The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
September 27, 2013
Wendy McEahern
last spaces for rent
A Tierra Concepts’ Creation
526 Galisteo Street • 820.0919 www.restaurantmartin.com
Contact Eric Faust 505.780.1159 Eric@TierraConceptsSantaFe.com www.pachecopark.com
• 970 sq' - 3,800 sq' available • ideal for office and retail • within walking distance to the Railrunner • boasts great amenities • restaurant on site • hi-speed internet • great landscaping • great neighbors • the owners are on site Visit Pacheco Park and see why this could be your best business decision ever.
The Met: Live in HD IS BACK AT THE LENSIC 2013–2014 SEASON OPENER
EUGENE ONEGIN October 5
Anna Netrebko & Mariusz Kwiecien in Tchaikovsky’s romantic tragedy
SANTACAFÉ “BLT” Apple smoked bAcon, lettuce & tomAto sAndwich on housemAde semolinA breAd w/ bAsil Aioli & southwestern potAto sAlAd
11 am live & 6 pm encore
THE NOSE October 26
Shostakovich’s unconventional opera, with Paulo Szot
11 am live & 6 pm encore $22–$28 / Encores $22 Tickets: 505-988-1234 www.TicketsSantaFe.org SERVICE CHARGES APPLY AT ALL POINTS OF PURCHASE
231 washington avenue - reservations 505 984 1788 gift certificates, menus & special events online 231 WASHINTON AVE • RESERVATIONS 505 984 1788 www.santacafé.com MENUS, SPECIAL EVENTS, INSTANT GIFT CERTIFICATES ONLINE 2
PASATIEMPO I September 27 - October 3, 2013
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Nestled in the heart of Taos, surrounded by mature trees and landscaped gardens, you can rest easy knowing that all your needs are met. At Taos Retirement Village you can enjoy a comfortable lifestyle with amenities that promote healthy aging, well being and increased levels of care as needs change. With independent living, home health services, assisted living, and skilled nursing care, we offer a comprehensive approach to the aging process, all in one beautiful destination. Join us!
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PASATIEMPO I September 27 - October 3, 2013
Farm2Fiesta 7th Annual Fall Fiesta
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FRI OCT 4 7:30 PM at the LENSIC SANTA FE
umi Concert
COLEMAN BARKS poetry – ZULEIKHA storydance DAVID DARLING cello – GLEN VELEZ percussion
A Feast of Poetry, Humor, Music Dance & Story A Benefit for
The Santa Fe Farmers’ Market Institute
Join us to support sustainable agriculture in Santa Fe & Northern New Mexico. Featuring a mouth-watering feast of LOCAL proportion, live jazz, fabulous live & silent auctions, and our Farmer All Star Awards.
Saturday, Oct. 5th • 6-9 PM • Farmers’ Market Pavilion
8-10 WEEk moRning CLASSES Painting and drawing Kevin Gorges 9:30 am - 12:30 pm 10 weeks $209.95 Sept. 30 - Dec. 2
Watercolor & oil Lee Rommel 9:30 am - 12:30 pm 10 weeks $209.95 Oct. 1 - Dec. 3
Portrait
drawing & Painting
Roberta Remy 9:30 am - 12:30 pm 10 weeks $209.95* Oct. 2 - Dec. 4
Watercolor & oil
EvEning
Figure drawing
drawing
Kevin Gorges 1:30 pm - 4:30 pm 10 weeks $209.95* Sept. 30 - Dec. 2
oil Painting
Michael McGuire 1:30 pm - 4:30 pm 10 weeks $209.95 Oct. 1 - Dec. 3
Expression Through Watercolor
FRidAy
mixed media Collage
oil Painting
Kevin Gorges 6:00 pm - 8:30 pm 10 weeks $209.95* Oct. 1 - Dec. 3
Watercolor
Watercolor
Richard Guzmán 9:30 am - 1:30 pm 8 weeks $209.95 Oct. 5 - Nov. 23
Must have figure experience
Watercolor & oil
Michael McGuire 1:30 pm - 4:30 pm 10 weeks $209.95 Oct. 3 - Dec. 12
Mell Feltman 9:30 am - 12:30 pm 10 weeks $209.95 Oct. 4 - Dec. 13
intro Figure Painting
Pastel Painting James Roybal 1:30 pm - 4:30 pm 10 weeks $209.95 Oct. 2 - Dec. 4
Darlene McElroy 1:30 pm - 4:30 pm 10 weeks $209.95 Oct. 4 - Dec. 13
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Richard Guzmán 6:00 pm - 8:30 pm 10 weeks $209.95 Sept. 30 - Dec. 2
Lee Rommel 6:00 pm - 8:30 pm 10 weeks $209.95 Oct. 2 - Dec. 4
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*+model Fee All Class Fees + Tax Enroll Early!
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AFTERnoon
Lee Rommel 9:30 am - 12:30 pm 10 weeks $209.95 Oct. 3 - Dec. 12
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TICKETS $25-$100 BOX OFFICE (505) 988-1234 TICKETSSANTAFE.ORG
FARMERS M A R K ET
FALL ART CLASSES 2013
For tickets call 505.983.7726 or visit farmersmarketinstitute.org
The Lensic 211 W. San Francisco Street, Santa Fe, NM
Dining Room • Bedroom • Entertainment • Lighting • Accessories
Featuring Attractive Hand Crafted Southwestern Lighting
Great selection of Hand-Forged Iron Lamps, Unique Batik and Rawhide Lamp Shades. Reasonable prices every day of the year! Please come in, you’ll be pleasantly surprised.
SANTA FE COUNTRY FURNITURE 1708 Cerrillos Road • 984-1478 • Corner of 2nd Street & Cerrillos 525 Airport Road • 660-4003 • Corner of Center Drive & Airport
(GOOGLE MAPS USE: 273 AIRPORT RD. • IPHONE SEARCH USE: “LOC: +35.638542, - 106.024098”)
Monday - Saturday
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THE SANTA FE NEW MEXICAN
September 27 - October 3, 2013
www.pasatiempomagazine.com
On the cOver 34 Worlds in between Nevada Wier’s photographic portfolio is a wonder of faces, clothing, colors, and environments made among the tribal peoples of Asia, Latin America, and Iceland. For her newest series, she had one of her Canon EOS digital cameras converted to produce color infrared images. The results are startling. An exhibition of her work opens on Friday, Sept. 27, at Verve Gallery of Photography. On the cover is her 2012 photo of a camel trader in Rajasthan, India.
BOOKS
MOvInG IMAGeS
12 In Other Words Ghost Medicine 14 the plot thickens Anne Hillerman 54 From the hip David Scheinbaum
58 Short Term 12 60 Rush 62 Pasa Pics
MUSIc AnD PerFOrMAnce 16 20 22 24 26 29 42 44
cALenDAr
Listen Up The Shaw must go on Pasa reviews EntreFlamenco Pasa tempos CD Reviews Pasa reviews Conrad Tao terrell’s tune-Up Kid Congo Powers Onstage Three Faces of Jazz Vanya and Sonia and Masha and Spike First rhythms Heartbeat 44
68 Pasa Week
AnD 9 Mixed Media 11 Star codes 66 restaurant review: Back road Pizza
GOvernOr’S AWArDS FOr exceLLence In the ArtS 48 State of the arts
Art 30 transitional spaces Tom Miller
ADvertISInG: 505-995-3819 santafenewmexican.com Ad deadline 5 p.m. Monday
Pasatiempo is an arts, entertainment & culture magazine published every Friday by The New Mexican. Our offices are at 202 e. Marcy St. Santa Fe, nM 87501. editorial: 505-986-3019. Fax: 505-820-0803. e-mail: pasa@sfnewmexican.com PASAtIeMPO eDItOr — KrIStInA MeLcher 986-3044, kmelcher@sfnewmexican.com
Piñon Feast (detail), 1992, by Jim Wagner
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Art Director — Marcella Sandoval 986-3025, msandoval@sfnewmexican.com
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Assistant editor — Madeleine nicklin 986-3096, mnicklin@sfnewmexican.com
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chief copy editor/Website editor — Jeff Acker 986-3014, jcacker@sfnewmexican.com
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Associate Art Director — Lori Johnson 986-3046, ljohnson@sfnewmexican.com
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calendar editor — Pamela Beach 986-3019, pambeach@sfnewmexican.com
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StAFF WrIterS Michael Abatemarco 986-3048, mabatemarco@sfnewmexican.com James M. Keller 986-3079, jkeller@sfnewmexican.com Bill Kohlhaase 986-3039, billk@sfnewmexican.com Paul Weideman 986-3043, pweideman@sfnewmexican.com
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cOntrIBUtOrS Loren Bienvenu, Laurel Gladden, Peg Goldstein, robert Ker, Jennifer Levin, robert nott, Adele Oliveira, Jonathan richards, heather roan-robbins, casey Sanchez, roger Snodgrass, Steve terrell, Khristaan D. villela, hollis Walker
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PrODUctIOn Dan Gomez Pre-Press Manager
The Santa Fe New Mexican
© 2013 The Santa Fe New Mexican
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Robin Martin Owner
www.pasatiempomagazine.com
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Ginny Sohn Publisher
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ADvertISInG DIrectOr Tamara Hand 986-3007
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MArKetInG DIrectOr Monica Taylor 995-3824
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Art DePArtMent DIrectOr Scott Fowler 995-3836
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GrAPhIc DeSIGnerS Rick Artiaga, Dale Deforest, Elspeth Hilbert
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ADvertISInG SALeS Julee clear 995-3825 Mike Flores 995-3840 cristina Iverson 995-3830 rob newlin 995-3841 Wendy Ortega 995-3892 Art trujillo 995-3852
Ray Rivera editor
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Meet the
Experts
Tom Miller
WALLING C O N TA I N I N G A R C H I T E C T U R E Installation September 27th through October 18 Friday, September 27, 5-7 pm
OPENING RECEPTION:
Friday, September 27 11am to 4pm Come experience ultimate comfort and walk away a winner. Stop by On Your Feet and try-on a pair of Clarks for your chance to win a $5 or $10 Gift Card and other great prizes. Bring in this ad on Friday 9/27 and receive $10 off your purchase of Clarks and a gift with purchase while supplies last! On Your Feet 530 Montezuma Ave Santa Fe, NM 87501 (505) 983-3900 No purchase or payment necessary. A purchase or payment does not increase your chances of winning. See participating store for official rules. The Clarks Companies, N.A. 156 Oak Street, Newton Upper Falls, MA 02464 is the sole Sponsor of this promotion.
435 S. Guadalupe St. Santa Fe 505 982-8111 www.zanebennettgallery.com Tue-Sat 10-5
Book Launch! anne hillerman’s Spider Woman’s Daughter
(continuing her father’s popular series)
at Inn at Loretto, 211 Old Santa Fe Trail 6 pm Wed., Oct. 2 FREE slide show with commentary and readings by anne and students of nM School for the arts. Reception to follow at the home of
Charles & Edwina Milner
Events sponsored by
Fund raiser for Friends of Santa Fe Public Library
Tickets $50 per person www.ticketsantafe.org or call 988.1234
PASATIEMPOMAGAZINE.COM
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S AV E T H E D AT E
TENT SALE 25-90% Off
Saturday, Oct. 5th & Sunday, Oct. 6th 10:00am to 5pm Milner Plaza on Museum Hill near the Museum of International Folk Art
505.983.8977 604 N. GUADALUPE ST. DE VARGAS CENTER 5STARBURGERS.COM
For the first time in over a decade, the MNMF Shops will move their discontinued, clearance and slightly damaged merchandise from five museums shops to a big tent. Over 10,000 items including jewelry, crafts, textiles, books, cards, prints, and stationery will be on sale.
www.newmexicocreates.org
For more information: 505.982.3016 x21 Merchandise shown are only representative items that might be offered at the Tent Sale.
UNCOVER YOUR CHILD'S POTENTIAL The power of critical thinking, the thrill of creativity, and commitment to community ensure Prep graduates thrive wherever they land in the world. ADMISSIONS OPEN HOUSE Friday, October 25, 2013 Program Begins at 2:00 PM GRADES 7 - 12 Tuition assistance available
Katie Broyles ‘15
Mike Multari, Director of Admissions 505 795 7512 mmultari@sfprep.org Learn more at sfprep.org
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PASATIEMPO I September 27 - October 3, 2013
MIXED MEDIA
“Holding your hand through the entire process” • Over 20 Years Experience
Expert Personalized | Service & Instruction
• No “Geek Speak”
Home or Office | Onsite Repairs
• Same Day Service
PC or Mac | iPhones & iPads
BRIDGE FAIR Sunday, September 29 1:00 to 4:00
Want to learn to play? Haven’t played in a long time? Meet our instructors and see what lessons we offer. For more information and directions to the LHBD visit www.bridgesantafe.com or call 505-363-5892
“The Mortgage Experts”
Gem dandy
If anybody has ever told you you have rocks in your head, you’d better check out the eighth annual Palace Gem and Mineral Show. It takes place in the courtyard at the Palace of the Governors (105 W. Palace Ave., entrance on Lincoln Ave.). “Turquoise, Water, Sky” is the title of a kickoff lecture by Maxine McBrinn, curator of archaeology at the Museum of Indian Arts and Culture. This glimpse into the history of the human use of turquoise is offered at 6 p.m. Friday, Sept. 27, in the New Mexico History Museum Auditorium, 113 Lincoln Ave. (admission is $5). McBrinn is developing an exhibition of the same name to open next spring at MIAC. There is no charge for admission to the Gem and Mineral Show, where you can find opals, geodes, fossils, and turquoise for sale. Hours are 9 a.m. to 5:30 p.m. on Friday, Sept. 27; and 9 a.m. to 4 p.m. on Saturday, Sept. 28, and Sunday, Sept. 29. Sandy Craig, owner of Orca Gems and Opals in Littleton, Colorado, offers free opal-cutting and polishing demonstrations at 10 a.m. on Saturday and Sunday. On both days, Garrick Beck of Natural Stones in Santa Fe, holds forth on “The History of Fakery in Gemstones: Questions You Should Ask Before Buying.” (The talk takes place at 11:30 a.m. on Saturday and noon on Sunday.) On Saturday only, Gregory Jaekel of Star Mountain Trading Company in Silver City gives a presentation on “Copper Mining in New Mexico.” Other events include jewelry-making workshops with April Redbird, also of Star Mountain Trading Company, at 2 p.m. on Saturday and Sunday. Each workshop is $20, payable at the event (for reservations, call 476-5156). Among the other exhibitors are Silver Stone, Gallup; Scully’s Minerals, Fairview; Bright Star Gemstones of Crested Butte, Colorado; and the New Mexico Museum of Natural History and Science, Albuquerque. Call 505-476-5200. — Paul Weideman
Personalized Face-to-Face Service Professional Mortgage Planning Conventional, Jumbo, FHA, VA Call for a free 30-minute Mortgage Consultation
Scott RobinSon
BRANCH MANAGER scott.robinson@gatewayloan.com NMLS #202265
502 W. C o r d o v a R d , S uite B • S a nta Fe • 4 2 8 -6 4 6 3
Patio.Dining 326 S. Guadalupe • 988-7008 • www.ziadiner.com PASATIEMPOMAGAZINE.COM
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L a P osada
Governor’s Awards
The Art of Entertainment
for excellence in the arts 2013 Honorees
edward gonzales darren vigil gr ay jenny vincent jim wagner fr ank willett aria finch mimbres region arts council of silver city
Darren Vigil Gray Santa Fe
Patio Open for Breakfast, Lunch and Dinner Live Entertainment Wednesday – Sunday Evenings
Frank Willett Santa Fe
friday, september 27, 2013 3:30–4:30 pm Exhibition Opening
Governor’s Gallery, Fourth Floor, State Capitol
Global Latin Cuisine by Carmen Rodriguez, New Mexico Chef of the Year
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PASATIEMPO I September 27 - October 3, 2013
De •
Ne
of Cultu r
Affairs •
Events are free and open to the public.
nt
al
St. Francis Auditorium, New Mexico Museum of Art
p a rt m e
5:15–7 pm Awards Ceremony
w Mexico
La Posada de Santa Fe Resort & Spa For reservations, call 505-954-9669 or 855-274-LAPO (5276) 330 E. Palace Avenue, Santa Fe • laposadadesantafe.com
g
STAR CODES
i n To
Heather Roan Robbins
A Wine Maker Dinner Featuring Robert Mondavi Reserve Wines
Even though we’re in the friendly month of Libra, the personal planets — Venus, Mars, and soon Mercury — are in fixed signs, signs that tend to dig in their heels under stress. Venus and Mars also form a square this week, making it unusually easy to lock horns. We are open-minded but tenacious, and when we’re feeling particularly challenged, we may pick a fight. Our sense of self needs to be independent of what other people think. Feelings can be so volatile that we need to take one step at a time. Do not decide about the future of a relationship — just work on the quality of each interaction. Settle disputes as the weekend begins; work out compromises, even temporary ones, while Mercury is still in friendly Libra. When Mercury enters Scorpio on Sunday we research more and compromise less. Superficial answers simply will not do; we want to get to the core. Our communication style grows less tactful, more succinct. We may tend to worry, obsess, or get sullen, but if we look past the worry and at the root of the matter, we can reconnect with what works and why we’re here. Friday is emotional if a bit prickly. Over the weekend the sociable Leo moon wants us out and about. Monday through Wednesday a Virgo moon gets us back to work. We may have to slog through some tough karmic patterns midweek; some event may first discourage us and then bring an ongoing problem to a head, in the process opening the door for positive change as the sun squares Pluto, opposes Uranus, and squares Jupiter. Friday, Sept. 27: We get a quick review of all our major issues as the Cancer moon squares Uranus, opposes Pluto, and conjuncts Jupiter. We’re up, down, happy, disgruntled, one of everything, and one with everything; it’s an opportunity to tend to all our work. Make another feel at home. Saturday, Sept. 28: Enjoy differences as Venus squares Mars. The moon in Cancer brings out our cozy side under acceptance, but our defenses are up if we feel judged. Meanness won’t work. If the way forward is not clear, don’t push. Refill the wells instead. People get pugnacious tonight. Sunday, Sept. 29: We grow set in our ways as Mercury enters Scorpio and the moon enters Leo. We get mixed messages and conflicting feelings this morning. Tonight, as the moon squares Saturn, the answer may require flexibility. Monday, Sept. 30: People cover their increased need for privacy with distracting extroversion. As the evening approaches and the Leo moon conjuncts Mars, our hearts may be called upon to step past conflict and find common ground. Tuesday, Oct. 1: Dig into the nuts and bolts of a problem as the moon shifts to thoughtful, problem-solving Virgo. Honor boundaries. A sharpened critique intensifies political opposition as the sun squares Pluto. Imagination can carry the song as Mercury trines Neptune tonight.
! t h
It's not just about eating and drinking, it's about the experience!
Friday, September 27th, 6:30pm
Executive Chef Anthony Smith • Chef de Cuisine Evan Doughty
Reservations Required 505.995.4530 Located at Eldorado Hotel & Spa 309 W. San Francisco Street EldoradoHotel.com
the 2013
MAYOR’S AWARDS for Excellence in the Arts
THURSDAY, OCTOBER 10, 6:30 to 9:30 PM Santa Fe Community Convention Center Sweeney Ballroom, 201 West Marcy Street $
65 / person $650 / table of ten
OCT 10 BY
RVSP OCTOBER 2
Wednesday, Oct. 2: As Venus semisquares Pluto, we ask, Why does life have to hurt? A simple kindness can ameliorate this ache. Isolation is an illusion but a powerful one; help others and feel connected. Kindness is there, though we may have to reach for it.
Includes the awards ceremony and dinner
Thursday, Oct. 3: We may be confronted with ideas or situations that rock the boat as the sun opposes Uranus. Look for surprising reversals. Let nervous restlessness flow without acting on it, and enjoy the witty, inventive edge. Reconnect over good memories tonight. ◀
Susan York | Melissa Engestrom Youth Artist Award, Cora Cliburn
www.roanrobbins.com
This year’s recipients: Charmay Allred | Bert Dalton | Tom Leech
FOR RESERVATIONS:
Visit: SantaFeArtsCommission.org Email: artscommission@santafenm.gov Phone: 505.955.6707
Generously sponsored by:
PASATIEMPOMAGAZINE.COM
11
In Other wOrds book reviews Ghost Medicine by Aimée and David Thurlo, Tom Doherty Associates/Forge, 320 pages Aimée and David Thurlo are husband-and-wife authors of more than 70 books, according to their website, which boasts, “Mystery, intrigue and family values™.” Maybe all they mean by “family values” is people who like standard poodles — they’re pictured online with three of them. I like standards, too, having owned a few myself, but “family values” is a phrase that has often been code for right-wing homo-haters. I find it curious that they’ve chosen such language to describe their books. But what do I know? The Thurlos have sold more than a million Harlequin romance novels as well as tons of books published under other imprints, so I guess they’ve earned the right to promote themselves any way they choose. Ghost Medicine is the latest in the Thurlos’ 17-book mystery series featuring Navajo tribal police investigator Ella Clah. The plot is good enough — a little clunky, yet intriguing — and Clah is a likable character. But the book suffers terribly from unrealistic and expository dialogue, clichés, and poor editing. If I hadn’t known the Thurlos had written other books, I would have guessed this was a first novel. The mystery revolves around the death of a tribal police officer turned private investigator whom Clah once dated. Harry’s death appears to have been staged to suggest that skinwalkers (equated to “Navajo witches,” people who use fear and trickery to intimidate people) are responsible. A shady character who’s been digging up and selling ancient native artifacts is somehow connected to the murder. Long before we reach the novel’s climax, heavy-handed foreshadowing tips us off about the murderer’s identity and suggests that Clah’s family will be threatened in the denouement. But let’s start at the beginning. The book is poorly titled. It’s not about ghosts of any kind, Navajo or otherwise, but skinwalkers. The authors never develop a deeper context for these scary beings and do not seem to embrace the widely accepted definition of skinwalkers as people who shape-shift into animals in order to achieve evil ends. Readers are left with a very vague idea of what or whom the innocent characters of the novel fear — except for some howling from the bushes, which is never explained. The authors’
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PASATIEMPO I September 27- October 3, 2013
poor handling of this central subject matter is one of the reasons that the heroine is not believable; we’re never clear what Clah believes about skinwalkers, nor are we given any clues about what we should think. Traditional medicine does play an integral role in the mystery, but in sometimes terribly clichéd ways; for example, Clah’s badger medicine bag heats up to warn her whenever danger is near, and another Navajo character has powers of extrasensory perception that are aided by a crystal bracelet. Of course, one must wonder whether the Thurlos chose their title to avoid similarity to Tony Hillerman’s Skinwalkers. They need not have worried. No one would confuse this work with Hillerman’s. Regarding the dialogue — over and over Clah tells her partner, Justine Goodluck, things Goodluck should already know, either because she’s Navajo, too, or simply because she’s breathing. “On the Rez we grow up listening to whispers about skinwalkers,” Clah tells Goodluck. Didn’t Goodluck grow up on the rez, too? Clah always seems to be patronizing her partner. “Instant communications can mean even more people involved in altercations, like a family dispute. Fortunately, officers also have that technology.” No kidding. Is Goodluck really that dense? But Goodluck returns the favor to Clah. After someone tries to blow up their SUV, Goodluck tells her partner, “All we were able to recover from it was leftover cooking oil, pieces of a gallon glass bottle, and the ... cigarette lighter, what they used to ignite the oil.” As if Clah had not been standing right there with her at the time and processed the scene afterward. This kind of exposition implies that the reader is pretty dumb, too. Don’t tell us the obvious; tell us something we don’t know. And for goodness’ sake, let the third-person narrator do her job already. This is poor form, extremely annoying, and distracts from the enjoyment of the story. Structure — good or bad — should not call attention to itself. I really wanted to like this book. Wouldn’t it be nice, I thought, to find a mystery series set in the Southwest with a female protagonist that I had not read before— just a really easy, intriguing read? But I couldn’t get past clichés like “She’d carry those images to her own grave” and “Life never closed a door without opening another” and invented aphorisms like “Walk carefully, and run with what you know.” Ghost Medicine will no doubt send the Thurlos laughing all the way to the bank, as my grandmother used to say. As for me, I’m on my way to the library, where I’m starting all over again, rereading the real thing — Tony Hillerman’s mysteries. Joe Leaphorn and Jim Chee, here I come. — Hollis Walker
SubtextS Camp cuisine There’s only one thing as bad as freeze-dried backpacking meals, and that’s books on backpacking cuisine. Most of those on-the-trail recipe collections, with their glorified pretensions to gourmet cooking in the middle of nowhere, are too complicated, requiring a pantry’s worth of ingredients or lengthy preparation times that mean you’ll be lugging extra cooking fuel — sometimes both. Some have meals that sound appetizing (like spiced couscous with sun-dried tomatoes) but not with the stick-to-your-ribs nutrition that a day of hiking up mountains with a pack on your back requires. Some just seem too difficult to prepare after a day of strenuous hiking. That dish of stir-fried spiced lentils with dried shitakes that came together so easily and tasted so good when tested at home may not be so easy or tasty when prepared on your sputtering camp stove set beneath your tent’s rain fly during a wind-blown shower. Cinny Green covers everything that matters to backpackers — nutrition, packed weight, and ease of preparation on the trail — in her new book Backpackers’ Ultra Food (Western Edge Press). But she’s especially big on nutrition. She gives a reading at Collected Works Bookstore (202 Galisteo St.) at 6 p.m. on Friday, Sept. 27. She demonstrates some of her recipes at the Santa Fe Farmers Market in the Railyard (1607 Paseo de Peralta) on Saturday, Sept. 28, between 9 a.m. and noon and talks about her on-the-trail sustenance philosophy. The event is sponsored by the bookstore; call 505-988-4226. With its food-as-fuel slant, the book does a good job of explaining the carbohydrate and protein requirements that the strenuous work of packing requires. It also considers things like fats, fluids, and nutrients that protect your health and discourage inflammation while you’re pounding your swollen knees down the mountainside. She writes about natural, unprocessed sources and even discusses things like water filtration and what to have as far as stoves, pots, and utensils. Her dishes sound tempting — hot sprouted buckwheat breakfast muesli, salmon and udon noodles in miso broth — while still being ounce conscious and easily prepared. Her secret for keeping the weight down? Dehydrating many things at home, from split pea soup to your own jerky. Even if you’ve refined your trail-food menus over years of backpacking, you’ll learn something here. — Bill Kohlhaase
“JAMS” Event
(Jewelers Annual Meet & Swap) Friday, October 4th from 9am to 2pm
Ancient Light by John Banville, Vintage Books, 304 pages Irish writer John Banville provides an explanation for the title of his most recent novel, Ancient Light. Coming many chapters in, it puts the entire fiction into focus: “the ancient light of galaxies that travels for a million ... miles to reach us ... and so it is that everywhere we look, everywhere, we are looking into the past.” This is familiar territory in Banville’s body of work. The Sea, which earned him the 2005 Man Booker Prize, deals with the fickle nature of memory, while Birchwood follows a protagonist returning to a house drenched in the past. In these pages, memory is a constant companion, a ghost that floats in and out of the narrative, “the chasm that yawns between the doing of a thing and the recollection of what was done.” Because the speaker, aging actor Alexander Cleave, mistrusts his ability to successfully reconstruct the past, he struggles for clues as to whether he is truly recalling something or simply making it up. “Half the time I cannot tell whether they are memories or inventions,” he admits. “Not that there is such a difference between the two. ... Madame Memory is a great and subtle dissembler.” Cleave’s legendary career was cut short by a traumatic onstage memory lapse. It is with some trepidation, then, that he accepts an onscreen role as a mysterious literary figure named Axel Vander in a biopic appropriately called The Invention of the Past. The “now” part of the plot follows Cleave as he assumes the role while simultaneously coming to terms with the clouded details surrounding the suicide of his pregnant daughter. This “wrinkle in the air where someone had been a moment before” refers to both the “moth-eaten fabric of the past” and to the transience of life. What has gone before is never far from the fore, though. “All my dead are all alive to me,” Cleave writes, “for whom the past is a luminous and everlasting present; alive to me yet lost, except in the frail afterworld of these words.” The narrator recalls his coming-of-age tryst at age 15 with his best friend’s mother, Mrs. Gray. The brief affair ended badly, resulting in what the speaker remembers as a scandal. Once again, “Time and Memory are a fussy firm of interior decorators though, always shifting the furniture about and redesigning and even reassigning rooms.” Cleave’s is a rather pedantic voice, sometimes long-winded and overly descriptive, particularly of minor players. Yet Banville’s powers of observation are formidable, and his characterizations precise and expansive. One character, for example, “might have been assembled from a collection of cardboard boxes of varying sizes that were left out in the rain and then piled soggily any old way one on top of another.” There is nothing soggy about Ancient Light, though. This is an adroit, almost poetic exploration of the murky realms below consciousness and beyond time, unafraid to stare down the incongruencies between past and present, sleep and being awake, death and life. “Where when we die does it go to, all that we have been?” the protagonist asks. “When I think of those whom I have loved and lost I am as one wandering among eyeless statues in a garden at nightfall. The air about me is murmurous with absences.” — Wayne Lee
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13
Loren Bienvenu I For The New Mexican
pider Woman’s Daughter starts off with a bang. Lt. Joe Leaphorn of the Navajo Tribal Police, perhaps the most classic of Southwestern mystery figures, lies in the middle of a café parking lot, bleeding from a gunshot wound. The shooter speeds off before Leaphorn’s police colleagues rush outside to investigate. It is book number 19 in the series that stars Leaphorn and Officer Jim Chee, created by award-winning writer Tony Hillerman. Unlike the previous novels, however, this latest entry is by Anne Hillerman. Five years after her father passed away at the age of 83, the accomplished nonfiction writer and journalist is resurrecting the series. “I thought about that opening scene a long time, because dad had so many fans who just loved, loved his books, and I thought when these folks pick up this book, I don’t want the first thing they say to be, ‘She’s OK, but no Tony Hillerman.’ I just wanted them to get wrapped up in the story. So I thought, I have to start out strong.” Hillerman was speaking, appropriately enough, from Tuba City, Arizona, the largest community in the Navajo Nation and a familiar setting to fans of her father’s books. A few years ago, she wrote Hillerman’s Landscape: On the Road With Chee and Leaphorn, which combines photography with landscape descriptions and excerpts from the 14
PASATIEMPO I September 27- October 3, 2013
Anne Hillerman
Anne Hillerman photo Don Strel
A N N E H I L L E R M A N C O NT I N U E S T H E CHEE AND LEAPHORN TRADITION
Chee and Leaphorn mystery series. The educational travel group Road Scholar was inspired to create a tour based on the book and asked Hillerman and her husband, photographer Don Strel, to come along and lecture on places such as Acoma, Window Rock, and Monument Valley. “I get to see this beautiful country and talk about my dad, so I’m not complaining,” she said. She returns home to Santa Fe in time for a book launch on Wednesday, Oct. 2, at the Inn and Spa at Loretto, followed by a reception to raise funds for the Friends of the Santa Fe Public Library. A World War II veteran, Tony Hillerman spent his early writing career as a journalist and professor of journalism before publishing The Blessing Way in 1970. That first Leaphorn book introduced many of the recurring themes that would earn the series and its author international praise: conflicts between the modern world and traditional Native American ways of life; the influence of an expansive, beautiful, and sometimes hostile landscape on its inhabitants; and elaborate, tightly woven plot lines that unravel only under the scrutiny of one of Hillerman’s relentless investigators. Like her father, Anne Hillerman has journalistic roots. Shortly after finishing college, she reported for The Santa Fe New Mexican for 13 years. Now she is a food critic for The Albuquerque Journal North and a published author of several books of nonfiction. She said the seed for her first work of fiction was planted by long-term fans.
“After my dad died, Don and I had just pulished our landscape book, so we were going around the country talking to people about my dad and how beautiful the Southwest is. Many people would say, ‘Does your dad have another manuscript that’s coming out soon or have something in his computer?’ I had to tell them no, and these people were really disappointed. They said, ‘Oh, we love those books. How sad that there aren’t going to be more. And I felt the same way!” Hillerman worked on the initial draft for three or four months with minimal expectations. She showed the early effort to her mother, who responded with strong encouragement. The mystery-writer-to-be then talked to her father’s old editor at HarperCollins to make sure there would be no copyright violations. In addition to giving her the green light, the editor suggested she pass along the manuscript when completed. “I wrote on it and rewrote on it some more and eventually got it shaped enough that I thought I could send it off. I sent it to her in New York at the end of September [2012] and figured, well now it’s out of my hair and I can get on with my life. Maybe I’ll hear from her in January, and she might say, ‘This is a decent start, but here are a million changes.’ Instead I heard from her in a week. She loved it. I was shocked. I thought it was good, but that’s like looking at your kids and saying they’re beautiful.” Spider Woman’s Daughter also stars another Hillerman protagonist, Bernadette Manuelito — Chee’s wife and a fellow officer with the Navajo Tribal Police. In Hillerman’s opinion, Manuelito never had a chance to come into her own during her father’s career. “I always liked the character of Bernadette. And after Skeleton Man, his second-to-last novel, came out, I was talking to him about her. I said, dad, it would be interesting if you wrote a book where you can see Bernadette as a law-enforcement professional instead of just Chee’s girlfriend. He laughed and said if he was going to write four or five more, he would do that. So when I thought about continuing the series, that thought was foremost in my mind — that Bernadette Manuelito deserved a book where she got to be the hero.” Manuelito may be firmly in the spotlight, but longtime fans are sure to appreciate a past villain or two edging in from the darkness. These shadier characters were resurrected to provide continuity with the earlier books and because Hillerman felt they were some of her father’s more compelling creations. Spider Woman’s Daughter also features familiar locales, including Chaco Canyon, which Hillerman calls one of her favorite places in New Mexico. More important, the narrative is as intricate as one might expect from the last name on the book’s cover. In this case it centers around Leaphorn’s shooting and its overlap with the high-stakes world of archaeology and artifact collection. Asked if she was consciously trying to adopt her father’s writing style along with his characters and narrative devices, Hillerman took a moment to ponder the question. “I think because I had spent so much time reading his books, both for the photo book, this one, and just always, I wanted to be sure the main characters would be true to the way he created them. Reading his prose so much, it sort of permeated me. I wasn’t consciously trying to follow his style, but I loved the way he wrote, and it certainly had an effect on me. And I think some of it was our shared background in journalism, where you learn to say things succinctly.” As to whether the Bernadette Manuelito saga will continue, she said that book two is already in the works — a testament to her father’s writing habits, passed down in conjunction with his legacy. “Sometimes when he was working on his novels, if he came up with passages that he really liked, I would come down to his office and he would read to me, grinning ear to ear. But if he was having a hard time, I’d ask how things were going, and he’d say, ‘Not so well,’ and sort of shrug it off. He didn’t believe in writer’s block. He’d just keep on writing.” ◀
details ▼ Anne Hillerman reads from Spider Woman’s Daughter, with readings by students from the New Mexico School for the Arts ▼ 6 p.m. Wednesday, Oct. 2 (7:30 p.m. private fundraiser for Friends of the Santa Fe Public Library, $50, 505-988-1234, www.ticketssantafe.org) ▼ Inn and Spa at Loretto, 211 Old Santa Fe Trail ▼ No charge
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PASATIEMPOMAGAZINE.COM
15
LISTEN UP
James M. Keller
The Shaw must go on
IN
T
his season the Shaw Festival offers Peace in Our Time: A Comedy, which is John Murrell’s rewrite of Shaw’s Geneva, but the only actual Shaw play on the roster is Major Barbara (1905). This work involves a Salvation Army missionary whose wealthy father, an armaments tycoon, opens her eyes to the extent to which idealistic philanthropic pursuits may depend on the lucre derived from the military-industrial complex or similar corporate enterprises that purvey morally questionable goods. It was directed by Jackie Maxwell, the festival’s artistic director, and in a program essay she proclaims her goal is “to challenge the prevailing notion that while Major Barbara is the title character, the play in fact belongs to the ... arms manufacturer Andrew Undershaft, Barbara’s father.” That was a tough challenge given that Shaw really does shift the focus to papa as the play unfolds, leaving Barbara lurking perplexed on the sidelines. The casting did not quite support her idea, either, since Andrew Undershaft was given a fascinating, nuanced interpretation by Benedict Campbell (blunt but wry, experienced but not jaundiced), while Barbara (Nicole Underhay) conveyed wholesome 16
PASATIEMPO I September 27- October 3, 2013
Emily Cooper
1962, a lovely little town in southern Ontario decided to adopt the plays of George Bernard Shaw as a civic passion. The town was named Niagara, but in 1970 it was rechristened Niagara-on-the-Lake. Its new name underscores its situation on Lake Ontario, just at the point where the currents flow out of that body of water and, in the guise of the Niagara River, begin their descent into Lake Erie, most dramatically at the famous falls that crash and roar 15 miles distant. The town’s heritage includes an essential role in the War of 1812; it was tossed back and forth between British loyalist forces and invading troops from the United States, with the landmark of Fort George still boasting a building from that time. The rest of the town was wiped out when the Americans torched it before retreating in late 1813, leaving the unfortunate residents to shiver through (or, in many cases, freeze in) a December blizzard. Within a few years, the hardy survivors reconstructed their community. Many of the gracious buildings that line the several blocks of the town center are handsome vestiges of the first couple of decades following that event. Within the span of four profusely gardened blocks one encounters four theaters. In those buildings, the Shaw Festival unrolls every year from early April through late October — until Nov. 3 this year, thanks George Bernard Shaw to the extension of one of its offerings. The festival typically presents 10 productions, an increase from the eight amateur performances of its first season more than a half century ago. The festival states that its focus is “inspired by the work of Bernard Shaw” and notes that it produces “plays from and about his era, and plays that share Shaw’s provocative exploration of society and celebration of humanity.” Shaw is less universally appreciated today than he was a century ago, but his plays certainly remain respected even if they are now produced more as connoisseurs’ items than as surefire box-office hits. He created about 60 of them in the course of his 94 years, right up until the final curtain fell on his life, in 1950. In 1925, he was selected for the Nobel Prize for Literature; the committee characterized his work as “marked by both idealism and humanity, its stimulating satire often being infused with a singular poetic beauty.” It honored a work list that included such notable items as Mrs. Warren’s Profession, Arms and the Man, Candida, The Devil’s Disciple, Man and Superman, Major Barbara, The Doctor’s Dilemma, Pygmalion, Heartbreak House, and Saint Joan. Always a “thinking man’s playwright,” he built on his admiration of Ibsen to contrive theater pieces that could maintain a veneer of comfortable drawing-room entertainment while in fact forcing viewers to confront knotty social issues.
enthusiasm and then a measure of pouty disappointment but not much real depth of character. In the end, she did not prove a formidable opponent, and it really was her father’s show — which, I think, is how Shaw wrote it. An especially appealing supporting performance came from Graeme Somerville as her suitor Adolphus, who embraced his journey from utopianism to practicality with more persuasive conviction. It was brilliant to program Major Barbara cheek by jowl with Frank Loesser’s 1950 musical Guys and Dolls, which borrows much inspiration from it while tracing the other strand of its ancestry to short stories by Damon Runyon. Now the Salvation Army lassie is named Sarah Brown (portrayed by Elodie Gillett) and her antagonist/love interest is the tough-guy gambler Sky Masterson (Kyle Blair), who woos her on a bet from one of his cronies. Director Tadeusz Bradecki oversaw a physically attractive production with a spiffy art-deco look (with sets by Peter Hartwell). The standout in the cast was Jenny L. Wright as Miss Adelaide (“the well-known fiancée,” always hopeful that her 14-year engagement will earn her a ring, always suffering from a cold). She played the part in the style of Gracie Allen, just connected enough to reality to make her credible but sufficiently untethered to make her lovable, and she sang and danced her numbers with winning gusto. Also impressive was Thom Allison as Nicely-Nicely, who made much of his single musical number, and Parker Esse’s entertaining choreography kept the company hopping. I did not quite comprehend how Gillett and Blair were selected for the leads, which, in principle, are both strong singing parts. The former was merely adequate as a vocalist, the latter not even that; and Blair was more boy-next-door than high roller, so that left us with a hole in the middle of the cast. The festival did a wonderful thing in assembling a 14-piece orchestra to accompany the show and then spoiled the players’ efforts by amplifying them and reinforcing the high frequencies, turning a beautiful sound shrill and ugly. The sound was designed by John Lott, who probably would be more at home doing rock shows. Of the six productions I caught at this year’s festival, my favorite was a double bill titled Trifles. It was a historical curiosity comprising the first plays by two important American playwrights: Susan Glaspell’s Trifles (1916) and Eugene
David Cooper
Shawn Wright (foreground) in the Shaw Festival’s production of Guys and Dolls; below, Patrick McManus and Sharry Flett in Lady Windermere’s Fan; opposite page, Diana Donnelly and Jeff Meadows in Peace in Our Time: A Comedy; images courtesy the Shaw Festival
O’Neill’s A Wife for a Life (1913). Both of these figures were involved with the legendary Provincetown Players, which was founded in 1915 to provide a forum for emerging American playwrights. Glaspell had been a journalist back home in Iowa but flourished in the “leftie” circle of writers who had gravitated to Provincetown; one of her friends was Mabel Dodge Luhan, who would play an essential role in New Mexico’s cultural life. Glaspell’s Trifles is a beautiful little play, a sort of detective tale derived from a news story she had covered in Des Moines. It takes place in the bare-bones house of an impoverished woman who, it seems, has murdered her husband in his sleep and has been taken off to jail. Lawmen and a neighbor poke around the house to collect evidence, while their wives (Kaylee Harwood and Julain Molnar) sit in the kitchen going through (as director Meg Roe put it in an accompanying essay) “the detritus of day-to-day existence.” These “trifles” — an empty and broken birdcage, a slipshod piece of patchwork sewing — enable them to piece together what must have happened in that godforsaken place, while their menfolks’ search for more sensational evidence yields nothing useful. Simplicity reigned in this naturalistic production, which was designed by Camellia Koo in a way that evoked a painting by Grant Wood or Thomas Hart Benton. Play, production, and cast were balanced with winning sensitivity in this quiet but engrossing endeavor.
O’ Emily Cooper
Neill’s play segued directly out of Glaspell’s, played out in the same set, now portraying a cabin in some remote spot where two men are prospecting for gold. The flavor is more what we might expect from Jack London or Bret Harte than from the future author of Mourning Becomes Electra and Long Day’s Journey Into Night. It is effectively a two-man play, although a third arrives delivering a letter that plays a pivotal role in the plot. Two prospectors, one old and the other young, are good friends. The older was married some years ago but abandoned his wife. He figures out that the younger prospector has met the wife and that continued on Page 18
PASATIEMPOMAGAZINE.COM
17
Listen Up, continued from Page 17
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they have fallen in love, and he decides not to disrupt the happiness they hope to find together. The stylized narrative would be as comfortable in the form of a short story as a play, but it gained richness through this rendition by Benedict Campbell (as the older man) and Jeff Irving (as the younger one). Again, director Roe assembled the components with care, and she demonstrated how a dusty volume can become an engrossing play onstage when it is approached with respect. Productions of a pair of Shaw-era drawing-room dramas aimed higher but ultimately added up to less. Oscar Wilde’s Lady Windermere’s Fan (from 1892, directed by Peter Hinton) benefited from a stunning, lightly surreal set by Teresa Przybylski. Curtains — or, more accurately, panels — opened in a way resembling a camera’s aperture to steer the eye and the action to different points on the stage. On occasions when the full stage was revealed, it could seem an Impressionist painting sprung to life. Costumes (by William Schmuck) echoed high-society paintings of the belle epoque and artworks (by Beardsley, Cassatt, etc.) were occasionally projected to reinforce the period feel. Unfortunately, Hinton did his production irreparable damage by including entirely irrelevant music performed by Rufus Wainwright, Katy Perry, The Velvet Underground, and who knows who or what all else, the words of these songs being projected to underscore some presumed applicability. Again, the strongest role was not the principal one; as Lady Windermere, Marla McLean served prettiness but did not seem to become transformed at heart. Commendable acting in a secondary role arrived via Corrine Koslo as the demanding Duchess of Berwick. Notwithstanding its good looks, this ended up being a ponderous production. The actors too often delivered Wilde’s epigrams toward the audience rather that toward one another, and the director exercised a heavy hand by projecting some of the bons mots onto panels lest we fail to notice them. In any case, Wilde’s levity made little intrusion on what was directed to emphasize the moralistic. W. Somerset Maugham’s play Our Betters (1917) perhaps did a bit better thanks to director Morris Panych’s somewhat breezier approach. The play seemed not terribly consequential, taking on the situation of young American heiresses showing up in London to snag noble husbands and not always finding themselves happy with the consequences. Claire Jullien (as Lady Pearl Grayston) and Laurie Payton (as the matronly Duchesse de Surennes) made fine impressions, but Julia Course, in the central role of Elizabeth Saunders (an American who discovers that European mores are not for her) seemed too unsophisticated for an upper-class heiress bred anywhere, even in the United States. Shaw was of Irish origin, and Irish playwrights are accordingly welcome at the festival. This season included Faith Healer, a work by Brian Friel that premiered in 1979 and has enjoyed a few revivals in the intervening years. Director Craig Hall wrote of the piece as bringing to mind the shanachie of Irish folk tradition, itinerant storytellers whose tales were sometimes embroidered into what one might call lies. Here the subject is also a traveling entrepreneur, a self-styled faith healer who makes the rounds of rural communities in Scotland and Wales, accompanied by his wife (maybe girlfriend) and manager. The play consists of four extended monologues — the first and fourth by the faith healer (played by Jim Mezon, the standout in this cast), the second by the wife (Corrine Koslo), the third by the manager (Peter Krantz). Everyone is ostensibly talking about the same experiences, but, in the style of Rashomon, they remember the facts rather differently and their emotional reactions to their shared life are in some ways strikingly dissimilar. Much that is expressed seems subject to doubt, except everyone agrees that the faith healer, who himself acknowledges that his powers were mostly ineffectual, did have one glorious evening on which he cured 10 inhabitants of a little village — an event that must have been true since it was chronicled in a newspaper article, even if the article gave the healer’s name wrong. The play runs some two and a half hours, and that adds up to a lot of talk. But blarney is an Irish specialty, and anyone who thrives on James Joyce or Flann O’Brien knows that protracted word-spinning can prove a delectable exercise of style even if the tale is not to be believed. ◀ For information on the Shaw Festival, including next year’s schedule, visit www.shawfest.com.
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PASATIEMPO I September 27- October 3, 2013
tonight . september 2013 . 5-7pm tonight . april 26,27, 2013 . 5-7pm
l as t Fr i day a r t wal k In Santa Fe’s Vibrant Railyard Arts District LAsT fRiDAy eveRy MONTh
tai gallery Honma Hideaki, Rolling Shape
david richard gallery Allan Graham (a.k.a. Toadhouse)
lewallen P
cAmIno DE lA FAmIlIA
El muSEo culTuRAl
P S pA
mAnHATTAn
cAmIno DE lA FAmIlIA
charlotte jackson Fine art Tony DeLap, Paintings & Drawings
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mARkET STATIon
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SAnTA FE DEpoT
RAIlyARD plAzA
T TA n
FARmER’S mARkET
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site santa Fe
REI
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An
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r a i l ya r d pa r k g
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william james david kelly richard siegal charlotte jackson
READ ST.
WAREHouSE 21
P RAIlyARD pARkIng gARAgE
zane bennett
william siegal gallery Paolo Cavinato & Peter Ogilvie
james kelly contemPorary enrique Martínez Celaya
lewallen galleries Bernard Chaet, Songs of Joy Ronnie Landfield, After the Rain Nathan Oliveira, Paintings & Sculpture
Photo: Courtesy of the artist
zane bennett contemPorary art Tom Miller, Walling: Containing Architecture Installation
SITE invites you to experience Enrique Martinez Celaya’s total immersive environment The Pearl, which combines painting, sculpture, water, sound, video, and installation to transform the whole museum into a thoughtful yet haunting meditation on childhood, memory, and home.
The Railyard Arts District (RAD) is comprised of seven prominent Railyard area galleries and SITE Santa Fe, a leading contemporary arts venue. RAD seeks to add to the excitement of the new Railyard area through coordinated events like this monthly Art Walk and Free Fridays at SITE, made possible by the Brown Foundation, Inc., of Houston. We invite you to come and experience all we have to offer. PASATIEMPOMAGAZINE.COM
19
PASA REVIEWS Antonio Granjero and EntreFlamenco María Benítez Cabaret, The Lodge at Santa Fe, Sept. 21
Exquisite anguish
Women of the Bible:
Presentation and Book Signing with Sara Novenson Sunday, September 29 at 7 pm Suggested donation: $15 For more information: joy.rosenberg@sftbs.org or 982-6161 Temple Beth Shalom 205 E. Barcelona, Santa Fe www.sftbs.org
INTRODUCTION TO
FENCING
Try something new and fun. Learn to fence at New Mexico Fencing Foundation. Free youth beginner clinic on Sunday, October 6, 2:00–4:00. All equipment is provided. 1306 Clark Road, across Cerrillos Road from Jackalope.
Space is limited, register by October 4 — 699-2034 or nmfencing@gmail.com.
The Ryder Studio
Classical Realist Art Training in Santa Fe Portrait Painting in Oil & Figure Drawing from Life Ages 18 & up. All Levels. Beginners welcome Full and Part-time Study
www.theryderstudio.com (505) 474-3369 Anthony Ryder www.tonyryder.com 20
PASATIEMPO I September 27- October 3, 2013
A
ntonio Granjero is a Spanish flamenco artist who danced and choreographed in the company of Santa Fe’s grande dame of the castanets, María Benítez, for 15 years before moving to San Antonio to open his own school, performance space, and dance company. He is back for a third fall season at The Lodge at Santa Fe, sponsored by Benítez’s Institute for Spanish Arts. Granjero advertises his group, EntreFlamenco, as “the only company endorsed by La Gran María Benítez,” which is odd, coming on the tail of Juan Siddi’s summer season on the same stage. Siddi is another Benítez alum. Sounds like a little turf war has erupted among flamenco companies. The good news is that Granjero’s partner, in life and on stage, Estefania Ramirez, could very well step into Benítez’s role as the queen of flamenco in Santa Fe, San Antonio, or wherever she sets foot on a stage. She is a mature and stunning performer, featured in this production along with Granjero and two other female dancers, Bianca Castaño and Leeza Peche. Her “Solea” in the first act and “Canastera-Abandolao” in the second were highlights of the evening. In the former she began wrapped in a fringed shawl and a long, tight-fitting black-and-red gown with a cola (tail). The shawl was tossed aside as things began to heat up, and the tail of the gown was whipped about with almost as much articulation as her footwork. In the second-act solo, she wore a soft gown in green chiffon, which allowed the femininity of her piece to come through. Ramirez brings to her movement the intensity of an anguished Gypsy along with the sensuality of a dancer in love with a form, its intricate rhythms, the connection to guitar and song, and the endurance required just to make it through one dance. Granjero is a bit of a ham, throwing in balletic pirouettes to finish off impressive flights of footwork. He is amazing and lets you know it, always playing up every moment in the spotlight, frequently ending dances by coming to the edge of the stage and freezing in a pose as the lighting hits him, a dripping display of angst and ecstasy. Ramirez’s brilliance is exemplified in the way she uses a more subtle, long-brewing journey toward catharsis, and she does so with undulations that travel from spiderlike hand gestures through her fluid spine and articulate hips and legs to the delicate percussion of her feet. She radiates power, but in the moments when she dances with Granjero and his hands are around her shoulders in a possessive way, she seems to bask in temporary submission. The fine musicians assembled for the engagement include guitarists Ricardo Anglada and Alejandro Pais and singer-percussionist Francisco “Yiyi” Orozco. The use of amplification by all the musicians may seem unnecessary in such an intimate venue, but the quality of sound, with its extra dimension of reverberation, has a contemporary feel to it. In particular, Orozco’s singing is soft and somehow sad because it is not projected in the usual ear-shattering Gypsy “cri de coeur.” His talents as a percussionist were well featured in several virtuosic displays throughout the evening. Santa Fe is lucky to have such a wealth of flamenco artists in town. Summer may be over, but the passion goes on at The Lodge (750 N. St. Francis Drive, 992-5800) through Oct. 12, thanks to Antonio Granjero and EntreFlamenco. — Michael Wade Simpson
Lensic Presents
Fall Dance at Th e Lensic
Hungarian State Folk Ensemble
A spirited evening of Hungarian song and dance featuring brightly embroidered costumes, choreography shaped by centuries-old traditions, and the folk music that inspired composers the likes of Brahms, Bartók, and Liszt. “Marvelous—crackling with dancing that snaps like a whip.” —New York Times
October 3 | 7:30 pm | $25–$45 discounts for Lensic members This performance sponsored by
SFCA
Yuja Wang
THE SANTA FE CONCERT ASSOCIATION
presents
WORLD TOUR
Tickets: 505-988-1234 www.TicketsSantaFe.org S E RVI C E C HARGES A P P LY AT A L L P O I N TS O F P U R CH A S E
th e lensic is a non profit, member-supported organ ization
“Uncanny virtuosity” A multimedia celebration of the music and dance of Argentina
"The most dazzlingly, uncannily gifted pianist in the concert world today."
October 11 7:30 pm $20–$40
discounts for Lensic members
—San Francisco Chronicle
Works by Chopin, Prokofiev, Kapustin and Stravinsky Featuring internationally acclaimed tango dancers Miriam Larici and Leonardo Barrionuevo, Latin Grammy Awardwinning cellist Antonio Lysy, and the Capitol Ensemble
OCTOBER 10, 2013 • 7:30PM Lensic Performing Arts Center For more information, go to SANTAFECONCERTS.ORG
Tickets: 505.988.1234
Tickets: 505-988-1234 www.TicketsSantaFe.org SERVICE CHARGES APPLY AT ALL POINTS OF PURCH ASE
th e lensic is a non profit, member-supported organ ization
PASATIEMPOMAGAZINE.COM
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PASA TEMPOS
album reviews
ARP More TIMO ANDRES Home Stretch (Nonesuch) (Smalltown Supersound) The different music on composerAlexis Georgopoulos is a career pianist Timo Andres’ Home Stretch — musician, logging time with rhythma rhythmically modern piece for piano obsessed projects such as Tussle and The and chamber orchestra, a reimagination Alps and scoring music for dance pieces of Mozart’s Coronation concerto, and a and art installations. Arp is the outlet for “paraphrase” of themes written by an his rock and pop ideas, which arrive in experimental, ambient musician — is an the form of linear, propulsive jams. From adventure in time, in terms of tempo and the relaxed tempo and deadpan, sophisstylistic history. Andres’ title piece, written ticated psychedelia that opens the album while a student at Yale, is an exercise in with “High-Heeled Clouds,” it’s obvious rhythmic balance, the pace of the piano and various sections of the that Georgopoulos’ pop impulses owe an overwhelming debt to Brian Metropolis Ensemble working together in polyrhythms like a jazz Eno’s mid-1970s rock albums. This is not a bad thing, and it in no way drummer, filling the spaces between each other’s phrases in statementdiminishes his work by way of calling it derivative. What Georgopoulos and-comment style. Harmonies fall together or fall apart, and the overall culls from Eno is the spirit with which Eno worked: a pop landscape effect is one of calm control. Andres’ “recomposition” of the Mozart concerto steeped in classical tradition, where the art of composition was celebrated is a surprising clash of past and present. The pianist fills in cadenzas with harand producers were eager to find ways to tweak old sounds for new effects. monic friction and interspersed exclamations that seem at odds with You can hear traces of the rock world Eno came up in on More — in Mozart’s original intent. “Paraphrase on Themes of Brian Eno,” consecutive songs, “Judy Nylon” revs up the guitar-and-drums with Conor Hanick on piano, starts with wobbling strings and drone that gave fuel to the Velvet Underground’s “Waiting steel-drum echoes, offering sustained and even moods that for the Man,” while “A Tiger in the Hall at Versailles” lays slide one to another on ascending strings or edgy repeated down a harpsichord in the opulent fashion of George On ‘Run Fast,’ notes. Any sense of discomfort dissolves as the horns and Martin or Brian Wilson. The only time Georgopoulos Kathleen Hanna’s flute bring in something of a pop ballad. Then it, too, sets his sights too high is in “Gravity (for Charlemagne dissolves into another, grander theme. The piece, like Palestine),” when he aspires to approximate the scurrying occasionally chaotic much of Home Stretch, is too warm, too comfortable, in repetition of the namesake composer, but setting one’s need of some contemporary tension. — Bill Kohlhaase sights high is a goal worth striving for. — Robert Ker
screeches share space with her signature ironic and anti-patriarchal little-girl voice.
THE JULIE RUIN Run Fast (Dischord) In Girls to the Front: The True Story of the Riot Grrrl Revolution, critic Sara Marcus writes that Kathleen Hanna sings with “all the concentrated fury of a firehose.” She’s talking about Hanna’s groundbreaking feminist punk band, Bikini Kill, when at its peak some 20 years ago. Hanna’s newest group proves that the singer is still highly pressurized, but she is just as comfortable in the more synthetic, danceable territory explored by her second band, Le Tigre. The Julie Ruin combines elements of both groups, with Hanna’s distinctive vocals propelling otherwise straightforward punk-like or grunge-like or techno-like instrumental tracks. Hanna’s occasionally chaotic screeches share space with her signature ironic and anti-patriarchal little-girl voice (especially in the album’s strongest track, “Oh Come On”). In the 1980s throwback song “Girls Like Us,” however, she adopts an enigmatic, affectionate yet neurotic sing-song tone, chanting: “Girls like us like cotton candy, plastic handbags, alcohol ... girls like us carry our passports, just in case, you know, we have to go/ Girls like us are most perfect when we’re biting off all our fingernails.” Though she continues experimenting with tone and style, Hanna still seems intent on spreading a consistent message to those who feel like perpetual outsiders: quirkiness, randomness, and individuality are in fact the norm. — Loren Bienvenu
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PASATIEMPO I September 27- October 3, 2013
DAVE HOLLAND Prism (Dare2 Records) The veteran bassist Dave Holland’s first album with a band smaller than a quintet since 1996’s Angel Song, Prism, features a powerhouse foursome — with guitarist Kevin Eubanks, keyboardist Craig Taborn, and drummer Eric Harland — and the music rarely lets up. Prepare for grooving! “The Watcher” opens with a juicy Fender Rhodes pulse, then Eubanks and Taborn engage in polymelodic adventures. The latter’s solo break, against heavy thumping and popping from the bass and drums, is full of beautiful dissonance. Up next is “The Empty Chair (For Clare)” by Holland — each of the players contributes at least two songs here. This one’s a slow blues based on a catchy bass figure and is another showcase for the rock-oriented guitarist, although Holland fascinates listeners with a gentle but knotty solo. “Spirals” is thrillingly complex, but not overbearing. On “Choir,” composer Harland works up a brash choir on his own, all over the drumset, while Taborn adds colors on the organ. After the darker “The Color of Iris,” on which Eubanks inhabits a snaky, mysterious groove, everybody is bright hot on “The True Meaning of Determination.” Throughout the album, Holland here and there solos dazzlingly, but his presence is more often felt in the intense riffs that underlie most of these songs. Enjoy. — Paul Weideman
T H E S O U T H W E S T ’ S P R E M I E R A U TO M OT I V E G AT H E R I N G
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join us for oPEn HousE Thursday, october 17, 5:30-8:00pm Parents and students welcome
September 27–29, 2013 Tickets at www.santafeconcorso.com DRIVING TOURS • VIP RECEPTION • JUDGED CONCORSO
This ad is generously sponsored by
Lensic Presents FUSIONTheatre Company Tradition // Innovation // Excellence
and a i n o S d Vanya an and Spike asha
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September 27 & 28
Friday 8 pm Saturday 2 pm & 8 pm $20-$40 discounts for Lensic members & students
2013 Tony Award for Best Play 2013 NY Drama Critics’ Circle Award for Best Play
r Durang e h p o t is r by Ch
Tickets: 505-988-1234 www.TicketsSantaFe.org the lensic is a nonprofit, member-supported organization
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
spend time in a small group sharing coffee with our Head of school while your child ‘shadows’ a current student. By appointment on Mondays and fridays, october through December. For more information and to schedule an appointment, call (505) 992-8284, ext. 14 or email: admissions@desertacademy.org international Baccalaureate World school
College PreParatory grades 6-12
7300 old santa fe Trail santa fe, new Mexico 87505 (505) 992-8284, ext. 14 www.DesertAcademy.org PASATIEMPOMAGAZINE.COM
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2 Locations Albuquerque 7520 Montgomery Blvd. Suite D-3 Mon - Thurs 505-883-7744
Santa Fe 141 Paseo de Peralta, Suite C Mon Wed -- Fri Fri 505-983-2909
PECOS STUDIO TOUR September 28 & 29, 2013
10AM to 5PM W W W . P E C O S S T U D I O T O U R . C O M
HIGH ROAD
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PASATIEMPO I September 27- October 3, 2013
ARTISANS
Conrad Tao Solo recital, Sept. 19, St. Francis Auditorium With the Santa Fe Pro Musica Orchestra, Sept. 21, Lensic Performing Arts Center
Taking it slow
L
ast week, Santa Fe Pro Musica hosted pianist Conrad Tao in his annual visit to town, during which he played a solo recital (on Sept. 19 at St. Francis Auditorium) and appeared in concertos by Shostakovich and Mozart (on Sept. 21 and 22 at the Lensic Performing Arts Center, of which I heard the former). The recital was chockablock with interest, beginning with a reading of Bach’s Italian Concerto that boasted clear textural differentiation and rhythmic élan, perhaps at a tempo that was a notch too slow for comfort in the Andante and a notch too quick in the finale. The program’s high point was Ravel’s Gaspard de la nuit. Its third movement, “Scarbo,” is a touchstone of virtuosity. Tao managed it well, with fine attention to sonics in the sustained bass tones, but his best work came in the opening movement, “Ondine,” depicting a seductive water sprite. Here the pianist negotiated its cascades of notes with hands that, octopus-like, seemed everywhere on the keyboard at once. But Tao’s greater triumph was again his delicate sensitivity to rhythm, through which Ravel’s sweeping lines were subsumed into the ceaseless current. It is not often that music and musician seem so completely conjoined. Although he delivered firmly executed accounts of four Rachmaninoff preludes (especially appealing in the purling figuration of op. 23, no. 7) and Prokofiev’s Seventh Sonata (which worked up to a forceful rendition of its toccata-like finale), Tao did not seem motivated by a desire to dazzle. His interpretations instead emphasized warmth, seriousness, logic — and invariably that intangible aptness of rhythm. Tao’s musical pursuits extend to composing, and he included his own well-wrought suite (from 2012) titled Vestiges, each of its four movements conveying something about strange images that had arisen in a dream. It will not devalue his originality to suggest that composers of the past guided him to the musical language of this work. Its opening movement, “upon walking alongside green glass bottles,” seemed for a moment like Hindemith on magic mushrooms, and later the suite bowed to Gershwin and Messiaen. All in all, though, these seemed mostly the dreams of a young man who had been practicing Gaspard de la nuit during his waking hours. It is heartening to encounter an emerging composer who has digested such excellent models. In the orchestral concert two days later, Thomas O’Connor led his Santa Fe Pro Music Orchestra in its most polished performances in a good while, at least in my experience. It opened with a solid, assured interpretation of Haydn’s Symphony No. 83 (“La poule”), and then moved on to Shostakovich’s Piano Concerto No. 1, in which Brian Shaw handled the obbligato trumpet part adeptly. Tao again came across as an essentially earnest player, which did not get in the way of his tossing off the circusflavored portions with aplomb. Apart from some ooziness of tempo in the first movement, Mozart’s “Jenamy” Concerto in E-flat Major (K.271) also met with marked success. (It’s time to retire the piece’s former nickname, “Jeunehomme,” now that we know it was simply a misspelling of the surname of the pianist for whom Mozart wrote the piece, Mlle. Victoire Jenamy.) It was a fine, warm-hearted job throughout, but where Tao most stands apart from the crowd is as an interpreter of slow music, which made the central Andantino especially cherishable. — James M. Keller
39th Annual
Taos Fall Arts Festival September 27-October 6, 2013
Awards Reception (by ticket) Sept. 27th 4-6pm, Immediately followed by FREE public reception Free admission | open 10am-5pm daily Featuring two exciting art shows with the best art from Taos County: Offering two exciting shows, the juried show TAOS SELECTS and the fun and quirky Taos Open, featuring over 300 pieces of art in a wide range of media. Paid Preview Event, Fri. Sept. 27, 4-6pm Preview of both shows, the Distinguished Achievement Awards exhibit and ceremony, music, wine and beer from Taos Mesa Brewing plus tasty offerings to enjoy.
oCtobEr
VE S SA ATE ED H T
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CalEndar oF EvEntS Tuesday
$10 in advance (taosfallarts.com) online or at the door for $12. FREE Opening follows the paid preview at 6-8pm.
505-428-1779
Noon to 5 p.m., at the Garden
505-699-8625
5 to 6 p.m., East Wing Eatery
505-428-1388
Culinary Arts Garden Harvest Fest
The Taos Fall Arts Festival Presents The Following Awards.
Bioponics Seminar
• Cliff Harmon - Charles R. Strong Lifetime Achievement Award • William Acheff - Rod Goebels Award for Still-Life Painting • Bill Davis - Mildred Tolbert Award for Photography • Ronald Davis - Florence Pierce Award for New Media-New Genre
• Artists demonstrations throughout the week • Tours available • Children’s School Days - Free tours for kids. 10am - 4pm. Tues., Oct. 1st & Wed., Oct. 2nd • Youth Art Show • Kid’s Give Back Program-winner
College Night and Open House
6 to 8 p.m., Fitness Education Center 65 colleges and universities. Campus tours.
2013 Jim Wagner Poster available online and at the show.
• Memorial Wall • Wearable Art Boutique on the Taos Open Side • New This Year - A collection of short videos by invited filmmakers. • Don’t miss the MINIATURES section where you can pick up smaller pieces from wellknown artists for great prices. Taos Convention Center, 120 Civic Drive, Taos, N.M.
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THursday
7 to 8 p.m., Planetarium A live presentation of the current skies.
THursday
Join us for an Ultherapy Event 9/27/13 (5 - 7 pm)
Santa Fe Literary Review 2013 Edition Reading & Reception 5 to 7 p.m., Visual Arts Gallery
Searching for Superstars
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Tuesday
505-428-1370
Free Flu and Pertussis (Whooping cough) Vaccines
8 a.m. to 3 p.m., Jemez Rooms 505-428-1323 Sponsored by SFCC Nursing Program and the New Mexico Department of Health. Community is invited, all ages.
SFCC Governing Board Meeting
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505-428-1744
7 to 8 p.m., Planetarium 505-428-1744 Witness the thrill of discovering a supernova.
taosfallarts.com
Drawings for Ultherapy treatments, Botox and other prizes. Call us for details 428-0402
Backyard Astronomy
5 p.m., Board Room Tuesday
505-428-1940
Strategic Plan 2013-18 Presentation and Discussion
4 to 6 p.m., Board Room 505-428-1667 For our Rancho Viejo neighbors with President Ana M. “Cha” Guzmán. R.S.V.P. to jennifer.beyle@sfcc.edu.
Student Transfer Day
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10 a.m. to 2 p.m., Campus Center 505-428-1303 Find out about bachelor’s and master’s degree programs and transfer options. No registration required.
THursday
From the Inside, Part II Opening Reception
4:30 to 6:30 p.m., SFCC’s Visual Arts Gallery 505-428-1501 Highlighting the professional artwork of SFCC faculty.
THursday
Culinary Arts Seventh Annual International Cuisine Student Competition 10 a.m. to 2 p.m., Campus Center
Halloween Trick or Treating
Sterling Aesthetics and Lily Love MD announce the first Ultherapy to arrive in New Mexico
505-428-1435
3 p.m. to 6 p.m., Main Entrance 505-428-1665 Safe trick or treating, games, and a haunted house.
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HISPANIC HERITAGE MONTH CELEBRATION Wednesday
Day of Celebration
Visit www.sfcc.edu for times and events.
THursday
Bless Me Ultima film
10 a.m., noon and 2 p.m., Jemez Rooms
505-428-1665 505-428-1665
all EvEntS arE FrEE. Individuals who need special accommodations should call the phone number listed for each event.
Learn more. register now. Call us for a complimentary consultation 505-428-0402 Sterling Aesthetics And Lily Love MD Like us on 1651 Galisteo St. Suite 6, Santa Fe
505-428-1000 www.sfcc.edu EmpowEr StudEntS, StrEngthEn Community. EmpodErar a loS EStudiantES, FortalECEr a la Comunidad. PASATIEMPOMAGAZINE.COM
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TERRELL’S TUNE-UP Steve Terrell
Growling with the Kid
Brian Tristan, better known to his cult as Kid Congo Powers, has one of the best résumés in underground rock ’n’ roll today. Going back to the early ’80s, he’s done stints in The Cramps, The Gun Club, and even Nick Cave & The Bad Seeds. But with his band The Pink Monkeybirds, with whom he has made three albums since 2009, the Kid has created his own unique sound, one that doesn’t sound like he’s trying to recycle those influential bands of his youth. His latest album, Haunted Head, is another sturdy and impressive effort highlighting Powers’ guitar prowess without sounding self-indulgent, predictable, or wanky. The Pink Monkeybirds — guitarist Jesse Roberts, bassist Kiki Solis, and drummer Ron Miller — are a tight little unit. The music is seamless, and there’s little punk-rock clatter or garage-band slop. And yet they don’t come off as too smooth or polished. Haunted Head is heavier on the noir than the group’s previous works, especially tunes like the title song, “222,” and the slow and low album opener “Lurch,” both of which could be set in a misty graveyard on some midnight dreary. With its reverb-soaked twangy guitar, “222” might even evoke memories of Chris Isaak’s “Wicked Game” — as used in David Lynch’s Wild at Heart. Because the title song is so similar to one of Concrete Blonde’s greatest numbers (the explosive “Your Haunted Head”), it’s got something to live up to. Powers’ song doesn’t have the rage of that tune, and certainly his vocals are nowhere near those of Johnette Napolitano. But the Monkeybirds’ song has its own sinister integrity. And the intense (if too short) shredding guitar solo toward the end of the song is a wonder to behold. Currently my favorite song on this album is “Su Su.” It’s a beefy, atmospheric rocker that shares a subtle sonic kinship with Talking Heads’ “Life During Wartime,” though it’s supposed to be a tribute to actress Susan Tyrrell, who died last year. I’m also fond of the minimalist, almost avant-garde “Let’s Go,” which is driven by Miller’s space-alien keyboard playing. Undoubtedly the craziest song is an unlisted “surprise” song that appears after “Lamont’s Requiem.” It opens with some faux doo-wop before Powers comes in reciting lyrics lifted right out of “Monster Mash”: “I was working in the lab late one night when my eyes beheld a hideous sight.” And then a story unfolds involving Humpty Dumpty. I’m not making this up. A couple of songs — “Lady Hawke Blues” and “Loud and Proud” — are built on blues riffs. The latter, with its chicken-scratch guitar played over a spacey soundscape and caveman drums, is irresistible. Powers’ buried vocals could invite comparisons to those of The Fall’s Mark E. Smith. Speaking of buried vocals, that’s my chief complaint with the album as a whole. It’s a weakness slightly less obvious on Congo and The Monkeybirds’ previous albums, Dracula Boots and Gorilla Rose. In all three, Powers’ vocals are mixed down way too low. Granted, he’s never pretended that his vocals are the main draw of this band. Basically, Powers doesn’t sing. He growls, reciting the lyrics like one of those spoken-word artists fronting rock groups in the ’90s. But on the new album, the Kid’s vocals are so low that it’s difficult to make out the words in several songs.
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PASATIEMPO I September 27- October 3, 2013
Fortunately, the music of Haunted Head is evocative enough that it tells stories of its own. Take a gander at Kid Congo’s blog at www.kidcongopowers.blogspot.com. Not recommended: EP1 by The Pixies. Let’s cut to the proverbial chase. This isn’t bad — well, it’s not terrible — but ultimately it’s pretty disappointing. A little background: Rock ’n’ roll bands are like comic-book villains. They’re never really dead until you see their bodies. Take my beloved Pixies. It looked as if they died in the early ’90s, right at the height of their popularity and influence. Not long after the release of their album Trompe le Monde, Pixie potentate Charles Thompson, aka Black Francis, aka Frank Black, announced The Pixies were no more. And that seemed to be the case for a decade or so. But after a couple of years of reunion rumors, The Pixies actually did get back together for a tour in 2004. And apparently it was so successful that they did several subsequent tours. At the outset of their rebirth, the band recorded a couple of new songs: Warren Zevon’s “Ain’t That Pretty at All” for a Zevon tribute album and “Bam Thwok,” a rocker written by Pixies bassist Kim Deal for (but not used in) the movie Shrek 2. The two songs were a hopeful sign. But as far as new material went, there was no follow-up. Black Francis and the crew seemed content with playing their classics. And that’s what the fans wanted. The Santa Fe folks who packed into the Sweeney Center in November 2011 went to hear The Pixies play their breakthrough 1989 album Doolittle, not “Bam Thwok” (though that would have made a pretty bitchen encore). But something strange happened this year. Deal announced she was leaving the band around the same time Black Francis and the others went into the recording studio for the first time in nearly 10 years. (A guy named Simon Archer replaced her on bass for these sessions. Another Kim, Kim Shattuck from The Muffs, has since been hired for the touring band). In July, the group released a free MP3 of a techno-edged slow-burning rocker called “Bagboy.” And now there’s this four-song EP. It kicks off with the slow, spacey “Andro Queen,” which sounds like a science-fiction love ballad. That’s followed by a bland soft-rocker, “Another Toe in the Ocean.” If I’d never heard this one before and you told me this was Bob Welch-era Fleetwood Mac, I probably would have believed you. Things start to get interesting with “Indie Cindy.” After a slow “Wave of Mutilation”-like instrumental intro, the song goes into what sounds like an angry rant by Black Francis. The chorus slows down into a pretty melody as he sings “I’m in love with your daughter.” The final song, “What Goes Boom,” starts off with a boom — hard ’n’ heavy, near-metal guitar from Joey Santiago. It’s the most rocked-out song here, but in the end, it’s forgettable. And that’s the case with the other three songs as well. The Pixies surely will plow on, and hopefully, even without Deal, they will keep thrilling audiences as they recreate “Monkey Gone to Heaven” and “Caribou” and “Broken Face.” But something tells me the restrooms will be crowded when they play “Another Toe in the Ocean” and “What Goes Boom.” You can find EP1 at www.pixiesmusic.com. And the “Bagboy” MP3 is still free. ▼
Blogging from New Orleans: Next week I’ll be in New Orleans looking for the ghost of Mr. Bojangles, eating oyster po’ boys, and attending the 2013 Ponderosa Stomp (www.ponderosastomp.com), a festival dedicated to the unsung heroes of American music. R&B, soul, rockabilly, zydeco, and garage-rock acts are on the bill, including a few you might have heard of, like The Standells, The Sonics, Maxine Brown, and the mighty Jerry Williams, better known as Swamp Dogg. Assuming I can get the crawfish off my fingers, I’ll be blogging about the Stomp at www.steveterrell.blogspot.com. ◀
STORIES OF LIVES AFFECTED BY MENTAL ILLNESS Through heartfelt personal stories, people from our community share the pain, confusion, resilience, and humor of living with mental illness.
Presented by
COMPASSIONATE TOUCH N ETWORK AND NATIONAL ALLIANCE ON MENTAL I LLNESS (NAMI) SANTA FE
7:00 PM, Wednesday, October 9th, 2013 LENSIC PERFORMING ARTS CENTER 211 West San Francisco Street, Santa Fe NM
$15 general admission / $50 reserved seating
Purchase from www.namisantafe.org or The Lensic, 505-988-1234 For scholarship tickets, contact Michele @ 505-982-0904 W E ARE GRATEFUL FOR THE GENEROUS SUPPORT OF OUR SPONSORS . T HIS PROJECT IS MADE POSSIBLE IN PART BY GRANTS FROM N EW M EXICO A RTS , A DIVISION OF THE D EPARTMENT OF CULTURAL AFFAIRS , AND NATIONAL ENDOWMENT FOR THE ARTS; AND THE N EW MEXICO CHILDREN’S F OUNDATION .
Accessible for the Deaf
27th Annual Arts Festival
October 5 & 6
PUBLIC OPENING
Sunday, September 29, 2013 · 1–4 pm
10 am - 5 pm
Visit over 50 artists at 20 locations in a small traditional village.
1:00 and 3:30 pm Haakú Buffalo Dance Group (Acoma) on Milner Plaza 1:30 and 3:15 pm Tewa Women’s Choir in the MIAC Theater 2:00 pm Sihasin (Diné), Alter-Native Rock Music on Milner Plaza
www.elritostudiotour.org (575) 581-0155 Blacksmith Shop Fiber Arts Jewelry Musical Instruments Painting Photography Pottery Retablos & Santos Sculpture Spanish Colonial Wood Carving
2:30 pm Talk: Overview of Native Music of the Southwest by Ethnomusicologist Angelo Joaquin (Tohono O’odham) in the MIAC Theater 1:00–4:00 pm Drum Making Demonstration by Arnold Herrera (Cochiti) in the Mural Gallery 1:00–4:00 pm All Ages Hands-on Activity: Cardboard Drum Decorating in the MIAC classroom Refreshments provided by the Women’s Board of the Museum of New Mexico. New Mexico residents with I.D. free on Sundays. Youth 16 and under and MNMF members always free. For more information please call 505-476-1250 or visit www.indianartsandculture.org.
Tin Work Local Food Vendors Mercado
Museum of Indian Arts and Culture On Museum Hill in Santa Fe · 505.476.1250 · www.IndianArtsandCulture.org
Live Music The El Rito Studio Tour is funded in part by the County of Rio Arriba Lodger’s Tax & is fiscally sponsored by Luciente, Inc., a 501c3
Above: Drum (Cochiti Pueblo), ca.1930. Gift of Drs. Norman C. and Gilda M. Greenberg. Photo by Blair Clark.
PASATIEMPOMAGAZINE.COM
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Cold Beer Great Patio Good Food! lunch 11-5
dinner 5-10
Bar Menu 3-5
SW Corner of de Vargas Center, 187 Pase de Peralta
Piñon Awards Ceremony & Dinner 5:30 to 8 pm La Fonda on the Plaza 100 E. San Francisco Street, Santa Fe Reservations: $35 For reservations and more information, visit us at www.santafecf.org/ pinonawards, or call us at 505-988-9715.
Sunday Brunch 11-4
www.santafefargrill.com
PREMIUM USED GRAND PIANO SALE!
Join us for the 2013 Piñon Awards Ceremony & Dinner Tuesday, October 8, 2013
982-3033
Celebrate the 2013 Piñon Award winners! Aspen Santa Fe Ballet Tried & True Award Breakthrough Santa Fe Courageous Innovation Award New Energy Economy Visionary Award Pecos Valley Medical Center Quiet Inspiration Award Philanthropic Leadership Awards James H. Duncan, Sr. Nancy Mammel
The world’s finest brand name pre-owned grand pianos At thousands off the price of a new model!
Steinway-Yamaha-Schimmel-Kawai-Boston & More Pianowerkes has recently taken in a wonderful collection of high quality, premium grade grand pianos on trade. Many of these pianos are like new and would be hard to distinguish from the new models in our showroom. We are selling these pianos at enormous price savings. Each piano will come with warranties and our famous 100% lifetime trade-up policy. OTHER BRANDS REPRESENTED :
Bösendorfer, Schimmel, Estonia, Nearly New & Vintage Steinway, Used Pianos 4640 Menaul Blvd. NE, Albuquerque
505.338.0028
Tuesday - Saturday 11am to 5:30pm WWW.PIANOWERKES.COM
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PASATIEMPO I September 27 - October 3, 2013
ON STAGE Gone with the winds: Concordia Santa Fe
Concordia Santa Fe begins its new season with a free concert at 2 p.m. on Sunday, Sept. 29, at St. Francis Auditorium (New Mexico Museum of Art, 107 W. Palace Ave.). This concert involves not the full wind ensemble but rather a group of players from its ranks. Sarah McKoin, who directs the bands at Texas Tech University and the wind ensemble at the Brevard Music Center in North Carolina, recently signed on as artistic director of Concordia’s chamber series. From the looks of this opening program, she is steering things in an admirable direction in terms of repertoire, beginning with Paul Hindemith’s Septet for Winds. Hindemith composed this 15-minute piece in 1948, while on vacation in Taormina. “If one believes that one’s surroundings influence the quality of a composition in some indescribable way,” he wrote, “then one Paul Hindemith would expect that only the finest ideas would be found in such a place.” The New York Music Critics Circle found this to be the case, and this well-crafted, entertaining piece was named Best New Taormina Chamber Work of the Year following its American premiere. Also on the bill are Malcolm Arnold’s 1942 Trio (op. 6), a light and enjoyable romp for three rarely yoked instruments (flute, viola, and bassoon), and Dvorˇák’s Serenade for Winds, an irreplaceable classic of the wind repertoire. “A more lovely, refreshing impression of real, rich and charming creative talent you can’t easily have,” Brahms wrote when he first heard it. Call 505-913-7211. — J.M.K.
THIS WEEK
Time to get folky: Hungarian State Folk Dance Ensemble
The numerous Santa Feans who spend their Thursday evenings listening to Hungarian folk music finally have the chance to witness the real deal on Thursday, Oct. 3. Calling the Hungarian State Folk Dance Ensemble a large company would be an understatement — it includes 30 dancers and two bands, one focusing on folk music and one on Gypsy music. Over many decades, they have toured 44 countries in their quest to share Hungary’s rich musical heritage. Béla Bartók and Johannes Brahms are the most prominent of the many composers influenced by the nation’s folk tradition. The show opens the Fall Dance Series at the Lensic Performing Arts Center (211 W. San Francisco St.). Future programs include Argentina’s Te Amo and Argentina (Oct. 11) and Brazil’s Balé Folclórico da Bahia (Nov. 13). Showtime for the folk ensemble is 7:30 p.m., and tickets ($25 to $45) can be purchased by calling 505-988-1234 and from www.ticketssantafe.org. — L.B.
Face value
For about 15 years, the Three Faces of Jazz has held down a threehour residency Friday nights at El Mesón (212 Washington Ave.). These faces belong to Rick Bowman (piano), Richard Snider (bass), and host Bryan Lewis (drums). In recent times, however, Lewis has ceded his drum throne to David Brady because of tinnitus. While this rhythm-section trio is completely capable of keeping the room engaged with standards and originals, an added strength of the ensemble — and one of the main reasons it has become a staple of the jazz community — is the frequent addition of guest musicians. On any given Friday, the Three Faces can be found supporting anyone from Grammy-nominated trumpeter/fluegelhornist Bobby Shew to bluesy “Harmonica Mike” Handler. The music starts at 7:30 p.m., and there’s never a cover charge. Call 505-983-6756. — L.B.
Playing with Pan: Music by Szymanowski
The music of the 20th-century Polish composer Karol Szymanowski made a hit in town when Santa Fe Opera presented his King Roger a summer ago. Here comes an opportunity to savor more of his perfumed style, when his Mythes figures on a recital by violinist Krzysztof Zimowski and pianist Jacquelyn Helin. Szymanowski wrote this technically challenging suite for the exceptional Polish violinist Paweł Kochan´ski, each of its three movements depicting different mythological characters from Ovid (pictured): Arethusa, Narcissus, and Pan with his Dryads. Zimowski should prove natively attuned to this music; he was born in Wrocław and served as concertmaster of the Mexico City Symphony and the now-deceased New Mexico Symphony before acceding to his current post as concertmaster of the New Mexico Philharmonic. Helin, known especially for her interpretations of such American composers as Copland and Virgil Thomson, is music director at United Church of Santa Fe. Also on the program are two imposing “Violin Sonatas No. 1,” by Brahms and Prokofiev. The free concert takes place at 7:30 p.m. on Friday, Sept. 27, at the Peterson Student Center, St. John’s College (1160 Camino de Cruz Blanca, 505-984-6000). — J.M.K. PASATIEMPOMAGAZINE.COM
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Paul Weideman I The New Mexican
O V E R
T H E
T O M
T R A N S I T I O N A L
M I L L E R ’ S
om Miller has visions of construction, of making walls of corrugated metal and I-beams of gray, white, and black. He brings some of these visions into dimensional reality, working with plywood, resin, and paint to create sculptural installations that look quite like actual profiled-metal panels and I-beams. He also translates his obsession with “transitional space” into the simple plane, rendering elegant but imperfect walls using acrylic on paper or panel. Examples from both realms are exhibited in Walling: Containing Architecture, opening Friday, Sept. 27, at Zane Bennett Contemporary Art. Miller, a native of Ohio, is on the art faculty at the Santa Fe University of Art & Design. He earned his bachelor of fine arts degree at Columbus College of Art and Design in Ohio and his MFA at the University of 30
PASATIEMPO I September 27- October 3, 2013
W A L L
Arizona in Tucson. His work has been featured in the solo exhibitions Hiding the Body (2010) and Holes, Walls, and Slabs (2011) at Box Gallery and in last year’s Alcove 12.5 show at the New Mexico Museum of Art. One of his early interests was Carl Andre’s 1966 piece Lever, an installation of 137 firebricks laid out in a simple line on the floor of the Jewish Museum in New York. “You’d have to make the decision of whether you would step over the line of bricks or walk around it, and deal with the sort of tension in the space,” Miller said during a recent talk in his office at SFUAD. His approach to basic construction is peculiarly charged. “I’ve always had sort of a strange feeling when I’ve made things. As a teenager I remember building steps for people outside their houses, and I had this sensation that you make this thing and everybody starts
S P A C E S
using it as a staircase and it’s a weird vision, because they believe it’s that, but you know it’s not: it’s all these other materials.” Issues relating to borders also fuel his fascination with wall-making. “We’re in a culture that builds walls. I build walls to separate functions. They are containers, thus the name Containing Architecture. But then I’m interested in the fact that we’re building the border wall at Mexico. I went to school at the University of Arizona, and it’s such a presence. I remember going down to Nogales and seeing it, and it was dilapidated, stuck together.” That piecemeal character inspires the “art wall” he has been building at his home studio. It is intentionally clean on one side, but on the back side, which is propped up with pieces of wood, the piece is more
complicated: various patches and inconsistencies in the paint are evident. “I have a lot of parts to it, but it’s taking a lot longer to build it than I expected and that has been to work the surfaces, to tear it down and rebuild it. It has layers of time and effort. This is more about the concept that I can build a wall. And right now it’s in the way. I have to make that effort, to cross from one side of my studio to the other. I have to walk around it or jump over it or physically move the barriers I’m creating.” Talking about the politics of border walls, the artist mentioned the Berlin Wall and the fact that many people regretted that such a separator was necessary in a civilized world. “Then it was torn down, and how important that was for us, to have that kind of statement from that president, but now this thing is creeping up on our own border. And Berlin was a conflicted border. This is a peaceful border. Any situation like that is so complicated, but I think that what we’re doing with this border wall with Mexico is not effective; it’s not working. We are closer to net zero in immigration right now, yet the death rate has gone up. It’s so insane.” Asked about his artistic inclinations and impulses when he was a kid, Miller launched into a biographical statement that relates to many genres. “I was a skateboarder from age 12, and so right away you find yourself marginalized. When you’re in a rural town in Ohio, you immediately sort of cash yourself out. Skateboarding is like a whole art world in a certain way. You’re making fashion, painting your T-shirts, if not tearing half of them off and putting them on your head. You’re doing graphics on your board and your grip tape; you’re shaping your skateboards; you’re making drawings of what it would look like to skateboard; you’re photographing your friends skateboarding and having your friends photograph you skateboarding; you’re taking video of yourself skateboarding. “It’s a sort of movement culture. It’s not about dance, but it’s about innovation in movement styles and ways of interacting. And you have to have architecture. When I was a kid, we built ramps and walls for skateboarding.” Soon he also knew he wanted to draw. With no clear goal, he enrolled at Columbus College of Art and Design. He remembers that the teachers were very strict and that the experience was alienating. He had trouble grasping the rationale for making art. He sweated the point “Who are you to make this?” Somehow, those problems were cleared up during a period of residence in Salt Lake City. He had previously worked as a ski pro at Taos Ski Valley and then at Utah’s Alta Ski Area. But in the social scene there, he again felt like an outsider. “The politics are so interesting. I felt like I learned so much about the United States culture there. And I found out why I’d be the one to make art.” His early affinity for the drawing process carried directly through to painting. He described it like this: “I start drawing and if I’m interested, it just keeps going and going until it’s built up.” Miller’s first solo show in Santa Fe was Hiding the Body. The drawing/painting pieces from that show are basically black, but ghostly figures with shovels appear half-hidden in the layers of acrylic paint. continued on Page 32
TomMillerremembersthattheteacherswereverystrictand that the experience was alienating. He had trouble grasping the rationale for making art. He sweated the point :
“Who are you to make this?”
Tom Miller: Tall Wall, 2013, acrylic on paper; opposite page, New Standard (white), 2012, acrylic on paper
PASATIEMPOMAGAZINE.COM
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Tom Miller, continued from Page 31
Corrugated Panel and I Beam, 2012, plywood, resin, and paint
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“There is tragic narrative but also a certain amount of accepting the fool in this work, because it’s based on me. And in a way, you go through and build walls, and I’m just acting the way I’m supposed to act as a bald white guy, but I mean that in the most disgusting, ironic way.” Miller has decided against “naming names” in his more figurative pieces. Although they may reflect particular antagonists, he doesn’t want to date the work with that sort of identification. He wants the more important, universal messages to stand on their own. “I did allow myself to be implicated in the work, because I feel like I can say anything if I’m taking some ownership of it, whether or not I’m allowed to be the ass or the fool. “I was interested in the formal quality of the work in the big black paintings with figures, but then you get past the figures and say it’s in everyman and I go back to, OK, now I’m going to talk about the architecture and express that containing thing. I still go after formal things. A lot of the walls I make are gray, which is neutral, benign, uncharged. I make things monochromatic because it requires you to look harder; it requires you to see.” ◀
details ▼ Tom Miller: Walling — Containing Architecture ▼ Reception 5 p.m. Friday, Sept. 27; through Oct. 18 ▼ Zane Bennett Contemporary Art, 435 S. Guadalupe St., 982-8111
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PASATIEMPO I September 27- October 3, 2013
PASATIEMPOMAGAZINE.COM
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Nevada Wier: Sri Lanka. Dalawella Village. Stilt Fishermen. 2010; top left, India. Orissa. Sakata Village. Dongri Khond Tribe. Girl in Doorway. 2010; top right, Myanmar. Chindwin River. Ngonegyi Village. Oxcart. 2013; opposite page, India. Assam. Kaziranga National Park. Great One-Horned Rhinoceroses. 2010; all archival pigment ink prints
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PASATIEMPO I September 20 -26, 2013
Paul Weideman I The New Mexican
Worlds In betWeen
Nevada Wier’s infrared photos
N
evada Wier has been a “photographing traveler” for almost 35 years. Her new exhibition, opening at Verve Gallery of Photography on Friday, Sept. 27, is an amazing tour of cultures and faces. There is a Mongolian falconer with a chest full of Soviet-era war medals and a hooded eagle on his hand. There’s a gorgeous photo of stilt fishermen in Sri Lanka and others of a Burmese (Myanmar) shaman with an amazingly tattooed face; of a camel trader in Rajashthan, India, standing with more than a dozen of the gangly beasts; and of an airborne rhinoceros — captured running, in a split second when all four feet are off the ground. What marks the difference between these photos and Wier’s previous work is that these are color infrared images. It’s her newest specialty. Wier was born in Texas and grew up in Washington, D.C. Before finding her heart in photography, she studied outdoor education at Prescott College in Arizona and was an instructor for Outward Bound, which offers expedition experiences with a personal-growth subtext. Everything changed when Outward Bound sent Weir to Nepal. She discovered, with the sensibility of an anthropologist, that she loved using her camera to capture tribal peoples. Since that time, the longtime Santa Fe resident has made excursions to Columbia, Mongolia, Peru, Sri Lanka, India, and Iceland. She has gone to Burma every year since 1986. A Fellow of the Explorer’s Club, she has had her work published in National Geographic, The New York Times Magazine, and Outside. A National Geographic Explorer television show focused on her travels down the Blue Nile in Ethiopia. Her publications include Adventure Travel Photography: How to Shoot Great Pictures Off the Beaten Track, and she is currently working on Outer India and Myanmar: Lost in Time. Pasatiempo interviewed her at her home and studio in La Cienega.
Pasatiempo: You’ve been an instructor for the Santa Fe Photographic Workshops for 16 years. Do you have anything coming up? Nevada Wier: I’m doing a workshop next week [Sept. 16 to 20]. It’s called Creativity and Travel Photography. We’re going to the State Fair. They’ll have little stories. Teaching is one piece of the pie I must do to stay afloat, to be able to do my personal projects. I don’t do as much for magazines as I used to. There aren’t as many assignments, and the day rate has not gone up. I do a combination of talks, workshops, seminars, and some stock photography, which is dwindling. Pasatiempo: Why is that? Wier: Photography is a very democratic medium. Everybody can get at least one great picture, and now you can put it on Flickr, and Getty [Images] can do a search and find that one-hit wonder. They don’t need photographers that are consistent. Newspaper and magazine photographers have to be consistent. In 1982, I worked for the Santa Fe Reporter, and that was great training. But at the beginning of the 2000s it was pretty clear that digital was where everything was going. I had one of the first digital cameras, and I went 100-percent digital in 2004. Pasatiempo: It’s a new world for the professional photographer. Wier: It is, and you have to pick and choose. With all the social media you have to decide how much you want to give away for free and how many blog articles you want to write for other people’s websites. When I started, the Great Barrier Reef was the photo editors. If you didn’t get beyond the Great Barrier Reef, you were not a professional photographer, at least in my genre, which is travel photography, or it’s really ethnographic photography. I am not a classic travel photographer. I haven’t continued on Page 36
PASATIEMPOMAGAZINE.COM
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Nevada Weir, continued from Page 35 been to Europe since 1970. I work in more tribal groups, more anthropological photography. Now I’m aware of people who have great recognition just by having a good website. At least I can say, Yay, I’ve worked for National Geographic. I still do work for them, but I’m not in the long queue begging for assignments anymore. I’m real lucky that I had the chance to do those. There’s nothing like being on assignment and that pressure to get it done. What I really love right now are personal projects documenting tribal cultures. Pasatiempo: Your first camera was a wooden Deardorff view camera. Wier: I still have my film cameras but I prefer digital. It is more timeconsuming, but I like the technology. And, for me, there’s nothing better than printing from a digital file. Pasatiempo: This exhibit is all color infrared. Tell us about that. Wier: It doesn’t have that sort of ethereal glow that people associate with black-and-white infrared. In 2007 I had one of my cameras converted, which meant taking off the filter that blocks the infrared light from the sensor. What I like about this is that I can see you but metaphysically speaking I’m photographing something I can’t see, because we can only see the visible part of the electromagnetic spectrum. It’s similar to black-and-white photography. One reason I think people thought that was art was because you had to strip out color. You had to see the world differently. It’s the same with this: I have to imagine you in infrared. The photos look very, very different. Skin becomes very pale, and it brings out tattoos and scarification. Brown skins look quite white. A lot of the people would look at these and say, “I’m a ghost. What did you do to me? You’re making me ugly.” You have to embrace the technology, because it is tricky to get the color just right. You have to use custom white balances. It is often difficult to predict the colors, and focus, when shooting infrared. Pasatiempo: Why did you think of going toward this in photography? Wier: It has the ability to make you stop and look. You can’t relate to it. I started out in black and white, then I was doing color and now this; it’s like this in-between world. And, again, I like the metaphysical aspect of it — that I’m photographing something I can’t see. Pasatiempo: What is the time period of the photos in the show at Verve? Wier: Most of them are from the last three years. Pasatiempo: Where did your strong interest in people and cultures come from? Wier: Well, I grew up in Washington, D.C. and I went to a very small college in Arizona, Prescott College. I grew up very political, very cerebral, then I ended up rock climbing and kayaking, then came to Santa Fe for the Outward Bound school. I was an instructor. We went to the Gila and Pecos. I also ran river trips in the Grand Canyon and, in 1978, they sent me to Nepal to run their trekking program. In Nepal I thought I was going to be a climbing photographer, but the villages were much more interesting. That’s where it started.
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PASATIEMPO I September 20 -26, 2013
Myanmar. Chin Hills. Kyahto Village. Chin Tribe. Shaman and Wife. 2013 Left, Myanmar. Mergui Archipelago. Ma Kyone Galet. Moken Boys. Fishing. 2008
Pasatiempo: You’re shooting digital and using Photoshop now, but did you do [the traditional darkroom techniques of] dodging and burning when you were using film? Wier: Oh, yeah. I had a darkroom. My philosophy as a photographer is I’m old school, where everything has to be right in the camera. If I crop at all, it’s tiny, and I never change any content. I’m still working in that journalistic world. I take it seriously. Photoshop, for me, is an expansion of dodging and burning. To me, everything in the frame has to matter, and a print is a singular manifestation; it’s like a sculpture. I used to shoot slides and give them to the magazine editors. When I first started making prints from digital, I went back and read Ansel Adams’ old books, because he was a master at building in texture and almost 3-D relief in a flat piece of paper. In National Geographic, the story has to stand on its own, but a print has to have a soul, because it doesn’t have a story attached. I love it. ◀
details ▼ Nevada Wier: Invisible Light — The World in Infrared (Alan Pearlman: Santa Fe Faces & Janet Russek: The Tenuous Stem run concurrently) ▼ Reception 5 p.m. Friday, Sept. 27; through Nov. 2 ▼ Verve Gallery of Photography, 219 E. Marcy St., 982-5009
BREAST HEALTH SCREENING Saturday, October 26, 2013 9:00 am—2:00 pm
WOMEN’S WELLNESS
by appointment only at
SANTA FE IMAGING 1640 Hospital Dr.
To Make An Appointment:
Please call (505) 983-9350 weekdays between 9:00 am – 5:00 pm to request your appointment.
NEW MEXICO
THIS SCREENING INCLUDES:
D E PA RT M E N T O F
! A free manual breast exam performed by a medical provider
! A low-cost digital mammogram performed the same day, if indicated for women age 40 and above
! Free breast cancer education
! Funding programs available for those who qualify
! Nutrition Education
! Massage and acupressure
HEALTH
PASATIEMPOMAGAZINE.COM
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Beckett on Film A Five-Part Series
Beckett on Film is a collection presenting films of all 19 of Samuel Beckett’s plays including Endgame, Waiting for Godot, Come and Go and Happy Days. Each film is unique, featuring some of the world’s most talented directors and actors including Jeremy Irons, Julianne Moore, John Hurt, and Atom Egoyan, among others. This special five-part series will screen the best of the Beckett on Film project.
Every Sunday in September at 11am At The Screen FREE Admission (first-come, first-served)
visit www.thescreensf.com for a full schedule.
Santa Fe University of Art & Design 505.473.6494 1600 St. Michael’s Drive Santa Fe, NM 87505
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PASATIEMPO I September 27 - October 3, 2013
www.lannan.org
contemporar y jewelr y www.eidosjewelr y.com • 992.0020
995-8114 • www.thereellife.com
16 y e a r s i n s a n ta f e
Sho Locapl
982-3298 • www.pandorasantafe.com
FREE PARKING
548 Agua Fria | 982-8608 | RistraRestaurant.com
500 Montezuma Avenue • www.sanbusco.com Bodhi Bazaar • Cost Plus World Market • Dell Fox Jewelry • Eidos Contemporary Jewelry • El Tesoro Café • Get It Together • Kioti • Mercedes Isabel Velarde Fine Jewelry And Art • On Your Feet • On Your Little Feet • Op.cit. Bookstore Pandora’s • Play • Pranzo Italian Grill/Alto • Raaga Restaurant • Ristra Restaurant • Rock Paper Scissor SalonSpa • Santa Fe Pens • SoulfulSilks • Teca Tu – A Paws-Worthy Emporium • The Reel Life • Wink Salon
Harvest Festival!
Saturday and Sunday, October 5 and 6, 2013 10 am – 4 pm
Fun for the whole family at an old Spanish ranch and living history museum! Bring in the harvest with the villagers of El Rancho de las Golondrinas, crushing grapes for wine by foot, grinding sorghum with burros, stringing colorful chile ristras and much more.
Just south of Santa Fe: 334 Los Pinos Road. I-25 Exit 276. Follow brown “Las Golondrinas” signs. Admission: Adults, $8 Seniors (62+) and teens (13–18), $5 Children 12 & Under: FREE! Food available! No pets please. 505-471-2261 / golondrinas.org for more information and a schedule of events.
• Eat chile fresh from the horno and tortillas hot off the comal • Meet the infamous La Llorona and hear her tale of sorrow • Tour the ranch on a horse-drawn wagon, and buy traditional crafts from New Mexico artists • Enjoy fabulous Flamenco with Familia Chuscales y Mina Valle on Saturday, and Matachines dances on Sunday • Participate in a San Isidro Mass & outdoor procession on Sunday • Meet famed New Mexico author John Kessell, who will give a talk and sign his new book, “Miera y Pacheco” on Saturday
Support provided by the Santa Fe County Lodgers’ Tax Advisory Board, Santa Fe Arts Commission and 1% Lodgers’ Tax, New Mexico Arts and New Mexico Tourism Department: newmexico.org.
... ¡ y mucho mas! Adventures in History! PASATIEMPOMAGAZINE.COM
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Opening Reception Tonight! Friday, September 27th from 5-7pm
Janet Russek The Tenuous Stem
Nevada Wier
Invisible Light: The World in Infrared
In the Flat File Room: Alan Pearlman - Santa Fe Faces The exhibition is on view through Saturday, November 2, 2013
Book Signing Tomorrow
Saturday, September 28th from 2-4pm Photographer Janet Russek and art scholar/critic MaLin Wilson-Powell will be available to sign Janet's new publication, The Tenuous Stem.
BUFFALOTHUNDERRESORT.com
8 7 7 - TH U N D E R
Player receives one entry for every 30 points earned on their Lightning Rewards card, August 1 through August 24, 2013. Drawings will be simulcast at Cities of Gold. Management reserves all rights.
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PASATIEMPO I September 27 - October 3, 2013
Photographer David Scheinbaum and Brian Hardgroove from Public Enemy will be available to sign David's new publication, HIP HOP: Portraits of an Urban Hymn.
VERVE Gallery of Photography 219 East Marcy Street, Santa Fe 505-982-5009 vervegallery.com
join us for workshops and guest speakers
jack
principal
debartolo
debartoloarchitects / phoenix, az
3
debartoloarchitects.com
ARCHITECTURE monday october 7 - lecture
+
MISSION
5:30 pm @ NM HISTORY MUSEUM AUDITORIUM - Washington Street Entrance 113 lincoln avenue, santa fe, nm
- booksigning to follow lecture -
$15 / Non-Member $10 / Friends Member $5 / Student w/ ID Pay online at www.architecturesantafe.org or at the door 1.5 hr HSW / SD CEU anticipated ADDITIONAL WORKSHOP: NEXT fARCHsf EVENT:
EXTREME AFFORDABLE HOUSING - check details on website Paul Martin of Zahner November 11 @ 5:30pm @ UNM School of Architecture
friday, september 27
6 pm “turquoise, water, sky” Maxine McBrinn, curator of archaeology at the New Mexico Museum of Indian Arts and Culture, speaks in the History Museum Auditorium. $5 at the door.
saturday, september 28
palaCe of the governors historiC Courtyard santa fe, new mexico
free admission
enter through blue gate at lincoln and palace avenues
hours
friday, 9 am – 5:30 pm saturday – sunday, 9 am – 4 pm
10 am opal cutting and polishing Sandy Craig, Orca Gems & Opals. 11:30 am “history of fakery in gemstones: Questions you should ask before buying” Garrick Beck, Natural Stones in Santa Fe. 1 pm “Copper mining in new mexico” Gregory Jaekel, Star Mountain Trading Company. 2 pm jewelry-making workshop April Redbird teaches gem and wire wrapping to create your own pair of earrings. Reserve a space by calling 505-476-5156. Class fee of $20 at the event.
sunday, september 29
10 am opal cutting and polishing Sandy Craig, Orca Gems & Opals. noon “history of fakery in gemstones: Questions you should ask before buying” Garrick Beck, Natural Stones in Santa Fe. 2 pm jewelry-making workshop April Redbird teaches gem and wire wrapping to create your own pair of earrings. Reserve a space by calling 505-476-5156. Class fee of $20 at the event. new this year Children of the Portal Artisans present their work.
presented
b y:
www.architecturesantafe.org
PASATIEMPOMAGAZINE.COM
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Jonathan Richards I For The New Mexican
Christopher Durang’s homage to Chekhov
Fusion Theatre Company’s production of Vanya and Sonia and Masha and Spike; photo Wes Naman
his may come as a surprise to audiences who have seen productions of Chekhov classics like The Seagull and The Cherry Orchard, but the playwright was convinced that he was writing comedy. As he was finishing work on the latter, he wrote in a letter: “It hasn’t turned out a drama, but as a comedy, in places almost a farce.” After the play’s opening night at the Moscow Art Theatre in 1904, Chekhov wrote to his wife in despair: “How awful it is! An act that ought to take twelve minutes at most lasts forty minutes! There is only one thing I can say: [director] Stanislavsky has ruined my play for me.” And the mood and tone of Chekhovian productions has been up for grabs ever since, with the Stanislavsky approach enjoying a distinct edge. No such confusion reigns in the world of Christopher Durang. His most recent play, Vanya and Sonia and Masha and Spike, is an homage to the great Russian master, and it is unequivocally and unabashedly a comedy. It is not, however, a parody of Chekhov. “I have written parodies,” the playwright has said in interview, “but this is not one. It is a ‘regular’ play that is set in the present time, in Bucks County, Pennsylvania. And Vanya and Masha are brother and sister, and Sonia is their adopted sister. And 42
PASATIEMPO I September 27- October 3, 2013
they had professor parents who named them after Chekhov characters. But they are not in pre-revolutionary Russia, and they don’t have samovars, and they don’t pay for things with rubles. On the other hand, they are filled with regret and bitterness and are busy wondering if they made the right choices in life.” Durang’s play won this year’s Tony Award for Best Play. After a smash-hit run at Lincoln Center and then at the John Golden Theatre, it closed in New York on Aug. 25. And now, with the Broadway bodies barely cold, V & S & M & S has surfaced on the boards in New Mexico, courtesy of Albuquerque’s Fusion Theatre Company. After an opening at Fusion’s home, the tiny Cell Theater, it arrives for three shows at the Lensic Performing Arts Center beginning on Friday, Sept. 27. Director Gil Lazier (who directed Fusion’s productions of Other Desert Cities and God of Carnage) acknowledged that the transition is not without difficulties. “It is challenging. The Cell is a very small theater. I think we have 62 seats in the Cell for this production. One of the first things we had to deal with was the design for the play. We have to truck it to four different venues. We had to lay it out so it will work in the Lensic as well as the Río Grande Theater in Las Cruces and another venue in Albuquerque. That presents certain problems.”
AP Photo/The O+M Company, Bruce Glikas
The nature of this play goes a long way to overcoming those problems. “It plays big,” Lazier said. “The characters are big, the kind of comedy that is textured in the play is fairly broad. So I don’t think tuning it up for the Lensic will present much of a problem.” He added, “The more broadly you play it, the stronger the characters have to be. Otherwise it becomes just throwing one-liners out there. And that is not a good thing to do with this play. So we worked very strongly on character immediately. Because as we progressed through the rehearsal period, we didn’t know how big these characters were going to be. But we knew that if they were going to be big characters, they had to be really grounded in who these people were. And I think it’ll lend itself pretty well to the big venue.” The setting of the play is the siblings’ family home, which the aging Vanya and Sonia have never left. Sister Masha has flown the coop, gone out into the big world, and become a glamorous movie star. She returns home for a visit with her new boy-toy, Spike, in tow. When she drops the bombshell that she plans to sell the house, it sets off shivers of fear, envy, regret, and various other Chekhovian emotions, themes, and plot fragments. (“I take Chekhov scenes and characters and put them into a blender,” Durang told Playbill. “It’s my hope you don’t have to know Chekhov super well to enjoy it.”) A neighbor who is an aspiring actress and a star-struck fan of Masha’s is named Nina, which will come as no surprise to anyone familiar with The Seagull. The most unexpected character in the play is Cassandra, a cleaning lady, psychic, and soothsayer whom Durang threw in just because he could. “I just liked the idea of this cleaning woman, who just came in and not only kept seeing things in the future but spoke in these sort of Greek tragedy monologues, using words one wouldn’t usually use,” the playwright has said. Durang, who has been friends with Sigourney Weaver since drama school, wrote the part of Masha with her in mind. David Hyde Pierce and Kristine Nielsen, who played Vanya and Sonia in New York, are old Durang favorites as well. Lazier didn’t have the luxury of fitting the play to specific actors. But he did have the actors to fit the play. “For me, the anchor of the play is Vanya. If you don’t have a Vanya, then the play’s not going to hold together. I had worked with Bruce Holmes four times already, I knew the qualities he has. I was very pleased that he was available. Jackie Reid [Jacqueline Reid, a founding member of the company] is an interesting choice for Sonia, because Jackie doesn’t project a kind of sad, homespun homely quality as an actor. She usually doesn’t play those roles. But that’s one of the reasons she was really itching to do Sonia. And I think it was the right choice for her. I’ve worked with her before and with Joanne Camp [Masha]. I knew four out of the six actors from working with them before. So we had a solid basis from the get-go.” Though the play deals with Chekhovian themes of loss and regret, Durang has mellowed and lightened his outlook since some of his more bitter-tinged earlier comedies, like Sister Mary Ignatius Explains It All for You. “Now that I’m older, I don’t like sending people home feeling too despairing, so, maybe for my own sake, I like to cheer things up a bit.” Fusion plans to send you home happy. “Frankly, one of the things that really attracted me to this play is the fact that there are so many different textures of comedy,” Lazier said. “It’s fun to watch in performances, because some of the humor is subtle, and some of it is outrageously big, so it requires a range from the audience as well as the actors.” Vanya and Sonia and Masha and Spike. Chekhov in a Durang blender. Somehow you can’t help wondering what Stanislavsky would have made of it. ◀
details ▼ Vanya and Sonia and Masha and Spike, presented by the Fusion Theatre Company ▼ 8 p.m. Friday, Sept. 27; 2 & 8 p.m. Saturday, Sept. 28 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $20-$40 (discounts available); 505-577-1317
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First
rhythms
Native instruments on display in Heartbeat James M. Keller I The New Mexican
AS
Tony Chavarria, the curator of ethnology at the Museum of Indian Arts and Culture, surveyed objects to be installed in the museum’s latest exhibition, one sensed that although he was seeing artifacts, he was hearing music in his mind. “In Native culture in the Southwest,” he said, “music is entwined with daily life. You could classify music in different ways — some is secular, some plays a religious role — but in a larger sense it is all entwined as a civic activity.” That it pulses at the core of traditional communities is reflected in the title of the show, which opens on Sunday, Sept. 29 — Heartbeat: Music of the Native Southwest. At the heart of Heartbeat are 100 items that suggest essential facets of music-making in the region. Many are musical instruments drawn from the museum’s collection, but the displays also embrace aspects of dance, which in Southwestern culture is closely interrelated with music. The show focuses on “the Native Southwest.” “Anthropologists have a handy definition of what constitutes the Southwest: from Durango, Colorado, in the north to Durango, Mexico, in the south, from Las Vegas, Nevada, in the west to Las Vegas, New Mexico, in the east,” Chavarria said. “Within that area, there are maybe 40 to 50 distinct cultural groups, factoring in that some tribes may themselves embrace multiple groups.” That being the case, the exhibition cannot be comprehensive. Instead, “the idea is to whet the viewer’s appetite.” It would seem fundamentally wrongheaded to put together a show about music that invites people to look but not listen. Chavarria has therefore included a multimedia component that not only brings alive the sound of music but also makes the exhibition more kinetic, demonstrating that music-making is a physical activity infused with movement and that in traditional Native cultures it is an active rather than a passive occupation. “This was a challenge in designing the exhibit,” Chavarria said, “because we wanted to have the music represented and
yet not allow any particular performance to overwhelm the exhibit.” At two listening stations, visitors can hear the sounds of the instruments privately. In a few cases, the recordings feature the very instruments on display, although that’s the exception rather than the rule, due to the age and condition of some of the instruments. More often, visitors will hear modern approximations of how the older instruments would ideally sound. Elsewhere in the show, video projections offer historical and modern footage of singing, instrument-playing, and dancing. An important part of the experience is the Heartbeat Recording Studio. “People get two minutes in which to create their own performance of anything musical,” Chavarria explained. “They might sing, they might do hand-clapping, they might just speak some poetry. We’ll have a selection of instruments available, or people are invited to bring their own instruments to play.” Their two-minute pieces will be recorded and then uploaded to SoundCloud. The instruments most immediately identified with Native American music — certainly in the Southwest — are drums. The exhibition includes two cases of drums that (like all the instruments in the show) were selected both for their inherent beauty as objects and to suggest a breadth of types, regions, and time periods. Although Chavarria’s academic specialty is pottery, he speaks about the drums with a familiarity born of long exposure. He pointed to one that leapt out from the crowd because of its vividly painted decorations. “That is a very characteristic Pueblo piece: a cylindrical double drum, painted on its side, black around the top, the two drumheads made of stretched animal skin. A drum like this would likely be from Cochiti.” The drum sitting next to it looked altogether more earthy, less flamboyant in its embellishment, with much more lacing zigzagged along the instrument’s sides to connect the drumheads. “That’s how they make them in Taos or Picuris.” One of the most intriguing drums is fashioned out of a metal lard can.
Rasp set (Taos Pueblo), circa 1955, Museum of Indian Arts and Culture Collections; photo by Ricardo Martinez; top, Pueblo drum, circa 1890, made from tin-lined wooden keg, Museum Collections; photo by Blair Clark All images courtesy Museum of Indian Arts and Culture 44
PASATIEMPO I September 20 -26, 2013
The can was painted over, but enough stenciled printing creeps through to reveal that the drum is an example of everyday materials recycled for musical use. Other percussion instruments also get a strong representation in the show, thanks to a selection of rattles and rasps. Visitors get an up-close look at a rattle made from moth cocoons. Dozens of these cocoons were sliced open, filled with seeds, and closed up again before being assembled into a long strand to be wrapped around a dancer’s leg for Yaqui deer dances. The rasps — sticks carved with ridges that emit a froggy croak when scraped by another stick — include a colorful example from Ohkay Owingeh shaped and painted to depict a woman grinding corn. Another, from Taos, is so unassuming that it would be easy to overlook. How often, one wonders, was this inconspicuous twig kicked away or entirely ignored before someone spotted its potential as a rasp and noticed that its curvature begged to be whittled into a tiny but exquisite horse head? “Flutes are defining instruments,” Chavarria said. “They are widely viewed as being the most connected to emotional expression. Certain flute pieces are felt to resound especially with males and others with females. The flute is largely a more individualistic instrument. Drums are played more in groups, but flutes tend to be played by individuals, say for courtship. Ed Kabotie is a flute player of mixed Hopi and Santa Clara heritage who plays some of the examples in our listening stations, and he maintains that Southwestern music is, at heart, rain-courting music.” The array of flutes includes minuscule whistles
Miguelito, a Navajo from the Southwest, making a voice recording, 1916; photo by Geoffrey O’Hara, Library of Congress Prints and Photographs Division Drum and beater, circa 1940; Warren & Lois von Preissig and Sue Bacharach Collection at the Museum of Indian Arts & Culture; photo by Ricardo Martinez
continued on Page 46
PASATIEMPOMAGAZINE.COM
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Heartbeat, continued from Page 45
OCTO BER AT T HE
THE RAILYARD S
RAILYARD
E AN T A F
FIESTA
FEL A
OCTOBER 5 6 – 9 pm / Railyard Park
RAILYARD PLAZA SUMMER CONCERT SERIES Concludes with
FRIGHTENED RABBIT
Glasgow’s boys hit the Railyard! Presented by Heath Concertswww.heathconcerts.org
OCTOBER 11 • 6:45–10pm / Farmer’s Market Pavilion
SPREAD
SITE Santa Fe presents a recurring dinner event designed to generate community-driven financial support to fund artistic innovation. Come for dinner – become an art patron. Tickets: www.spreadsantafe.com
OCTOBER 12
11am–7pm / Railyard Park
FIESTA FELA
Afreeka Santa Fe brings the best of African music, dance & art to the Park! www.afreekasantafe.org
SATURDAY, OCTOBER 12 2–9pm / Warehouse 21 ROCK 4 FOOD All proceeds of food donations will benefit Warehouse 21, Adelante and The Food Depot. Admission: A bag ofnonperishable food or $5 at the door. www.warehouse21.org
OCTOBER 25
5–7pm / All Railyard Galleries
LAST FRIDAY ARTWALK
Experience the variety of exceptional art galleries and their offerings in the Railyard. Presented by RAD, a cooperative of 10 Railyard area art galleries, the last Friday of every month www.santaferailyardartsdistrict.com
CONTINUING . . . SECOND STREET BREWERY Thursday-Sunday /Live Music Tuesday / Acoustic Open Mic www.secondstreetbrewery.com WAREHOUSE 21 OPEN JAM NIGHT Wednesdays / 7–9pm www.warehouse21.org
made of bird bones, thought by some scholars to have been intended as game calls. “Modern instruments are normally made of wood or cane,” Chavarria observed, “but those materials disintegrate over time, so the older ones are mostly made of bone.” An Apache fiddle looks a little lonely in this lineup. “That’s the only string instrument in the Southwest,” Chavarria said. “It’s not a string culture. It used to be thought that there weren’t any really traditional American string instruments at all, but then they discovered a Bonampak mural in southern Mexico [Bonampak is a Maya site thought to have been active from roughly 600 to 900 A.D.]. It includes the image of a person dressed in a jaguar costume, playing some string instrument. Ethnomusicologists constructed a working instrument based on that image, and it turns out that when it’s played, it sounds like the growl of a jaguar.” The oldest piece in the show is a Hohokam pot from about 950 that shows a flute player being supported by a second figure, a motif repeated several times on the pot. Its meaning is ambiguous. Several bone flutes seem to date from around 1350 to 1400, and a few pieces are very recent, but most of the artifacts date from the period 1880 to 1960, which Chavarria described as “the strength of our collection” Dances, like music, have a way of migrating among discrete Southwest cultures. Chavarria, who comes from Santa Clara, recalls witnessing a dance associated with his pueblo surprisingly showing up in San Felipe, with the song attached to it intact but sung in Keresan rather than in Santa Clara’s Tewa. “There is always cross-pollination going on. There’s a saying among anthropologists: The constant thing about tradition is that it always changes.” Among the dance-related artifacts are eight “little people” made by the late Lucy Yepa Lowden of Jemez Pueblo, foot-tall doll-like figurines wearing detailed outfits — costumes, headgear, jewelry — appropriate for specific celebrations. Several full-size dance costumes are also on display, and they created a curatorial challenge. Since some are regularly used in ceremonies, their owners lent them with the proviso that the museum would de-install them, return them briefly for use at the relevant feast, and then reinstall them in the exhibition. This will arise repeatedly, since the show is scheduled to remain in place for two years. The occasions when dance-related items go missing will help make the point that these artifacts are very much part of a living tradition. ◀
details
SANTA FE FARMERS MARKET Tuesdays & Saturdays 7am–12pm Railyard Plaza & Shade Structure www.santafefarmersmarket.com
▼ Heartbeat: Music of the Native Southwest
SANTA FE ARTISTS MARKET Saturdays 8am– 1pm Railyard Park www.santafeartistsmarket.com
▼ By museum admission (free on Sundays to N.M. residents); 505-476-1250
▼ Opens Sunday, Sept. 29 (opening-day festivities, performances, & demonstrations 1 to 4 p.m.); through Sept. 8, 2015 ▼ Museum of Indian Arts and Culture, 710 Camino Lejo on Museum Hill
NEW MEXICO ARTISAN MARKET Sundays 10am – 4pm Farmers Market Pavilion www.artmarketsantafe.com AXLE CONTEMPORARY PERFORMANCE ART SERIES Fridays at the Shade Structure Various times and artists www.axleart.com
ALL EVENTS FREE UNLESS NOTED
For more information, and a printable Railyard map, visit:
W W W.R A ILYAR D S AN TAF E .C OM 46
PASATIEMPO I September 27- October 3, 2013
Flute made by Robert Mirabal (Taos Pueblo), 2004; photo by Blair Clark
the
S
anta fe
ymphony
...bringing great music to life
™
Mozart,
Overture to Don Giovanni
Shostakovich, Violin Concerto No.1 featuring
david Felberg, violin
Beethoven,
Symphony No.3 “Eroica”
Steven Smith ConduCtS
September 29 4:00 P.M.
Pre-Concert Talk at 3:00 P.M. at The Lensic $20–$70
505-988-1234 www.santafesymphony.org
SpONSOrEd iN pArT by
The 2013-2014 season is funded in part by the Santa Fe Arts Commission, and the 1% Lodger’s Tax, New Mexico Arts, a division of the Office of Cultural Affairs, and the National Endowment for the Arts.
PASATIEMPOMAGAZINE.COM
47
State of the artS W
hat better way to begin the fall art season than with recognition of artists from all fields whose influence and determination have helped put New Mexico not just on the map but also in a place of prominence in the art world. Each September the Governor’s Awards for Excellence in the Arts recognize visual artists, writers, musicians, arts organizations, educators, and others with a ceremony at the New Mexico Museum of Art. The 2013 awards ceremony takes place Friday, Sept. 27, at 5:15 p.m. in the museum’s St. Francis Auditorium (New Mexico Museum of Art). The event follows a 3:30 p.m. opening reception for an art exhibit
honoring the recipients at the Governor’s Gallery on the fourth floor of the State Capitol (corner of Old Santa Fe Trail and Paseo de Peralta). The awards ceremony and exhibit are free and open to the public. This year’s honorees are painters Edward Gonzales, Darren Vigil Gray, and Jim Wagner; musician Jenny Vincent; ceramist Frank Willett; and major contributors to the arts Aria Finch and the Mimbres Region Arts Council of Silver City. The following short biographies highlight these recipients and the contributions they have made to New Mexico’s art economy and cultural legacy. Call New Mexico Arts at 505-827-6490 for information.
2013 Governor’s Awards for Excellence in the Arts 48
PASATIEMPO I September 27- October 3, 2013
Notes of activism: Jenny Vincent IN
1951, folk singer Jenny Vincent took her accordion to a picket line in Hanover, New Mexico, where Local 890 of the International Union of Mine, Mill, and Smelter Workers was on strike against the Empire Zinc Corporation. The miners were demanding an end to unequal conditions between Anglo workers and Mexican and Mexican-American workers. The Spanish-speaking miners earned less, lived in poorer housing, and were given more dangerous jobs than their American counterparts. When a judge gave the miners the choice between ending the strike and going to jail, they abandoned the action. Their wives, family members, and other women took over. As detailed in Taos author and poet Craig Smith’s 2007 book Sing My Whole Life Long: Jenny Vincent’s Life in Folk Music and Activism, the women were harassed by gunfire, taunts, and tear gas. Vincent, after learning of their struggle, joined them on the line with her accordion and led them in singing “We Shall Not Be Moved,” and “Solidarity Forever.” The actions of the white woman born in Northfield, Minnesota, and raised in a wealthy Chicago suburb served to buoy the spirits of her New Mexican sisters. Not many months later, the corporation caved to most of the union’s demands. Its events inspired the 1954 film Salt of the Earth, celebrating an important moment in New Mexico history. Vincent, who turned 100 in April, will be honored by the Governor’s Award for Excellence in the Arts for acts that were often considered radical in their day but seem innocent by today’s measure. In 1944, she was invited by Taos County public-school teacher Rufina Baca to sing for her students — although music was something school budgets had no money for. At the time, speaking Spanish was forbidden in New Mexico schools. In the Taos district, 90 percent of the students came from Spanish-speaking homes. Despite the prohibition, Vincent sang and taught songs to the children in Spanish. In a 2007 video interview with Taos News, Vincent said that Baca didn’t want to deny her students their heritage. “If you take the culture away from a whole school of children, they begin to think there’s something wrong with their language.” Vincent was already aware of the power music had to break down barriers and bring people together. “She herself was exposed to what we call ‘world music’ at a very early age,” Smith said. “She had a privileged upbringing in Illinois and remembered learning ‘Jesus Loves Me’ in Chinese. That exposure to music from various cultures was something that made her realize that we’re all created equal and that all cultures should be honored. She knew that music was a valuable tool for human understanding.” Vincent was 7 when her mother remarried after the death of her father. Vincent attended private school, where she first learned folk songs sung in various languages. She married Dan Wells in 1934 — he gave Vincent her first Hohner 12 bass piano accordion, the instrument that became her signature — and the two traveled to Europe, where Wells pursued his interest in D.H. Lawrence and others. In 1936, the couple received a letter from Frieda Lawrence, the writer’s widow, inviting them to visit her in New Mexico. The Wells fell in love with Northern New Mexico and bought a ranch in San Cristobal that would long serve as a refuge
and gathering place for musicians, writers, and social activists. Vincent engaged in preserving and performing the folk music of her cherished region and became the educational director of the Rocky Mountain Farmers Union. She married for the second time; she and political activist Craig Vincent were wed in 1948. That year she sang with Pete Seeger at the Progressive Party presidential-nominating convention in Philadelphia. The couple’s activities brought them to the attention of the FBI. An informant, who had stayed at their ranch, appeared at a House Committee on Un-American Activities and criticized the Vincents. In 1960, just before going onstage at the National Folk Festival in Washington, D.C., Jenny Vincent was subpoenaed to appear before the Senate Internal Security Subcommittee chaired by Mississippi senator James Eastland. Unbowed, she expressed her views to the committee by quoting the festival’s director: “As long as our people can come together in friendship and good will inheritance, regardless of race, nationality, or creed, we can rest assured that culture and freedom, now denied many peoples of the world, are still our precious heritage.” Then she gave a sharp rebuke: “As for the Eastland Committee ... I do not sing its song of bigotry.” Smith quotes from Vincent at the International Folk Music Council held in France in 1973, where she stated that folk music can break down the barriers that exist in multicultural schools and communities. “She always served as a lightning rod for people who believed, as she does, in historical preservation and the rights of all people,” Smith said. Vincent still lives in Taos, where she’s joined by as many as seven other musicians in once-a-week performances, according to her son Larry Vincent. “She just lights up when she sings,” he said. — Bill Kohlhaase
Top, Vincent in New York City, 1947 Below, In September 2006 Amy Goodman of radio’s Democracy Now recorded the Jenny Vincent Trio in Taos; photo by Robin Collier Opposite page, Vincent outside her home in San Cristobal, 2006, photo by Dorie Hagler; images from Sing My Whole Life Long: Jenny Vincent’s Life in Folk Music and Activism, University of New Mexico Press
PASATIEMPOMAGAZINE.COM
49
The power of painting: Edward Gonzales
F
or Albuquerque native Edward Gonzales, the past 12 months have been rewarding. Last autumn, he was a recipient of the Zia Award presented by the University of New Mexico Alumni Association, and this year he receives the Governor’s Award for Excellence in the Arts. It is another feather in the cap of an artist who already has an Albuquerque public school named after him — Edward Gonzales Elementary, among the state’s largest elementary schools. Gonzales, a veteran of the war in Vietnam, attended the University of New Mexico to study fine arts in the late 1960s and has since been instrumental in promoting his vision of contemporary Hispanic culture in the Southwest. “I was involved in the Chicano movement of the 1960s,” Gonzales told Pasatiempo. “As Chicano students at UNM, we had a number of priorities. One was to improve educational opportunities among our ethnic group in New Mexico. As students we were idealists. After I was drafted and spent two years in the military, one in Vietnam in a combat engineer unit, I came back with ideas of how to contribute to society through my art.
I started creating artworks that people could identify with, that promoted the idea of education and family and promoted the idea that the values we hold are universal.” Gonzales was chairman of the first Contemporary Hispanic Market in the late 1980s and also lobbied with the Organization of Hispanic Artists for a Hispanic arts building at the New Mexico State Fairgrounds, now a permanent fixture. “Another thing on my agenda was to find ways to provide venues for contemporary Hispanic artists,” he said. Through his website, www.edwardgonzales.com, he sells posters of his work on themes of literacy and education. His paintings are primarily figurative, rendered in a vibrant palette. His subjects include intimate family moments, Hispanic traditions, portraiture, and still lifes. Gonzales uses art as a vehicle for representing Hispanic culture in a positive way, through realist imagery emphasizing beauty and power. “I sought to create iconic images that appeal to everyone, that everyone could identify with.” — Michael Abatemarco
Arts abound: Mimbres Region Arts Council
IN
the middle of the Agua Es La Vida mosaic mural, which spans the 12th Street Bridge over Silva Creek in Silver City, hundreds of tiny tile raindrops spill from blocky, stout clouds. At one end of the mural, a sun rises and a river begins its journey across the desert landscape. It veers off before it hits the other end of the mural, a fat crescent of a moon rimmed by yellow stars. The mural is the latest of more than 30 murals produced by the Mimbres Region Arts Council’s Youth Mural Program, in which local professional artists pair with Silver City children to create public art projects. Founded 32 years ago, MRAC receives the Governor’s Award as a Major Contributor to the Arts. The organization offers a wide array of arts programs in Silver City, including an artist lecture series (playwright Mark Medoff kicks off this year’s series on Saturday, Sept. 28), music festivals such as the Blues Festival and Pickamania!, and Fine Arts Fridays, which brings artists to visit Grant County schools. “It takes a village, really,” said Faye McCalmont, MRAC’s director for the past 18 years. “There are incredibly giving and generous people who are involved with our programs, both day to day and for special events.” MRAC has a board of nine and employs one full-time and several part-time staff members. The organization’s annual budget
50
PASATIEMPO I September 27- October 3, 2013
Many Hands Mural, Penny Park, Silver City
is about $335,000, and McCalmont estimates that 500 people volunteer with MRAC each year. Finding enough resources to fund programming is a constant challenge for McCalmont. “We live in a small town, and almost every business is giving something at some level. There’s competition for the grant money available throughout the state, and we’re always beating the bushes to get the kind of volunteer help we need to make things successful.”
McCalmont is most proud of MRAC’s “being able to provide fantastic arts opportunities to every person of every age, maybe opportunities they wouldn’t have been able to have otherwise. … It’s wonderful to be acknowledged for doing work in a small, rural community that’s like so many throughout the state. An organization like ours can have a real economic as well as cultural impact.” — Adele Oliveira
Sculptures with a purpose: Frank Willett
P
Mary Shriver
Depth of field: Jim Wagner
IN
the early 1960s, after hearing about Taos from painter Agnes Martin, Jim Wagner left San Jose City College in California and moved to New Mexico. “After two years of college, I decided if you want to be an artist, you’ve got to go where it’s happening and do it,” Wagner told Stephen Parks of ARTlines journal in 1984. “So I came out here and started doing it.” His paintings seem inspired by Abstract Expressionism, American folk art, and the Taos Moderns — several of whom became his mentors. But to call Wagner only a painter is to diminish the extent of his artistic explorations, which include woodcarving, furniture making, printmaking, and other art forms. Wagner’s furniture is often rough-hewn, colorful, and decorated with whimsical motifs. In 1977 Wagner was convicted of assault after shooting an alleged pedophile who had threatened his son, an act for which he was later pardoned by Gov. Toney Anaya. Wagner’s son was shot and killed three years later in a separate incident. Following Wagner’s incarceration, he and his friend Tony Martinez established Muebles de Taos Workshop for young ex-offenders. The program — designed to keep young people out of the prison system and teach them the woodworking trade — was a success. Participants’ creations sold in high-end furniture and department stores, including Bloomingdale’s. Wagner’s work stands out for its fresh take on familiar Southwestern landscapes, painted in a flat, primitive style; for his depictions of local flora and fauna; and also for the unexpected emotional depth he conveys through his forays into surreal imagery. The Harwood Museum of Art honored Wagner in May with a solo exhibition of his work, of which curator Jina Brenneman wrote, “Nobody paints a culture in the same way that Wagner does. It is evident that this man embodies a deep joy and compassion accomplished by overcoming some of life’s most difficult struggles.”
otter Frank Willett has been an artist for most of his life. He still remembers his first experience with clay, finding it on the undersides of stones alongside the banks of the Columbia River in Washington State when he was a child. “I’d play with it, and it feels good in your hands,” Willett said. “There’s nothing that complex or philosophical about it, other than that it’s fun. If you can make a living at what’s fun, well, how about that?” After receiving an MA in fine art from California State University in Los Angeles, Willett came to Santa Fe in 1971. Shortly after, he established Santa Fe Pottery, a studio where he made his own pieces and provided space for other potters. Willett sold Santa Fe Pottery in 2003. He continues to work at his home studio alongside his wife of 33 years — Luisa Baldinger, also a potter. “I receive guidance from the chief and produce quite a bit of pottery,” he said, describing the rhythm of the studio. “Then Luisa takes over and fires it.” Willett’s works are beautiful and functional. He makes deep blue casserole dishes, elegant long-necked pitchers, bowls, lidded jars, and teapots, some with gnarled wooden branches for handles. The pieces give the impression of being at once solid and graceful, and it’s important to him that they serve a purpose. “There’s enough stuff in the world, and it doesn’t hurt if you can use it for something. Sculptors are who they are; I happen to have a bent toward things that can be used in the house.” There were a few lean years during Willett’s early career as an artist (he’d been a high-school teacher in California, where he also had a stoneware business with his first wife), but he was always able to make a living as a potter. “At times, we had to struggle quite a bit, but were always able to adapt, hang on, and do our thing.” He was surprised by his nomination for a Governor’s Award for Excellence in the Arts and matter-of-fact and modest about winning. “I don’t consider myself to be particularly outstanding as a potter; I made the functional stuff as well as I could and have enjoyed life with friends in and out of business. But what the heck. I’ll stand up and take an award.” — Adele Oliveira
— Michael Abatemarco
2013 Governor’s Awards for Excellence in the Arts PASATIEMPOMAGAZINE.COM
51
Cultivating visual art in southeast New Mexico: Aria Finch
“W
hen you’re working with clay, a lot of things can go wrong, but if you can solve problems in your clay, you’re better able to solve problems in your life,” said Aria Finch, a ceramic artist and arts educator in Roswell. Finch moved to Roswell 37 years ago, and has taught art to area residents “age 5 to 85” ever since through the Roswell Museum and Arts Center and the Roswell Independent School District’s Creative Learning Center. She’s also been involved with the Roswell Artist in Residence Program for many years and founded the Pecos Valley Potters Guild, which is now 53 members strong and hosts an annual guild show (that includes artists from other disciplines) each November. The funds the show raises are used to support arts education and to bring nationally renowned visiting artists to Roswell. Finch describes herself as a “full-time teacher, artist, and maker,” and works with about 80 students at the Roswell Museum and Arts Center per term, which last eight weeks each. Through the school district, she works on annual projects with the city’s roughly 780 sixth-graders. “I love teaching because I’m a perpetual student,” Finch said. “I get to research the things that
the students are interested in, like surface design or construction, and learn new things myself. We’re a non-graded system, and everyone participates in what’s almost like an old Japanese apprentice system.” Finch’s own work is mainly figurative, and she often makes whimsical studies of the face. In a 2009 piece called The Secret, a small black crow is suspended between two busts, perching on a woman’s lips and a man’s ear. The woman sports an oddly conical beehive hairdo, while the man’s expression is a blend of indifference and sadness. Two more misshapen crows linger near the figures’ necks. “It wasn’t until I studied Surrealist painting with the kids in one of my classes that I realized how attuned I was to Surrealism.” Finch said the artistic community in Roswell has grown since she moved there. “Artists in the community used to be more insular, now they’re more gregarious. People who might never have touched clay before interact with them through free classes. We have a huge artist community, but it’s not competitive — it’s giving and supportive.”
Abstract exuberance: Darren Vigil Gray
P
ainter Darren Vigil Gray’s career is marked by explorations in subject matter and themes. His works are often figurative, and while Native themes are present in much of his work, Native subjects have never been his primary artistic concern. “Long, long ago, I found that if you labeled yourself or categorized yourself as a Native artist, it pigeonholed you, put you in a box,” Gray told Pasatiempo. “I never wanted that. I never even called myself an Indian artist. That allowed me to be more free. That’s the cornerstone of my whole career. I just wanted to do what I wanted to do and not be dictated to or paint for a certain market.” Born on the Jicarilla Apache Reservation in northwest New Mexico, Gray left home as a teenager to attend the Institute of American Indian Arts. He went on to pursue a degree at the University of New Mexico. Since then, he has exhibited in numerous galleries. He’s had solo shows at the Wheelwright Museum of the American Indian and is represented in several museum collections, including the Smithsonian American Art Museum. He participated in Indian Market in 1979 but found it stifling to his creativity. “I knew it wasn’t the place for me, and I made a concrete decision that year that I would stay as free as possible. That’s what an artist’s life is about. That decision allowed me to always expand, always think in contemporary terms.” “I’ve been in a lot of galleries. I started out at Peyton Wright and had a good 15 years there. John Wright
Schaefer pretty much put me on the map back in ’91 or ’92.” After a stint at the Gerald Peters Gallery, whose director of contemporary art, Evan Feldman, nominated Gray for the Governor’s Award, he moved to Kristin Johnson Fine Art, which opened earlier this year. “Kristin’s willing to take chances and is very passionate about showing contemporary art.” Gray remains forthcoming about the craft of painting, often speaking to children in educational settings. “I’ve always had children’s artwork around me. I’ve raised kids all my life and showed my daughters how to paint and learned quite a bit from them. At a certain age they paint so loosely, and that inspires me. I work in the schools quite often, whenever I’m asked to give presentations. I enjoy talking to kids. They need direction just like we all do at certain points in our lives.” Gray’s abstract painting style and bright color palette transform his landscapes and figurative work into mystic visions that sometimes incorporate Native symbols. But his primary style recalls PostImpressionism and Abstract Expressionism. “That’s pretty much where my heart is. My whole style is rooted in European painting. I’ve just felt a real spurt of growth as an artist, as a painter. I think I’m right in the middle of it right now.” — Michael Abatemarco
2013 Governor’s Awards for Excellence in the Arts 52
PASATIEMPO I September 27- October 3, 2013
— Adele Oliveira
exhibition opening lecture THuRSdAy, OCTOBER 3, 6:3O PM
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Georgia O’Keeffe, Lake George, 1922. Oil on canvas, 16 1/2 x 22 in. San Francisco Museum of Modern Art, California
Reflections on Modern Nature: Georgia O’Keeffe and Lake George
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fall community events 7th Grade Options Night Thursday, October 10, 6-8pm Determine your child’s next best step for middle school through panel discussions and booth-side conversations with secondary school administrators and students. Featuring more than a dozen Santa Fe middle schools.
Rosemary Wells Presents “Booking Up Our Kids” Friday, October 18, 4pm Meet children’s book author and illustrator of the Max and Ruby books, Rosemary Wells! Book sales through Bee Hive. Book signing to follow. Bring the kids!
Erin B. Coe, chief curator of The Hyde Collection and curator of the exhibition Modern Nature: Georgia O’Keeffe and Lake George, will discuss this firstof-its-kind exhibition exploring the formative influence of Lake George on the art of Georgia O’Keeffe. From 1918 to 1934, the region served as a rural retreat for the artist and provided the basic material for her art, while evoking the spirit of place that was essential to O’Keeffe’s approach to the natural world. In this illustrated talk, Coe will explore the range of work and the major themes that marked O’Keeffe’s production during the Lake George years.
6:30 PM, Saint Francis Auditorium
New Mexico Museum of Art, 107 West Palace Avenue, Santa Fe, NM Admission $5; Members and Business Partners, FREE Reservations: 505.946.1039 or online at okeeffemuseum.org
Modern Nature: Georgia O’Keeffe and Lake George was organized by The Hyde Collection in association with the Georgia O’Keeffe Museum. The national presentation of the exhibition and catalogue have been made possible in part with support from The Henry Luce Foundation and the National Endowment for the Arts. Additional support and related programming were made possible in part by a generous grant from The Burnett Foundation, and partially funded by the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax and Century Bank. Additional support for the catalogue has been provided by Furthermore: a program of the J. M Kaplan Fund.
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GeOrGia O’Keeffe and LaKe GeOrGe Since 2011, Kirstin Mitchell's 2nd grade has knitted and donated hats and scarves to Santa Fe's homeless through the Interfaith Center.
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Loren Bienvenu I For The New Mexican
05 M.I.A., 20
his new book of photographs, Hip Hop: Portraits of an Urban Hymn, David Scheinbaum explains the first big challenge he faced when it came to documenting live performance: capturing individual moments within a fast-paced environment. “Like a lot of street photographers, I learned to shoot from the hip, taking pictures without really looking in the camera. In this new situation, literally and figuratively I was shooting in the dark,” he writes. He was responding to a question posed by interviewer Frank H. Goodyear III, a former curator of photography at the National Portrait Gallery in Washington, D.C. The two became acquainted in 2008, when Scheinbaum participated in a group art exhibit curated by Goodyear called Recognize! Hip Hop and Contemporary Portraiture. At the time of the exhibit, the photographer, formerly chair of the photography department at the Santa Fe University of Art and Design, had been focusing on hip-hop emcees and D.J.s for almost 10 years. His new book, published by Damiani, combines that material with more recent additions. Scheinbaum’s foray into the loud, nocturnal depths of live hip-hop was a sudden swerve from previous artistic and documentary endeavors. His publications include Stone: A Substantial Witness (2006); Ghost Ranch: Land of Light (1997), with his wife, photographer Janet Russek; and Bisti (1985), a collection focusing on the remote and otherworldly Bisti/DeNa-Zin Wilderness in northwestern New Mexico. He signs copies of Hip Hop on Saturday, Sept. 28, at Verve Gallery, alongside Russek, who promotes her own new book of photographs, The Tenuous Stem. Speaking to Pasatiempo from his home studio in Santa Fe, Scheinbaum elaborated on the challenge of moving from the isolated outdoors to the packed nightclub. “I’m basically trained more or less in the Ansel Adams tradition. A lot of my work is done with large-format cameras ... using a small camera is something I’ve done before and am familiar with, but what I wasn’t prepared for was photographing, sometimes in total darkness, a subject that moves so fast. I’m used to photographing rocks and trees or old people — things that don’t move too quick.”
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Scheinbaum soon realized that to capture quick-moving subjects (like breakdancers), he needed to use an automatic camera, which he did not own. So he borrowed one from a colleague and took advantage of its autofocus feature. Some of the resulting shots capture energy rather than detail, like the cover image of Erykah Badu with tendrils of light tracing the movements of her golden bracelets. Others offer sharp closeups of underground figures like Sage Francis and Aesop Rock (sweating and grimacing, the mic pressed close to his face), as well as more mainstream celebrities like George Clinton and Snoop Dogg (in a bright Adidas track suit, dragging on what appears to be a long, thin cigar). W, Such unglossed verisimilitude is a DJ SHADO welcome change from the standard images of music photography, more often rooted in the realms of media than art. The work falls into the tradition established by early music photographers of documenting one art form with another. Two notable examples are Francis Wolff (photographer of legendary jazz recording sessions held at Blue Note Records) and Roy DeCarava. DeCarava’s book The Sound I Saw likewise focuses on jazz musicians during the 1950s and ’60s but with a bit more grit and a different kind of authenticity — DeCarava was a Harlem native and insider, like many of his subjects. Scheinbaum identified The Sound I Saw as one of his top 10 influences and said that DeCarava’s work forced him to focus on “the best way to portray the subject.” This consideration informed his decision to begin experimenting with digital and color photography following the National Portrait Gallery exhibit, as did the work of another artist in the same show, Kehinde Wiley. continued on Page 56
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Wiley is a contemporary painter who combines classical portraiture with present-day, often urban-centric figures. Scheinbaum remembers watching gallery visitors react to Wiley’s work versus his own. “My prints were beautifully hung on the wall and perfectly level all around the room, and I was watching the people look at my work. As in most museums, everyone was very reverent and quiet, looking at the prints — you know how it is at a museum.” In contrast, in Wiley’s rooms, “the walls were painted purple, and he had these gigantic paintings in massive gold frames that were just mind-blowing. Going into his galleries, there was animation and people talking and there was laughter. It was like going from a library to a lounge.” That show proved to be pivotal for the Hip Hop project. Scheinbaum has been shooting in color since, as a means to capture added vitality. However, he did not disregard his previous work but instead incorporated the two formats to provide a more holistic overview of the live hip-hop experience. “Looking back now, I think the black-and-white work comes closer to what these shows feel like to me, but the color work comes closer to what it looks like.” Over time, his access to artists has grown alongside his photo archives. Scheinbaum likes to capture the performer’s perspective from onstage. To achieve this for such a formidable selection of hip-hop legends is the result of years of networking and relationship-building, both with the artists themselves and with industry professionals. One of Scheinbaum’s central relationships is with the promoter at the Sunshine Theater in Albuquerque, where most of 56
PASATIEMPO I September 27- October 3, 2013
the photos in the book were taken. (The theater hosts the majority of notable New Mexico hip-hop concerts.) “To be able to work in the proximity in which I work, there has to be an unspoken agreement based on trust and respect,” he said. “As Sebastião Salgado would say, pictures are not taken, they are given.” Most artists have been surprisingly open to his requests for access, perhaps because the project is largely based on overturning negative stereotypes. In 1999, when escorting his 12-yearold son to see Souls of Mischief, Scheinbaum had what he described as an epiphany. Watching the show with some nervousness from the back of the room, he soon realized that hip-hop encompassed far more than just “gangsta rap and shootings and drugs and misogyny.” In fact, he saw it as the voice of a generation, akin to what he himself experienced in the 1960s. “Music for me growing up was not just a form of entertainment. It was my culture. The way I looked and dressed, the handshake. It was also my CNN, as Chuck D said — how I got my news. ... It took me a while to recognize that was what I was seeing again. This is a movement that is not only a community of caring individuals but also a form of education and a form of news, and it’s remarkably positive.”
What I wasn’t prepared for was photographing, sometimes in total darkness, a subject that moves so fast. I’m used to photographing rocks and trees or old people — things that don’t move so quick. Scheinbaum hopes his new book might counter out some of the preconceptions that he once held himself — acknowledging that as a 62-year-old white man living in New Mexico, he will always be an outside observer. But even though the book is now a physical reality, the documentation process goes on. The photographer was planning to attend an Immortal Technique and Brother Ali concert the next day, his excitement resulting as much from personal reasons as professional ones. “I’m a big fan now. I listen to everyone I photograph. The black-and-white work is all done in the darkroom, and when I’m printing any picture of a particular artist, it’s always their music that I’m listening to. I feel like some way, somehow, their energy is getting into my body and into my fingers.” ◀
details ▼ David Scheinbaum signs copies of Hip Hop: Portraits of an Urban Hymn & Janet Russek signs copies of The Tenuous Stem ▼ 2 p.m. Saturday, Sept. 28 ▼ Verve Gallery of Photography, 219 E. Marcy St., 982-5009
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Rosemary Wells Presents “Booking Up Our Kids” Friday, October 18, 4pm Meet children’s book author and illustrator of the Max and Ruby books, Rosemary Wells! Book sales through Bee Hive. Book signing to follow. Bring the kids!
Admissions Open House Preschool – Grade 6 Thursday, November 7, 8:30-10:30am com
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Explore all that Rio Grande School has to offer! Meet the Head of School Patrick Brown, listen to the choir, and enjoy a tour of the campus with current parents. Tuition assistance available. RSVP greatly appreciated, 983-1621.
Since 2011, Kirstin Mitchell's 2nd grade has knitted and donated hats and scarves to Santa Fe's homeless through the Interfaith Center.
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movIng Images film reviews
Someplace like home Jennifer Levin I For The New Mexican Short Term 12, indie drama, rated R, The Screen, 3.5 chiles Orphans and unwanted children were once considered ruined, pathetic, and unlovable. They became urchins on city streets, begging for food and turning early to lives of crime, often suffering violent fates. In the 1960s, the psychologist Harry Harlow conducted experiments on rhesus monkeys to demonstrate the importance of love on child development. He showed that baby monkeys gravitated to a “mother” made of soft terry cloth that provided no food over a “mother” made of wire who offered sustenance. Another experiment showed that a baby monkey would explore his environment if his mother was present but freeze, scream, rock, and cry if his mother was taken away. Harlow’s experiments were considered unethical and even barbaric in their treatment of helpless animals, but his research helped change the way children are treated by their elders, especially when in the care of orphanages and social-service agencies. Short Term 12, written and directed by Destin Cretton, shows the truth of Harlow’s research with so little pretense that it’s almost like watching a documentary. The movie’s title is taken from its setting, a residential facility for teenagers who have been removed from their homes or are between foster-care placements. Brie Larson plays Grace, the youngish head of the front-line staff that is responsible for creating a safe living environment for the kids. “You’re not their mother, and you’re not their psychologist,” she tells a new employee, Nate (Rami Malek). Yet there is no escaping the raw emotional and
John Gallagher Jr. and Brie Larson
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The three faces of Grace: Brie Larson
psychological needs of their charges, some of whom fly into fits and rages or succumb to self-injurious behavior from the pressure of the painful, complex feelings inside of them that they can’t look at and have no way of articulating. Grace and the other staff members, including her boyfriend, Mason ( John Gallagher Jr.), are the ones who soothe the tantrums, break up the fights, listen to the nightmares, and encourage them to talk about their feelings. The movie opens with Mason regaling other staff members with a humorous, shockingly scatological tale of chasing after a kid who ran away from the residence. It’s hard to tell whether he’s laughing at himself or congratulating himself for his work in the trenches, though we see quickly that he’s very good at his job. Nate has come to Short Term 12 out of a desire to work with “underprivileged youth” — a phrase that earns him some disdain from the residents. It turns out that Grace and Mason have more personal reasons for their employment: Mason was in the foster-care system, and Grace has an unspecified history of abuse. She is the more troubled half of the couple, closed off and slow to trust. Mason treats her with the utmost care, though we never find out exactly what he knows of Grace’s past. We learn what she has been through when she reveals her secrets to a new resident, Jayden (Kaitlyn Dever), with whom she feels a bond — though it isn’t until Grace has almost destroyed everything good in her life that she is able to take the advice she gives her kids every day.
Short Term 12 demonstrates how love can come from unexpected sources and that sometimes finding a path out of the darkness is just a matter of luck. Who rescues you and when? Who decides that you’re worth saving? If the staff can’t be mothers or psychologists, they can at the very least offer companionship, guidance, and a semblance of family. When Mason listens to an upsettingly honest rap about the way one of the kids, Marcus (Keith Stanfield), feels about his mother, his reaction isn’t to heap praise on Marcus for his obvious talent, but to quietly validate the power of his words. When Grace sees that Jayden has an interest in art, she draws with her. All of the performances are excellent and natural, and the screenplay contains no forced emotional or moral arcs to bring easy closure — yet it is a movie filled with hope, and the story has some high-stakes drama. Grace and Mason’s relationship is stunning for its warmth and for the salvation it offers Grace when she can no longer trust herself to know where danger is coming from. It’s possible that Short Term 12 paints an overly rosy picture of the dedication of the staff in a state system, given that such locations are often rife with abuse and neglect. But it’s not as if these kids live in luxury or have undue freedom for their age. They have no privacy and very little flexibility to their days, and no matter how much therapy they receive, they still don’t have parents who love them enough or at all or in the right way. But at least they have someone who will sit there and listen if they want to talk. ◀
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Hard braking Jonathan Richards I For The New Mexican Rush, drama, rated R, Regal Stadium 14, 2.5 chiles One is tall, blond, handsome, sexy, hedonistic, carefree, British. The other is short, dark, homely, brooding, calculating, Austrian. They have one thing — and only one thing — in common: both are great race-car drivers. They both stood at the top of the Formula 1 racing world in 1976, on a collision course as they battled down to the wire on the Grand Prix circuit, mano a mano, for the World Drivers’ Championship. Ron Howard, who made his directorial feature film debut the following year with a car movie, Grand Theft Auto, is reunited here with writer Peter Morgan to recreate the anatomy of that epic year in auto racing. The two previously teamed up for Frost/Nixon, another tale of opposite personalities locked in a dramatic struggle. (Howard and Morgan continue their collaboration in the upcoming In the Heart of the Sea, about the 1820 saga of the ill-fated whaleship Essex.) Rush is a story with so much built-in speed and tension and conflict that it ought to take off like a Formula 1 racer at the cry of “Gentlemen, start your engines!” But it keeps stalling, spinning out, and lumbering in for pit stops. James Hunt, the Brit, is played by golden boy Chris Hemsworth (Thor), one of a trio of acting brothers from Australia. At 6 foot 3, he’s got the size and the easy grace for the role, but it takes too long for a real sense of character to emerge from the laconic, easy-going blond beauty he portrays. Niki
Chris Hemsworth
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Doing the stare and drive: Chris Hemsworth and Daniel Brühl
Lauda, whose blunt, abrasive personality made him few friends on the circuit and whose homely face and pointy overbite earned him the nickname “Super Rat,” is in the hands of Daniel Brühl (Inglourious Basterds). Brühl makes an immediate impact with his grim, obsessive Lauda, but the character never opens very far into three dimensions. There’s a lot of exciting racing footage in the movie, particularly as the season heads toward the finish line and the tension begins to mount. Cinematographer Anthony Dod Mantle and editors Daniel P. Hanley and Mike Hill put us above, beside, and on the track and inside these elegant beasts, with their roaring engines and glove-fitting cockpits — “a little coffin, really,” Hunt says, “surrounded by high-octane fuel.” With cameras mounted on the racers, we get a driver’s-eye view of life at 170 mph as Hunt and Lauda go at it, wheel to wheel, tearing around tight curves and darting through minuscule openings to capture the lead. Off the track, the focus is on their lifestyles. At one point Lauda shows a bit of interest in a hot redhead. Another driver warns him off. “Her last boyfriend,” the driver tells him, “could go all day and all night and all the next day” — not an easy act to follow. Who, Lauda asks, was her last boyfriend? James Hunt. Hunt is a sexual superstar and quickly woos and wins the hand of Suzy Miller (Olivia Wilde), a gorgeous model. But his endurance doesn’t extend to relationships, and she leaves him for Richard Burton (late in the movie, when she’s watching his crucial season-ending race on TV, a murky figure moves around in the background, and we keep craning to see if it’s Burton). Lauda’s love interest, Marlene, enters by giving the driver a ride home from a party neither wants
to attend. In the classic transition cliché you wish directors could resist, Howard cuts from Marlene insisting that her car is in great shape to it broken down on the side of the road. They hitch a ride with some Italian race fans, who cede the wheel to Lauda, and with Marlene egging him on, he gives us a thrill ride along winding country roads. It’s a nice scene, and it wins the heart of the maiden. The movie has a number of good moments, including one in which Hunt lies on his back with a steering wheel in his hands, visualizing the track he’s to drive the next day. But the good stuff is stitched together with an excess of exposition, explanation, repetition, voice-over, and hand-holding as Morgan and Howard lead us through the races, the personalities, the romances, and the season. Trackside announcers and radio and TV broadcasters do yeoman duty filling the audience in on what’s going on. Ultimately it’s more a Niki Lauda than a James Hunt of a movie. Eventually, a grudging respect develops between the drivers. Most of the racing narrative follows history pretty closely. Lauda opened up a substantial points lead in the season standings, but when a serious accident took him out of the running for a while, Hunt closed the gap. This set the stage for the climactic showdown at the rain-soaked season-ending Japanese Grand Prix, with Hunt needing three points to catch his nemesis for the championship. In a voice-over that starts the movie, Lauda tells us that of 25 starters, on the average two drivers die every year. It’s an appalling figure, and it’s in the back of our minds each time we watch these drivers strap themselves into those “little coffins” and tear headlong into the jaws of danger. ◀
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THE ACTORS ALL BLEND TERRIFICALLY.” -OWEN GLEIBERMAN, ENTERTAINMENT WEEKLY
FOURTH Encore Screening!!!
CAVEDIGGER
6:00p Monday, Sept 30 Only!! With subject Ra Paulette in person!! Preceded by Monument to the Dream Fri-Sun Sept 27-29 12:15p - 20 Feet* 1:00p - Populaire 2:15p - Cutie & the Boxer* 3:15p - Populaire 4:15p - Drinking Buddies* 5:30p - 20 Feet 6:15p - GMO OMG* 7:30p - Populaire 8:15p - Drinking Buddies*
Fri, Sat and Sun at 5:10
BECKETT ON FILM - A FIvE WEEK SErIES
WRITTEN, DIRECTED AND EDITED BY JOE SWANBERG
LAST WEEK: rough for Theater 2
MAGPICTURES.COM/DRINKINGBUDDIES
Mon Sept 30
Tues-Thur Oct 1-Oct 3
2:15p - Cutie & the Boxer* 3:15p - Populaire 4:15p - Drinking Buddies* 6:00p - Cavedigger 6:15p - GMO OMG* 8:00p - Populaire 8:15p - Drinking Buddies*
2:15p - Cutie & the Boxer* 3:15p - Populaire 4:15p - Drinking Buddies* 5:30p - 20 Feet 6:15p - GMO OMG* 7:30p - Populaire 8:15p - Drinking Buddies*
Sat at 10:45aM; Mon through thurS at 1:00
Sunday at 11:00am
Become a CCA Member today and save up to $2.00 on ALL regular screenings! * indicates shows will be in The Studio at CCA, our new screening room for $8.00, or $6.00 CCA Members!
Concessions Provided by WHOLE FOODS MARKET
Santa Fe’s #1 Movie theater, showcasing the best DOLBY in World Cinema. ®
D I G I T A L
S U R R O U N D •E X
SANTA FE University of Art and Design 1600 St. Michael’s Dr. information: 473-6494 www.thescreensf.com
Bargain Matinees Monday through Friday (First Show ONLY) All Seats $7.50 PASATIEMPOMAGAZINE.COM
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— compiled by Robert Ker
Fanning) who enters a world that is the distorted mirror image to her own house — still resonates, and few films are so creatively executed. This is one to cherish. Rated PG. 100 minutes. Screens in 2-D only at Jean Cocteau Cinema, Santa Fe. (Robert Ker) DON JON Actor Joseph Gordon-Levitt makes his feature-length debut as writer and director with this romantic comedy. He stars as Don, a guy who loves bringing home different women each night or staying home with pornography. Then he meets a woman (Scarlett Johansson) so perfect that he attempts to give up both habits. Tony Danza plays his dad. Rated R. 89 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) GMO OMG Who’s up for dinner and a movie? This documentary looks at the corporate takeover of the world’s food resources, the genetic alteration of food, and a family that attempts to eat outside of the big companies’ reach. Not rated. 87 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed)
Don’t bogart that point: Li Yuchun in The Guillotines, at the Jean Cocteau Cinema in Santa Fe
opening this week ALICE Like many people of my generation, I first saw Jan Svankmajer’s 1988 stop-motion-animated fever dream on a dorm-room television, where the hallucinatory visuals were well received. Watching it now, I’m struck by the amount of work it took to painstakingly bring it to life. Dark, mysterious, and more than a bit creepy, Alice (based on the Lewis Carroll stories) remains an essential testament to the human imagination and a rare treat on a screen bigger than a TV. In Czech with subtitles. Not rated. 86 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Ker) BAGGAGE CLAIM Paula Patton plays a flight attendant who is convinced that she needs to find a man and ground herself in marriage, so she does the sensible thing: she enlists her friends in the airline industry to help her stalk her exes. With Djimon Hounsou, Taye Diggs, and Jill Scott. Rated PG-13. 96 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) BECKETT ON FILM In 1991 Michael Colgan, artistic director of Dublin’s Gate Theatre, staged a Samuel Beckett 62
PASATIEMPO I September 27-October 3, 2013
Festival over three weeks. Later, when he and co-producer Alan Moloney decided to capture the Beckett repertoire on film, they rounded up an impressive collection of movie and stage directors and stars. A selection of the Beckett cycle will be shown in free screenings at 11 a.m. on Sundays in September. Rough for Theatre 2 and Check the Gate: The Making of Beckett on Film screen Sunday, Sept. 29, only. Not rated. Running times vary. The Screen, Santa Fe. ( Jonathan Richards) 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 food-animal hybrids (tacodiles, etc). The trailer is essentially a string of labored food-related puns, but there’s nothing else in theaters for families at the moment, so bon appétit. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) CORALINE Director Henry Selick’s 2009 adaptation of Neil Gaiman’s children’s novel lends the story the same colorful stop-motion whimsy that Selick so memorably brought to his 1993 film The Nightmare Before Christmas. This approach caused Selick to miss the book’s dark core and Gaiman’s storytelling flair, but the central tale — of a girl (voiced by Dakota
THE GUILLOTINES Director Andrew Lau, who helped give the world Infernal Affairs (adapted for American audiences by Martin Scorsese as The Departed) presents this epic adventure — remade from an old Shaw Brothers kung-fu flick — about a flashy band of assassins in the Qing Dynasty era. In Mandarin with subtitles. Rated R. 113 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) POPULAIRE Sports movies come in all forms, but this is probably the first one that has ever centered on speed typing. Set in late-’50s France, this colorful and quirky (or should we say QWERTY?) film tells the story of a plucky young woman (Déborah François) who enters a typing contest with the encouragement of a potential beau (Romain Duris) and rises to compete on the global stage. In French with subtitles. Rated R. 111 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) RUSH No, it’s not about Limbaugh. Ron Howard’s latest, written by Peter Morgan (Frost/Nixon), follows the epic 1976 duel for the World Drivers’ Championship between dashing Brit James Hunt (Chris Hemsworth) and wonky, obsessive Austrian Niki Lauda (Daniel Brühl). There is plenty of excitement, mostly on the Grand Prix tracks. But the good stuff is stitched together painstakingly with an excess of exposition, explanation, and hand-holding of the viewer as Morgan and Howard lead us through the races, the personalities, the romances, and the season. Despite the thrill ride, it’s ultimately more a Niki Lauda than a James Hunt of a movie. Rated R. 123 minutes. Regal Stadium 14, Santa Fe. ( Jonathan Richards) See review, Page 60.
SHORT TERM 12 Brie Larson plays Grace, the head of a staff responsible for creating a safe environment for teens in a group home. Short Term 12 demonstrates how love can come from unexpected sources and that sometimes finding a path out of the darkness is just a matter of luck. The performances are excellent and natural, and the screenplay contains no forced emotional or moral arcs to bring easy closure — yet this is a movie filled with hope. Rated R. 96 minutes. The Screen, Santa Fe. ( Jennifer Levin) See review, Page 58.
BLUE JASMINE Woody Allen’s latest mixes comedy and tragedy in an inspired symphony of social criticism. Cate Blanchett will catch the Academy’s eye as 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 rest of the cast, which includes Bobby Cannavale, Andrew Dice Clay, and Peter Sarsgaard, is flawless. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards)
THE TRIALS OF MUHAMMAD ALI Bill Siegel’s documentary on the man known, without too much hyperbole, as The Greatest, covers the highs and lows of a career and a life that elevated this immensely gifted and phenomenally charismatic athlete into at one time the most recognizable man in the world. Siegel begins with a scathing indictment by TV producer David Susskind in the late ’60s (“I find nothing at all amusing or tolerable about this man.”) and a White House ceremony in 2005 during which Ali was awarded the Medal of Freedom by President George W. Bush. A lot of water flowed under the bridge in between and before, with his Olympic Championship in 1960, his upset of Sonny Liston for the Heavyweight Championship, his embrace of Islam and Elijah Muhammad, his name change, his break with Malcolm X, his marriages, and most cataclysmically, his refusal to be drafted, his suspension from boxing, and his legal battles. It’s remarkably thorough, but there are inevitably disappointing gaps in coverage of this extraordinary life. Ali is not always admirable, but he’s never less than magnetic. Not rated. 86 minutes. The Screen, 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 all 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 Reagan and sees him into retirement through Obama’s election. A fine cast includes Oprah Winfrey as his wife and star cameos as the presidents. Director Lee Daniels does heroic work in wrangling it all. Rated PG-13. 132 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. ( Jonathan Richards)
now in theaters AUSTENLAND Hollywood’s obsession with Jane Austen has given us this comedy about a woman (Keri Russell) who has an obsession with the author. She attends a sort of Jane Austen fantasy camp, but she may not be able to meet her own Mr. Darcy — her limited means leave her stuck in the servants’ quarters. Rated PG-13. 96 minutes. Regal DeVargas, Santa Fe. (Not reviewed) BATTLE OF THE YEAR This film suggests that America’s poor performance in breakdancing competitions is our nation’s great shame. Josh Holloway (Lost) stars as a hard-nosed coach who trains a gang of motley kids to bring the dance trophy home. Rated PG-13. 109 minutes. Screens in 3-D only at Regal Stadium 14, Santa Fe. (Not reviewed)
CAVEDIGGER Ra Paulette has lived in Embudo for 29 years and has gained a reputation for his fantastically carved art caves. Filmmaker Jeffrey Karoff explores these underground spaces while also interviewing clients who grew frustrated with Paulette’s inability to work to a deadline. Now he’s eschewing clients and building his magnum opus, a magnificent 10-year project. The documentary screens with the short Monument to the Dream. Paulette attends the screening. 6 p.m. Monday, Sept. 30, only. Not rated. Films total 67 minutes. Center for Contemporary Arts, Santa Fe. (Paul Weideman) CLOSED CIRCUIT Eric Bana and Rebecca Hall star as two lawyers and former lovers who are assigned to the trial of a suspected terrorist (Denis Moschitto). Issues of confidentiality, mysterious deaths, and shocking conspiracies come up before the gavel comes down. Rated R. 95 minutes. Regal DeVargas, Santa Fe. (Not reviewed) CUTIE AND THE BOXER Noriko and Ushio Shinohara have been struggling in the New York art scene for more than 40 years. For much of that time, Noriko worked as her more famous husband’s assistant and neglected her own art. But in recent years she has emerged, largely through the development of her alter ego, the cartoon character Cutie. In this documentary, filmmaker Zachary Heinzerling gives us a window
on a relationship that has been through the strain of ego, poverty, and alcoholism. Not rated. 82 minutes. In English and Japanese with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) DESPICABLE ME 2 The 2010 hit gets its sequel with this story about the ex-villain Gru (voiced by Steve Carell), who is called out of retirement to track down a bad guy. Unlike many family films, Despicable Me 2 is proudly a comedy, and it shelves the action, life lessons, and sentiment in favor of attempts at humor. The filmmakers hedge their bets by bringing slapstick for the kids and pop-culture references for the adults. Rated PG. 98 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) DRINKING BUDDIES This charming low-key romance from mumblecore master Joe Swanberg lets you relax and enjoy its natural pace, plausible dialogue, likable characters, and winning performances. At the center are two seemingly mismatched couples. Tomboyish Kate (Olivia Wilde) works at a Chicago craft brewery and dates Chris (Ron Livingston), an older type-A professional. Her BFF at the brewery is Luke ( Jake Johnson), who is practically engaged to Jill (Anna Kendrick), a shy, prim, bookish special-ed teacher. You think you know where this is headed, right? Not so fast. Rated R. 90 minutes. Center for Contemporary Arts, Santa Fe. (Laurel Gladden) EUROPA REPORT In the midst of the exhausting special-effects arms race at the multiplex, it’s a pleasure to watch a sciencefiction film that looks as if it were crafted by human hands. Ecuadorian director Sebastián Cordero’s lowbudget movie — about a crew aboard a spaceship on a mission to one of Jupiter’s moons — does the trick with its found-footage approach and nods to Kubrick and Lovecraft. The characters could be stronger, the ending less telegraphed, but the lived-in sets and homespun effects give you much to savor. Rated PG-13. 90 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Ker) THE FAMILY Robert De Niro and Michelle Pfeiffer play the parents of a family that ends up in the witness protection program in Normandy after daddy rats out his mafia family across the Atlantic. This is a lighthearted satire of mob dramas, so if you think there aren’t going to be corny jokes and comedic examples of culture clash, then fuggedaboutit! At this point, De Niro may have spent more years spoofing his on-screen persona than he spent crafting it. Rated R. 111 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) continued on Page 64
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THE GRANDMASTER Ip Man, the martial arts master who helped popularize kung fu and taught Bruce Lee, has been the subject of several films of late. Wong Kar-Wai directed this one, which will undoubtedly look better than the rest — and probably better than any other film currently in theaters. Tony Leung Chiu-Wai and Zhang Ziyi star. Rated PG-13. 130 minutes. Regal DeVargas, Santa Fe. (Not reviewed) IN A WORLD ... Lake Bell wrote, directed, and stars in this comedy about a woman who tries to break the gender barrier in a very specific professional sector: voice actors who narrate movie trailers. Alas, her biggest competition is her father (Fred Melamed), the man whose gravelly delivery made the words “In a world where ...” famous. Rated R. 93 minutes. Regal DeVargas, Santa Fe. (Not reviewed) INSIDIOUS: CHAPTER 2 Director James Wan brings us his second horror film in the last three months, after the hit The Conjuring. This story follows the family of the 2011 Poltergeist-like first film as they take advantage of the rebounding housing market to buy a new home, only to once more encounter ghosts that were not mentioned anywhere in the listing. Rated PG-13. 105 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) INSTRUCTIONS NOT INCLUDED As Valentín (Eugenio Derbez) prepares for his big move from Mexico to Hollywood to realize his dream of becoming a stuntman, a former lover leaves him a surprise to take along: a screaming baby. Valentín learns how to be father at the same time he learns how to take a fall, with comedic results. In English and Spanish with subtitles. Rated PG-13. 115 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) PERCY JACKSON: SEA OF MONSTERS Now that Harry Potter has hung up his broomstick, Percy Jackson (Logan Lerman), basically Potter in a world full of Greek gods instead of wizards, fills the void
spicy
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and finds the Golden Fleece in this sequel to the 2010 film. Rated PG. 107 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Not reviewed) PRISONERS Hugh Jackman plays a humble father who takes the law into his own hands when his 6-yearold disappears and the prime suspect (Paul Dano) is let off the hook due to a lack of evidence provided by the detective on the case ( Jake Gyllenhaal). Melissa Leo, Maria Bello, and Viola Davis also lend their talents to the film, which is directed by Denis Villeneuve (Incendies). Rated R. 153 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) RIDDICK Who would have thought back in 2000 that the minor hit Pitch Black would give us a supporting character worthy of his own franchise with sequels some 13 years later? Yet Riddick is back, and he’s bald, grumbling, and embodied once more by Vin Diesel. Rated R. 119 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE SPECTACULAR NOW The writers of 2009’s much-loved (500) Days of Summer adapt Tim Tharp’s coming-of-age novel into a film that is as much about teen alcoholism as teen romance. The plot can get repetitive, and it relies on some familiar tropes, such as the hard-partying guy hooking up with the unpopular girl, but it also feels true. Much of the credit goes to the lead actors (Miles Teller and Shailene Woodley), who look like actual high school students rather than 25year-old models and light up the screen with natural, likable performances. Rated R. 95 minutes. Regal DeVargas, Santa Fe. (Robert Ker) THANKS FOR SHARING Stuart Blumberg, who made his name with a writing credit on 2010’s The Kids Are All Right, steers a sturdy ensemble for his featurelength directorial debut. Mark Ruffalo, Tim Robbins, and Josh Gad play Manhattanites who are drawn together through sex-addiction meetings, and the film extends its reach to the friends, relatives, and romantic partners in their lives. The tone veers uncomfortably between drama and comedy but stays the course thanks to strong performances and writing. Rated R. 112 minutes. Regal DeVargas, Santa Fe. (Robert Ker) 20 FEET FROM STARDOM “Not everyone is cut out for stardom,” says Bruce Springsteen, one of the headliners who muses here on the contributions and frustrations of the backup singers whose vocals raise the sound to another level. Táta Vega, Claudia Lennear, and Lisa Fischer are a few that will send you out of the theater wondering about the barrier that has kept them from
headliner stardom. Morgan Neville’s documentary brings these singers front and center, and it’s glorious. Rated PG-13. 90 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) WE’RE THE MILLERS In one of the year’s biggest surprise hits, a stripper ( Jennifer Aniston) and a pot dealer ( Jason Sudeikis) join up, recruit a couple of kids, and pretend to be a family so they can sneak drugs across the border from Mexico. The plan does not go off without hitches or hijinks. Rated R. 109 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) YANGSI This documentary shows us several years in the life of Ugyen Tenzin Jigme Lhundrup, a young man in the Himalayas who learns he is the reincarnation of a Tibetan master and trains to do right by this legacy. Not rated. 82 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed YOU WILL BE MY SON Paul de Marseul (Niels Arestrup) is the proprietor of a venerable Bordeaux vineyard that has been in the family for 11 generations. His only son is Martin (Lorànt Deutsch), an unimposing young man in whom the patriarch recognizes nothing of himself. When Paul’s indispensable estate manager François (Patrick Chesnais) is diagnosed with terminal cancer and François’ son Phillippe (Nicolas Bridet) returns from California, Paul sees in Phillippe the son he wishes he had, and sets out to fix things. Gilles Legrand’s drama is beautifully acted and photographed. Not rated. 102 minutes. In French with subtitles. The Screen, Santa Fe. ( Jonathan Richards)
other screenings DreamCatcher Smurfs 2. Screens in 2-D only. El Museo Cultural de Santa Fe 555 Camino de la Familia, 992-0591 7 p.m. Friday, Sept. 27: Tráiganme la Cabeza de la Mujer Metralleta. 7 p.m. Saturday, Sept. 28: Sal. Films screen in conjunction with the exhibition El Otro Chile. In Spanish with subtitles. By museum admission. Regal Stadium 14 10 p.m. Thursday, Oct. 3: Gravity (3-D). Shows in 2-D at 10:15 p.m. 10:10 p.m. Thursday, Oct. 3: Runner Runner. ◀
“An
abundance of charm!”
What’s shoWing
-Stephen Holden
Call theaters or check websites to confirm screening times. CCA CinemAtheque And SCreening room
1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org 20 Feet From Stardom (PG-13) Fri. to Sun. 12:15 p.m., 5:30 p.m. Tue. to Thurs. 5:30 p.m. Cavedigger and Monument to the Dream (NR) Mon. 6 p.m. Cutie and the Boxer (R) Fri. to Thurs. 2:15 p.m. Drinking Buddies (R) Fri. to Thurs. 4:15 p.m., 8:15 p.m. GMO OMG (NR) Fri. to Thurs. 6:15 p.m. Populaire (R) Fri. to Sun. 1 p.m., 3:15 p.m., 7:30 p.m. Mon. 3:15 p.m., 8 p.m. Tue. to Thurs. 3:15 p.m., 7:30 p.m. JeAn CoCteAu CinemA
418 Montezuma, 505-466-5528 Alice (NR) Fri. and Sat. 8:45 p.m. Mon. to Wed. 8:45 p.m. Thurs. 2 p.m. Coraline (PG) Fri. 6:30 p.m. Sat. 2 p.m., 6:30 p.m. Sun. 2 p.m. Mon. to Thurs. 6:30 p.m. Europa Report (PG-13) Fri. 2 p.m. Wed. 2 p.m. Thurs. 8:45 p.m. The Guillotines (R) Fri. and Sat. 11 p.m. Yangsi (NR) Fri. to Sun. 4:15 p.m. Wed. and Thurs. 4:15 p.m. regAl deVArgAS
562 N. Guadalupe St., 505-988-2775, www.fandango.com Austenland (PG-13) Fri. and Sat. 1:10 p.m., 4 p.m., 7 p.m., 9:30 p.m. Sun. to Thurs. 1:10 p.m., 4 p.m., 7 p.m. Blue Jasmine (PG-13) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 9:50 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m. Closed Circuit (R) Fri. and Sat. 1:20 p.m., 9:35 p.m. Sun. to Thurs. 1:20 p.m. The Grandmaster (PG-13) Fri. to Thurs. 4:40 p.m., 7:10 p.m. In a World... (R) Fri. and Sat. 1:50 p.m., 4:20 p.m., 7:20 p.m., 9:45 p.m. Sun. to Thurs. 1:50 p.m., 4:20 p.m., 7:20 p.m. The Spectacular Now (R) Fri. and Sat. 1:40 p.m., 4:10 p.m., 7:40 p.m., 9:55 p.m. Sun. to Thurs. 1:40 p.m., 4:10 p.m., 7:40 p.m. Thanks for Sharing (R) Fri. and Sat. 1 p.m., 3:50 p.m., 6:50 p.m., 9:40 p.m. Sun. to Thurs. 1 p.m., 3:50 p.m., 6:50 p.m. regAl StAdium 14
3474 Zafarano Drive, 505-424-6296, www.fandango.com Call theater or consult website for times not shown. Baggage Claim (PG-13) Fri. to Wed. 12:05 p.m., 2:30 p.m., 5:05 p.m., 7:40 p.m., 10:05 p.m. Battle of the Year 3D (PG-13) Fri. to Wed. 1:15 p.m., 4 p.m., 7 p.m., 9:50 p.m. The Butler (PG-13) Fri. to Wed. 12:35 p.m., 3:45 p.m., 7:05 p.m., 10:05 p.m. Cloudy With a Chance of Meatballs 2 3D (PG) Fri. to Wed. 12 p.m., 2:25 p.m., 4:50 p.m., 7:15 p.m. Cloudy With a Chance of Meatballs 2 (PG) Fri. to Wed. 12:15 p.m., 12:30 p.m., 2:35 p.m., 2:50 p.m., 5:05 p.m., 5:20 p.m., 7:30 p.m., 7:45 p.m., 10:10 p.m. Despicable Me 2 (PG) Fri. to Wed. 12:05 p.m., 2:30 p.m., 4:55 p.m. Don Jon (R) Fri. to Wed. 12:15 p.m., 2:40 p.m., 5 p.m., 7:15 p.m., 7:25 p.m., 9:35 p.m., 9:50 p.m. The Family (R) Fri. to Wed. 1:30 p.m., 4:25 p.m., 7:35 p.m., 10:10 p.m.
www.populairemovie.com
Gravity 3D (PG-13) Thurs. 10 p.m.
logo JEFF - photos : JAIR sFEZ
Gravity (PG-13) Thurs. 10:15 p.m.
ARTWORK©2013 The WeinsTein cOmpAny.
Insidious: Chapter 2 (PG-13) Fri. to Wed.
12:10 p.m., 2:45 p.m., 5:15 p.m., 7:50 p.m., 10:20 p.m. Instructions Not Included (PG-13) Fri. to Wed. 1:20 p.m., 4:20 p.m., 7:20 p.m., 10:15 p.m. Percy Jackson: Sea of Monsters (PG) Fri. to Wed. 9:40 p.m. Prisoners (R) Fri. to Wed. 1 p.m., 4:30 p.m., 8 p.m. Riddick (R) Fri. to Wed. 10 p.m. Runner Runner (R) Thurs. 10:10 p.m. Rush (R) Fri. to Wed. 12:25 p.m., 12:45 p.m., 3:35 p.m., 3:50 p.m., 7 p.m., 7:10 p.m., 10:15 p.m. We’re the Millers (R) Fri. to Wed. 9:55 p.m.
EXCLUSIVE ENGAGEMENT
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Los Angeles Daily News
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Honestly earns every bit of its emotional impact.” –Kenneth Turan, LOS ANGELES TIMES
Beckett on Film: Rough for Theater 2 and Check the Gate (NR) Sun. 11 a.m.
“WORTHY OF THE HYPE.’’ – Cheryl Eddy, SAN FRANCISCO BAY GUARDIAN
ShortTerm 12 (R) Fri. to Sun. 12:50 p.m., 3 p.m.,
15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.storytellertheatres.com The Butler (PG-13) Fri. 4:25 p.m., 7:05 p.m. Sat. and Sun. 1:50 p.m., 4:25 p.m., 7:05 p.m. Mon. to Thurs. 4:25 p.m., 7:05 p.m. Cloudy With a Chance of Meatballs 2 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. Cloudy With a Chance of Meatballs 2 (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. The Family (R) Fri. 4:45 p.m., 7:15 p.m., 9:40 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:15 p.m., 9:40 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:15 p.m. Mon. to Thurs. 4:45 p.m., 7:15 p.m. Insidious: Chapter 2 (PG-13) Fri. 5 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:30 p.m., 5 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:30 p.m., 5 p.m., 7:25 p.m. Mon. to Thurs. 5 p.m., 7:25 p.m. Instructions Not Included (PG-13) Fri. 4:25 p.m., 6:55 p.m., 9:35 p.m. Sat. 1:55 p.m., 4:25 p.m., 6:55 p.m., 9:35 p.m. Sun. 1:55 p.m., 4:25 p.m., 6:55 p.m. Mon. to Thurs. 4:25 p.m., 6:55 p.m. Prisoners (R) Fri. 6:45 p.m., 9:50 p.m. Sat. 2:25 p.m., 6:45 p.m., 9:50 p.m. Sun. 2:25 p.m., 6:45 p.m. Mon. to Thurs. 6:45 p.m. Riddick (R) Fri. 4:35 p.m., 7:10 p.m., 9:45 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:10 p.m., 9:45 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:10 p.m. Mon. to Thurs. 4:35 p.m., 7:10 p.m. The Smurfs 2 (PG) Fri. 4:40 p.m., 7:20 p.m., 9:40 p.m. Sat. 2:10 p.m., 4:40 p.m., 7:20 p.m., 9:40 p.m. Sun. 2:10 p.m., 4:40 p.m., 7:20 p.m. Mon. to Thurs. 4:40 p.m., 7:20 p.m. We’re the Millers (R) Fri. 4:55 p.m., 7:30 p.m., 9:50 p.m. Sat. 2:20 p.m., 4:55 p.m., 7:30 p.m., 9:50 p.m. Sun. 2:20 p.m., 4:55 p.m., 7:30 p.m. Mon. to Thurs. 4:55 p.m., 7:30 p.m.
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“A WONDER. EXCEPTIONAL, MOVING AND INTIMATE.
Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com
mitChell dreAmCAtCher CinemA (eSpAñolA)
CHECK DIRECTORIES FOR SHOWTIMES NO PASSES ACCEPTED
DON’T MISS ONE OF THE YEAR’S BEST FILMS*
the SCreen
7 p.m., 9 p.m. Mon. to Thurs. 3 p.m., 5:15 p.m., 7:30 p.m. The Trials of Muhammad Ali (NR) Fri. to Sun. 5:10 p.m. You Will Be My Son (R) Sat. 10:45 a.m. Mon. to Thurs. 1 p.m.
Santa Fe The Center For Contemporary Arts (505) 982-1338
DEMAREST ST F
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STARTS TODAY THE SCREEN 1600 ST. MICHAEL’S DRIVE (505) 473-6494 SANTA FE
LeeDanielsTheButlerMovie.com
NOW PLAYING AT THEATERS EVERYWHERE! CHECK DIRECTORIES FOR SHOWTIMES • NO PASSES ACCEPTED
PASATIEMPOMAGAZINE.COM
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RESTAURANT REVIEW Bill Kohlhaase I The New Mexican
Eye on the pie Back Road Pizza 1807 Second St., 955-9055 Lunch and dinner 11:30 a.m.-9:30 p.m. Sunday-Thursdays, 11:30 a.m.-10 p.m. Fridays-Saturdays Vegetarian options Takeout available Handicapped-accessible Patio dining in season Noise level: quiet to moderate Beer & wine Credit cards, local checks
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The Short Order A fine thin crust made with cornmeal and New Mexico-grown wheat flour is the standout component of the pie at Back Road Pizza. The sauce is also good: thick, rich in slightly acidic tomato flavor, and spread thin so as not to detract from the toppings. The sausage is house-made from New Mexico-raised pork, and the meatballs are beefy and without filler. None of the pizza offerings are too far from the ordinary, and the expected pizza-parlor alternatives are offered — sub sandwiches and garlic rolls as well as an intriguing Cubano roll, something of a wrap that uses Back Road’s delicious dough. Salads are decent, and the vinaigrette is exceptional, but you go for the pizza. Recommended: green-chile chicken, roasted-potato, Greek, and mushroomsausage-onion pizzas; roasted garlic soup; meatball sandwich; and Cubano roll.
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.
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Discussing pizza, a dish that’s the sum of its parts, is most always an exercise in deconstruction. Crust, sauce, toppings: What makes certain pizzas stand out? If you had to choose the best part of a pie at Back Road Pizza — a not-so-hard-to-find place in a strip of steel-building commercial spaces off Second Street just west of the Rail Runner tracks — it would be the crust. Back Road’s is so remarkable that it can detract from the other components. It’s definitely of the thin school, yet it has a bit of chew, and its flavor is wheaty and slightly sweet, nothing like the soda-cracker taste so many thin crusts sport. It has a crisp texture without being brittle, and it offers a touch of crunch from the cornmeal that’s incorporated into the dough. That cornmeal also contributes to the crust’s satisfying flavor, as does the New Mexico-grown wheat flour that gives it its spring. Take your friends who favor thick, chewy, deep-dish styles (or visitors from Chicago). Back Road might change their worldview. The crust rules, but the other components are pretty good, too. The sauce, heavy on tomato flavor and slightly acidic, is rich, thick, and spread thinly over that delectable base. Toppings — including sausage made in-house and meatballs made from New Mexico-raised beef and pork — are also decent, right down to the artichoke hearts. Each of the pizzas we sampled — from a special with green chile, roasted chicken, mushrooms, and feta cheese to a traditional pie with sausage, onions, and mushrooms — was carefully constructed, attentively baked, and served immediately. A Greek pie was the perfect mix of concentrated sun-dried-tomato flavor, briny kalamata olives, thin slices of artichoke heart, and wonderful crumbled feta. There’s nothing especially adventurous — no Thai barbecued-chicken pizza with bean sprouts or other strange concoctions. The most unusual pizza we tried was among the best: one with roasted potatoes, bacon, green onions, a touch of cheddar, and a zigzag finish of crème fraîche applied after baking. The flavors were familiar, like a twice-baked stuffed potato, and in superb agreement. The textural contrast between that crisp crust and the firm yet giving chunks of potato made it an extraordinary experience. The word parlor may seem old-fashioned — when was the last time you heard an interior decorator or real-estate agent use it? — but it still sticks to pizza and billiards. Back Road is both kinds of parlor. Red walls and black tables standing on red-and-black checkerboard linoleum give the place a traditional look. The pool tables are upstairs. A shaded patio walled in by climbing tomato vines hung with fruit (and signs asking you not pick them) hosts tables that are easy to balance in the gravel. You order at a counter window just past the entrance and find a table. Or move over to a plexiglass barrier that pro-
PASATIEMPO I September 27- October 3, 2013
tects the table where the pizzas are rolled out on a surface covered in cornmeal. It’s worth watching. Or take one of the 10 tap beers offered and climb the stairs to show your buddies your skill with a cue. You’ll have plenty of time. The dough of that fine crust is also the basis of other selections here: garlic cheese rolls, pesto cheese rolls, and bruschetta. The Cubano roll, cut in six sections, is a sort of baked wrap that binds ham, cheese, and pickles into crispy, sweet bite-sized morsels. A meatball sandwich, almost more than one man can handle (this man, anyway), features beefy halved meatballs that seemed to be all meat and no bread crumbs smothered in the rich marinara and tucked into a roll oozing with melted mozzarella. Salads are decent, based on baby greens that seem exactly like the ones at many other restaurants in town. In a special salad, roasted beets and pumpkin seeds livened up the greens. A fall salad’s green canvas was decorated with walnuts, crumbled dry feta, and sweet dried cranberries. The balsamic vinaigrette was balanced and worth sopping up. The place also makes fine soups. The milky chicken and green chile is soothing and spicy at the same time, and the roasted garlic soup is a complex mix of puréed potatoes, rosemary, chicken broth, and a touch of cream that’s redolent of its namesake ingredient. Both were served with crostini made from Back Road’s wonderful dough. Is there a better crouton? ◀
Check, please Dinner for three at Back Road Pizza: Half fall salad ..................................................$ 5.50 Half beet, feta, and pumpkin-seed salad .........$ 6.00 Cubano roll .....................................................$ 6.00 Small green-chile-chicken pizza .....................$14.00 Small roasted-potato pizza...............................$14.00 Fountain soda .................................................$ 2.00 TOTAL ............................................................$47.50 (before tax and tip) Lunch for two, another visit: Cup, green-chile chicken soup .......................$ 4.00 Cup, roasted-garlic soup .................................$ 4.00 Meatball sandwich ..........................................$ 9.50 Small sausage-mushroom-onion pizza ...........$13.25 TOTAL ............................................................$30.75 (before tax and tip)
The 2013–14 SeaSon ProducTionS middleTown
Written by Will Eno Directed by Gail Springer
SEPTEMBER ONGOING ONLINE SALE LOLL DESIGNS 15% CHERNER 15% DISCONTINUED INNOVATION 20-40%
Oct. 4, 5, 11, 12—7pm Oct. 6, 13—2pm $15/$12 Reserved Seating; $5 Students & Seniors
our lady of 121ST STreeT
moleculedesign.net
Written by Stephen Adly Guirgis Directed by Victor Talmadge
505-989-9806, 1226 Flagman Way, Santa Fe Tuesday-Saturday 10-5
Nov. 15, 16, 22, 23—7pm Nov. 17, 24—2pm
leS liaiSonS dangereuSeS
Written by Christopher Hampton Directed by Jon Jory
Mar. 7, 8, 14, 15—7pm Mar. 9, 16 —2pm
SPring awakening
Book & lyrics by Steven Sater Music by Duncan Sheik Directed by Gail Springer
Apr. 25, 26, May 2, 3—7pm Apr. 27, May 4—2pm $15/$12 Reserved Seating $5 Students & Seniors
Tickets are on sale now: Phone sales—505-988-1234 In person: Tickets Santa Fe at the Lensic Box Office Online: www.ticketssantafe.org for informaTion on addiTional STudio TheaTre PerformanceS PleaSe call 505-473-6511 Performing Arts DePArtment sAntA fe University of Art AnD Design 1600 st. michAel’s Drive sAntA fe, new mexico PASATIEMPOMAGAZINE.COM
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pasa week Friday, Sept. 27
William siegal gallery 540 S. Guadalupe St., 505-820-3300. New work by Paolo Cavinato and Peter Ogilvie, reception 5-7 p.m., through Oct. 26. Worrell gallery 103 Washington Ave., 505-989-4900. Works by David Dunlop, Claire McArdle, and Betsy Ranck, reception 5-7 p.m. Zane Bennett Contemporary art 435 S. Guadalupe St., 505-982-8111. Walling: Containing Architecture, Tom Miller’s paintings and sculptural installations, reception 5-7 p.m., through Oct. 18 (see story, Page 30).
gallery/museum openings
Barbara meikle Fine art 236 Delgado St., 505-992-0400. Bears in the Woods, new works by gallery artists, reception 5-7 p.m., through Oct. 15. Canyon road art Brokerage 618 Canyon Rd., 505-995-1111. Art to Wear, designs by Praneet Bedi, reception 5-7 p.m., through Tuesday. Canyon road Contemporary 403 Canyon Rd., 505-983-0433. Group show of sculpture and glass art, reception 5-7 p.m., through Oct. 10. Charlotte Jackson Fine art 554 S. Guadalupe St., 505-989-8688. New work by Tony DeLap, reception 5-7 p.m., through Oct. 27. governor’s gallery State Capitol, fourth floor, Old Santa Fe Trail and Paseo de Peralta, 505-476-5058. Works by recipients of the 2013 Governor’s Awards for Excellence in the Arts, reception 3:30-4:30 p.m. (see story, Page 48). intrigue gallery 238 Delgado St., 505-820-9265. Narrow Point of View, work by figurative painter Pamela Frankel Fiedler, reception 5-7 p.m., through Oct. 25. manitou galleries 225 Canyon Rd., 986-9833. Group show of garden sculpture, reception 5-7:30 p.m. marigold arts 424 Canyon Rd., 505-982-4142. A Lifetime of Love, work by weaver Connie Enzmann-Forneris, reception 5-7 p.m., through Oct. 29. mclarry Fine art 225 Canyon Rd., 505-988-1161. New paintings by Cheri Christensen, reception 5-7 p.m., through Oct. 11. meyer east gallery 225 Canyon Rd., 505-983-1657. Fire Sale! Everything Must Go! Limit 4 per Customer!, trompe l’oeil paintings by Natalie Featherston, reception 5-7 p.m., through Oct. 11. meyer gallery 225 Canyon Rd., 505-983-1434. Places in the Heart, paintings by Grant Macdonald, reception 5-7 p.m., through Thursday. photo-eye gallery 376-A Garcia St., 505-988-5159. Across the Ravaged Land, Nick Brandt’s photographic study of East Africa, reception 5-7 p.m., through November. pippin Contemporary 200 Canyon Rd., 505-795-7476. Underneath Anew, work by Stephanie Shank, reception 5 p.m., through Oct. 9. sage Creek gallery 421 Canyon Rd., 505-988-3444. Still lifes and figurative paintings by David Gray, reception 5-7 p.m., through Oct. 11.
Pasa’s Little Black Book......... 69 Exhibitionism...................... 70 At the Galleries.................... 71 Museums & Art Spaces........ 71
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compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com
ClassiCal musiC
epiK artists Performances by Santa Fe Concert Association students ages 8-17, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., 505-982-8544, Ext. 16. st. John’s College Concert series Pianist Jacquelyn Helin and violinist Krzysztof Zimowski perform music of Bach, Szymanowski, and Prokofiev, 7:30 p.m., Great Hall, 1160 Camino de Cruz Blanca, no charge, 505-984-6000.
theater/danCe
Blue Rain Gallery shows new paintings by Erin Currier, 130-C Lincoln Ave.
santa Fe art Collector 217 Galisteo St., 505-988-5545. Work by painters Joe Cooper and Taryn Wise, reception 5-7 p.m. silver sun 656 Canyon Rd., 505-983-8743. Colors of New Mexico, work by Elena Giorgi, reception 5-7 p.m., through Oct. 8.
In the Wings....................... 72 Elsewhere............................ 74 People Who Need People..... 75 Pasa Kids............................ 75
PASATIEMPO I September 27- October 3, 2013
Verve gallery of photography 219 E. Marcy St., 505-982-5009. Nevada Wier: Invisible Light: The World in Infrared (see story, Page 34); Alan Pearlman: Santa Fe Faces; Janet Russek: The Tenuous Stem; reception 5-7 p.m., through Nov. 2.
antonio granjero and entreFlamenco Company 8 p.m., The Lodge at Santa Fe, $25-$45 in advance, ticketssantafe.org, 505-988-1234, Wednesday-Saturday through Oct. 12 (see review, Page 20). Good People For Giving Productions presents a play by David Lindsay-Abaire, 7:30 p.m., Santa Fe Performing Arts, 1050 Old Pecos Trail, $20, discounts available, 505-984-1370. storyhealers international Part I: The Caregivers’ Diaries, monologues by local performers, Part II: Life After 80, personal stories written by members of the El Castillo Retirement Community, 7 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, $15, brownpapertickets.com. Two Sisters and a Piano Teatro Paraguas presents Nilo Cruz’s play set in 1991 Cuba, 7:30 p.m., 3205 Calle Marie, $12 and $15, 505-424-1601, final weekend. Vanya and Sonia and Masha and Spike Fusion Theatre presents Christopher Durang’s comedy, 8 p.m., the Lensic, $20-$40, student discounts available, ticketssantafe.org, 505-988-1234, continues Saturday (see story, Page 42).
BooKs/talKs
dale Chihuly The glass artist presents a public lecture on his work, 10:30-11:30 a.m., Institute of American Indian Arts auditorium, 83 Avan Nu Po Rd., no charge, 505-424-2300.
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.
Cinny Green The author discusses and signs copies of Backpackers’ Ultra Food, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226 (see Subtexts, Page 12).
outdoors
santa Fe Botanical Garden at Museum Hill Open 9 a.m.-5 p.m. daily April-October, 10 a.m.-4 p.m. Tuesday-Sunday November-March, 715 Camino Lejo, $5, santafebotanicalgarden.org.
events
eighth Annual Palace Gem & Mineral show 9 a.m.-5:30 p.m., Palace of the Governors Courtyard; enter through the Blue Gate on Lincoln Avenue; Turquoise, Water, Sky, event kickoff lecture by Maxine McBrinn, Museum of Indian Arts & Culture curator of archaeology; New Mexico Museum of History auditorium, 113 Lincoln Ave.; show no charge, lecture $5, 505-476-5200, show and ancillary events continue through Sunday. 23rd Annual santa Fe Wine & Chile Festival Luncheons, tours, and seminars, visit santafewineandchile.org or call 505-438-8060 for tickets and details of events continuing through the weekend. Governor’s Awards for excellence in the Arts Gov. Susana Martinez and the New Mexico Arts Commission recognize seven artists and art supporters including Jenny Vincent, Frank Willett, and Darren Vigil Gray, exhibit reception 3:30-4:30 p.m., Governor’s Gallery, State Capitol Building; ceremony 5:15-7 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., no charge (see story, Page 48).
Pueblo of tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through the year. santa Fe Concorso Annual automotive event with vintage cars, a driving tour, and music; venue and ticket information available at santafeconcorso.com, continues through the weekend.
niGHtliFe
(See addresses below) Bishop’s lodge ranch resort & spa Jazz guitarist Pat Malone, 6-9 p.m., no cover. Café Café Los Primos Trio, traditional Latin rhythms, 6-9 p.m., no cover. ¡Chispa! at el Mesón The Three Faces of Jazz and Friends, 7:30 p.m.-close, no cover. Cowgirl BBQ Folk singer Elyse Miller, 5-7 p.m.; prog-rock band Drastic Andrew, 8:30 p.m.; no cover. el Cañon at the Hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. evangelo’s Classic-rock band The Jakes, 9 p.m.-close, call for cover. Hotel santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. la Fiesta lounge at la Fonda Cathy Faber’s Swingin’ Country Band, 8 p.m.-close, no cover. la Posada de santa Fe resort and spa Nacha Mendez Duo, pan-Latin rhythms, 6:30-9:30 p.m., no cover. legal tender at lamy railroad Museum High Altitude, country/classic rock, 6-9 p.m., no cover.
second street Brewery Catahoula Curse, southern gothic Americana band, 6-9 p.m., no cover. second street Brewery at the railyard Gypsy jazz ensemble Swing Soleil, 7-10 p.m., no cover. tiny’s Joshua Alan McNeil, rockin’ blues, 5:30 p.m.; Rolling Stones tribute band Little Leroy and His Pack of Lies, 8:30 p.m.; no cover. vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; JEM, Jay Cawley, Ellie Dendahl, and Michael Umphrey, guitars and vocals, 8:30 p.m.-close; call for cover.
Talking Head Trip
28 Saturday GAllery/MuseuM oPeninGs
Philspace 1410 Second St., 505-577-3663. Beast!, group show, reception 6-9 p.m.
in ConCert
Cathy Faber’s swingin’ Country Band The local group hosts its monthly swing dance, 7-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $15, cathyfaber.com.
tHeAter/dAnCe
Antonio Granjero and entreFlamenco Company 8 p.m., The Lodge at Santa Fe, $25-$45 in advance, ticketssantafe.org, 505-988-1234, Wednesday-Saturday through Oct. 12 (see review, Page 20). Good People For Giving Productions presents a play by David Lindsay-Abaire, 7:30 p.m., Santa Fe Performing Arts, 1050 Old Pecos Trail, $20, discounts available, 505-984-1370, final weekend.
Mystic Chemist: the life of Albert Hofmann and His discovery of lsd Author Ralph Metzner celebrates the launch of his book at 5 p.m. Saturday, Sept. 28, at Collected Works Bookstore, 202 Galisteo St., 505-988-4226, with a discussion on the chemist known as the father of LSD, the first person to synthesize (in 1938) and ingest (in 1943) the psychotropic drug. Two Sisters and a Piano Teatro Paraguas presents Nilo Cruz’s play set in 1991 Cuba, 7:30 p.m., 3205 Calle Marie, $12 and $15, 505-424-1601, final weekend. Vanya and Sonia and Masha and Spike Fusion Theatre presents Christopher Durang’s comedy, 2 and 8 p.m., the Lensic, $20-$40, student discounts available, ticketssantafe.org, 505-988-1234 (see story, Page 42).
pasa week
317 Aztec 20-0150 317 Aztec St., 505-8 nter dinner Agora shopping Ce Vista Grande, ida en Av courtyard 7 505-466-1270 the inn Agoyo lounge at E. Alameda St., 3 30 a ed am Al on the 505-984-2121 nt Anasazi restaura Anasazi, Rosewood Inn of the 505-988-3030 e., 113 Washington Av e ffe Co ay rd Bette 505-555-1234 905 W. Alameda St., nch resort Bishop’s lodge ra Lodge Rd., ps ho & spa 1297 Bis 505-983-6377 Café Café 5-466-1391 500 Sandoval St., 50 Casa Chimayó 5-428-0391 409 W. Water St., 50 ón ¡Chispa! at el Mes 505-983-6756 e., 213 Washington Av Cowgirl BBQ , 505-982-2565 319 S. Guadalupe St. Café te the den at Coyo 5-983-1615 50 , St. r ate W . 132 W lton el Cañon at the Hi 88-2811 5-9 50 , St. al 100 Sandov
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 Hotel santa Fe ta, 505-982-1200 1501 Paseo de Peral asters ikonik Coffee ro -0996 28 1600 Lena St., 505-4 la Boca 5-982-3433 72 W. Marcy St., 50 ina nt la Casa sena Ca 5-988-9232 50 e., Av e lac Pa 125 E. at la Fonda la Fiesta lounge , 505-982-5511 St. o isc nc Fra 100 E. San a Fe resort nt sa de da la Posa Ave., 505-986-0000 e lac Pa and spa 330 E. at the lamy the legal tender 151 Old Lamy Trail, m railroad Museu 505-466-1650 g Arts Center lensic Performin St., 505-988-1234 o isc nc Fra 211 W. San e lodge th at ge un lodge lo Francis Dr., St. N. 0 at santa Fe 75 505-992-5800
low ’n slow lowrider Bar at Hotel Chimayó de santa Fe 125 Washington Ave., 505-988-4900 the Matador 116 W. San Francisco St., 505-984-5050 the Mine shaft tavern 2846 NM 14, Madrid, 505-473-0743 Molly’s Kitchen & lounge 1611 Calle Lorca, 505-983-7577 Museum Hill Café 710 Camino Lejo, Milner Plaza, 505-984-8900 Music room at Garrett’s desert inn 311 Old Santa Fe Trail, 505-982-1851 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 santa Fe sol stage & Grill 37 Fire Pl., solofsantafe.com
continued on Page 73
second street Brewer y 1814 Second St., 505-982-3030 second street Brewery at the ailyard 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 veterans of Foreign Wars 307 Montezuma Ave., 505-983-9045 Warehouse 21 1614 Paseo de Peralta, 505-989-4423 Zia diner 326 S. Guadalupe St., 505-988-7008
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exhibitionism
A peek at what’s showing around town
stephanie shank: Blue Abyssal, 2011, mixed media on panel. Pippin Contemporary (200 Canyon Road) presents Underneath Anew, an exhibition of recent abstractions by Stephanie Shank. Her paintings are gestural and nonobjective. There is a 5 p.m. reception on Friday, Sept. 27. Call 505-795-7476.
elena Giorgi: Girl in Green, 2013, photograph. Elena Giorgi’s photographs capture luminous light and vibrant natural colors. Giorgi works as a scientist at Los Alamos National Laboratory and is a writer and children’s book author. Colors of New Mexico: Skies, Florals, and Visual Inventions From the Land of Enchantment, an exhibition of her photography, opens with a 5 p.m. reception at Silver Sun Gallery (656 Canyon Road) on Friday, Sept. 27. Call 505-983-8743.
tony DeLap: Slightly Cross, 2013, acrylic on linen. Paintings and Drawings, an exhibition of work by Tony DeLap, opens with a 5 p.m. reception on Friday, Sept. 27, at Charlotte Jackson Fine Art (554 S. Guadalupe St.). The artist juxtaposes geometric planes of color to suggest depth and dimensionality in his minimalist canvases. Call 505-989-8688.
Pamela Frankel Fiedler: All Thunder, No Lightning, 2013, acrylic, oil, and metallic pigments on canvas. Intrigue Gallery (238 Delgado St.) presents Narrow Point of View, an exhibit of new abstract and figurative works by Pamela Frankel Fiedler. Her drip paintings are warm and atmospheric, and her figurative works are provocative, sensual, and intimate portraits depicting private moments. The show opens with a reception at 5 p.m. on Friday, Sept. 27. Call 505-820-9265. Roger hubbard: The Gig 1-2-3, 2013, stainless steel, wind-driven sculpture. Sculpture and Glass is an exhibition of work by Casey Horn, Doug Gillis, and Roger Hubbard. Horn’s sculptures are based on ancient kanji symbols that form part of the modern Japanese written language. Gillis works in kiln-formed glass, while Hubbard creates kinetic sculpture. The show opens Friday, Sept. 27, with a 5 p.m. reception at Canyon Road Contemporary (403 Canyon Road). Call 505-983-0433. 70
PASATIEMPO I September 27- October 3, 2013
At the GAlleries Argos Studio/Gallery 1211 Luisa St. 505-988-1814. Sandra Lewis: A Survey of Her Work, through Oct. 11. Bellas Artes 653 Canyon Rd., 505-983-2745. Pozos Azules, work by textile artist Olga de Amaral, through Saturday, Sept. 28. Bill Hester Fine Art 830 Canyon Rd., 505-660-5966. Trips, photographs by Timothy Hearsum, through Oct. 4. Blue Rain Gallery 130-C Lincoln Ave., 505-954-9902. New works by painters Erin Currier and Rimi Yang, through Saturday, Sept. 28. Chiaroscuro Contemporary Art 702½ Canyon Rd., 505-992-0711. Tim Jag’s Dualities Series; Distances by Mike Stack, through Oct. 18. David Richard Gallery 544 S. Guadalupe St., 505-983-9555. Add-Verse, photo and video project by Allan Graham and Gloria Graham; Any Position Limits the View (We Are Only Here for a Spell), text- and language-based art by Allan Graham (aka Toadhouse); through Oct. 19. Eggman & Walrus 130 W. Palace Ave., second floor, 505-660-0048. Limitless, works by Bernadette Freeman and Charles Greeley, through Oct. 12. Eight Modern 231 Delgado St., 505-995-0231. With Fire, Flags, and Sacrifice, new works by Katherine Lee, through Oct. 19. Ellsworth Gallery 215 E. Palace Ave., 505-989-7900. The Invisible Thread, paintings by Elise Ansel, through Oct. 26. Evoke Contemporary 130-F Lincoln Ave., 505-995-9902. Points of View, paintings by Francis Di Fronzo and Lisa Grossman, through Monday, Sept. 30. Gebert Contemporary 558 Canyon Rd., 505-992-1100. Around the Globe, group show of paintings and sculpture, through Tuesday, Oct. 1. Hunter Kirkland Contemporary 200-B Canyon Rd., 505-984-2111. Spiral Curve, sculptor T Barny and encaustic paintings by Laura Wait, through Oct. 6. In/Visible Borders: New Mexico Photographers Atrium Gallery, Marion Center for Photographic Arts, SFUA&D, 1600 St. Michael’s Dr., 505-473-6341. Group show, through Dec. 13. Jane Sauer Gallery 652 Canyon Rd., 505-995-8513. A Decade of Seasons, work by abstract painter Hilario Gutierrez, through Oct. 22. Jean Cocteau Cinema 418 Montezuma Ave., 505-466-5528. Janet Russek — The Neighborhood, B & W photographic study of barrio de Guadalupe, through early October. LewAllen Galleries at the Railyard 1613 Paseo de Peralta, 505-988-3250, Songs of Joy, memorial exhibit of works by Bernard Chaet (1924-2012); After the Rain, work by color field painter Ronnie Landfield, through Oct. 13. Longworth Gallery 530 Canyon Rd., 505-989-4210. Rumi on Canvas, work by Rahileh Rokhsari, through Monday, Sept. 30.
Peyton Wright 237 E. Palace Ave., 989-9888. Homage to Color, retrospective of works by Stanton MacdonaldWright (1890-1973). Santa Fe Clay 545 Camino de la Familia, 984-1122. In/Site, works by Meredith Brickell and Lynn Duryea, through Oct. 26. Santa Fe Public Library Main Branch, 145 Washington Ave., 955-6784. Migration: Ebb and Flow, book art and prints by Trina Badarak, through Monday, Sept. 30. Scheinbaum & Russek 812 Camino Acoma, 988-5116. Beyond Reality, works by photographers Minor White (1908-1976) and Walter Chappell (1925-2000), through Oct. 12. Turner Carroll 725 Canyon Rd., 986-9800. New paintings by Rex Ray, through Sunday, Sept. 29. Vivo Contemporary 725-A Canyon Rd., 982-1320. Momentum, group show, through Oct. 8.
MuseuMs & Art spAces refer to the daily calendar listings for special events. hours subject to change on holidays and during special events. Center for Contemporary Arts 1050 Old Pecos Trail, 505-982-1338. Gallery hours available online at ccasantafe.org or by phone, no charge. El Rancho de las Golondrinas 334 Los Pinos Rd., 505-471-2261. Living history museum and historic paraje on El Camino Real, the Royal Road to Mexico City. Open 10 a.m.-4 p.m. Wednesday-Sunday through September. $8; seniors and teens $5; ages 12 and under no charge. Georgia O’Keeffe Museum 217 Johnson St., 505-946-1000. 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 and Southwest, group show • Steven J. Yazzie: The Mountain • Jacob Meders: Divided Lines; Cannupa Hanska Luger: Stereotype: Misconceptions of the Native American; 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, Museum Hill, 505-476-1250. Heartbeat: Music of the Native Southwest, reception 1-4 p.m. Sunday, Sept. 29; events include performances by Tewa Women’s Choir and Navajo alt-rock duo Sihasin (see story, Page 44) • What’s New in New: Recent Acquisitions, through December • Woven Identities: Basketry Art From the Collections • Margarete Bagshaw: Breaking the Rules, 20-year retrospective • Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Open 10 a.m.-5 p.m. daily. NM residents $6; nonresidents $9; ages 16 and younger
eggman & Walrus shows work by charles Greeley, 130 W. palace Ave., second floor
no charge; students with ID $1 discount; school groups free; NM residents no charge on Sundays; no charge for NM residents over 60 on Wednesdays. Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month. Museum of International Folk Art 706 Camino Lejo, Museum Hill, 505-476-1200. Let’s Talk About This: Folk Artists Respond to HIV/AIDS, collaborative community exhibit, through Jan. 5, 2014 • Tako Kichi: Kite Crazy in Japan, exhibit of traditional Japanese kites, through March 2014 • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, collection of toys and folk art. Open 10 a.m.-5 p.m. daily. NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; NM residents over 60 no charge 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. (1944-1945), through May 27, 2014 • San Ysidro/St. Isidore the Farmer, bultos, straw appliqué, paintings on tin, and retablos • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late-colonial-period re-creation. 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, 2014 • Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author, through Feb. 9, 2014. Open 10 a.m.-5 p.m. daily.
NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; no charge for NM residents over 60 on Wednesdays; 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. Collecting Is Curiosity/Inquiry • A Life in Pictures: Four Photography Collections; through Jan. 19 • 50 Works for 50 States: New Mexico, through April 13 • Back in the Saddle, paintings, prints, photographs, and drawings of the Southwest, through Jan. 12 • It’s About Time: 14,000 Years of Art in New Mexico, through January. Open 10 a.m.-5 p.m. daily. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; NM residents no charge on Sundays. Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Pl., 505-988-8900. A Straight Line Curved, paintings by Helen Hardin (1943-1984), through Monday, Sept. 30. Open 10 a.m.-5 p.m. Tuesday-Sunday. $10 admission. Poeh Museum 78 Cities of Gold Rd., Poeh Center Complex, Pueblo of Pojoaque, 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. Enrique Martínez Celaya: The Pearl, site-specific installation, through Thursday, Oct. 13. Open 10 a.m.-5 p.m. Tuesday-Saturday; 10 a.m.-7 p.m. Friday; closed Wednesday beginning in September. $10; seniors and students $5; 10 a.m.-noon Saturday no charge; Friday no charge. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 505-982-4636. The Durango Collection: Native American Weaving in the Southwest, 1860-1880, through April 13. Open 10 a.m.-5 p.m. daily. Donations accepted.
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In the wings MUSIC
Boom Tic Boom Percussionist/composer Allison Miller, with pianist Myra Melford and bassist Todd Sickafoose, 7:30 p.m. Friday, Oct. 4, Gig Performance Space, 1808 Second St., $20 at the door, gigsantafe.com. Canticum Novum Chorus & Orchestra The 10th season opens with music of Pergolesi, Mendelssohn, and Donizetti, performers include soprano Cecilia Leitner and baritone Tim Wilson, 4 p.m. Saturday and Sunday, Oct. 5-6, Scottish Rite Center, 463 Paseo de Peralta, Oliver Prezant pre-concert lectures on both dates, $25 and $35 in advance and at the door, discounts available, 505-988-1234, ticketsantafe.org Música Antigua de Albuquerque Something Borrowed, Something New, music of the Renaissance, 4:30 p.m. Sunday, Oct. 6, Christ Lutheran Church, 1701 Arroyo Chamiso, $16, discounts available, 505-842-9613. Te Amo, Argentina Multimedia performance with tango dancers Miriam Larici and Leonardo Barrionuevo, string quartet The Capitol Ensemble, pianist Brian Pezzone, and double bassist Pablo Motta, 7:30 p.m. Friday, Oct. 11, the Lensic, $20-$40, 505-988-1234, ticketssantafe.org.
Yuja Wang performs at the Lensic oct. 10.
Cedric Burnside Project and Jimmy “Duck” Holmes Mississippi-blues artists, 7 p.m. Saturday, Oct. 12, Music Room at Garrett’s Desert Inn, 311 Old Santa Fe Trail, $25 in advance, brownpapertickets.com, $28 at the door. World Blues Tour Featuring Taj Mahal, Vusi Mahlasela, Fredericks Brown, and Deva Mahal, 7:30 p.m. Sunday, Oct. 13, the Lensic, $25-$55, ticketssantafe.org, 505-988-1234. Steve Earle and The Dukes Roots rocker, 7:30 p.m. Tuesday, Oct. 15, Greer Garson Theatre, SFUA&D, $42-$62, 505-988-1234, ticketssantafe.org. Serenata of Santa Fe The chamber music ensemble’s season continues with No Stone Unturned, music of Messiaen, Brahms, and John Harbison, 3 p.m. Sunday, Oct. 20, performers include
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Debra Ayers, L.P. How, and Christof Huebner, Scottish Rite Center, 463 Paseo de Peralta, $25, 505-988-1234, ticketssantafe.org. Geri Allen, Terri Lyne Carrington, and Esperanza Spalding Jazz trio, 7 p.m. Sunday, Oct. 20, the Lensic, $30-$60, 505-988-1234, ticketssantafe.org. Notes on Music Illustrated presentation with pianist/conductor Joseph Illick on the music of Verdi, Tuesday, Oct. 22, United Church of Santa Fe, 1804 Arroyo Chamiso Rd., $20, 505-988-1234, ticketssantafe.org. Birds of Chicago Roots band, 7:30 p.m. Monday, Oct. 28, Music Room at Garrett’s Desert Inn, 311 Old Santa Fe Trail, $22 in advance at brownpapertickets.com, $25 at the door. Leni Stern African Trio Jazz guitarist with Senegalese musicians Mamadou Ba and Alioune Faye, 7:30 p.m. Monday, Oct. 28, Gig Performance Space, 1808 Second St., $20 at the door, gigsantafe.com. Alloy Orchestra The instrumental trio performs live accompaniment for the 1927 silent film Metropolis, 7 p.m. Tuesday, Oct. 29, the Lensic, $10-$20, ticketssantafe.org, 505-988-1234. Iva Bittová Czech avant-garde vocalist/violinist, 7:30 p.m. Friday, Nov. 8, Gig Performance Space, 1808 Second St., $20 at the door, gigsantafe.com. Robert Cray Band Blues guitarist, 7:30 p.m. Sunday, Nov. 10, the Lensic, $34-$54, ticketssantafe.org, 505-988-1234. Richard Smith Finger-style guitarist, 8 p.m. Thursday, Nov. 14, Gig Performance Space, 1808 Second St., $20 at the door, gigsantafe.com. 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, 505-988-1234, ticketssantafe.org.
Upcoming events Minds Interrupted: Stories of Lives Affected by Mental Illness National Alliance on Mental Illness and Compassionate Touch Network offer personal stories written and presented by residents of Santa Fe and surrounding areas, 7 p.m. Wednesday, Oct. 9, the Lensic, general admission $15, reserved seats $50, 505-988-1234, ticketssantafe.org. Dos Patrias: La Poesía de Cuba Teatro Paraguas’ poetry series, 7:30 p.m. Friday and Saturday, 2 p.m. Sunday, Oct. 11-20, 3205 Calle Marie, $8 and $10, Sundays pay-what -you-wish, 505-424-1601. I Hate Hamlet Santa Fe Playhouse presents a play by Paul Rudnick, directed by Robert Nott, 7:30 p.m. Thursday-Saturday, 4 p.m. Sunday, Oct. 11-27, 142 E. DeVargas St., 505-988-4262. 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.
HAPPENINGS
A Little Magic Under the Big Top Benefit gala for Big Brothers Big Sisters; dinner prepared by Chef Charles Dale of Bouche French Bistro, art auction, and a performance by circus arts and puppetry troupe Wise Fool New Mexico, 6 p.m. Saturday, Oct. 5, Buffalo Thunder Resort & Casino, visit bbbsnorthernnm.org or call 505-983-8360 for tickets and details. Paul Hawken Environmental lecturer, 7 p.m. Tuesday, Oct. 8, the Lensic, $15-$30, 505-988-1234, ticketssantafe.org. Atomic Surplus Multidisciplinary group exhibit surveying the global nuclear legacy; also, Tony Price and the Black Hole, exhibit of historic ephemera from the Los Alamos Black Hole salvage yard and works from the estate of the artist Tony Price, opening reception 6-8 p.m. Friday, Oct. 11, Center for Contemporary Arts, 1050 Old Pecos Trail, suggested $5 donation, 505-982-1338.
Spread 4.0 SITE Santa Fe’s recurring public dinners designed to generate financial support for artistic innovation; finalists include Axle Contemporary, Ligia Bouton, and New Mexico Acequia Association, 7 p.m. Friday, Oct. 11, Santa Fe Farmers Market Pavilion, 1606 Paseo de Peralta, $15-$50 sliding scale, tickets available at SITE Santa Fe only, 505-989-1199. Fifth Annual Santa Fe Independent Film Festival Grand-opening gala 6:30 p.m. Wednesday, Oct. 16, with the John Sayles thriller Go for Sisters; other films include the New Mexico premiere of Tapia and the madein-New Mexico feature Sweet Vengeance; also, filmmaker John Waters in his one-man show This Filthy World, 7 p.m. Saturday, Oct. 19, the Lensic; festival continues to Oct. 20, venues and ticket costs vary, festival pass $150, ticketssantafe.org, 505-988-1234. Esperanza Shelter for Battered Families Masquerade Ball Silent auction, music by theatrical jazz quartet Le Chat Lunatique, and dinner, 6 p.m. Saturday, Oct. 26, Santa Fe Community Convention Center, $125, table discounts available, esperanzaball.com, 505-474-5536. Lannan Foundation events Lannan Literary Series, writers Jamaica Kincaid and Robert Faggen, 7 p.m. Wednesday, Oct. 16, In Pursuit of Cultural Freedom Series, Jeremy Scahill, author of Dirty Wars: The World Is a Battlefield, and Tom Engelhardt, 7 p.m. Wednesday, Oct. 30; the Lensic, $6, students $3, ticketssantafe.org, 505-988-1234. FUZE-SW Food + Folklore Festival Food conference with national and local chefs and authors, speakers include James Campbell Caruso, Rob DeWalt, and Cordelia Thomas Snow. Nov. 8-10, Museum of International Folk Art, $250, 505-476-1146, for updates visit fuzesw.museumofnewmexico.org. Holiday Pie Mania Auction of pies supplied by local chefs and bakers; 1-5 p.m. Saturday, Nov. 9, Builders Source Appliance Gallery, 1608 Pacheco St., $5 in advance, $7 at the door, proceeds benefit The Food Depot, thefooddepot.org, 505-471-1633.
THEATER/DANCE
Middletown Greer Garson Theatre presents Will Eno’s comedy, 7 p.m. Friday and Saturday, 2 p.m. Sunday, Oct. 4-13, SFUA&D, 1600 St. Michael’s Dr., $12 and $15, 505-988-1234, ticketssantafe.org. The Rumi Concert Poetry, music, dance, and storytelling, 7:30 p.m. Friday, Oct. 4, the Lensic, $25-$100, 505-988-1234, ticketssantafe.org. The Met at the Lensic Tchaikovsky’s Eugene Onegin is the seasonopening simulcast from the Metropolitan Opera, 11 a.m. Saturday, Oct. 5, encore 6 p.m., the Lensic, live broadcast $22-$28, encore $22, 505-988-1234, ticketssantafe.org.
PASATIEMPO I September 27- October 3, 2013
Roots rocker steve earle and his band the Dukes on stage oct. 15 at greer garson theatre
pasa week
from Page 69
28 Saturday (continued) books/talks
David scheinbaum and Janet Russek The photographers signs copies of their respective books Hip Hop: Portraits of an Urban Hymn (see story, Page 54) and The Tenuous Stem, 2-4 p.m., Verve Gallery of Photography, 219 E. Marcy St., 505-982-5009. Marian sloan Russell, a lifetime of travel on the santa Fe trail Santa Fe New Mexican columnist and historian Marc Simmons discusses the western pioneer in the Cowboy Church of Santa Fe County 2013 lecture series, 10 a.m., 4525 NM 14, cowboychurchofsantafe.org, no charge. Radical bookmaking A lecture by Santa Fe artist Edie Tsong, 1 p.m., Board Room, Santa Fe Community College, 6401 Richards Ave., santafebag.org. Ralph Metzner The author of Mystic Chemist: The Life of Albert Hofmann and His Discovery of LSD launches his book, 5 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.
events
23rd annual santa Fe Wine & Chile Festival Luncheons, tours, and seminars, visit santafewineandchile.org or call 505-438-8060 for tickets and details of events continuing through Sunday. Contra dance New England folk dance with music by Roaring Jelly, beginner classes 7 p.m., dance 7:30 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $9, students, $4, 505-820-3535. eighth annual Palace Gem & Mineral show 9 a.m.-4 p.m.; opal-cutting and -polishing demonstrations with Sandy Craig 10 a.m. today and Sunday; History of Fakery in Gemstones: Questions You Should Ask Before Buying, conversation with Garrick Beck 11:30 a.m. today and noon Sunday; jewelry-making workshops with April Redbird 2 p.m. today and Sunday; Palace of the Governors Courtyard, enter through the Blue Gate on Lincoln Avenue, no charge for the show, workshop $20, 505-476-5200. kindred spirits animal sanctuary Fall open House 10 a.m.-4 p.m., 3749-A NM 14, south of Santa Fe, 505-471-5366, visit kindredspiritsnm.org for schedule of events. northern new Mexico Fine arts & Crafts Guild Fair 10 a.m.-5 p.m. today and Sunday, Cathedral Park, E. Palace Ave. and Cathedral Pl., no charge. Pueblo of tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 505-670-2599 or 505-231-8536, pueblooftesuquefleamarket. com, Friday-Sunday through the year. santa Fe Concorso Annual automotive event with vintage cars, a driving tour, and music; venue and ticket information available at santafeconcorso.com, concludes Sunday. santa Fe Farmers Market Market 8 a.m.1 p.m.; Cooking demonstrations by author Cinny Green (Backpackers’ Ultra Food), 9 a.m.noon (see Subtexts, Page 12); 1607 Paseo de Peralta, call 505-988-4226. santa Fe society of artists show 9 a.m.-5:30 p.m., First National Bank parking lot on W. Palace Ave., across from the New Mexico Museum of Art, weekends through Oct. 20.
nIGHtlIFe
(See Page 69 for addresses) anasazi Restaurant Guitarist Jesus Bas, 7-10 p.m., no cover. Café Café Guitarist Michael Tait Tafoya, 6-9 p.m., no cover. ¡Chispa! at el Mesón Pianist John Rangel’s jazz quartet, 7:30 p.m., no cover. Cowgirl bbQ Santa Fe Chiles Dixie Jazz Band, 2-5 p.m.; folk rockers The Sean Healen Band, 8:30 p.m., no cover. el Cañon at the Hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. la Fiesta lounge at la Fonda Cathy Faber’s Swingin’ Country Band, 8 p.m.-close, no cover. legal tender at lamy Railroad Museum, E. Christina Herr & Wild Frontier, 6-9 p.m., no cover. the Palace Restaurant & saloon C.S. Rockshow, 9:30 p.m., call for cover. second street brewery Railyard Reunion Band, Americana and bluegrass, 6-9 p.m., no cover. second street brewery at the Railyard Bill Hearne Trio, country, 7-10 p.m., no cover. sweetwater Harvest kitchen Hawaiian slack key guitarist John Serkin, 6 p.m., no cover. tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m.-close, no cover. the Underground at evangelo’s DJ Dynamite Sol’s video jukebox, 9 p.m., call for cover. vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; Ron Newman & Christianne Miranda, 8 p.m.; call for cover.
29 Sunday GalleRy/MUseUM oPenInGs
Museum of Indian arts and Culture 710 Camino Lejo, Museum Hill, 505-476-1250. Heartbeat: Music of the Native Southwest, reception 1-4 p.m.; events include performances by Tewa Women’s Choir and Navajo alt-rock duo Sihasin (see story, Page 44). voices in the leaves Site-specific installation of works produced during writing and drawing classes led by poet Miriam Sagan and artist Linda Wiener, reception 8:30-11:30 a.m., Leonora Curtin Wetland Preserve, 27283 W. Frontage Rd., 505-982-8340.
ClassICal MUsIC
Concordia santa Fe The chamber-music ensemble presents World Winds, 2 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., donations accepted, 505-913-7211. santa Fe symphony orchestra & Chorus Music of Beethoven, Mozart, and Shostakovich, 4 p.m., the Lensic, $20-$70, ticketssantafe.org, 505-988-1234.
tHeateR/DanCe
Good People For Giving Productions presents a play by David Lindsay-Abaire, 4 p.m., Santa Fe Performing Arts, 1050 Old Pecos Trail, $20, discounts available, 505-984-1370.
The Warren Hood Band performs Sunday, Sept. 29 at Cowgirl BBQ, 319 S. Guadalupe St.
Two Sisters and a Piano Teatro Paraguas presents Nilo Cruz’s play set in 1991 Cuba, 2 p.m., 3205 Calle Marie, pay-what-you-wish, 505-424-1601.
books/talks
n. scott Momaday and lisa Marie stuart The author reads his poetry accompanied by the cellist, 3 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.
events
23rd annual santa Fe Wine & Chile Festival Luncheons, tours, and seminars, for tickets and details of events call 505-438-8060 or visit santafewineandchile.org. eighth annual Palace Gem & Mineral show 9 a.m.-4 p.m.; opal-cutting and -polishing demonstrations with Sandy Craig 10 a.m.; History of Fakery in Gemstones: Questions You Should Ask Before Buying, conversation with Garrick Beck noon; jewelry-making workshop with April Redbird 2 p.m.; Palace of the Governors Courtyard, enter through the Blue Gate on Lincoln Avenue, no charge for the show, workshop $20, 505-476-5200. northern new Mexico Fine arts & Crafts Guild Fair 10 a.m.-5 p.m., Cathedral Park, E. Palace Ave. and Cathedral Pl., no charge. Pueblo of tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 505-670-2599 or 505-231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through the year. Railyard artisans Market 10 a.m.-4 p.m.; live music with songster J. Michael Combs, Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta. santa Fe Concorso Annual automotive event with vintage cars, a driving tour, and music; venue and ticket information available at santafeconcorso.com. santa Fe society of artists show 9 a.m.-5:30 p.m., First National Bank parking lot on W. Palace Ave., across from the New Mexico Museum of Art, weekends through Oct. 20.
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(See Page 69 for addresses) Café Café Guitarist Michael Tait Tafoya, 6-9 p.m., no cover.
Cowgirl bbQ Zenobia, gospel/soul/R & B, noon; Warren Hood Band, blues/nugrass, 8 p.m.; no cover. el Farol Nacha Mendez, pan-Latin chanteuse, 7 p.m., no cover. evangelo’s R & B jam band Tone & Company, 8:30 p.m., no cover. la Fiesta lounge at la Fonda Classic movie night, 6-10 p.m., no cover. second street brewery at the Railyard Busy & The Crazy 88!, Busy McCarroll, Kevin Zoernig, Baird Banner, and Justin Bransford, hipster pop, 1-4 p.m., no cover. vanessie Pianist Doug Montgomery, jazz and classics, 7 p.m.-close, call for cover.
30 Monday books/talks
santa Fe Photographic Workshops instructor presentation Slide presentation and open conversation of works by Sam Abell and Peter Ogilvie, 8-9 p.m., Sunmount Room, Immaculate Heart of Mary Retreat and Conference Center, 50 Mount Carmel Rd., no charge, 505-983-1400, Ext 11. segesser Hide Paintings: Discovery, History, and art A Southwest Seminars lecture with Thomas E. Chavez, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 505-466-2775. spanish Colonial art society lecture Traditional Spanish Colonial Pottery & Innovations Within Tradition in Pottery, with New Mexico artist Jacobo de la Serna, 2 p.m., Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, $10, 505-982-2226.
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(See Page 69 for addresses) Cowgirl bbQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover. la Fiesta lounge at la Fonda Country band Sierra, 7:30 p.m., no cover. vanessie Pianist Doug Montgomery, jazz and classics, 7 p.m.-close, call for cover. ▶▶▶▶▶▶▶▶
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1 Tuesday
la fiesta lounge at la fonda The Bill Hearne Trio, classic country, 7:30-11 p.m., no cover. low ’n slow lowrider bar at hotel Chimayó de santa fe Gerry Carthy, tenor guitar and flute, 8 p.m., call for cover. the Matador DJ Inky Inc. spinning soul/punk/ska, 8:30 p.m., no cover. tiny’s Joe West & The Santa Fe Revue, psychedelic country, 8 p.m.-close, no cover. Vanessie Pianist John Randal, 7 p.m.-close, no cover. Zia diner Jazz string ensemble Trio Bijou, 6:30-8:30 p.m., no cover.
books/talks
Enrique Martínez Celaya The artist discusses his SITE Santa Fe installation The Pearl, 6 p.m., Tipton Hall, SFUA&D, 1600 St. Michael’s Dr., 505-473-6440, $10. steven ovitksy The executive director of the Santa Fe Chamber Music Festival discusses Light in the Time of Darkness: The Other Music of Terezín, 7 p.m. Temple Beth Shalom, 205 E. Barcelona Rd., $10 in advance at santafejff.org or at the door.
nightlifE
(See Page 69 for addresses) Cowgirl bbQ Country singer/songwriter Sarah Peacock, 8 p.m., no cover. El farol Canyon Road Blues Jam 8:30 p.m.-midnight, no cover. la fiesta lounge at la fonda Country band Sierra, 7:30 p.m., no cover. Vanessie Pianists Doug Montgomery, 6-8 p.m. and John Randal, 8 p.m.-close, no cover.
▶ Elsewhere Abiquíu
abiquíu lecture series 2013 The Curator as Artist and Historian, by Joseph Traugott, 7 p.m. Thursday, Oct. 3, Abiquíu Inn, 21120 NM 84, 505-685-4378, no charge.
AlbuquErquE Museums/art spaces
2 Wednesday thEatEr/danCE
antonio granjero and Entreflamenco Company 8 p.m., The Lodge at Santa Fe, $25-$45 in advance, ticketssantafe.org, 505-988-1234, Wednesday-Saturday through Oct. 12 (see review, Page 20).
books/talks
anne hillerman The author celebrates the launch of Spider Woman’s Daughter, her novel reviving Tony Hillerman’s Leaphorn and Chee crime series, 6 p.m., Inn at Loretto, 211 Old Santa Fe Trail, no charge, book sale proceeds benefit Friends of the Santa Fe Public Library, 505-955-2839 (see story, Page 14). the Collecting Couple: herbert and dorothy Vogel The weekly New Mexico Museum of Art docent talk series continues, 12:15 p.m., 107 W. Palace Ave., by museum admission, 505-476-5075. hobbes’ Mortal god A St. John’s College community lecture by Jay Smith, 3:15 p.m., Great Hall, Peterson Student Center, 1160 Camino de Cruz Blanca, no charge, 505-984-6070.
outdoors
tsankawi hike Join the group Green Hour Hikes at 9:30 a.m. for a one-hour trek through the ruins, visit Pajarito Environmental Education Center’s family nature Yahoo group’s website for details, groups.yahoo.com.
nightlifE
(See Page 69 for addresses) ¡Chispa! at El Mesón Flamenco guitarist Chuscales, 7:30-9:30 p.m., no cover. Cowgirl bbQ Nashville-based singer/songwriter Brian Johannesen, 8 p.m., no cover. El farol Pan-Latin chanteuse Nacha Mendez with Santastico, 7 p.m.-close, no cover. la fiesta lounge at la fonda The Bill Hearne Trio, classic country, 7:30-11 p.m., no cover. la Posada de santa fe resort and spa Omar Villanueva, Latin fusion, 7-9:30 p.m., no cover. 74
Monument VIII, by Nicola López, in the exhibit Collecting Is Curiosity/Inquiry, New Mexico Museum of Art, 107 W. Palace Ave.
tiny’s Mike Clymer and Nick Wimett’s electric jam, 8:30 p.m.-close, no cover. Vanessie Pianist John Randal, 7 p.m.-close, no cover.
books/talks
3 Thursday
EVEnts
gallEry/MusEuM oPEnings Wade Wilson art santa fe 217 W. Water St., 505-660-4393. Paintings by Floyd Newsum, reception 5-7 p.m., through Nov. 11.
thEatEr/danCE
antonio granjero and Entreflamenco Company 8 p.m. Wednesday-Saturday through Oct. 12, The Lodge at Santa Fe, $25-$45 in advance, ticketssantafe.org, 505-988-1234 (see review, Page 20). hungarian state folk dance Ensemble 7:30 p.m., the Lensic, $25-$45, 505-988-1234, ticketssantafe.org.
PASATIEMPO I September 27- October 3, 2013
dinosaurs that did not die Retired geologist Jim Fassett discusses his fossil research in the San Juan Basin, 1 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, $10, 505-982-9274, renesan.org. backyard astronomy A public program of the Santa Fe Community College, 7-8 p.m., outdoor viewing of the night sky follows, SFCC Planetarium, 1401 Richards Ave., $5, discounts available, 505-428-1744.
nightlifE
(See Page 69 for addresses) ¡Chispa! at El Mesón Jazz pianist Chris Ishee, 7:30-9:30, no cover. Cowgirl bbQ Pianist/songwriter Jill Cohn and her band, 8 p.m., no cover. la boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover. la Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover.
albuquerque Museum of art & history 2000 Mountain Rd. N.W., 505-243-7255. Estampas de la Raza: Contemporary Prints From the Romo Collection, through Sunday, Sept. 29 • Landscape Drawings From the Collection, through Oct. 27. Open 9 a.m.-5 p.m. TuesdaySunday; adults $4 ($1 discount for NM residents); seniors $2; children ages 4-12 $1; 3 and under no charge; the first Wednesday of the month and 9 a.m.-1 p.m. Sundays no charge. national hispanic Cultural Center 1701 Fourth St. S.W., 505-246-2261. En la Cocina With San Pascual, works by New Mexico artists, opening reception 6-8 p.m. Friday, Sept. 27. Open 10 a.m.-5 p.m. Tuesday-Sunday. unM art Museum Center for the Arts, 505-277-4001. Exhibits of works from the permanent collection in celebration of the museum’s 50th anniversary, running 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. Tuesday-Saturday; $5 suggested donation.
Events/Performance
billy Cobham and spectrum 40 Veteran jazz-fusion drummer/composer, 7 p.m. Saturday, Sept. 28, KiMo Theatre, 423 Central Ave. N.E., $40-$50 in advance at holdmyticket.com, call New Mexico Jazz Workshop for information, 505-255-9798. Chatter sunday Pianist Fred Sturm performs music of Nazareth, Milhaud, and Villa-Lobos; readings by poets Myrlin Hepworth and Logan Phillips follow; 10:30 a.m. Sunday, Sept. 29, The Kosmos, 1715 Fifth St. N.W., $15 at the door only, discounts available, chatterchamber.org.
EspAñolA
bond house Museum 706 Bond St., 505-747-8535. Preserve the Old, but Know the New: Traditional and Contemporary Native American Art, through Friday, Sept. 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, no charge.
Misión Museum y Convento 706 Bond St., 505-747-8535. A replica based on 1944 University of New Mexico excavations of the original church built by the Spanish at the San Gabriel settlement in 1598. Open noon-4 p.m. Wednesday-Friday, 11 a.m.-3 p.m. Saturday; no charge.
los alamos Museums/Art Spaces/performances
Canadian Brass The quintet performs jazz, classical works, marches, and big band tunes, 4 p.m. Sunday, Sept. 29, $30, Duane Smith Auditorium, 505-988-1234, ticketssantafe.org. Mesa Public Library Art Gallery 2400 Central Ave., 505-662-8253. Expressions in Book Art, work by members of the Santa Fe Book Arts Group, opening Tuesday, Oct. 1, through October. Pajarito Environmental Education Center 3540 Orange St., 505-662-0460. Exhibits of flora and fauna of the Pajarito Plateau; an herbarium, live amphibians, and butterfly and xeric gardens. Open noon-4 p.m. Tuesday-Friday, 10 a.m.1 p.m. Saturday, visit pajaritoeec.org for events schedule, no charge.
Pecos
Pecos National Historical Park celebrates Greer Garson’s 109th birthday Ranger-led tours of the actress’ Forked Lightning Ranch, 9:30 a.m. and 1:30 p.m. Sunday, Sept. 29, 25 miles southeast of Santa Fe off Interstate 25, park entry $3, kids 16 and under no charge, tours $2, reservations 505-757-7241.
Peñasco
Bicultural Road Show Stilt-walking troupe Landscape Reinvention Society, poet Logan Dirty Verbs, and Andean music trio Hojarasca, 2 p.m. and 7:30 p.m. Saturday, Sept. 28, Peñasco Theatre, 15046 NM 75, penascotheatre.org, 575-587-2726, $15.
taos
Harwood Museum of Art 238 Ledoux St., 575-758-9826. The Harwoods • Burt Harwood: Historic Photographs • Highlights From the Taos Municipal Schools Historic Art Collection; visit harwoodmuseum.org for full schedule of ancillary events. Open 10 a.m.-5 p.m. TuesdaySaturday, noon-5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday. Heinley Fine Arts 119-C Bent St., 617-947-9016. Paint This Land, landscapes by Jivan Lee, reception 5-8 p.m. Friday, Sept. 27. Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. Taos National Society of Watercolorists group exhibition, through Sunday, Sept. 29. Open 10 a.m.-5 p.m. daily. NM residents $5; nonresidents $10; seniors $8; students $6; ages 6-16 $2; Taos County residents no charge. Taos Art Museum at Fechin House 227 Paseo del Pueblo Norte, 575-758-2690. Ron Barsano: The Naked Truth, paintings, reception 4-7 p.m. Saturday, Sept. 28, through Nov. 4. Open 10 a.m.-5 p.m. Tuesday-Sunday. $8; seniors $7, students $5; ages 12 and under no charge’ Taos County residents no charge on Sunday.
Events/Performances
Twenty-Sixth Annual Old Taos Trade Fair 9:30 a.m.-5 p.m. Saturday, noon-5 p.m. Sunday, Sept. 28-29, reenactments, Andalusian horse demonstrations, and Aztec dances, La Hacienda de los Martinez, 708 Hacienda Way, $5 at the door, ages 12 and under no charge, 575-758-3810.
Columbian-based street theater troupe Landscape Reinvention Society performs Saturday, Sept. 28 at Peñasco Theatre, 15046 NM 75.
Quick Draw and Art Auction Taos Center for the Arts annual outdoor artists meet-and-greet, 3 p.m. Saturday, Sept. 28, auction 5 p.m., Stables Gallery courtyard, 133 Paseo del Pueblo Norte and throughout the historic district, 575-758-2052, no charge. Taos Chamber Music Group The 21st season opens with Bach Joy, 5 p.m. Saturday and Sunday, Sept. 28-29, performers include harpsichordist Kathleen McIntosh, violinist Stephen Redfield, and cellist Sally Guenther, Arthur Bell Auditorium, Harwood Museum of Art, 238 Ledoux St., $20 in advance; $22 at the door; taoschambermusicgroup.org., 575-758-0150. Billy Cobham and Spectrum 40 Veteran jazz-fusion drummer/composer, 7 p.m. Sunday, Sept. 29, Taos Center for the Arts, 133 Paseo del Pueblo Norte, $30 and $60, 575-758-2052.
▶ People who need people Artists
Cathedral Park Arts & Crafts Shows Santa Fe Arts Commission is accepting applications from nonprofit organizations interested in presenting up to three juried weekend shows during 2014; details available online at santafeartscommission.org, or email artscommission@santafenm.gov, or call 505-955-6707; submission deadline is 5 p.m. Friday, Oct. 4. La Cienega/La Cieneguilla Studio Tour Artists interested in participating in the annual tour held Thanksgiving weekend can contact Lee Manning for information, 505-699-6788, lensandpens@comcast.net. Recycle Santa Fe Art Festival 2013 Visit recyclesantafe.org for application and details on participating in the 15th annual show held Nov. 15-17 at the Santa Fe Community Convention Center; for more information contact Sarah Pierpont, 505-603-0558, skpierpont@yahoo.com.
Santa Fe Arts Commission Community Gallery Santa Fe Arts Commission invites local artists to submit portfolios for an exhibit of figurative works (Incarnate) planned for a March 2014 opening; send portfolios to Rod Lambert, Community Gallery Manager, P.O. Box 909, Santa Fe, NM, 87504-0909 no later than Friday, Sept. 27, for information email rdlambert@santafenm.gov or call 505-955-6705. Santa Fe Society of Artists Fall jury for new members held Oct. 26; applications and details available online at santafesocietyofartists.com/become-a-member, or call 505-455-3496 for information.
Actors
Annie auditions All roles open, even for the dog Sandy, in MusicalTheatreWorks’ production of the musical; 11 a.m.-3 p.m. Saturday and Sunday, Sept. 28-29, 4001 Office Court Rd., Building 200, 505-946-0488.
Filmmakers
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.
Volunteers
Fiesta Fela Set up, break down, and assist in staffing the Afreeka Santa Fe booths and children’s tent from 11 a.m. to 7 p.m. Saturday, Oct. 12, in the Santa Fe Railyard; for information contact Judith Gabriele, 505-231-7143. 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. Many Mothers Assist new mothers/families, fundraise, 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; help out in the office; free training and workshops on keeping Railyard Park vibrant; contact Alanna for schedules, 505-316-3596, alanna@railyardpark.org. St. Elizabeth Shelter Help with meals, other duties also available; contact Rosario, 505-982-6611, Ext. 108, volunteer@steshelter.org. Santa Fe Community Farm Help with upkeep of the garden that distributes fresh produce to The Food Depot, Kitchen Angels, St. Elizabeth Shelter, and other local charities; 9:30 a.m.-4 p.m. daily, except Wednesdays and Sundays; details available online at santafecommunityfarm.org. 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, education@spanishcolonial.org.
▶ Pasa Kids The Food Depot L.O.V.E. program Child-friendly projects for ages 3 and older (accompanied by an adult) are available between 1 and 3 p.m. the third Friday of each month; contact Viola Lujan, 471-1633, Ext. 11, or vlujan@thefooddepot.org. Bee Hive Kids Books Make pinwheels in the garden (materials supplied), 11 a.m.-noon Saturday, Sept. 28, 328 Montezuma Ave., no charge, 505-780-8051. Tarantulas Learn about these hairy arachnids during an easy jaunt through Cerrillos Hills State Park, 3 p.m. Saturday, Sept. 28, 16 miles south of Santa Fe off NM 14, parking area one half-mile north of the village of Cerrillos, $5 per vehicle, 505-474-0196. Preschooler’s Story Hour 10:45 a.m. weekly on Wednesdays and Thursdays, Collected Works Bookstore, 202 Galisteo St., 505-988-4226. ◀
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PASATIEMPO I September 27 - October 3, 2013
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