On “Fragment III,” she sings an English lyric in unison with the violin before establishing a lilting figure that she embellishes with plucks and soaring vocals. On “Fragment VI,” her voice, unaccompanied, takes on Middle Eastern qualities. The kalimba returns on “Fragment XII” to accompany her deep, haunting vocal. “I was happy with the result,” Bittová admitted. “I had gotten over the ideas that I brought to him. When I started to improvise, it was very different; it was something new. I got to know and realize another part of my creativity. I was trying very hard to make it something that made sense to him. And what he did was reveal a kind of strong and beautiful knowledge to me, bringing me to something ancient, bringing me back to my roots. I found another dimension to my work.” Bittová’s roots are anchored in what is now the Czech Republic. Her father was a multi-instrumentalist schooled in a variety of classical and Eastern European folk traditions. Her mother was a vocalist. “We were not watching TV when we were growing up,” Bittová said. “We were always just playing music. My father was a very great musician in all the folk styles — Bulgarian, Hungarian, Gypsy — and that’s the kind of music I grew up with. But we also heard a lot of classical music — Dvoˇrák, Wagner — and lots of the great jazz musicians. My father could play in all those different styles, and I would say that’s where I got the idea that there are no borders between genres.” Bittová’s chosen instrument was the violin, but she put it aside in the 1970s to study drama and take roles in Czech movies and television. During this time she learned to use her voice in the ways that make her singing so unusual.

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She returned to the violin in 1980, studying at the Janáˇcek Academy of Music and Performing Arts in Brno. Her first recordings were made with Czech percussionist Pavel Fajt and the alt-rock and folk band Dunaj. By the mid1980s she was recording solo as well. Bittová’s followers were few outside of Eastern Europe until Frith began championing her music. Nonesuch released a collection of her work, Iva Bittová, in 1998, and her global cult following grew exponentially. Her new recording for ECM (also called Iva Bittová) could mean an even larger audience for the often strange, always beautiful music that comes from her violin and voice. Bittová said her sound springs from a variety of sources: “Spiritual sources, the natural world, from instrumental technique; all those things inspire my singing. I like to say that the violin is the teacher of my voice. I had many violin lessons. But I didn’t have many lessons on how to sing, at least not like this. I sing spontaneously. It’s a dialogue between the discipline of how I play the violin and the free way I have with my voice.” She said she finds inspiration in the “quiet places,” as she calls them. “Those places affect my improvisation. If I spend the day before a concert — if I have a chance to go out into the quiet world, to the mountains or to see some art exhibition, then that predicates what comes to my music.” Also where she plays has an effect. “I’m a musician whose whole philosophy is about acoustic sound, without amplification. If a room has great acoustics, then I’m playing lots of harmonic chords and tones and getting that special chemistry between the violin and the voice. If the room is large and has lots of reverberation, I have to change the work that I do. So in a way, what I play is always a dialogue with an acoustic space.” The ECM album, commonly called “Fragments” by her fans, gives something of a limited look into the range of the violinist-vocalist’s work. She hopes she can infuse a wider range of approaches into her music the next time she records for Eicher. “It would be beautiful for us to talk about the music and make a mix of his and my ideas, to build up something that’s different. He’s an icon, and I accepted what he wanted to do, and it turned out beautifully. But it’s another thing, a different chemistry from my solo performances, and I’m sure my listeners will hear it. Maybe next time we will make it broader, with more of everything I do.” ◀

details ▼ Iva Bittová ▼ 7:30 p.m. Friday, Nov. 8 ▼ Gig Performance Space, 1808 Second St. ▼ $20; www.gigsantafe.com

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Paul Weideman I The New Mexican

ICE,ICE MAYBE

christopher white on the disappearance of alpine glaciers

hat happens to the majesty of the purple mountains of “America the Beautiful” if all of their glaciers are gone? “It’s a very sad thing to contemplate,” said Christopher White, Santa Fe resident and author of The Melting World: A Journey Across America’s Vanishing Glaciers (St. Martin’s Press). White spent five years in Glacier National Park chronicling the work of U.S. Geological Survey ecologist and climate scientist Dan Fagre, who has monitored Rocky Mountain glaciers for two decades. One of his research strategies is comparing current scenes with photographs from the 1800s. Glacier National Park, in Montana on the U.S.Canada border, is at the center of a crisis of disappearing glaciers caused by climate change from the burning of fossil fuels. “Globally, alpine glaciers are an indication of climate change, and we see huge changes in other ranges,” White told Pasatiempo. “For example, in the Andes, glaciers have decreased 20 percent since 1970, and in the Alps they’ve decreased 60 percent since 1860. “Glacier National Park will be the first to lose all its glaciers. The park has had 1.8 times the temperature increase of the global average since 1900. The reason for that is its location: first, the altitude, which means there’s more solar radiation on the glaciers; and, second, you have the warm jet stream from the Pacific. “In 1850, there were 50 glaciers in the area that would [in 1910] become Glacier National Park. When I started the project in 2008, there were 27 glaciers, and two have disappeared since then. Dan Fagre says they’ll all be gone in 10 or 12 years. There will still be ice in pockets, but it won’t be moving, so they won’t be glaciers.” Huge glaciers are called ice sheets and small ones glacierets, but movement is common to all types. According to one definition cited in The Melting World, a glacier is made up of ice (from compacted snow) at least 100 feet thick, with a weight sufficient to cause it to move forward and downward. A crucial point about the moving ice masses in Glacier National Park is that the normal balance between winter snow accumulation and springtime melting is “all askew now,” White said. “One of the essential things is that global warming is melting the glaciers in the summer, but in the winter there’s not as much snow falling. Precipitation is the other significant factor in all this.” continued on Page 20 18

PASATIEMPO I November 8 -14, 2013

Although author Christopher White focuses on alpine glaciers in his new book, the global-warming impacts he discusses threaten the world’s glaciers, including Perito Moreno Glacier in Argentina, pictured above.

The disappeared

The mountain goat, mist forestfly, black-footed ferret, Westslope cutthroat trout, and pika are just a few of the Glacier National Park wildlife species losing ground in the face of global warming. It is predicted that the last 25 glaciers in the park will melt by the early 2020s, leaving behind a barren wildlife habitat. Mountain goat photo AP/Heather Forcier; mist forestfly photo AP/Joe Giersch

Top, Christopher White with U.S. Geological Survey scientist Lisa McKeon surveying an alpine meadow; courtesy USGS PASATIEMPOMAGAZINE.COM

The Melting World, continued from Page 18 The claim by global-warming naysayers that the changes — including to plants and wildlife — documented by Fagre and other scientists are merely part of a natural cycle doesn’t hold water for White. “Look at the Pleistocene ice age that began a couple million years ago and dissipated about 18,000 years ago; that took place over more than a million years,” he said. “This change we’re seeing now is so fast. The difference is the speed of the disappearance of the glaciers, and species can’t adapt to changes that quickly.” These dramatic environmental shifts in Glacier National Park don’t bode well for humans. Glaciers and snowpack store nearly 75 percent of the West’s drinking, irrigation, and hydroelectric-power-generating water. The water originating in Glacier National Park flows in three directions, feeding a huge area: the Columbia River goes west to the Pacific Ocean, the Saskatchewan River flows north through Canada to Hudson Bay, and the Missouri River feeds the Mississippi River. Most people will not witness the shrinking of mountain glaciers simply because they don’t go there. The importance of potentially dire changes to mountain habitats will only be understood abstractly by the majority of people who are experiencing what has been called “nature-deficit disorder.” “How can the next generation of kids appreciate glaciers if they don’t have the opportunity to see them and walk around them?” White said. “On the trails hiking up to the glaciers in Glacier National Park, at least twice hikers commented to me or Dan Fagre that they were there to see the glaciers before they disappear. That really hit home.” White is a mountaineering aficionado who has climbed Glacier Peak, Mount St. Helens (before its 1980 eruption), and Mount Rainier in the Cascade Range and Mont Blanc and the Matterhorn in the Alps and has taken diving expeditions to the Caribbean and the Great Barrier Reef. Among his other books is Skipjack: The Story of America’s Last Sailing Oystermen, and he has written for National Geographic and Chesapeake Bay Journal. He earned a degree in biology from Princeton University and formerly was a staff biologist for the Chesapeake Bay Foundation. “Things are happening so fast in Glacier National Park that it’s really a snapshot of what we’ll see in other mountain ranges around the world,” he said. “And it’s not just that glaciers are disappearing; it’s the downstream effects that everyone is worried about so much.” There are threats to mountain wildlife species in just about every direction you look. The snowshoe hare, a rabbit of the northern forests, changes the color of its fur from brown to white to maximize its camouflage in the summer and winter seasons. However, unlike a chameleon that shifts color with the background on which it happens to rest, the hare’s transformation is triggered by the waning daylight of autumn. “So they’re turning white in November even though there’s no snow on the ground because it’s warmer now, and the lynx are eating them left and right.” The pika, a diminutive relative of hares and rabbits, is endangered for different reasons. “They only live in rock piles in scree, the loose rock below the snowfields and glaciers,” White said. “They don’t hibernate; they 20

PASATIEMPO I November 8 -14, 2013

live under these rock piles, and to keep alive they have a very high metabolism. When summers get warmer, they can’t turn down that internal thermostat, and they overheat and die.” The pika can’t simply move up the mountain where it’s cooler because the rock-pile habitat it requires is absent higher up. The animal can’t move north, either, because it’s too small to undertake such migrations and would be more vulnerable to predators. Even the formidable wolverine is in danger from climate change. “One wolverine [a big one is just 40 pounds and 3 feet long] was documented taking down a full-size caribou in Canada,” White said. “They’re just gnarly beasts, but they’re having trouble because the decline of the snowpack, which parallels the situation with glaciers, impacts their denning ability in the spring.” At least one animal species is flourishing: the bark beetle. This is a different insect than the ones affecting piñon trees in Northern New Mexico; the beetles in Glacier are attacking spruce trees and lodgepole pines. “Its main limiting factor is cold, and during warmer winters, it can complete two life cycles in a year, so the population is skyrocketing.” The dominant trees in Glacier National Park are climbing higher up the mountains in search of cooler temperatures. Up high, more trees are reducing the size of alpine meadows, and the mountain goats, bighorn sheep, and other animals that live there are in trouble; one reason is because their predators have more cover for hunting. The westslope cutthroat trout is similarly facing possible oblivion. “That’s the main native trout in northwestern Montana, and as the rivers and streams get warmer, their habitat disappears,” White said. “Rainbow trout, which were introduced for fishing, are outcompeting the native cutthroat.” Some people might say, So what? There would still be trout there. But the cutthroat is beautiful, it’s prized by anglers, and its struggle to survive independent of the big, ubiquitous rainbow epitomizes one of the rationales of biodiversity. “I believe that every species has a right to exist on Earth because of its authenticity and its originality,” White said. “It’s arrogant to think that we can decide who lives and who goes.” In the book’s epilogue, he quotes Fagre on this point: “It’s a moral issue, not a scientific one. Science is like a navigator on a ship. It can point the way. It can enlighten people on which direction to take. That’s all. The crew has to do the heavy lifting, out of some sense of responsibility. If we have enlightenment, the way forward becomes obvious.” ◀

details ▼ Christopher White, author of The Melting World: A Journey Across America’s Vanishing Glaciers, in conversation with writer William deBuys ▼ 5 p.m. Friday, Nov. 8 ▼ Collected Works Bookstore, 202 Galisteo St., 988-4226

Left, top to bottom, Grinnell Glacier in Glacier National Park and its lake of meltwater, courtesy USGS; meltwater lake below Grinnell Glacier, courtesy USGS; Boulder Glacier at Glacier National Park, 1932 (AP Photo/George Grant; the same view with glacier receded, 1988 (AP Photo/Jerry DeSanto)

Santa Fe Science Café For Young Thinkers

“Why Wolves?”

Acequia Madre Elementary School

David Parsons

19th Annual Art Auction

The Rewilding Institute Tuesday, November 12 6 – 7:30 PM O’Keeffe Education Annex 123 Grant Avenue, Santa Fe The essential role of the gray wolf in our natural ecology has been misunderstood for a very long time. Demonized, and driven almost to extinction, the wolf is only now showing signs of recovery, but numbers required for sustainable populations are controversial. Advances in our knowledge of their ecological roles, science-based criteria for protecting and recovering them, the use of modern science in conservation planning, and appreciation of the need to restore top carnivores over broad landscapes have yet to fully inform government proposals for wolf recovery. Another important consideration is the high level of public appreciation of these beautiful animals. Admission is Free. Youth (ages 13-19) seating a priority, but all are welcome! In the 1990’s David led the Mexican Gray Wolf Recovery Program for the US Fish and Wildlife Service. He is the Carnivore Conservation Biologist for the Rewilding Institute, a conservation think tank based in Albuquerque. He serves on the Fish and Wildlife Service's Mexican Gray Wolf Recovery Team. Go to www.sfafs.org or call 603-7468 for more information.

Meet a Nobel Laureate! A Conversation at the Scottish RiteTemple

Santa Fe School for the Arts & Sciences won the Global PeaceJam Award for the literacy campaign, Hooked on Books.

Celebrate with us on Wednesday, Nov. 13 • 6-7:30 p.m. Meet Betty Williams

the 1976 Winner of the Nobel Peace Prize and President of the World Centers of Compassion for Children

Admission is free. Seating is limited. Please RSVP at www.santafeschool.org or 505-438-8585 Sponsored by PeaceJam, Pearson Foundation and the Lannan Foundation.

Saturday • November 9, 2013 • 5 pm Santa Fe convention Center Live & Silent Auction • Cash Bar • Food by The Beestro • DJ John Edwards

This popular fundraiser is now a well-anticipated tradition which includes several of Santa Fe’s best-known artists

Your Chance to Bid on... • Week in Costa Rica w/ $500 voucher for airfare; • Two day stay at Buffalo Thunder Resort; • Fine art donated by galleries: Turner Carroll, Ernesto Mayans, Waxlander, Lew Allen, Zaplin Lampert, Peter Burega, and others; • Fine art, custom clothing, spa services, furniture, jewelry, pre-Columbian antiques, student art projects, and more. Thank you to our sponsors: Adobo Catering, The Beestro, Hutton Broadcasting, Liquor Barn, and The Santa Fe New Mexican Event proceeds support theatrical performances, artists-in-residence, classroom art projects, learning enrichment, special events, staff professional development and student-recognition programs. It also buys equipment and uniforms for the yearbook club, band, and sports teams. Acequia Madre Elementary School has been honored by Business Week magazine for instructional innovation. The fine arts focus at Acequia Madre complements the city’s renowned art scene. Tickets can be purchased at the door for $15 or you can make a donation to the auction and get in for free! For more information call the school office at 467-4000.

Free Child Care for Attendees • Tickets: $15 • More Info: 467-4000 PASATIEMPOMAGAZINE.COM

PASA REVIEWS Laura Marling Santa Fe Sol Stage & Grill, Oct. 30

Striking a vocal chord

was 13 when I first got bitten by the gig bug. It was a solo guitarist with a battered red guitar, a single spotlight, a single mic, and a can of Guinness that did it. He also had a pack of cigarettes. Back then you could smoke onstage, and the focus, the concentration of fascination that attended the drifting tendrils of blue smoke in the beam of the spot, accentuated by his picking and wailing, was too much for a pubescent heart. This was the world I had been waiting for, where our culture, our people, our otherwise dismal homeland (England in the 1970s) found its fulfillment: in a dingy club with a folk singer. There’s just nothing like a man or woman alone with a guitar, and a crowd that’s really listening. How does Santa Fe Sol manage to book such major names? Toots and the Maytals, Yellowman, and most recently, Laura Marling, whose life has been intricately entwined with the fates of the bands Mumford & Sons and Noah and the Whale and is the widely recognized queen of the “nu folk” scene.

Marling came on like a hybrid product of the British Isles and ancient Greece, as my friend remarked. Draped in a long gown, hair bunched up, she looked part Delphic oracle and part ethereal Celt. Just 23 years old, diaphanous — so radiant she is almost see-through — she is clearly part elf, the kind of translucent British rose Tolkien must have had in mind for his epics. But for all her youth, she held the house rapt, and strummed and picked her guitar with a precise ferocity worthy of an old blues veteran. From a privileged home, Marling left school at 16 and headed for London, where she plunged into the music scene. Success came soon, but soon she’d had enough of it and moved to LA, where few knew of her. Now she is doing a solo tour across America — solo in the sense that it’s really just her. Her dad was going to join her but was denied a visa. But she seems happy to be drifting from town to town, pillaging thrift stores by day and singing her songs by night. “It’s hard to accept yourself as someone you don’t desire, don’t want to be,” she lamented in one song, and then swiftly shifted the register: “Give me a rambling man. Let it always be known that I was who I am.” Another went, “To love you have to bleed ... I’m not sure I’ve got a drop to spare.” She moves so effortlessly between the mournful and the vengeful that it’s hard to keep up: “I am a master hunter,” runs one of her hits. Just when you think you’ve got her down, she surprises you. She’ll be singing in a breathy sprechgesang, half talking, and then suddenly tip her head back and rise into a coloratura run worthy of Joni Mitchell. Then all of a sudden she’s nostalgic like Eva Cassidy. Then strident and booming like Armatrading, throwing down the gantlet at life and love. She can do grace notes, too. Or sound like a growling flamenco singer or an Appalachian gospel singer. Sometimes you’re in a Mexican cantina in a ’50s movie, sometimes in a medieval chantry, then the Village in the 1960s. Yet all the voices, all the registers and tonalities, are miraculously in the service of a single vision and gift, a single muse. You can see her listening for her muse’s promptings. It’s as if it has got hold not just of this young woman but of many styles and grabbed what pieces it needs to make its montage. Yet the result is unified, because the muse is authentic, passionate, and capable of seeing human drama from a large perspective. The thought must have crossed many people’s minds that night: this is so strange and so powerful — it just might be genius. Before Marling the warm-up act was Willy Mason, a 29-year-old descendant of William James. I only caught his last five songs but wished I’d heard more. They were haunting, sung from the middle of a life well examined: no pretension, no striving, just the experience of a soulful young man launched forth on an easy, resonant voice, supported by well-placed struts of chord and strands of melody. It was music with a lot of space in it. He sang simple stories of defeat turning to triumph, of life lived and passions pursued, in language plain and lucid, snugly fitted to the tunes. He too held the crowd — just a man and a guitar. — Henry Shukman

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PASATIEMPO I November 8 -14, 2013

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Artistic mystic

Science and the spirit in the art of Daniel Martin DĂaz

PASATIEMPO I November 8 -14, 2013

Michael Abatemarco I The New Mexican

“The greatest minds and creators have led us through history and have placed upon us a foundation for greatness, an ambition to strive for the best humanity can achieve; yet still we search,” writes Paula Catherine Valencia in her essay “Map of the Soul” in Soul of Science, a new book of artwork by her husband, Daniel Martin Díaz. Scientists may be no more adept at elucidating the meaning of existence than artists, who also investigate the unknown using their various mediums. For Díaz, that medium is drawing. Soul of Science, published in 2013 by the couple’s own Mysticus Publishing (www.sacredmachine.com), explores the mysteries of science with a collection of essays by professionals working in such fields as physics, mathematics, chemistry, and bioengineering. Díaz’s graphite drawings do not serve as illustrations for the text. It’s the other way around; the text tackles themes reflected in the artwork. For instance, bioengineer Greg L. Golden explores hierarchies in the structure of Díaz’s Spirit Machine. The work depicts a man lying on his back who’s connected to a symmetrical, mandala-like constellation of spheres by a series of interwoven lines. The man lies at one end of the spectrum of a hierarchy, and at the other end is a vision of the divine spirit that animates him. At least, that’s one reading. Golden writes that the “circuit” depicted in Spirit Machine “represents the act of computation or transmutation of the spirit into the human lying supine at the bottom of the picture.” Spirit Machine is one of a number of diagrammatic images that have the appearance of schematics describing inner states of being. Díaz’s work is an artistic interpretation of scientific, philosophical, and spiritual ideas, often merged into a single image. Mysteries of the Universe, for example, incorporates a geometric diagram, at the center of which is an eye — perhaps representing the all-seeing eye of God. Beneath this vision is a tree against the backdrop of a field of stars. An angel appears on one side of the tree and a demon on the other, like something from a medieval illuminated manuscript. The juxtaposition of angel and demon and the overall symmetrical composition suggest duality or a balance of opposites. The imagery is from Christian tradition. In his accompanying essay, “The Evolution of Perceptive Dualism,” research scientist David Walker writes, “Our cognitive evolution will rely upon reconciling art, science, and religion into a seemingly mystical but singular truth.” Díaz’s illustrations are visual representations of such a reconciliation. Quite a few images in Soul of Science convey a sense of the interconnectedness of mind, body, and spirit. Atomism, for instance, shows a human figure pocked with eyes over most of his body. The eyes suggest a consciousness or awareness that permeates the figure’s entire being. “What is consciousness anyway?” Chris Duffield asks in his associated essay, “Magnum Mysterium: Science, Technology, and Consciousness.” He suggests that consciousness is something interwoven through, or permeating, all of nature. Díaz’s Faith in the Algorithm shows the face of Christ with a series of lines branching outward with greater and greater complexity from his forehead, where a third eye might be. Perhaps it suggests that from one come many. Many of the drawings in the book show geometic configurations with eyes at their centers or pinnacles, rendered much like the eye in the pyramid on the back of a one-dollar bill. In selecting and commissioning the texts for Soul of Science, Díaz took an interdisciplinary approach. A greater vision of truth can be gleaned from examining questions — such as the one posed by Duffield — when we see areas of agreement between theories that approach the same problems from the perspective of different disciplines. That is one strength of Soul of Science. The drawings are another — a blend of steampunk, architectonic structures, and mystical flights of fancy.

Captured Soul has no mathematic configurations or scientific references, but it equates the soul with bird imagery, in keeping with iconography going at least as far back as ancient Egypt, where the human soul was often depicted as a winged figure. The drawing shows a soul (represented by a bird) trapped in a cage made from tendrils branching from a being who looks part human and part tree. Explaining his inspiration for the book, Díaz states that he created the drawings “without any leanings towards aesthetics,” but there is, in fact, an aesthetic that permeates this body of work — one rooted in medieval demonology, 19thcentury illustration, and religious iconography. Díaz’s vision is not merely antiquarian or old-fashioned. Many references to contemporary technological systems, including the internet and computer programming, permeate the book. The banner above an image of Christ’s crucifixion, called Binary Christ, contains what appears to be a string of binary code rather than the traditional Latin inscription that translates as “Jesus the Nazarene, King of the Jews.” The inclusion in several drawings of Platonic solids and sacred geometry, which lends symbolic meaning to geometric shapes, proportions, and configurations, could be references to patterns in nature that exist independently of human thought and experience. Soul of Science manages to be revealing and mysterious at the same time, with provocative essays that validate Díaz’s artistic vision, which gives visual expression to the persistent idea that god is a circle whose center is everywhere and circumference nowhere. ◀ Daniel Martin Díaz is represented in Santa Fe by Pop Gallery (142 Lincoln Ave., Suite 102, 505-820-0788). See www.popsantafe.com.

Daniel Martin Díaz: Mysteries of the Universe, 2013, graphite on paper; opposite page, top, the artist, photo by Danni Valdez; bottom, Singularity, 2012, graphite on Mylar, solar paper print developed in direct sunlight; right, Spirit Machine, 2012, graphite and white charcoal on paper

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TERRELL’S TUNE-UP Steve Terrell

Psychedelic stew

Somewhere, in the cosmic region that lies along the border of psychedelic music and garage rock — a border where crossings are frequent and uncontrollable — lives a trio known as The Night Beats, who just released their second studio album, Sonic Bloom. Actually they’re from Seattle, but two of the three members — singer and guitarist Danny Lee Blackwell and drummer James Traeger — are originally from Texas. I’d like to think they were raised on a steady musical diet of The 13th Floor Elevators, those psychedelic pioneers originally from Texas. That influence is definitely there. Psychedelia is the band’s bread and butter. This is a good time in rock ’n’ roll for musical journeys to the center of the mind. The Night Beats are part of a movement that includes bands like The Black Angels, a Texas crew considered the premier lysergic rangers of this era (Blackwell is part of a trippy side band, The UFO Club, with Christian Bland of The Black Angels), and Holy Wave, a band from El Paso. The epicenter of this musical phenomenon is the capital of Texas, home of the Austin Psych Fest, which for the past six years has showcased such groups, old and new. (The festival started a record label, The Reverberation Appreciation Society, which released Sonic Bloom.) The sound of these newer psychedelic cowboys is different from that of the jam-band movement that sprang up in the 1990s. For one thing, there’s more debt owed to Roky Erickson than Jerry Garcia. And there’s more of a footing in punk rock. But listening to this album, I’m realizing The Night Beats’ sound has several discernible DNA strands in addition to psychedelia. I’m hearing bits of T. Rex (there’s some Marc Bolan in Blackwell’s vocals) as well as The Velvet Underground. And yes, there are echoes of 1960s soul music. After all, the band is named after a classic Sam Cooke album (though, truthfully, The Night Beats don’t sound much like Cooke). The first song on the album, “Love Ain’t Strange,” starts out with a discordant guitar attack reminiscent of the avant-garde ’90s group Thinking Fellers Union

Local 282. But it only lasts a few seconds. Tarek Wegner’s bass starts throbbing, and the band settles into a more laid-back groove that’s just short of funky. The title song is heavy on Electric Prunes-style reverb, while the melody of “Playing Dead” may remind you of a snazzier version of The 13th Floor Elevators’ “Earthquake.” The “Louie Louie” chords of “Real Change” expose the group’s garage roots, as does the nasty “Tobacco Road” guitar on “As You Want.” Meanwhile, “Satisfy Your Mind,” with its slide guitar and tinkling piano, is a nod to boozy blues rock. For the most part, The Night Beats seem intent on avoiding overt hippie-dippy, love-bead nostalgia. But there’s one big exception on Sonic Bloom. You can almost imagine the band turning on the black lights and lava lamps for “Catch a Ride to Sonic Bloom,” a five-minute saga that starts off slow and droning (with a sitar) but speeds up a little and starts getting a little more interesting about two minutes into the song. Toward the end it slows down again into feedback rumble, with what sounds like an autoharp, a music box, a ticking clock, and the return of the sitar. The very next song, “The Seven Poison Wonders,” is a much better use of five minutes. Hey, fellow old-timers, listen to the funky chords of this tune and try not to think of “Plastic Fantastic Lover” by Jefferson Airplane or The Beatles’ “Taxman.” I’m not sure whether Blackwell is doing all the guitars here — it sounds like he’s having a duel with himself. “At the Gates,” my candidate for best song on the album, is a just-under-threeminute workout, where The Night Beats let their R & B influence shine. Fortified with a piano and honking sax, this track borrows heavily from an ancient, obscure, percussion-heavy rock ’n’ roll instrumental called “Drums a-Go-Go” by The Hollywood Persuaders. (It’s on Volume 1 of the sleaze-o-riffic Las Vegas Grind series released by Crypt Records years ago, and also on the Natural Born Killers soundtrack album.) Another one of the best songs is “Rat King,” the shortest track on the album — two minutes, 13 seconds packed full of raunchy, squalling guitar. The album ends with a seven-minute epic, “The New World.” The Night Beats stretch out here and, once again, Blackwell’s guitar impresses without being overly flashy. But it goes on too long for no apparent reason. All in all, the shorter songs on Sonic Bloom pack way more punch. I just hope The Night Beats concentrate on moving listeners’ feet and shaking their rumps as well as expanding our minds. Check out http://tinyurl.com/ nightbeatssonicbloom. If you want to listen to or download some live-on-theradio Night Beats, check out the Free Music Archive: www.freemusicarchive. org/music/Night_Beats, where the song listed as “Poison in Your Veins” is actually “The Seven Poison Wonders.” Also recommended: ▼ Moon Sick by Thee Oh Sees. Back in May, I declared Thee Oh Sees’ Floating Coffin as my likely choice for album of the year. Months have passed, and I still feel that way. And yippee! They’re playing in Albuquerque at 7 p.m. Sunday, Nov. 10, at The Launchpad (618 Central Ave. S.W., 505-764-8887; $12 for the 21-and-over show). This four-song EP consists of outtakes from the sessions for Floating Coffin. “Born in a Graveyard” starts off with a beeping computer right out of Wall of Voodoo’s “Mexican Radio.” It sounds as if there might be some sort of anthem buried inside, though I can’t make out the lyrics. “Sewer Fire” is one of the band’s harder-edged tunes. But most impressive is “Humans Be Swayed,” which starts off with slow droning, then bursts into a frantic, choppy rocker. These three songs would have fit in fine on Floating Coffin. Then there’s the last song, “Candy Clocks.” It isn’t bad. It’s basically an airy-fairy folk-rock tune — maybe a folk-rock parody — with what sounds like a harpsichord and a “la-la-la” refrain. While I’m not crazy about “Candy Clocks,” I continue to be amazed and infatuated by Thee Oh Sees. Learn more about this band at www.theeohsees.com. And lots of Oh Sees recordings, both live and studio, are available at The Free Music Archive. ◀

PASATIEMPO I November 8 -14, 2013

“The Jungle is Jumpin’ with Joy”

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.

“CATCH JUNGLE FEVER”

NOVEMBER

15,16,17

FRI @ 7:00PM

22,23,24

SAT & SUN @ 2:00PM

ALL PERFORMANCES @ THE JAMES A. LITTLE THEATER CALL 505-982-3327 FOR TICKETS AND INFO “The First 100 Kids get in FREE, First Saturday and Sunday Only!!”

www.pandemoniumprod.org

LUIS ALBERTO URREA with Michael

Silverblatt

WEDNESDAY 20 NOVEMBER AT 7PM LENSIC PERFORMING ARTS CENTER Luis Urrea writes about U.S.–Mexico border culture with a tragic and beautiful intimacy that has no equal. — Boston Sunday Globe

at four seasons resort rancho encantado Experience a twist on contemporary American cuisine inspired by northern New Mexico and infused with locallysourced organic ingredients.

LUNCH PARTIES

of four or more receive

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*Lunch parties of four or more, Monday through Friday 11:30AM -2:30PM, receive 25% off their total bill, alcohol included; other restrictions may apply.

Luis Alberto Urrea’s native Mexico has always served as the author’s muse, inspiring all 13 books that span ﬁve genres. His nonﬁction The Devil’s Highway tells the harrowing story of a group of Mexican immigrants lost in the Arizona desert. Urrea’s novels The Hummingbird’s Daughter and its sequel, Queen of America, chronicle the life of beloved healer Teresita Urrea, deemed “the Mexican Joan of Arc.” Luis Urrea grew up along both sides of the border, forever affected by its dichotomy, brutality and richness, saying, “Borders everywhere are a symbol of what divides us. That’s what interests me.” TICKETS ON SALE NOW

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

TREAT YOURSELF at Four Seasons Resort Rancho Encantado

Video and audio recordings of Lannan events are available at:

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

PASA TEMPOS

album reviews

trIO 3 André CAplet + JASOn MOrAn Works for Winds (timpani) André Caplet (1878-1925) is Refraction — Breakin’ Glass remembered principally through his con(Intakt records) This gathering of nection to Claude Debussy, whose music he three septuagenarians and a 30-something championed as an orchestrator and conductor, pianist is a measure of where free jazz has but his own finely crafted compositions, landed some 50 years after its inception. few though they be, are ripe for rediscovery. Bassist Reggie Workman, saxophonist During his final decade he developed a visionary Oliver Lake, and drummer Andrew Cyrille style that earned him a reputation as a link between Debussy have been heard on some of the most influential free-jazz and Messiaen. This CD, however, is devoted to his earlier chamrecordings ever made — with John Coltrane, the World ber works, in each case focusing on wind instruments. Debussian Saxophone Quartet, and Cecil Taylor, respectively. Their work here proclivities are on display — translucent textures, whole-tone scale with pianist Jason Moran is the classic free-jazz blend of form and patterns — but such touches in no way obscure the originality of his formlessness, the sound defined by strange themes, the styles of the expression. The performing personnel changes from piece to piece, individual musicians, and the interplay between them. Cyrille’s “AM 2 ½” but at the heart of everything are the members of Ensemble Initium, an operates from a quirky, almost comical theme that sparks Lake’s spineexceptionally skilled chamber ensemble of top-drawer wind players that was tingling, shivery sound. Lake’s “All Decks” is based on a walking bass formed in 2005 at the Paris Conservatoire. They offer a precisely honed rendition line that accelerates ahead of the drums and piano. Its shape dissolves as of Caplet’s Suite persane (“Persian Suite”) in its original version for the sax and piano rifle through scalar phrases and unpredictable 10 winds, a perfumed work of French Orientalism that escalates interval leaps. Not everything here is formless — Cyrille’s into a dizzying conclusion. His Quintet for Flute, Oboe, Clarinet, “Listen” is decidedly thematic — or frantic — Moran’s “Foot Bassoon, and Piano is a large-scale but rarely encountered Under Foot” has dreamy beginnings, and then Lake’s pensive work in solid late-Romantic style; and his pungent Légende alto starts pushing into the nooks and crannies of Cyrille’s With its overuse for Saxophone with eight other instruments, written in 1904 nervous chatter. Spoken-word recitation on a couple of for the American saxophonist Elise Hall (famous for numbers — Cyrille’s “High Priest” (“the apogee of his of high-hats and a BPM commissioning a Rapsodie from Debussy), oozes with the super pose”) and the title tune among them — creates only a hummingbird could post-Wagnerian yearnings of that era. The expressive, a beat-era feel. For all its improvisational anarchy, this refined performances could not be better. — James M. Keller music brings shape and substance to a form of jazz appreciate, “Jevi” is a dossier that’s often thought to contain neither. — Bill Kohlhaase JUAnA MOlInA Wed 21 (Crammed discs) Argentine of everything amateurish performer Juana Molina is an artist who could have VArIOUS ArtIStS Africa-Latina Mix Part Two (dutty only found an American audience in the wake of Artz via Soundcloud) For six years now, the Brooklyn label about Dominican Radiohead’s 2000 experimental chart-topper Kid A. Dutty Artz has been mixing activism and ethnomusicology That record primed listeners for a world where songs to build stronger links between American black and Latino house music. don’t need firm structures, acoustic and electronic tools musicians and dance music from Africa, the Caribbean, and go hand in hand, and English lyrics are an afterthought, Latin America. This mix, a free download on Soundcloud, is a perfect demonstration of the label’s political aesthetic, a sort of Lagos the kind of world where Sigur Rós can play Madison Square meets Atlanta meets Kingston approach to riddims, R&B, and African Garden. Molina has not had that kind of success — her music is house music. Angolan DJ Kuimba takes Chicagoan Jeremiah’s summer smash too intimate to allow for it — but starting with 2000’s Segundo, the singer has earned a cult audience with a string of wispy, mysterious albums “Down on Me” and sensually reworks the number into a slow-burning stomper that owe equal debts to minimalist techno, acoustic jazz, indie rock, of kuduro, Afrobeat-driven house music wildly popular in Portuguese-speakand traditional Argentine music. Wed 21 is her strongest album ing Africa. The most arresting track, “La Guial De La Foto” by Panamanian reggae artist Tarik, stands out because it gets no DJ edit. Prepackaged since 2006’s Son. It’s not all that different from Son; the percussion fusion, the song brilliantly clanks cowbells and rhythm sticks together sounds muffled and thumps ahead in odd time signatures, the to create a Latino take on gritty Chicago drill rap. Not every guitar licks seem to spiral downward, and Molina stacks her collaboration works. With its overuse of high-hats and a BPM only vocals into harmonies that sound like honeybees. The tempo a hummingbird could appreciate, Joswa in Da House’s “Jevi” is never gets too quick or the tone too urgent, with rare a dossier of everything amateurish about exceptions such as “Sin Guia, No.” On Dominican house music. Just looking for a the title track, she bends industrial noise to fit her needs, in a manner that would quick song to see if this sort of thing whets sound very early-’00s, like the first Gorillaz your appetite? Fast-forward to Ciara’s album, if she didn’t also suffuse it with “Body Party” as reimagined by Dubbel horn-honks, a cheerful shuffle, and a Dutch — smooth R&B meets Caribbean 1960s French chanson-like melody. soca, slowed down to a blissful It’s all very Juana Molina. Carnival after-party pace. — Robert Ker — Casey Sanchez

PASATIEMPO I November 8 -14, 2013

BOOK LAUNCH:

TAOS: A TOPICAL HISTORY

On Sunday afternoon, November 10th, Taos County Historical Society will host the celebratory launch of Taos: A Topical History, a 340-page hardcover from Museum of New Mexico Press. Pond House is the site of the event, and some of the book’s twenty-eight contributing authors will be on hand to sign books. Sunday, November 10, 2013 2-4 pm at The Pond House at Taos Retirement Village Call for event info: 575.758.8248

THE JASPER STRING QUARTET HAYDN

StringQuartetinDMajor,Op.76,No.5“Largo”

KERNIS

You are invited...

T AO S

RETIREMENT VILL AGE 414 Camino de la Placita . Taos NM

575.758.8248 www.taosretirementvillage.com

Sarabande from String Quartet No. 2

BEETHOVEN

String Quartet in C-Sharp Minor, Op. 131

Sunday, November 10 at 3pm St. Francis Auditorium Sunday, November 10 at 5:30pm Post-concert dinner with The Jasper String Quartet

Reservations through Santa Fe Pro Musica Box Office Ofﬁce required!

Meet the Music with special Thomasguest O’Connor and special John one hour the concert. guestClubbe John Clubbe onebefore hour before the concert. Learn more about the music you love! TICKETS $20, $35, $45, $65 Students and Teachers $10 Santa Fe Pro Musica Box Office: Ofﬁce: 505.988.4640 Tickets Santa Fe at the Lensic: 505.988.1234 www.santafepromusica.com

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

This program program is is partially partially funded by: Westaf and and the the National Endowment for the the Arts. Arts.

PASATIEMPOMAGAZINE.COM

2013 Writing Contest for All Seasons Tell Us a Story in Poetry or Prose Storytelling is an honored New Mexico pastime. Here is your chance to be part of that tradition. Write about a memory, a special place, or a person who has had an impact on your life. Fiction, nonfiction, parody, or fantasy; in the style of Thurber or Ferber, Sedaris or Seuss, Hillerman or Cather — it’s up to you. Prose: 1,000 word limit for adults (ages 19 and over) and for teens (13-18) 500 word limit for children (5-12) Poetry: Up to two pages Prizes to the winners

Rules: Entries must be received by 4 p.m. Monday, Dec. 2. No exceptions. We reserve the right to edit work for publication. Submissions must include name, address, telephone number, email address, and age; entries from schools should also include grade and teacher’s name. No previously published material. One submission only per entrant. Submissions cannot be returned.

Winning entries will be published in Pasatiempo on Friday, Dec. 27

Email entries to: writingcontest@sfnewmexican.com Email submissions are highly recommended. Mail entries to: 2013 Writing Contest c/o The Santa Fe New Mexican, 202 E. Marcy St., Santa Fe, N.M. 87501

PASATIEMPO I November 8 - 14, 2013

ON STAGE Turn it up: C.S. Rockshow

Head over to El Farol on Friday, Nov. 8, if you feel like dancing to great live music. Albuquerque drummer John Elias guests with Santa Fe’s C.S. Rockshow, also featuring Don Curry on vocals, guitars, and harmonica and Pete Springer on vocals and keyboard. They specialize in songs from the repertoires of Tom Petty, the Beatles, the Rolling Stones, Steely Dan, the Eagles, Stevie Wonder, Creedence Clearwater Revival, John Mayer, and Neil Diamond — plus a few Curry originals. The cover is $5. El Farol (505-983-9912) is at 808 Canyon Road. The music starts at 9 p.m. — P.W.

Dance party: Balé Folclórico da Bahia

Brazilians know how to party, and the state of Bahia in eastern Brazil has a reputation for making a very big deal when Carnival comes around. You could get a head start on that winter festival by catching the Carnival-inspired numbers that will be included in this week’s performance by the Balé Folclórico da Bahia, presented as part of the Fall Dance festival at the Lensic Performing Arts Center (211 W. San Francisco St.). The company comprises 38 dancers, singers, and instrumentalists who offer dances and music from a number of Brazilian traditions in addition to Carnival, including selections relating to the Candomblé religion, established in Brazil by African slaves brought to that nation during the 16th through 19th centuries and still practiced in Bahia today. Attendees should come prepared for a sprinkling of samba and capoeira (a hybrid of dance and martial-arts acrobatics), both of which seem to have originated in the region. The show takes place at 7 p.m. on Wednesday, Nov. 13. Tickets ($25 to $45) are available by calling 505-988-1234 and visiting www.ticketssantafe.org. — J.M.K.

THIS WEEK

What’s in a name: Jasper String Quartet

The much-lauded Jasper String Quartet was formed by students at Oberlin Conservatory in 2006, and three of them remain with the group today: violinist J Freivogel and cellist Rachel Henderson Freivogel (who are married to each other) and violist Sam Quintal. The other original violinist left the group a few years later and was succeeded by Sae Chonabayashi. One of the negotiations the group had to finesse early on was selecting a name. Since Quintal hailed from Fairbanks, he proposed they be called the Denali String Quartet, after Alaska’s famous national park. Though he failed to persuade his colleagues, the national-park theme struck everyone as workable, and they settled on one in Alberta instead. The group returns to town under the auspices of Santa Fe Pro Musica to present a recital at 3 p.m. on Sunday, Nov. 10, at St. Francis Auditorium of the New Mexico Museum of Art (107 W. Palace Ave.). On the program are Haydn’s Quartet in D Major (op. 76, no. 5), the Sarabande extracted from Aaron Jay Kernis’ Quartet No. 2, and Beethoven’s Quartet in C-sharp Minor (op. 131). Tickets ($20 to $65) are available from Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org). — J.M.K.

Cell by cell: Celebrating Survival

Michael Burgan wanted to mark the 25th anniversary of his successful battle with cancer. His idea was to create an evening of staged readings of short works by local writers that deal with the disease from any perspective. Celebrating Survival: Explorations of Courage, Strength, Laughter, and Love takes place at the Santa Fe Playhouse (142 E. De Vargas St.) on Friday and Saturday, Nov. 8 and 9, at 7:30 p.m. and on Sunday, Nov. 10, at 4 p.m. The event is hosted by Michael Graves, a veteran of theater, film, and television (including the daytime soap All My Children). Celebrating Survival includes a silent auction of donated art to benefit the Cancer Foundation for New Mexico. Tickets are $15 at the door; reservations can be made by calling 505-986-1801. — M.A. PASATIEMPOMAGAZINE.COM

Left, Rawah, Iraq, March 2006: A weary American soldier stands guard as a residential home is searched. Photo by Peter van Agtmael/Magnum Photos. From Photojournalists on War: The Untold Stories From Iraq, University of Texas Press, 2013. Below, caught in a sudden monsoon rain, part of a company of about 130 South Vietnamese soldiers moves downriver in sampans during a dawn attack on a Viet Cong camp, Jan. 10, 1966. Several guerrillas were reported killed or wounded in the action 13 miles northeast of Can Tho, in the flooded Mekong Delta. (AP Photo/ Horst Faas) From Vietnam: The Real War © Abrams, 2013. Opposite page, Tal Afar, Iraq, June 2005: Suspected insurgents are detained inside a Bradley Fighting Vehicle to be transported to a detention facility during an early morning raid. Soldiers from the 3rd Armored Cavalry Regiment and Iraqi soldiers moved into Tal Afar with Bradleys, tanks, and Humvees. Helicopters provided air support as the soldiers searched houses and detained suspects. Photo by Christoph Bangert. From Photojournalists on War: The Untold Stories From Iraq, University of Texas Press, 2013.

Bill Kohlhaase I The New Mexican

This means War

Photojournalism in Vietnam and Iraq ... mere images of the truth. — Susan Sontag, from “On Photography”

hen Michael Kamber was a young boy he would scan the magazines that came to his house looking for pictures from the war in Vietnam. “I would cut them out and save them and just stare at them for months,” he said in a phone call from his home in the Bronx. Kamber grew up to become a photojournalist. He’s covered conflicts in Afghanistan, Haiti, the Congo, and Somalia. Over a period of eight years, he made a dozen or more trips to Iraq — he’s not sure of the number — following the arc of the war (and its coverage) as it deteriorated from the defeat of the regime into bloody civil strife. He spent time with other photojournalists who, like him, felt that Americans weren’t getting an accurate, on-the-ground sense of the conflict. Kamber felt this was in contrast to the war he followed as a boy, when images of combat and the violence in Vietnam shook the American public, and turned many against the war. Two recent books address the images taken of those wars. Both show the emotional affect that a well-captured photo can have. The first is Vietnam: 32

PASATIEMPO I November 8 -14, 2013

The Real War, a collection of the Associated Press’ influential photographs that had a lasting impact on those who saw them. The second is Kamber’s Photojournalists on War: The Untold Stories From Iraq, a collection of pictures and interviews from 39 photojournalists. Photojournalists on War represents Kamber’s attempt to bring the accounting of the war in Iraq to the level of honesty that the Associated Press delivered to the public in the 1960s and ’70s. Pete Hamill, the journalist and novelist who began covering Vietnam in 1965, wrote the introduction to the Associated Press book. “The commitment of the AP reporters was to the truth of the war itself,” he writes. “The photographers, in particular, were committed to capturing what the great Henri Cartier-Bresson had called ‘the decisive moment.’ The image that overwhelmed thousands of words, above all the words of flacks.” Those decisive moments have become the iconic images that come to mind when we think of the war in Vietnam: a young girl, naked and burned by napalm, running down a highway with other frightened children, American soldiers lifting wounded comrades from the jungle floor as another signals a medevac helicopter, the street continued on Page 34

We have informed the public, and they made their own decision to accept the war. — photojournalist Chris Hondros on the Iraq War

PASATIEMPOMAGAZINE.COM

Art Greenspon

Patrik Baz/AFT/Getty Images

This means war, continued from Page 32 execution of a suspected Viet Cong official by a South Vietnamese general. AP photographers were able to capture these moments because there were so many of them. And they had access. “If the reporters and photographers had credentials, and there was room, they were usually made welcome on a U.S. military airplane or helicopter,” Hamill writes. In Iraq, that access was more strictly controlled. He told Pasatiempo, “The sense of the importance of truth seems to be gone. We didn’t lose it. That sense was taken away.” The “embedding” of journalists within a specific detachment during the Iraq war meant that the work of photojournalists there was closely monitored. Journalists were asked to sign complicated agreements that limited what they could do. “I must have signed a dozen different agreements,” Kamber said. “Each one added different complications. It was very clear that you needed the signature of a wounded soldier, and of course that was totally unworkable. Here is someone bleeding badly and barely able to see, and you’re going to pull out some document for him to sign while they’re rushing him to the hospital?” Kamber’s initial plan for his book was to discuss censorship, the limits imposed on photojournalists’ work, inspired by his own experience. “I was basically just bumping heads with the military brass keeping me away from combat zones. At one point, they blocked The New York Times embeds for three months after a picture was taken of a soldier that died. I went on one embed, and they blocked me from taking photos of the casualties. It was extremely frustrating.” Hamill pointed out the hypocrisy in the rules and their purpose. “We now have rigid control of the professional press, through ‘embedments,’ through enforced rules — no signs of blood, no visible carnage, the true

Qubah, Iraq, March 24, 2007: A U.S. soldier marks the hands of women and the backs of the necks of men with numbers for their specific neighborhoods and homes. Lt Col. Andrew Poppas of the 73rd Calvary, 82nd Airborne Division, said the numbering system allowed troops to determine if people were moving around the village despite a lockdown following a U.S. attack on insurgents. Photo by Yuri Kozyrev/NOOR.

PASATIEMPO I November 8 -14, 2013

horrors of combat. The rules are laid down by pols who vote for these wars without ever having a bullet fired in their direction or an IED exploding under them. Wars without horror, as clean and bloodless as recruiting posters.” If the truth of war is in its horrors, then both books provide plenty of truth. One of the most chilling images from the Vietnam book is a photo taken during the 1968 Tet Offensive, of three U.S. military policeman crouching behind a wall while two dead American soldiers, both facedown and trailing blood, lie in front of them. Zoriah Miller’s black-and-white photo of sprawled dead Marines after a 2007 suicide-bomb attack in Iraq is equally horrific for the almost unidentifiable carnage it portrays. Some of the most captivating photos in each book portray life in the wartorn countries outside of combat. “I think it’s very important to picture the daily life that goes on,” Kamber said. “Both American troops and civilians are real people. They’re not just firing guns. They have friendships and families and people they love back home. It’s important that they’re seen as real human beings.” Kamber’s book, through its extensive interviews, also presents the photojournalists realistically. Khalid Mohammed, the chief Associated Press photographer in Iraq, known for his shots of American contractors burned and hung from a bridge in Fallujah, tells how he got into photography after reluctantly being recruited as an Iraqi sniper during the Iran war. Rita Leistner, an independent photojournalist, talks about how a story about Idi Amin in Life magazine inspired her to become a photographer. “I needed to go out and tell stories so that people could be as shocked as I was at the injustices going on.” Chris Hondros thought the importance of photojournalism in Iraq, in terms of shaping public opinion, was comparable to that in Vietnam. What was different was the public’s reaction. He points out that even though there weren’t Iraq War protesters in the streets in the numbers that there were over Vietnam, people still knew about Fallujah and Baghdad and its Green Zone. “They know this because of us,” he told Kamber. “We have informed the public, and they made their own decision to accept the war.” Hondros was killed in 2011, when he was covering the rebellion in Libya. He gave us one of the most poignant images from Iraq, that of a screaming 5-year-old girl lit by a flashlight, her hands and face covered with blood, shortly after her parents were killed by U.S. soldiers. The story doesn’t stop there. From the picture’s caption, we learn that the girl’s 11-year-old brother was wounded and then sent to the U.S. for treatment. After returning to Iraq, he was killed when insurgents bombed his home in retaliation for his going to the U.S. Kamber, who said he

Karmah (Garma), Iraq, Oct. 31, 2006: Sgt. Jesse E. Leach drags Lance Cpl. Juan Valdez of Weapons Company, 2nd Battalion, 8th Marines, to safety moments after he was shot by a sniper during a patrol. Valdez was shot through the arm and torso but survived. Photo by João Silva/The New York Times. Images this page from Photojournalists on War: The Untold Stories From Iraq, University of Texas Press, 2013.

A woman mourns over the body of her husband after identifying him by his teeth, and covering his head with her conical hat. The man’s body was found with 47 others in a mass grave near Hue, April 11, 1969. The victims were believed to have been killed during the insurgent occupation of Hue as part of the Tet Offensive. (AP Photo/Horst Faas) From Vietnam: The Real War © Abrams, 2013.

spent five years researching and verifying the captions in Photojournalists on War, makes the point that captions matter. “I’m from the old school. We can’t lose our attention to the details. They’re not insignificant; they’re part of the story. They matter.” Captions are also a significant part of the Vietnam book. Henri Huet’s photo of a soldier protecting a wounded comrade near Phuoc Vinh in 1967 is made even more dramatic knowing that in the 30-minute attack, six Americans were killed and 12 more were wounded. This kind of attention to details and documentation separates the professionals from the ever-growing armies of citizen journalists, armed with digital cameras and cellphones, that have risen up with the advent of social media and the shrinking of the professional press corps. Hamill warns against the power of influence. “Covering a war is not a hobby,” he said. “It’s a profession. It’s dangerous and very expensive. The reporter must have money for transportation, translation, hotels in safer areas. That all costs. The citizen journalist is OK domestically, covering city-council meetings, flower shows, an occasional murder. But if the citizen is taking money from pols, lobbyists, or ideological organization, he or she should be shamed into revealing the sources of their money.” Kamber thinks the way photos are distributed and displayed through social media and online services has also affected the impact of photojournalism. “The problem with photos coming out of Iraq is that they’re competing with billions of photos online. Even if one of the famous AP photographers had taken it, that photo wouldn’t last long on the same page before it was refreshed with something else. It would get refreshed into oblivion. It would vanish. There’s no way we could have a pivotal role competing with all those photos and a public who’s disengaged from the war.” Yet there’s an argument for the craft of photography in these books, for photographers with a trained eye who know how to see a story as it happens and how to frame and capture it. Horst Faas’ photo of a well-bandaged Vietnamese Ranger on the ground with his rifle at the ready is a marvel of lines, angles and depth. Lucien Read’s tight portraits of U.S. Marines and a Navy Corpsman find expressions in their eyes that speak volumes. Scott Peterson’s close-up of a bullet in a pool of blood, no body visible, is a shocking image, yet somehow horrifically meaningful. In not all photos is truth so easily found. ◀ “Vietnam: The Real War: A Photographic History by the Associated Press,” with an introductory essay by Pete Hamill, was published by Abrams in October. “Photojournalists on War: The Untold Stories From Iraq” by Michael Kamber is published by University of Texas Press. PASATIEMPOMAGAZINE.COM

ART IN

REVIEW 50 Works for 50 States: New Mexico, New Mexico Museum of Art, 107 W. Palace Ave., 505-476-5072; through April 13, 2014

Richard Tuttle: Loose Leaf Notebook Drawing — Box 10, Group 4, 1980-1982, Watercolor on paper; Top, Edda Renouf: A Visible Sounds, 1978, graphite, incisions, and blue pastel chalk on Arches paper

PASATIEMPO I November 8 -14, 2013

As a recipient of 50 works from the Dorothy and Herbert Vogel Collection, the New Mexico Museum of Art is in good company: 2,500 pieces from the collection — early works by Minimalists, post-Minimalists, and Conceptual artists — were divided up and given to institutions throughout the country, with 50 works going to one institution in each of the 50 states. Many of the works have made their way into some of the nation’s prominent collecting institutions, including the Seattle Art Museum, the Museum of Contemporary Art in Los Angeles, Rhode Island School of Design, the Montclair Art Museum in New Jersey, and Yale University Art Gallery. The Vogels’ story is atypical. They were not wealthy art patrons but civil servants working in low-paying jobs. Dorothy was a reference librarian at the Brooklyn Public Library, and Herbert, who died in 2012, spent most of his life working as a clerk for the U.S. Postal Service. But they had a passion for art and agreed to live on Dorothy’s income while devoting Herbert’s to collecting sculpture, paintings, and works on paper. The Vogels built up most of the collection while living in a rent-controlled one-bedroom apartment in Manhattan. Works on paper were easier to store there, and they make up most of the collection and most of what was donated to the New Mexico Museum of Art. The 50 works on display are challenging pieces. Conceptual and Minimalist art can seem a little highbrow, appreciated by artists, art historians, and aficionados but inaccessible to some museum-goers. Such works defied conventions and, particularly with Conceptual art, were often anti-aesthetic and idea driven. For the general public, that means a lot of scratching of heads, not to mention the feeling that someone (the artist or the institution) is pulling the wool over their eyes or not letting them in on the joke. Critics may find more to sink their teeth into. Among the more prominent artists in the exhibit are Richard Tuttle, Lynda Benglis, and Edda Renouf. The works by Tuttle are significant series from his early career. His Rome Drawings and Loose Leaf Notebook Drawings are uncompelling individually — simple line drawings and abstract watercolors on notebook paper, their perforated edges still visible — but if one takes the work as a whole, it’s possible to appreciate Tuttle’s reductive eye and wonder about his frame of reference. The title Rome Drawings, after all, suggests it was the ancient Italian city. While such works might strike

some as being no more than simple color or line studies, sketches, and ephemera from the artist’s studio, they should be considered in light of Tuttle’s later career. He continued working in abstraction using simple geometry, minimal color, and unremarkable materials, such as cardboard and rough, unpainted wood. 50 Works for 50 States: New Mexico gives some idea of the kind of art that appealed to the Vogels. The strength of their collection was in recognizing, early on, the talent of artists, like Renouf, who would go on to prominence. There is strength, also, in the Vogels’ early recognition of art forms that were an affront to the status quo (but later became the status quo) — not because they were controversial per se, but because they were materially antithetical to the “finish fetish” movement of the 1960s, with its emphasis on handcrafted, precision work. The works collected by the Vogels intended to challenge perceptions of what art is, and it sometimes was rendered with a childlike and naive perspective, as in Joan Jonas’ Double Dog. Several pieces in this collection were executed with a minimum of artistic intervention, no doubt intentional, as in the case of Richard Nonas’ untitled wood sculpture. Renouf’s Primal Energy III: Earth Sounds and A Visible Sounds and other works treat surface materials such as cotton paper and linen as integral components of the piece, not just as the ground for an image, by taking advantage of the lines in the grain and making them a part of the image. But without the greater contexts — without knowledge of the breadth and scope of the Vogels’ collection — these works won’t resonate with most viewers, even though they’re important in the development of many of these artists and will likely continue to circulate among major exhibitions and retrospectives and be valuable to art historians. To those ends, the works from all 50 institutions are slowly being added to a searchable database found at www.vogel5050.org. The works at the New Mexico Museum of Art are an important selection for an institution whose focus on contemporary and Conceptual works is a strength of its collection. Some thought seems to have gone into what works went to New Mexico: Tuttle, for instance, has ties to the state. But works of historical importance do not necessarily make for a compelling visual experience, so patrons will have to dig a little deeper to understand what makes these works valuable. The exhibition does not provide much background other than to briefly state what genres interested the Vogels. Without more explicit information available on site, the context is lost. — Michael Abatemarco

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Unforgettable

El Diferente Tommy Macaione, Santa Fe’s patron saint of the arts

PASATIEMPO I November 8 -14, 2013

File photo

omaso Silvestre Macaione is on a roll these days. Though the artist died in 1992, he is being honored for the third year in a row by an official city proclamation. Nov. 13 is “Tommy Macaione Day,” a date that corresponds to what would be his 106th birthday. “His message of rejoicing in our differences to build a stronger community is as relevant now as it was during his lifetime,” Mayor David Coss’ proclamation reads. Longtime Santa Feans remember Macaione as “El Diferente,” one of the town’s most colorful characters, who was known for his equally colorful, post-impressionistic impasto paintings of flowers and landscapes. As gallery owner Nedra Matteucci told Pasatiempo, “He was kind of the van Gogh of Santa Fe.” Today, Macaione is immortalized in sculpture in a Marcy Street park that bears his name, though many call it simply “Artist Park.” He probably wouldn’t have minded the anonymity of this designation, as it confers upon him the title of “the artist.” Despite his diminutive stature and solitary lifestyle, Macaione had a larger-than-life presence in Santa Fe for nearly 40 years. Born in New London, Connecticut, in 1907 to a father of Greek descent and an Italian mother, Macaione moved to Sicily after his parents separated during his childhood. There, he began studying the old masters with such passion that, as he told New Mexico Magazine in 1980, “I would forget to eat. Still do.” In 1922, he returned to New London. Soon he was studying art more formally with a Yale University graduate student and later at the Art Students League in New York and the Rhode Island School of Design. During World War II, he served in the U.S. Army Signal Corps and learned barbering on the side, a profession that helped support his art for more than 25 years. His 1952 arrival in Santa Fe was unintentional. Originally on a pilgrimage to San Francisco to visit retrospective exhibits on Matisse and van Gogh (one of his favorite artists, who “had it easy,” as he was fond of saying), he argued with his traveling companions and was left in Florida. Macaione resumed the trip, hitchhiking as far as Santa Fe and working as a dishwasher at the old Mayflower Café to save money for a bus ticket to California that he never ended up buying. In 1962, he ran for mayor of Santa Fe — his first of many unsuccessful political campaigns. The artist quickly became a familiar figure in his new surroundings, whether at his easel on the Plaza painting St. Francis Cathedral, alongside Hyde Park Road painting aspens, or in the vicinity of his favorite neighborhood gardens, painting irises, lilacs, and sunflowers. His passion for plein-air painting was not entirely appreciated at first in the town’s lingering Wild West atmosphere. Once, when painting a garden on Acequia Madre, he was scared off by the property owner, who fired a pistol in the air in his flowers’ defense.

Though something of an outsider by choice, Macaione was a member of Santa Fe’s midcentury arts community, even if not universally acknowledged as such. He was fond of telling how he serenaded Georgia O’Keeffe in Furr’s cafeteria, back when the restaurant had a grand piano. Though she paid him no attention during his hour-long performance, he recounted the experience to close friends with an air of triumph. The artist embraced poverty his entire life. Even after his work developed a following, he never took the steps necessary to capitalize on success. During the 1970s, he would give still-wet paintings to a close friend who taught at Santa Fe High School. The friend would display them in the teachers’ lounge, where they would frequently sell before the paint dried. Macaione also exchanged paintings for food or services. A close friend estimated that Macaione’s veterinarian, Dr. Richard Peterson, received close to 90 paintings. Macaione’s personal menagerie was always large, but by the 1980s it had grown large enough to require official — though delicate — intervention. In 1982, Mayor Louis Montano publicly appealed to residents

Tommy Macaione: Santa Fe Garden, oil on canvas; top right, Ode to the Magnanimous Hollyhock Flower, oil on canvas; images courtesy Matt Kuhn Collection Bottom right, Sunflowers, oil on canvas, image courtesy Robin McKinney Martin; opposite page, Tommy Macaione

to help the artist find homes for his pets. If the city fully enforced its animal-control ordinances, Montano cautioned, “the old man will die. ... He’s an institution in this town. The man is very kind and he’s very concerned, and we want to help him.” Despite his poverty and the notorious shabbiness of his small home near the city dump, Macaione endeavored to care for all his animals. He said he spent up to $300 a week on pet food and would go hungry himself before seeing them deprived of nourishment. When Peterson volunteered to examine Macaione’s animals during the height of his clash with the city, the vet told a reporter, “I can’t criticize in any shape or form the way he has taken care of his animals. They’re all in good health.” The ’80s were also when Macaione began to get more widespread recognition as Santa Fe’s unofficial St. Francis-like patron saint of the arts. Gov. Bruce King organized an exhibition for Macaione in 1982 — the first large-scale show of the artist’s career. The day after the opening, a front-page article in The New Mexican showed a grinning Macaione hugging King while wearing the gold blazer and yellow shirt he bought for the occasion from the Society of St. Vincent de Paul. More honors accumulated. In 1985 he was recognized as a Santa Fe Living Treasure. In 1987, the Museum of Fine Arts (now the New Mexico Museum of Art) hosted his 80th-birthday celebration, which reportedly drew hundreds of well-wishers. The Santa Fe Reporter commemorated the same birthday with a cover story, in which Macaione boasted that he could still complete two paintings a day despite his advanced age: “I can paint like a house on fire!” In addition to painting, Macaione continued running for public offices both high and low. In 1988, a billboard along Interstate 25 appealed

to motorists: “Beloved voters, if you believe in world peace, general well-being and fairness, write in your vote for USA president Thomas S. Macaione.” The prospective candidate outlined his platform “for Governor or President” in an open letter from the same period. His party, the Mutual Happiness Society, was devoted to art, agricultural concerns, disarmament, free lunches for schoolchildren, and eliminating racial prejudice. “I will, of course, never stop painting or sculpturing on the days of rest that a governor is allowed,” he wrote. During his final years, Macaione continued to enjoy small-town fame. Photographer James Hart, who became a friend after being hired to document the painter’s work, remembered driving Macaione to the grocery store and on similar errands. “Every place we took Tommy, everyone would stop what they were doing and come say hi. And he loved it. He was very generous.” Macaione died in 1992. His work can be found in public and private collections across town, including at City Hall, The Shed restaurant, and the offices of The New Mexican. Most recently, the city obtained one of Macaione’s largest works to display in its new offices at 500 Market St. in the Santa Fe Railyard. The 8-by-8-foot oil on masonite painting is unusual in that it combines magnified floral imagery with a distant mountain background. Though Macaione called it his “million dollar mural,” he would probably have been pleased to know that it was donated to his beloved city for free. As his estate representative explained, “It’s a gift, from Tommy.” ◀ PASATIEMPOMAGAZINE.COM

Michael Abatemarco I The New Mexican

photographer lorran meares examines the next dimension

Lorran Meares: Pictographs at Eagle Cave, Rocky Hill, California; opposite, Mindy, Santa Fe, New Mexico

PASATIEMPO I November 8 -14, 2013

ne aim of Lorran Meares’ multiple exposures and solariza3-D photography is to put tion all in the same photograph. the viewer into a space in I was beginning to get serious about a more visceral way than light painting. I could put the film in can be achieved with a 2-D a 4-by-5 camera and develop it right image. Meares’ work comthere on the site and see exactly what bines stereoscopic photography and it looked like.” light painting, a technique in which Meares often collaborates with a flashlight, light wand, or other light individuals in photographic “happensource is used to illuminate a landings” that can be soulful or spiritual. scape at night during timed exposures. “Without collaboration, the commuMeares did not start off doing this nication that takes place is sterile. kind of work. “My first job in photoWhen a collaborative event takes graphy was at the University of South place, you don’t know where that’s Florida in Tampa,” the Santa Fe-based going to go because there’s another artist told Pasatiempo. “I had studied person involved there and that conart only basically. I really hadn’t gone nection with that person can become very far in it. I was pursuing commerwhimsical, it can be terrifying, it can cial photography; 3-D wasn’t anywhere be very deep, beyond anything you near what I was thinking. I was doing ever expected. And those kinds of aerial photography. I had a little plane, connections are incredibly powerful and I’d go out and fly, taking pictures photographically. I’ve been pretty of property and selling the photomuch against the whole idea of acagraphs. I could chase up four or five demic pursuit determining where I hundred bucks a day doing that. This go with anything. It always has to was good money.” Images from Meares’ come from an intuition, not with Sacred Places series are on view at the something you’ve been told to do, Museum of the Red River in Idabel, like marching orders. Whenever I Oklahoma. The exhibit, titled Sacred get marching orders I tend to turn Landscapes: The Photography of Lorran in the other direction and beat it on Meares, is there through Nov. 17. out of there. But whenever I get a Sacred Places deals primarily with kind of command that comes from environments sacred to Native tribes, something subliminal, I can’t stop. I although Meares is not Native Amerhave to really pursue it and see where ican. He secures permission from it takes me, even if it takes me into tribal governments to access those dangerous territory.” areas on Indian land and at national Girl With White Eyelet Dress is an Whenever I get a kind of command that comes from something monuments, often in the company early image Meares created before he of tribal representatives. The aim began light painting and 3-D photosubliminal, I can’t stop. I have to really pursue it and see of the project is to call attention to graphy. The white dress the girl wears places of spiritual and historic sigis a prop Meares has held on to since where it takes me, even if it takes me into dangerous territory. nificance, many of them threatened the 1970s, when he worked at the uniby development, mining operations, versity in Tampa. “The dress has some Meares goes out at night with hand-built stereo kind of magic quality to it. It can be whatever it needs or misuse by visitors. For Meares, photos from nighttime shoots with light painting call attention to the Polaroid film cameras. The otherworldly glow from an to be according to the situation. It stands for something. mystic power of place. “When you go to a place artificial light source illuminates large swaths of land It can symbolize innocence, seductiveness, escape.” that feels different, how do you respond to it? Do surrounding a feature — natural or man-made. He Meares’ use of props and staging is minimal, and you take a picture of it? Or just walk around in the moves about in the landscape during the exposure, he strives to let a sense of place — what he calls the space? Walking around in the space was always more but his movements are not detected by the camera. pressure of a place — influence the direction of a phointeresting than the photograph. The photograph was The process results in images in which a landscape tography shoot. “Spontaneity is the only thing that boring, because it was just a record of what you saw is lit up, but with no discernible light source. “The matters. When you predetermine something, then at the time. It had nothing to do with how you felt at exposure can last anywhere from five minutes to all you’re locked into your own ego, that very thing that the time.” night based on the size of the place, how much it takes you hope to evolve beyond. The only way to get beyond There are challenges to viewing 3-D photography in to light it, whether I want stars or moonlight to show it is to give it up. you have to tell your ego to shut up.” a gallery or museum setting. you need either stereo- up. It really can vary quite a bit. I used to think that in The same spontaneity employed in his figurative scopic viewers or 3-D glasses. Meares does not show order for the camera to not see me I had to be dressed work enters into his 3-D landscapes. “Place was really a lot of this work. Much of it is personal, and he is in black. I made this strange outfit that was basically important. It told me what to do in the image. When selective about who sees it. “Even though I love to a piece of black cloth with a couple of holes so I could I got to the Sacred Places series, 3-D was a natural make flat prints that someone could hang on the wall, see. I put dark things on my arms, like an old pair of way to go. Light wasn’t one-dimensional. It was it’s not the thing. The only person who can see the real socks. Here I was walking around like a Ku Klux Klan multidimensional, and if I wasn’t illustrating it in a multidimensional way, I wasn’t being truthful to light.” ◀ thing is the person who takes the time to look into the guy in reverse.” viewer. The act of sharing a photograph is intimate; it’s Named as a forward-thinking image maker by very direct. The number of people who would actually the 1983 Macmillan Biographical Encyclopedia of see the real image is very few. The choice of who ... Photographic Artists and Innovators, Meares has “Sacred Landscapes: The Photography of Lorran Meares,” would look at those photographs is personal. It’s not been photographing with handmade cameras is on view at the Museum of the Red River in Idabel, for the world.” since the mid-1970s. “I was experimenting with Oklahoma, through Nov. 17. PASATIEMPOMAGAZINE.COM

Paul Weideman I The New Mexican

designer elegance of massimo and lella vignelli assimo and Lella Vignelli may not be household names, but everyone knows their work; it includes the logos of J.C. Penney, American Airlines, Knoll, and Bloomingdale’s, the design of Ford’s blue oval, and the brochures for the national parks. The couple “brought the freshness of Italian design” to the United States in the 1960s, according to the 2012 film Design Is One, which opens Friday, Nov. 8, at the Center for Contemporary Arts. Besides their iconic graphics, the Vignellis have designed teapots, jewelry, lamps, glassware, books, decanters, clothing, cutlery, and architectural spaces including the Bauhaus-reminiscent Vignelli Center for Design Studies at the Rochester Institute of Technology. Lella is an architect, born in Udine, Italy, to a family of architects. She is the “grounding” force in their collaboration, the one who brings her husband’s creative flights down to the realm of possibility. “I try to be really very rational and explain why the thing doesn’t work or is not right. The trust came out with the years. We were much more competitive when we were young,” she says in the film. “It is important to bring the objectivity to Massimo, because he is very subjective.” The two often bicker and shout at each other; it’s part of their process. “We are absolutely complementary,” Massimo avers. He got his start working as a draftsman at Castiglioni Architects in Milan and was soon expanding into Photo of Massimo and Lella Vignelli by John Madere

PASATIEMPO I November 8 -14, 2013

diverse fields. “The boundaries between design, product design, architectural, or theater design or furniture design or graphic design or packaging were not really existing, and that to me was the most exciting thing,” he says. In 1965, after moving to the States, the Vignellis co-founded the American branch of the design firm Unimark International. They established Vignelli Associates in New York six years later. An early iteration of Massimo’s now-famous devotion to the Helvetica typeface came with his 1967 commission to redesign the furniture company Knoll’s graphic identity. The man is a purist when it comes to typefaces, thousands of which are available to computer-using designers and writers today. “There are two basic families: serif and sans serif,” Massimo says. “In the serif family — the one with the feet — there are only three good ones: Garamond, Bodoni, and Times Roman. In sans serif you have Akzidenz Grotesk, the first one, out of which came Helvetica and Univers, then you have Futura and another half a dozen that I consider very good, and that’s really it.” He touts Helvetica as “the best visibility one can get. ... You can’t beat it for clarity and legibility, for strength.” “He’s such a classicist,” says Winterhouse’s Jessica Helfand, one of more than two dozen authorities that filmmakers Kathy Brew and Roberto Guerra employ in the film. “Always the same few typefaces, but always used with such grace, and so timeless.”

Another attribute of the typography work that also shows in the Vignellis’ other products is simplicity. In the film, Massimo shows off a piece of his office furniture. “I did this table at a time I was obsessed with the cost of furniture. The top is just a piece of steel; these cut marks are there because there is no finish. We did the legs by using pipes. ... For me that is really what expresses the entire intention of this table. This top is just resting on these four pipes, basically.” The legs on the production models of this design are more refined, and the top is marble or glass. “I’ve been really lucky in my life to be exposed to different materials with in-depth experiences,” he says. The designer worked for years for a Venice company, creating a line of glass lighting fixtures, and then immersed himself in silver while developing flatware and holloware in the U.S. He emphasizes that he has always been interested in “bringing craft and design together.” Among the designs by Lella are a necklace of large hollow-metal cubes. “I wanted something threedimensional and something very dramatic,” she says. Later she came up with an elegant, snaky silver tube you can coil into two rings around the neck or make one ring and let the rest of the piece hang as a curvy jewelry form down the front of the shirt. The filmmakers show her with a pair of beautiful silver vessels that were conceived with the flexibility to be used either continued on Page 44

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Design Is One, continued from Page 42 as vases or candleholders. “That’s why it’s exciting to work with products, because you develop as you go,” she says. “You keep working with your mind.” The couples’ interior for St. Peter’s Church on Lexington Avenue in Manhattan is flexible as well, designed with movable pews and convertible furniture. The silver chalices, candlesticks, and other liturgical pieces were also created by the Vignellis. In another segment, the two are shown serving and eating pasta using a line of colorful, plastic dinnerware they designed for the Heller firm. “They’re as fresh today as when we introduced it in 1971,” Alan Heller says. Another long-laster is the Knoll Handkerchief Chair, which has been in production for 30 years. The couple has designed showrooms for Poltrona Frau, Steelcase, and Hauserman. Lella recounts that for Hauserman (the Los Angeles company that manufactures movable walls), “We had the luck of having just gone to the Castelli gallery to see an exhibition of [Dan] Flavin, so we proposed to the client doing this [a colorful, Flavin-like treatment] in the showroom, and he understood. It was magical. ... It was a great treat, really, working with art.” “Design is not art,” her husband stresses. “Design has a utilitarian purpose always: legibility, comfort, you name it.”

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PASATIEMPO I November 8 -14, 2013

The showroom projects have offered opportunities for Lella to exercise her training in architecture — a discipline that has been relatively slow to accept women in this country. “In Italy the women’s liberation was much stronger than here. So, if you were an architect, you were an architect. Nobody would try to take you down. Absolutely, no way. So I was surprised here, really surprised,” she says in the film. “There is still now this sort of looking down at the woman.” One of the most important Vignelli projects was the redesign of the New York subway map and the signage for the subways. Massimo said the old map was like “soup, a spaghetti plate” because of all the words and graphic elements crowded together. Their product, like the company logos, are achievements in minimalistic clarity. “The Vignellis have been messiahs in terms of making the complex clear,” comments Richard Grefé of the American Institute of Graphic Arts. Massimo is known as having imported a grid-based concept to the U.S., and, although it is for the most part invisible in the finished work, he uses it religiously. In one scene from Design Is One, he is shown using a scaleograph tool to draw in grids of vertical rectangles. His brochures for the national parks are all based on grids, and all feature the name of the park — such as Acadia and Bandelier — in white (Helvetica) on a thick black stripe. He has designed a series of books on the work of architect Richard Meier, another devotee of the grid and a lover of the line of clothing the Vignellis have designed. These are garments “not related to fashion, but related to the body,” as Massimo puts it. They’re comfortable, and made to last. “I happen to hate obsolescence as one of those things that are unethical in our society. I’ve been wearing my clothing for the last 15 years.” The important aspects of their work include meaning, consistency of expression, and impact — “I cannot stand limp kinds of expressions, and we like it to be intellectually elegant,” Massimo says. “And then I like it to be above all timeless, so that means non-trendy, it means something that will last a long time because we feel a great responsibility to the client and the society.” ◀ “Design Is One: Lella & Massimo Vignelli” (4 chiles) opens Friday, Nov. 8, with a 7 p.m. screening presented by the Friends of Architecture Santa Fe, including an interview with filmmaker Kathy Brew via Skype. The screening takes place at the Center for Contemporary Arts (1050 Old Pecos Trail). Tickets are $10; call 505-982-1338.

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Role-playing at role-playing Loren Bienvenu I For The New Mexican Zero Charisma, comedy, not rated, Jean Cocteau Cinema, 3 chiles Scott (Sam Eidson) is not the most charismatic of fellows. The ogre-like 30-something lives with his grandmother (Anne Gee Byrd), works at a place called Donut Taco Palace II, and paints miniature figurines of warriors and wizards, shirtless, in his poster-covered bedroom. Every Tuesday night, he gets his chance to shine as the host of a tabletop fantasy role-playing game of his own devising. As the Game Master, he makes the rules and writes the story line for the game, which engages a party of adventurers (four of his friends) on an arduous and mythical quest. As in Dungeons & Dragons, the characters have numerical traits that affect their actions, like strength, dexterity, and that most elusive quality for those playing, charisma. The first feature by young filmmakers Andrew Matthews and Katie Graham, Zero Charisma was made on a tiny budget and partly funded by crowdsourcing. From such humble beginnings, the comedy succeeded in its unlikely quest to reach a broader market by winning an audience award at this year’s SXSW festival. It was subsequently picked up for distribution by Tribeca Films. Zero Charisma depicts Scott’s downward spiral with enough humor to balance out the heartbreak that comes from witnessing the collapse of a fragile egomaniac. In scene after scene, the Game Master precipitates laughable yet cringe-inducing encounters. Here are but a few examples: his “Nana” interrupts his game by coming into the kitchen to

Will you fight for me, little liege? Sam Eidson 46

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You shall not pass! Sam Eidson (center) and Garrett Graham (far left)

make a sandwich — he gets his revenge by screwing the lid back onto the mayonnaise jar as tightly as possible. One of his players finds out that his wife wants a divorce — Scott offers him a five-minute break to pull himself together, but when the man says he needs to go home instead, Scott rips up his character’s gamer sheet, declaring, “Boris the Mighty is dead!” Scott’s gradual mental, physical, and social decline is only partly because of his own bad decisions and character flaws. He confronts challenges related to others as well, including a sick Nana and the reappearance of his estranged mother (a former hippie who abandoned him as a child to grow marijuana in Mexico). But his greatest challenge arrives in the form of a new and powerful nemesis named Miles (Garrett Graham). Miles has plenty of charisma. He is a self-aware hipster geek of the tight-jeans variety whom Scott meets in the game store. Out of necessity, he invites the stranger to occupy the spot recently vacated by Boris the Mighty. The character clash is established during Miles’ first night in the group. Though the table is already set with the requisite snacks — Pringles, Mountain Dew, Circus Peanuts — Miles has the audacity to contribute a six-pack of micro-

brew to the mix. Minutes later, he solves one of the group’s longest-running hypothetical debates: Which ship is faster, Star Trek’s U.S.S. Enterprise or the Millenium Falcon from Star Wars? When one of the shocked gamers exclaims that even Scott was stumped by that particular puzzler, the Game Master retorts, “It’s not that I couldn’t have figured it out. It’s that I don’t like wasting my time on hypotheticals. I deal in reality, OK?” Then he demands (in perfect sincerity), “Now can we role-play please?” A mixture of Clerks and Napoleon Dynamite, this is a film designed to entertain an audience privy to the lifestyle portrayed. Those unfamiliar with gamer terms like “APs,” “NPCs,” and “MMORPGs” might find themselves on the edge of a series of inside jokes. At the same time, the barbs are not aimed exclusively at nerd culture. Miles and his trite group of too-cool-for-school friends are portrayed in an even harsher light. At a party, one plays the ukulele while another shows off his new retro tattoo of a “high wheel” bicycle (where the front wheel is much larger than the rear). While the nerds are engaged in escaping from unpleasant realities by creating alternate ones, the smug members of the overly hip crowd come across as more deplorable because of their complacency with their own purposelessness. As Zero Charisma develops, it avoids engaging in too much fantasy of its own. Much of the comedy takes place in the first 30 minutes of the film, with the remainder devoted to Scott’s struggles against a well-worn aphorism: it’s all fun and games until someone gets hurt. One particular incident, when the tension between Miles and Scott starts becoming uncomfortably taut, summarizes this message. Scott claims that a short story he wrote at the age of 14 (titled “Knights of Circuitry”) formed the uncredited basis for the Matrix film series. When Miles disproves this with a string of facts and dates, the unstable Game Master seems poised to embark upon a berserk, destruction-filled frenzy. Instead, and even more affectingly, he retreats to the bathroom and weeps. By the end of the film, we have been drawn deeply into Scott’s collapsing world, but the pity thus generated causes us to regret having laughed as much in the beginning, especially since our amusement came at his expense. ◀

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Suffering in style Robert Ker I For The New Mexican 12 Years a Slave, drama, rated R, Regal DeVargas, 1.5 chiles There’s a moment in 12 Years a Slave in which the title character — a free-born man named Solomon Northup (Chiwetel Ejiofor), who is abducted into slavery in 1841 America — is strung up to a tree branch to be hanged and then left there as hours pass. The filmmakers’ cameras don’t flinch, and their microphones amplify every small sound for several minutes, as Northup’s toes scrape the mud and he gasps for breath, and plantation life carries on behind him: the other slaves feign indifference to his suffering, looking like silhouettes against the bright green of the trees and Spanish moss. It’s undeniably difficult to watch. But in terms of the photography, composition, and sound recording, it’s also undeniably beautiful. This is what you get with Steve McQueen, a director who aspires to the clinical sadism and immaculate tableaux of Stanley Kubrick’s films but crucially lacks that director’s intellectual curiosity. McQueen made his feature-length debut with 2008’s Hunger, a film about a hunger strike that may be most memorable for how elegant a puddle of urine looked in one scene. With 2011’s sex-addiction drama Shame, my lasting memory is of the way the director framed bedsheets as a topography of addiction and unrest. He specializes in finding the beauty in suffering and in forcing us to look at it through long, attractive shots. Based on Northup’s 1853 memoir of the same name, 12 Years tells of the time he spent in captivity in the South. A carpenter and musician by trade, he was captured by men who lured him with the offer of a lucrative gig and then sold him to slavers who

Sarah Paulson and Lupita Nyong’o

Michael Fassbender, Lupita Nyong’o, and Chiwetel Ejiofor

shipped him south on a steamboat. In the film, he passes between two masters: a gentle pragmatist (Benedict Cumberbatch) with petty and vicious men in his employ and a sadist named Edwin (McQueen favorite Michael Fassbender), who breaks his slaves’ spirits with liberal use of the whip but also preaches to them on Sundays and forces them to dance for his entertainment. All the while, Northup hides his intellect and strives to maintain his human spirit. If the film were as realistic and bleak as its reputation from the festival circuit would suggest, it might make for a harrowing experience. But there are far too many reminders that you’re watching a movie — and one that plays by a formula that is designed to thrill and ultimately uplift. There are the distracting celebrity cameos, including appearances by Paul Giamatti, Paul Dano, and Brad Pitt (one of the producers, who plays the man who eventually frees Northup, sporting an Abraham Lincoln-style beard, in a clunky bit of symbolism). There is the score by Hans Zimmer, which uses bayou-influenced instrumentation to achieve the same tension-inducing effect as his bass blarps from Inception. There is the happy ending, which at best rings false and at worst makes the film come across as cultural tourism. Against this backdrop, how could the cruelty inflicted on the screen not seem salacious? Otherwise, “Slavery was bad” seems like a flimsy premise to build a movie on, and the “triumph of

the spirit” angle is an insult to the slaves whose “spirit” didn’t triumph. There are hints of bigger ideas at play, but they’re never developed. Early on, McQueen and the talented cinematographer Sean Bobbitt pan slowly up from a shot of Northup in a prison cell to show the White House not far in the distance. It could be taken as timely, given that the man currently in the White House is an intelligent black man who fights a constant battle with many white Southerners looking to put him in his “place.” It could serve to remind us that our Founding Fathers and Constitution allowed slavery to be legal. These ideas are not pursued, so what remains is a simple “Tsk tsk.” Any interesting ideas about the historical role of women as property are only hinted at. In one scene, Edwin tells his wife (Sarah Paulson) that he would send her away in favor of a slave he enjoys raping (Lupita Nyong’o) if given the choice. That, too, is dropped. Nothing in this film is framed for a modern context; we’re led to believe that, as in the case of the protagonist, the oppression of black people is over, and we all lived happily ever after. Aside from the photography, the acting is the film’s strong suit. Ejiofor is a likable actor, and while I’ve preferred him in roles where he’s allowed more nuance, he invests himself in the role to such an extent that they’re probably engraving his name on the Oscar statue right now. Fassbender imbues Edwin with more moral ambiguity than the villain probably deserves, even if he veers so over the top that he seems to be auditioning for the Joker role in a Batman film. Newcomer Nyong’o is the heart of the film; her performance is that of a soul shattering in slow motion. There is no happy ending for her character, and she makes you feel a life born into suffering. In a way, Quentin Tarantino’s miserable Django Unchained gives us a deeper and more resonant impression of slavery; the funhouse mirror of caricature and camp can provide new insights into cut-and-dried topics such as slavery that historical reenactment doesn’t allow for. Django is at least honest about what it is and who it’s for. 12 Years a Slave keeps you trying to guess McQueen’s intentions at every crack of the whip, until your assumptions turn as dark as the film’s tone. ◀

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Teenage wasteland Jennifer Levin I For The New Mexican How I Live Now, dystopic thriller, rated R, Center for Contemporary Arts, 3 chiles In How I Live Now, American teenager Elizabeth (Saoirse Ronan) is sent by her father to stay with her step-aunt and step-cousins, whom she’s never met, in the English countryside. Elizabeth, who prefers to be called Daisy, is borderline anorexic and absolutely angry at the world. She doesn’t eat and she doesn’t smile. She is preoccupied with conflicting thoughts about the kind of person she’s supposed to be, and whenever anyone dares to look at her or offer her a friendly touch, she all but spits in his eye. Ronan, who was born in New York and raised in Ireland, offers us a nearly flawless American accent and a nuanced portrayal of teen angst. She’s familiar in a timeless way. Though there are cellphones in this movie, Daisy could be from any decade in which it was seen as a mark of rebellion to wear far too much black eyeliner. Despite its R rating, for depicting some nongraphic teen sex and the ramifications of war, How I Live Now is based on a young-adult novel of the same name by Meg Rosoff. The novel, and to some extent the film, falls into the dystopic genre, which is often characterized by children and teens on their own in post-apocalyptic settings and fantasy or sciencefiction elements. In the novel, Daisy’s male cousins, Isaac (Tom Holland) and Edmond (George MacKay), have extrasensory capabilities. The film, which lifts its source material from its genre roots to be a more general wartime drama featuring children and teens,

Fresh brood: Saoirse Ronan and George MacKay

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Britain’s open-carry laws have relaxed quite a bit: Saoirse Ronan and Harley Bird

handles the possibility of ESP deftly by giving it to only one boy and leaving that power ambiguous. It’s not necessary to believe in it or even notice that it might be true in the world created by the film, but it’s clear that Daisy is the kind of person who is comfortable with the idea, as well as with a more mundane idea that her cousin is an extraordinarily kind person who isn’t afraid of her. At first, we seem to be watching a typical comingof-age story. After Daisy’s arrival in England and her subsequent warming up to her cousins, including the boys’ little sister, Piper (the marvelous Harley Bird), it seems all that’s left is for her to fall in love with Edmond and learn to love herself as well, but that would only take us halfway through the movie. During Daisy’s stay, World War III breaks out, and England is taken over by soldiers imposing martial law. This is all they know of what’s happening in the world, because Daisy’s aunt, who has an important job related to international security, is out of the

country when the bombs explode. It takes time for the war to catch up with the family, because they live in a rural area. They exist in a youthful idyll, swimming and cavorting and sleeping outside, but eventually the soldiers come, and How I Live Now becomes a thriller about a teenage Goth girl and her pipsqueak sidekick (Piper), who are sent to a work camp and then must walk across England to get home. Daisy’s ability to shut out common sense serves her well during the seven-day march. She must keep Piper motivated and keep her own fears at bay. The pair encounter dangerous and heartbreaking circumstances along the way; the story would have benefitted from taking more time with some of these scenes, because it would have connected Daisy — and the audience — to the experiences of other people living through the war. As the days go on and the girls grow weary and ever more determined to reach their destination, Daisy’s face, now free of cosmetics, is both harder than it was and more open, revealing a girl who has gone from being unable to get out of her head to a girl who needs to live in concert with others. The woods, meadows, and hillsides over which they walk have a hypnotic quality — the entire movie is beautiful to look at — and at a certain point emotional investment in the outcome of the story is inevitable. Unfortunately, the resolution is where How I Live Now stumbles. At the beginning of the movie, we meet Daisy by way of the chaos in an airport and the music on her headphones. By the time she meets her cousins, we know her and are ready to welcome her bad attitude. But the ending is rushed. Short shrift is given to pivotal discoveries and homecomings, and in the end we are treated to a voice-over from Daisy that turns her entire character arc into a setup for being a good girlfriend. Among other things, Daisy learns that there is great evil in the world and that if people love you, it’s OK to want to belong to them. The misguided voice-over ties up this complex and life-affecting lesson with a twee, teen-movie bow that beginning-of-the-movie Daisy would mock. ◀

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— compiled by Robert Ker

THE MET LIVE IN HD: TOSCA Patricia Racette, Roberto Alagna, and George Gagnidze star in this staging of Puccini’s opera, which is broadcast live from the Met. 11 a.m. Saturday, Nov. 9, with a 6 p.m. encore. Lensic Performing Arts Center, Santa Fe. (Not reviewed) NATIONAL THEATRE LIVE: 50TH ANNIVERSARY Nicholas Hytner directs a celebration of London’s National Theatre’s first five decades with re-creations of scenes from the company’s most iconic stagings, in many cases performed by the plays’ original actors. 7 p.m. Tuesday, Nov. 12, only. Lensic Performing Arts Center, Santa Fe. (Not reviewed) NEW MEXICO FILMMAKER’S SHOWCASE This annual screening of locally made movies showcases the nine jury-selected favorites from last year’s event. Not rated. Center for Contemporary Arts, Santa Fe. No charge. (Not reviewed)

A Wales tale: Naomi Watts in Diana, at Regal DeVargas in Santa Fe

opening this week DESIGN IS ONE: LELLA & MASSIMO VIGNELLI The ItalianAmerican designers Massimo and Lella Vignelli are like a modern-day Charles and Ray Eames in the breadth and excellence of their output. Filmmakers Kathy Brew and Roberto Guerra focus on the Vignellis’ chairs, flatware, books, buildings, and iconic typography — they’re behind the logos for J.C. Penney and Knoll, Ford’s blue oval, and the brochures for U.S. national parks. This is a multidimensional portrait of the husband-and-wife team, including interviews with them and with dozens of design and architecture professionals. Not rated. 86 minutes. Center for Contemporary Arts, Santa Fe. (Paul Weideman) See story, Page 42. DIANA Naomi Watts tackles the challenge of playing one of the most iconic and beloved figures of the 1980s and ’90s: Diana, Princess of Wales. This film looks at the last two years of Diana’s hectic life in the public eye, with special attention given to her secret love affair with Pakistani surgeon Hasnat Khan (Naveen Andrews). Oliver Hirschbiegel (Downfall) directs. Rated PG-13. 113 minutes. Regal DeVargas, Santa Fe. (Not reviewed) 50

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HOW I LIVE NOW Based on the dystopic young-adult novel by Meg Rosoff, How I Live Now features excellent performances and beautiful cinematography. Daisy (Saoirse Ronan), a rebellious and troubled American teenager, is sent to stay with her step-cousins in England for the summer, just as World War III breaks out. Engrossing and believable, the movie is imbued with an appealing innocence despite its MPAA rating, stumbling only in the end, with the unfortunate intrusion of voiceover resolution. Rated R. 101 minutes. Center for Contemporary Arts, Santa Fe. ( Jennifer Levin) See review, Page 48. IP MAN: THE FINAL FIGHT From the title of this movie, it seems that the Ip Man saga is coming to an end. If you thought it was a trilogy, you’re not alone — so did Ip Man! This time, the kung-fu master (Anthony Wong Chau-Sang) is called out of retirement to battle the Triad gangs. Rated PG-13. 100 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) IRON SKY Nazis from the moon invade Earth in this campy B movie with shockingly good special effects for its no-name pedigree. Unfortunately for the Nazis, America has a Sarah Palin-esque president (Stephanie Paul), and you betcha she’s gonna fight back. 11 p.m. Friday and Saturday, Nov. 8 and 9, only. Rated R. 93 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed)

PERFORMANCE AT THE SCREEN The series of high-definition screenings of performances from afar continues with a showing of Puccini’s Tosca from the Royal Opera House in London. Angela Gheorghiu, Jonas Kaufmann and Bryn Terfel star. 11 a.m. Sunday, Nov. 10, only. Not rated. 165 minutes, including one intermission. The Screen, Santa Fe. (Not reviewed) REEL NEW MEXICO The series that showcases independent films with a New Mexico connection offers Elvis Has Left the Building, a comedy that was partially shot in New Mexico (including a scene at Harry’s Roadhouse). Kim Basinger stars. 7 p.m. Wednesday, Nov. 13, only. Rated PG. 90 minutes. La Tienda Performance Space, 7 Caliente Road off Avenida Vista Grande, Eldorado. (Not reviewed) THE REEL ROCK FILM TOUR We’re moving on up! This traveling film tour — which comes with prizes and a party — highlights movies about rock climbing. Presented by Santa Fe Climbing Center, which sells discounted advance tickets. 7:30 p.m. Thursday and Friday, Nov. 14 and 15, only. Not rated. Center for Contemporary Arts, Santa Fe. (Not reviewed) THOR: THE DARK WORLD With the massive success of 2012’s The Avengers and this summer’s Iron Man 3, Marvel superhero movies seem poised to make like Marvel villain Galactus and eat our planet alive. Here is the Thor sequel, and judging from early international returns, the God of Thunder (Chris Hemsworth) will make lightning strike again. This time, he fights another enemy that threatens the planet. Natalie Portman is back, and Tom Hiddleston reprises his popular Loki role. Rated PG-13. 111 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

12 YEARS A SLAVE Director Steve McQueen takes us into America’s slave trade with the same clinical observation and exquisite composition that he used in his previous features, Hunger and Shame. Unfortunately, he tarnishes his unflinching adaptation of Solomon Northup’s 1853 autobiography — about the free-born man’s stint as a slave after being captured and shipped south — with too many distasteful movie moments, from the horror-film-like score and celebrity cameos to the happy ending, blunting the impact and putting his intentions into question. There’s fine acting all around, from Chiwetel Ejiofor’s star turn as Northup and Michael Fassbender’s villainous landowner to newcomer Lupita Nyong’o’s portrait of suffering. Rated R. 133 minutes. Regal DeVargas, Santa Fe. (Robert Ker) See review, Page 47. ZERO CHARISMA The first feature by filmmakers Katie Graham and Andrew Matthews, Zero Charisma follows Scott (Sam Eidson), who runs a weekly tabletop fantasy role-playing game. Scott is not charismatic — the ogrelike 30-something lives with his grandmother (Anne Gee Byrd), works at the Donut Taco Palace II, and paints figurines of warriors and wizards. When his unstable position as king of the nerds is threatened by a hip newcomer (Garrett Graham), the fallout from his attempts to regain control force him to confront a well-worn aphorism: it’s all fun and games until someone gets hurt. While the film is effective at portraying both humor and heartbreak, the balance is off-kilter, leading the audience to regret some of the movie’s early laughs and crave more later ones. Not rated. 87 minutes. Jean Cocteau Cinema, Santa Fe. (Loren Bienvenu) See review, Page 46.

now in theaters ABOUT TIME British filmmaker Richard Curtis (Notting Hill, Love Actually) wrote and directed this film about a time-traveling man named Tim (Domhnall Gleeson) who tries to give himself a second chance at love. Tim meets a woman (Rachel McAdams), but soon realizes it will take multiple tries to get the courtship right. Bill Nighy plays Tim’s father, and Groundhog Day is apparently this film’s spiritual father. Rated R. 124 minutes. Regal DeVargas, Santa Fe. (Not reviewed) ALL IS LOST A man (Robert Redford) is stranded on a crippled vessel somewhere in the Indian Ocean in this often-enthralling drama from writer and director J.C. Chandor (Margin Call). All Is Lost is basically

Robert Redford against the sea, and it relies on good old-fashioned storytelling to keep you involved. It’s a gutsy project that trusts its audience to trust it back, but be warned: the final third of the film gets a bit repetitious — in a most soggy manner. Rated PG-13. 106 minutes. The Screen, Santa Fe. (Robert Nott) BLUE JASMINE Woody Allen’s latest mixes comedy and tragedy in an inspired symphony of social criticism. Cate Blanchett is Jasmine, a Park Avenue socialite who lost everything when her husband (Alec Baldwin) went to jail for financial fraud. She goes to San Francisco and moves in with her blue-collar sister Ginger (a perfect Sally Hawkins). The cast, which also includes Bobby Cannavale, Andrew Dice Clay, and Peter Sarsgaard, is flawless. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) THE BUTLER At times overblown and unwieldy, an occupational hazard for a movie that covers 80 years of the civil rights movement in America, this is still a major accomplishment. We see it through the eyes of Cecil Gaines (Forest Whitaker), a man who rises from the cotton fields of Georgia to a tenure as White House butler that extends from Eisenhower through Obama’s election. The fine cast includes Oprah Winfrey as his wife and star cameos as the presidents. Rated PG-13. 132 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) CAPTAIN PHILLIPS Director Paul Greengrass knows how to turn newspaper headlines into white-knuckle thrillers, having earned accolades with 2006’s United 93. This time he tells the story of Captain Richard Phillips (Tom Hanks), whose freighter was hijacked by Somali pirates in 2009. Rated PG-13. 133 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) CARRIE It’s 2013, but life isn’t any easier for high school girls than it was in 1976. Brian De Palma’s horror film about the worst prom experience ever gets a modern face-lift courtesy of director Kimberly Peirce (Boys Don’t Cry) and stars Chloë Grace Moretz (Kick-Ass) and Julianne Moore. Stephen King’s novel remains the source material. Rated R. 99 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) CLOUDY WITH A CHANCE OF MEATBALLS 2 Who would have thought that Judi and Ronald Barrett’s children’s book would yield not one feature film but two? This sequel pits Flint (voiced by Bill Hader) against foodanimal hybrids (tacodiles, etc.). The jokes are lame — expect corny puns and puns about corn — but

Thor: The Dark World

the movie is colorful and imaginative, and it even sneaks in some satire about our technology-obsessed culture. Kids will dig it, which is fortunate, because there aren’t many other family films due before the holidays. Rated PG. 95 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) THE COUNSELOR Focusing on the interplay between Mexican drug cartels and their avaricious American customers, The Counselor tells a relatively simple tale that’s embroidered with complexity of detail and Cormac McCarthyian dialogue (the No Country for Old Men author wrote the script here). While Ridley Scott’s adaptation is vivid, as are performances by some Hollywood A-listers (with the notable exception of a flat Michael Fassbender in the lead role), the most intriguing aspect is that the ruthless cartel assassins appear more “real” than the glamorous power players on the fringe of their world. If that’s not the point, it’s hard to imagine what is. Rated R. 111 minutes. Regal Stadium 14, Santa Fe. (Loren Bienvenu) ENDER’S GAME The 1985 Hugo Award-winning magnum opus by science fiction writer and famed homophobe Orson Scott Card gets the blockbuster treatment. Asa Butterfield plays Ender Wiggin, a continued on Page 52

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teenager who is called upon to save Earth from aliens. Fortunately, he’s led by a colonel played by Harrison Ford — an actor who has saved his share of planets and countries on the big screen. Ben Kingsley and Viola Davis co-star. Rated PG-13. 114 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) ENOUGH SAID Fans of Woody Allen’s rom-coms for adult audiences should embrace this charmer about two divorced empty-nesters ( Julia Louis-Dreyfus and, in his final performance, James Gandolfini) who fall for each other and then find that middle-age relationships come fraught with baggage and defense mechanisms. Louis-Dreyfus shows more depth and Gandolfini more softness than either one’s iconic TV roles would suggest; the two head a terrific cast that includes Catherine Keener and Toni Collette. Nicole Holofcener directs them all with a generous spirit. The results are moving, honest, and often very funny. Rated PG-13. 93 minutes. Regal DeVargas, Santa Fe. (Robert Ker) FREE BIRDS Gobble gobble! The holiday-season family films are beginning to roost, as evidenced by the arrival of this animated adventure about two turkeys (voiced by Owen Wilson and Woody Harrelson) who travel back in time to take their species off of the Thanksgiving menu. Rated PG. 91 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) GRAVITY You’ve never seen a movie like this before. Tense and gripping but also tranquil and meditative, this thriller from director Alfonso Cuarón centers on two astronauts (George Clooney and Sandra Bullock) whose shuttle is destroyed while they are on a space walk. The resulting struggle to survive — like the special effects of the film itself — showcases humankind’s vast resourcefulness and potential. Cuarón’s story also celebrates how small, yet still important, we all are. To see one character’s globelike teardrops in zero gravity, as her possible fate and her profound

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PASATIEMPO I November 8 -14, 2013

loneliness weigh down on her, is to be deeply moved. Rated PG-13. 91 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Robert Ker) JACKASS PRESENTS: BAD GRANDPA Johnny Knoxville dons an old-man costume to go out into public and act like a jerk — once a jackass, always a jackass — toward his unsuspecting “victims.” Rated R. 92 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) KING OF HEARTS This World War I fantasy from French director Philippe de Broca came out in 1966 and won a passionate cult following among opponents to the Vietnam War with its story of a British sapper (Alan Bates) ordered to dismantle a bomb rigged by the retreating Germans to blow up a town. The evacuated town has been taken over by the liberated inmates of its insane asylum. They don’t seem much crazier than any troupe of colorful actors, and one of them is an adorable waif (a very young Geneviève Bujold), with whom the soldier falls in love. While this cult film will still warm some hearts, its mannered hijinks will leave plenty of others in straitjackets. The lighthearted moral of the tale suggests that the people on the outside waging war are a lot crazier than the loonies behind the walls of institutions. Not rated. 101 minutes. Jean Cocteau Cinema, Santa Fe. ( Jonathan Richards) LAST VEGAS Michael Douglas, Robert De Niro, Kevin Kline, and Morgan Freeman play four men who travel to Las Vegas for a wild bachelor party, just to prove that the AARP crowd can get just as hung over as The Hangover’s Zach Galifianakis. Rated PG-13. 105 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) MR. NOBODY Nemo Nobody (mostly Jared Leto, with a backup team of actors for his teenage and childhood years) is the “last living mortal” in the year 2092, on the eve of his 118th birthday. As he tells his long and convoluted tale to an eager interviewer, we come to realize that he is recounting several alternative lives. Armed with a big budget and a slick Canadian-based international coproduction, Belgian filmmaker Jaco Van Dormael pulls out all the stops and wallows in an orgy of cliché, originality, excess, silliness, and absurdly provoking nuggets of ideas. It’s based in the manyworlds theory of quantum mechanics, which posits an infinite possibility of parallel universes. In one of these, you’ll enjoy yourself. In another, you’ll wish you’d stayed home. Not rated. 139 minutes. Jean Cocteau Cinema, Santa Fe. ( Jonathan Richards)

THE SUMMIT Filmmaker Nick Ryan’s account of the 2008 tragedy on K2, the world’s second-highest mountain, is part documentary footage, part interviews, and part re-creation. Bad choices in the “death zone” over 8,000 meters coupled with ice falls and the consequences of having too many climbers on the precarious route resulted in the deaths of 11 of the 25 climbers who set off on the morning of Aug. 1. Conflicting accounts leave the specifics of those deaths unclear. Human nature can’t be suppressed, even when the decision to aid a fellow climber almost certainly means death. The film’s most memorable scenes are of the terrain: stark, snow-covered, and steep. Rated R. 95 minutes. Center for Contemporary Arts, Santa Fe. (Bill Kohlhaase) WADJDA Young Wadjda (Waad Mohammed) is a lot like any other 10year-old: she just wants a bike so she can ride to school with her best friend. It’s too bad, then, that she lives in Riyadh, Saudi Arabia, where conservative Muslim clerics call the shots, women aren’t allowed to drive, and girls are told they shouldn’t ride bikes. This first feature filmed entirely in Saudi Arabia — and the first to be made by a Saudi woman (writer-director Haifaa Al-Mansour) — offers Western audiences a glimpse of day-to-day life in Saudi Arabia while simply, cleverly using a young girl to point out cultural injustices in that country. That Wadjda succeeds is due largely to natural, unforced performances and a spunky, charismatic lead with a winning smile and excellent timing. Rated PG. 98 minutes. In Arabic with subtitles. Center for Contemporary Arts, Santa Fe. (Laurel Gladden)

other screenings Center for Contemporary Arts 7 p.m. Thursday, Nov. 14: Blue Is the Warmest Color. French Film Salon screening. Jean Cocteau Cinema 6 p.m. Tuesday, Nov. 12: Valhalla. 8 p.m. Tuesday, Nov. 12: Into the Mind. Regal Stadium 14 2 p.m. Sunday, Nov. 10, 2 & 7 p.m. Wednesday, Nov. 13: Risky Business. St. Francis Auditorium New Mexico Museum of Art, 107 W. Palace Ave., 505-476-5072 6 p.m. Friday, Nov. 8: Little Big Man. ◀

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

Free Birds (PG) Fri. to Wed. 12:40 p.m., 3 p.m.,

Sat. and Sun. 12:30 p.m. Mon. to Wed. 2:15 p.m. How I Live Now (R) Fri. to Sun. 3:15 p.m., 5:30 p.m., 7:45 p.m. Mon. to Wed. 4:15 p.m., 6:30 p.m. Thurs. 2:45 p.m., 5 p.m. The Reel Rock Film Tour (NR) Thurs. 7:30 p.m. The Summit (R) Fri. to Wed. 2:30 p.m. Wadjda (PG) Fri. 12:15 p.m., 4:45 p.m. Sat. and Sun. 4:45 p.m., 7 p.m. Mon. to Wed. 5 p.m., 7:15 p.m. Thurs. 2:15 p.m., 4:30 p.m.

5:20 p.m., 7:40 p.m., 10:05 p.m. Gravity (PG-13) Fri. to Wed. 2:30 p.m., 9:50 p.m. Gravity 3D (PG-13) Fri. to Wed. 12 p.m., 12:20 p.m., 2:45 p.m., 4:55 p.m., 5:15 p.m., 7:10 p.m., 7:40 p.m., 10:10 p.m. Jackass Presents: Bad Grandpa (R) Fri. to Wed. 12:25 p.m., 2:50 p.m., 5:25 p.m., 7:50 p.m., 10:20 p.m. Last Vegas (PG-13) Fri. to Wed. 1:10 p.m., 4:40 p.m., 7:40 p.m., 10:10 p.m. Risky Business (R) Sun. 2 p.m. Wed. 2 p.m., 7 p.m. Thor:The Dark World (PG-13) Fri. to Wed. 12:25 p.m., 1:15 p.m., 3:30 p.m., 4:15 p.m., 7:15 p.m., 7:45 p.m., 10:15 p.m., 10:35 p.m. Thor:The Dark World 3D (PG-13) Fri. to Wed. 1 p.m., 1:30 p.m., 4 p.m., 4:30 p.m., 7 p.m., 7:30 p.m., 10 p.m., 10:20 p.m.

JeAn CoCteAu CinemA

the SCreen

1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org The 2013 New Mexico Filmmakers Showcase

Fri. to Sun. 11 a.m.

Blue Is the Warmest Color (NC-17) Thurs. 7 p.m. Design Is One:The Vignellis (NR) Fri. 7 p.m.

418 Montezuma, 505-466-5528 Into the Mind (NR) Tue. 8 p.m. Ip Man:The Final Fight (PG-13) Fri. 8:30 p.m. Sun. 8:30 p.m. Wed. 8:30 p.m. Thurs. 1:30 p.m. Iron Sky (R) Fri. and Sat. 11 p.m. King of Hearts (NR) Fri. to Sun. 4:15 p.m. Wed. and Thurs. 4:15 p.m. Mr. Nobody (R) Fri. to Sun. 1:30 p.m. Mon. 8:30 p.m. Wed. 1:30 p.m. Thurs. 8:30 p.m. Valhalla (PG) Tue. 6 p.m. Zero Charisma (NR) Fri. 6:20 p.m. Sat. 9 p.m. Sun. and Mon. 6:20 p.m. Wed. and Thurs. 6:20 p.m. regAl deVArgAS

562 N. Guadalupe St., 505-988-2775, www.fandango.com 12 Years a Slave (R) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 9:55 p.m. Sun. to Thurs. 1 p.m., 4 p.m., 7 p.m. About Time (R) Fri. and Sat. 1:10 p.m., 4:10 p.m., 7:10 p.m., 9:50 p.m. Sun. to Thurs. 1:10 p.m., 4:10 p.m., 7:10 p.m. Blue Jasmine (PG-13) Fri. and Sat. 1:20 p.m., 4:20 p.m., 7:20 p.m., 9:35 p.m. Sun. to Thurs. 1:20 p.m., 4:20 p.m., 7:20 p.m. The Butler (PG-13) Fri. and Sat. 1:05 p.m., 3:50 p.m., 6:50 p.m., 9:40 p.m. Sun. to Thurs. 1:05 p.m., 3:50 p.m., 6:50 p.m. Diana (PG-13) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 10:05 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m. Enough Said (PG-13) Fri. and Sat. 1:40 p.m., 4:40 p.m., 7:40 p.m., 10 p.m. Sun. to Thurs. 1:40 p.m., 4:40 p.m., 7:40 p.m. regAl StAdium 14

3474 Zafarano Drive, 505-424-6296, www.fandango.com Captain Phillips (PG-13) Fri. to Wed. 12:35 p.m., 4:10 p.m., 7:10 p.m., 10:15 p.m. Carrie (R) Fri. to Wed. 9:45 p.m. Cloudy With a Chance of Meatballs 2 (PG) Fri. to Wed. 12:10 p.m., 2:35 p.m., 5:10 p.m., 7:35 p.m., 9:55 p.m. The Counselor (R) Fri. and Sat. 12:50 p.m., 4:05 p.m., 7:25 p.m., 10:05 p.m. Sun. 4:40 p.m., 7:25 p.m., 10:05 p.m. Mon. and Tue. 12:50 p.m., 4:05 p.m., 7:25 p.m., 10:05 p.m. Wed. 9:30 p.m. Ender’s Game (PG-13) Fri. to Sun. 1:25 p.m., 4:25 p.m., 7:25 p.m., 10:15 p.m. Mon. to Wed. 1:25 p.m., 4:25 p.m., 7:25 p.m., 10:15 p.m. Free Birds 3D (PG) Fri. to Wed. 12:15 p.m., 2:40 p.m., 5 p.m., 7:20 p.m.

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com All Is Lost (PG-13) Fri. and Sat. 12 p.m., 2:30 p.m., 5 p.m., 7:30 p.m. Sun. 2:30 p.m., 5 p.m., 7:30 p.m. Mon. to Thurs. 12 p.m., 2:30 p.m., 5 p.m., 7:30 p.m. Royal Opera: Puccini’sTosca (NR) Sun. 11 a.m. mitChell dreAmCAtCher CinemA (eSpAñolA)

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com Captain Phillips (PG-13) Fri. to Thurs. 7:15 p.m. Carrie (R) Fri. 5 p.m., 7:35 p.m., 10 p.m. Sat. 2:35 p.m., 5 p.m., 7:35 p.m., 10 p.m. Sun. 2:35 p.m., 5 p.m., 7:35 p.m. Mon. to Thurs. 5 p.m., 7:35 p.m. Cloudy With a Chance of Meatballs 2 (PG) Fri. 4:35 p.m. Sat. and Sun. 2:05 p.m., 4:35 p.m. Mon. to Thurs. 4:35 p.m. Ender’s Game (PG-13) Fri. 4:40 p.m., 7:10 p.m., 9:45 p.m. Sat. 2:10 p.m., 4:40 p.m., 7:10 p.m., 9:45 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. Free Birds 3D (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. Free Birds (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. Gravity (PG-13) Fri. 4:35 p.m., 7:05 p.m., 9:40 p.m. Sat. 2:20 p.m., 4:35 p.m., 7:05 p.m., 9:40 p.m. Sun. 2:20 p.m., 4:35 p.m., 7:05 p.m. Mon. to Thurs. 4:35 p.m., 7:05 p.m. Jackass Presents: Bad Grandpa (R) Fri. 4:55 p.m., 7:30 p.m., 9:55 p.m. Sat. 2:30 p.m., 4:55 p.m., 7:30 p.m., 9:55 p.m. Sun. 2:30 p.m., 4:55 p.m., 7:30 p.m. Mon. to Thurs. 4:55 p.m., 7:30 p.m. Last Vegas (PG-13) Fri. 4:50 p.m., 7:25 p.m., 9:50 p.m. Sat. 2:25 p.m., 4:50 p.m., 7:25 p.m., 9:50 p.m. Sun. 2:25 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 p.m., 7:25 p.m. Thor:The Dark World 3D (PG-13) Fri. 4:45 p.m., 7:20 p.m., 9:50 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:20 p.m., 9:50 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs. 4:45 p.m., 7:20 p.m. Thor:The Dark World (PG-13) Fri. 4:45 p.m., 7:20 p.m., 9:50 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:20 p.m., 9:50 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs. 4:45 p.m., 7:20 p.m.

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RESTAURANT REVIEW Laurel Gladden I For The New Mexican

Landlubbers’ booty Mariscos Costa Azul 2875 Cerrillos Road, 505-473-4594 Lunch & dinner 11 a.m.-9 p.m. Wednesdays-Mondays; closed Tuesdays Noise level: quiet to lively chatter Vegetarian options Takeout available Beer & wine Credit cards, no checks

•

The Short Order Step into Mariscos Costa Azul, the Mexican seafood restaurant tucked off Cerrillos Road, and you might feel like you’ve been transported to a vacation resort in a coastal Mexican locale. The smiling staff and vibrantly decorated dining room welcome you to sample the choices on the eclectic menu; they run the gamut from guacamole, oysters on the half shell, and ceviche to indulgent shrimp-cheese-bacon combos and whole fish doused in chipotle sauce. Recommended: campechana cocktail, caldo vuelve a la vida “el mejor,” salmon a la Mexicana, pescado posteado, fish tacos, and tres leches cake.

Ratings range from 0 to 4 chiles, including half chiles. This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value.

PASATIEMPO I November 8 -14, 2013

Step into Mariscos Costa Azul, as I did one cold night recently, and you might feel like you’ve been transported to a coastal Mexican vacation resort. Giant swordfish and turtles are mounted on the brightly colored walls. Christmas lights run along the paneling. Dioramas of tropical fauna — such as parrots and toucans — are carved into chunky wooden chairs and painted in the brightest of hues. Even the pages of the menu are colorful, beginning with the cartoonish fish on the cover, grinning at you as he presents a shrimp cocktail. The menu’s offerings are an equally vivid and motley crew. Choices run the gamut from guacamole, oysters on the half shell, and ceviche to indulgent shrimp-cheesebacon combos and whole fish doused in chipotle sauce. Meals start with a basket of thin, crunchy tortilla chips and tiny plastic molcajetes of pico de gallo and a creamy avocado-based dip. You can follow that up with a seafood coctel. Small versions are served in parfait glasses, while larger ones come in Game of Thrones-appropriate goblets. The campechana combines small plump shrimp, chewy octopus, and crisp cucumber in a sweet Clamato-based juice; nuggets of avocado and plenty of fresh cilantro top it off. If you’re feeling under the weather, try one of the restorative soups. The caldo vuelve a la vida “el mejor” is a “come-back-to-life” combination of shrimp, octopus, scallops, clams, tiny crab legs, calamari, and toothy carrots and celery in a warm, clear, salty broth. The subtle heat will sneak up on you — wait for it. For something with even more kick, try the camarones agua chile, shrimp ceviche that’s positively rubbery in a spicy, highly citrusy sauce. For contrast, it’s topped with creamy avocado and ringed with cooling cucumber. Bring your appetite if you plan to order tacos, whether fish, shrimp, beef, or bean. The pescado is chopped into small reddish-brown nubbles rather than “fingers” or slabs, but it’s still savory, meaty, and satisfying. The only person I’ve ever seen finish all four fully stuffed corn tortillas was a hungry teenage boy with the insatiable appetite typical of that demographic. Consider yourself warned if you order the dish called No Te Rajes. According to our server, the name is an idiomatic phrase that means “Don’t send it back!” (Slang experts we consulted suggest the name can also be translated encouragingly as “Don’t give up” or tauntingly as “Don’t be a chicken!”) Rather, dive into this zesty, juicy plate of octopus, shrimp, onion, and jalapeños swimming in brick-red tomato-based sauce and topped with cheese. Rice, avocado, and addictive battered-and-fried potato wedges come to the rescue if things get too hot. Use an ice-cold lager-style Pacifico beer to cool off some more and wash it all down. For something a little more ordinary, there’s the pescado a la plancha, grilled tilapia cooked lightly in butter and garlic and accompanied by those habit-forming fries, white

rice, and a combination of corn niblets and diced carrots. (In case the fish doesn’t satisfy your hunger, you have plenty of starch to finish the job.) While the dish is certainly filling, it’s not particularly inspiring or exciting. The Mariscada Caliente is a fancier affair, a “mixed grill” jumble of fish, shrimp, scallops, calamari, and octopus — all rather roughly chopped and served on a raised platter. Scoop it into warm, steamy corn tortillas. The salmon a la Mexicana is a dish I’ve come back for repeatedly. It’s simple and clean: pico de gallo strewn like diamonds, rubies, and emeralds over light-pink poached salmon, the pico’s spice, tang, and crunch offering contrast to the fish’s tender, moist, omega-3-laden meat. Seafood and meat dominate the menu here, but vegetarian options are available. If you’re dining with an herbivorous friend, however, don’t order the pescado posteado. This is a lightly battered whole snapper, presented on a plate with eyes, fins, bones, and all. You might start to feel a little like an alley cat, trying to pick every last bit of meat off the bones. Don’t dismiss the desserts. With its perfect floret of whipped cream and bright drizzle of fruity glaze, the tres leches cake might look like a concoction from some highvolume corporate bakery. But it’s everything you’d want in this classic cake: sweet and dense and utterly moist, with a smooth, easy milk flavor. The origins of this powerfully rich dessert are unclear; it can be found not just in Mexico but in nations across Central and South America. It doesn’t matter that this version was probably made in New Mexico. A couple of bites and you’ll be transported. ◀

Check, please

Dinner for four at Mariscos Costa Azul: Camarones agua chile ............................................ $10.45 Beef tacos ............................................................... $ 9.95 Fish tacos ............................................................... $11.45 Pescado posteado ................................................... $14.95 No Te Rajes ............................................................ $12.95 Tres leches cake ..................................................... $ 3.95 2 Pacifico beers ...................................................... $ 7.90 TOTAL ................................................................... $71.60 (before tax and tip) Dinner for three, another visit: Small caldo vuelve a la vida “el mejor” .................. $11.45 Small campechana coctel ....................................... $ 8.95 Mariscada Caliente ................................................ $12.95 Salmon a la Mexicana ............................................ $12.95 Pescado a la plancha .............................................. $12.45 TOTAL ................................................................... $58.75 (before tax and tip)

Lensic Presents FUSIONTheatre Company Tradition // Innovation // Excellence

The p o t n i a t n Mou November 15 & 16

Friday 8 pm Saturday 2 pm, 8 pm $20-$40 discounts for Lensic members & students

2010 Olivier Award, Best New Play

Hall i r o t a K By Tickets: 505-988-1234 www.TicketsSantaFe.org the lensic is a nonprofit, member-supported organization

Let La Casa Sena And La Cantina Be Part Of Your Holiday Tradition! Book Your Holiday Party With Us!

Open Thanksgiving Day, Christmas Eve And Christmas Day.

Book Your Party In La Cantina and Enjoy Holiday Music By Our Singing Waitstaff

Visit Our Website For Special Holiday Menus

We Offer Several Private Rooms To Accommodate All Party Sizes. For Holiday Reservations Please Call 505-988-9232

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

FILM SCREENING

The Museum of Contemporary Native Arts And The New Mexico Museum of Art present

Little Big Man

Directed by Arthur Penn Starring Chief Dan George, Dustin Hoffman, and Faye Dunaway Introduction by Chris Eyre – Cheyenne/Arapaho Film Director and Producer. Chair, The Film School at Santa Fe University of Art and Design. Eyre will discuss films like “Little Big Man” and its implication in Native film making today.

friday, november 8, 2013 6:00 to 9:00 pm Using a comedic approach with FREE Screening at a clear social conscience, the New Mexico Museum of Art movie is considered an example 107 West Palace Avenue of the anti-establishment ﬁlms On the Plaza in Santa Fe of the period. MOA 476-5068 or MoCNA 428-5907 “….a stinging allegory about the bloody results of American imperialism…” New York Times

Open Daily 11:00am until close 125 East Palace, Santa Fe, New Mexico 87501 | (505) 988-9232

PASATIEMPOMAGAZINE.COM

2013-14 winTer Guide to Santa Fe and northern new Mexico

Winterlife

Yurts offer a World apart the skiing different at regional resorts gather â&#x20AC;&#x2122;round the fireplace dining out for all budgets

T h e Sa n Ta F e n e w M e xi c a n | s a n ta fen ew m ex i c a n . co m

SUNDAY, NOVEMBER 10 , IN THE

You turn to us.

PASATIEMPO I November 8 - 14, 2013

pasa week Friday, Nov. 8

El Farol C.S. Rockshow featuring Don Curry, Pete Springer, and John Elias, 9 p.m., call for cover. La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. Omira Bar & Grill Guitarist Ramon Bermudez, 6 p.m., no cover. Pranzo Italian Grill Jazz pianist John Rangel, 6-9 p.m., call for cover. Second Street Brewery Hot Club of Santa Fe, Gypsy jazz, 6 p.m., no cover. Second Street Brewery at the Railyard Bus Tapes, folk/rock, 7 p.m., no cover. Tiny’s Stones cover band Little Leroy and His Pack of Lies, 8:30 p.m., no cover. Vanessie Kathy Morrow, piano and vocals, 7 p.m., call for cover.

GALLERY/MUSEUM OPENINGS

Back Street Bistro 513 Camino de los Marquez, 505-982-3500. Paintings, prints, and clocks by Hillary Vermont, reception 5:30-7:30 p.m., through Jan. 4. Ellsworth Gallery 215 E. Palace Ave., 505-989-7900. Kathryn Stedham: Alluvium, gestural abstract paintings, reception 5-7 p.m., through Jan. 4. Op. Cit. Books 500 Montezuma Ave., Sanbusco Center, 505-428-0321. New works by Marge Larson, reception 4-6 p.m.

CLASSICAL MUSIC

Manhattan Piano Trio The trio performs works by Haydn, Brahms, and Smetana, 7:30 p.m., Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, no charge. TGIF recital Music of Buxtehude, Sowerby, Howells, Fischer, and Langlais, featuring Linda Raney on organ and harpsichord, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated.

9 Saturday CLASSICAL MUSIC

The Met Live in HD Puccini’s Tosca, 11 a.m. and 6 p.m., the Lensic, $22-$28, ticketssantafe.org, 505-988-1234.

IN CONCERT

Arlen Asher Woodwind artist, with Jim Ahrend on piano, Colin Deuble on bass, and John Trentacosta on drums, 7 p.m., Museum Hill Café, Milner Plaza, 710 Camino Lejo, $25, 505-983-6820, santafemusiccollective.org. Iva Bittová Czech avant-garde vocalist and violinist, 7:30 p.m., Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com. (See story Page 16.)

THEATER/DANCE

Celebrating Survival: Explorations of Courage, Strength, Laughter, and Love Staged readings by local playwrights, including Shebana Coelho, Aaron Leventman, and Erin O’Shaughnessy, event includes a silent art auction; proceeds benefit the Cancer Foundation for New Mexico, 7:30 p.m., Santa Fe Playhouse, 142 E. De Vargas St, $15, 505-986-1801, continues Saturday and Sunday. Salt and Pepper A comedy by Los Alamos playwright Robert Benjamin, 7:30 p.m. Teatro Paraguas, 3205 Calle Marie, $18, discounts available, teatroparaguas.org, 505-424-1601, continues Saturday and Sunday. WTF! Where’s My Community? Community Learning Collaborative’s social issues theater production, 7:30 p.m., Santa Fe Community Foundation, 501 Halona St., $12, discounts available, 505-986-0541, continues Nov. 16-17 at Teatro Paraguas Studio.

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

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

IN CONCERT

My Allies by Jerry Wellman, Axle Contemporary mobile gallery, axleart.com

BOOKS/TALKS

The Business of Music Summit Panel discussions and lectures with New Mexico Lawyers for the Arts and After Hours Alliance, 2-9 p.m., Warehouse 21, 1614 Paseo de Peralta, no charge. Christopher White The author of The Melting World: A Journey Across America’s Vanishing Glaciers in conversation with William deBuys, 5 p.m., Collected Works Bookstore, 202 Galisteo St., no charge, 505-988-4226. (See story, Page 18.)

EVENTS

FUZE-SW Food + Folklore Festival Food conference with national and local chefs and authors, speakers include James Campbell Caruso and Cordelia Thomas

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

Snow. Program begins at noon; reception at 5 p.m., Museum of International Folk Art, 706 Camino Lejo, $250, 505-476-1146, fuzesw.museumofnewmexico.org, through Sunday. Pueblo of Tesuque Flea Market 9 a.m.-4 p.m., 5 Flea Market Rd., pueblooftesuquefleamarket.com.

NIGHTLIFE

(See Page 58 for addresses) ¡Chispa! at El Mesón The Three Faces of Jazz, 7:30 p.m., no cover. Cowgirl BBQ Ben Wright, atmospheric Americana 5 p.m.; Todd & the Fox, roots rock, 8:30 p.m., no cover. Duel Brewing Mushi, jazz-funk trio, 7 p.m., no cover.

High Mayhem Fall Concert Series Johnny Bell, Baba, Marisa Anderson, and the Brilliant Dullards. 7 p.m., High Mayhem Emerging Arts, 2811 Siler Ln., $10 suggested donation, highmayhem.org. Paul and Storm Music and comedy. 7 p.m., Jean Cocteau Cinema, 418 Montezuma Ave., $15. YO: The Spirit of Asia A musical journey into the heart of Japan and the soul of India with Yutaka Oyama, Akihisa Kominato, and Ty Burhoe, 7:30 p.m., Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com.

THEATER/DANCE

calendar guidelines Please submit information and listings for Pasa Week

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

Una Pizca de Misterio A concert of flamenco music and dance, 7 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia, $18, discounts available, 505-412-0104. WTF! Where’s My Community? Community Learning Collaborative’s social issues theater production, 7:30 p.m., Santa Fe Community Foundation, 501 Halona St., $12, discounts available, 505-986-0541, continues Nov. 16-17 at Teatro Paraguas Studio.

BOOKS/TALKS

Adam Francis Raby The author reads from his memoir A Circus of One, about his battle with alcohol addiction, 2-3:30 p.m., Evangelo’s, 200 W. San Francisco Street, no charge. Artist talk Jim Vogel, Nikki Bustos, Diego López, Gene Ortega, and Toby Morfin discuss their Day of the Dead works, 1-2:30 p.m., Red Dot Gallery, 826 Canyon Rd., no charge. Opera Guild Breakfast Lecture Mary Kime discusses Puccini’s Tosca in advance of the Met Live in HD simulcast, 9:30 a.m., Collected Works Books, 202 Galisteo St., $5 suggested donation, 505-988-4226. Sally Ooms The author reads from Finding Home: How Americans Prevail, 3 p.m., Op. Cit. Book, 500 Montezuma Ave., Sanbusco Center, no charge. William Stine The author discusses his book France on Fragile Wings, an illustrated biography of his father, Harold Stine, 2 p.m., Garcia Street Books, 376 Garcia St., no charge.

317 Aztec 20-0150 317 Aztec St., 505-8 the Inn Agoyo Lounge at E. Alameda St., 3 30 a ed on the Alam 21 -21 84 5-9 50 nt Anasazi Restaura Anasazi, the of Inn d oo Rosew e., 505-988-3030 113 Washington Av Betterday Coffee 5-555-1234 50 905 W. Alameda St., nch Resort Ra e Bishop’s Lodg Lodge Rd., ps ho Bis 97 12 a & Sp 77 505-983-63 Café Café 5-466-1391 500 Sandoval St., 50 ó ay Casa Chim 5-428-0391 409 W. Water St., 50 ón es M ¡Chispa! at El 505-983-6756 e., Av ton ing ash 213 W Cowgirl BBQ , 505-982-2565 319 S. Guadalupe St. te Café The Den at Coyo 5-983-1615 50 , St. r 132 W. Wate Duel Brewing 5-474-5301 1228 Parkway Dr., 50 lton Hi e El Cañon at th 88-2811 5-9 50 , St. al ov nd 100 Sa

PASATIEMPO I November 8 -14, 2013

EVENTS

Book Arts Flea Market Multivendor flea market with arts and crafts supplies, handmade books and paper, and ephemera, 10 a.m.-1 p.m., New Mexico History Museum, 113 Lincoln Ave., no charge. Contra dance New England folk dance with music by Megaband; beginner classes 7 p.m., dance 7:30 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $9, students, $5, 505-820-3535. FUZE-SW Food + Folklore Festival Food conference with national and local chefs and authors, speakers include James Campbell Caruso and Cordelia Thomas Snow, 8 a.m.-7:30 p.m., Museum of International Folk Art, 706 Camino Lejo, $250, 505-476-1146, fuzesw.museumofnewmexico.org, continues Sunday. Handmade Heart Sale of handmade jewelry, linens, ceramics, and clothing; plus sweets, poetry, and tarot readings, noon-5 p.m., Santa Fe Community Yoga Center, 826 Camino de Monte Rey, Suite B-1, 505-820-9363. Holiday Pie Mania Auction of pies supplied by local chefs and bakers; 1-5 p.m. Builders Source Appliance Gallery, 1608 Pacheco St., $5 in advance, $7 at the door, proceeds benefit The Food Depot, holidaypiemania.org. Second Annual Lunafest Traveling film festival spotlighting women filmmakers; 5-8 p.m. reception with silent auction, wine, and hors d’oeuvres $35, short film screenings $25, proceeds benefit Girls Inc. and the Breast Cancer Fund, Santa Fe University of Art and Design, 1600 St. Michael’s Dr., girlsincofsantafe.org, 505-982-2042.

Pasa’s little black book Spa Eldorado Hotel & St., 505-988-4455 o isc nc Fra 309 W. San El Farol 5-983-9912 808 Canyon Rd., 50 ill Gr & El Paseo Bar 92-2848 5-9 50 , St. teo lis Ga 208 Evangelo’s o St., 505-982-9014 200 W. San Francisc erging Arts High Mayhem Em -2047 38 5-4 50 ., 2811 Siler Ln Hotel Santa Fe ta, 505-982-1200 1501 Paseo de Peral asters Iconik Coffee Ro -0996 28 5-4 50 , St. na Le 00 16 La Boca 5-982-3433 72 W. Marcy St., 50 ina La Casa Sena Cant 5-988-9232 50 e., Av e 125 E. Palac at La Fonda La Fiesta Lounge , 505-982-5511 St. o isc 100 E. San Franc a Fe Resort nt Sa de La Posada Ave., 505-986-0000 e and Spa 330 E. Palac g Arts Center Lensic Performin St., 505-988-1234 o 211 W. San Francisc e Lodge Th at ge un Lo e Lodg Francis Dr., St. N. 0 75 Fe at Santa 505-992-5800

Walk Santa Fe Guided walk from the Santa Fe Botanical Garden through historic neighborhoods to Railyard Park, 10:30 a.m.-1:30 p.m., $20, santafebotanicalgarden.org.

IN CONCERT

NIGHTLIFE

THEATER/DANCE

(See addresses below) Chispa! at El Mesón J.Q. Whitcomb Quartet, 7:30 p.m., no cover. Cowgirl BBQ Railyard Reunion Bluegrass Band 2-5 p.m., Big Daddy Love, grassroots rock, 8:30 p.m., no cover. Duel Brewing Edmund Gorman and Friends, 7 p.m., no cover. El Farol Controlled Burn, rock and roll, 9 p.m., call for cover. Iconik Coffee Roasters The Laser Cats, Gypsy jazz, 11:30-2:30, no cover. The Mine Shaft Tavern Guitarist Sean Ashby, 7 p.m., no cover. Pranzo Italian Grill Pianist Ron Newman, 6 p.m., call for cover. Second Street Brewery The Gregg Daigle Band, Americana, 6 p.m., no cover. Second Street Brewery at the Railyard Mystic Lizard, classic bluegrass, 7 p.m., no cover.

Robert Cray Band Blues guitarist. 7:30 p.m., the Lensic, 211 W. San Francisco St., $34-$54, ticketssantafe.org, 505-988-1234. Celebrating Survival: Explorations of Courage, Strength, Laughter, and Love Staged readings by local playwrights, including Shebana Coelho, Aaron Leventman, and Erin O’Shaughnessy, event includes a silent art auction; proceeds benefit the Cancer Foundation for New Mexico. 4 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $15, 505-986-1801. Salt and Pepper A comedy by Los Alamos playwright Robert Benjamin, 2 p.m., Teatro Paraguas, 3205 Calle Marie, teatroparaguas.org, 505-424-1601, $18, discounts available.

BOOKS/TALKS

10 Sunday

Let’s Talk About Opera Join Santa Fe Opera Guild members for discussions of timely opera topics, 3-5 p.m., La Posada de Santa Fe Resort and Spa, 330 E. Palace Ave., no charge. Tony Hillerman Writers Conference signing Writers Anne Hillerman, James McGrath Morris, and others sign copies of their books, book sales benefit Literacy Volunteers of Santa Fe, 2 p.m., Garcia Street Books, 376 Garcia Street, no charge, 505-986-0151.

CLASSICAL MUSIC

EVENTS

Jasper String Quartet Music of Hayden, Beethoven, and Kernis, 3 p.m. St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$65, 505-988-4640 or 505-988-1234, ticketssantafe.org.

Low ’n Slow Lowrider Bar at Hotel Chimayó de Santa Fe 125 Washington Ave., 505-988-4900 The Matador 116 W. San Francisco St., 505-984-5050 The Mine Shaft Tavern 2846 NM 14, Madrid, 505-473-0743 Museum Hill Café 710 Camino Lejo, Milner Plaza, 505-984-8900 Music Room at Garrett’s Desert Inn 311 Old Santa Fe Trail, 505-982-1851 Omira Bar & Grill 1005 S. St. Francis St., 505-780-5483. The 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 Rouge Cat 101 W. Marcy St., 505-983-6603 San Francisco Street Bar & Grill 50 E. San Francisco St., 505-982-2044 Santa Fe Community Convention Center 201 W. Marcy St., 505-955-6705 Second Street Brewer y 1814 Second St., 505-982-3030

FUZE-SW Food + Folklore Festival Conference with national and local chefs and authors, speakers include Deborah Madison and Hakim Bellamy, 8 a.m.-3:15 p.m., Museum of International Folk Art, 706 Camino Lejo, $250, fuzesw.museumofnewmexico.org, 505-476-1146.

Second Street Brewery at the Railyard 1607 Paseo de Peralta, 505-989-3278 Steaksmith at El Gancho 104-B Old Las Vegas Highway, 505-988-3333 Sweetwater Harvest Kitchen 1512-B Pacheco St., 505-795-7383 Taberna La Boca 125 Lincoln Ave., Suite 117, 505-988-7102 Thunderbird Bar & Grill 50 Lincoln Ave., 505-490-6550 Tiny’s 1005 St. Francis Dr., Suite 117, 505-983-9817 The Underground at Evangelo’s 200 W. San Francisco St., 505-819-1597 Upper Crust Pizza 329 Old Santa Fe Trail, 505-982-0000 Vanessie 427 W. Water St., 505-982-9966 Warehouse 21 1614 Paseo de Peralta, 505-989-4423 Zia Diner 326 S. Guadalupe St., 505-988-7008

Project Plowshare: John Wayne versus Edward Teller Eduardo Gabrieloff explores Project Plowshare, the U.S. program to find peaceful uses for nuclear weapons (19581977), 2 p.m., Center for Contemporary Arts, 1050 Old Pecos Trail, $5 suggested donation. Pueblo of Tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd. Railyard Artisan Market Work by more than 20 artists; music by John Cole, Chris Abeyta of Lumbre del Sol, and Joe Wheeler, 10 a.m.-4 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta. Santa Fe Society of Artists 9 a.m.-5:30 First National Bank parking lot on W. Palace Ave., across from the New Mexico Museum of Art.

NIGHTLIFE

(See Page 58 for addresses) Cowgirl BBQ Broomdust Family Revival noon-3 p.m., Tucson pop band Copper & Congress, 8 p.m., no cover. El Farol Pan-Latin chanteuse Nacha Mendez, 7 p.m., no cover. Iconik Coffee Roasters Folk musicians Cecilia and Lorraine, 1-3 p.m., no cover. La Posada de Santa Fe Resort and Spa Cowboy singer and guitarist Wiley Jim., 7 p.m., no cover. The Mine Shaft Tavern Gene Corbin, Americana, 3-7 p.m., no cover.

11 Monday BOOKS/TALKS

Friends of the Wheelwright lecture Jeanne Brako and Jackson Clark Jr. discuss the Wheelwright’s Durango Collection exhibit of Pueblo, Navajo, and Hispanic textiles, 2-4 p.m., Wheelwright Museum of the American Indian, 704 Camino Lejo, $10, 505-982-4636. What Can We Learn from Old Civilizations? A Southwest Seminars lecture by Henry Wright, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door.

NIGHTLIFE

(See Page 58 for addresses) Cowgirl BBQ Cowgirl karaoke with Michele Leidig, weekly, 9 p.m., no cover. El Farol Jazz Night with Trey Keepin, 7 p.m., no cover.

12 Tuesday IN CONCERT

Nuevo Romancero/NuevoMexicano Pablo Helguera presents traditional New Mexican songs, poetry, and stories, sponsored by SITE Santa Fe, 6 p.m., SFUA&D, 1600 St. Michael’s Drive, $10, 505-989-1199, sitesantafe.org.

THEATER/DANCE

National Theatre Live in HD: 50th Anniversary Event An evening of live theater, with rare glimpses from the archive and featuring actors who have performed on the National Theatre’s stage over the past five decades, 7 p.m., the Lensic, $22, 505-988-1234, ticketssantafe.org.

BOOKS/TALKS

David Lanier and Shaun T. Griffin Lanier reads from his poetry collection Lost & Found; Griffin reads from his poetry collection This Is What the Desert Surrenders, 6 p.m., Collected Works Bookstore, 202 Galisteo St. no charge, 505-988-4226.

B.B. King’s tour bus “Big Red,” Beale Street, circa 1956, by Ernest C. Withers, Monroe Gallery of Photography, 112 Don Gaspar

Franciscan Influence Among the Pueblo Peoples of the Southwest Lecture by Antonio Trujillo, 3 p.m., School for Advanced Research, 660 Garcia St., no charge. Science Café for Young Thinkers David Parsons of the Rewilding Institute discusses the essential role of gray wolves in our natural ecology, 6-7:30 p.m., Georgia O’Keeffe Education Annex, 123 Grant Ave., no charge.

EVENTS

Santa Fe Farmers Market 8 a.m.-1 p.m. Railyard Plaza and Farmers Market Pavilion, 1607 Paseo de Peralta, no charge.

NIGHTLIFE

(See Page 58 for addresses) ¡Chispa! at El Mesón Argentine Tango Milonga, 7:30 p.m., call for cover. Cowgirl BBQSean Ashby, Americana and roots music, 8 p.m., no cover. El Farol Canyon Road Blues Jam, 8:30 p.m., no cover.

13 Wednesday THEATER/DANCE

Balé Folclórico da Bahia Brazilian folk dance, 7 p.m., the Lensic, $25-$45, 505-988-1234, ticketssantafe.org.

BOOKS/TALKS

Carolyn Kastner The Georgia O’Keeffe Museum curator discusses her book Jaune Quick-to-See Smith: An American Modernist, 6 p.m., Georgia O’Keeffe Education Annex, 123 Grant Ave., $5, 505-946-1039. Cultivating the Empty Field: Zen Master Hongzhi Upaya dharma talk presented by Joshin Brian Byrnes, 5:30-6:30 p.m., Upaya Zen Center, 1404 Cerro Gordo Rd., donations appreciated, 505-986-8518.

Jan Zimmerman The author discusses her book Social Media Marketing for Dummies, 5 p.m., Op. Cit. Books, 500 Montezuma Ave., Sanbusco Center, no charge, 505-428-0321. Local Power and Women’s Empowerment in a Conflict Context: Palestinian Women Contesting Power in Chaos A lecture by Islah Jad of Birzeit University, Palestine, noon, School for Advanced Research, 660 Garcia St., no charge, 505-954-7203. Sex, Wine, and War St. John’s College tutor Lynda Myers presents an introduction to Aristophanic comedy through its depiction in ancient Greek art, 3:15 p.m., Junior Common Room, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, no charge. Wednesday Spotlight Tour Guided tour and discussion of the work of New Mexico modernist B.J.O. Nordfeldt, 12:15 p.m., New Mexico Museum of Art, 107 W. Palace Avenue, by museum admission. Yesterday and Today: Land Grants, 19th-Century Federal Policy, and New Mexico Poverty A Brainpower and Brownbags Lecture with Mike Scarborough, noon-1 p.m., New Mexico History Museum, 113 Lincoln Ave., enter through the museum’s Washington Ave. doors, no charge.

The Pantry Restaurant Acoustic guitar and vocals with Gary Vigil, 6 p.m., no cover. Tiny’s 505 Electric Jam with Nick Wimett and M.C. Clymer, 9 p.m., no cover.

NIGHTLIFE

(See Page 58 for addresses) ¡Chispa! at El Mesón Flamenco guitarist Joaquin Gallegos, 7 p.m., no cover. Cowgirl BBQ The Daniel Murphy Band, folk rock, 8 p.m., no cover. El Farol Latin fervor with Santastico, 8 p.m., no cover. La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. La Posada de Santa Fe Resort and Spa Omar Villanueva, Latin fusion, 7 p.m., no cover.

14 Thursday BOOKS/TALKS

Johnny D. Boggs The author discusses his filmography Billy the Kid on Film, which describes some 75 films about the legendary New Mexico outlaw, 6 p.m., Collected Works Bookstore, 202 Galisteo St. no charge, 505-988-4226.

IN CONCERT

Richard Smith Finger-style guitarist, 8 p.m. Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com.

EVENTS

Connecting Artists, Empowering Youth Premiere of media projects created by participants in N’MPower’s HIV/AIDS advocacy, education, and community outreach program, 5:30-8 p.m., Museum of International Folk Art, 706 Camino Lejo, no charge, 505-690-7380. (See Page 58 for addresses) ¡Chispa! at El Mesón Pianist John Rangel and guests perform jazz duets, 7 p.m., no cover. Cowgirl BBQ The Bus Tapes, folk ‘n’ roll, 8 p.m., no cover. Duel Brewing James T. Baker and Raven Redfox, Delta blues, 6 p.m., no cover. El Farol Guitarras con Sabor, 9 p.m., no cover. La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover.

PASATIEMPOMAGAZINE.COM

The Matador DJ Inky Inc. spinning soul/punk/ska, 8:30 p.m., no cover. The Palace Restaurant & Saloon Limelight karaoke, 9:30 p.m.-close, call for cover.

▶ Elsewhere AlbuquErquE Events/Performances

An Evening With Gary Snyder and Jack Loeffler Pulitzer Prize-winning poet Snyder and Santa Fe Living Treasure Loeffler speak at the Quivira Conference “Inspiring Adaptation,” 7:30 p.m. Wednesday, Nov. 13, Embassy Suites Hotel, 1000 Woodward Pl. N.E., $30, quiviracoalition.org. Balé Folclórico da Bahia Brazilian folk dance, 8 p.m. Thursday, Nov. 14, National Hispanic Cultural Center, 1701 Fourth St. S.W., $22-$37, nhccnm.org. Chatter Sunday Flutist Jesse Tatum performs George Crumb’s Voice of the Whale; poetry reading by Tanaya Winder follows, 10:30 a.m. Sunday, Nov. 10, The Kosmos, 1715 Fifth St. N.W. David Sedaris Best-selling author and humorist, 3 p.m. Sunday, Nov. 10, Popejoy Hall, 203 Cornell Dr. S.E., $69-$164, albuquerqueboxoffice.com. New Mexico Philharmonic Bach Fiesta with Krzyzsztof Zimowski on violin and Jiyoun Hur on flute, 2 p.m. Sunday, Nov. 10, National Hispanic Cultural Center, 1701 Fourth St. S.W., $24-$68, nmphil.org. Ozomatli Celebrated Los Angeles-based urban-Latino band, 8 p.m. Friday, Nov. 8, Albuquerque Convention Center, 401 Second St. N.W., $23-$33, ampconcerts.org, holdmyticket.com, 505-886-1251. Yjastros, The American Flamenco Repertory Company Todo Es de Color/ Everything Is in Color, 8 p.m. Friday, Nov. 8, National Hispanic Cultural Center, 1701 Fourth St. S.W., $15-$45, discounts available, 505-724-4771, nhccnm.org.

Museums/Art Spaces

Albuquerque Museum of Art & History 2000 Mountain Rd. N.W., 505-243-7255. Open 9 a.m.-5 p.m. Tuesday-Sunday; adults $4 ($1 discount for NM residents); seniors $2; children ages 4-12 $1; 3 and under no charge; first Wednesday of the month and 9 a.m.-1 p.m. Sundays no charge. Holocaust and Intolerance Museum of New Mexico Disturbing, but Necessary, Lesson, scale model of a WWII prisoner transport to Auschwitz • Hidden Treasures, 158-year-old German-Jewish heirloom dollhouse belonging to a family that fled to the U.S. and settled in New Mexico. Open 11 a.m.-3 p.m. Tuesday-Saturday, 616 Central Ave. S.W., donations accepted. UNM Art Museum Center for the Arts Building, 505-277-4001. The museum celebrates its 50th anniversary with exhibits of works from the permanent collection, through Dec. 21 • From Raymond Jonson to Kiki Smith • Andy Warhol’s Snapshots and Takes • From Rembrandt to Pollock to Atget • Agnes Martin: The Early Years 1947-1957 • Life’s a Beach, work by Martin Parr, through Dec. 14. Open 10 a.m.-4 p.m. TuesdaySaturday; $5 suggested donation.

PASATIEMPO I November 8 -14, 2013

Dixon

Boris McCutcheon & The Salt Licks Might Crash CD release party and concert, special guests include Bill Palmer and Stephanie Hatfield, 7 p.m. Friday, Nov. 8, The Toolshed, 68 NM 75, $10, 505-231-0860.

EspAÑolA

Bond House Museum Visions of the Heart, Images of the Road: Three Views From El Rito, works by Susan Guevara, Nicholas Herrera, and David Michael Kennedy, through Dec. 20. Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). Open noon-3:30 p.m. Monday-Wednesday, noon-4 p.m. Thursday and Friday, 706 Bond St., no charge.

los AlAmos

Bradbury Science Museum Open 10 a.m.5 p.m. Tuesday-Saturday, 1-5 p.m. SundayMonday, 15th and Central avenues, no charge. The Faces of Lannan Don Usner’s photos of participants in the Lannan Foundation’s Readings and Conversation series over the last 15 years, through Dec. 31, reception 4-5:30 p.m. Friday, Nov. 8, Mesa Public Library Art Gallery, 2400 Central Ave., no charge. Los Alamos Symphony Orchestra Fall Concert Music of Brahms, Sibelius, Beethoven, and Gimenez, 7 p.m. Friday, Nov. 8, Crossroads Bible Church, 97 East Rd., no charge.

mADriD

Spirit in Art New paintings by Susie Protiva, reception 2-6 p.m. Saturday, Nov. 9, 2 Firehouse Lane, no charge.

TAos Museums/Art Spaces

E.L. Blumenschein Home and Museum Hacienda art from the Blumenschein family collection, Europeans and Spanish colonial antiques. Open 10 a.m.-5 p.m. Monday-Saturday, noon-5 p.m. Sunday, 222 Ledoux St., Adults $8, under 16 $4, children under 5 no charge. Greg Moon Art Paintings by Peter Parks, through Nov. 22, 109-A Kit Carson Rd., no charge. Millicent Rogers Museum Open 10 a.m.- 5 p.m. Tuesday-Sunday through March, 1504 Millicent Rogers Rd., NM residents $5; nonresidents $10; seniors $8; students $6; ages 6-16 $2; Taos county residents no charge.

Events/Performances

Taos Chamber Music Group Music with nocturnal themes, including John Harbison’s Twilight Music and Arnold Schoenberg’s Transfigured Night, 5 p.m. Saturday, Nov. 9, 238 Ledoux St., $20 in advance, $22 at the door, taoschambermusicgroup.org. Terakaft Tuareg guitarists, 4 p.m. Saturday, Nov. 9, KTAOS Solar Center, 9 NM 150 (Taos Ski Valley), $18, holdmyticket.com, 21+.

▶ people who need people Artists

Call for artists MasterWorks of New Mexico 16th annual spring art show, open to all New Mexico artists, miniature, pastel, water media, and oil/acrylic divisions, see masterworksnm.org for information and entry deadlines.

Terakaft performs Nov. 9 at KTAOS Solar Center.

Children’s Water Conservation Poster Contest Students grades 1-6 invited to submit posters, call 505-955-4225 or visit santafenm. gov/waterconservation for guidelines, entry deadline Nov. 22.

Donations/Volunteers

Fight Illiteracy Literacy Volunteers of Santa Fe will train individuals willing to help adults learn to read, write, and speak English; details available online at lvsf.org, or call 505-428-1353. Georgia O’Keeffe Museum docent training Join volunteers who work in the galleries, offer tours, and provide interpretations, Thursdays 8:30 a.m.-noon through March 6, contact szurick@okeeffemuseum.org, 505-946-1007. Many Mothers Assist new mothers and families, raise funds, plan events, become a board member, and more; requirements and details available online at manymothers.org; call 505-466-3715 for more information or to schedule an interview. Railyard Stewards Yardmasters Develop new project ideas; lead educational training sessions; fundraise; help out in the office; free training and workshops on keeping the Railyard Park vibrant; contact Alanna for schedules, 505-316-3596, alanna@railyardpark.org. Santa Fe Humane Society and Animal Shelter Dogs desperately need individuals to take them on daily walks; all shifts available, call Katherine at 505-983-4309, Ext. 128. Santa Fe Women’s Ensemble Always in need of ushers for concerts; to volunteer email info@sfwe.org or call 505-954-4922. Spanish Colonial Arts Society Office and grounds workers; plus, docents needed all year long at the Museum of Spanish Colonial Art, contact Linda Muzio, 505-982-2226, Ext. 121, or email education@spanishcolonial.org. St. Elizabeth Shelter Help with meal preparation and other jobs at residential facilities and emergency shelters; contact Rosario, 505-982-6611, Ext. 108, volunteer@steshelter.org.

Filmmakers/Performers/Writers

Auditions for The Lyons All ages and ethnicities, noon Saturday, Dec. 7, 6:30 Sunday, Dec. 8, Santa Fe Playhouse, 142 E. DeVargas St., 505-988-4262 or santafeplayhouse.org for information.

Auditions for Benchwarmers Eight one-act plays, all ages and experiences welcome, auditions 1 p.m. Saturday, Dec. 14, and 6:30 p.m. Sunday, Dec. 15, Santa Fe Playhouse, 142 E. DeVargas St., 505-988-4262 or santafeplayhouse.org for information. Reel New Mexico Independent Film Series New Mexico filmmakers may submit shorts, narrative and documentary features, student films, and works-in-progress through 2013; for more information or to submit a film, contact reelnewmexico@gmail.com. Santa Fe Bandstand Applications to perform at the 2014 Santa Fe Bandstand are being accepted; Nov. 29 deadline for submissions; visit santafebandstand.org.

▶ under 21 Santa Fe Science Café for Young Thinkers David Parsons of the Rewilding Institute discusses the essential role of gray wolves in our natural ecology, 6-7:30 p.m., Tuesday, Nov. 12, Georgia O’Keeffe Education Annex, 123 Grant Ave., no charge. Connecting Artists, Empowering Youth Premiere of media projects created by participants in N’MPower’s HIV/AIDS advocacy, education, and community outreach program, 5:30-8 p.m., Thursday, Nov. 14, Museum of International Folk Art, 706 Camino Lejo, no charge, 505-690-7380.

▶ pasa Kids The Food Depot L.O.V.E. program Child-friendly projects for ages 3 and older (accompanied by an adult), 1 and 3 p.m. the third Friday of each month; contact Viola Lujan, 505-471-1633, Ext. 11, or vlujan@thefooddepot.org. Kids craft making Children ages 3 and up can make leaf-print note cards, 11 a.m.-noon, Saturday, Nov. 9. Bee Hive Kids Books, 328 Montezuma Ave., no charge. Preschooler’s Story Hour 10:45 a.m. weekly on Wednesdays and Thursdays, Collected Works Bookstore, 202 Galisteo St., 505-988-4226.

In the wings MUSIC

Sandra Wong The instrumentalist performs music from around the world on fiddle and nyckelharpa, 7:30 p.m. Friday, Nov. 15, Gig Performance Space, 1808-H Second St., $20, gigsantafe.com. Max Gomez New Mexico singer/songwriter, 7 p.m. Saturday, Nov. 16, High Desert Guitars, 111 N. Guadalupe, $15, holdmyticket.com. Rory Block Delta blues, 7:30 p.m. Saturday, Nov. 16, The Music Room at Garrett’s Desert Inn, 311 Old Santa Fe Trail, $28 in advance at brownpapertickets.com, $30 at the door. Cantu Spiritus Chamber Choir In Love and War, poetry readings by actors Michael and Jennifer Graves, accompanied by the choir, 3 p.m. Sunday, Nov. 17, Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $20, students no charge, visit cantuspirituschoir.com for details. Santa Fe Concert Association The association’s Family Concert Series launches with music by Bach, Corelli, and Brahms as well as the premiere presentation of March and Fugue by 12-year-old violinist Ezra Shcolnik of Santa Fe, 4 p.m. Sunday, Nov. 17, United Church of Santa Fe, 1804 Arroyo Chamiso, $10, santafeconcerts.org, 505-984-8759. Charles Lloyd & Friends Jazz reedist/composer, with Reuben Rogers on bass, Eric Harland on drums, and Bill Frisell on guitar, 7 p.m. Tuesday, Nov. 19, the Lensic, $20-$45, ticketssantafe.org, 505-988-1234. Serenata of Santa Fe Windstream, music of Beethoven, Thuille, and Poulenc, 3 p.m., Sunday, Nov. 24, Scottish Rite Center, 463 Paseo de Peralta, $25, discounts available, 505-989-7988. Third Annual Winter Solstice Concert Music of the season by Bach, Handel, Monteverdi, and Palestrina, 4 p.m. Sunday, Dec. 1, Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Road, call 505-474-4513 for tickets. Leahy Family: A Celtic Holiday Celtic music, dance, and song, 7:30 p.m. Monday, Dec. 2, the Lensic, $20-$55, 505-984-8759 or ticketssantafe.org, 505-988-1234. The King’s Singers British vocal ensemble, 7:30 p.m. Friday, Dec. 6, Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Place, $20-$55. Santa Fe Women’s Ensemble benefit Caroling party and silent auction, 5:30 p.m. Saturday, Dec. 7, Manitou Galleries, 123 W. Palace Ave., $50, 505-988-1234, ticketssantafe.org. Sangre de Cristo Chorale The 45-member ensemble presents Deo Gracias, 3 p.m. Sunday, Dec. 8, First Presbyterian Church of Santa Fe, 208 Grant Ave., $20 in advance and at the door, sdcchorale.org. Ian Moore Blues/rock guitarist, 7:30 p.m., Thursday, Dec. 12, The Lodge at Santa Fe, 750 N. St. Francis Dr., $25 in advance at brownpapertickets.com, $29 at the door. Roger Landes and Douglas Goodhart Irish, French, French-Canadian, American old-time, Cajun, and Balkan music, 7:30 p.m., Thursday, Dec. 12, Gig Performance Space, 1808-H Second St., $20, gigsantafe.com. The Met Live in HD James Levine conducts Verdi’s opera Falstaff, 11 a.m. and 6 p.m. Saturday, Dec. 14, the Lensic, ticketssantafe.org, 505-988-1234.

Santa Fe Symphony Orchestra and Chorus: Christmas Treasures Holiday favorites, 4 p.m. Sunday, Dec. 15, the Lensic, $20-$70, ticketssantafe.org, 505-988-1234. Pink Martini Latin, jazz, and classic pop orchestra, 7:30 p.m. Monday, Jan 20, the Lensic, 211 W. San Francisco St., $54-$84, 505-988-1234, ticketssantafe.org. Joshua Roman The cellist performs with pianist Andrius Zlabys, 4 p.m. Friday, Jan. 24, the Lensic, $30, 505-988-1234, ticketssantafe.org. Ray Wylie Hubbard County, folk, and blues, 7:30 p.m. Sunday, Jan. 26, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $25-$39, brownpapertickets.com.

THEATER/DANCE

The Mountaintop Fusion Theater presents Katori Hall’s drama reimagining events the night prior to the assassination of Martin Luther King Jr., 8 p.m. Friday and 2 and 8 p.m. Saturday, Nov. 15-16, the Lensic, $20-$40, student discounts available, ticketssantafe.org, 505-988-1234.

Upcoming events The Hobbit Santa Fe Performing Arts City Different Players (ages 7 to 12) present J.R.R. Tolkien’s classic on the stage, 7 p.m. Friday, Nov. 15, 2 p.m., Saturdays and Sunday, Nov 16-24, Armory for the Arts, 1050 Old Pecos Trail, $8, 505-984-1370. Our Lady of 121st Street Stephen Adly Guirgis’ comedy about a missing corpse, 7 p.m. Fridays, 2 p.m. Sundays, Nov. 15-24, Greer Garson Theatre, 1600 St. Michael’s Dr., $12-$15, discounts available, 505-988-1234, ticketssantafe.org. The Secret War Monologist Mike Daisey’s new work exploring national security, privacy, and freedom, 7 p.m. Thursday and Saturday, Nov. 21 and 23, the Lensic, $10, ticketssantafe.org, 505-988-1234. Ferocity and Poetry: AMFlamenco Flamenco music and dance. 7:30 p.m. Thursday, Nov. 21, Teatro Paraguas Studio, 3205 Calle Marie, Suite B, $23, 505-424-1601, teatroparaguas.org. Under One Umbrella Festival The public is encouraged to share five- to ten-minute creativity-themed performances, Friday and Saturday, Nov. 22-23, Teatro Paraguas Studio, 3205 Calle Marie, no charge, visit teatroparaguas.org for full schedule of events. Einstein: A Stage Portrait Tom Schuch appears in the award-winning one-man show, 7:30 p.m. Friday and Saturday, Dec. 6-7, 2 p.m. Sunday, Dec. 8, Teatro Paraguas Studio, 3205 Calle Marie, $16, $12 seniors and students, 505-424-1601. The Second City Comedy-theater troupe, 7 p.m. Saturday, Dec. 7, the Lensic, $27-$44, ticketssantafe.org. 505-988-1234.

nyckelharpist sandra Wong plays nov. 15 at gig performance space.

Winter Dance SFUA&D Garson Dance Company presents new works, 7 p.m. Wednesday, Dec. 11, Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, 505-988-1234, ticketssantafe.org. Paula Poundstone Stand-up comedian, 7:30 p.m. Friday, Dec. 13, the Lensic, $27.50 and $35, ticketssantafe.org, 505-988-1234. Annie Presented by Musical Theatre Works Santa Fe, 7 p.m. Friday and Saturday, 2 p.m. Sunday, Dec. 20-29, Greer Garson Theatre, 1600 St. Michael’s Dr., $15 in advance at musicaltheatreworks.net, student discounts available, $20 at the door, 505-946-0488. The Nutcracker Aspen Santa Fe Ballet presents the holiday favorite. 7:30 p.m. Saturday, Dec. 21, 1 and 5 p.m. Sunday, Dec. 22, the Lensic, $25-$72, aspensantafeballet.com or ticketssantafe.org, 505-988-1234.

HAPPENINGS

Recycle Santa Fe Art Festival Recycled-art market, juried exhibit, and trash fashion contest, Friday-Sunday, Nov. 15-17, Santa Fe Community Convention Center, 201 W. Marcy St., no charge. Lannan Foundation Readings and Conversations Writer Luis Alberto Urrea in conversation with Michael Silverblatt. 7 p.m. Wednesday, Nov. 20, the Lensic, $6; seniors and students $3, 505-988-1234, ticketssantafe.org. Contemporary Clay Fair Thirty New Mexico artists participate in the biannual fair, Friday, Nov. 22-Sunday, Nov. 24, Santa Fe Woman’s Club, 1616 Old Pecos Trail. From Zapruder to Taksim Square An event marking the 50th anniversary of the Kennedy assassination, featuring journalists Richard Stolley and Hal Wingo, who reported on the tragedy from Dallas and Washington, D.C., 7 p.m. Friday, Nov. 22, the Lensic, no charge. Twenty-fifth AID & Comfort Gala Presented by Southwest CARE Center; featuring theatrical singer Prince Poppycock, a VIP reception, and a silent auction, 6 p.m. Saturday, Nov. 23, Eldorado Hotel & Spa, 309 W. San Francisco St. $50-$200, 505-216-1541. Traditional Winter Spanish Market Juried artisans carrying on the work of 17th- and 18th-century Spanish colonial arts, 2 p.m-9 p.m. Friday, Nov. 29 and 9 a.m.-5 p.m. Saturday, Nov. 30, Hotel Albuquerque at Old Town, 800 Rio Grande Blvd. N.W., $6; $10 per couple, children 12 and under free, spanishcolonial.org, 505-982-2226. Eighth Annual SWAIA Winter Indian Market More than 200 participants; hoop dancing, artist demonstrations, fashion show, and silent art auction; 9 a.m.-5 p.m. Saturday, Nov. 30, and Sunday, Dec. 1, Santa Fe Community Convention Center, 201 W. Marcy St., $10 per day, $15 weekend pass, tickets available at the door only, presented by Southwestern Association for Indian Arts, swaia.org. Lannan Literary Series Nothing Personal: The Dark Room Collective Reunion Tour, African American poets Natasha Trethewey, Major Jackson, Thomas Sayers Ellis, John Keene, Tisa Bryant, and Sharan Strange, 7 p.m. Thursday, Dec. 12, the Lensic, $6, seniors and students $3, ticketssantafe.org, 505-988-1234. PASATIEMPOMAGAZINE.COM

At the GAlleries AT THE GALLERIES

Argos Studio/Gallery Eli Levin Studio, 1211 Luisa St., 505-988-1814. Work on Paper, group show of gallery artists, through Nov. 22. Axle Contemporary Mobile gallery, 505-670-7612 or 505-670-5854. Emblems of Hidden Durations, drawings by Jerry Wellman, visit axle.com for van locations through Nov. 9. Chiaroscuro Contemporary Art 702½ Canyon Rd., 505-992-0711. Fall group show of works by Australian Aboriginal artists and gallery artists, through Nov. 23. Gerald Peters Gallery 1011 Paseo de Peralta, 505-954-5700. Photographs by Chuck Forsman, through November. Governor’s Gallery 411 State Capitol Building, 505-986-4589. Works by recipients of the 2013 Governor’s Awards for Excellence in the Arts. Jean Cocteau Cinema 418 Montezuma Ave., 505-466-5528. Billy Schenck’s southwestern and gangster Hollywood paintings, through Dec. 11. LewAllen Galleries at the Railyard 1613 Paseo de Peralta, 505-988-3250. Beyond Earth’s Rhythms, paintings by Michael Roque Collins, through Nov. 24. Photo-eye Gallery 370-A Garcia St., 505-988-5159. Across the Ravaged Land, Nick Brandt’s photographic study of East Africa, through November. Red Dot Gallery 826 Canyon Rd., 505-820-7338. Fifth annual Día de los Muertos group show, through Nov. 22. Steven Boone Gallery 714 Canyon Rd., 505-670-0580. Twisted Portraits work by Boone and Dirk Kortz. Turner Carroll Gallery 725 Canyon Rd., 505-986-9800. New paintings by Igor Melnikov, through November. Zane Bennett Contemporary Art 435 S. Guadalupe St., 505-982-8111. WholeInOne, drawings by Emily Cheng; In Case of Emergency, wood assemblages by Roger Atkins, through Nov. 22.

librAries Beaumont and Nancy Newhall Library SFUA&D, 1600 St. Michael’s Dr., 505-474-5052. Open by appointment only. Catherine McElvain Library School for Advanced Research, 660 Garcia St., 505-954-7205. Open Monday-Friday, call for hours. Chase Art History Library SFUA&D, 1600 St. Michael’s Dr., 505-473-6569. Open Monday-Friday, call for hours. Faith and John Meem Library St. John’s College, 1160 Camino de Cruz Blanca, 505-984-6041. Visit stjohnscollege.edu for hours of operation. $40 fee to nonstudents and nonfaculty. Fray Angélico Chávez History Library, Palace of the Governors Photo Archives 120 Washington Ave., 505-476-5090. Open 1-5 p.m. Tuesday-Friday. Laboratory of Anthropology Library Museum of Indian Arts & Culture, 505-476-1264. Open 1-5 p.m. Monday-Friday, by museum admission. New Mexico State Library 1209 Camino Carlos Rey, 505-476-9700. Upstairs (state and federal documents and books) open noon-4:30 p.m. Monday-Friday; downstairs (Southwest collection, archives, and records) open 9 a.m.-4:30 p.m. Monday-Friday.

PASATIEMPO I November 8 -14, 2013

Daffodil #2 by larry bullis, from the pinhole resource collection, palace of the Governors photo Archives (hp.2012.15.838)

Quimby Memorial Library Southwestern College, 3960 San Felipe Rd., 505-467-6825. Rare books and collections of metaphysical materials. Open Monday-Friday, call for hours. Santa Fe Community College Library 6401 Richards Ave., 505-428-1352. Open Monday-Friday, call for hours. Santa Fe Institute 1399 Hyde Park Rd., 505-984-8800. Open 1-5 p.m. Monday-Friday to current students (call for details). Visit santafe. edu/library for online catalog. Santa Fe Public Library, Main Branch 145 Washington Ave., 505-955-6780. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.-6 p.m. Friday-Saturday, 1-5 p.m. Sunday. Santa Fe Public Library, Oliver La Farge Branch 1730 Llano St., 505-955-4860. Open 10 a.m.-8 p.m. MondayWednesday, 10 a.m.-6 p.m. Thursday-Saturday. Closed Sunday. Santa Fe Public Library, Southside Branch 6599 Jaguar Dr., 505-955-2810. Open 10 a.m.-8 p.m. MondayThursday, 10 a.m.-6 p.m. Friday-Saturday. Closed Sunday. Supreme Court Law Library 237 Don Gaspar Ave., 505-827-4850. Online catalog available at supremecourtlawlibrary.org. Open 8 a.m.-5 p.m. Monday-Friday.

MuseuMs & ArtspAces Center for Contemporary Arts 1050 Old Pecos Trail, 505-982-1338. Atomic Surplus, multidisciplinary group exhibit surveying the global nuclear legacy • Tony Price and the Black Hole, exhibit of ephemera from the Los Alamos Black Hole salvage yard and works from the estate of Tony Price, through Jan. 5. Gallery hours available online at ccasantafe.org or by phone. Georgia O’Keeffe Museum 217 Johnson St, 505-946-1039. Modern Nature: Georgia O’Keeffe and Lake George, through Jan. 26. Open 10 a.m.-5 p.m. Saturday-Thursday, 10 a.m.-7 p.m. Friday; $12; seniors $10; NM residents $6; students 18 and over $10; under 18 no charge; no charge for NM residents first Friday of each month. Museum of Contemporary Native Arts 108 Cathedral Pl., 505-983-1666. Changing Hands: Art Without Reservations 3/Contemporary Native North American Art From the Northeast and Southwest, group show, through December. Open 10 a.m.-5 p.m.; noon-5 p.m. Sunday; closed Tuesday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays.

Museum of Indian Arts & Culture 710 Camino Lejo, 505-476-1250. What’s New in New: Recent Acquisitions, through 2013 • Woven Identities: Basketry Art From the Collections • Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents no charge on Sundays; free to NM residents over 60 on Wednesdays. Museum of International Folk Art 706 Camino Lejo, 505-476-1200. Let’s Talk About This: Folk Artists Respond to HIV/AIDS, collaborative community exhibit, through Jan. 5 • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, international collection of toys and folk art. Open 10 a.m.-5 p.m. TuesdaySunday. NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; no charge for NM residents over 60 on Wednesdays; no charge for NM residents on Sundays; school groups no charge. Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 505-982-2226. Beltrán-Kropp Peruvian Art Collection, exhibit of gift items, including a permanent gift of 60 art pieces and objects from the estate of Pedro Gerardo Beltrán Espantoso, Peru’s ambassador to the U.S. (1944-45), through May 27. Open 10 a.m.-5 p.m. Tuesday-Sunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays. New Mexico History Museum/ Palace of the Governors 113 Lincoln Ave., 505-476-5200. Water Over Mountain, Channing Huser’s photographic installation • Cowboys Real and Imagined, artifacts and photographs from the collection, through March 16 • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe. Open 10 a.m.5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; no charge on Wednesdays for NM residents over 60; NM residents no charge on Sundays; free admission 5-8 p.m. Fridays. New Mexico Museum of Art 107 W. Palace Ave., 505-476-5072. 50 Works for 50 States: New Mexico, through April 13 (See review, Page 36) • Back in the Saddle, collection of paintings, prints, photographs, and drawings of the Southwest, through Jan. 12 • It’s About Time: 14,000 Years of Art in New Mexico, through Nov. 20. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; NM residents free on Sundays. Poeh Museum Poeh Center Complex, Pueblo of Pojoque, 78 Cities of Gold Rd., 505-455-3334. Fashion designs by Patricia Michaels, through November. Open 8 a.m.-5 p.m. Monday-Friday; 9 a.m.-4 p.m. Saturday; donations accepted. SITE Santa Fe 1606 Paseo de Peralta, 505-989-1199. Design LAB: Next Nest, group show of furniture, lighting, and interior designs, through December. Open Thursday through Sunday, $10; seniors and students $5; no charge 10 a.m.-noon Saturday; no charge Friday. Wheelwright Museum of the American Indian 704 Camino Lejo, 505-982-4636. The Durango Collection: Native American Weaving in the Southwest, 1860-1880, through April 13. Open 10 a.m.-5 p.m., daily. Donations accepted.

exhibitioniSm

A peek at what’s showing around town

Kathryn Stedham: Sounds of Light, 2010, oil on canvas. Kathryn Stedham’s gestural abstractions are a combination of brushwork, drip painting, scraping, and incising. She draws inspiration from the natural world in her atmospheric canvases. Alluvium, an exhibit of her work, is on view at Ellsworth Gallery (215 E. Palace Ave.). There is a reception on Friday, Nov. 8, at 5 p.m. Call 505-989-7900.

Joseph A. Regezi: Studio B, 2013, acrylic. Joseph A. Regezi paints figurative and representational imagery using hard-edged geometric shapes and patterns arranged in abstract configurations. Representational, an exhibit of his work, is on view at the Santa Fe Public Library, Main Branch (145 Washington Ave.), through November. Call 505-955-6780.

hillary Vermont: Be the Ball, Be the Ball, Be the Ball, 2011, acrylic on masonite. Back Street Bistro (513 Camino de los Marquez) hosts an exhibit of Hillary Vermont’s whimsical paintings, prints, and clocks. Vermont’s work often celebrates the playfulness of man’s best friend and other animals. Hillary Vermont/20 Years: Life Is Better With a Friend, opens Friday, Nov. 8, with a reception at 5:30 p.m. Call 505-982-3500.

Jim Vogel: Archangel Gabriel Blows a Mean Jazz Horn, 2013, oil on canvas panel, carved cottonwood, and antique radio cabinet. Red Dot Gallery (826 Canyon Road) presents its fifth annual Día de los Muertos exhibition, a show of work in several mediums on the theme of the Day of the Dead. It includes art by Nikki Bustos, Matthew Duran, and Jim Vogel. Red Dot hosts artist talks on Saturday, Nov. 9, and Nov. 16, at 1 p.m. The show is up through Nov. 22. The gallery is open Fridays through Sundays only. Call 505-820-7338. thayer Carter: La Perla, Old San Juan, 2008, woodblock. Argos Studio/Gallery and Santa Fe Etching Club presents Works on Paper, an exhibition of woodblock prints, drawings, and paintings. The show features work by Argos regulars Thayer Carter, Whitman Johnson, Sarah McCarty, and Eli Levin and is on view through Nov. 22. Argos is at 1211 Luisa St. Call 505-988-1814.

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