Pasatiempo January 2, 2015

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

(the newest oldest house)

January 2, 2015

Winter Market at El Museo Saturday 8 - 3 pm, Sunday 9 - 4 pm

El Museo Cultural de Santa Fe 555Camino de la Familia, Santa Fe, NM 87501

RESIDE

(In the Railyard across the tracks from the Farmer’s Market)

Info call: Steve at 505-250-8969 or Lesley at 760-727-8511

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Closed For Annual Maintenance January 5,6,7,8 reopening Friday lunch, January 9, 2015 Thank You Friends & Customers for your continuing support!

Bobby, Judy & Staff

Lunch & Dinner Monday - Saturday / Sunday Brunch Happy Hour: 4 - 6 p.m. Mon. thru Fri. Our ‘Classic’ appetizers - 50% off Selected Wines-by-the-glass, ‘Well’ cocktails & House Margarita - $5.00 each FULL BAR • FREE WI-FI • HDTV 505 • 984 • 1788

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please visit our website www.santacafe.com

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PASATIEMPO | January 2-8, 2015

505.428.7777 | 500 Rodeo Rd, Santa Fe, NM 87505 WWW.MONTECITOSANTAFE.COM

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THE SANTA FE NEW MEXICAN

January 2 - 8, 2015

www.pasatiempomagazine.com

ON THE COVER 24 Santa Fe’s newest oldest house Many old cities have a legendary “oldest house.” In Santa Fe, it’s a former residence across De Vargas Street from San Miguel Chapel. However, new research says the home on the cover is older. It’s the Arthur Boyle House, named for an Englishman who immigrated to Santa Fe in 1877 and ran a thriving horticulture business.

Cover photograph (detail) by Charles F. Coffin, 1919; image courtesy Palace of the Governors Photo Archives (NMHM/DCA), Neg. No. 088804.

MOVING IMAGES

BOOKS AND TALKS 10 12 14

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In Other Words Soldier Girls Sound and fury War of the Whales Tribe of scribes IAIA Writers Conference

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CALENDAR

MUSIC AND PERFORMANCE 16 17 21 22

ART 28 30

Inside the Mind of Leonardo da Vinci 3D Chile Pages

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Terrell’s Tune-Up 2014’s top 14 Pasa Tempos Album reviews Random Acts Hello Dollface Pasa Reviews Santa Fe Women’s Ensemble and Santa Fe Desert Chorale

Pasa Week

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Artful Dodger by Bernard Ewell We love Ethel Vivian Vance in Albuquerque

Mixed Media Star Codes Restaurant Review: Café Fina

Correction In the Dec. 26 issue of Pasatiempo, we misprinted the title of Judith C. Kaye’s poem; it is “Transience.”

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

by The New Mexican. Our offices are at 202 E. Marcy St., Santa Fe, NM 87501.

Editorial: 505-986-3019. E-mail: pasa@sfnewmexican.com

ADVERTISING: 505-995-3852 santafenewmexican.com Ad deadline 5 p.m. Monday

PASATIEMPO EDITOR — KRISTINA MELCHER 505-986-3044, kmelcher@sfnewmexican.com

Stills from Inside the Mind of Leonardo da Vinci 3D

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Art Director — Marcella Sandoval 505-986-3025, msandoval@sfnewmexican.com

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Assistant Editor — Madeleine Nicklin 505-986-3096, mnicklin@sfnewmexican.com

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Associate Art Director — Lori Johnson 505-986-3046, ljohnson@sfnewmexican.com

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Calendar Editor — Pamela Beach 505-986-3019, pambeach@sfnewmexican.com

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Copy Editor — Susan Heard 505-986-3014, sheard@sfnewmexican.com

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STAFF WRITERS Michael Abatemarco 505-986-3048, mabatemarco@sfnewmexican.com James M. Keller 505-986-3079, jkeller@sfnewmexican.com Jennifer Levin 505-986-3039, jlevin@sfnewmexican.com Paul Weideman 505-986-3043, pweideman@sfnewmexican.com CONTRIBUTORS Loren Bienvenu, Taura Costidis, Ashley Gallegos-Sanchez, Laurel Gladden, Peg Goldstein, Robert Ker, Bill Kohlhaase, Iris McLister, James McGrath Morris, Robert Nott, Adele Oliveira, Jonathan Richards, Heather Roan Robbins, Casey Sanchez, Steve Terrell, Khristaan D. Villela PRODUCTION Dan Gomez Pre-Press Manager

The Santa Fe New Mexican

© 2015 The Santa Fe New Mexican

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Robin Martin Owner

www.pasatiempomagazine.com

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Tom Cross Publisher

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ADVERTISING DIRECTOR Heidi Melendrez 505-986-3007

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MARKETING DIRECTOR Monica Taylor 505-995-3824

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RETAIL SALES MANAGER - PASATIEMPO Art Trujillo 505-995-3852

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ADVERTISING SALES - PASATIEMPO Chris Alexander 505-995-3825 Amy Fleeson 505-995-3844 Mike Flores 505-995-3840 Laura Harding 505-995-3841 Kelly Moon 505-995-3861 Wendy Ortega 505-995-3892 Vince Torres 505-995-3830

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GRAPHIC DESIGNERS Rick Artiaga, Jeana Francis, Elspeth Hilbert, Joan Scholl

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ADMINISTRATIVE ASSISTANT Claudia Freeman 505-995-3841

Ray Rivera Editor

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MIXED MEDIA

Ingrid Vernoes-Froehlich: Radical Feminists at Central Park, 1970 (detail), photograph

Takin’ it to the streets

In the 1960s and ’70s, the women’s liberation movement was intent on raising awareness that a collective struggle for equality and freedom from male supremacy was under way via organized protests, advocacy, and feminist theory. These women’s ideas were showcased in fiction and nonfiction by writers such as Gloria Steinem, Simone de Beauvoir, and Marge Piercy, as well as in radical journals such as Notes From the First Year and in Beverly Jones and Judith Brown’s incendiary paper, “Toward a Female Liberation Movement,” all of which helped galvanize a generation of activists to take their message to the streets.

Ingrid Vernoes-Froehlich, a photojournalist based in New York, documented the protest marches during those turbulent times. Years of Protest by the Women’s Liberation Movement: 1966-1971, an exhibit of her photographs, opens at the Tybie Davis Satin Gallery in the Main Library (145 Washington Ave., 505-955-6780) on Saturday, Jan. 3, with a 2 p.m. reception. Vernoes-Froehlich, who will be on hand at the reception, sees the civil unrest of contemporary America as a sign of continuing struggles for justice. “It’s intensifying — not so much in the Southwest, but in the big cities, west and east,” she told Pasatiempo. “It is a political thing, and it’s the right time to show what was going on 45 years ago. Nothing has changed concerning equality.” The exhibit is up through January.

— Michael Abatemarco 6

PASATIEMPO I January 2-8, 2015

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PASATIEMPO | January 2-8, 2015

Saturday, January 17, 2015 (Noon to 2:30 PM) Santa Fe Community Convention Center

Purchase tickets at: www.thefooddepot.org/SouperBowl Ticketing services provided by:TICKETS SANTA FE at the Lensic BOX OFFICE ADDRESS: 211 W. San Francisco Street • Santa Fe, NM 87501 PHONE: (505) 988-1234

STAR CODES Heather Roan Robbins

now open

Since 2012 an ongoing Uranus-Pluto square has changed our lives, dissolved

old forms, and kept us shifting and adapting — and it will continue to do so through March 2015. Toward the end of this year, new forms begin to solidify. Do we like the shape of our lives? If not, we can use this malleable year to fix that.

January throws us back into the heart of our work. Feisty Mars opposes Jupiter and sets a strong, energized tone for the whole year. It encourages us to fight for health and for what we believe.

Mars enters Pisces on Jan. 12 and takes the challenge inward: We feel the woes of the world and respond with healthy action. Technical innovations jump forward this spring, but we had best tend to our communication styles while Mercury retrogrades from Jan. 21 to Feb. 11.

The two planets of emotions, Mars and Venus, rush together into passionate Aries from February to March, lowering impulse control and adding spark and willfulness to all we do. Life circumstances can combust quickly — think for the long haul.

Late in March, as Venus and Mars both enter fertile, earthy Taurus, the seeds we plant will grow roots — so let’s sow with consciousness. Restlessness brews again as the sun and Mercury conjunct Uranus in feisty Aries in April. Pay attention to the use and abuse of power.

Cross-pollinate ideas in May as Mars enters communicative Gemini, opposes disciplined Saturn, and squares intuitive, escapist Neptune. Our energy may scatter easily, but so will gems of information. Review things and people as Mercury retrogrades from May 18 to June 11.

During the summer, Saturn retrogrades back into Scorpio and insists we take out the trash from memories, hearts, and closets. Mars enters Cancer on June 24 and brings the conversation back to more intimate places, but also hones our defenses. July offers idealistic and romantic vibes as Venus in Leo conjuncts Jupiter. People are more willing to let go of old angers if they can save their pride — though we may need to repair an old crisis as Mars strikes the fading Uranus-Pluto square.

Focus on service in September as Jupiter enters industrious Virgo. We need to tend to health issues around the filtering and cleansing of our bloodstreams and the earthly arteries of rivers and lakes. Mars and Venus run together in Leo through September. This gives us the guts to expand our social circles.

Mercury retrogrades from Sept. 17 to Oct. 9, unearthing surprising sludge from the depths of our psyches but encouraging progress soon after. November brings our focus to social justice as Mars trines Pluto. New societal forms are coalescing — let’s make sure they work.

CAVAN GONZALES

130 Lincoln Avenue,Santa Fe,NM 87501 505-982-0055 truewestsf@aol.com

Friday, Jan. 2: Seed ideas for the next few unsettled weeks under a verbal Gemini moon, but don’t get attached to any one plan.

Saturday, Jan. 3: The morning is erratic but hopeful as the sun conjuncts Pluto, squares Uranus, and asks us how we want this year to be different from last.

Tonight the sensitive, defensive Cancer moon calls for cozy reassurance.

Sunday, Jan. 4: Our deep emotional agendas are exposed, both personally and as a society, as Mercury and Venus enter socially conscious Aquarius under the full moon.

Monday, Jan. 5: We may feel emotionally soft and pressured to produce — focus on listening, reconnecting, and organizing for a leap ahead.

Tuesday, Jan. 6: Get this show on the road as the moon enters extroverted Leo. We don’t just want words — we want to see action and feel appreciated.

Wednesday, Jan. 7: Open minds and moods make people approachable, but a relentless practicality makes us stay on track. Collaborate.

Thursday, Jan. 8: An industrious Virgo moon gets us back to work. If people won’t agree on the big picture, tackle the known details. Small accomplishments create common ground. ◀ www.roanrobbins.com PASATIEMPOMAGAZINE.COM

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IN OTHER WORDS book reviews Soldier Girls: The Battles of Three Women at Home and at War by Helen Thorpe, Scribner, 384 pages “Everybody in southern Indiana knew that the [National] Guard did not go to war.” And so, for different reasons, three intelligent, conscientious, and capable women enlisted in the Indiana Army National Guard’s Bravo Company, 113th Support Battalion, and became friends. The enlistment packages were tempting. They included bonuses to join, in-state college tuition, housing allowances, bonuses for staying in school, and payment of outstanding student loans. Serving one weekend a month and two weeks during the summer after initial training was doable. Perhaps there would be duty in the aftermath of a natural disaster. When they swore to defend the Constitution and the country, no foreign foes seemed to threaten the United States. Helen Thorpe profiles them in Soldier Girls: The Battles of Three Women at Home and at War. It is a thoughtful, important, and provocative book.

Michelle Fischer was a community-college student who’d achieved a near-perfect score on the Armed Services battery of tests. She enlisted at age eighteen to realize her ambition to earn a University of Indiana degree. She was short, buxom, and blond, presenting an angelic appearance that belied her penchant for pot, punk rock, and boys. She consistently voted for Ralph Nader.

Urged by a friend to join the Guard, the attractive and sociable Desma Brooks rejected the idea. She joined unintentionally, thinking it wasn’t such a big commitment. For the twentyeight-year-old single mother of three, the money was good. “Extraordinarily bright,” she had passed her GED in the 90th percentile.

Unlike Fischer and Brooks, fifty-two-year-old Debbie Helton, a tall, slim woman, had imagined herself in the military. Her father had served as a drill sergeant, and she loved guns. But back when she was a twenty-three-year-old single mother, she was rejected when she tried to enlist. Eleven years, later she was eligible. The only woman to achieve a perfect score for shooting, she wanted to be a sniper.

Sept. 11, 2001, changed everything, and military action against terrorists began. All three women were called to active duty. Fischer’s pretty dreams of college life upended, and Brooks was separated from her children. Helton, however, could realize a purpose larger than managing a beauty salon.

While the ostensible battle was against terrorists, the Hoosier women’s battles began before leaving the cornfields of Indiana and American shores in general. In 2001, 12.5 percent of the total Army were women — but they were banned from combat.

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PASATIEMPO I January 2-8, 2015

The all-male culture of the military prevailed. In her weapons class at Camp Aberdeen, Fischer outscored an Illinois soldier who vied with her for the highest marks. Yet he was elected class leader.

Her intelligence in class didn’t earn her her fellow soldiers’ respect, and outside the classroom they besieged her. Brooks was sexually assaulted by the recruiter who handled her paperwork after she signed on, but she never reported the incident.

Helton coped with the predominant male culture by trying to be one of the boys. Performing the duties of a soldier with a rank higher than hers, she still received the salary for an E-4. These attitudes and behaviors were certainly prevalent among the men these women joined in the troop transport aircraft sent to Afghanistan. And, in an even worse twist, Fischer, Brooks, and Helton would be serving in a Muslim country where the treatment of women was downright medieval.

Afghanistan’s monochromatic landscape offered sandstorms, an earthquake, bomb-rubbled street scenes, and lofty peaks on the horizon. The troops contended with uncomfortable living conditions, the rigidity of army life, and boredom while serving as a support battalion. At one point, 20 women were living in a tent designed to accommodate 10 of them. Managing to skirt insubordination at the time, Fischer had repeatedly rebelled by wearing a braided rainbow anklet. To brighten the area at Camp Phoenix, Brooks ordered 50 hot-pink plastic flamingos and a sign reading “Keep Off the Grass.”

There were myriad ways of coping, among them “deployment affairs” between soldiers and across ranks, despite regulations. Valium and Ambien were available. Hashish could be obtained.

Everyone seemed to have laptops or DVD players.

Disney cartoons, Sex and the City, and Johnny Depp movies circulated. Fischer and Brooks resorted to alcohol, prescription drugs, and sex. Helton’s solace was alcohol.

The battles didn’t end when these women returned home. Fischer wished she could meet a fellow female veteran who was in “a successful relationship with a civilian man.” Brooks’ battles were intensified by her undiagnosed post-traumatic stress disorder. During her second deployment in Iraq, the 8-foot-wide armored security vehicle she drove hit a mine. She sustained a severe concussion.

After returning from Iraq, a second deployment, Helton battled depression.

Thorpe’s careful writing, reporting, and judicious use of detail, background, and humor help to cast a bright light on the realities of America’s wars and their costs, including their ripple effects on combatants and the people around them.

— Nancy Coggeshall

SUBTEXTS We are what we read In 2014, Santa Feans read — or at least bought — a wide variety of literary novels, thrillers, political nonfiction, biographies, and self-help books. Whether you enjoy sipping a coffee while perusing the poetry section at Collected Works Bookstore, lingering in the incense-filled air of the Ark, or reading in Spanish at Allá, the brick-and-mortar bookstores of the City Different continue to serve you and to thrive despite the boom in e-books and online sales. Below are the top five best sellers of 2014 from some of our local merchants.

Garcia Street Books 376 Garcia St., 505-986-0151 1. The Goldfinch by Donna Tartt 2. Gone Girl by Gillian Flynn 3. Goliath by Max Blumenthal 4. In the Kingdom of Ice by Hampton Sides 5. Bone Horses by Lesley Poling-Kempes Bee Hive Books for kids 328 Montezu zuma u Ave., 505-780-8051 1. Journey by Aaron Becker 2. Coyote: A Trickster Tale From the American Southwest

by Gerald McDermott 3. The Day the Crayons Quit by Drew Daywalt 4. Flora and Ulysses by Kate DiCamillo 5. Timmy Failure: Mistakes Were Made (No. 1)

by Stephan Pastis Allá 102 W. San Francisco St. (upstairs), 505-988-5416 1. Chocolate II: Mística y Mestizaje (No. 105), Artes de México (bilingual) 2. Colección de oro Jorge el curioso/A Treasury of Curious George by Margret and H.A. Rey (bilingual) 3. Paul Strand in Mexico by Alfonso Morales, James Krippner, and Paul Strand 4. The Rogue’s March: John Riley and the St. Patrick’s Battalion, 1946-48 by Peter F. Stevens 5. Frida de Frida or Frida’s Frida by Rosa Casanova et al. (available in Spanish and English) Collected Works Bookstore 202 Galisteo St., 505-988-4226 1. In the Kingdom of Ice by Hampton Sides 2. Burned (a Vanessa Pierson novel) by Valerie Plame and Sarah Lovett 3. Thrill of the Chase by Forrest Fenn 4. Too Far to Walk by Forrest Fenn 5. Day Hikes in the Santa Fe Area by the Northern New Mexico Group of Sierra Club The Ark 133 Romero St., 505-988-3709 1. Autobiography of a Yogi by Paramahansa Yogananda 2. The Untethered Soul: The Journey Beyond Yourself

by Michael A. Singer 3. The Dalai Lama’s Cat and the Art of Purring

by David Michie 4. You Are the Placebo: Making Your Mind Matter

by Joe Dispenza 5. The Law of Divine Compensation: On Work, Money, and Miracles by Marianne Williamson — compiled by Jennifer Levin

LAST CHANCE TO SEE:

Lee Marmon Native American photographer Sunday, January 4, 2015 at 1 pm Bring a friend for a last-chance opportunity to see the remarkable Native American Portraits exhibition and meet photographer Lee Marmon.

Museum of Indian Arts and Culture

Museum Hill off Old Santa Fe Trail

(505) 476-1269

indianartsandculture.org

FRIDAY, JANUARY 2nd DJ CHILL

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Holiday Gift & Ornament show till Jan 2, 2015

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& Traveler’s Market DeVargas Center, (Behind Office Depot) 153B PaSEO De Peralta, Santa Fe. NM. 87501 505-989-7667 45 Dealers of Fine Tribal and Folk Art, Jewelry, Books, Antiques, Furniture, Textiles and Beads www.travelersmarket.net

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Sandy Nelson I For The New Mexican

Sound and fury

Lawsuit links mass whale strandings to naval sonar

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PASATIEMPO I January 2-8, 2015

W

hales come ashore for many reasons. Sometimes they’re sick or injured or disoriented, and they drift onto beaches to die of dehydration or gravity, crushed by their own weight. Sometimes they’re dead before they wash up. But mass strandings of live whales are rare enough to merit worldwide attention and concern.

When more than a dozen whales beached in the Bahamas on March 15, 2000, volunteers from the Boston-based Earthwatch Institute pushed eight of them back to the water and returned the next day to collect critical remains from the whales that didn’t survive. That physical evidence became part of a landmark court case against the U.S. Navy over the use of mid-frequency sonar in underwater surveillance and military drills.

Joshua Horwitz’s War of the Whales describes that battle in exhaustive and illuminating detail. His flashbacks fll to the dawn of submarine warfare and Cold War espionage and the years when human aggression toward whales was deliberate — rather than accidental — provide context and balance to a story that unfolds with the pacing and plot twists of a thriller.

The story begins with New Mexico native Ken Balcomb preparing his team of volunteer environmental advocates for a day of photo-identifying the elusive, deep-diving beaked whales that favor the underwater canyons of the Bahamas. The day unexpectedly turns into a rescue and recovery operation as boaters and beachcombers report a series of grim discoveries: a Cuvier’s beaked whale outside Earthwatch’s research center, two minkes near Royal Island, an Atlantic spotted dolphin in Powell Cay — ultimately, more than a dozen whales marooned on multiple islands.

Later autopsies and computed-tomography scans of several whale heads showed the animals had succumbed to an acoustic storm magnified by the narrow walls of the channels and by unusually warm temperatures near the water’s surface. In their panic to escape the noise, the whales suffered decompression sickness, better known as “the bends.” As Horwitz describes the dangerous disorientation, “Their normal communication frequencies were jammed with intense, head-rattling pressure waves that pounded the tiny air pockets inside their sinuses and ears. They couldn’t distinguish their own panicked calls from those of the whales around them, couldn’t find the early morning light above the water’s surface, couldn’t tell up from down. They were drowning in sound.”

Before becoming a marine biologist, Balcomb spent five years in the late 1960s and early 1970s at a U.S. Navy Sound Surveillance System (SOSUS) listening station in Pacific Beach, Washington. While his top-secret snooping relied on a network of underwater microphones, the young lieutenant knew the Navy also relied on sonar testing to maintain military superiority over Cold War rivals and had developed many of its high-tech tools by studying whales and dolphins through the Office of Naval Research and affiliated labs. It even enlisted dolphins as bomb detectors during the Vietnam War. The Navy routinely obtained the permits it requested from the National Marine Fisheries Service to conduct sonar and explosive tests after pro forma environmental assessments by internal scientists or outside contractors.

The forensic results of the island strandings — conducted at the Woods Hole Oceanographic Institution in

Massachusetts — were unambiguous, but scientists connected to the grant-dependent research center were reluctant to challenge the Navy and its political allies. The ocean was a noisy place, especially for animals that depend on sound to communicate and navigate. It was impossible, these researchers said, to identify one culprit when earthquakes, volcanic eruptions, and surface weather can also disorient whales.

Balcomb knew from his own experience in the Navy that human activity is the greatest source of noise pollution in the oceans. He agreed with the findings of a 1999 study by the Natural Resources Defense Council — published as Sounding the Depths: The Rising Toll of Sonar, Shipping and Industrial Ocean Noise on Marine Life — that oil and gas exploration and drilling, transoceanic shipping, and naval sonar tests were the top offenders. Armed with an important clue to the Bahamas mystery — a photo of a Navy destroyer in Great Bahama Canyon a few days after the strandings — he decided he had what he needed to force the Navy to comply with the Marine Mammal Protection Act, the Endangered Species Act, and other environmental laws.

Balcomb started recruiting fellow scientists through online networks of marine mammal researchers and approached Joel Reynolds, a top litigator for the NRDC, to get the courts on his side. Balcomb liked Reynolds’ pragmatic, results-oriented approach to environmental activism, which had forced the Navy in 1994 to scale back plans for “ship-shock” tests using deep-water explosions near a marine sanctuary off the Southern California coast.

In 2005, Balcomb enlisted Reynolds to challenge sonar training exercises off the California coast planned for 2007 through 2009 — tests that the Navy admitted could injure hundreds of whales and disturb 170,000 marine mammals. NRDC filed for an injunction, arguing that the Navy should be accountable for the environmental consequences of its underwater tests and find ways to minimize the toll on marine life.

As that case winds through the federal courts, Horwitz tells parallel back stories about two confl flicts l taking place beneath the waves: the struggle among nations for military domination and the use and abuse of the world’s largest creatures. “Perhaps the war of the whales was inevitable,” Horwitz writes. “Perhaps the two most successful hunters on the planet were destined to collide. Humans had dominated life on land for 150 centuries, while whales had held dominion over the world’s oceans for 40 million years. …

Five thousands years ago, humans began stalking the largest animals on the planet — first from canoes, then under sail, and eventually aboard floating fll factory ships that slaughtered and processed whale populations from the South Pacific to the Arctic Ocean.” When whaling became industrialized, whales were killed for their value as raw material for dog food, lamp oil, skirt hoops, and margarine. When their populations approached extinction, international laws and treaties were enacted to protect the survivors, even as hundreds of dolphins and orcas were snatched from their family groups and forced into service as entertainers or military operatives.

In 2008, the U.S. Supreme Court overturned two of six injunctions the NRDC had secured against sonar testing, but the days when the Navy could flagrantly fll fll flout environmental law were over. Environmental lawyers continue to build on those rulings.

“I think the future for marine animals that depend upon sound and listening for their survival will have to be one of adaptation and accommodation to increasing humangenerated underwater racket,” Balcomb told Pasatiempo from his home in Washington’s San Juan Islands. “The evolution of these animals has taken place in an underwater environment that has episodically been quite noisy — during storms, volcanic eruptions, and earthquakes that create even more noise than humans make. ... It is the frequency or wavelength, abruptness, and intensity of the [noise] that is new to these animals. I think it is often the ‘perfect storm’ of these characteristics of underwater sound that lead to, or cause, unfavorable response or death of the animals.”

Ongoing efforts to further restrict sonar testing — not just by the U.S. Navy but by the navies of NATO and other nations — could force the world’s militaries to develop less invasive surveillance techniques, but Balcomb hopes for a more qualitative evolutionary leap. “Restricted testing and exercise areas, court orders, and public attention are the tools available to reduce the impact on the world’s whales,” he said. “Little successes here and there … are of some benefit to whales, but when the chips are down and the war games or actual wars are played for real, the whales had just better be out of the area. At some point we humans must apply a golden rule to our fellow creatures ... and declare peace. I think we have to get away from the notion that we have some ordained dominion over the other creatures, including people, on this planet.” ◀ “War of the Whales: A True Story,” by Joshua Horwitz, was published in July 2014 by Simon & Schuster.

Naval ships — like the USS Shoup, photographed May 5, 2003, off off San Juan Island, Washington — routinely conduct sonar tests in U.S. waters. This sonar sweep is conducted within view of whale watchers watchers and not far from orcas; photo Ken Balcomb Below, This Blainsville’s beaked whale stranded and died in the the Bahamas on March 16, 2000; photo Diane Claridge Images courtesy Simon & Schuster

Joshua Horw rwitz; w photo Carolyn Millstein

PASATIEMPOMAGAZINE.COM

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Jennifer Levin I The New Mexican

TRIBE of

SCRIBES

graduate school, this approach is a perfect blend of the modern-day educational experience and oldfashioned epistolary mentorship.

Santa Fe is home to such a program: The Institute for American Indian Arts established a low-residency MFA in creative writing in 2013.

It’s now in its second year, and the first class of what’s affectionately known as the “low-rez” program will graduate in May 2015.

The spring 2015 semester kicks I A I A’S 2 015 W R I T E R S F E S T I VA L off with IAIA’s Writers Festival on Saturday, Jan. 3, and it continues through Friday, Jan. 9, featuring readings by award-winning poets any people earning master of fine and writers along with student showcases, film screenarts degrees in creative writing do ings, and other presentations. All the evening readings so through low-residency programs and events, which are free of charge, are followed by at colleges and universities in question-and-answer sessions and book signings. IAIA which students and faculty con- has opened up these readings to the Santa Fe commuverge on a campus for a week or two each semester for nity at large as a service to the city’s residents — who readings, lectures, private and group critiques — and a have a chance to find out more about the low-residency lot of socializing. During the rest of the year, students program and gain an understanding of the kinds of work one-on-one, usually online, with individual writing students are doing there — and as a learning faculty-member writers. For writers who want to sig- experience for the students. nificantly enhance their craft through focused study, but “When the students see how ardent Santa Feans who can’t give their lives over to traditional, full-time are about literature in general, and Native American

M 14

PASATIEMPO I January 2-8, 2015

Sherman Alexie (photo Chase Jarvis); left, from top, Claire Vaye Watkins, Jess Walter, Joy Harjo

literature in particular, it provides a lift,” said Jon Davis, Santa Fe’s 2012 poet laureate, who has taught at IAIA since 1990 and directs the low-residency MFA program. “The students also get to see how experienced writers like Sherman Alexie, Joy Harjo, and Jess Walter interact with an audience.” Because the writers get to know the students over the course of the week, they often tease them in their introductions, and the students tease back. “Last year, Sherman Alexie called Chee Brossy ‘the Navajo Kafka,’ ” Davis said. “Those kinds of interactions make the series particularly fun.”

The faculty writers presenting public readings at the festival include young emerging writers, such as Claire Vaye Watkins, one of the National Book Foundation’s “5 Under 35” honored for fiction in 2012. In 2013, Riverhead Books published Battleborn, Watkins’ collection of short stories for which she received the Story Prize and the Dylan Thomas Prize. Better-known writers include James Thomas Stevens, author of eight books of poetry and the creative-writing chair at IAIA, and Linda Hogan, a 1990 Pulitzer Prize finalist who has written numerous works of poetry, fiction, and essays, including Rounding the Human Corners and Mean Spirit.

“When I started the program, I wanted to have a majority-Native faculty, but also an ethnically diverse group that was experiencing literary success on the national and international levels,” Davis said. “I also wanted a group without large egos — writers who

would mingle and joke and support the students.” Many established writers don’t have the time in their busy schedules to give the kind of attention MFA students require. Alexie, who Davis described as devoted to the success of the students and the program, had to suspend his participation in the online mentorship this year and find other ways to help the students. Even scaled back, his commitment is significant. He’s holding two multigenre workshops during the semester, calling a dozen students for private critiques and leading one of the fiction workshops during the January residency, in addition to giving the keynote reading with Jess Walter on Jan. 9.

Alexie, who grew up on the Spokane Indian Reservation in Wellpinit, Washington, and now lives in Seattle, is one of the best-known Native writers in the mainstream literary world. He has written two dozen books, including The Absolutely True Diary of a Part-Time Indian and What I’ve Stolen, What I’ve Earned, and is an entertaining and thought-provoking pubic speaker.

Walter, also from Spokane and a close friend of Alexie’s, has written eight books, among them Citizen Vince, The Zero, and New York Times bestseller Beautiful Ruins. He and Alexie do a podcast together called “A Tiny Sense of Accomplishment” on the Infinite Guest network. Davis predicts a great night. “They’re both very charming and very funny,” he said.

Two more Native literary luminaries, Linda Hogan and Joy Harjo, read on Thursday, Jan. 8. “Linda is a well-known writer in multiple genres with a deep feeling for nature and the environment,” Davis said. “And Joy always makes time in her schedule to support what we’re doing. She’s a terrific reader.” Harjo, a member of the Mvskoke/Creek Nation, has numerous books of poetry and essays, as well as a memoir, Crazy Brave. She also plays saxophone with her band, Poetic Justice, and won a Native American Music Award for Best Female Artist of the Year in 2009.

Student showcase readings take place at 7:30 p.m. (after the faculty readings) on Tuesday, Jan. 6 (first-year students), and Thursday, Jan. 8 (second-year students). Other 7:30 p.m. events during the festival include a Monday, Jan. 5, presentation by Jennine Lanouette on analyzing the structures of screenplays. Lanouette writes e-books on the subject and has lectured at Lucasfilm, Pixar, The New School, and the School of Visual Arts.

At 7:30 p.m. on Wednesday, Jan. 7, attendees can take in a screening of Sterlin Harjo’s 2014 documentary, This May Be the Last Time, which explores the 1962 disappearance of his grandfather and the songs of encouragement sung by those who searched for him. After the screening, Harjo, a Sundance Institute Annenberg Film Fellow whose other work includes Four Sheets to the Wind and Barking Water, will lead a question-and-answer session.

“We could keep all of this private, but writers need readers and the MFA program needs community support and interaction,” said Davis. “It’s free and it’s serious fun, so just come, Santa Feans.” ◀

details ▼ 2015 IAIA Writers Festival, Saturday, Jan. 3 - Friday, Jan. 9 IAIA Auditorium, 83 Avan Nu Po Road; 505-424-2356 All events are free of charge and open to the public ▼ 6 p.m. Saturday, Jan. 3 Reading: Jennifer Foerster, Chip Livingston & Claire Vaye Watkins

ENDS TOMORROW! TO

▼ 6 p.m. Sunday, Jan. 4 Reading: Santee Frazier, Pam Houston & Elissa Washuta ▼ 6 & 7:30 p.m. Monday, Jan. 5 Reading: Jon Davis, Derek Palacio & Ismet Prcic; Jennine Lanouette presents “Screentakes: Story Analysis in e-Book Form” ▼ 6 & 7:30 p.m. Tuesday, Jan. 6 Reading: Marie-Helene Bertino, Matt Donovan & James Thomas Stevens; first-year student showcase readings ▼ 6 & 7:30 p.m. Wednesday, Jan. 7 Reading: Melissa Febos, Manuel Gonzales & Joan Kane; screening of This May Be the Last Time, followed by a Q & A with director Sterlin Harjo ▼ 6 & 7:30 p.m. Thursday, Jan. 8 Reading: Joy Harjo & Linda Hogan; second-year student showcase readings ▼ 6 p.m. Friday, Jan. 9 Reading: Sherman Alexie & Jess Walter

6824 Cerillos Rd. | Santa Fe, NM 87507 | (505) 216-3800 www.lexusofsantafe.com PASATIEMPOMAGAZINE.COM

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TERRELL’S TUNE-UP Steve Terrell 2014’s top 14

One of the most frequent questions I get from readers of this column, as well as from listeners to my podcast and radio shows, is “Where do you find this stuff?” I usually reply, half-joking, “I don’t find it. It finds me.” But the question underscores what has become the state of music in the early 21st century. It’s harder to find great music with the tightly controlled playlists on commercial radio, the consolidation of major labels, and all that other stuff we’ve been wringing our hands about for so many years. But with the magic of the internet, there are a zillion more choices if music means enough to you that you are willing to invest a little time to seek it out. Faced with that reality, 2014 didn’t produce any new Elvis, Beatles, or Nirvana.

But it did bring breakout work

by Sturgill Simpson, Benjamin Booker, and the Bloodhounds — plus a lot of cool sounds by old favorites and new favorites who deserve bigger audiences.

Here are my favorites of the year.

1. Red Beans and Weiss by Chuck E. Weiss. The craggyfaced, mop-topped hierophant of the hipster underground (and Tom Waits crony) returned in 2014 with a new album that’s full of stripped-down rock ’ n’ roll, R & B, blues, laughs, post-Beat cool, hard-earned wisdom, and flashes of insanity. For sheer goofiness, listen to the crazy New Orleans-soaked singalong, “Willy’s in the Pee Pee House,” or “Hey Pendejo,” the greatest pseudo-Mexican tune by gringos since the Pogues’ “Fiesta.” And for some dead-on insight into the Holocaust, try “Bomb the Tracks.”

2. Metamodern Sounds in Country Music by Sturgill Simpson. This is truly one of the strangest country albums I’ve ever heard. It’s also one of the most authentic-sounding new country albums to cross my eardrums in a long while — even though there are a couple of spots where the music drifts from its sturdy, ’70s-outlaw foundations into raw psychedelia. And yes, this is “authentic country,” even with lyrics like “reptile aliens made of light cut you open and pull out all your pain” and references to marijuana, LSD, psilocybin, and DMT. And that’s just in the first song.

Sturgill Simpson is a true hillbilly visionary.

3. Benjamin Booker (self-titled). I’ve been a huge fan of Benjamin Booker’s ever since his early days. In fact, I became a devoted, drooling Bookerhead right after the release of this, his debut album, in late August. A discerning ear probably can hear subtle musical nods to the young New Orleans-based rocker’s idols from 16

PASATIEMPO I January 2-8, 2015

the realms of primitive rock, raw blues, and gritty soul in Booker’s music. (His record-company hype mentioned the Gun Club, Blind Willie Johnson, and T. Rex.) But there is no obvious imitation at work here. Booker builds on the foundations of the music he loves and creates a sound that’s fresh, though somewhat familiar.

4. Do the Beast by the Afghan Whigs. As with most rock reunions, I was skeptical when I found out that a new version of the Afghan Whigs (a Cincinnati band led by singer/howler Greg Dulli that called it quits around the turn of the century) had risen from the rock ’n’ roll tarpits. I was so apprehensive of disappointment that I put off checking out their new album for nearly four months. But all my fears were for naught. Do the Beast is full of the power and rage that made us love this band back in the ’90s.

5. Brass Tacks by NRBQ. As with the Afghan Whigs, I was leery about the new version of NRBQ, in which singer/keyboardist Terry Adams is the only original member. In fact, I skipped the first couple of albums by the group’s latest lineup. But after just a few seconds into Brass Tacks, I realized I was wrong. Adams is still in great form, but new Qs Scott Ligon and Casey McDonough both sing and write some fine tunes. The band has long had a talent for creating songs that at first glance seem easy and lighthearted, but on closer examination turn out to be at least somewhat twisted.

6. 3: Trickgnosis by Churchwood. With cryptic but alluring lyrics with references to Gnosticism, voodoo, God, and Satan, Churchwood created a unified work in which some kind of cosmic struggle seems to be playing out from song to song (though there’s no easy story line to grasp on this album). Each tune is a weird tale sung over musical backdrops with changing

time signatures and unpredictable twists and turns, with nods to Captain Beefheart, Frank Zappa, and Pere Ubu. 7. Let Loose! by the Bloodhounds. This mostly Chicano band from East L.A. plays basic, unfettered, rocking blues — closer to gutbucket than to the smooth, tame uptown stuff — a little rockabilly sneer. They honor ascended masters like Hound Dog Taylor and Howlin’ Wolf, as well as the Yardbirds, the Count Five and other ’60s-garage crazies. And sometimes, when you least expect it, the Bloodhounds will slip into jug-band or skiffle mode. Despite all its obvious roots in the past, Let Loose! is some of the most exciting music I’ve heard lately.

8. Only Me by Rhonda Vincent.

Rhonda Vincent has to be one of the most undeservedly underrecognized musicians in Nashville today. Starting out in the world of bluegrass, she has a pure, beautiful voice, and she’s not afraid to wail. She also knows her way around a mandolin. This album is divided into two six-song discs (needlessly, because everything would easily have fit on one). The first is a bluegrass set — acoustic, with only traditional instruments — and the second is country. Both are impressive.

9. House on Fire by the Electric Mess. Hands down, this is the garage-rock album of the year. If you like wild, frantic, high-energy, guitar-based (with an electric organ) rock ’n’ roll, you really need to acquaint yourself with this New York band. House on Fire is as good a place as any to start. All 13 tracks are full of fire and craziness. But that’s a good thing. Fronted by singer Chip Fontaine (real name: Esther Crow), the group has a sound rooted in ’60s garage rock but not shackled in nostalgia.

10. Drop by Thee Oh Sees. After only a few months of their “indefinite hiatus,” Thee Oh Sees apparently reformed and sprang back to life. Guitarist/vocalist John Dwyer moved from the group’s home base of San Francisco to Los Angeles, got himself a new bunch of bandmates, and made a dandy album. Although not as overtly powerful as last year’s magical Floating Coffin, it still has several mighty examples of Dwyer’s fuzzedout, rubbery psychedelic excursions. “Penetrating Eye,” “Encrypted Bounce,” and “Savage Victory” are all powerful tunes.

Runners-up: Common Ground by Dave & Phil Alvin; Manipulator by Ty Segall; Long in the Tooth by Billy Joe Shaver; and Images 13 by the Dex Romweber Duo. ◀

PASA TEMPOS

album reviews

MARIA JOÃO PIRES Beethoven’s Piano Concertos 3 & 4 (Onyx) Pianist Maria João Pires long ago earned a reputation for eccentricity, withdrawing from public view for extended periods and at one point retreating to a farm in her native Portugal, whence she reported that milking goats was doing wonders for the evenness of her trills. Several years ago she moved to Brazil, following a health crisis and the collapse of a Portuguese educational institute she had founded and that left her deeply in debt. A Buddhist, she is drawn to spiritual inquiry, and it is impossible not to hear this in her music-making, where she balances on the razor’s edge that separates (or links) devotion to the score and the imposition of interpretation. Her approach to Beethoven’s Third and Fourth Piano Concertos is infused with Mozartian purity — Mozart and Chopin are the composers with whom she is most associated — which she applies to profoundly personal expression.

Her technique is crystalline, her tone opulent, her intent unambiguous, her ego absent. She infuses the first movement of the Third Concerto with a tragic, even shell-shocked mien, and its second movement with contemplative melancholy. Unaccustomed sorrow inhabits the Fourth Concerto, too, yielding an experience of the piece that lies distant from the mainstream. The Swedish Radio Symphony Orchestra (Daniel Harding conducting) proves a sensitive, often exuberant partner in these intimately captured, emotionally arresting performances. — James M. Keller LAETITIA SADIER Something Shines (Drag City) Few bands in the history of pop music have a sound as distinct as Stereolab’s.

Within just a few bars of Laetitia Sadier’s latest solo album, you can tell it’s a release from that band’s former frontwoman. The acoustic guitar lays out the rhythm, the bass notes come in sounding as rich and sweet as chocolate chips, and soon an electric guitar and organs are making slick runs up and down before horns, flutes, and odd bits of noise get caught up in the eddy. Even before Sadier sings a line in English, she lets her voice feel out the edges of this groove, humming and howling as if to herself. When she does lend her seductively frosty voice, it’s to impart sharply observational and occasionally impressionistic lyrics of romance, life, and the current political climate. “They are a class, they are at war, are determined to win/Their plan is to transfer our wealth to under their sinister wing,” she sings in the biting, acoustic “Oscuridad,” adding an atypical edge to her voice in what is possibly the most direct song she’s ever written. Fortunately, the album as a whole is more uplifting. Her instrumentation and song structures still feel somehow futuistic more than 20 years into her career, and her compositional skills are still extraordinary. What she’s woven here is a tapestry you can return to endlessly, noticing new details each time.

— Robert Ker

Think you’ve seen the O Keeffe Museum?

Look again!

5 Ideas for a Fun-filled January!

Friday, January 2, 4:30 – 6:30 PM First Friday: Art Activity in the Galleries Enjoy hands-on art activities for all ages in the galleries.

Georgia O’Keeffe Museum, 217 Johnson St. Free with Museum admission.

Monday, January 5, 9:00 – 10:00 AM Breakfast with O’Keeffe Join curator Carolyn Kastner for Georgia O’Keeffe and Miguel Covarrubias: Six Degrees of Separation. She will discuss the long association of these two modernists, and their shared social and professional circles.

Doors open at 9:00 AM at the Museum Education Annex $15; includes Museum admission. Members Free. Reservations required.

Saturday, January 10, 9:30 – 11:30 AM Family Program: Light and Shadows Special activities for children ages 4–12 and their grownups.

Children must remain accompanied by an adult.

Meet at the Georgia O’Keeffe Museum, 217 Johnson Street.

Family Programs are free for the entire family.

Tuesday, January 20, 6:00 – 8:00 PM Adult Workshop: Line Drawing Workshops Museum Education Annex, 123 Grant Avenue. $8. Members, $5.

Friday, January 30, 6 PM Exhibition Opening: Modernism Made in New Mexico, 1902–1942 Investigate how the regional identity of New Mexico inspired a new direction in the modernism of multiple artists.

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Lecture & Workshop Martha Blake, MBA, NCPsyA Jungian analyst practicing in Portland

Lecture: Fortuna and Nemesis: Failure as Fortune

Friday, January 9th 7-9pm $10 2 CEUs or 2 Psychologist CEs The Great Recession (2007-2009) took a staggering toll on lives, due to loss of income, homes, education, health, equity, and hope of future employment. Depression, anxiety, and suicidal ideation rose nearly 20%.

The Industrial Revolution allowed individuals in Western Civilizations to believe they were in control of their economic situation. Over the next 200 years, our economy repeatedly fell into recession. A falling stock market takes egos down with it. Many never recover their self-esteem, for they believe the illusion that they are in control of their economic fate. In our culture, economic failure has been tantamount to a failure of character. With the recent Great Recession, our understanding of failure is shifting, returning once again to its mythological, alchemical origins. Through ancient art, contemporary literature, video and music, this lecture will illustrate how Western culture sailed off course in its understanding of failure and how we are returning home to a renewed appreciation of failure as an aspect of creation.

Workshop: Failure as Alchemy, Individuation, Experience of the Self

Saturday, January 10th 9am-4:30pm $80 6 CEUs or 6 Psychologist CEs The workshop will include additional contemporary examples with contributions by the attendees. In a series of confidential exercises, attendees will explore their attitudes toward failure as an “experience of the Self.”

Martha Blake, MBA, NCPsyA (Nationally Certified Psychoanalyst), studied as an artist, earned an MBA in Marketing—the psychology and imagery of consumption—and then trained at the C. G. Jung Institute in Zurich.

She is a member of the InterRegional Society of Jungian Analysts and works with individuals and groups. For thirty years, she has worked in the healthcare quality movement implementing improvements in the delivery system. Martha taught business students at Portland State University how to learn from their failures.

Both events take place at Center for Spiritual Living, 505 Camino de los Marquez, Santa Fe

Friday lecture tickets at the door. For Saturday workshop pre-registration call Marilyn Matthews, 505-471-9202 For expanded program details go to www.santafejung.org

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Sotheby’s International Realty and the Sotheby’s International Realty logo are registered (or unregistered) service marks used with permission.

Operated by Sotheby’s International Realty, Inc. Real estate agents affiliated with Sotheby’s International Realty, Inc. are independent contractor sales associates and are not employees of Sotheby’s International Realty, Inc. Equal housing opportunity.

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RAN NDO OM ACTS No Spain no gain

Into the woods: Hansel and Gretel

After the holidays, January dawns, cold and often bleak. And between post-Christmas letdown and going back to school, the month can be particularly not fun for kids, especially when the sugar highs of Valentine’s Day are still a long way off. Enter Performance Santa Fe’s production of Engelbert Humperdinck’s 1893 fairy-tale opera, Hansel and Gretel, performed in English by professional opera singers. While the three main performances take place on Jan. 9, 10, and 11, there’s a dress rehearsal/ preview geared toward young children and their families at 6 p.m. on Wednesday, Jan. 7, in the Scottish Rite Center’s magical theater. (A bonus for parents of young kids who go to bed early and/or have short attention spans: Hansel and Gretel is just about an hour long, so little ones are unlikely to get antsy.) While performances are free, tickets must be secured in advance by calling Performance Santa Fe at 505-984-8759. Enter through the Scottish Rite Center’s main doors at 463 Paseo de Peralta, and get ready for proof that festive, sparkly fun isn’t confined to the holidays. — Adele Oliveira

She sings like she means it: Eryn Bent

Montana native Eryn Bent has been a busy performer all around Northern New Mexico since moving here several years ago. The singer/songwriter has been belting out songs and accompanying herself on guitar since she was fourteen. These days, she favors the country folk/Americana genre. You can hear her enthusiastic, emotional approach — often

From its origins in Andalusian and Romany Gypsy music and dance styles to its long tradition in Spain and the Americas, flaamenco, with its rhythmic, staccato patterns, hass continued to enthrall audiences. Flamenco Con npaz, founded by dancer Domino Martinez, comees to El Mesón Restaurant (213 Washington Ave.) with Noche de Flamenco, an evening of the percusssive footwork and complex hand, arm, and bodyy movements that characterize the passionate dance form.

Martinez has been dancing flamen nco since the age of five. She performed with María Benítez’s Teatro Flamenco and now teachees at Benítez’s Institute for Spanish Arts while co ontinuing her own dance career. The performan nce begins at 7 p.m. on Saturday, Jan. 3. There iss a $10 cover.

Reservations are required. Call 50 05-983-6756.

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THIS WEEK

Say Hello, Dollface

“Salty, sweet, aggressive, and visceral” is the way Ashley Edwards and Jesse Ogle describe their Durangobased band, Hello Dollface.

Edwards (up front as singer, keyboardist, and guitarist) and Ogle (playing bass) are the core of the group, and they’re also the founders of the community-based nonprofit iAM MUSIC Inc., which has a music-education program and a professional musicians’ network.

Hello Dollface specializes in nonspecialization, working in rock, soul, electronica, jazz, synthy pop, folk, R & B, and reggae, with some Hawaiian strains appearing once in a while.

Overall, it’s a loose, summer-festival vibe — perfect for a cold winter night in Santa Fe. The band plays Cowgirl BBQ (319 S. Guadalupe St.) at 8 p.m. on Friday, Jan. 2. There’s no cover charge; call 505-982-2565.

— Paul Weideman wailing, whispering, and growling on the same song — on Firefly, her first studio album, recorded by Jono Manson’s Kitchen Sink Studio and released last spring. Or go dig her live: 9 p.m. on Friday, Jan. 2, at the Bull o’ the Woods Saloon in Red River (401 E. Main St., 575-754-2593); 6 p.m. on Saturday, Jan. 3, at Second Street Brewery (1814 Second St., 505-982-3030); and 8 p.m. on Tuesday, Jan. 6, at Cowgirl BBQ (319 S. Guadalupe St., 505-982-2565). There’s no cover at any of the venues. — P.W.

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PASATIEMPO I January 2-8, 2015

PASA REVIEWS Santa Fe Women’s Ensemble: Songs of Peace Loretto Chapel, Dec. 18 Santa Fe Desert Chorale: Carols + Lullabies Cathedral Basilica of St. Francis of Assisi, Dec. 19

Hearing voices

T

he Santa Fe Women’s Ensemble presented a concert titled Songs of Peace as an optimistic Christmas offering. Its 13 members are not vocal professionals, but director Linda Raney has cultivated them beyond the level a listener would anticipate of an amateur group.

The repertoire tends toward the modern, and the singers rose bravely to this season’s challenges of dense chords (in Ivo Antognini’s Agnus Dei), interlocked rhythms (in Paul Gibson’s Dona Nobis Pacem), and stark dissonances (in Manolo Da Rold’s Laudate Dominum).

Every year, the choir makes a point of commissioning, mastering, and premiering new compositions. This program unveiled Words of Peace, a five-movement cycle with music by Linda Rice Beck to texts selected from Hebrew prayers and readings by Mickey Bond and Sue Katz, who underwrote the commission. All three — Beck, Bond, and Katz — are members of the Women’s Ensemble and were accordingly well attuned to the group’s capacities and inclinations. Most of the choir’s repertoire is of a spiritual sort, and these verses — partly in Hebrew, partly in English — fit that description exactly. Beck expanded the sonic palette by incorporating touches of percussion and an obbligato part for flute, the latter nicely played by Charly Drobeck. The flute intensified the wistful quality of the opening movement, “Shalom, Words of Peace,” and in the fourth movement, “Shalom Rav,” the instrument’s low register provided a husky overlay to the altos’ melody, the breadth of texture yielding the group’s finest expanses in this concert.

The Santa Fe Desert Chorale is a professional ensemble, and its 24 singers (directed by Joshua Habermann) projected admirable vocal quality and technical facility in much of its Carols + Lullabies program. The group’s opening numbers were its finest, particularly as the singers, divided into eight parts, built momentum in Jean Mouton’s early-16th-century motet Nesciens Mater, maintaining solid tone and unwavering intonation through to the ends of its long-spanning phrases. Mendelssohn’s Weihnachten was a fleeting delight, and Grieg’s Ave Maris Stella offered a welcome glimpse into that composer’s infrequently sampled choral oeuvre. Not much else in the playlist had deep musical value. Carol arrangements ranged from the pleasant, such as Vaughan Williams’ setting of the “Wassail Song,” to the abysmal; the worst was an annoying setting, by Michelle Hynson, of a French carol identified as “On High,” in which the choir’s sopranos emitted a pinched timbre that was often their default in the course of the evening.

Frank La Rocca’s O Magnum Mysterium did not live up to the admiring spoken introduction Habermann provided for it, proving enervated, dull, and predictable. A couple of singalong (or, as the printed program put it, “SING ALONG!”) numbers fell flat, but the program found its footing again near the end, with a lovingly conveyed close-harmony arrangement

by Douglas Andrews of “Have Yourself a Merry Little Christmas.” Why, one wondered, would the program identify the arranger but not the actual authors? In this case, they were the estimable songwriters Hugh Martin and Ralph Blane.

Connecting with the audience through a few cordial words is fine, but there was way too much talking in both of these concerts. I think I counted six separate speeches at each program. At the Women’s Ensemble, the content seemed heartfelt, but in the case of the Desert Chorale, it was mostly unctuous promotion. Perhaps a New Year’s resolution is in order.

— James M. Keller

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ART OF SPACE Paul Weideman There are plenty of stories in which visitors or newcomers to Santa Fe bemoaned and even besmirched the town's "mud huts,” but Blanche Blackmore Boyle loved her ancient adobe.

The ring cycle: Santa Fe’s newest oldest house he building at 215 E. De Vargas St., famously named “the oldest inhabited home in the U.S.”

by Harper’s Weekly in 1879, may not even be the oldest in Santa Fe. Tree-ring testing appears to confirm the greater antiquity of the Arthur Boyle House, 650 feet east of the “Oldest House.” Previously, the Boyle House was only labeled as pre-1766, because it shows up on the Urrutia Map drawn in that year. A closer focus on the issue was provided by applications of dendrochronology, the process of dating a timber by examining its growth rings in a cross section or co ore sample. According to tested cores from the vigas in the “Oldest House,” the roof members came fro om trees that were cut between 1740 and 1767. Receent dendro-testing of pine vigas from the Boyle Hou use indicates cut dates in the late 1720s.

Dating a building using this testing strategy is not ccut and dried. For one thing, the Laboratory of Tree-Riing Research at the University of Arizona can only tell yyou when a tree’s life began and ended. A timber may haave been cut for an adobe house that was later abandoned, and then the wood may have been recycled for use in a new house. “That’s true, but this is a pretty tight packaage at the Boyle House — they’re all within a short period d of time,” said archaeologist Tom Windes, who was hired d to take the samples. “So I don’t think there’s a question th hat the date pretty much reflects the construction period.”

Another difficulty is that vigas and other timbers were typically debarked using steel tools, often also removing some of the outer (most recent) grow wth rings. But the preponderance of samples — 16 were taken — plus the existence of a few that still had som me bark “helps solidify the dates,” Windes said.

Another challenge relates to a chief characterisstic of dendrochronology in the Southwest — it relies on droughts. “Each area is somewhat unique. I think the lab has a curve for Santa Fe. If you get enough dates out of an area, you can find the nuances of years reflecting drought.” When there is lots of rainfall, the rings are fat. In drought times, they are narrow — and sometimes, if it’s a really bad drought year, the tree won’t even put on a ring. That can mess with dating.”

So what’s the chance of the Boyle House being the oldest European-built dwelling in the country? Well, the oldest house in St. Augustine, Florida, a city that was founded about 45 years before Santa Fe, also dates to the early 1700s. And in the state of Virginia, there are several contenders for the “oldest house” title. But can any of those boast more than anecdotal dating, for example, by means of tree-ring analysis?

The Boyle House is fascinating to walk through, not just for its antiquity — the stories in these walls!

— but for the eclectic conglomeration of details,

T

24

PASATIEMPO I January 2-8, 2015

such as hand-planed boards and square nails; venerable vigas supporting the rough, split-cedar roofing members known as rajas (slices) and the presence in adjacent rooms of more delicate beaded beams; walls that are in some places more than 4 feet thick; and Territorial-style details such as a long rear portal and a bay window at the back of the house. It’s like a riddle, walking through and trying to figure out what’s original and what came later.

David Rasch, director of Santa Fe’s Historic Preservation Division, said one of the house’s portales — the one shading the east facade with its distinctive pointed entry door — was constructed for the 1912 New-Old Santa Fe exhibition at the Palace of the Governors, and then taken down and rebuilt here.

Scott and Cornelia Tobey, who purchased the house last summer, are big fans of historic buildings and of historic preservation. “We came here looking for an old house with lots of character,” Scott said. When he pointed out some old, square nails in the floorboards, he launched into observations that evidenced their enthusiasm for such things: “The early square nails were from a single rod, and you had to hammer each individual nail, then later they took sheets and they would snap them off; those are called cut nails. When the railroad came [in 1880], they started bringing cut nails from the East, but before that they had to use hand-made nails.”

The Tobeys bought the property from the Hunker family, who had owned it for several decades. But the

ownership story can be traced back to the early 1800s, when the house and outlying lands constituted the rancho of Salvador Martín, according to the book Old Santa Fe Today. Martín conveyed the property to Antonio de Jesús Ortíz, who bequeathed the property to his daughter, Ana María. In 1863, she sold it (for $315) to the Very Rev. Peter Eguillon, Archbishop Jean Baptiste Lamy’s vicar general, who had brought the Christian Brothers to Santa Fe from France and helped found St St. Michael’s College. A record of the property on file at the t Historic Santa Fe Foundation describes it at the me of that sale as “measuring 210 Castilian varas, with tim undaries on the east by lands of Mauricio Duran, on bou thee west by a path leading to the San Miguel cemetery, on the north by the river of this city, and on the south by the properties of E. Vigil and Miquela Baca.”

In 1867, the Catholic Church conveyed the property Bloomfield and Col. Herbert M. Enos of the to Morris M quaartermaster corps. Seven years later, Bloomfield sold his interest to telegraph operator Joseph Gough and his wife. During the 1880s and 1890s, one room in the use served as a Western Union office, although if hou Gough was involved in that enterprise, it was probably just for a short time, because he and his wife sold their inteerest in the property to Arthur Boyle in 1881.

Boyle, born in England, had been employed as a B sheeepman in Australia and served as secretary to Sir harles Brooke, second white rajah of Sarawak before Ch maarrying Blanche Blackmore and emigrating to the nited States. For a time, Boyle managed the very Un largge Colorado and New Mexico land grants owned by Blaanche’s brother, William Blackmore, but in 1877 the Boyyles moved to Santa Fe. A story about the economic portunites of railroading in the March 7, 1884, New opp exican referred to Arthur Boyle as secretary of the Mex nta Fe Board of Trade. By 1886 he was a founder of San the New Mexico Horticulture Society. The famed Boyle business Clarendon Gardens began furnishing the city with cut flowers in 1887.

The property, which had been split, was again joined in 1889 when the Enos family conveyed its half to Blanche Blackmore Boyle. There are plenty of stories in which visitors or newcomers to Santa Fe bemoaned and even besmirched the town’s “mud huts,” but Blanche loved her ancient adobe. A 1986 story in the Albuquerque Journal said she wrote about the house in a paper for a literary group called the Fifteen Club. At one point, she recalled a roof job during which “we found a layer of mud 3 feet thick in places and took off tons of it, leaving enough, however, to preserve the great comfort of these roofs, namely their coolness in summer and warmth in winter.” continued on Page 26

Top, roof structure of split-juniper rajas on vigas in the Boyle House; bottom, the Boyle House can be located (circled here for emphasis) on the 1766 Urrutia Map; top inset, the building long known as the “Oldest House” photographed in the late 19th century by Dana B. Chase; Neg. No. 001721; bottom inset, Mrs. Smith, Mrs. Boyle, Mrs. Cross-Rivenberg, and Mrs. Coffin at Mrs. Boyle’s residence, 1919; photo Charles F. Coffin; Neg. No. 088804; inset images courtesy Palace of the Governors Photo Archives (NMHM/DCA)

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PASATIEMPO I January 2-8, 2015

There is still dirt on the roof, according to the Tobeys.

The house has been changed and expanded over the centuries. Two changes from fairly recent times were the addition of the northern tier of rooms during the late Territorial period (1880-1912) and a few “Santa Fe Style” alterations by builder Kate Chapman in about 1915.

The Boyle’s nursery operation, Clarendon Gardens, was extensive and long-lasting, but Arthur and Blanche didn’t restrict themselves to flowers.

An item in the local paper on Nov. 3, 1898, reported that Las Vegas grocers were in Santa Fe bargaining for two carloads of fruit, including apples, pears, and peaches from Arthur Boyle and other fruit raisers.

Arthur Boyle died in 1910, after which his son, Van Der Vere Boyle (who changed his name to Robert V. Boyle), took over the greenhouses and ran them with his wife, Elsie. The couple also opened a florist shop next to the Guarantee Shoe Store on the east side of the Plaza. In 1942, the newspaper called the Boyle greenhouses west of the house “the largest and best equipped in New Mexico, having a surface area at over 38,000 feet of glass.”

Those awesome glazed expanses posed special problems for youngsters always interested in strengthening their arms and their aim. “I remember, as a kid, that whole area where El Castillo retirement home is now was nothing but greenhouses,” lifelong Santa Fe resident Joe Valdes told me for another story in 2004. “I wouldn’t ever dare throw rocks because, even though I’m left-handed, I’d hit something, there was so much glass there.”

Valdes remembered the flower shop on the Plaza. That changed, too, in time. After Robert V. Boyle’s death in 1946, Elsie Boyle leased the business to horticulturist John Stuppy, and when his wife’s sister, Florence May, joined the firm, it became Stuppy-May Flowers. That business, which was located next to Sears on Lincoln Avenue, flourished into the late 1950s. ◀



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The Boyle House before and after Santa Fe Style “p por tálization,” from Old Santa Fe: A Magazine of History Archaeology, Genealogy, and Biography, JulyApril 1914-1915; courtesy Fray Angélico Chávez History Library

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R EA L .

FA K E . W H I C H

I S WHI CH?

t e k r a m t r a e h t ols and frauds in

fo

Michael Abatemarco I The New Mexican today’s art market, rampant fraudulent activity has led to art crimes’ designation as the third largest type of criminal activity in the U.S. — behind illegal drug and firearm sales. That seems like an astounding claim, and the topic is given its due in Santa Fe author Bernard Ewell’s new book, Artful Dodgers: Fraud & Foolishness in the Art Market. Ewell got this information from a credible source: Robert Wittman, who was instrumental in founding the FBI’s Art Crime Team. “Someone should tell the public,” Wittman told Ewell in 1987, and that, in part, is what Artful Dodgers attempts to do. It is an insightful look at the wheelings and dealings of the art world and does what few books about the market really accomplish; it explains how it all works.

According to Ewell, there are six myths that drive sales in the art market, none of them fraudulent on the surface — and sometimes on the up and up at every level — but that leave the door open for abuse and, judging by the sea of anecdotal evidence presented in the book, gross misrepresentation. One is that art has value. The next is that art values always go up, and the third follows from that: that art is a good investment.

28

PASATIEMPO I January 2-8, 2015

Bernard Ewell

Number four is the myth that you can resell your art and get at least what you paid for it. The fifth is: the bigger the name of the artist, the higher the value of the works. The last is that, when an artist dies, the value of his or her work goes up. While there are many instances in which all these myths are true, particularly at the higher end of the fine-art market, in the decorative-art market, they almost never are.

An expert witness in court cases involving art crime who has decades of experience as an appraiser, Ewell has met his fair share of victims and perpetrators.

Everyone is aware that frauds and fakes make their way into private and public collections, but not as many of us know how easily these crimes can be committed.

Ewell culls his examples from personal experiences as well as from historic instances — such as the story of

international dealer Sir Joseph Duveen (1869-1939) and art historian Bernard Berenson (1865-1959). Duveen helped robber barons and American millionaires build significant collections and hired Berenson to authenticate the artworks, offering him 25 percent of the sale price for each authenticated piece. As Ewell points out, Berenson authenticated almost everything. If Artful Dodgers is any indication, times have not changed.

Pasatiempo met with Ewell to discuss the book and some of the harsh but necessary criticisms it reserves for the business end of the market.

“ C E R T I F I C AT E O F A U T H E N T I C I T Y ”

Pasatiempo: You devote a chapter to art crime as the third largest crime, yet most people aren’t aware of how widespread it is.

Bernard Ewell: That is part of the message in the book — it is pervasive, and it’s not just the kinds of things you see in The Thomas Crown Affair. It’s all through the market at every level. Several months ago, Bob Wittman was here, speaking at the History Museum.

He was foolish enough to call on me; he should have known better. I said, “Bob, you said that 25 percent of art crime is theft and 75 percent is fakes and forgeries.”

He said, “That’s correct.” I said, “I completely agree with you, but you do the 25 percent and I do the 75 percent, so how come you’re today’s speaker?” He said, “Because I wrote the book. Where’s yours, Bernard?”

So, later on, I caught up with him and gave him a copy.

Pasa: You’ve zeroed in on six factors that drive the art market and how they can be manipulated by dealers at the expense of buyers. These “myths” are commonly accepted as truths. No doubt even art dealers believe in them. Is it naive to think they’re not being employed in a kind of con?

Ewell: I think the six myths, in some ways the heart of the book, are really solid. I don’t have to go far to hear them. I can go into almost any gallery, and if I engage in any way with the gallery personnel, I’m going to hear the six myths — or at least a couple of them. Bob Wittman and I were doing a case together in federal court in Michigan. I asked him, “In my book, I’m saying an honest art dealer is an oxymoron, because every time I think I’ve found one, the passage of time shows it’s not true. Something has come along, and they’ve made what I consider to be the wrong decision.

Do you think I’m being overly hard on art dealers?”

He said, “No. Not at all.”

yths

art market m

art has value art values always go up art is a good investment sell your art & at least break even bigger artist name means higher value the value of art increases when the artist dies Pasa: I think a lot of people get into the gallery business because they have the means to do it, but not necessarily an art background. Some clearly have a passion for art, but for others it’s a business — a means to an end — and not a calling.

Ewell: I think you’re quite right. It’s disappointing, because I have known dealers who delighted in educating their clients and seeing their clients get more erudite and excited about the art, and the buyer becomes a better buyer. Dealers are myopic in a lot of ways, and one of them is by counting on the next load of tourists into town to keep them going. They don’t cultivate the loyalty that they used to. They don’t develop their collectors into better collectors. To find someone who does is pretty rare. I know a dealer in Denver who, his entire career, held a salon. He had a big table in the middle of the gallery with chairs around it, and almost any time you went in there,

Barnett Newman’s ONEMENT VI sold at Sotheby’s in 2013 for almost

44 million

there were people talking about art, and it benefited his business tremendously. There was a community there I don’t think you find in many galleries.

Pasa: There are a lot of fascinating details in the book that I think readers will find surprising. I was struck by some of the legal definitions separating art from commodities. I never knew, for instance, that print editions of more than 200 are defined as commodities and not art.

Ewell: Nobody does. I included that in one of my lectures. During the question-and-answer at the end, someone said, “You said that in VARA [Visual Artists Rights Act] there’s this definition, and they cut off multiples at 200. That’s pretty arbitrary, isn’t it?” I said, “Yes. It is.” The number 200 is arbitrary, but the critical thing is nobody knows there is a number. If I go into a gallery, and they have an addition of something that’s 900 or 1200, and I say, “Well, it’s not art,” the response is going to be, “Well, that’s rather personal. Art is in the eye of the beholder.” And I’m going to say, “No. It’s a matter of law,” and they’re going to have no idea what I’m talking about.

Pasa: And you have experience writing art legislation as well as serving as an expert witness in a number of cases.

Ewell: Expert-witness testimony is possibly the favorite part of my unreasonably rewarding job. Part of that is because that’s the best place to get tested. That’s where you find out if you really know what you think you know. Any topic that you might know a lot about, that you pursue for years and years, it may not be until you have to teach someone else that you really

Ewell: When I get criticized by dealers because I’ve written a column or given a lecture and basically said to people, “Watch out — the art market is not what you think it is, and it’s not what they say it is,” they are really upset with me because they think I have destabilized the market, I have denigrated the market so people won’t trust it as much. Well, teaching people not to trust it is part of my intention, but I don’t attack just to attack. It’s not moral indignation that someone did something wrong. I rather try to say to people, “Slow down, take a look, and feel comfortable. Buy what you like and what you think you want to live with, but, if you can, improve the basis for making that decision.” I wrote this book because I care deeply about the art market, and I’m trying to help it become what it says it is and what people think it is. ◀ “Artful Dodgers: Fraud & Foolishness in the Art Market,” by Bernard Ewell, is published by Abbott Press.

should youtr rust your own taste? yes no o

most ram pant u.s. cri mes #1 illegal drug sales #2 illegal firearm sales #3 art fraud get in touch with how good your understanding of it is. When I was teaching at five different universities — I taught valuation law — I always encouraged my students to not only accept but to seek out expert witness assignments, because that would help keep them really good at what they were doing.

Pasa: Have your views on the market drawn a lot of criticism from dealers?

PASATIEMPOMAGAZINE.COM

29

James M. Keller I The New Mexican

l e h t E

We love IT

is Jan. 31, 1955 — a Monday night — and in this evening’s installment of I Love Lucy, Ricky and Lucy and Fred and Ethel are in the midst of a road trip to Los Angeles, where Ricky is to make a movie. Their route (66, of course) leads the funny foursome right through Albuquerque, and that raises the unusual possibility of placing Ethel at the center of the action in an episode titled “Ethel’s Home Town.” Inasmuch as the th television series I Love Lucyy was fictional to the core, Ethel Mertz could have been from anywhere. But the actress who portrayed her, the imitable Vivian Vance, really was a productt of Albuquerque, a happe nstance that has given rise to o the exhibition Everybody’s Neigh hbor: Vivian Vance, on view throu ugh Feb. 1 at the Albuquerque Museum.

The gist of the episode is that the denizens of the Duke City are under the impression that it is their native daughter who is going to be starring in the Hollywood movie, and Ethel, swept up in the admiration, does nothing to disabuse them of that misconception. Pressed by a reporter to relate her life story, she takes a deep breath and basks in her unaccustomed moment in the spotlight: “My Story, by Ethel Mae Potter,” she begins, using her presumed maiden name, essentially dictating to the star-struck reporter. “You people who remained here in this lovely, quiet, peaceful town of Albuquerque, leading your dreary, uneventful lives, little do you know the heartache, the heartbreak, the hard work, the frustration that I went through to get where I am today. When I was a small tot, playing around the yard of the Albuquerque Grammar School, little did I know that I was destined to become the star of three continents.” The reporter proposes taking her on a tour of the places of her youth, photographing her at the schoolyard, behind the counter of her father’s grocery shop, posing “with a big close-up shot of the Little Theatre marquee,” where she had gotten her start as an actress. By the end of the show, ruffled feathers are smoothed and the others join Ethel at that very theater for a vaudeville routine in which Ethel sings “Short’nin’ Bread” plus the song “My Hero” from Oscar Straus’ operetta The Chocolate Soldier, while havoc reigns in the background.

In fact, Vance was not a native of the city. She was born Vivian Roberta Jones on July 26, 1909, in Cherryvale, Kansas, and her family moved to Albuquerque only in 1928, in hopes that the climate

would prove beneficial for her asthmatic mother.

While working as a model for a dressmaker, Vivian found an outlet for her theatrical proclivities by performing in weekend vaudeville shows at the KiMo Theatre. At just that time a professional actress named Kathryn Kennedy O’Connor arrived in town from New York, seeking respite from tuberculosis, and she convinced various movers and shakers t su upport her in founding the to Allbuquerque Little Theatre.

Vance (the stage name was V assumed at that time) got in on the ground floor; the exhibition includes a photo of her iin costume for an unidentifiied production there in 1930, which was its first season. w Connor recognized the young O’C potential and sent her to New actress’s p with Eva Le Gallienne.

York to study w Vance was nott yet ready for the big time. Her V first audition in New York earned this response: “May we suggest you immediately return home.”

She proved persistent, snagging chorus parts and then supporting roles, finally graduating to a name on the marquee. A photo in the show has her posing onstage with Jimmy Durante, Ethel Merman, and Bob Hope for the initial production of Cole Porter’s Red, Hot, and Blue in 1936; the previous year, she had been Merman’s understudy in the same composer’s Anything Goes. “I always tell a beginner to stand in the wings when you come offstage, watch and learn from top stars,” Vance later said. “Incorporate what they do; make it your own.” By 1939, her headshot graces the cover of the Playbill for Skylark, a comedy

by Samson Raphaelson in which she played a supporting role to the British actress Gertrude Lawrence.

That production was launched on Oct. 11, 1939, at the Morosco Theatre on West 45th Street. Exactly one week later audiences streamed to the opening, just down the block at the Imperial Theatre, of the Rodgers and Hart musical Too Many Girls, which served as the breakthrough for an emerging actor and nightclub performer named Desi Arnaz. The next year he would cement his fame in the film version of that musical, which included in its cast a B-movie starlet by the name of Lucille Ball.

In 1951, Vance was appearing at the La Jolla Playhouse in San Diego in the lead of John Van Druten’s The Voice of the Turtle, a piece that was hugely popular in its day but has been largely ignored since. Arnaz went to see her performance and invited her to audition for a TV show he was producing, a comedy series that would star Ball,

VivianinVance Albuquerque

30

PASATIEMPO I January 2-8, 2015

Vivian Vance outside the stage door of Albuquerque’s KiMo Theatre during the run of Cushman’s Revue, 1930 Top, Vance, circa 1930; Brooks Studio Opposite page, top, Vance, left, in a production of Rain at the KiMo Theatre, 1931 Opposite page, bottom, Vance and William Frawley on the cover of TV Digest and Guide, March 20-26, 1953; courtesy Ric Wyman Images courtesy Lou Ann Graham and the Albuquerque Museum unless otherwise noted

who in the meantime had become his wife. It struck Vance as a harebrained idea. “Take a full-time job in a medium that didn’t amount to anything?” she recalled. “The strain involved wasn’t worth it.

Besides, what could it lead to? No series anything like this I Love Lucy had been successful so far.”

But she and Ball got along well when they met, and … oh, why not? The series took to the airwaves that October and ran through 1957, after which its extraordinary success was prolonged for two more years through TV specials. In 1954, Vance was awarded the first-ever Emmy award in the category of Best Supporting Actress for her work as Lucy’s congenial sidekick, and she received three further nominations in the same category.

Although Vance enjoyed a relatively broad and variegated theatrical career, she is first and foremost Ethel Mertz in the minds of her fans. Curiously,

the exhibit at the Albuquerque Museum seems intent on playing down that aspect of her career.

Perhaps that is understandable to the extent that she was sometimes frustrated when people viewed her only as a slightly dowdy housewife, but the show doesn’t offer much else to fill the gap. It is a rather spare exhibition, consisting of perhaps 75 artifacts: photos, memorabilia, personal effects, a comb she wore when playing vaudeville in the ’30s, and a fur stole she wore for a portrait in the ’50s (which is conveniently displayed near the portrait itself).

A 1950s TV sits in the middle of the room, and it seems strange that it is not playing excerpts from I Love Lucy, at least sporadically. Next to it sits a trophy, the 21st Annual Hall of Fame Award given long posthumously by the Academy of Television continued on Page 32 PASATIEMPOMAGAZINE.COM

31

Vivian Vance, continued from Page 31

Older sister Venus and Vivian (right), 1913

Arts and Sciences in March 2012, but where is that Emmy statuette Vance snagged in 1954? Well, after Vance died in 1979, of bone cancer, her family gave it to the Albuquerque Little Theatre, where it’s on display in the lobby — a half-mile distant from the Albuquerque Museum. Could the loan of that central artifact not have been arranged for the brief run of the exhibition?

Other omissions are easily as regrettable. The show seems to want to take the form of a biography, but it leaves out the less-than-happy parts.

Different husbands slip past, although the presentation never clarifies that there were four of them over the years.

She seems to have lived in an awful lot of residences, but it’s never spelled out when or why she moves from here to there. We see her with husband number three, actor Philip Ober, on a USO tour in Algeria and Italy, and we glimpse them in a small adobe ranch home they built in Cubero, between Laguna Pueblo and Grants, New Mexico. We are not told that their marriage ended in 1959 amid allegations of spousal abuse, a divorce that required Vance to hand over half her I Love Lucy earnings. The exhibition breathes nary a word about the fact that Vance was not on warm terms with her co-star William Frawley (Fred Mertz), and it is too hands-off to repeat the tale about how, when she received word of his death while dining at a restaurant, she reputedly proclaimed, “Champagne for everyone!” At the least, her relationship with Frawley was interesting enough that it might merit some citation in a show dedicated to 32

PASATIEMPO I January 2-8, 2015

Vivian (right) and younger sister Lou Ann, 1929

presenting her life. No mention is made of the fact that Vance struggled with psychological issues for years, that she spent many hours on a psychiatrist’s couch at a time when that was not very common, and that she became an advocate for mental-health causes.

Even her later links to New Mexico are treated without much detail. We are told she had a home in Santa Fe for a while, although visitors are left to wonder precisely where. (Indeed, her fourth marriage, to publisher John Dodds, took place at the home of some Santa Fe friends, Bill and Barbara Hooton.) A caption says she was active with the Santa Fe Opera and the New Mexico Heart Association. The displays include a San Juan Deer Dance plate she owned, made in 1955, and the reproduction of a 1958 New Mexican photo spread titled “TV Actress Visits Pojoaque.”

When all is said and done, Everybody’s Neighbor: Vivian Vance leaves visitors not very entertained, marginally enlightened, and generally frustrated by its refusal to countenance some of the more challenging aspects of her life and its strange insistence on downplaying the role that made Vance immortal. ◀

details ▼ Everybody’s Neighbor: Vivian Vance ▼ Through Feb. 1 ▼ Albuquerque Museum, 2000 Mountain Road N.W., Albuquerque ▼ By museum admission; 505-243-7255

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33

MOVING IMAGES

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The prying Scotsman: Peter Capaldi copies Leonardo’s notes

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film reviews

PASATIEMPO I January 2-8, 2015

Flip through the journals of young men and women of ambition through the ages and you’ll find passionate entries about making a mark, leaving footprints in the sands of time, a determination not to to pass this way without leaving a trace, like “woodsmoke on the wind, foam upon the sea.” That last is from the journals of Leonardo da Vinci, a young man growing up illegitimate and unschooled in the Tuscan countryside in the latter half of the 15th century, and dreaming of making it in the big time.

“I intend,” he wrote, “to leave a memory of myself in the minds of others.”

And he did.

When Leonardo died in 1619 at the age of sixty-seven, he was one of the most famous men in the world. He left some 30,000 pages of notebooks and several paintings. Among the latter was a portrait of the wife of a wealthy Florentine merchant, which was commissioned in 1502. Leonardo may have continued working on it off and on until his death. It’s known as the Mona Lisa.

This is not to say that the great man spent 17 years just working on this one painting. He had a lot of other interests. He was an engineer, a mathematician, an inventor, an anatomist, a geologist, a botanist, a cartographer, and a writer. Look up the definition of polymath and you’re likely to get his picture.

This documentary, directed by Julian Jones for the History Channel and featuring Scottish actor Peter Capaldi as Leonardo, is at its best when it concentrates on the notebooks, on the restless, ceaseless curiosity of the mind of perhaps the most brilliant and diverse man ever to draw breath.

For reasons that possibly not even Leonardo could explain, the director has chosen to make his film in 3-D, even proudly blazoning that in the title. There is very little in the content that benefits from the third dimension, and there are some things that actually suffer. I found in watching it that when the screen was filled with a Leonardo painting, I could sometimes see the thing brighter and clearer if I slipped the tinted 3-D glasses down my nose and peered over them.

Perhaps the 3-D has something to do with Capaldi’s sometimes overheated performance. In assuming the character of Leonardo, he seems to be reaching for another dimension, coiled like a snake, hunched in a chair, staring off in brooding absorption and then suddenly springing to life to engage the camera with some histrionics. He grows on you as the film goes on, but he takes some getting to know. He does not convey Leonardo in any visual sense; he is clean-shaven and wearing modern clothes, but the words he speaks are culled from those magnificent journals written in Leonardo’s hand and spoken in what is meant to conjure up Leonardo’s voice.

Any chance to spend some time inside one of the greatest minds that ever lived is time well spent, even if this documentary doesn’t take as much advantage of the visit as we might like.

— Jonathan Richards

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35

MOVING IMAGES chile pages

— compiled by Robert Ker

rip-off that follows up a mildly popular movie of 2012.

This time around, it’s the middle of World War II, and children are brought from London to a haunted mansion where the ghostly gal of the title gets a chance to scream at them from random corners of darkened rooms. Rated PG-13. 98 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

now in theaters ANNIE Back in 1998, rapper Jay Z had a smash hit with “Hard Knock Life (Ghetto Anthem),” a song that sampled the number from the musical Annie. Now the whole production gets an African American makeover, with Quvenzhané Wallis as the titular orphan and Jamie Foxx as the modern Daddy Warbucks.

Rated PG. 118 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

Once upon a horse: Noah Hathaway in The Neverending Story, at Jean Cocteau Cinema in Santa Fe

opening this week INSIDE THE MIND OF LEONARDO 3D When Leonardo da Vinci died in 1519 at the age of sixty-seven, he left among his possessions some 30,000 pages of notebooks and several paintings. This documentary, directed by Julian Jones for the History Channel and featuring Scottish actor Peter Capaldi delivering Leonardo’s words, is at its best when it concentrates on the notebooks, on the restless curiosity of perhaps the most brilliant and diverse man ever to draw breath. For reasons that possibly not even Leonardo could explain, the director has chosen to make his film in 3-D. But any chance to spend some time inside that great mind is time well spent, even if this documentary doesn’t take as much advantage of the visit as we might like. Not rated. 85 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) See review, Page 34.

THE NEVERENDING STORY Wolfgang Petersen’s 1984 fable centers around a boy (Barret Oliver) who is pulled into a fantasy book about a young warrior (Noah Hathaway) who must save the world from a dark storm called the Nothing. From the theme song on,

36

PASATIEMPO I January 2-8, 2015

the movie shows its age, but kids should still love it.

The story, based on Michael Ende’s novel, is timeless; and characters such as the Rockbiter and Falkor the Luckdragon are among the most memorable in the history of family cinema. Rated PG. 102 minutes.

Jean Cocteau Cinema, Santa Fe. (Robert Ker) PERFORMANCE AT THE SCREEN The series of high-definition screenings continues with a showing of the Paris Opera’s production of Rossini’s The Barber of Seville. René Barbera, Carlo Lepore, and Karine Deshayes star. 11:15 a.m. Sunday, Jan. 4, only. Not rated. 184 minutes, plus one intermission.

The Screen, Santa Fe. (Not reviewed) REEL NEW MEXICO The monthly series showcasing independent films with a New Mexico connection offers Mother O’Keeffe, a documentary about Georgia O’Keeffe’s Canyon Suite of watercolors and the controversial theory that they may have been painted by her foster son and protégé. Director Richard Startzman attends the screening. Stanley Kubrick’s 1951 shot-in-New-Mexico short, Flying Padre, precedes the feature. 7 p.m. Thursday, Jan. 8, only. Not rated.

La Tienda Performance Space, 7 Caliente Road, off Avenida Vista Grande, Eldorado. (Not reviewed) THE WOMAN IN BLACK 2: ANGEL OF DEATH It’s so early in the new year that the biggest major release is a cinematic shrug — a tired-looking J-horror

ANTARCTICA: A YEAR ON ICE Living at the bottom of the world — including months of total darkness, raging winds, sub-zero temperatures, and the stupendously gorgeous aurora australis — is an adventure experienced by only a small group of people. Filmmaker Anthony Powell treats us to a multidimensional immersion in the landscape and with the residents of Scott Base and McMurdo Station in Antarctica. Rated PG. 91 minutes.

The Screen, Santa Fe. (Paul Weideman) BIG EYES Tim Burton ditches the oppressive whimsy to spin a mild parable for the women’s rights movement and tell a tale of artistic agency, focusing on Margaret Keane (Amy Adams), the woman who painted those portraits of sad, big-eyed children that became popular in the middle of the 20th century. The film focuses on her marriage to Walter Keane (played by smooth-talking cad extraordinaire Christoph Waltz), who marketed her work so aggressively and ended up claiming credit for himself and hoarding the fame until she fought back. Burton offers a sometimes-repetitive overview of the situation, and he could have plumbed deeper emotional depths. But the film is breezy, the supporting cast is colorful, and the art direction is impeccable.

Regal DeVargas, Santa Fe. (Robert Ker) BIG HERO 6 This animated film from Disney emphasizes hard work, the pursuit of science, the strength of friendship, and the ability to handle setbacks — all while telling a superhero origin story that’s full of heart and humor. Hiro (Ryan Potter) adopts an inflatable robot named Baymax from his big brother. Tragedy

strikes, which pushes the pair into a mystery so challenging that they enlist four friends to join them.

Rated PG. 102 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Robert Ker) BIRDMAN OR (THE UNEXPECTED VIRTUE OF IGNORANCE) In Alejandro González Iñárritu’s searing, hilarious, sometimes unsettling backstage satire, Michael Keaton tosses his hat into the Oscar ring with his brilliant dissection of a movie star, in artistic eclipse in the years since he sold his soul to play a masked comic-book superhero, looking for redemption on the Broadway stage. Packed with a terrific supporting cast headed by Edward Norton, Naomi Watts, and Emma Stone and shot in a simulated single take by the great Emmanuel Lubezki, Birdman crackles with wit, self-referential allusions, fantasy, and penetrating insights about show business, relevance, and the modern world. Iñárritu, sloughing off the ponderous artiness of his recent movies, makes magic here. Rated R. 119 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) CITIZENFOUR This documentary should be required viewing, whichever side of the Edward Snowden patriot/ bias traitor you fall on. Laura Poitras, the director by contacted Snowden to break his story, presents only one side here, but it’s a compelling brief that asks what constitutional freedoms we’re willing to surrender for security. Poitras pads her film with some sleepy footage of Snowden sitting in his hotel room, but there’s plenty of meat. Rated R. 114 minutes.

Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) DYING TO KNOW Gay Dillingham’s profound, uplifting documentary takes us on a journey to that border no fence keep from crossing. Our guides along this can us frontier are those two irrepressible icons of drugs and enlightenment, former Harvard professors Timothy Leary and Ram Dass. The centerpiece of the movie is Dillingham’s lovingly filmed 1996 reunion of the two men as Leary was facing death from cancer. She explores the lives that brought them to this point and Ram Dass’ subsequent battle with the effects of a devastating stroke. Local figures like Joan Halifax and Joanna Harcourt-Smith are among those interviewed, and there’s a nicely unobtrusive narration voiced by Robert Redford. Not rated. 99 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) EXODUS: GODS AND KINGS Ridley Scott goes biblical with this retelling of the story of Moses (played

here by Christian Bale), who leads the slaves in a revolt against Pharaoh Ramses ( Joel Edgerton). Aaron Paul, Sigourney Weaver, Ben Kingsley, and John Turturro also star, but the main attraction for many will no doubt be those clashing armies and parting sea waters.

Rated PG-13. 150 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Not reviewed) FLAMENCO, FLAMENCO This film offers no narrative, no dialogue, no voiceover, and no subtitles — only title cards identifying the performers and the numbers. When they sing, the words are untranslated, but if you aren’t fluent in Spanish, you needn’t worry about missing their meaning. Every word, every ululating cry is ripped from the gut, torn from the heart, lifted by voices rasping with emotion. And when performers dance, they hit the floor with hammering heels, battering out staccato rhythms like bursts of automatic weapons. We are in the hands of Carlos Saura, master filmmaker and connoisseur of Spanish dance, and his frequent collaborator, the great Italian cinematographer Vittorio Storaro. Not rated. 97 minutes. Jean Cocteau Cinema, Santa Fe. ( Jonathan Richards) FOXCATCHER Why did wealthy Du Pont heir John Eleuthère du Pont (Steve Carell) become fascinated with the U.S. Olympic wrestling team in the 1980s and ’90s, turning his home into a massive training center? Was it because he was lonely? Was it to spite his mother? Or was he simply the patriot and philanthropist he saw himself as? That question lies at the heart of this film by Bennett Miller, which covers the years before du Pont abruptly murdered one of his team’s coaches in 1996.

Despite sharp writing, evocative photography, and nice directorial flourishes, Foxcatcher never gains enough purpose to justify its mannered pace or overcome Carell’s unnecessary and distracting makeup. Carell and Channing Tatum (as a star wrestler) are both terrific, but the gold medal goes to Mark Ruffalo for his fabulous, transformative performance as the doomed coach. Rated R. 134 minutes. Regal DeVargas, Santa Fe. (Robert Ker) THE GAMBLER Mark Wahlberg plays the title role in this remake of the 1974 James Caan vehicle of the same name. He’s a literature professor with a gambling addiction who gets in with some bad people and borrows a lot of money to get away from them. John Goodman and Jessica Lange co-star. Rupert Wyatt (Rise of the Planet of the Apes) directs. Rated R. 111 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

THE HOBBIT: THE BATTLE OF THE FIVE ARMIES The story of Bilbo Baggins (Martin Freeman) concludes with a battle that makes this film feel like the third act of the previous movie rather than a stand-alone feature in its own right.

Dwarves, elves, orcs, men, trolls, goblins, wizards, eagles, giant worms, and one hobbit collide in what seems like a two-hour fantasy version of the big melee in Anchorman: The Legend of Ron Burgundy. It’s impressive but exhausting — which at this point is pretty much true of Jackson’s entire foray into Middle Earth. Some cool special effects and set pieces, along with admirably Shakespearean acting, can’t obscure the fact that it’s all gotten a bit long in the tooth.

Rated PG-13. 144 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Robert Ker) THE HOMESMAN Tommy Lee Jones directed, co-wrote, and stars in this story of an independent woman (Hilary Swank) who teams up with a likable rascal ( Jones) to guide three insane women from the wilds of the Nevada Territory to the safety of the East in the mid-1800s.

It’s an intriguing, haunting tale that pays homage to the pioneers who shaped the land. Rated R. 122 minutes. Center for Contemporary Arts, Santa Fe. (Robert Nott) THE HUNGER GAMES: MOCKINGJAY - PART 1 The studio behind the Hunger Games franchise has split the film adaptation of the final book into two parts to keep the money train rolling. This time Katniss (Jennifer Lawrence) is talking ’bout a revolution. Rated PG-13. 123 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Not reviewed) THE IMITATION GAME This very entertaining movie could have been a lot more.

Director Morten Tyldum and screenwriter Moore have taken the engrossing story of Graham Alan Turing (Benedict Cumberbatch), the British war hero, computer pioneer, and homosexual martyr, and fit it into the familiar confines of a biopic stocked with Movie Moments, which never convince us that things really happened the way the film depicts them.

The main event is the wartime assault on Enigma, the Nazi encrypting machine whose codes Turing invented a computer to crack. All the acting is terrific, and Cumberbatch plays the brilliant, socially clueless scientist with a mercurial doggedness that will land him on Oscar’s short list. Rated PG-13. 114 minutes.

Regal DeVargas, Santa Fe. ( Jonathan Richards) continued on Page 38

PASATIEMPOMAGAZINE.COM

37

MOVING IMAGES chile pages

continued from Page 37

INTERSTELLAR Christopher Nolan’s space epic is one of the silliest movies ever made, but it has an odd majesty. It’s filled with hokum earnest and riddled with theoretical-physics of chatter, most which can’t be understood because Hans Zimmer’s raging score and the thundering sound effects are in a perpetual death struggle with the (mostly mumbled) dialogue. On a theoretical-physics level, it’s all about relativity and the oddity that time proceeds more slowly when you’re hurtling through space than when you’re back on the farm. On an emotional level, it’s about father-daughter bonds and the power of love. Rated PG-13. 168 minutes. Regal Stadium 14, Santa Fe. ( Jonathan Richards)

cushy, upscale world behind to seek the simplicity of a monk’s life at the Rato Dratsang monastery in India.

A Buddhist monk for more than 30 years, Vreeland still shoots photographs, including tender, intimate portraits of secular and monastic life in India and Tibet. But the story of his journey is complicated by the fact that he still lives a life of privilege, of sorts, and has had honors bestowed on him by the Dalai Lama. Affable and charitable as he is, he has maintained a worldly attachment to his art form, which is at odds with his spiritual practice — something that is not sufficiently explored here. Not rated. 90 minutes.

The Screen, Santa Fe. (Michael Abatemarco)

THE INTERVIEW The most talked-about movie this holiday season is a comedy in which Seth Rogen and James Franco play bumbling journalists assigned to kill North Korean dictator Kim Jong-un. In the wake of its release, North Korea allegedly hacked into Sony’s email system and promised terror threats on theaters that showed the film. A huge kerfuffle ensued, and the film was pulled. Now it’s back, and questions remain. Were the threats serious? Was it all a huge publicity stunt? Is this really a First Amendment issue? And is the movie actually any good? Rated R. 112 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed)

NIGHT AT THE MUSEUM: SECRET OF THE TOMB Not very many people were calling for a third Night at the Museum film, but the whole gang is nonetheless back: Ben Stiller, Owen Wilson, Steve Coogan, Ricky Gervais, and many more. It seems as though the production team took so long trying to find room in all the actors’ schedules to shoot this film that they forgot to write a script and did what the makers of any tired franchise do: concoct a lame excuse to move the whole thing overseas. In one of his final roles, Robin Williams once again appears as Teddy Roosevelt. Rated PG. 98 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker)

INTO THE WOODS Stephen Sondheim’s Into the Woods, a musical about psychological self-discovery, gets Disneyfied (though tastefully) under Rob Marshall’s smart, sensitive direction. Top-drawer performances, with better singing than you might anticipate, come from Meryl Streep (Witch), Johnny Depp (Wolf), Anna Kendrick (Cinderella), Tracey Ullman (Jack’s Mother), and a constellation of supporting players. The score and dialogue remain largely intact, making this a must-see for Sondheimites. Serious theater aficionados should not write this off just because it’s from Disney.

Rated PG. 124 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. ( James M. Keller)

PENGUINS OF MADAGASCAR This animated comedy opens with a March of the Penguins spoof that includes Werner Herzog uttering the line, “Look at them, tumbling onto their chubby bum-bums.”

Miraculously, that isn’t the only funny part of the movie. The Madagascar series is mired in dumb jokes and cheap-looking animation, but this spinoff mostly shines, as the four central penguins get into a brisk, funny, spy-movie-like battle with an evil octopus. I attended as a dutiful parent bracing himself for the worst; by the time I got off my bum-bum, though, I had enjoyed myself. Rated PG. 92 minutes. Screens in 2-D only. Regal Stadium 14, Santa Fe. (Robert Ker)

MONK WITH A CAMERA Swiss-born photographer Nicholas Vreeland, grandson of fashion editor Diana Vreeland, left his

THE THEORY OF EVERYTHING A movie about Stephen Hawking ought to be bursting with ideas. What director James Marsh has come up with is a nicely crafted, watchable, but conventionally structured romantic biopic. It has, however, one extraordinary feature that lifts it above the level of Lifetime entertainment: Eddie Redmayne is brilliant in his transformation into the gnarled, twisted physical wreck of the Hawking we know, body confined to a wheelchair, voice produced by a machine. What we miss is the excitement of Hawking’s mind, soaring through time and space.

Rated PG-13. 123 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards)

spicy bland

medium

mild

heartburn

Read movie reviews online at www.santafenewmexican.com/pasatiempo

38

PASATIEMPO I January 2-8, 2015

TOP FIVE Chris Rock gets his Woody Allen on, writing, directing, and starring in this talky New York-centric rom-com about a world-famous comedian (Rock) who is trying to stay sober, break into drama, and cope with the public nature of his relationship with a reality star (Gabrielle Union). The whole story, staged around an interview with a journalist (Rosario Dawson), alternates between funny and flat. It doesn’t always work, but it’s heartfelt, and you come away hoping that Rock gets the chance to make more films in a similar style. Rated R. 102 minutes. Regal Stadium 14, Santa Fe. (Robert Ker) 2001: A SPACE ODYSSEY Few science fiction films have had the impact of Stanley Kubrick’s 1968 epic space journey. From its opening sequence, set at the dawn of humankind, which transitions in a celebrated shot to a distant future, the Kubrick-and-Arthur C. Clarke-penned opus sets the standard for the genre — and has never been equaled. Kubrick’s taut, claustrophobic film boasts breathtaking special effects

by Douglas Trumbull, a memorable classical score, and realistic depictions of life in space that trump most of the sci-fi that followed. Its themes of the origins of human intelligence and the ultimate fate of human existence still resonate. Rated G. 160 minutes.

The Screen, Santa Fe. (Michael Abatemarco) UNBROKEN Angelina Jolie gets back in the director’s chair to tell the true story of Louis Zamperini (Jack O’Connell), the Olympic runner who survived a plane crash in World War II, 47 days on a life raft, and more than two years of abusive treatment in Japanese prisoner-of-war camps. Rated PG-13. 137 minutes.

Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Not reviewed) WILD In 1995, inexperienced hiker and camper Cheryl Strayed strapped on a backpack and covered 1,100 miles of the Pacific Crest Trail. Her memoir recounting that trek became a bestseller in 2012. This moving, ruggedly beautiful adaptation of her book — directed by Jean-Marc Vallée (Dallas Buyers Club), with a screenplay by Nick Hornby, and starring Reese Witherspoon — seems destined for similar success. Vallée and cinematographer Yves Bélanger capture scenery and settings with deft camerawork, and the storytelling is honest, vivid, and nonjudgmental. Rated R. 115 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden)

other screenings Regal Stadium 14, 505-424-0799 Dumb and Dumber To, Horrible Bosses 2, Selma, Taken 3. ◀

CCA CINEMATHEQUE AND SCREENING ROOM 1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org Citizenfour (R) Fri. to Sun. 3:30 p.m.

Dying to Know: Ram Dass & Timothy Leary (NR) Fri. to Sun. 12:30 p.m., 5 p.m., 8 p.m.

Mon. to Thurs. 3 p.m., 7:30 p.m.

The Homesman (R) Fri. to Sun. 1 p.m., 7:15 p.m.

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

Inside the Mind of Leonardo (NR) Fri. to Sun. 2:45 p.m., 6 p.m. Mon. to Thurs. 2:30 p.m., 5:15 p.m.

JEAN COCTEAU CINEMA 418 Montezuma Avenue, 505-466-5528, www.jeancocteaucinema.com Flamenco, Flamenco (NR) Fri. 1:40 p.m.

Sun. 1:20 p.m. Wed. 4:20 p.m. Thurs. 6:30 p.m.

The Interview (R) Fri. 4 p.m., 9 p.m. Sat. and Sun. 3:30 p.m., 8:30 p.m. Tue. 8:30 p.m. Wed. 9 p.m.

Thurs. 1:30 p.m., 9 p.m.

The Neverending Story (PG) Fri. 6:30 p.m.

Sat. 1 p.m., 6 p.m. Sun. 6 p.m. Tue. 6 p.m.

Wed. 6:30 p.m. Thurs. 4 p.m.

REGAL DEVARGAS 562 N. Guadalupe St., 505-988-2775, www.fandango.com Big Eyes (PG-13) Fri. and Sat. 12:50 p.m., 3:50 p.m., 6:50 p.m., 9:25 p.m. Sun. to Wed. 12:50 p.m., 3:50 p.m., 6:50 p.m.

Birdman (R) Fri. and Sat. 12:40 p.m., 3:40 p.m., 6:40 p.m., 9:20 p.m. Sun. to Wed. 12:40 p.m., 3:40 p.m., 6:40 p.m.

Foxcatcher (R) Fri. and Sat. 12 p.m., 3 p.m., 6 p.m., 9 p.m. Sun. to Wed. 12 p.m., 3 p.m., 6 p.m.

The Imitation Game (PG-13) Fri. and Sat. 12:15 p.m., 3:15 p.m., 6:15 p.m., 8:55 p.m. Sun. to Wed. 12:15 p.m., 3:15 p.m., 6:15 p.m.

The Theory of Everything (PG-13) Fri. and Sat. 12:05 p.m., 3:05 p.m., 6:05 p.m., 9:05 p.m. Sun. to Wed. 12:05 p.m., 3:05 p.m., 6:05 p.m.

Wild (R) Fri. and Sat. 12:30 p.m., 3:30 p.m., 6:30 p.m., 9:15 p.m. Sun. to Wed. 12:30 p.m., 3:30 p.m., 6:30 p.m.

REGAL STADIUM 14 3474 Zafarano Drive, 505-424-6296, www.fandango.com Annie (PG) Fri. and Sat. 10:20 a.m., 1:15 p.m., 4:15 p.m., 7:15 p.m., 10 p.m. Sun. 10:20 a.m., 12:30 p.m., 1:15 p.m., 4:15 p.m., 7:15 p.m., 10 p.m.

Mon. to Thurs. 1:15 p.m., 4:15 p.m., 7:15 p.m., 10 p.m.

Big Hero 6 (PG) Fri. to Sun. 11:05 a.m., 1:45 p.m., 4:25 p.m., 7:20 p.m. Mon. to Thurs. 1:45 p.m., 4:25 p.m., 7:20 p.m.

Dumb and DumberTo (PG-13) Fri. to Sun. 10 p.m.

Mon. to Wed. 1:10 p.m., 4:10 p.m., 7:05 p.m., 10 p.m.

Thurs. 1:10 p.m., 4:10 p.m., 10 p.m.

Exodus: Gods and Kings (PG-13) Fri. to Sun. 4 p.m., 7:15 p.m. Mon. to Thurs. 3:45 p.m., 7 p.m.

Exodus: Gods and Kings 3D (PG-13) Fri. to Sun. 12:45 p.m., 10:30 p.m. Mon. to Thurs. 12:15 p.m., 10:20 p.m.

The Gambler (R) Fri. and Sat. 11:20 a.m., 2:10 p.m., 5 p.m., 7:50 p.m., 10:35 p.m. Sun. 10 a.m., 2:10 p.m., 5 p.m., 7:50 p.m., 10:35 p.m. Mon. to Thurs.

12:50 p.m., 4:30 p.m., 7:25 p.m., 10:05 p.m.

The Hobbit:The Battle of the Five Armies in 3D (PG-13) Fri. and Sat. 11:30 a.m., 3:15 p.m., 7 p.m., 10:45 p.m. Sun. 11 a.m., 3:20 p.m., 7 p.m., 10:45 p.m.

Mon. to Thurs. 12 p.m., 3:30 p.m., 6:45 p.m., 10 p.m.

The Hobbit:The Battle of the Five Armies (PG-13) Fri. to Sun. 12 p.m., 3:45 p.m., 7:30 p.m.

Mon. to Thurs. 12:30 p.m., 4 p.m., 7:10 p.m., 10:25 p.m.

Horrible Bosses 2 (R) Fri. to Sun. 10:25 p.m.

Mon. to Wed. 1 p.m., 4:05 p.m., 7:10 p.m., 10:30 p.m.Thurs. 1 p.m., 4:05 p.m., 7:10 p.m.

The Hunger Games: Mockingjay - Part 1 (PG-13) Fri. to Wed. 12:45 p.m., 4 p.m., 7:40 p.m., 10:30 p.m. Thurs. 12:45 p.m., 4 p.m., 10:30 p.m.

Interstellar (PG-13) Fri. to Thurs. 6:45 p.m., 10:25 p.m.

Into the Woods (PG) Fri. to Sun. 10:15 a.m., 10:45 a.m., 1:10 p.m., 1:40 p.m., 4:10 p.m., 4:45 p.m., 7:05 p.m., 7:40 p.m., 10:35 p.m.

Mon. to Wed. 1:35 p.m., 4:40 p.m., 7:35 p.m., 10:30 p.m. Thurs. 1:05 p.m., 4:10 p.m., 7 p.m., 10:30 p.m.

Night at the Museum: Secret of the Tomb (PG) Fri. to Sun. 11:15 a.m., 1:50 p.m., 4:20 p.m., 7:15 p.m., 9:50 p.m. Mon. to Thurs. 1:50 p.m., 4:20 p.m., 7:15 p.m., 9:50 p.m.

Penguins of Madagascar (PG) Fri. and Sat. 11:25 a.m., 1:55 p.m., 4:20 p.m. Sun. to Thurs.

1:55 p.m., 4:20 p.m.

Selma (PG-13) Thurs. 7 p.m., 10:05 p.m.

Taken 3 (PG-13) Thurs. 8 p.m., 10:45 p.m.

Top Five (R) Fri. to Wed. 9:55 p.m.

Unbroken (PG-13) Fri. to Sun. 10 a.m., 10:30 a.m., 1 p.m., 1:35 p.m., 4:05 p.m., 4:40 p.m., 7:10 p.m., 7:45 p.m., 10:50 p.m. Mon. to Thurs. 12:55 p.m., 4:05 p.m., 7:20 p.m., 10:25 p.m.

The Woman in Black 2:Angel of Death (PG-13) Fri. to Sun. 10:05 a.m., 12:30 p.m., 3 p.m., 5:25 p.m., 7:50 p.m., 10:15 p.m. Mon. to Thurs. 12:20 p.m., 3 p.m., 5:25 p.m., 7:50 p.m., 10:15 p.m.

THE SCREEN Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com 2001:A Space Odyssey (G) Fri. and Sat. 4:25 p.m.

Sun. 6:40 p.m.

Antarctica:A Year on Ice (PG) Fri. and Sat. 2:30 p.m. Sun. 4:45 p.m. Mon. to Thurs. 1:15 p.m., 5:15 p.m.

The Barber of Seville (NR) Sun. 11:15 a.m.

Monk With a Camera (NR) Fri. 7:30 p.m.

Sat. 12:30 p.m., 7:30 p.m. Sun. 2:45 p.m.

Mon. to Thurs. 3:15 p.m., 7:30 p.m.

MITCHELL DREAMCATCHER CINEMA (ESPAÑOLA) 15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com Annie (PG) Fri. 4:40 p.m., 7:15 p.m., 10 p.m.

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

Big Hero 6 (PG) Fri. 4:35 p.m. Sat. and Sun. 2:05 p.m., 4:35 p.m. Mon. to Thurs. 4:35 p.m.

Exodus: Gods and Kings (PG-13) Fri. 4:45 p.m., 7:50 p.m. Sat. and Sun. 1:40 p.m., 4:45 p.m., 7:50 p.m. Mon. to Thurs. 4:20 p.m., 7:25 p.m.

The Gambler (R) Fri. 4:55 p.m., 7:20 p.m., 9:55 p.m. Sat. 2:15 p.m., 4:55 p.m., 7:20 p.m., 9:55 p.m. Mon. to Thurs. 4:55 p.m., 7:30 p.m.

The Hobbit:The Battle of the Five Armies (PG-13) Fri. 4:15 p.m., 6:45 p.m., 7:30 p.m., 9:55 p.m.

Sat. 1:45 p.m., 4:15 p.m., 6:45 p.m., 7:30 p.m., 9:55 p.m. Sun. 1:45 p.m., 4:15 p.m., 6:45 p.m., 7:30 p.m. Mon. to Thurs. 4:15 p.m., 6:45 p.m.

The Hunger Games: Mockingjay - Part 1 (PG-13) Fri. and Sat. 7:10 p.m., 9:50 p.m.

Sun. to Thurs. 7:10 p.m.

Into the Woods (PG) Fri. 4:35 p.m., 7:20 p.m., 10 p.m. Sat. 1:50 p.m., 4:35 p.m., 7:20 p.m., 10 p.m.

Sun. 1:50 p.m., 4:35 p.m., 7:20 p.m. Mon. to Thurs.

4:35 p.m., 7:20 p.m.

Night at the Museum: Secret of the Tomb (PG) Fri. 4:30 p.m., 7:05 p.m., 9:45 p.m. Sat. 2:10 p.m., 4:30 p.m., 7:05 p.m., 9:45 p.m. Sun. 2:10 p.m., 4:30 p.m., 7:05 p.m. Mon. to Thurs. 4:30 p.m., 7:05 p.m.

Unbroken (PG-13) Fri. 4:45 p.m., 7:45 p.m.

Sat. and Sun. 1:45 p.m., 4:45 p.m., 7:45 p.m.

Mon. to Thurs. 4:25 p.m., 7:15 p.m.

The Woman in Black 2:Angel of Death (PG-13) Fri. 5 p.m., 7:35 p.m., 9:50 p.m. Sat. 2:25 p.m., 5 p.m., 7:35 p.m., 9:50 p.m. Sun. 2:25 p.m., 5 p.m., 7:35 p.m.

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

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39

RESTAURANT REVIEW Alex Heard I For The New Mexican

Premium fuel Café Fina is housed in a renovated building that was once

Café Fina 624 Old Las Vegas Highway 505-466-3886, www.cafefinasantafe.com Breakfast & lunch 7:00 a.m.-3:00 p.m. Mondays-Fridays, 8:00 a.m.-3:00 p.m. Saturdays & Sundays; dinner 5:30-8:30 p.m.

Fridays-Sundays Vegetarian options Takeout available Handicapped accessible Noise level: moderate No alcohol Credit cards & checks

]

The Short Order Café Fina has developed a loyal following since it opened in 2012, and it deserves the business. The food is fresh and good, the servers are friendly, and the setting makes you feel welcome and relaxed.

Almost everything here is clicking, and the restaurant will soon be serving beer and wine, which will really boost its developing three-nights-per-week dinner menu. Meanwhile, this spot should definitely be on your go-to list, especially for breakfast and lunch. Recommended: huevos motuleños, crispy polenta with Gorgonzola sauce, veggie enchilada, and pecan-sour cream coffee cake.

Ratings range from 1 to 5 chiles, including half chiles.

This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value.

5 = flawless 4 1/2 = extraordinary 4 = excellent 3 1/2 = very good 3 = good 2 1/2 = average 2 = fair 1 1/2 = questionable 1 = poor

40

PASATIEMPO I January 2-8, 2015

a Fina gas station and, more recently, Real Food Nation, a restaurant that didn’t succeed but had a lot of fans. Getting there requires a field trip — it’s 11 miles from the Plaza — but it doesn’t take long, usually around 20 minutes. You can stay on Old Las Vegas Highway the whole way — rolling past Harry’s Roadhouse and what used to be Bobcat Bite — or take I-25 to exit 290, which leads to the Eldorado community and Galisteo. Go left off the ramp instead of right, and you’ll see it soon. There’s ample parking.

Café Fina’s owner, local restaurant veteran Murphy O’Brien, launched it in 2012 with a breakfast-and-lunch-only menu that, as of early December, has been expanded to include dinner on Friday, Saturday, and Sunday nights. (Though this development isn’t mentioned on its website, it is on the café’s Facebook page, which is more actively maintained.)

The interior is spacious and bright, with big windows that offer views of the rolling foothills that characterize this part of Santa Fe County. You order at a wide counter that has a bakery case to the left and other baked goods — including quiche — in the middle. Don’t overlook the pastries, pies, cookies, and cakes. Everything we tried on two visits — Meyer lemon Shaker pie, pecan-sour cream coffee cake, and apple galette — was very good.

The café’s daytime menu combines pancakes, egg dishes, salads, Southwestern breakfast staples like migas and a breakfast burrito, sandwiches, and a cheeseburger that dares to feature poblano chile instead of New Mexico green. (More about this heresy in a moment.) On a recent breakfast visit, I ordered the huevos motuleños, an old classic that shows up in Diana Kennedy’s influential 1972 book, The Cuisines of Mexico, in which she describes the dish as “huevos rancheros with Yucatecan flourishes.” Café Fina’s chefs have localized their version to fine effect, using red chile instead of the tomato-based sauce that Kennedy calls for. This was a perfect meal, consisting of two fresh, fried eggs on a homemade corn tortilla with a combination of black beans, green peas, feta cheese, and sautéed sweet bananas on the side.

My companion ordered the basic breakfast — two eggs, hash browns, and toast — and was mostly pleased. The only problem was the eggs, which she ordered poached. Not every restaurant will even do poached eggs these days, so hats off to the place for giving it the old whirling-water try. But the whites came out rubbery, which probably means the water was too hot. On the plus side, the hash browns and toast were good, and the Mexican mocha she ordered was excellent — hot enough and perfectly sweetened, with just the right balance of cinnamoned chocolate and robust but mellow coffee. Another hit was the slice of pecan-sour cream coffee cake we shared: It was moist and full of nutty, spicy flavor.

A second visit, for dinner, was also enjoyable, revealing a couple of small problems that will probably be fixed soon.

One is the nighttime illumination, which comes primarily from overhead track lights that are spiky on the eyes at some tables. The dinner menu is small at this point, but that’s

most likely going to change as a customer base develops.

O’Brien partners on the dinner selections with local chef Chris Galvin; the two carry over the chile cheeseburger from lunch, but also offer swankier entrees like fried oysters, seared salmon, and duck confit. All of these would go well with a glass of wine, and those in your group who aren’t doing any of the chauffeuring will feel a pang of regret that alcohol isn’t available. Good news on that front: The café should be licensed to serve alcohol by early February.

My companion that night ordered a cup of split pea soup — it was rich, dark, and deliciously hammy — and a veggie enchilada loaded with zucchini, asadero cheese, and red chile sauce. She loved it, along with the sides of black beans, slaw, and cilantro rice. The best thing we had, though, was the polenta appetizer, which was surprisingly light, delicately crispy on top, and herbed perfectly with rosemary. It comes plated in a pool of Gorgonzola sauce that contains traces of breadcrumbs and scallion greens.

I’d been brooding about that poblano chile cheeseburger, so I went for it. Many burgers these days are a mess — wobbly stacks of ingredients that end up squirting out of your hands — but the one on offer here is a tidy creation that comes on a ciabatta bun. I’m not always a fan of poblano chile, but it worked well in this burger, giving it a mildly hot, smoky taste. The fries that came with it were nothing special. But that seemed minor, considering all the good things I’d had.

I’ll definitely be going back for more of Café Fina’s creative and affordable food. We’re lucky it’s part of the local scene. ◀

Breakfast for two at Café Fina: Basic breakfast .................................................. $ 5.95 Huevos motuleños............................................ $ 9.75 Pecan-sour cream coffee cake .......................... $ 3.00 Glass, Arnold Palmer........................................ $ 2.50 Mexican mocha ................................................ $ 4.00 Meyer lemon Shaker pie................................... $ 5.50 TOTAL.............................................................. $ 30.70 (before tax and tip) Dinner for two, another visit: Cup, split pea soup........................................... $ 4.50 Caesar salad...................................................... $ 7.00 Crispy polenta with Gorgonzola sauce ............ $ 8.00 Veggie enchilada................................................ $12.50 Green chile cheeseburger ................................. $ 9.50 Apple galette..................................................... $ 6.00 TOTAL.............................................................. $ 47.50 (before tax and tip)

OPEN HOUSE Grades 6-8

January 22

6-8 pm

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• To list an event in Pasa Week, send an email or press release to pasa@sfnewmexican.com or pambeach@sfnewmexican.com.

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• For each event, provide the following information: time, day, date, venue, venue address, ticket prices, web address, phone number, brief description of event (15 to 20 words).

• All submissions are welcome. However, events are included in Pasa Week as space allows. There is no charge for listings.

• To add your event to The New Mexican online calendar, visit santafenewmexican. com and click on the Calendar tab.

• Return of photos and other materials cannot be guaranteed.

• Pasatiempo reserves the right to publish received information and photographs on The New Mexican website.

• For further information contact Pamela Beach, pambeach@sfnewmexican.com, 202 E. Marcy St., Santa Fe, NM 87501, phone: 505-986-3019, fax: 505-820-0803.

ARTS AND ENTERTAINMENT CALENDAR

January 2-8, 2015

CALENDAR COMPILED BY PAMELA BEACH

FRIDAY 1/2

Hotel Santa Fe

Gallery and Museum Openings

Guitarist/flutist Ronald Roybal, 7-9 p.m., no cover.

Antiques + Interiors on Grant

La Fiesta Lounge at La Fonda

136 Grant Ave., 505-983-0075 Work by ceramicist Brian O'Malley; silverpoint drawings by Eddie Chau, reception 5-7 p.m.

Cathy Faber's Swingin' Country Band, 8 p.m., no cover.

La Posada de Santa Fe Resort and Spa

Manitou Galleries

Nacha Mendez & Friends, 6:30-9:30 p.m., no cover.

123 W. Palace Ave., 505-986-0440 Calendar Art Show, group show of works by gallery artists, reception 5-7:30 p.m., through Jan. 16.

Mine Shaft Tavern

Blues duo Jim & Tim, 5 p.m.; Americana/blues/rock band The Strange, 7 p.m.-close, no cover.

Sorrel Sky Gallery

Omira Bar & Grill

125 W. Palace Ave., 505-501-6555 Another Door Opens, photographs by Barbara Bowles, reception 5-7:30 p.m.

Friday night jazz, with saxophonist Brian Wingard, 6-9 p.m., no cover.

Pranzo Italian Grill

Classical Music

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

TGIF organ recital

Second Street Brewery

First Presbyterian Church of Santa Fe, 208 Grant Ave. Iain Quinn plays music of Bach, Busoni, and Mendelssohn, 5:30-6 p.m., donations accepted, 505-982-8544, Ext. 16.

Nugrass band Alto Street, 6 p.m., no cover.

Second Street Brewery at the Railyard

Events

Handmade Moments, folk rock, 7-10 p.m., no cover.

Breakfast with O'Keeffe

Shadeh at Buffalo Thunder Resort & Casino

Georgia O'Keeffe Museum, 217 Johnson St., 505-946-1000 Create a line drawing during this workshop held in conjunction with the exhibit Miguel Covarrubias: Drawing a Cosmopolitan Line, 4:30-6:30 p.m., by museum admission.

Clear Channel Radio Rock ‘n’ Roll Night, 9 p.m.-4 a.m., no cover.

Skylight

Dark Side of Dorothy sets, with DJs TeNieNtetuko, techno, and 13 Pieces, house, 9 p.m.; call for cover, 21+.

Glow

Santa Fe Botanical Garden, 715 Camino Lejo, Museum Hill Winter lights event; 5-8 p.m. tonight and Saturday, featuring illuminated geodesic domes, $8 online and on-site, discounts available, 505-471-9103 santafebotanicalgarden.org.

Swiss Bistro

Irish multi-instrumentalist Gerry Carthy, 7-10 p.m., no cover.

Tiny’s

Rotating dance bands, 8:30 p.m., no cover.

New Mexico History Museum: Free First Friday event

Vanessie

Pianists Doug Montgomery, 6-8 p.m., and Chris Blacker, 8-11 p.m.; call for cover.

113 Lincoln Ave., 505-476-5200 Procrastinators' card-making workshop; held in conjunction with the exhibit Gustave Baumann and Friends: Artist Cards From Holidays Past; make cards on an antique printing press, 5:30-7 p.m., no charge.

SATURDAY 1/3 Gallery and Museum Openings Tybie Davis Satin Gallery

Nightlife

(See Page 43 for addresses)

Blue Rooster

DJ Aztech Sol, 9 p.m.-2 a.m., call for cover.

Café Café

Trio Los Primos, 6 p.m., no cover.

¡Chispa! at El Mesón

Three Faces of Jazz, with guest saxophonist Dave Anderson, 7:30-10:30 p.m., no cover.

42

PASATIEMPO I January 2-8, 2015

Monroe Gallery shows work by photojournalist Bill Ray, 112 Don Gaspar Ave.

Cowgirl BBQ

Brent Berry, Afro/Latin/reggae/ska, 5 p.m.; indie soul band Hello Dollface, 8 p.m.; no cover.

The Den

Ladies' Night, with DJ Luna spinning dance beats, 9 p.m.-close, call for cover.

El Farol

Sean Healen, rock, 9 p.m.-close; call for cover.

El Paseo Bar & Grill

Weekly rotating DJs, 9:30 p.m.-close, no cover.

Santa Fe Public Library, Main Branch, 145 Washington Ave., 505-955-6781 Years of Protest by the Women's Liberation Movement: 1966-1971, photojournalistic work

by Ingrid Vernoes-Froehlich, reception 2-4 p.m., through January.

Wheelhouse Art

418 Montezuma Ave., 505-919-9553 Studio 732, group show of clay sculpture, through January.

Institute of American Indian Arts Writers Festival

IAIA Auditorium, Library and Technology Center, 83 Avan Nu Po Rd., 505-424-2356 Readings held at no charge 6 p.m. daily through Friday, Jan. 9; tonight's authors: Jennifer Foerster, Chip Livingston, and Claire Vaye Watkins. (See story, Page 14)

Steve Fox

Tiny’s

Books/Talks

Events

Vanessie

Institute of American Indian Arts Writers Festival

Swing dance

Rotating dance bands, 8:30 p.m., no cover.

Pianists Doug Montgomery, 6-8 p.m., and Chris Blacker, 8-11 p.m.; call for cover.

SUNDAY 1/4 Gallery and Museum Openings Contemporary Tapestry Gallery

Op. Cit. Books, Sanbusco Center, 500 Montezuma Ave., 505-428-0321 The author reads from and signs copies of Odyssey: Love and Terror in Greece, 1969, 4 p.m.

835 W. San Mateo Rd., 505-231-5904 Recent Works, group show, reception 3-5 p.m., through Jan. 24.

Events

Poetry of Nature and Spirit: An Evening with Timothy P. McLaughlin

Glow

Santa Fe Botanical Garden, 715 Camino Lejo, Museum Hill Final evening of the winter lights event, 5-8 p.m., featuring illuminated geodesic domes and music by classic-rock duo Mike Montiel and Jake Montiel, $8 online and on-site, discounts available, 505-471-9103, santafebotanicalgarden.org.

Nightlife

(See addresses at right)

Blue Rooster

Trash Disco, with DJ Oona, 9 p.m.-2 a.m., no cover.

¡Chispa! at El Mesón

Noche de Flamenco, with Flamenco Conpaz troupe, 7-9:30 p.m., call for reservations and cover.

Cowgirl BBQ

Institute of American Indian Arts hogan, 83 Avan Nu Po Rd. Poetry readings, accompanied by vocalist Madi Sato, multi-instrumentalist Robby Rothschild, and dancer Munay Halfon, 5 p.m., $10 suggested donation.

Books/Talks Institute of American Indian Arts Writers Festival

IAIA Auditorium, Library and Technology Center, 83 Avan Nu Po Rd., 505-424-2356 Readings held at no charge 6 p.m. daily through Friday, Jan. 9; tonight's authors: Santee Frazier, Pam Houston, and Elissa Washuta. (See story, Page 14)

Journey Santa Fe presents: Doug Miekeljohn

DJ Spaghetti, 9:30 p.m.-close, no cover.

El Farol

Events

La Fiesta Lounge at La Fonda

Odd Fellows Hall, 1125 Cerrillos Rd. Traditional folk dances; 8-10 p.m. weekly, $5 suggested donation, santafe.israeli.dance.com.

El Paseo Bar & Grill

Flamenco dinner show, 6:30 p.m.; dance band Santastico, 9 p.m..-close; call for cover.

Cathy Faber's Swingin' Country Band, 8 p.m., no cover.

La Posada de Santa Fe Resort and Spa

Pat Malone Jazz Trio, featuring vocalist Whitney Carroll Malone and bassist Jon Gagan, 6-9 p.m., no cover.

Low ‘n’ Slow Lowrider Bar at Hotel Chimayó de Santa Fe Irish multi-instrumentalist Gerry Carthy, 7:30 p.m.-close, no cover.

Mine Shaft Tavern

Israeli dance

Nightlife

(See addresses at right)

Cowgirl BBQ

John Prine tribute band Boris & The Salt Licks, noon-3 p.m.; singer/songwriter Gary Gorence, 8 p.m.-close; no cover.

El Farol

Nacha Mendez & Company, 7 p.m., call for cover.

Evangelo’s

Blues duo Jim & Tim, 2-6 p.m., on the patio; alternative country/folk band Hot Honey, 7 p.m.-close, call for cover.

Tone and Company jam band, 8:30 p.m., call for cover.

Omira Bar & Grill

Country singer Wiley Jim, 7 p.m., call for cover.

Jazz saxophonist Brian Wingard, 6-9 p.m., no cover.

Pranzo Italian Grill

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

La Posada de Santa Fe Resort and Spa Mine Shaft Tavern

Key Francis, funky blues, 3-7 p.m., on the patio, no cover.

Skylight

Second Street Brewery

Stand-up comic Anthony Padilla, 7 p.m., $15-$20, all ages.

Folk singer Eryn Bent, 6-9 p.m., no cover.

Second Street Brewery at the Railyard

Vanessie

Bluegrass band Mystic Lizard, 7-10 p.m., no cover.

Pianist Doug Montgomery, 6:30 p.m., call for cover.

Shadeh at Buffalo Thunder Resort & Casino

MONDAY 1/5

Hip-hop night, with rotating DJs, 9 p.m.-4 a.m., no cover.

In Concert

Skylight

Music Mondays

Club Sapphire: A Night of Bellydance, 7 p.m.; Alchemy 2.0, 9 p.m.-close, in the Skylab, call for cover.

Sweetwater Harvest Kitchen

Jean Cocteau Cinema The series continues with R & B musicians Zenobia and Jose Antonio Ponce, 7-9 p.m., $8 in advance at jeancocteaucinema.com, $10 at the door.

Odd Fellows Hall, 1125 Cerrillos Rd. Weekly all-ages informal swing dance; lessons 7-8 p.m., dance 8-10 p.m., dance $3, lesson and dance $8, 505-473-0955.

Nightlife

(See addresses below)

Cowgirl BBQ

Karaoke, with Michele Leidig, 9 p.m., no cover.

In Concert

Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The executive director of New Mexico Environmental Law Center and Bill Dupuy discuss A Plateful of Environmental Issues Face New Mexico in 2015, 11 a.m., no charge.

Bill Hearne Trio, honky-tonkin' country, 8:30 p.m.; no cover.

IAIA Auditorium, Library and Technology Center, 83 Avan Nu Po Rd., 505-424-2356 Readings held at no charge 6 p.m. daily through Friday, Jan. 9; tonight's authors: Jon Davis, Derek Palacio, and Ismet Prcic; followed by Screentakes Jennine Lanouette's story analysis in e-book form, 7:30 p.m. (See story, Page 14)

Check with venues

for updates and sp ecial events

Agoyo Lounge at th e Inn on the Alame da Mine Shaft Ta 303 E. Alameda St. vern , 505-984-2121 2846 NM 14, Madr Anasazi Restauran id, 505-473-0743 t & Bar 113 Washington Av Molly's Kitchen & e., 505-988-3030 Lounge 1611 Calle Lorca, 50 Bishop’s Lodge Ra 5-983-7577 nch Resort & Spa 1297 Bishops Lodg e Rd., 505-983-6377 Museum Hill Café 710 Camino Lejo, Mi Blue Rooster lner Plaza, 505-984-8900 101 W. Marcy St., 50 5-206-2318 Music Room at Ga Burro Alley Café rrett’s Desert Inn 311 Old Santa Fe Tra 207 W. San Francisc il, 505-982-1851 o St., 505-982-0601 Odd Fellows Hall Café Café 1125 Cerrillos Rd., 500 Sandoval St., 50 505-473-0955 5-466-1391 Omira Bar & Grill ¡Chispa! at El Mesó n 1005 St. Francis Dr 213 Washington Av ., 505-780-5483 e., 505-983-6756 Palace Restaurant Cowgirl BBQ & Saloon 142 W. Palace Ave., 319 S. Guadalupe St. 505-428-0690 , 505-982-2565 Pranzo Italian Grill The Den 540 Montezuma Av 132 W. Water St., 50 e., 505-984-2645 5-983-1615 Santa Fe Bar & Grill Duel Brewing 187 Paseo de Peral 1228 Parkway Dr., ta, DeVargas Cente 505-474-5301 r, 505-982-3033 Eldorado Hotel & Spa Santa Fe Commun 309 W. San Francisc ity Convention Ce o St., 505-988-4455 201 nter W. Marcy St., 505-9 El Farol 55-6705 Santa Fe Sol Stage 808 Canyon Rd., 50 & Grill 5-983-9912 37 Fire Place, solof El Paseo Bar & Grill santafe.com Second Street Brew 208 Galisteo St., 50 ery 5-992-2848 18 14 Second St., 505-9 Evangelo’s 82-3030 Second 200 W. San Francisc o St., 505-982-9014 1607 Street Brewery at the Railyard Paseo de Peralta, 50 Hilton Santa Fe 5-989-3278 Shadeh at Buffalo 100 Sandoval St., 50 Thunder Resort & 5-988-2811 Casino 30 Buffalo Th Hotel Santa Fe under Trail, 877-848-6337 1501 Paseo de Peral ta, 505-982-1200 Skylight Iconik Coffee Roas ters 13 9 W. San Francisco 1600 Lena St., 505-4 St., 505-982-0775 28-0996 Starlight Lounge at Jean Cocteau Cinem Mo a 500 Rodeo Rd., 505-4 ntecito Santa Fe 418 Montezuma Av 28-7777 e., 505-466-5528 Sweetwater Harve Junction st Kitchen 1512-B Pacheco St. 530 S. Guadalupe St. , 505-795-7383 , 505-988-7222 Sw iss Bistro La Boca 401 S. Guadalupe St. 72 W. Marcy St., 50 , 505-988-5500 5-982-3433 Ta berna La Boca La Casa Sena Cant ina 125 Lincoln Ave., 50 125 E. Palace Ave., 5-988-7102 505-988-9232 TerraCotta Wine Bis La Fiesta Lounge at tro La Fonda 304 Johnson St., 50 100 E. San Francisc 5-989-1166 o St., 505-982-5511 Thunderbird Bar & La Posada de Sant Grill a Fe Resort and Sp a 50 Lincoln Ave., 505-490-6550 330 E. Palace Ave., 505-986-0000 Tiny’s Lensic Performing Arts Center 1005 St. Francis Dr 211 W. San Francisc ive, Suite 117, o St., 505-988-1234 505-983-9817 The Lodge at Sant a Fe The Underground 750 N. St. Francis Dr at Evangelo’s ., 505-992-5800 200 W. San Francisc o St. Low ‘n’ Slow Lowride r Bar Upper Crust Pizza at Hotel Chimayó de Santa Fe 329 Old Santa Fe Tra 125 Washington Av il, 505-982-0000 e., 505-988-4900 Va nessie The Matador 434 W. San Francisc 116 W. San Francisc o St., 505-982-9966 o St. Warehouse 21 1614 Paseo de Peral ta, 505-989-4423

C L U B S, R O O M S, V E N UES

Books/Talks

Saturdays with John Serkin on Hawaiian slack-key guitar, 6 p.m., no cover.

PASATIEMPOMAGAZINE.COM

43

Cowgirl BBQ

Historic Structures of Santa Fe

The Lodge at Santa Fe

Tutors sought for local students at all grade levels; math and literacy support needed in particular; training provided; contact Cynthia Torcasso, 505-954-1880, ctorcasso@cisnm.org.

Folk rock band The Bus Tapes, 8 p.m.-close, no cover. Call for artists working in watercolor and gouache to submit work based on Santa Fe's El Farol historic buildings for a June exhibit at the Historic Guitarras con Sabor, Gypsy Kings-style rhythms, Santa Fe Foundation; entry deadline March 1; 8 p.m., no cover. visit historicsantafe.org for guidelines and a list of structures.

Evangelo’s Thursdays with Little Leroy & His Pack of Lies, Native Artists Fellowships dance band, 9 p.m.-close, call for cover.

The Indian Arts Research Center at the School for Advanced Research offers three artists-inLa Fiesta Lounge at La Fonda residence fellowships in diverse creative disciplines, Dance band Sierra, 7:30-11 p.m., no cover. submission deadline Thursday, Jan. 15, visit La Posada de Santa Fe Resort and Spa sarweb.org for application and guidelines.

Pat Malone Jazz Trio, with Kanoa Kaluhiwa on Community saxophone, Jon Gagan on bass, and Malone on guitar, 6-9 p.m., call for cover.

Communities in Schools New Mexico Irish multi-instrumentalist Gerry Carthy, 7-9:30 p.m., call for cover.

Los Alamos Mesa Public Library Gallery shows journalistic photographs of the 1930s in the exhibit Dust, Drought, and Dreams Gone Dry, opening Wednesday, Jan. 7, 2400 Central Ave.; shown: untitled.

The Matador

El Farol

Swiss Bistro

Rock band J.J. and The Hooligans, 8 p.m., no cover.

La Fiesta Lounge at La Fonda

Local country artist Bill Hearne, 7:30 p.m.-close, no cover.

Vanessie

Pianists Doug Montgomery, 6-8 p.m., and Branden James, 8-10 p.m.; call for cover.

TUESDAY 1/6 Books/Talks Institute of American Indian Arts Writers Festival

IAIA Auditorium, Library and Technology Center, 83 Avan Nu Po Rd., 505-424-2356 Readings held at no charge 6 p.m. daily through Friday, Jan. 9; tonight's authors: Marie-Helene Bertino, Matt Donovan, and James Thomas Stevens; freshman students read at 7:30 p.m. (See story, Page 14)

Nightlife

(See Page 43 for addresses)

¡Chispa! at El Mesón

Argentine Tango Milonga, 7:30-11 p.m., no cover.

Cowgirl BBQ

Local folk singer/songwriter Eryn Bent, 8 p.m., no cover.

El Farol

Books/Talks Institute of American Indian Arts Writers Festival

IAIA Auditorium, Library and Technology Center, 83 Avan Nu Po Rd., 505-424-2356 Readings held at no charge 6 p.m. daily through Friday, Jan. 9; tonight's authors: Melissa Febos, Manuel Gonzales, and Joan Kane; followed by a 7:30 p.m. screening of This May Be the Last Time, Sterlin Harjo's documentary, and a Q & A session with the director. (See story, Page 14)

Nightlife

(See Page 43 for addresses)

Bishop’s Lodge Ranch Resort & Spa

Jazz guitarist Pat Malone and bassist Jon Gagan, 7-10 p.m., call for cover.

¡Chispa! at El Mesón

Flamenco guitarist Joaquin Gallegos, 7-9 p.m., no cover.

La Fiesta Lounge at La Fonda

Dance band Sierra, 7:30-11 p.m., no cover.

La Posada de Santa Fe Resort and Spa

Country singer Wiley Jim, 7 p.m., call for cover.

TerraCotta Wine Bistro

Guitarist Ramon Bermudez, 6-8 p.m., no cover.

THURSDAY 1/8 Theater/Dance The Madwoman of Chaillot

Local country artist Bill Hearne, 7:30 p.m.-close, no cover.

Santa Fe Playhouse, 142 E. DeVargas St. Santa Fe Playhouse presents Jean Giraudoux's 1943 satire, special preview 7:30 p.m., $10, 505-988-4262, runs Thursdays-Sundays through Feb. 1.

La Posada de Santa Fe Resort and Spa

Books/Talks

TerraCotta Wine Bistro

Institute of American Indian Arts Writers Festival

Canyon Road Blues Jam, 8:30 p.m., no cover.

La Fiesta Lounge at La Fonda

Country singer Wiley Jim, 7 p.m., call for cover.

Jazz guitarist Pat Malone, 6-8 p.m., no cover.

Vanessie

Pianists Doug Montgomery, 6-8 p.m., and Branden James, 8-10 p.m.; call for cover.

WEDNESDAY 1/7 Theater/Dance Hansel and Gretel: family preview

Scottish Rite Center, 463 Paseo de Peralta Humperdinck's opera based on the classic fairy tale performed by Performance Santa Fe Orchestra, conducted by Joseph Illick, 6 p.m., no charge, tickets required, call 505-984-8759 for reservations, Friday-Sunday through Jan. 11.

44

PASATIEMPO I January 2-8, 2015

IAIA Auditorium, Library and Technology Center, 83 Avan Nu Po Rd., 505-424-2356 Readings held at no charge 6 p.m. daily through Friday, Jan. 9; tonight's authors: Joy Harjo and Linda Hogan; sophomore students read at 7:30 p.m.

(See story, Page 14)

DJ Inky Ink, soul/punk/ska, 8:30 p.m., no cover.

Guitar duo Wes & Mito, Gypsy Kings-style rhythms, 7:30 p.m.-close, no cover.

Taberna La Boca

Nacha Mendez, 7-9 p.m., no cover.

Tiny’s

Santa Fe Playhouse auditions

Los Alamos

UNDER 21

The Kosmos, 1715 Fifth St. N.W. The ensemble plays music of Britten and Mozart, 10:30 a.m., Sunday, Jan. 4, poetry reading by Matthew Brown follows, $15, discounts available, chatterabq.org.

Los Alamos Mesa Public Library Gallery

2400 Central Ave., second floor, 505-662-8247 Dust, Drought, and Dreams Gone Dry, national traveling photographic exhibit, opening Wednesday, Jan. 7, open daily through Feb. 20.

Taos

The Hat by Dianna Lewis; cold readings from script for two female roles, one age range 40-50, the other 60-80; two male roles, both 40-50; held 3-5 p.m. Saturday and Sunday, Jan. 3-4, SFP Workshops, 3205-B Richards Lane.

New Year's thrash concert

Warehouse 21 On Believer, Remain Sustain, and Stealing Hearts, 7-10 p.m. Friday, Jan. 2, $5 at the door.

We Won't Stop concert and workshop

218 Paseo del Pueblo Norte, 575-758-7831 Abstracted Truth, paintings by Peggy McGivern, reception 3-5 p.m. Saturday, Jan. 3, through January.

Warehouse 21 Talking circle and drumming 1-5 p.m. Saturday, Jan. 3; concert with Native DJs Naataanii Means, Quese IMC, and MC Rhectorik, 6-10 p.m., donations accepted.

PEOPLE WHO NEED PEOPLE

PASA KIDS

Act 1 Gallery

Artists/Designers American Institute of Architects' Canstruction design and build competition

Open call for design teams to create structures made entirely from canned goods (to benefit The Food Depot) for an April 11 exhibit held at Santa Fe Place Mall; winners announced in five categories; winning structures entered in an international competition; for guidelines visit santafe.canstruction.org/design-teams, entry form and fee ($100) due Feb. 16.

Center: International calls for entry

Contemporary Hispanic Market

Jazz duo pianist Bert Dalton and bassist Milo Jaramillo, 7-9 p.m., no cover.

Get Smart (phone) Filmmaking Contest

Chatter Sunday

¡Chispa! at El Mesón

Blue Rooster

Filmmakers/Performers

OUT OF TOWN

Electronic Expressions, 9 p.m.-2 a.m., call for cover.

(See Page 43 for addresses)

Help with meal preparation at residential facilities and emergency shelters; other duties also available; contact Rosario, 505-982-6611, Ext. 108, volunteer@steshelter.org

Open to filmmakers worldwide; films must Electric-jam night with Nick Wymett, 8 p.m., no cover. be seven to ten minutes long and made with a smart device, any genre; top ten submissions Vanessie showcased at Albuquerque Film & Music Pianist Branden James, 6:30 p.m.; call for cover.

Experience, May 31-June 7, first place awarded $500, final submission deadline Friday, Feb. 20, view guidelines and submit films online at Albuquerque abqfilmexperience.com.

Local nonprofit organization; Review Santa Fe and Project Launch, Jan. 22 submission deadline; opening in January: The Choice Awards and Project Development; Feb. 19 deadline; applications available online at visitcenter.org.

Nightlife

St. Elizabeth Shelter

Visit contemporaryhispanicmarketinc.com for prospectus; jury held on Feb. 14 at the Santa Fe Community Convention Center from 8 a.m. to noon. Market dates July 25-26.

Santa Fe Children's Museum

1050 Old Pecos Trail, 505-989-8359 2:30-4:30 p.m. weekly on Fridays, all ages open art studio; 10:30-11:30 a.m. weekly on Wednesdays, bilingual preschool stories, songs, and games, by museum admission.

New Mexico History Museum: Free First Friday event

113 Lincoln Ave., 505-476-5200 Procrastinators' card-making workshop; held in conjunction with the exhibit Gustave Baumann and Friends: Artist Cards From Holidays Past; make cards on an antique printing press, 5:30-7 p.m.

Friday, Jan. 2, no charge.

Books and Babies

Santa Fe Public Library Led by singer/storytellers Michael and Lisa; children must be accompanied by an adult, 10:30 a.m. Tuesdays, Main Branch, 145 Washington Ave., 505-955-6783; 10:30 a.m.

Wednesdays, La Farge Branch, 1730 Llano St., 505-955-4863; 10:45 a.m. Thursdays, Southside Branch, 6599 Jaguar Dr., 505-955-2828. ◀

UPCOMING EVENTS MUSIC Red Priest

Duane Smith Auditorium, 1300 Diamond Dr., Los Alamos British Baroque instrumental ensemble, 7 p.m. Friday, Jan. 9, $30, 505-988-1234, ticketssantafe.org.

Serenata of Santa Fe

First Presbyterian Church of Santa Fe Zephyrs, music for woodwinds by Barber, Ligeti, and Janáček, 3 p.m. Sunday, Jan. 11, $15-$30, 505-988-1234, ticketssantafe.org, discounted tickets for students and children ages 5 and under available at the door only.

Tony Furtado Band

Gig Performance Space, 1808 Second St. Bluegrass/roots fusion, 7:30 p.m. Wednesday, Jan. 14, $25 in advance at brownpapertickets.com, $28 at the door.

Santa Fe Music Collective jazz concerts

Museum Hill Café, 710 Camino Lejo The series continues with guitarist Greg Ruggiero, joined by bassist Asher Barreras and drummer John Trentacosta, Friday, Jan. 16; drummer Albert "Tootie" Heath, joined by pianist Bert Dalton and bassist Andy Zadrozny, Friday, Feb. 13, concerts begin at 7 p.m., $25, santafemusiccollective.org, 505-983-6820.

Zía Singers

Immaculate Heart of Mary Retreat Center Chapel, 50 Mount Carmel Rd. Annual winter concert Fire, Water, Air and Earth, 3 p.m. Saturday and Sunday, Jan. 17-18, $20 in advance and at the door, students no charge, 225-571-6352.

Robert Earl Keen

Skylight Singer/songwriter, 7 p.m. Saturday, Jan. 17, $30 in advance, holdmyticket.com.

Santa Fe Symphony

The Lensic Featuring cellists Dana Winograd and Joel Becktell, led by Guillermo Figueroa, music of Handel, Mahler, and Vivaldi, 4 p.m. Sunday, Jan. 18, tickets begin at $22, 505-988-1234, ticketssantafe.org.

Hot Sardines

The Lensic Theatrical jazz band, tunes of the '20s, '30s, and '40s, 7:30 p.m. Wednesday, Jan. 21, tickets start at $13.50, 505-988-1234, ticketssantafe.org.

Santa Fe Pro Musica: Classical Weekend

The Lensic 7:30 p.m. Wednesday, Jan. 21: the Santa Fe Pro Musica Orchestra performs music of Beethoven, Schumann, and Janáček, featuring pianist Per Tengstrand; 4 p.m. Saturday, Jan. 24: the series continues with works by Haydn and Mozart, conducted by Thomas O'Connor; 3 p.m.

Sunday, Jan. 25 encore, followed by 5:30 p.m. dinner with pianist Tengstrand (limited seating), $10-$65, 505-988-1234, ticketssantafe.org, dinner reservations required, call 505-988-4640.

Big Head Todd and The Monsters

The Lensic Rock band, 7:30 p.m. Tuesday, Jan. 27, $42, discounts available, 505-988-1234, ticketssantafe.org.

Santa Fe Pro Musica: Szymanowski String Quartet

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Music of Mozart, Haydn, Dvořák, and Szymanowski, 3 p.m. Sunday, Feb. 8, $10-$65; followed by 5:30 p.m. dinner with the quartet (limited seating), 505-988-1234, ticketssantafe.org, dinner reservations required, call 505-988-4640.

Serenata of Santa Fe

First Presbyterian Church, 208 Grant Ave. Common Tones, music of Barber, Dvořák, and Kenji Bunch, 3 p.m. Sunday, Feb. 8, $15-$30, 505-988-1234, ticketssantafe.org, discounted tickets for students and children ages 5 and under available at the door only.

Notes on Music: Jean Sibelius

United Church of Santa Fe, 1804 Arroyo Chamiso Rd. Celebrating the Finnish composer's 150th birthday, lecture by Joseph Illick, with musical illustrations, 7:30 p.m. Tuesday, Feb. 10, $25, performancesantafe.org.

Todd Snider

The Lensic Satirical folk singer/songwriter, 7:30 p.m. Tuesday, Feb. 10, $22-$42, 505-988-1234, ticketssantafe.org.

New Mexico Bach Society and Chatter

Immaculate Heart of Mary Retreat Center Chapel, 50 Mount Carmel Rd. The ensembles perform Bach's Coffee Cantata, 7 p.m. Friday, Feb. 13, including tenor Andre Garcia-Nuthmann, cellist James Holland, violinist David Felberg, and flutist Linda Marianiello, $15, discounts available, holdmyticket.com.

Buffy Sainte-Marie

KiMo Theater, 423 Central Ave. N.W. Canadian Cree singer/songwriter, 7:30 p.m.

Sunday, Feb. 15, $15-$45 in advance, 505-886-1251, holdmyticket.com.

Lucinda Williams

The Lensic Blues and country singer/songwriter, 7:30 p.m. Wednesday, Feb. 18, $46-$74, 505-988-1234, ticketssantafe.org.

Santa Fe Desert Chorale

Carlos Núñez

Souper Bowl

THEATER/DANCE

Art Starts

Albuquerque Journal Theater, National Hispanic Cultural Center, 1701 Fourth St. S.W. Galician bagpipe musician, 8 p.m. Saturday, Feb. 28, $22-$32, tickets available at NHCC box office, 505-724-4771.

Fifteenth Annual Revolutions International Theatre Festival

Various Albuquerque venues Tricklock Company's celebration of works by avant-garde companies, including those from the U.S., Mexico, England, and Israel; the festival kicks off with a party at 7 p.m. Tuesday, Jan. 13, performances continue to Feb. 1, individual tickets and passports for four or eight shows available online at tricklock.com, 505-254-8393, student discounts available.

The Metropolitan Opera: Live in HD

The Lensic Lehár's The Merry Widow, 11 a.m. and 6 p.m.

Saturday, Jan. 17; Offenbach's Les Contes D'Hoffmann, 11 a.m. and 6 p.m. Saturday, Jan. 31; Tchaikovsky's Iolanta and Bartók's Bluebeard's Castle, 10:30 a.m. Saturday, Feb. 14; encore 6 p.m. Tuesday, Feb. 17, $22-$28, discounts available, 505-988-1234, ticketssantafe.org.

Mariela in the Desert

Teatro Paraguas Studio, 3205 Calle Marie A lyrical play by Karen Zacarias, 7:30 p.m.

Thursdays-Saturdays, 2 p.m. Sundays, Jan. 22-Feb. 1, $17, discounts available, 505-424-1601, teatroparaguas.org.

Kimberly Akimbo

Santa Fe Playhouse, 142 E. DeVargas St. Santa Fe Playhouse presents David Lindsay-Abaire's 2000 dramedy, Thursday-Sunday, Feb. 12-March 1, 505-988-4262.

Stratford Festival HD

The Screen, Santa Fe University of Art & Design The theater company presents King Lear, Sunday, March 1, King John, Sunday, April 12, and Antony and Cleopatra, Sunday, May 24, all screenings begin at 11:15 a.m., stratfordfestivalhd.com.

HAPPENINGS Santa Fe Council on International Relations' 50th Anniversary Celebration

La Terraza, La Fonda Cocktail reception, dinner, and talk by Bill Stewart titled Obama's Foreign Policy: The Last Two Years, 5:30 p.m. Thursday, Jan. 15, $125, full-table discounts available, 505-982-4931, sfcir.org.

Cristo Rey Church, 1120 Canyon Rd. Dancing the Mystery, works by Brahms, Duruflé, Eric Whitacre, and Abbie Betinis, set to vocals inspired by Sufi poets, 7 p.m. Sunday, Feb. 22, $25-$50 in advance at 505-988-2282 or online at desertchoral.tix.com.

Santa Fe Community Convention Center Twenty-first annual benefit held in support of The Food Depot; featuring a soup competition among 29 local restaurants, noon Saturday, Jan. 17, tickets start at $30, 505-988-1234, ticketssantafe.org.

Museum of Contemporary Native Arts Four exhibits of works by Chris Pappan, Christine Nofchissey McHorse, Star Wallowing Bull, and selections from the museum's collection, opening Jan. 23, through July.

WinterBrew

Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta New Mexico Brewers Guild hosts 16 local breweries and local food vendors to celebrate craft beers, 4 p.m. Friday, Jan 23, $25, holdmyticket.com.

Lannan Foundation Literary Series

The Lensic Novelists Karen Russel and Porochista Khakpour, 7 p.m. Wednesday, Jan. 28; The Fire This Time, a tribute to James Baldwin, with Nikky Finney, Randall Kenan, and Kevin Young, 7 p.m. Wednesday, Feb. 11; $6, 505-988-1234, ticketssantafe.org.

New Mexico Italian Film & Culture Festival

Jean Cocteau Cinema The Eighth annual event benefits UNM Children's Hospital; opening cocktail reception 3:30 p.m.

Thursday, Feb. 5, followed by a screening of Gabriele Salvatores' 2010 comedy Happy Family; the festival continues nightly through Saturday, Feb. 7; reception and film $30, film only $10, Saturday benefit dinner and silent auction $110, master pass $135, jeancocteaucinema.com.

ARTsmart New Mexico: ARTfeast Art of Living fundraisers

It's 5 O'Clock Somewhere, featuring dancing, heavy appetizers, and silent and live auctions; also, showcasing work of fashion designer Patricia Michaels, 6 p.m. Friday, Feb. 20, Peters Projects, 1011 Paseo de Peralta, $75 in advance; Step Up to the Plate, gourmet dinner and auction, doors open at 6 p.m.

Saturday, Feb. 21, Santa Fe Community Convention Center, $175 in advance; tickets available online at artfeast.org.

Santa Fe Restaurant Week

This year's extravaganza includes 57 local restaurants; most present a prix-fixe dinner and a specially priced two-course lunch, Sunday, Feb. 22, through Sunday, March 1; nmrestaurantweek.com.

Santa Fe Symphony: Shakespeare & Love

The Lensic Shakespeare-inspired tribute, works by Tchaikovsky, Mendelssohn, and Corigliano, with concertmaster David Felberg and guest conductor Sarah Hicks, 4 p.m. Sunday, Feb. 22, $11-$72, discounts available, 505-988-1234, ticketssantafe.org.

András Schiff

The Lensic The pianist performs late works by Haydn, Mozart, and Beethoven, 7:30 p.m. Tuesday, Feb. 24, $13.50-$100, discounts available, 505-988-1234, ticketssantafe.org.

Hot Sardines perform at the Lensic on Jan. 21.

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MUSEUMS & ART SPACES Santa Fe Center for Contemporary Arts

1050 Old Pecos Trail, 505-982-1338 Art Collision & Repair Shop, interactive installation curated by Susan Begy and Kathryn M Davis, Muñoz Waxman Main Gallery • Undress, multimedia installation by Paula Wilson, Spector Ripps Project Space; through Feb. 1. Open Thursdays-Sundays; ccasantafe.org.

Georgia O’Keeffe Museum

217 Johnson St., 505-946-1000 Miguel Covarrubias: Drawing a Cosmopolitan Line, mixed media, through Jan. 18 • Georgia O'Keeffe: Ghost Ranch Views, paintings from the 1930s and 1940s, through March 22; okeeffemuseum.org; open daily.

Museum of Indian Arts & Culture

Patricio Calabasa, Santo Domingo Pueblo, circa 1927,

by T. Harmon Parkhurst, Museum of Indian Arts & Culture exhibit Native American Portraits: Points of Inquiry, closing Sunday, Jan. 4. Palace of the Governors Photo Archives no. 46763.

AT THE GALLERIES Addison Rowe Gallery

229 E. Marcy St., 505-982-1533 New Mexico Past & Present, including works by Will Shuster, Beatrice Mandelman, Emil Bisttram, and Elias Rivera, through Jan. 30.

Chiaroscuro Contemporary Art

702½ Canyon Rd., 505-992-0711 Holiday group show of works by gallery artists, through Saturday, Jan. 3.

Gerald Peters Gallery

1011 Paseo de Peralta, 505-954-5700 Off Ramp: New Paintings by Tom Birkner and Don Stinson, through Jan. 10.

Monroe Gallery of Photography

112 Don Gaspar Ave., 505-992-0800 Bill Ray: My LIFE in Photography, photojournalistic work, through Jan. 18.

Robert Nichols Gallery

419 Canyon Rd., 505-982-2145 Opening the Envelope, work by Acoma potter Shyatesa White Dove; Winter Group Show, including works by Cara Romero (Chemehuevi), Alan E. Lasiloo (Zuni), and Glen Nipshank (BigstoneCree), through Sunday, Jan. 4.

Santa Fe Clay

545 Camino de la Familia, 505-984-1122 Get Set!, dinnerware sets by Paul Eshelman, Camila Friedman-Gerlicz, and Clay Leonard, through Saturday, Jan. 3.

William R. Talbot Fine Art, Antique Maps & Prints

129 W. San Francisco St., 505-982-1559 Holy Adobes: The Churches of New Mexico, including works by Gustave Baumann, Gene Kloss, and Lucille Leggett, through Jan. 16.

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PASATIEMPO I January 2-8, 2015

710 Camino Lejo, Museum Hill, 505-476-1250 Courage and Compassion: Native Women Sculpting Women, group show, through Oct. 19, 2015 • Footprints: The Inspiration and Influence of Allan Houser, five monumental works by the late Chiricahua Apache sculptor displayed outdoors; accompanied by works of other sculptors, including Houser’s sons Bob Haozous and Philip Mangas Haozous, plus works by Doug Hyde, Estella Loretto, and Robert Shorty; through May • Turquoise, Water, Sky: The Stone and Its Meaning, highlights from the museum’s collection of jewelry • Native American Portraits: Points of Inquiry, vintage and contemporary photographs, through Sunday, Jan. 4 • The Buchsbaum Gallery of Southwestern Pottery, traditional and contemporary works • Here, Now, and Always, artifacts from the museum collection; indianartsandculture.org; closed Mondays.

Museum of International Folk Art

706 Camino Lejo, Museum Hill, 505-476-1200 Pottery of the U.S. South: A Living Tradition, stoneware from North Carolina and northern Georgia, through Saturday, Jan. 3 • Between Two Worlds: Folk Artists Reflect on the Immigrant Experience • Wooden Menagerie: Made in New Mexico, early-20th-century carvings, through Feb. 15 • Brasil and Arte Popular, items from the museum’s collection, through Sunday, Jan. 4 • Multiple Visions: A Common Bond, international collection of toys and folk art. Closed Mondays; internationalfolkart.org.

Museum of Spanish of Colonial Art

750 Camino Lejo, Museum Hill, 505-982-2226 Guadalupe, images of Our Lady of Guadalupe from the museum collection; Boxed In, contemporary artisan-made boxes from the collection, through May • Secrets of the Symbols: The Hidden Language of Spanish Colonial Art • San Ysidro/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late-colonial-period re-creation; spanishcolonial.org; closed Mondays.

New Mexico History Museum/ Palace of the Governors

113 Lincoln Ave., 505-476-5200 Setting the Standard: The Fred Harvey Company and Its Legacy, ephemera from the museum collection and photos from POG photo archives • Gustave Baumann and Friends: Artist Cards From Holidays Past, holiday cards by Baumann and other artists spanning the years 1918-1970 • Painting the Divine: Images of Mary in the New World, rare Spanish colonial paintings • Poetics of Light: Pinhole Photography; exhibits up through March 29 • Water Over Mountain, Channing Huser’s photographic installation • Telling New Mexico: Stories From Then and Now, core exhibit • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe; nmhistorymuseum.org; closed Mondays.

New Mexico Museum of Art

107 W. Palace Ave., 505-476-5072 Focus on Photography exhibit North to South: Photographs by Edward Ranney, landscape studies • Hunting + Gathering: New Additions to the Museum Collection, recently acquired works

by Ansel Adams, Gustave Baumann, and others, through March 29 • Syncretism, photographs by Delilah Montoya • Focus on Photography, rotating exhibits: Cameraless, photograms by Leigh Anne Langwell • Beneath Our Feet, photographs by Joan Myers • Grounded, landscapes from the museum collection • Photo Lab, interactive exhibit explaining the processes used to make color and platinum-palladium prints from the collection, through March • New Mexico Art Tells New Mexico History, including works by E. Irving Couse, T.C. Cannon, and Agnes Martin • Spotlight on Gustave Baumann, works from the museum’s collection; exhibits through 2015. Closed Mondays; nmartmuseum.org.

of works in the traditional art of papel picado (cut paper), through January. Closed Mondays; nationalhispaniccenter.org.

UNM Art Museum

1 University of New Mexico, 505-277-4001 David Maisel/Black Maps: American Landscape and the Apocalyptic Sublime, photographs by Maisel; Beautiful Disintegrating Obstinate Horror Drawing and Other Recent Acquisitions and Selections From the UNM Art Museum’s Permanent Collection; The Gift, woodcut prints by John Tatschl (1906-1982).

Open Tuesday-Saturday; unmartmuseum.org.

Los Alamos Bradbury Science Museum

213 Cathedral Place, 505-988-8900 Harvesting Traditions, work by ceramicist Kathleen Wall, through Sunday, Jan. 4.

Closed Mondays; pvmiwa.org.

1350 Central Ave., 505-667-4444 Saul Hertz: A Pioneer in the Use of Radioactive Isotopes, collection of handwritten data charts, personal letters, published papers, newspaper articles, and photographs from the late doctor's estate, through January • Environmental Research and Monitoring, an interactive exhibit on how to preserve archaeological sites, local wildlife, and fragile ecosystems. Core exhibits on the history of Los Alamos and the Manhattan Project as well as over 40 interactive exhibits; lanl.gov/museum; open daily.

Poeh Cultural Center and Museum

Los Alamos Historical Museum

SITE Santa Fe

Pajarito Environmental Education Center

Wheelwright Museum of the American Indian

Pecos

Pablita Velarde Museum of Indian Women in the Arts

78 Cities of Gold Rd., 505-455-3334 The Why, group show of works by Native artists • Nah Poeh Meng, 1,600-square-foot installation highlighting the works of Pueblo artists and Pueblo history; poehcenter.org; also, ongoing sculpture exhibits in the Tower Gallery, 505-455-3037; closed weekends; roxanneswentzell.net.

1606 Paseo de Peralta, 505-989-1199 Unsettled Landscapes, biennial exhibit of contemporary works, through Jan. 11.

Open Thursdays-Sundays; sitesantafe.org.

704 Camino Lejo, Museum Hill, 505-982-4636 Adorn-aments, small works for the holidays, group show including pieces by Dennis Esquival, Liz Wallace, and Nathan Youngblood • works by Diné photographer Will Wilson, through April 19.

Core exhibits include historic and contemporary Native American art. Open daily; wheelwright.org.

Albuquerque Albuquerque Museum

1050 Bathtub Row, 505-662-4493 Tradition and Change in Córdova, New Mexico: The 1939 Photographs of Berlyn Brixner & the López Family of Wood Carvers. Core exhibits on area geology, homesteaders, and the Manhattan Project.

Housed in the Guest Cottage of the Los Alamos Ranch School. Open daily; losalamoshistory.org.

3540 Orange St., 505-662-0460 Exhibits of flora and fauna of the Pajarito Plateau; herbarium, live amphibians; also, butterfly and xeric gardens; pajaritoeec.org; closed Sundays and Mondays.

Pecos National Historic Park

NM 63, 505-757-7241 Exhibits portraying the history of the Pecos Valley, including ruins, traces of the Santa Fe Trail, and artifacts from the Civil War Battle of Glorieta Pass. Open daily; nps.gov/pecos.

Taos E.L. Blumenschein Home and Museum

2000 Mountain Rd. N.W., 505-243-7255 Gods and Heroes: Masterpieces From the École des Beaux-Arts, Paris, through Sunday, Jan. 4 • Everybody’s Neighbor: Fo, family memorabilia and the museum’s photo archives of the former Albuquerque resident, through Feb. 1(see story, Page 30) • Arte en la Charrería: The Artisanship of Mexican Equestrian Culture, examples of craftsmanship and design distinctive to the charro; cabq.gov/culturalservices/albuquerque-museum; closed Mondays.

222 Ledoux St., 575-758-0505 Hacienda art from the Blumenschein family collection, European and Spanish colonial antiques. Open daily; taoshistoricmuseums.org.

Indian Pueblo Cultural Center

Millicent Rogers Museum

2401 12th St. N.W., 866-855-7902 Our Land, Our Culture, Our Story, historical overview of the Pueblo world, and contemporary artwork and craftsmanship of each of the 19 pueblos; indianpueblo.org; open daily; weekend Native dances.

National Hispanic Cultural Center

1701 Fourth St. S.W., 505-604-6896 AfroBrazil: Art and Identities, three-tiered exhibit of lithographs from Tamarind Institute, photographs and dressed figures by Paulo Lima, and ephemera representing popular cultural goods sold by Brazilian street vendors, through mid-August • ¡Papel! Pico, Rico y Chico, group show

Harwood Museum of Art

238 Ledoux St., 575-758-9826 ¡Orale! Kings and Queens of Cool, a four-part exhibit focusing on Post-Pop and lowbrow art movements, including works by Robert Williams, Gary Baseman, Ron English, and R. Crumb, through Jan. 25. Closed Mondays; harwoodmuseum.org.

1504 Millicent Rogers Rd., 575-758-2462 Looking at Taos Pueblo: Albert Martinez, Juan Mirabal, and Albert Lujan, paintings, through January • Fred Harvey and the Making of the American West, objects drawn from the Harvey family, through January.

Historical collections of Native American jewelry and paintings; Hispanic textiles, metalwork, and sculpture; and contemporary jewelry. Closed Mondays; millicentrogers.org.

Taos Art Museum at Fechin House

227 Paseo del Pueblo Norte, 575-758-2690 Housed in the studio and home that artist Nicolai Fechin built for his family between 1927 and 1933; taosartmuseum.org; closed Mondays.

Sandra Place: Morning Solitude 2012, pastel Collected Works Bookstore 202 Galisteo St., 505-988-4226 Since visiting India in 1975, artist Sandra Place has been interested in the arts and crafts of indigenous peoples worldwide.

Many of Place’s pastel and acrylic figurative works, including market scenes, were inspired by a 2012 visit to cities in Uzbekistan along the Silk Road. Uzbekistan: Paintings From the Silk Road, which opens on Saturday, Jan. 3, shows pieces based on that recent trip. There will be a reception on Jan. 9 at 5 p.m.

Beth Moon: Orion 2013, archival pigment print Verve Gallery of Photography, 219 E. Marcy St., 505-982-5009 Figments of Reality: An Exhibition of Landscape Images continues through Jan. 10. The show includes Duane Monczewski’s hand-colored gelatin silver prints, albumen prints from Jennifer Schlesinger’s Utopia series; Takeshi Shikama’s black-and-white photography; works from Blue Mitchell’s Chasing the Afterglow series; a selection from Keith Taylor’s Badlands series; and images from Beth Moon’s Odin’s Cove and Diamond Nights series.

Susan Pasquarelli: Light Rings #1 2013, watercolor Winterowd Fine Art 701 Canyon Road, 505-992-8878 The Holiday Cheer exhibition that showcases works by gallery artists continues through Jan. 12 and includes glass sculpture by Karen Bexfield and Peter Wright, glass and bronze sculpture by Delinda VanneBrightyn, and watercolors

by Sarah Bienvenu and Susan Pasquarelli.

A P E E K AT W H AT’S S H OW I N G A R O U N D TOW N

Josh Tobey: Rain Dance 2014, bronze Manitou Galleries, 123 W. Palace Ave. 505-986-0440 Manitou Galleries’ 2015 Calendar Art Show features works from its calendar for the new year as well as pieces by artists such as Douglas Aagard, Jim Eppler, and B.C. Nowlin. The exhibit displays bronze wildlife sculpture by Josh Tobey, son of ceramic and bronze sculptors Gene and Rebecca Tobey. Tobey is known for the contemporary patinas he applies to his bronzes of bears, elk, and other animals. The show opens with a 5 p.m. reception on Friday, Jan. 2.

Nancy Frost Begin: Banded Armadillo 2014, woodblock print Marigold Arts, 424 Canyon Road, 505-982-4142 Treasures From the Loom: New Mexico Weavers is an exhibit of new works by gallery artists that focuses on textile arts, including wearable art, woven textiles, and washable rag rugs but also includes jewelry, sculpture, and items in other mediums. Pieces by Chris Ward, Jim McLain, Nancy Frost Begin, Ruth Tatter, and Sandy Voss are among those showcased. The exhibit opens Friday, Jan. 2, with a 5 p.m. reception.

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PASATIEMPO | January 2-8, 2015

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