Pasatiempo July 11, 2014 by The New Mexican

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

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July 11, 2014

Coreen Cordova Folk Art Market Trunk Show In attendance July 11, 12, 13 Also featuring new designs/handmade originals from designers Elisa Cavaletti, Rebecca Simpson, Karen Wilkinson, Betty Hadikusimo, and our private in house label, Maverick’s of Santa Fe Designs.

526 Galisteo Street • 820.0919 www.restaurantmartin.com

Lunch Special Lunch Special Pan SearedSantacafe Maple Marinated LobsterScottish Roll Salmon, Fernando’s Lobster Salad served in Soft Housemade Roll Summer Vegetable Israeli Couscous Salad w/ Pommes Frites – 20.00 w/ a Smoky Tomato Salsa --16.00 Dinner Dinner Special Special Braised Pork “Osso Buco” Braised Pork “Osso Buco”, Green Chile Country Mashed Potatoes, w/ Green Chile Country Mashed Potatoes, Grilled Asparagus w/Mushroom Wild Mushroom Demi-Glace – 28.00 Carrots w/ Wild Demi-Glace – 26.00

80 East San Francisco Street 505.955.8484

ON THE PLAZA

Open Daily from 11:30 am to Midnight Covered Balcony Happy Hours H.H. Food Specials $5 House Margaritas $5 Glass Wine $3 Select Beers 4-6 pm and 10pm-Midnight

lunch / dinner / brunch – open every day! Happy Hour: 4 – 6 p.m. Mon. thru Fri. Our ‘Classic’ appetizers – 50% off

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

505 • 984 • 1788 please visit our website www.santacafe.com

231 washington ave ● santa fe

PASATIEMPO I July 11 - 17, 2014

505-490-6550 • ThunderbirdSantaFe.com • Facebook.com/ThunderbirdBarGrill 50 Lincoln Ave, on the Santa Fe Plaza

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representing two generations of optometric physicians serving the residents of Santa Fe and northern new Mexico. providing state of the art eye care with the world’s most fashion forward and unique eyewear.

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Mon-Fri 8:00-6:00, Sat 8:30-12:00 444 St Michaels Drive | botwineyegroup.com

PASATIEMPOMAGAZINE.COM

Marsha Wiener Timeless Treasures

Ethnic collage textiles to wear & preserve

Ignite your senses. Experience world-class Spanish dance in a truly intimate theater setting.

JULY 2 – AUGUST 31, 2014 Performances nightly except Tuesdays | The Lodge at Santa Fe Tickets: $25-$45 | (505) 988-1234 or TicketsSantaFe.org

PASATIEMPO I July 11 - 17, 2014

ANTONIO GRANJERO + ESTEFANIA RAMIREZ

• Tribal Textile • Jewelry • Masks • Costumes • Ritual Objects • Collectibles

Origins

originssantafe.com 505-988-2323 135 West San Francisco St. Santa Fe, NM 87501

See Club Rock for promotional rule details.

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OPEN 9AM- 4PM | FRI, SAT & SUN

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10 Min. North of DOWNTOWN Santa Fe Exit 175 on Hwy 84/285

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

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PASATIEMPOMAGAZINE.COM

THE SANTA FE NEW MEXICAN

July 11 - 17, 2014

www.pasatiempomagazine.com

ON THE COVER 26 Down to a fine art Visitors to Art Santa Fe will find plenty that’s new this year as well as some familiar faces. The 14th international contemporary art fair includes site-specific installations, monumental sculpture, and an array of work from Japan, Turkey, Costa Rica, and the United States. This year’s keynote speaker is National Gallery of Art curator James Meyer whose talk, “Children of the Sixties,” takes place at the New Mexico Museum of Art on Saturday evening, July 12. The fair runs from Friday to Sunday, July 11 to 13, at the Santa Fe Convention Center. On the cover is Martin Spei’s bronze-and-steel sculpture Miles.

MOVING IMAGES

MUSIC AND PERFORMANCE

56 58 61 62

18 Into the light Fidelio 22 Pasa Tempos CD reviews 25 Onstage Aspen Santa Fe Ballet

ART 32 34 43 50

CALENDAR

Certifiably organic David Solomon In the spirit of Breton Dana Newmann Galler-ama What’s selling? Who’s buying? Lines in the sand Ai Weiwei & Bert Benally

PASATIEMPO EDITOR — KRISTINA MELCHER 505-986-3044, kmelcher@sfnewmexican.com Art Director — Marcella Sandoval 505-986-3025, msandoval@sfnewmexican.com

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

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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 Bill Kohlhaase 505-986-3039, billk@sfnewmexican.com Paul Weideman 505-986-3043, pweideman@sfnewmexican.com CONTRIBUTORS Loren Bienvenu, Taura Costidis, Ashley Gallegos-Sanchez, Laurel Gladden, Peg Goldstein, Robert Ker, Jennifer Levin, Iris McLister James McGrath Morris, Robert Nott, Jonathan Richards, Heather Roan Robbins, Casey Sanchez, Michael Wade Simpson, Steve Terrell, Khristaan D. Villela PRODUCTION Dan Gomez Pre-Press Manager

The Santa Fe New Mexican

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Robin Martin Owner

www.pasatiempomagazine.com

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Mixed Media Star Codes Restaurant Review: Epazote on the Hillside

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

Pasatiempo is an arts, entertainment & culture magazine published every Friday by The New Mexican. Our offices are at 202 E. Marcy St. Santa Fe, NM 87501. Editorial: 505-986-3019. E-mail: pasa@sfnewmexican.com

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Pasa Week

AND 13 15 66

Moon and Spoon, a 2012 collage by Dana Newmann

Korengal Life Itself Obvious Child Pasa Pics

Ginny Sohn Publisher

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ADVERTISING DIRECTOR Heidi Melendrez 505-986-3007

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MARKETING DIRECTOR Monica Taylor 505-995-3824

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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 Wendy Ortega 505-995-3892 Vince Torres 505-995-3830

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GRAPHIC DESIGNERS Rick Artiaga, Jeana Francis, Elspeth Hilbert, JoanScholl

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ADMINISTRATIVE ASSISTANT Claudia Freeman 505-995-3841

Ray Rivera Editor

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet

“Where should this music be? In the air or the earth?”

—Shakespeare, The Tempest

A Summer of Sacred Song featuring

Santa Fe Opera Apprentices

2013 Santa Fe Opera Apprentices

Every Sunday Morning through August 24 10:00 AM Worship (Childcare/children’s ministry offered)

THE UNITED CHURCH OF SANTA FE Rev. Talitha Arnold and Rev. Brandon Johnson, Ministers Jacquelyn Helin, Steinway Artist & Music Director

1804 Arroyo Chamiso (at St. Michael’s Drive) 988-3295 Welcoming of all

unitedchurchofsantafe.org

PASATIEMPOMAGAZINE.COM

IT’S DATE NIGHT AT THE OPERA!

Don Pasquale You’re Only Young Twice.

Seriously...

8:00 pm: July 29; August 4, 9, 13, 19, 22

You’ve NEVER been to an opera at The Santa Fe Opera? Discover the Magic in Your Own Backyard... with 40% SAVINGS on your first opera order! *

• You won’t find any chandeliers or red carpets… just an authentic New Mexico experience • The open-air theater provides remarkable views, with incredible singing, costumes and sets, along with an amazing orchestra • Arrive early with a tailgate supper and enjoy the stunning sunset and mountain views • Enjoy an instant translation screen at your seat (choose Spanish or English) • Learn why so many locals love a special night at the Opera every season * Offer is good for first-time buyers with a valid New Mexico resident ID. Restrictions apply.

CALL TODAY TO ORDER • 505-986-5900 (not available online)

Ken Howard photo

SEASON

20 14 THROUGH AUGUST 23

PASATIEMPO I July 11 - 17, 2014

ENJOY A BACKSTAGE TOUR, OFFERED MONDAY – SATURDAY AT 9 AM!

CARMEN Double Bill

Bizet

DON PASQUALE

THE IMPRESARIO American Premiere

Mozart

Donizetti

FIDELIO

LE ROSSIGNOL

DR. SUN YAT-SEN

Huang Ruo

Beethoven Stravinsky

www.SantaFeOpera.org 505-986-5900

T H E W O O D CA R E S P E C I A L I S T A n t i q u e s F i n e F u r n i t u re K i t ch e n s B u i l t - i n C a b i n e t r y !

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OR VISIT OUR NEW LOCATION

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PASATIEMPOMAGAZINE.COM

Under New Ownership!

THIS IS RETIREMENT.

THERE ARE NO RULES. Now serving Organic Burgers and Fresh Garden Salads!

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AUGUST 14 “You Only Sing Twice!” Gala Benefit feat. Voasis 15 Soaking up the Summer with Voasis | W21 16 Soaking up the Summer with Voasis | W21*

Matinee and Evening Performances

17 Soaking up the Summer with Voasis | W21*

PASATIEMPO I July 11 - 17, 2014

CBSF Cathedral Basilica of St. Francis LC Loretto Chapel FPC First Presbyterian Church

17 Spanish Mystics | LC

29 Spanish Mystics | LC

venueguide

Santa Fe

DesertChorale Intimate. Timeless. Transcendent.

CSJ Cathedral of St. John IPC Immanuel Presbyterian Church W21 Warehouse 21 All concerts begin at 8:00 p.m. *Matinee performances begin at 4:00 p.m.

Exploration and curiosity. Mysticism and devotion. Romance and passion. Sacrifice and radiance.

2014 summerfestival For more information, seating charts, and to purchase tickets, please visit our website at www.desertchorale.org

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$50 Credit On Initial Visit With This Ad No longer accepting insurance, but reasonable fees.

SANTA FE READERS DEPEND ON BOOK MOUNTAIN

The Bell Tower on the La Fonda Rooftop is Now Open for Lunch!

1. LARGE SELECTION: More than 30,000 different titles on our shelves. 2. LOW PRICES: We sell used paperbacks at 40% of the cover price. 3. EASY TO FIND: Books are categorized and alphabetized. 4. READ & RECYCLE: A generous exchange policy. 5. FUN: A friendly & helpful staff.

471-2625

2101 Cerrillos Rd.

Join Us! July 15th at 6:00 p.m.

Collected Works Bookstore 202 Galisteo Street in Santa Fe

Acclaimed Mystery Writer Michael McGarrity will introduce

Deathmark Author Jann Arrington-Wolcott If you cannot attend the event and wish to reserve a signed copy please call the store at 505 988-4226

Santa Fe artist Callahan O'Connor feels her life is finally under control. She's divorced her abusive husband, her adult son is confidently navigating his own career, a wise shaman guides her spiritual journey, and a faithful Great Dane provides protection and companionship. Her paintings are in demand around the country, although people would never imagine that she's creating her compositions from images that haunt her dreams. And then a mysterious, sexy, and much-younger man makes her question her own identity and the hidden meaning of her paintings. But he has a dangerous secret, and what she doesn't know could kill herâ&#x20AC;Ś Deathmark sizzles with sexual tension, supernatural intrigue, and the glittering world of professional art. This new thriller takes the reader on a wild ride filled with deception, murder, jealousy, shamanism and fact-based Native American history from the time of the buffalo. I couldn't put it down! â&#x20AC;&#x201D;Anne Hillerman, author of Spider Woman's Daughter

Fabulous Food. Spectacular Views. Open Daily 11am to Sunset PASATIEMPOMAGAZINE.COM

PRESENTING SPONSOR

ASPEN SANTA FE BALLET presents

Juan Siddi

ASPENSANTAFEBALLET Aspen Santa Fe Ballet July 11 & 12, August 30

Juan Siddi Flamenco Santa Fe July 18 & 27, August 3 & 9

All shows at 8:00pm

For more information visit

www.juansiddiflamencosantafe.com

www.aspensantafeballet.com

SEE EXTRAORDINARY DANCE AT Tickets: 505-988-1234 or online at www.aspensantafeballet.com

CORPORATE SPONSORS

PREFERRED HOTEL PARTNER

BUSINESS PARTNER

Investment Management SEASON PRESENTING SPONSOR

FOUNDATIONS / GOVERNMENT Melville Hankins

MEDIA SPONSORS Family Foundation

Partially funded by the City of Santa Fe Arts Commission and the 1% Lodgers Tax, and made possible in part by New Mexico Arts, a Division of the Department of Cultural Affairs, and the National Endowment for the Arts. 12

PASATIEMPO I July 11 - 17, 2014

PHOTO: MORGAN SMITH

PHOTO: ROSALIE O’CONNOR

SANTA FE

SEASON PRESENTING SPONSOR

MIXED MEDIA

Special Trainings Offering CEUs for Counselors, Therapists, & Social Workers

Retreat on Contemplative Practice and Rituals in Service to the Dying (aug. 7 - 10)

Techniques for professional and family care-givers Frank Ostaseski and Roshi Joan Halifax, PhD

santa fe, new mexico 505-986-8518 www.upaya.org registrar@upaya.org

SALE 20 ®

Above, Romy Eijckmans: Traces of Fireflies #2, 2013, Duratrans print in light box; right, Sarah Spengler: Eyelight #2, lenticular photograph

Cloud 9? Nope. Cloud 5.

briggs-riley.com

Neurobiologically-oriented trainings to build leadership and resilience to traumatic events Laurie Leitch, PhD and Loree Sutton, MD

discontinued styles while supplies last

Social Resilience Model Level I (aug. 29 - 31) Level II (oct. 24 - 26)

Travel smart. Save smart.

Le Bon

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Voyage luggage • bags • accessories

328 S. Guadalupe, Santa Fe • lbvbags.com • 505.986.1260

Opening in conjunction with Art Santa Fe, Lucent is an exhibition curated by photographer Nancy Sutor and artist Stephen Auger at Cloud 5 Project (in the former Cloud Cliff Bakery space). With a focus on presenting individual and collaborative works in the visual and performing arts, Cloud 5 Project, which launched last year, takes an interdisciplinary approach to creativity. Lucent includes pieces by artists working in a variety of media, with the one thing uniting them being the exploration of light-inspired and light-based art. Lucent features psychedelic video art by German artist Ati Maier, an audio/visual piece by former Santa Fe resident Molly Bradbury, threedimensional art by Meow Wolf’s Caity Kennedy, images from photographer Jennifer Schlesinger Hanson’s Moon series, Sarah Spengler’s animated lenticular photographic series Eyelight, Romy Eijckmans’ twilight landscape photographs and photograms of fireflies, Sutors’ translucent images of low-tone shadows cast by an apple tree, and more. Lucent opens with a reception on Friday, July 11, at 7 p.m. The exhibit is open limited hours Fridays through Sundays and by appointment through Aug. 10. Cloud 5 Project is located at 1805 Second St. Call 505-577-0360. — Michael Abatemarco PASATIEMPOMAGAZINE.COM

Santa Fe Chamber Music Festival: HIGHLIGHTS

Concert venues this season – SFA: St. Francis Auditorium at the New Mexico Museum of Art, 107 W. Palace Ave. and LEN: The Lensic Performing Arts Center, 211 W. San Francisco St.

The Season Begins: Sunday, July 20! The 2014 Santa Fe Chamber

SCHUBERT & BRAHMS

JUL 20 + 21

BREAKING BACH

JUL 26

SUN + MON 6 PM @ SFA

SAT 5 PM @ SFA

The Festival opens with the unmistakable sound of Schubert! Get a first look at rising star pianist Alessio Bax in an outstanding ensemble performing the Brahms Piano Quartet No. 1 in G Minor.

Benjamin Hochman performs two masterful, dance-filled Bach Partitas and Dallapiccola’s Quaderno Musicale di Annalibera—a virtuosic journey written with a hidden homage to Bach.

MONDAY CONCERT SPONSORED BY OMAHA STEAKS

SPONSORED BY THORNBURG INVESTMENT MANAGEMENT

NEW MUSIC WITH FLUX QUARTET

AUG 8

FRIDAY 6 PM @ LEN

Pre-Concert Talk: 5 pm @ LEN Experience the cutting edge of chamber music with the U.S. premiere of composer Julian Anderson’s Festival co-commission performed by one of the most fearless new music ensembles, FLUX Quartet. Tickets $5.

Music Festival is just days away! 6 weeks of extraordinary concerts in Santa Fe almost every day! Internationally renowned pianist and this season’s Artist-in-Residence Yefim Bronfman performs Beethoven’s majestic “Archduke” Trio, the epic Brahms Piano Quintet, and more. ° witty La Revue Savor Martinu’s de Cuisine and Bach’s complete Brandenburg Concertos. Other world-renowned artists include mezzo-soprano Sasha Cooke; pianists Ran Dank, Alessio Bax, Inon Barnatan, Benjamin Hochman,

BRANDENBURG CONCERTOS 3, 4 & 5

COOKING WITH MARTINŮ & SCHUBERT

YEFIM BRONFMAN PIANO RECITAL

AUG 16

AUG 18

AUG 19

SAT 5 PM @ LEN

MON 6 PM @ LEN

TUE NOON @ LEN

Enjoy performances of Bach’s complete Brandenburg Concertos beginning with Concertos 3, 4, and 5. Chamber music stars include Harvey de Souza, Tara Helen O’Connor, and the Dover Quartet.

The Tango, Charleston, and Fox Trot all make an appearance in the musical kitchen of Martinu’s ° witty La Revue de Cuisine featuring Benny Kim and Ran Dank. Plus Franz Schubert’s beloved Octet.

Experience piano masterworks played by our Grammy-award winning Artist-in-Residence Yefim Bronfman in an exclusive Noon concert at the Lensic! “Fima” will be performing a composition written especially for him.

SPONSORED BY THORNBURG INVESTMENT MANAGEMENT

SPONSORED BY OMAHA STEAKS

SPONSORED BY EDGAR FOSTER DANIELS FOUNDATION

and Joseph Kalichstein; violinists Martin Beaver and Ida Kavafian; violist Cynthia Phelps; oboist Liang Wang; and clarinetist David Shifrin. Ensembles include the Dover, Orion, FLUX, and Johannes string quartets. Incredible variety, beloved favorites, dazzling discoveries.

Marc Neikrug, Artistic Director

O’CONNOR STRING QUARTET

BRANDENBURG CONCERTOS 1, 2 & 6

YOUTH CONCERTS – FREE!

AUG 22

FRI 8 PM @ LEN

AUG 23

SAT 5 PM @ LEN

MON JUL 21, 28 + AUG 4, 11 10 AM @ SFA

RESERVE YOUR SEATS NOW!

Join us for an evening of true American music. From blazing bluegrass to highflying harmonics, Grammy award-winning violinist Mark O’Connor performs with stellar musicians Kelly Hall-Tompkins, Gillian Gallagher, and Patrice Jackson.

Complete the set with Brandenburg Concertos 1, 2, and 6 tonight. Chamber music stars include Benjamin Beilman, Liang Wang, Eric Kim, Cynthia Phelps, Caleb Hudson, and more.

Youth Concerts feature renowned artists including Tara Helen O’Connor, Victor Santiago Asuncion, Wilhelmina Smith, and the Johannes String Quartet. Kids are engaged, inspired, and have fun. Admission is always free!

505.982.1890 SantaFeChamberMusic.com Ticket Office: NM Museum of Art, 107 West Palace Avenue

SPONSORED BY THORNBURG INVESTMENT MANAGEMENT

The Santa Fe Chamber Music Festival is funded in part by the National Endowment for the Arts, the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax, and New Mexico Arts, a division of the Office of Cultural Affairs.

PASATIEMPO I July 11 - 17, 2014

STAR CODES Heather Roan Robbins Attitude, don’t leave home without it. This weekend begins

with a difficult full moon in Capricorn that can bring out the chips on our shoulders. But once we get this pugnaciousness out of our system and work through any existential crises it may stir, the rest of the week flows cleanly. This tricky full moon can give us seriousness, competence, and durability, but it can increase any tendency to be controlling. Do not micromanage under stress. This moon also asks us to look at our aspirations and at the quality and quantity of our work and assess our progress. Capricorn’s gift is deeply honorable leadership; its shadow is either ruthlessness or depression if we feel we aren’t moving fast enough. We can use this moon well by celebrating past victories and invigorating our journey with fresh, clear goals. Remember the symbol of Capricorn is a mer-goat, a creature that can dive to the bottom of the collective ocean to gather up a dream or vision and then walk it up the highest range. It just doesn’t do so well on flat terrain. Neither do we right now. But give us a mountain to climb and a team to climb with, and all unfolds with power. At the same time, Venus in Gemini trines Mars in Libra, both sociable and outgoing air signs, and provides a much-needed social lubricant as they encourage us to connect and talk. The moon enters more communal, collaborative Aquarius Saturday night just as thoughtful Mercury returns to introspective, defensive Cancer. Midweek the moon enters Pisces and brings our most tender material forward. Our fire and feistiness return toward the end of the week as the moon enters abrupt, brave Aries.

Saturday, July 12: This morning’s full moon squares irritable Mars and brings decisions and denouements. Evening softens as a spark of humor returns and the moon enters friendlier Aquarius. Sunday, July 13: As Venus trines Mars, let the heart open and engage collaborative action — feel a deepening connection to all sentient beings and maybe a few specific ones. This trine can provoke possessiveness and longing. A burst of activity midday can leave us tired or thoughtful tonight as the moon squares Saturn. Monday, July 14: The answer is probably yes today as the moon, Venus, and Mars form a grand trine early on. Ask important questions. Meetings and teamwork flow more smoothly than usual though people can be passionately attached to their opinions and private about their own stories. We need time enough to come back to ourselves as the moon enters Pisces tonight. Tuesday, July 15: We may be feeling delicate. Do not force people to get their defenses up as they come with fortifications. Give people room to wonder and wander as the Pisces moon conjuncts Neptune and trines Saturn. Forgive easy tears. Wednesday, July 16: The mood is durable and resilient, though still a bit raw. Keep the schedule light and let intuition or inspiration set the pace and direction. The scope of plans change — start looking at horizons as Jupiter enters Leo. Be surprised by possibilities as the moon enters sparky Aries tonight. Thursday, July 17: We can be just plain difficult — conflicting feelings and opinions can start the arguments within us and carry them outward. Prioritize rather than waste time. Work with allies and set the agenda with kindness. ◀ www.roanrobbins.com

HOME

Will Wilson

Wheelwright Museum of the American Indian www.wheelwright.org Made possible in part by the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax, and by New Mexico Arts, a division of the Department of Cultural Affairs and the National Endowment for the Arts.

Friday, July 11: Feelings swirl and our control issues grumble as the Capricorn moon conjuncts Pluto and squares Uranus. Notice a chance to face limitations and choose when it’s wise to push through and when to change direction. Use the heart, not words, to communicate. Sometimes all we need is a hand to hold.

RESIDE

PASATIEMPOMAGAZINE.COM

El Castillo’s Gorgeous Additions Now Open with Limited Availability Assisted Living Suites, Private Health Care Rooms & Memory Center Enhance Northern New Mexico’s Only LifeCare Community INDEPENDENT LIVING

In the heart of Santa Fe, just 2 blocks from the Plaza, El Castillo offers a superb senior lifestyle that means freedom from homeowner responsibilities, more time to enjoy life, security, and peace of mind.

NEW! ASSISTED LIVING SUITES

Spacious and light... perfect for those who need assistance with the tasks of daily living. Private pay residents receive all of the amenities afforded LifeCare residents, from delicious meals to life enrichment activities, outings, and much more.

NEW! MEMORY CARE CENTER The Garden at El Castillo — gorgeous private apartment suites for people with Alzheimer’s disease, dementia, and other forms of memory loss. Adjacent to our main campus, we remodeled the historic Valdes family home on East De Vargas Street to provide a beautiful, light, spacious home with a lovely outdoor courtyard.

NEW! PRIVATE HEALTH CARE ROOMS Light and bright... plenty of casually elegant space for visiting indoors or on the beautiful portal. Rehabilitation services are available for those recovering from injury, illness, or surgery. Attentive 24/7 care by licensed nurses and nursing assistants, medication management, and much more.

Call today for information & a tour. Main Campus 250 East Alameda • The Garden Memory Center 239 E. DeVargas • Santa Fe • 505.988.2877 • elcastilloretirment.com 16

PASATIEMPO I July 11 - 17, 2014

Kevin Avants 505 982 2892, cell 505 780 1061 1061 Pen Road, Santa Fe Expert installation of Driveways - Walkways - Patios

PORPHYRY SALES - PORPHYRY SPECIALISTS

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The Sibelius Academy and Acequia Madre House present

Creative Dialogue VI ▪ Concert

End of workshop concert with advanced music students from

Juilliard S c h o o l of M u s i c and D r am a , Columbia University, Cornell University, Eastman School of Music, McGill University, Butler School of Music at the University of Texas at Austin, Northwestern University Bienen School of Music, Florida State University and the University of the Arts — Sibelius Academy Music by workshop composers and Magnus Lindberg Performed by workshop singers and string players led by Barbara Hannigan, Anssi Karttunen and Magnus Lindberg

Magnus Lindberg

St. Francis Auditorium Friday July 11, 1 pm Free of Charge www.wisc-amh.org

Anssi Karttunen

Barbara Hannigan

With the cooperation of Friends of the Sibelius Academy And School of Advanced Research

Joinfor us in the ZIA BAR the last exciting matches of WORLD CUP 2014!!

Lynda Benglis James Lee Byars Harmony Hammond Agnes Martin John McCracken Roxy Paine

Saturday, July 12, 2 pm: Consolation Match

SUNDAY JULY 13, 1 PM: WORLD CUP FINAL

INAUGURAL EXHIBITION O P E N S N E X T F R I D AY, J U LY 1 8

1 0 1 1 P A S E O D E P E R A LTA T 505.954.5800

S A N TA F E

PETERSPROJECTS.COM

PASATIEMPOMAGAZINE.COM

James M. Keller

••

The New Mexican

Into the light L

Fidelio Music by Ludwig van Beethoven. In its final version (performed in this production), libretto by Joseph von Sonnleithner, after Jean-Nicolas Bouilly, with revisions by Stephan von Breuning and Georg Friedrich Treitschke. Premiere (in its final form) May 23, 1814, Kärntnertortheater, Vienna. Sung in German.

PASATIEMPO I July 11-17, 2014

udwig van Beethoven epitomized the creative artist who achieved immortality within a swirl of chaos. One does not need to look far among the annals of composers to uncover others who coped with disease, physical impairment, financial mismanagement, or underdeveloped social skills, but in Beethoven these things, and quite a few other manifestations of adversity, seem magnified into persistent pandemonium. Here is a man who was repeatedly disappointed in love, who tried to keep a suicidal nephew on track, who struggled with continual ill health, whose hearing began to erode when he was about 30 years old and eventually progressed to substantial deafness, who flew into rages of legendary turbulence, who moved so frequently that during his 35 years in Vienna he lived in some 60 apartments (counting summer homes), who became so absent-minded that he completely forgot he owned a horse someone had given him, and who grew so unkempt that at one point he was arrested for vagrancy. By all rights, such disarray should have led to a functional standstill. In Beethoven’s case, it did not. Somehow he kept disorder and impediment from overwhelming his creative vigor, and by the time immense crowds turned out for his funeral procession in 1827, he had produced a musical legacy that was already regarded as extraordinary. His mind worked in a way that enabled him to concentrate profoundly on his compositions. He was not beyond tossing off commercially viable pieces with fluency, but he lavished painstaking effort on works that mattered to him deeply, exertion that is minutely documented, from conception through final details, in his surviving sketchbooks and manuscripts. Sometimes, his molding of a single composition extended over multiple years during which he might labor simultaneously on numerous pieces. This was the case with his opera Fidelio, which receives its first-ever production at Santa Fe Opera on Saturday, July 12. It was the only opera Beethoven managed

to see through to completion — and then another completion, and yet another after that. Writing an opera was not an easy process for the composer, who was almost perpetually on the lookout for an appropriate libretto but found only this one that could survive preliminary sketches. For several years he toyed with writing an opera based on Shakespeare’s Macbeth, and for some three years in the 1820s he poked at a libretto poet Franz Grillparzer crafted for him on the medieval fairy tale of Melusine. Passing interest in operas involving the deceived knight Bradamante and the disillusioned scholar Faust yielded nothing. His first extended stab at an opera came in 1803: Vestas Feuer, a drama set in ancient Rome to a libretto by Emanuel Schikaneder (who had been Mozart’s librettist for Die Zauberflöte), a work that remains only as sketches for what might have been.

ust as his interest in Vestas Feuer waned into silence, at the end of 1803 and the beginning of 1804, Beethoven turned his attention to the work that would be produced in 1805 under the title Fidelio and then developed for nearly a decade into what was finally unveiled in 1814 in the form in which it is nearly always encountered today. At the outset, Beethoven preferred that it be called Leonore, after the heroic woman at its core. The show’s producers insisted otherwise, worried that potential audiences might confuse it with operas already in circulation by the composers Pierre Gaveaux (whose Léonore was introduced in 1798) and Ferdinando Paer (whose Leonora was premiered in 1804). Beethoven did not get his way, but at least when he published the opera’s libretto, in 1806 at his own expense, he stubbornly affixed to it the title Leonore, which probably did invite confusion among operagoers. The division over the title ended up proving useful in the long run. Today, it is common to refer to the original 1805 version of the opera, as well as its somewhat revised form for a revival in 1806, as Leonore; the name Fidelio universally attaches to the

final, very substantial recasting of the piece for its reintroduction in 1814. It was a timely opera. In the years immediately after the French Revolution, audiences in many European countries were avid for theatrical plots involving political oppression, daring rescues, and triumphant humanitarianism. (Government authorities were less enthusiastic, but there was no stopping the tide.) French author Jean-Nicolas Bouilly had written the libretto that served Gaveaux and Paer as well as composer Simon Mayr, who chose the libretto’s subtitle, L’amor coniugale, for his 1805 setting. In 1800, Bouilly had gained further acclaim as the librettist of another “rescue opera” of libertarian leanings, Les deux journées, with music by Luigi Cherubini, the composer Beethoven admired most highly among his contemporaries (himself excluded, he hastened to point out.) In 1803, composer Étienne-Nicolas Méhul let loose an opera (Hélène) with a Bouilly libretto that traced some of the same path that Fidelio would. These were all big names in the opera world just then. Bouilly was, therefore, the sort of wordsmith who would appeal to Beethoven’s political sensibilities. He had Bouilly’s Léonore libretto adapted into German by Joseph von Sonnleithner, with later revisions coming from Stephan von Breuning and especially Georg Friedrich Treitschke. Although Beethoven derived much of his income from the purses of aristocrats, he was a partisan of noble humanitarian principles, and he joined those who applauded the democratic aspirations of the Jacobins of post-Revolutionary France. At the head of the

Jacobins was Napoleon Bonaparte, whom political idealists viewed as a beacon of hope for social enlightenment. Writing an opera like Fidelio in 1804-1805 was not entirely an exercise in idealism. It seemed as if political change really was imminent. In 18031804 Beethoven also busied himself with his Third Symphony, which was meant to honor Bonaparte. Then in the spring of 1804, just as he completed his symphonic tribute, Napoleon crowned himself emperor. Incensed that the standard-bearer of republicanism had seized power as an absolutist dictator, Beethoven furiously scratched the name “Buonaparte” from the symphony’s title page and renamed it Sinfonia Eroica … per festeggiare il sovvenire di un grand Uomo (Heroic Symphony … to Celebrate the Memory of a Great Man).

apoleon loomed in the background throughout the years of Fidelio’s composition and revision. His forces seized occupation of Vienna the very week of the work’s 1805 premiere — drastically unfortunate timing for the opening of an anti-authoritarian opera, doubly so since many of Vienna’s opera-goers were hightailing it out of town — and the 1814 version hit the stage only six weeks after he and his loyalists retreated to temporary exile on the island of Elba, the beginning of his end. The plot of Fidelio — judiciously moved to 18thcentury Spain — centers on precisely the sort of political oppression that was part and parcel to the times. Florestan has been unjustly imprisoned by

Opera on his mind

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Fidelio,

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the governor Don Pizarro after disseminating unflattering information about him. Florestan’s devoted wife, Leonore, manages to get a job in the prison disguised as a boy, calling herself Fidelio. Don Pizarro has kept Florestan’s name off the official prison roster and has been slowly starving him to death in solitary confinement; but he decides to execute him to avoid complications in anticipation of the imminent arrival of the prime minister and a virtuous prison-inspection team. Fidelio (i.e., Leonora) sheds his/her disguise and holds Don Pizarro at bay until the good guys arrive — at which point she and Florestan are reunited in their marriage, and Don Pizarro’s goose is cooked. The work’s dramaturgy often comes across as odd. Partly it is a matter of mixed genres. Dark though the prison narrative is, it is entwined with a lighthearted comic triangle in which the prison assistant Jaquino wants to marry the jailer’s daughter Marzelline, who for her part has an obviously impossible crush on Fidelio — a secondary plot that largely evaporates at some point. Then, too, the work is cast as a singspiel, a stage genre popular in late-18th-century German-speaking lands in which musical numbers come and go within a spoken play. The extensive spoken dialogue is almost always reduced to a nubbin in modern productions. Perhaps that is just as well since its stagey style might seem ridiculous to modern ears; and yet, encountered as Beethoven envisioned it, the proportions are very different from what we are accustomed to and the work has an accordingly altered quality. A number of Beethoven’s major compositions are traditionally discussed in terms of light triumphing over darkness. In the Fifth Symphony, high anxiety in C minor eventually wends through a mysterious bridge passage to burst forth to a brilliant C-major finale. The Ninth Symphony moves from questing, inchoate gestures in D minor to a blazing choral conclusion in D major. The Quartetto serioso, op. 95, maintains taut edginess until its final half minute, which shifts to sparkling vivacity. Similar movement toward the light lies at the heart of Fidelio. References to light and darkness continually surface. The jailer Rocco describes the subterranean cell in which Florestan is hidden: “No light save for a lamp.” In her stunning aria “Abscheulicher!” Leonore (as Fidelio) resolves to descend to the cell guided by a sort of heavenly light: “Come, Hope, let not your last star be exhausted; illuminate my path, distant though you be.” In one of the opera’s most moving scenes, prisoners are briefly released from their cells to step outside; returning to confinement, one among them bids farewell to “the cheerful warm sunlight,” resigned that “night again sinks around us.” Florestan, languishing at death’s door in his dungeon, sings his heart-rending scene “God! How dark it is here!” and, hallucinating, imagines an angel who “illuminates my grave,” an

PASATIEMPO I July 11-17, 2014

angel who resembles his beloved Leonore. Even in its musical architecture, Beethoven stresses the division of dark from light. Music relating to Florestan and the prisoners tends toward the keys of F minor and A-flat major, keys abundant in flatted notes that were widely felt to convey dark or heavily shadowed implications. The music for Leonore and the forces of good fall far away on the chromatic map at E major, a key signature with four sharps, each representing a degree of brightness. That this is an opera of enlightenment is perhaps not incidental to Beethoven’s desire that it be called Leonore rather than Fidelio. The name Fidelio is derived from the Latin fides, meaning faith or faithfulness; this disguised wife indeed embodies marital faithfulness to the extremes of bravery. In the name of Florestan we spy another Latin root, flos, meaning flower, which made its way into modern Romance languages as, for example, the Spanish flor. (A section of the spoken text that is almost always cut reveals, through a reference to “Leonore Florestan,” that Florestan is actually the prisoner’s surname; but apart from that, it serves essentially as the husband’s identity rather than the wife’s.) A flower cannot thrive without nourishment, of course, and one of the most touching scenes has Fidelio (“his” identity not yet revealed) slipping the nearly catatonic Florestan a sip of wine and a crust of bread. But flowers cannot live deprived of light, either. It would seem unlikely that Bouilly should have endowed the names of Fidelio and Florestan with deeply embedded meaning of that sort and not treated the name of Leonore with as much care. As it happens, he did. The name traces its lineage back through the medieval form of Eleanor to the ancient Greek name Helena (Eleni), which would be translated as bright one or light one. Surely this opera is about both faithfulness and enlightenment. Beethoven could live with it being called Fidelio, making it an exaltation of faithfulness. But, if he had had his druthers, he would have preferred to call it Leonore — an opera about light. ◀

Fidelio opens at 8:30 p.m. on Saturday, July 12, and continues at 8:30 p.m. on Wednesday, July 16, and 25, and at 8 p.m. on July 31 and Aug. 5, 12, and 21. Soprano Alex Penda sings Leonore (aka Fidelio). Tenor Paul Groves is Florestan in his first appearance anywhere in the role. Soprano Devon Guthrie sings Marzelline. Tenor Joshua Dennis plays Jaquino. Bass Manfred Hemm sings Rocco. Bass-baritone Greer Grimsley is Don Pizarro, and bassbaritone Evan Hughes sings Don Fernando. The production is directed by Stephen Wadsworth and is conducted by Harry Bicket. Santa Fe Opera is seven miles north of Santa Fe on U.S. 84/285. Single ticket prices vary from performance to performance depending on demand. Prices start at $32; standing room is $15. Call 505-986-5900 or 800-280-4654, or visit www.santafeopera.org.

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PASATIEMPO I July 11-17, 2014

PASA TEMPOS

album reviews

CHRISTIAN VUUST Urban Hymn (Aero Music) Reedman Christian Vuust, a native of Aarhus, Denmark, focuses on the tenor sax for this, his 15th album as leader or co-leader. During an extended 2013 visit to New York, he was “inspired by the city’s diverse and creative environment” and put a period on his American experience by hitting the studio with pianist Aaron Parks, bassist Ben Street, and drummer Jeff Ballard. The quartet dug into nine quietly colorful tunes written by Vuust. Up first is “Helgenæs,” named for a peninsula that the residents of Aarhus view across a bay. The music, featuring rather rubato drums and lovely tenor sax and piano, is cool, easy, and vital, with epic overtones. “Lærke” (Danish for “lark,” and a common female name in the country) is another piece both relaxed but charged, Vuust playing rich-toned tenor in the lead but with dynamic accompaniment. For the title track, gentle, lovely piano, plodding bass, and shimmery brushed cymbals form the foundation for the leader’s poignant sax-song — but again, his collaborators are contributing more than mere rhythm the whole time. “Wedding Song” is a placid march, the loose drums yielding a forlorn, disconnected quality, although Vuust and Parks anchor the music with sober beauty. The more suspenseful “Biking the Big Apple,” with its impressions of rolling and pedaling, is a highlight. Mostly restrained and painted in twilight hues, Urban Hymn is always involving.— Paul Weideman GRÉTRY Guillaume Tell (Musique en Wallonie) Opera-goers who attend the opening of Beethoven’s Fidelio at Santa Fe Opera this week may be curious to hear how it compares to other politically loaded operas that enjoyed a vogue at the time. The short answer is that it is far better, but that doesn’t make contextualizing it less interesting. Musique en Wallonie, a label dedicated to unearthing historical repertoire from the French-speaking sector of Belgium, includes among its most recent offerings an operatic rarity: Guillaume Tell, a 1791 opera in three short acts by André-Ernest-Modeste Grétry, a leading musical Walloon of the French Revolutionary period. Suspected of earlier royalist leanings, Grétry found an antidote in the tale of William Tell, the Swiss patriot who stands up to a repressive tyrant who, in retaliation, orders him to shoot an apple perched on his son’s head, after which everyone commends sacrificing whatever is necessary in the cause of liberty. This is an opéra-comique, which means it includes extensive spoken dialogue. Grétry’s musical style is forthrightly populist and appealing in its charm. Let us be clear: this recommendation extends to the piece’s historical interest and not to the quality of the live performance, although the focused soprano of Anne-Catherine Gillet is welcome as Mrs. Tell. The orchestra (under the baton of Claudio Scimone) is often rough and the vocal acting evokes a fifth-grade class play. — James M. Keller

DESERT SERENADE Drones, Fences, Cacti, Test Sites, Craters and Serapes 12 JULY – 31 AUGUST 2014 An exhibition from the Lannan Collection featuring works by

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ARTIST RECEPTION Saturday 9 August from 5 to 7pm Lannan Foundation Gallery GALLERY HOURS Saturdays and Sundays noon to 5pm or by appointment 309 Read Street, Santa Fe, NM Tel. 505.954.5149

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www.lannan.org IMAGE: Emi Winter, Spoonbill, 2003, Oil on Masonite, 90 x 28 inches overall, Collection Lannan Foundation.

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The Andrew Smith Gallery welcomes Joel-Peter Witkin to the gallery to talk about his work. Joel-Peter will be here from 1-4 on Saturday, July 12. Ne x t t o t he G eo rg ia O’Kee f f e M u se um at 1 2 2 Grant Ave., Santa Fe , N M 8 7 5 0 1 • 5 0 5 . 9 8 4 . 1 2 3 4 H o u r s : 1 1 - 4 , M o n d ay - S a t u r d ay • w w w. A n d r e w S m i t h G a l l e r y. c o m

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PASATIEMPO I July 11 - 17, 2014

ON STAGE Mystical music: Santa Fe Desert Chorale

The Santa Fe Desert Chorale launches the second program of its season at 8 p.m. on Thursday, July 17, at Loretto Chapel (207 Old Santa Fe Trail). Richard Savino (playing guitar and vihuela) and Angela Gabriel (on various percussion instruments) assist director Joshua Habermann and the singers in a wide-ranging concert of Spanish music. The repertoire includes secular songs by Renaissance composer Juan del Encina, motets from the Counter-Reformation by Tomás Luís de Victoria (including his evergreen “O magnum mysterium”), pieces from the Spanish Baroque period, and original works and arrangements by figures the ensemble identifies as “modern mystics,” including contemporary composer Javier Busto. The program will be repeated at the same venue on July 20, 24, and 29, and Aug. 5, in every case at 8 p.m. Tickets ($20 to $60, with discounts available) can be purchased by calling 505-988-2282 or visiting www.desertchorale.org. — J.M.K.

Dark knight: Bonnie “Prince” Billy

Will Oldham, also known as Bonnie “Prince” Billy and often recognized as a sort of dark knight of Appalachian-style indie folk music, self-released a self-titled album in the fall of 2013 that was so handmade he delivered it to record stores himself in addition to playing all the instruments on it and recording it on his own. His cynical take on love and life is ever-present, even on the upbeat tracks. Heath Concerts presents the Bonnie Prince in a free performance at the Railyard Plaza (1607 Paseo de Peralta) at 7 p.m. on Sunday, July 13, with special guest David Ferguson. Visit www. heathconcerts. org. — J.L.

THIS WEEK

Finlandia: Acequia Madre House & the Sibelius Academy For the sixth time, Acequia Madre House (which focuses on women’s studies and Finnish cultural

exchange) is partnering with the Sibelius Academy of Helsinki for a Creative Dialogue workshop. The nine-day event brings together advanced music students from the Sibelius Academy and a handful of American and Canadian schools (including the Juilliard, Eastman, and Mannes conservatories) to concentrate on contemporary scores, guided by a faculty that includes soprano Barbara Hannigan, cellist Anssi Karttunen, and composer Magnus Lindberg. The fruits of their efforts will be revealed to the public in a concert at 1 p.m. on Friday, July 11, at St. Francis Auditorium of the New Mexico Museum of Art (107 W. Palace Ave). The concert will include pieces by Peter Lieberson, Kaija Saariaho, and Harrison Birtwistle, in addition to Lindberg, and is free and open to the public. For information, call 505-983-6538. — J.M.K.

Three masters: Aspen Santa Fe Ballet

Seia Rassenti

Rosalie O’Connor

Aspen Santa Fe Ballet returns to the Lensic Performing Arts Center (211 W. San Francisco St.) with two works commissioned by the company: 2012’s Square None, choreographed by the Princess Grace Foundation Award-winner Norbert De La Cruz III; and Nicolo Fonte’s recent The Heart(s) pace, based on themes of love and loss. Also on the bill is a ballet by eminent Czech dancemaker Jiˇrí Kylián, Return to a Strange Land from 1975. Performances take place at 8 p.m. on Friday and Saturday,July11and12.Fortickets,$25to$72,call 505-988-1234 or visit www.ticketssantafeorg. — M.W.S.

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Michael Abatemarco I The New Mexican

all’s fair when art’s in store

here was a time when Art Santa Fe brought its international stable of gallerists, artists, and dealers to town every other year. As the city became a hub for more and more yearly art fairs, Art Santa Fe founder and gallery owner Charlotte Jackson turned it into an annual event. Most of Santa Fe’s summer art fairs and markets are homegrown affairs and Art Santa Fe, now in its 14th season, is no different. Jackson is taking advantage of the city’s international reputation as a destination for art and culture and, as in past years, the roster of more than 30 galleries, museums, and solo artists includes some familiar faces as well as some new ones. Returning this year are Gallery Edel from Osaka, Japan, local gallery Zane Bennett Contemporary Art, the New Mexico Museum of Art, and photographer Doris Hembrough, sculptor Martin Spei, and others. But there’s a lot that’s new. For the first time, Santa Fe art collective Meow Wolf has an installation, and new galleries from Tokyo, Istanbul, Los Angeles, and other locales have booths. For a second year in a row, artists can represent themselves: Spei, for instance, exhibited last summer, when Jackson introduced a limited number of solo-artist booths to the fair as an alternative to showing works exclusively through established galleries. Other artists with solo booths this year include Gioconda Rojas from San José, Costa Rica, Los Angeles-based photographer Nancy Macko, and local artists John Vokoun and David Gordon. Though Art Santa Fe’s popular “How Things Are Made” series of art demonstrations is excluded this go-round, more solo-artist booths have been added. “I’m bringing a brand-new piece, as well as three other ones that I’m revisiting with a different patina to try something new with them,” Spei told Pasatiempo, explaining that he sees his work as encompassing allegory and myth — a reflection of his interest in classic literature. “One of my pieces is called Nostromo, after Joseph Conrad’s novel. It’s all about this character who’s liked by both the rich and the poor. He’s incorruptible but, in the end, becomes corrupt anyway and kills himself over the guilt. I have a narrative and I’m telling a story. It’s not unusual

PASATIEMPO I July 11-17, 2014

for me to like great stories and mythology.” Spei’s sculptures often depict a character, a pudgy sort of everyman, caught in an existential cycle of absurdity. “I see them as mankind. That’s the metaphor I’m hoping for. I think all artists have one idea, and a genius has two. I’m an artist. I’m not a genius. But there’s a lot of songs you can get out of one idea. Some of them are series of works like songs on an album. You go on to the next album with whatever’s happening in your life. It still feeds into this one idea, this overall narrative I have. It’s always evolving.” One thing visitors to the Santa Fe Convention Center may remember from years past are the largescale installations that greet them in the lobby. This year, Croatian artist Ana Tzarev’s monumental fiberglass poppy sculpture Love is a featured piece, part of Tzarev’s ongoing worldwide “Love & Peace” campaign to foster these phenomena, along with understanding, through art. “I want these striking and vibrant sculptures to attract people and encourage them to tell their stories and share their experiences,” she writes on her website (www.lovepeaceflower.com). “My dream is for my flowers to

ART SANTA FE act as beacons and rallying points across the planet — bringing people together on a global scale.” To that end, Tzarev has exhibited her sculpture flowers at galleries, museums, and public spaces in such cities as Paris, Rome, Prague, New York, London, St. Petersburg, Venice, Hanoi, and Istanbul. Based in Istanbul, Merkur Gallery features an impressive array of artworks in a variety of mediums. Artists include Seckin Pirim, some of whose dazzling geometric designs are made using metallic car paint on bristol paper, and Halim al Karim, whose soft-focus works are hauntingly beautiful. Along with other artists, Gallery Edel in Osaka represents Yoshitomo Nara, a Japanese sculptor, painter, and illustrator known for his pop-culture-influenced images of wide-eyed children and dogs, and Manabu Takano, whose whimsical, figurative animal portraits are rendered through a combination of dot painting and gestural brushwork. For the first time, Los Angelesbased Stephanie’s Art Gallery joins the fair, exhibiting paintings by little-known modernist artist Arthur Pinajian (1914-1999). The story goes that a stack of Pinajian’s artworks were found in the garage and attic of the Long Island cottage he shared with his sister. Pinajian left instructions for his collection to be discarded after his death, but it was saved by a relative moments before being hauled to the dump. Art historian William Innes Homer continued on Page 28

Clockwise from opposite page, Ana Tzarev: Love, 2013, fiberglass; Duygu S端zen: Untitled, 2012, ink and watercolor on paper; Manabu Takano: Moon, Sun, Mountain, and Horse With Crown, 2013, oil on canvas; Halim al Karim: Eternal Love 7, 2010, photograph; Martin Spei: Train, 2010, bronze and leather

Charlotte Jackson

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Art Santa Fe, continued from Page 26

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Arthur Pinajian, No. 626 Untitled, 1986, oil on canvas, Stephanie’s Art Gallery, Inc., La Cañada Flintridge, California

(1929-2012) examined the work, an array of impressive abstract landscapes and figurative paintings. Homer convinced his colleague Peter Hastings Falk to assemble a team to research Pinajian’s life and art. The result is Pinajian: Master of Abstraction Discovered, a 128-page monograph published in 2010 to accompany the artist’s exhibited works that offers essays by Homer and Falk, as well as by art historian Richard J. Boyle, art critic John Perreault, conservator Jonathan Sherman, author Lawrence E. Joseph (who owns the collection), and Peter Najarian (Pinajian’s cousin). In the wake of his rediscovery, Pinajian’s work has been featured on Good Morning America and 20/20. Among the regional exhibitors, Taos’ Hulse/Warman Gallery offers a mix of paintings, sculptures, and new media that includes the holographic works of Santa Fe resident August Muth. His holograms are three-dimensional images made of light that change their color and appearance depending on the position of the viewer. “I take a piece of glass and coat it with a light-sensitive emulsion,” he told Pasatiempo during a studio visit. “It’s very similar to the first photographic emulsions from the 1830s. I lay the glass and emulsion right on top of the subject matter, then take a laser, training its beam up to a concave mirror, which illuminates the whole piece in light. Some of that light reflects off the subject matter and comes back up through the emulsion. It’s the interference of those two plane waves that creates the hologram. I’m working with single-frequency laser light. If anything moves more than a 10-billionth of an inch, you don’t get a hologram.” To prevent any movement that would have a negative impact on his images, Muth floats his worktables on inner tubes to isolate them from vibrations in the ground. Early in his career, he made sculpture, casting his pieces in bronze, and also had an interest in working with reflective metals and making opalescent jewelry. “When I was about 28, I saw a hologram and thought how much it was like opals. I started producing holograms at that point. Only a few people in the world use this emulsion because it’s very temperamental. There are about 130 variables — temperature, humidity, and many other things that affect it. It has a very short life span. To get the colors you want, you have to utilize it in a certain period of time after you coat it. If you do it too early, your holograms are cloudy; if you do it too late, they just disappear.” ◀

details ▼ Art Santa Fe ▼ 11 a.m.-6 p.m. Friday-Sunday, July 11-13 ▼ Santa Fe Convention Center, 201 W. Marcy St. ▼ $10, Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org) and at the door

PASATIEMPO I July 11-17, 2014

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Right, Felix Gmelin: Color Test (The Reg Flag #2), reenactment of Gerd Conradt’s 1968 film Colour Test.6, 2002, film still James Meyers; photo by Mary Noble Ours

Michael Abatemarco I The New Mexican

once more with feeling

past years Art Santa Fe has brought engaging, seminal figures into town as keynote speakers at the international art fair, including critic Barbara Rose, writer Lawrence Weschler, and even Robert King Wittman, former head of the FBI’s Art Crime Team. This year Art Santa Fe welcomes James Meyer, associate curator of modern art at the National Gallery of Art and professor of art history at Johns Hopkins University, to the New Mexico Museum of Art on Saturday, July 12. Meyer, the author of Minimalism: Art and Polemics in the Sixties, a comprehensive survey of an art movement that began in the 1960s, returns to the era of Watergate, the Vietnam War, and counterculture movements in his forthcoming book, Return to the Sixties: On the Meaning of the Sixties in Art and Culture. “Children of the Sixties,” his keynote lecture, delves into the past from the standpoint of the present, discussing the legacy of an era that still captivates half a century later. Pasatiempo talked with Meyer about his lecture and new book. Pasatiempo: Can you tell me what the book you’re working on encompasses? James Meyer: It’s a book on contemporary art and writing, including fiction and memoir, that looks back to the ’60s and ’70s. It focuses on artists who I call ’60s children — people born anywhere between the mid-’50s and, say, the mid-’70s — who are looking back to the period before they were born or the time when they were children, their earliest memories, memories of their

PASATIEMPO I July 11-17, 2014

ART SANTA FE parents, and a period that was completely revolutionary in the West, in the United States, and people marked by that. You could say it’s post-boomer art and writing. Pasa: Who are some of the artists you’ll be discussing in your lecture on Saturday? Meyer: Felix Gmelin is one of them. He’s German and Swedish. The work I’m going to talk about was in the Venice Biennale in 2002. His father was on the radical left in Germany in the late ’60s and taught some of the people who became terrorists in the Baader-Meinhof Group. Gmelin remade a film from the ’60s by a student of his father’s. In it they’re running with a red flag through the streets of Berlin. Gmelin remade it with his students from the Konstfack school in Stockholm. It’s in a different city, at a different time, and appearances are different, allowing us to compare these two films. One of the people in the first film was Holger Meins, of Baader-Meinhof, who died of a hunger strike after he was captured. Gmelin’s father killed himself. It’s a very fraught history about people who were romantic and believed they could change the world. And I might talk about Luke Fowler, who’s a Scottish artist. He’s very well-known in England. So it’s certainly not obvious people like Jeff Koons and Damien Hirst — you know, these kinds of market artists. What I tend to write about is more a conceptual practice.

Pasa: It seems that, just as we look back to that era now, the artists active then were looking back as well. That seems implicit even when artists of the ’60s were rejecting, rather than embracing, the modernism that came before. Meyer: I talk about the ’60s as the memory of modernism. It’s the last time when the avant-garde of the early 20th century, along with modernism, felt kind of alive. That’s long gone for us. For us, the ’60s is our avant-garde. It stands as this last time of belief in avant-garde practice that art can be radical, that it can have political effect, that it can be outside of a purely financial structure. There’s always a risk that we look at that period with nostalgia. I’m against ’60s nostalgia. I’m for looking at it critically. It wasn’t a perfect time at all. Nevertheless, for art, there was the sense of real possibility, of changing everything. That kind of modernist aspiration was still going on then. It’s very powerful for us today. Art really meant something then. Now, art feels completely an instrument of the market. Pasa: And the Minimalists in the ’60s were also responding to the Abstract The ’60s are over Expressionists. and looked down on Meyer: People like Donald Judd and and frowned on. Dan Flavin really were very invested in Barnett Newman and Jackson Pollock. But, then, 15 years It’s a radical change, but it’s also a kind later, everyone is of powerful reading of Newman and Pollock. They couldn’t make art like interested again. that anymore. They wanted to do something different. So they brought it into three dimensions. They got rid of the subject matter that people like Newman had, but they kept the scale, the color, and the boldness. I’m talking about Judd and Flavin. Ab Ex is very much part of that art, both as something to move beyond and something to extend. Pasa: Who are some of the writers the book covers? Meyer: One of the writers I discuss is Jennifer Egan and her novel Invisible Circus. It’s about the weight of the ’60s on the younger generation. She won a Pulitzer in 2011. I talk about Dave Eggers’ first book, A Heartbreaking Work of Staggering Genius. I discuss a memoir by Ji-li Jiang called Red Scarf Girl, which is about what it was like to be in China under the Cultural Revolution and how traumatic it was to be a child in China in the late ’60s and ’70s. There’s somebody called Dana Spiotta, and she has a novel called Eat the Document,which is about Weather Underground-type characters in their 50s and 60s meeting a younger generation in Seattle in the ’90s. Pasa: The scope of the new book is international, not just focused on the legacy of the ’60s and ’70s in the United States? Meyer: The book goes to China. It goes to Germany. It goes to Uganda. It’s about people who now are in the middle of life and looking back. There’s a larger question here, and it involves people looking back in general to the time of childhood. The time that precedes your birth is going to affect you deeply, whoever you are. It’s very powerful for people in my generation, who grew up seeing the hippies and Watergate. Suddenly it is the Reagan period, and everything just changed. The ’60s are over and looked down on and frowned on. But, then, 15 years later, everyone is interested again. I call this phenomenon “the ’60s return.” I really trace it to the ’90s. It’s been happening for about 15, 20 years.

details James Meyer lecture: “Children of the Sixties,” Art Santa Fe keynote address 6:30 p.m. Saturday, July 12 St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. $10, Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org)

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Iris McLister I For The New Mexican

Certifiably organic

hen David Solomon moved out west nearly 20 years ago, he brought the colors and moods of his South Florida home with him. The selection of brilliantly abstracted, riotously strange new paintings in Patina Gallery’s exhibition Shape Shifter recalls the distinctive natural environments of both Florida and Santa Fe, where he’s lived for more than a dozen years. A veteran of the local art scene, Solomon has organized exhibitions, installed and curated shows, bought and sold art, and steadfastly maintained an active painting schedule. Since 2009, Solomon has painted on aluminum panels, which afford him a totally flat, nonporous surface, a negation of what he calls the “visual content” of canvas and linen. For his current body of work, he focused on refining and retooling shapes and symbols he’s long been fascinated with, injecting them with the unexpected, sometimes freaky color pairings that might well be considered his calling card. In these paintings, amorphous blobs float contentedly across thickly textured, heavily brush-stroked backgrounds. Recurring across many are shapes like elongated eyeballs or slender footballs — but, most of all, like seedpods. In turns translucent and opaque, they’re spanned with lines that look like the veins in a leaf. “I’ve been thinking of this latest body of work as a type of ‘systematic abstraction,’ ” Solomon told Pasatiempo. “While the parts in previous paintings operated by themselves in an environment, it was more refined. I wanted more action happening in the picture. These newer pieces 32

PASATIEMPO I July 11-17, 2014

have multiple main characters that interact with each other.” Maybe this deliberate anthropomorphizing explains why walking up to a piece like the dynamic, wildly colored Body Bomb Redux feels like barging into a private conversation. Matte areas of color are interspersed with drippy trails of mauve and black. The work’s central form looks like a sliced-open honeycomb, whose pale blue and navy interior cells seem tender and alive, with pulses that expand and contract before our eyes. They’re exposed, and so are we in viewing them. Solomon has a conscientious reverence for the natural environments of his past. He described childhood visits to family in upstate New York by naming their climatic attributes: “packed-in, dense, and muggy.” His childhood was a difficult one, and he took refuge by learning to read at a very young age. “Books created a mind for me that was immediately out of the box. Reading made me observe systems and pay attention.” Solomon’s fascination with organic schemes and outdoor environments is powerfully manifested in System II, which feels distinctly Floridian. The painting’s washy, pale green background and yellow undertones, taken together, suggest an almost-ripe lemon; its blackoutlined central object contains a color like bleached pavement. At first, the work’s rounded center lends it a malleable, mammalian softness, embellished as it is with three smaller, imperfectly rounded balls or nodes, the largest of which is pricked all over with red polka dots. Against its muted but glowing green background, the central orb looks especially clean and crisp, even self-conscious in its stay-in-the-lines deliberation.

Triangular strips of black and white gather together in a knife-sharp point that’s poised to puncture a lined seedpod at the top of the circle. Solomon likened this shape to a pyramid or a paved road, representative of a “path to knowledge, enlightenment, or power — but also transmitting something to the seed shape. We live in a multi-parallel universe with many versions of reality.” Solomon means for his work to have layers, and if your brain takes time to sort through them, your eyeballs will be doing happy backflips. Imposingly large and fantastically — immodestly — pink, The Schmoopy Painting occupies a wall to the immediate left of the gallery’s entrance. It’s dominated by a group of shapes nestled into and around a softly rounded, pale pink object. Other forms hover just outside it protectively, as if orbiting their home planet. The lower portion of the panel contains oozy, many-layered drips of red, interrupted by a central chamber: it’s that pyramid or highway again, whose tip meets the mouth of the pink object via a tiny, clear seedpod. Solomon is particularly excited by visual exchanges that beg questions not easily answered. “What are these two outer shapes creating?” he asked of The Schmoopy Painting’s orbital forms. “Is this a transmission of energy, or a protective encasement?” Solomon’s earnest consideration of his paintings can’t help but encourage a similar curiosity in the viewer. Despite exaggerated drips and smears of neon orange and crimson, Information II is overwhelmingly dark. Its center contains various shapes, arranged in a jumble of texture and form, like a still life on an alien planet. Where some of the paintings have subtle transitions,

David Solomon: System II, 2014, oil on aluminum panel; left, The Schmoopy Painting, 2014, oil on aluminum panel; opposite page, Icon I, 2014, oil on aluminum panel

Icon I is composed exclusively in fits and starts. Its center object is a black-outlined, charcoal-colored shape the color of ash. It’s a heart — probably the most recognizable shape in the show — suspended before a blazing, tomato-red background that’s immediately surrounded by dozens of miniature yellow pinpricks and, farther out, by blue-rimmed black spots. All around the puffy, gray heart are black dashes — not embers, but daggers: the last dazzling flares of a spirit going out with a cacophony of shrieks and hisses. Face Off With a Rose has Philip Guston-like blocks of smudgy pinks and reds, whose ragged interiors suggest something alarmingly intimate: blood, connective tissue, the wet insides of a body. It’s a weirdo world of embryonic, cosmic shapes — of all-seeing,

multi-irised eyeballs — a map without a key, a system that can’t be cataloged or quantified. We’re reminded of things we might not cognitively understand: quantum theory, voodoo, complex molecular structures. The background is gritty, even grungy, but the overlaying shapes contain uncannily precise angles and edges. As smitten as he is with abstraction, even Solomon’s messiest and most unfettered paintings contain areas of eye-bending precision. Solomon has shown at major Santa Fe galleries, but his last solo exhibit was in late 2011. The interim period has given him time to focus on exactly how and what he’s creating, evidenced brilliantly in the quirky, powerful jewels of paintings on display at Patina Gallery. This downtown shop, known for high-craft

furnishings and edgy, gorgeous jewelry, has never had an exhibition of paintings, making it a somewhat surprising venue for Solomon — something that’s not lost on him. “How brave and cool is it that a gallery that specializes in fine jewelry chooses some weird and wild local contemporary painting to celebrate? What a blast!” ◀

details ▼ David Solomon: Shape Shifter ▼ Opening reception 5 p.m. Friday, July 11; exhibit through Aug. 24 ▼ Patina Gallery, 131 W. Palace Ave., 505-986-3432

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T i o R i F p B S R E h t e T o n n I ARTIST DANA NEWMANN

rtist Dana Newmann moved to New Mexico in 1972, after living in California during the 1960s where she attended the California College of Arts and Crafts, now the California College of the Arts. She and her husband, painter Eugene Newmann, spent a brief time in California housesitting for friends in a coastal home built over the water. The floors were fashioned from glass cubes, allowing you to see the water beneath, pounding the shore. Part of their housesitting duties involved caring for the owner’s many orchids. For Dana Newmann, those orchids merged with an interest in Surrealism to become one of the subjects of an early work in collage. In the decades since, she has made numerous collages as well as assemblages, works in glass and bronze, book art, and cabinets of curiosity. A 45-year retrospective of her work opens on Friday, July 11, at Phil Space. Dana Newmann: In the Realm of Surrealism contains 30 framed pieces, three cabinets of curiosity, and bronzes cast at the Shidoni Foundry in Tesuque. Newmann’s works incorporate distressed papers, vernacular photography, thorns, puzzle boxes, text and illustrations culled from books, and numerous objects gathered on her travels to Mexico, Uzbekistan, North Africa, Japan, and France, among other places. She is the author New Mexico Artists at Work, a collaboration with photographer Jack Parsons, which gives a glimpse inside the studios of more than 50 working New 34

PASATIEMPO I July 11-17, 2014

Michael Abatemarco I The New Mexican Mexico artists. Her own is modest in size, perfectly suited to the intricate, often small-scale pieces she makes. “Botanical Study was my first surreal image,” Newmann told Pasatiempo, referencing the orchidinspired collage from 1969. “The Surrealists thought that their art would be based on the subconscious, and that’s what we’re going on when we’re dreaming.” Newmann’s own art, in some cases, stand as homages to the Dada and Surrealist movements. Her 2008 piece The Surrealist’s Cabinet of Wonders, one of the three cabinets on display, nods to Man Ray, Marcel Duchamp, and others. On one shelf of the small, wooden cabinet is a replica in miniature of Meret Oppenheim’s Object from 1936, a fur-covered cup, spoon, and saucer set. In one nook of Newmann’s cabinet is a small Hopi kachina. “The kachina was very important to André Breton and quite a few of the Surrealists,” she said. “They thought it epitomized the surreal attitude toward spirit. Some of the other objects I made up. I went to Japan a few years ago, and from a flea market I got a lot of wonderful stuff.” Among the items she incorporated into her work from the trip is a peach-shaped netsuke, a small carving traditionally worn by Japanese men to secure their sashes. It rests daintily on an elegant glass sculpture in the shape of a hand. The Surrealist’s Cabinet of Wonders also contains a smaller replica of a cabinet of curiosity. It is essentially a cabinet within a cabinet. There is also a collection of suicide notes, both poignant and grim. “The notes are historic and personal. One is from a dear friend who had lost his sight and decided to go to Mexico and make his exit there.” The suicide notes add a somber touch to the work. “I think verging on the macabre is also an aspect of Surrealism — something slightly eerie, something slightly threatening. So that was what I decided to do, too.”

Her most recent cabinet, The Cabinet of Dangerous Possibilities, is a quirky collection of items that imply, directly and indirectly, a threat of some kind. “The last two elements I put in were mercury — I had to get old thermometers and break them in a plastic bag and collect all the mercury — and smoke. You hold the bottle upside down, you light the incense, and the smoke goes in the bottle. You immediately cap it and put sealing wax around it to hold the smoke particles in there. I learned how to do it from a teenager.” The piece contains an anonymous portrait from the 18th century that isn’t particularly treacherous on first consideration, but Newmann has her reasons for including it. “The portrait refers to history, and history can be dangerous. If we don’t learn from it, we repeat it.” Also in the retrospective is a collection of reworked Victorian cabinet cards — thin photographs mounted on cards — that were popular in the late 19th century. “In the parlors they would have a cabinet and put in it images of their families. Mine are a surreal take on that.” Framed collage works include her Portrait of Vincent van Gogh, a piece from 1973, and a recent work, James Joyce Contemplating the Natural World. “Of course, Joyce was seldom involved with the natural world,” she said. “His world was cerebral and verbal.” Newmann’s series Dialogues, a selection of which is in the show, deals with intimate moments from the lives of others, culled from found diaries, one dating back to the 1920s. “When I was in Massachusetts I came upon this little diary, hand written in pencil. Reading it, I could not tell if the writer was a man or a woman because the writer had Valentine’s Day parties, made aprons, cakes, and cookies, loved flowers, and waited for the flowers to come each spring — but also set animal traps, skinned squirrels, and repaired

the Ford truck when it broke.” Dialogues reflects her ongoing interest in using text in her art. Several framed works on paper contain textual elements gleaned from books, articles, letters, and other sources. One such piece, Fire, from 1982, a collage of singed dictionary pages, exists only by mischance. “I was cutting up dictionary illustrations to use for something and tossing the rest of the papers into a fireplace that I didn’t realize was still smoldering. When I saw what the embers had done I took the pages out and, luckily, I happened to pick out a page about fire and fire-branding. Talk about serendipity.” Newmann extends her collage-making to books as well as two-dimensional works on paper. Her

simultaneous homage and critique of Max Ernst’s graphic novel, Une Semaine de Bonté (A Week of Kindness) is a complete, page-by-page, overlay of her copy of the book. “Using papers from the end of the 19th century and the start of the 20th century, I collaged every page, making it have new meanings. There was a lot of physical mistreatment of women depicted in it, which for him was tongue-in-cheek, but I had fun taking those things and changing them in a respectful way. I was careful only to use papers he might have used.” Newmann integrates dark and light tones in her art. She has been consistent in her practice of using found objects, branching out from collage to related medi-

ums such as her assemblage pieces, which, like her cabinets of wonder, are three-dimensional. Her newer works follow from her lifelong interest in Surrealist art. “The pieces I’ve done in 2014 are distortions of reality, so that you can see the real but it’s askew. It makes you, I hope, look at things a little differently.” ◀

details ▼ Dana Newmann: In the Realm of Surrealism: Work From 1969-2014 ▼ Opening reception 5 p.m. Friday, July 11; exhibit through Aug. 8 ▼ Phil Space, 1410 Second St., 505-983-7945

Dana Newmann: James Joyce Contemplating the Natural World, 2014; opposite page, center, The Surrealist’s Cabinet of Wonders, 2008; from left, Une Semaine de Bonté, 1983, collage overlay of Max Ernst’s novel; Fire, 1982, collage; Insects Poste, 2009, collage

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Happening tonight

GALLERY TALK Friday, July 11, 5:30–6:30 p.m. Santa Fe artist Richard Baron will talk about his ongoing photographic series Still Lives, New Mexico, which focuses on anonymous grave sites throughout the state. Free.

Coming up

PAINTING WORKSHOP Saturday, July 19, 1–3:30 p.m. “The Ritual Table.” Start with a tour of Local Color, looking at Judy Chicago’s symbolic, storytelling Seder plates. Participants will create a usable placemat for their table. Pre-register at NMMOAworkshops2014@gmail.com. Free with regular museum admission.

Weekly

PLEIN-AIR PAINTING IN THE PATIO Sundays, 9 a.m.–Noon.

Gather your paints, brushes and friends and enjoy the patio for a personal adventure in art. Admission to patio is free. (Museum opens at 10 a.m. with regular admission.)

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GALLERY CONVERSATIONS Mondays, 12:15–1 p.m. Every Monday a new speaker gives an informal tour through the museum, offering a unique point of view. July 14: photographer Jo Whaley. IN-DEPTH GUIDED TOURS Wednesdays, 12:15–1 p.m. The

museum’s knowledgeable and friendly guides lead in-depth exploration into specific artists and topics.

DROP IN AND DRAW Fridays, Noon–1 p.m. Stop by, pick up pencils and a drawing board, and explore the museum.

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Maria Benitez Institute for Spanish Arts presents:

2014 Explore the Spanish Arts Summer YouthWorkshop ISA invites students age 10 to 14 to its annual 10 day Spanish Arts Program. This year the workshop focuses on Flamenco Dance. Two classes, Level 1 for beginners and Level 2 for children with some ISA dance

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PASATIEMPO I July 11 - 17, 2014

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Immersive Art Experience

July 16 at the Museum of Contemporary Native Arts July 18–19 on Museum Hill (Camino Lejo) in Santa Fe

Pull of the Moon is a ground-breaking art

collaboration in Coyote Canyon between Chinese artist and activist, Ai Weiwei and Navajo artist, Bert Benally.

July 16: Launch Event A free public launch

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event for Pull of the Moon will take place on July 16, 2014, from 5:00-7:00 pm at the Museum of Contemporary Native Arts (MoCNA), Allan Houser Park in Santa Fe, featuring a live performance by German sound artist Robert Henke and Bert Benally. Admission is free and open to the public. Premiere of a documentary ﬁlm entitled The Making of Pull of the Moon by Daniel Hyde and Blackhorse Lowe, highlighting the collaboration between Ai Weiwei and Bert Benally at Coyote Canyon. At MoCNA on July 16 from 5:00–7:00 pm.

July 18–19: Fulldome An uncanny interactive

replication of Pull of the Moon will be on display in Santa Fe in an immersive fulldome, Friday, July 18 from 5:00–9:00 pm and Saturday, July 19 from 10:00 am–5:00 pm on Museum Hill on Camino Lejo. Admission is free and open to the public. Above: photo by Robert Schwan

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is an often-repeated, probably apocryphal assertion that Santa Fe, with more than 200 GALLERIES, is the third largest art market in the nation, falling behind NEW YORK and LOS ANGELES. Presumably, that position on the list is based on sales of artworks but, as even CASUAL GALLERY VISITORS can attest, there are galleries that sell art, and then there are galleries that mix it up with a little ART, some FASHION, some FURNITURE, and even HOUSEWARES. With more dealers and collectors poised to gather what they may as the season’s numerous art fairs get under way, and as Art Santa Fe celebrates its 14th year, Pasatiempo approached a random sampling of galleries in town to ask,

“WHAT EXACTLY ARE PEOPLE BUYING?” If you’ve

ever wondered what keeps some of Santa Fe’s long-running galleries afloat in a tough art market, the following should give you some idea.

Daniel Oropeza (for Charles Azbell Gallery) sculpts elaborate, large-scale depictions of mythical creatures like dragons and phoenixes, some of which are displayed outdoors.

Chuck Jones: Up, Up and a Weight

“Wile E. Coyote and Road Runner were inspired by New Mexico. So is Marvin the Martian, which was inspired by Roswell.” — Marie Ciattini, Chuck Jones Gallery

Charles Azbell: Your Imagination

Chuck Jones Gallery

135 W. Palace Ave., 505-983-5999 Marie Ciattini, art consultant at Chuck Jones Gallery, said that people “really love the Chuck Jones cels because of the rarity and the art of it, since nowadays everything in animation is computerized. These are all hand painted. It’s a part of history.” Her choice — because Pasatiempo was asking for each gallery’s most popular or best-selling artist or artwork — was Wile E. Coyote and Roadrunner. “It was inspired by New Mexico, so it kind of makes sense. But so is Marvin the Martian, which was inspired by Roswell.” Jones (1912-2002) was the creator and director of cartoons featuring Bugs Bunny, Daffy Duck, Road Runner and Wile E. Coyote, Pepé Le Pew, and other characters that were shown in the Warner Bros. series Looney Tunes and Merrie Melodies. The director of Chuck Jones Gallery in Santa Fe (there are similar locations in Costa Mesa and San Diego, California) is Toshi Sanchez. His selection for most-popular item in the store was one of the famous bunny’s scenes. “I would say that on a consistent basis it’s the cel ‘I Knew I Should’ve Taken That Left Turn at Albuquerque.’” He said about 60 percent of his customers are walk-ins and the remainder are repeat buyers. Animation cels by the gallery’s namesake are its bestsellers, but close behind are cels by Dr. Seuss and Fabio Napoleoni. The highest-priced items include rarities from the “minority characters” of cartoon land. A good example is Gossamer, a hairy orange monster wearing tennis shoes, from Chuck Jones’ pen. — Paul Weideman

Ventana Fine Art

400 Canyon Road, 505-983-8815 “We are all about color,” said Connie Axton, owner of Ventana Fine Art. The 30-year-old gallery’s three top-selling artists, while distinct in style, all work in vivid hues: painter Jennifer Davenport creates abstract mixed-media and acrylic works focused on texture and contrast; John Nieto paints portraits of people and animals in saturated, primary colors; and sculptor Rebecca Tobey makes animal totems, from the tiny table-top variety to life-size. Nieto is the gallery’s top-selling artist this year. “Our clients like

PASATIEMPO I July 11-17, 2014

John Nieto: Nieto Nude After Matisse

that we offer both contemporary and traditional work,” Axton said. Nieto’s subject matter is familiar (a portrait of Crazy Horse; wildlife, including wolves, buffalo, and stags; nudes in the style of Matisse), but his execution, two-dimensional and centered on color, is nontraditional. Ventana represents 18 painters and 11 sculptors. Axton said that bronze and acrylic works are bestsellers. The gallery sells mainly to collectors, and Axton said they’re split evenly between repeat customers and new buyers. — Adele Oliveira

Ventana Fine Art’s John Nieto’s subject matter is familiar: a portrait of Crazy Horse; wildlife, including wolves, buffalo, and stags; and nudes in the style of Matisse.

Santa Fe Art Collector

217 Galisteo St., 505-988-5545 The Santa Fe Art Collector was originally situated on San Francisco Street, but according to gallery co-owner Phyllis Hilley, “our current location on Galisteo is far superior. We have enjoyed better sales and the street has come to life with new storefronts and a focus on quality art and furniture.” Positioned just off the Plaza, Hilley counts clothing stores, restaurants, and bars as neighbors. It’s an area not especially known for its density of galleries, which makes it stand out. The Santa Fe Art Collector is an ambitious name for a gallery, but it’s an accurate moniker for one that deals in dozens of artists from around the world, a selection that, Hilley hopes, offers something for everyone. Topseller Mikki Senkarik paints cheery, color-saturated vignettes of Southwestern homes and gardens, com-

plete with plump chile ristras and rustic turquoise doors. Isabelle Dupuy, another popular gallery artist, paints impastoed oils of flowers and trees. On the other end of the spectrum are Doug collector favorites like former Adams: Trade steel-mill worker Doug Adams, Currents whose multimedia sculptures incorporate remixed materials like horse harnesses and old bells — fun counterparts to the space’s more classical offerings. For Hilley, this mix is crucial to the success of her gallery: “We are eclectic and have many genres,” she said, but acknowledged that “oil is usually the best seller.” Though Santa Fe Art Collector’s primary sales come from collectors, Hilley’s busy location explains her assertion that she does well with walk-in clients. — Iris McLister

Charles Azbell Gallery

203-A Canyon Road, 505-988-1875 The paintings at Charles Azbell Gallery encompass distinct styles: abstract panels of color, vistas and sunsets, depictions of Native Americans, and Pueblostyle pottery, but most of it is the work of one artist — Charles Azbell. “It’s like he’s five different artists,” said Vivian Love, Azbell’s wife and director of the gallery. In addition to Azbell, the gallery represents sculptors Daniel Oropeza, Doug Bieniek, and Ryan Benally. Oropeza sculpts elaborate, large-scale depictions of mythical creatures like dragons and phoenixes (in addition to worldly beasts, such as horses), some of which are displayed outdoors and very visibly at the gallery’s location on the corner of Canyon Road and Paseo de Peralta. Twenty-four years old, the gallery sells mostly to established clients, including private collectors, corporations, and museums. “We get a lot of repeat business,” Love said. “There are people who come and see me every year.” She noted that while walk-in sales have decreased somewhat in recent years, she “did just sell a sky painting to a young couple here on their honeymoon.” — Adele Oliveira

William Siegal started out as a private dealer, and then briefly opened a place in Shiprock, where he sold antiquities — primarily textiles. “After all those years working as a private dealer, I decided I like retail.”

Kim Wiggins: Below Spanish Peaks

Manitou Galleries

John Fincher: Grand Bottanica (detail)

LewAllen Galleries

613 Paseo de Peralta, 505-988-3250 About 30 percent of the artists at LewAllen Galleries are from New Mexico, 20 percent are located on the West Coast, and the other half are based in New York and elsewhere. Gallery owner Kenneth R. Marvel doesn’t specifically prioritize exhibiting work by New Mexico artists. However, he noted that “we have so many wonderful artists in Santa Fe” that they make

“In 2014, we have happily begun to see the return of what I would call the merely wealthy, instead of the truly wealthy.” — Ken Marvel, LewAllen Galleries

up a sizable portion of LewAllen’s roster. The gallery’s three top-selling artists are from New Mexico: Forrest Moses, Woody Gwyn, and John Fincher. “Moses is a well-known abstract landscape painter, and Gwyn is an amazing painter of vivid realism in landscape, but always from a different point of view,” Marvel said. “Fincher paints interesting intensive details of the Southwestern landscape. He’ll pick out the spines of a cactus and make that very detailed moment almost heroic.” Emily Mason, another wellselling artist, lives primarily in New York and “is one of the most important post-World War II lyrical abstractionists — or, more properly, lyrical expressionists, so it has more of a gentle elegance to it, a real intense kinetic expression.” The majority of the gallery’s business is by appointment, from repeat or referred customers. There are private viewing areas in the basement, a space that holds an extensive collection of modern and contemporary art. “Primarily in the last few years, the most affluent sector of buyers has been the fastest-growing, though in 2014, we have happily begun to see the return of what I would call the merely wealthy, instead of the truly wealthy.” — Jennifer Levin

Judy Tuwaletstiwa: ruah.not

William Siegal Gallery

540 S. Guadalupe St., 505-820-3300 Ask Eric Garduno, director of the William Siegal Gallery, who is selling best and he’ll tell you that it’s whoever happens to be showing. Currently that means mixed-media works by Judy Tuwaletstiwa, whose show opened on June 27 and runs through July 22. Gallery owner William Siegal confirmed that: “Judy’s is the most successful opening we’ve ever had.” The gallery is a surprisingly complementary collection of ancient and contemporary art. You can be studying one of Tuwaletstiwa’s layered matrixes one moment and then be drawn to the craft and symmetry of pre-Columbian weavings from Peru the next. Siegal started out as a private dealer, and then briefly opened a place in Shiprock, where he sold antiquities — primarily textiles. “After all those years working as a private dealer, I decided I like retail.” He moved to Canyon Road in 1966 and added contemporary works to his display. He was downtown at the corner of Palace and Grant avenues until 2008, when he moved to his current location in the Railyard, a bright space that’s especially friendly to the contemporary painting on display. But antiquities remain a large part of his business. “We’re a destination in the world of textile collectors. Our sales of textiles are always strong, as are sales of Columbian objects. But really, our sales are all across the board, contemporary and ancient.” Siegal said he has sold textiles to all the major museums in the world, but added that the majority of his sales, whether for contemporary or ancient items, are to individuals. The combination of art from disparate periods has worked well. “A good percentage of our buyers who buy contemporary pieces will then buy antiquities, or antiquities buyers will purchase a contemporary piece. We see this all the time.” — Bill Kohlhaase

123 W. Palace Ave., 505-986-0440 and 225 Canyon Road, 505-986-9833 Manitou Gallery on Palace Avenue is stuffed with contemporary Southwestern painting, sculpture, and jewelry. The other location, on Canyon Road, also focuses on Western regionalism, but with more sculpture in the mix, including a popular outdoor sculpture garden out back. There’s another location in Cheyenne, Wyoming. Frank Rose, the gallery’s marketing manager, names Kim Douglas Wiggins, a painter from outside Roswell, and sculptor Jim Eppler among their top-selling artists. Wiggins paints vibrant landscapes that, Rose said, buyers respond to because of the artist’s unique perspective. “All of the things he paints are in motion. There’s an internal sense of motion in a live landscape, and he gets that onto the canvas.” Eppler is known for his lifelike raven sculptures. “People want to bring that realistic nature into — or outside of — their homes.” Ravens, so prevalent in Santa Fe, are closely

Ravens, so prevalent in Santa Fe, are closely associated with American Indian mythology, which Frank Rose of Manitou Galleries thinks is what drives people’s interest, rather than any association with Edgar Allan Poe’s raven. associated with American Indian mythology, which Rose thinks is what drives people’s interest, rather than any association with Edgar Allan Poe’s raven. Other top-selling artists are B.C. Nowlin, who paints Indians on horseback; Ethelinda, whose paintings depict horses and other animals or aspects of nature; and Jerry Jordan, a painter of Pueblo life and everyday Southwestern scenes. Manitou’s customers are evenly split between established buyers and walk-in traffic. Though Manitou was established 12 years ago, many of the gallery’s artists and collectors have been associated with the Palace Avenue location for almost 20 years, since the building housed Contemporary Southwest Galleries. — Jennifer Levin PASATIEMPOMAGAZINE.COM

“It will be interesting to see how the location affects the people we get coming in. On Delgado Street, our walk-ins didn’t generate many sales.” — Margo Thoma, Tai Modern

Preston Singletary: Indian Curio Shelf

Martha Rea Baker: Marking History I

Karan Ruhlen Gallery

225 Canyon Road, 505-820-0807 Since the founding of her gallery 20 years ago, Karan Ruhlen said the most significant shift in its style has been a gravitation toward abstract modern work. Many of the gallery’s four sculptors and 12 painters live in New Mexico, including this year’s bestselling painter, Martha Rea Baker, who moved to Santa Fe in 2006. Baker works in acrylic and wax, creating different textures and patinas on the canvas by layering each material. “Baker’s work, though very abstract, has to do with the mesas and canyons of New Mexico,” Ruhlen said. “She’s one of our top sellers for probably 15 years now; her paintings say ‘landscape,’ but it’s a transition between traditional work and something more modern. Collectors feel safe in the midway. Whether more traditional or abstract, I think our collector still looks at the beauty in a piece. The edgy New York buyer is not necessarily the one who comes to New Mexico.” For the most part, the gallery sells to an established client base. In addition to private collectors, it sells work to designers, corporations, hotels, and medical facilities. “We don’t like to talk about the economic downturn or the fact that tourism has been down for the past five or six years, but it has,” Ruhlen said. “It’s just starting to come back again, and the price point has come back too — work over the $10,000 mark.” She noted that the largest collector-client base of the past 10 years has consisted of visitors from Texas, California, and Oklahoma. To a lesser degree, the gallery sells work to tourists from the East Coast and the Midwest. — Adele Oliveira

“Martha Rea Baker is one of our top sellers for probably 15 years now; her paintings say ‘landscape,’ but it’s a transition between traditional work and something more modern. Collectors feel safe in the midway. — Karan Ruhlen, Karan Ruhlen Gallery

PASATIEMPO I July 11-17, 2014

Jason Salavon: One Week Skin (detail)

Tai Modern

A new article in “Western Art Collector” has Blue Rain Gallery’s Jackie Autry saying that Tammy Garcia is the equivalent of Howard Terpning in her genre.

Blue Rain Gallery

130 Lincoln Ave., 505-954-9902 The three top sellers at Blue Rain Gallery are contemporary Native American artists Tammy Garcia (Santa Clara Pueblo), Preston Singletary (Tlingit), and Tony Abeyta (Navajo). “We’ve been with each of these artists for over 20 years,” said owner Leroy Garcia. “They’ve all been very innovative forces in their respective careers, and they’ve each become multimillion-dollar-a-year artists.” Pressed to name the gallery’s top performer, he said Garcia’s deeply incised pottery “is by far the most collectible art we sell.” Right behind those three stars, and “ready to explode,” are artists Jim Vogel, Erin Currier, Rimi Yang, and Roseta Santiago, the gallery owner said. Blue Rain sells to collectors and institutions across the United States, and, in Garcia’s case, the venue has sent works to Sweden and Germany. Most of the collectors have visited the showroom, but the gallery also has enjoyed exposure from doing shows in Chicago, New York, Miami, and Los Angeles. Asked about their best-selling genre, Leroy Garcia said it’s split among glass, bronze, and paintings. “Tammy does glass and bronze, but her strength is still in the clay. A new article in Western Art Collector has Jackie Autry saying that Tammy Garcia is the equivalent of Howard Terpning in her genre. Her pots, which sell in the six digits, are sold out; it’s almost by commission only at this point.” — Paul Weideman

1601 Paseo de Peralta, 505 984-1387 When Eight Modern, originally located on Delgado Street, merged with the Railyard’s Tai Gallery earlier this year to become Tai Modern, it brought along its stable of contemporary artists. Fay Ku’s figurative works on paper and Jason Salavon’s pop-culture appropriations, reconfigured into abstractions by use of computer software, found themselves alongside painstakingly crafted works in bamboo. “This location is new to both of us,” said associate director Jaquelin Loyd. “There’s a different viewer for the galleries in the Railyard. They’re more drawn to modern and contemporary. Then there are people who really want more traditional.” Tai Modern offers a little of both. “We don’t have a huge database of artists, but Tai Gallery had created a wonderful market for the bamboo. We’ve also done well with Jason Salavon’s work. He has a big international following. What works for us is to show artists who are established nationally and internationally. Having shows is really important.” Gallery director Margo Thoma agreed. Exhibitions often result in sales. “If you’re having a show with an artist that year, that makes a difference. Some artists only sell during shows. I think some level of familiarity helps.” The new location near Charlotte Jackson Fine Art and David Richard Gallery should bring increased foot traffic to the gallery. “It will be interesting to see how the location affects the people we get coming in. On Delgado Street, our walk-ins didn’t generate many sales,” Thoma said. “We sell the bamboo very consistently,” Loyd added. “It’s an art form where fewer and fewer young artists can really hang in there with what it takes to learn the craft. It’s hard for them to make a living until they become very good at what they’re doing. So the work is expensive.” — Michael Abatemarco

Hunter Kirkland Contemporary

Gib Singleton: Noah

200 Canyon Road, 505-984-2111 Hunter Kirkland Contemporary, which has been in Santa Fe for 13 years, represents 10 established, living artists, including Rick Stevens and Peter Burega, both Santa Fe painters and both among the top three best-selling artists in the gallery. (The other is Ted Gall, a sculptor from California.) The work of the painters is abstract and nonobjective, often featuring vivid colors with an edge of the sublime. Sculpture at Hunter Kirkland has a more surrealistic bent. “Everything here is very well presented,” said gallery owner Nancy Hunter. “Because it reflects my personal aesthetic, there’s cohesion. The pieces aren’t all

“Many of our customers buy for their homes or businesses. We also work with law offices, banks, and a lot of energy companies.” — John Goekler, Galerie Züger

Lynden St. Victor: The Descent of Sophia (detail)

Galerie Züger

120 W. San Francisco St. 505-984-5099 The display windows on either side of the entrance to Galerie Züger hold a cross-cultural mélange of figures that seem to look out at those who stroll by on West San Francisco Street: Woodrow Nash’s ceramic statuary inspired by 15th-century West African work; Chan Lui-Miao’s exacting leather sculptures; and the abstract, acrylic and mixed-media pieces of Father Bill Moore. “If we don’t have a really interesting window, with all the galleries on San Francisco Street, people wouldn’t remember us,” said Larry Ross, director of sales. Inside, the place is populated with the late Gib Singleton’s tall, thin bronze figures that carry a sort of labored stateliness. John Goekler, the gallery’s business manager and director of the associated Gib Singleton Museum of Fine Art, where the sculptor’s privately held works are on display, said that Singleton is far and away the gallery’s best seller.” And that’s only accelerated with Gib’s death a few months back.” Singleton is known for working in both Western and spiritual genres. “The interesting thing about Gib is that he doesn’t have a specific kind of collector,” Goekler said. “He’s the first artist I know to have collectors of his secular work buy his spiritual stuff and his spiritual collectors buying his Western and mythological work.” Most of Züger’s buyers are individual collectors, Goekler said. “Many of our customers buy for their homes or businesses. We also work with law offices, banks, and a lot of energy companies. Energy companies are one of the few places where individuality, entrepreneurship, and people willing to take risks — the kinds of things that Gib represents — are still admired.” Goekler said the summer is off to a good start. “We had a classic June. The first couple of weeks were pretty quiet, but then we had lots of sales, pretty much across the board. We’re looking to roll right into September.” — Bill Kohlhaase

Pop Gallery

125 Lincoln Ave., 505-820-0788 At Pop Gallery, you’re as likely to encounter a Great Dane and a butterfly sculpted in bronze as you are paintings of melancholy, big-eyed, cartoonish characters inhabiting realms reminiscent of Tim Burton’s. Owner Sharla Throckmorton-McDowell describes her gallery’s offerings as New Brow Contemporary, though there are nods to modernism as well

Rick Stevens: The Seasons Unfold (detail)

the same, and the artists work in different mediums and are in different points in their careers, but there’s cohesion.” Hunter noted that works by Jennifer J.L. Jones, an oil painter, and Charlotte Foust, who paints in acrylics, are also very well received by buyers but can’t yet be considered top-sellers because they haven’t been with the gallery as long as some of the

Hunter Kirkland is well situated for foot traffic, so walk-ins — including first-time art buyers — make up a sizable portion of the sales. others. Stevens has been with Hunter Kirkland for 10 years. A stable base of collectors has come to know the work of specific artists at Hunter Kirkland, regularly checking to see if they have anything new in the gallery. The gallery is well situated for foot traffic, so walk-ins — including first-time art buyers — make up a sizable portion of the sales. First-time buyers interested in making a new investment can begin a serious collection without being intimidated by cost here. — Jennifer Levin

Pop Gallery’s best-selling artist, Lynden St. Victor, paints surreal scenes (medieval saints paired with life-size toy trucks or a waifish, auburn-haired personification of Mother Earth ) with dramatic titles. as (naturally) Pop Art. “Our artists are influenced by the lowbrow — comics, graffiti, tattoos, trends,” Throckmorton-McDowell said. Pop-culture icons like Chuck Jones and Charles Schulz also make an occasional appearance; currently, cels from the 1966 Jones-directed animated short How the Grinch Stole Christmas! are for sale. The gallery’s best-selling artist, Lynden St. Victor, paints surreal scenes (medieval saints paired with life-size toy trucks or a waifish, auburn-haired personification of Mother Earth) with dramatic titles. St. Victor was one of the reasons Throckmorton-McDowell decided to establish Pop Gallery in 2007; until recently, he lived in New Mexico. Throckmorton-McDowell estimated that about 10 percent of her gallery’s artists reside in the state. Throckmorton-McDowell said that 80 percent of her sales are to established clients and take place over the phone, but noted that walk-in traffic has increased since the gallery moved to its current location. She said that Pop’s client base varies widely, “from 18 to 80,” and that she particularly enjoys cultivating young collectors. — Adele Oliveira PASATIEMPOMAGAZINE.COM

Barbara Meikle Fine Art

We are such sticklers for historic preservation, but Comcast cables are not historic — certainly the city and the telephone companies could get together and fund an effort to fix this issue. — Alexander Anthony, Adobe Gallery

Adobe Gallery

William Hook: New Year Snow

Meyer Gallery

225 Canyon Road, 505-983-1434 Tucked into a complex of galleries near the start of Canyon Road, Meyer Gallery, in existence since 1967, offers an eclectic mix of Southwestern landscapes, contemporary realist works, and trompe l’oeil paintings and sculpture. “We have over 50 artists at this point,” associate director Jordan West said. “One is Robert Daughters. He’s very well-known in this area. He had this van Gogh-esque, impressionistic style and is recognizable for his broad brushstrokes

“I think Milt Kobayashi does well because it’s not portraiture. I find that sometimes people are uncomfortable with somebody they don’t know staring at them.” — Jordan West, Meyer Gallery

and vivid palette.” The gallery has a retrospective planned in October for Daughters, who died in 2013. “He’s doing well at the gallery — and has always.” Other Meyer Gallery artists who paint the Southwest landscape, such as Ken Daggett and William Hook, also sell. But in the area of sculpture, Dave McGary tops the list. “He’s known as a leader in American contemporary realist bronzes,” West said. Meyer does well with its different genres. Large-scale works in bronze tend to be purchased more by institutions such as libraries and children’s hospitals, and landscapes and figurative paintings are mainly purchased by private collectors. “Daniel Gerhartz is a great figurative painter, heavily influenced by John Singer Sargent,” West said. The gallery also represents Milt Kobayashi, whose work recalls that of the French Impressionists and also 16th- and 17th-century Japaneseukiyo-ewoodblockprints.Kobayashi’s works — women and men observed in domestic scenes and public spaces such as restaurants and cafés — are candid and intimate, as though the artist is a fly on the wall watching people’s actions. “I think he does well because it’s not portraiture,” West said. “It’s not somebody staring at you. I find that sometimes people are uncomfortable with somebody they don’t know staring at them. With Milt, you’re almost a voyeur looking into their lives, wondering what’s going on in their conversations.” The gallery has one-person shows planned for McGary, Gerhartz, Kobayashi, and Hook during the summer. — Michael Abatemarco 48

PASATIEMPO I July 11-17, 2014

221 Canyon Road, 505-955-0550 Though many of Adobe Gallery’s neighbors display brightly colored kinetic sculptures and abstract paintings, owner Alexander Anthony has never focused on the sale of contemporary art. “We do not represent living artists,” Anthony said. “Our specialties are New Mexico Pueblo potters of the 19th and 20th centuries — for us, the best medium for sales.” Southwestern artists Maria Martinez, Margaret Tafoya, and Lucy Lewis are top sellers — all heavy-hitting Native American potters. Occasionally Anthony sells work by renowned contemporary potter Russell Sanchez, but he’s quick to point out that he doesn’t represent him. The gallery also carries paintings by students who attended the Santa Fe Indian School in the early-to-mid-1900s. When asked how he feels about Canyon Road, Anthony was positive about its breadth of art and historic draw, but said he wished there were public restrooms and more trash cans available for the street’s many visitors. He also cited modern additions of cable lines, which run along the road and are an eyesore to him and other gallerists. “We are such sticklers for historic preservation, but Comcast cables are not historic — certainly the city and the telephone companies could get together and fund an effort to fix

236 Delgado St., 505-992-0400 The focus of Barbara Meikle’s artist-run gallery is primarily her own work. She offers a selection of works by other artists on consignment, but her best-selling pieces are by her hand. Meikle paints vibrant, expressionistic imagery of landscapes and wildlife, including horses, donkeys, and birds. The rich palette she employs in her paintings is part of an aesthetic also apparent in the works of her gallery artists. “I have two other painters and three sculptors. My work is so strong colorwise that when I had contrasting painters whose work was softer or more subtle, they just got lost in here. It was better to go strong.” Meikle donates a portion of her sales to animal-rescue organizations,

Barbara Meikle: Garden Party

including Española’s Wildlife Center, which brought a selection of raptors to the gallery in April for Meikle to paint. “People got to meet a bald eagle named Max. It inspires my art and also gives me great happiness to help support these entities.” Meikle has no problems selling her work and made a sale by phone while Pasatiempo was visiting the gallery. “Whenever I sell a painting, I call my mother, and she always wants to know, Was it a landscape? Was it a donkey? Was it a horse? I also sell a lot of bison paintings and longhorn paintings. The birds have done well, and so have the landscapes. I just don’t advertise them so much because there are so many landscape painters, and I kind of want to be known for something different.” Meikle often brings donkeys to the gallery to paint them, raising funds for organizations such

Whenever I sell a painting, I call my mother, and she always wants to know, Was it a landscape? Was it a donkey?

Acoma Pueblo four-color polychrome olla, circa 1890s

this issue.” Anthony attributed the majority of his business to collectors: while walk-in sales do occur, they aren’t enough to pay the bills. “We contacted over 20 museums in the last few months to see if we could place a rare Nativity pottery set made by Helen Cordero in 1972, but the response from every museum was that they had no acquisition funds.” Anthony acknowledged that while gallery sales have slowed since the 2008 recession, “each year since, sales have slowly increased, almost back to pre-2008 levels,” and added that he’s expecting a very good summer season. — Iris McLister

as the Equine Spirit Sanctuary in Taos. “We set up a tent in the driveway, and I set up easels. I usually do four or five paintings during the session. People can make donations or buy a painting or a print. Donkeys are different from horses. They’re working animals around the world. They’re stoic. They put up with a lot. There’s something really special about them, and they’re very intelligent.” Meikle is in a fortunate position. While galleries in Santa Fe are closing right and left or moving to new locations, she has found a niche market for her work. “When things started to slow down in 2009, I put all my money into advertising. I doubled down on the marketing. Because I’m an artistowned gallery, I have a little more money to work with because I’m not paying half of it to somebody else.” — Michael Abatemarco

At Nedra Matteucci Galleries both paintings and sculpture pieces are moving well — including larger works selling to botanical gardens, zoos, and corporations.

Ken Rowe: Bull Market

One of Turner Carroll Gallery’s bestknown artists is Hung Liu , who grew up in Communist China and is recognized for her richly textured, evocative works in a variety of media.

Leon Gaspard: Russian Snow Scene

Nedra Matteucci Galleries

Huge, lifelike bronzes of sunbathing pigs and honeycombmining brown bears dot Sage Creek Gallery’s front lawn — popular photo ops for the busy street’s foot-trafficking visitors.

1075 Paseo de Peralta, 505-982-4631 This 40-year-old gallery founded by Nedra Matteucci specializes in works by members of the Taos Society of Artists, as well as works by other American artists of the past and contemporary painters and sculptors, Hung Liu: Refugee Opera Aleta Pippin: Unlimited Possibilities including William Acheff, Terri Kelly Moyers, Glenna Goodacre, and Dan Ostermiller. Pressured to name a top sense of color in her pieces, as well as her recognizable Liu, who grew up in Communist China and is recwork or artist, she and her gallery director, Dustin name. Canvases by Cody Hooper, painted with soothognized for her richly textured, evocative works in a Belyeu, decided on Russian Snow Scene, a dazzling ing blues and purples and punctuated by swirls and variety of media. Another standout is Igor Melnikov, 1914 painting by Leon Gaspard. The artist, born in slashes of color, are also very popular. “His work has recognized for his eerie, often bleak portraits of chilRussia, moved to Taos and lived there for more than crazy amounts of energy, but you could say that about dren. “They both draw on their past in other countries four decades. His work is distinguished from that of the whole gallery,” Wilson said. — Jennifer Levin and the pain they experienced and escaped — and are his Taos brethren by its focus on his motherland and now able to share.” The gallery is situated across the other far-flung locales, portrayed in vibrant colors. “We’re all about the sensory experience street from Geronimo, a spot whose merits aren’t lost Gaspard died in 1964. The gallery’s recent show of on Turner Carroll. “People eat dinner there and look paintings by contemporary Taos painter Chris Morel of color and mood. We want to give you into our gallery at night. They see the sculptures out was a success, as is an exhibition of Ostermiller outa good feeling overall, and people get very excited front and sometimes come back the next day.” When door sculptures at the Powell Gardens in Kansas City. about that.” — Ashley Wilson, Pippin Contemporary asked whether most sales derive from walk-in clients “If you get anything new and fresh on the market in or a more long-standing international collector base, historic paintings or by a Taos artist, they sell very she said, “Both!” — Iris McLister Sage Creek Gallery well,” Matteucci said. Both paintings and sculpture 421 Canyon Road, 505-988-3444 pieces are moving well — including larger works It’s hard to miss Sage Creek Gallery, at Canyon Road Pippin Contemporary selling to botanical gardens, zoos, and corporations. and Delgado Street. Huge, lifelike bronzes of sun200 Canyon Road, 505-795-7476 “We have found that we’re getting people back who bathing pigs and honeycomb-mining brown bears Upon entering Pippin Contemporary the first thing are buying the living artists. Everything had been dry dot the gallery’s front lawn — popular photo ops for that will strike you is the intensity and saturation of for a few years, but people seem to be coming back, the busy area’s visitors. According to co-owner Sande color, which is by design. “We’re all about the sensory and everybody’s doing a little better,” Matteucci comSievert, clients for those aren’t just private ones, but experience of color and mood. We want to give you a mented. “June is usually a slower month, but this corporations with the space and the funding for good feeling overall, and people get very excited about June was active. We feel very good about the market.” such monumental works. Inside, figurative paintthat,” said gallery director Ashley Wilson. Another — Paul Weideman ings share space with sculptures of Western bronzes priority for Pippin is keeping art affordable. Many Turner Carroll Gallery like Flirtin With the Undertaker, top-selling artist pieces in the gallery are well under $5,000, which is 725 Canyon Road, 505-986-9800 Scott Rogers’ depiction of a cowboy atop a bucka realistic price point even for gallery-hopping tourFounded in 1991, Turner Carroll Gallery focuses on ing horse. The gallery also sells impressionist and ists who’ve never considered purchasing art before. contemporary art. “At one point we considered openloosely figurative works, but representational art is Though the gallery has a number of seasoned buyers ing a big space in another part of town, but we asked its mainstay, and Sievert said her Canyon Road locaand collectors who return year after year, the majorsome of our collectors what they thought, and they tion is perfect for the artists she represents. “People ity of business at Pippin is from walk-in traffic. Greg said that Canyon Road was the reason they come to seem much more relaxed and focused on looking at Reiche, who sculpts in glass, stone, and metal, is the Santa Fe every year,” said Tanya Turner Carroll, who art here.” There’s also the street’s Friday night gallery top-selling artist represented by the gallery, followed co-owns the gallery with her husband, Michael Caropenings, a big draw for art buyers, especially in the by Aleta Pippin, the gallery owner. Reiche, whose kiroll. The modest gallery offers work that people might summer. Sievert, who’s optimistic about Santa Fe’s netic Light Arc I and II — undulating gates of multinot associate with Canyon Road’s typically historic commercial art scene, disagrees with the gallerists colored glass squares — stand outside the gallery, has fare, which is just fine with Turner Carroll, who noted who continue to worry. “It’s about doing a good job both a classic and visionary sensibility. Pippin’s new that “our most popular artists are our most innovarunning your business and being sensitive to what work is acrylic painting illuminated from behind with tive.” Among the gallery’s best-known artists is Hung your clientele wants.” — Iris McLister LED lights. Wilson said people respond strongly to the PASATIEMPOMAGAZINE.COM

Michael Abatemarco I The New Mexican

Lines in the sand

Eric Hanson

From top, Coyote Canyon; installation of Bert Benally’s Shí kéyah; Ai Weiwei and Manuelito Wheeler hold a Navajo Nation flag at Ai’s Beijing studio

PASATIEMPO I July 11-17, 2014

1995 Chinese dissident artist Ai Weiwei made waves in the art world with Dropping a Han Dynasty Urn, a photographic triptych that documents Ai allowing a historic ceramic urn to smash on the floor. The work raised questions about redefining history and culture in contemporary China, and could be seen as an indictment of China itself in the aftermath of Mao Zedong’s Cultural Revolution of the 1960s and ’70s. Mao’s plan was to make China the industrialized state it is today. It is as if Ai was saying that China sacrificed its own historic past to achieve that goal. Dropping a Han Dynasty Urn was not the only time Ai has destroyed Chinese relics to make a point. In his 2009 project Dust to Dust he took pieces from his 2005 porcelain series, The Wave, ground them into dust, and stored them in glass jars. On June 28 an artistic partnership between Navajo artist Bert Benally and Ai resulted in the newest TIME (Temporary Installations Made for the Environment) project, Pull of the Moon, a biennial exhibition co-organized by New Mexico Arts and the Navajo Nation Museum. Consisting of sideby-side sand paintings unfolding on private land in a remote part of Coyote Canyon in the Navajo Nation, it is no longer extant. It was a one-day installation originally intended to take place during a full moon. “We moved it forward three weeks, Benally told Pasatiempo. “By that time, the whole concept changed. The title of my sand painting became Shí kéyah, which in Navajo means ‘my country,’ or ‘my land,’ but can also mean ‘my people.’ ” Ai’s Project for TIME at Coyote Canyon, his sand painting that uses groundup porcelain pottery created for some of his earlier works, was incorporated into the installation. But the whole thing almost didn’t happen. “Originally we were going to work on one project together, but the distance was too big of an obstacle to overcome,” Benally said. “It’s a borderline two-man show, a collaboration with two different themes but similar pieces. We weren’t in direct contact with Ai himself. We were in contact with his studio assistants.” After trying unsuccessfully to reach an agreement through email, Benally took the initiative to go to China and seek him out. “He was really busy. I couldn’t get him until the last day. I decided to go to his studio and see what was up. I met with him. I guess there was a breakdown in communication because he wasn’t really sure what was going on. Once he found out I was Navajo, he made some time for me, and we talked. He assured me he would make this happen.” After Benally’s trip, Navajo Nation Museum director Manuelito Wheeler made one of his own to firm up details and get the project under way. “By that time, we had less than two months to do this. The added problem of not being able to see him — the government is really watching him — made it difficult to get messages through. I think they might even have been intercepting his assistants’ emails, because we wouldn’t hear from him for a while.” Benally’s concept was based on the four directions and the idea of keeping harmony with the earth. Ai responded with a concept for a sandpainting design, made with the crushed pottery, in the form of interlocking bicycles. “He explained that the bicycles represented industry and how China today is like a machine, but it’s a machine run by people.” Benally responded to Ai’s idea by referencing Navajo industry in the forms of continued on Page 52

Top, Bert Benally: Shí kéyah, 2014, mixed-media installation; bottom, from left, setting up Ai’s Project for TIME template at Coyote Canyon; Ai Weiei: Project for TIME at Coyote Canyon, 2014, mixed-media installation; all photos Robert Schwan unless otherwise noted

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Pull of the Moon, continued from Page 50 weaving, silversmithing, and pottery making. Inspired by the broken-pottery works of the Chinese artist, Benally built a large pot with a corn sculpture inside, and then set it on fire. The area around the pot was divided into quadrants that were sectioned off from each other with colored PVC pipe that was cut lengthwise and filled with water. The quadrants represent the four directions, with the pot in the center. As it burned, the large pot disintegrated, revealing the sculpture inside. “The corn sculpture that remains after the pot has burned down and crumbled away symbolizes the Navajo both culturally and spiritually,” Benally wrote in a statement about the work. “The colored lines made from PVC pipe filled with water represent rainbows. They are painted red and blue. For Navajos rainbows represent protection and also beauty.” There were other elements in Benally’s part of the installation. “I made a sand painting with fire. I soaked rope in kerosene and did some images in sand. We lit it up so people could see the images in lines made of fire.” Each of Shí kéyah’s quadrants had a design based on different aspects of Navajo industry. The eastern quadrant had a rug design based on the eye-dazzler weavings of the late 19th and early 20th centuries. The south quadrant had bear and mountain images derived from stories told to Benally by local residents regarding the origins of their clan, the Tsinajinnie. The western quadrant had a rug design based on the blankets of a Navajo chief. The northern quadrant’s design was also informed by origin stories of the Tsinajinnie Clan. Four circles on the outer perimeter of the installation had patterns derived from silversmithing stamp designs. On Wednesday, July 16, the Museum of Contemporary Native Arts screens Bert & Weiwei: TIME 2014, a documentary film by Daniel Hyde and Blackhorse Lowe. This is part of a series of public events at the museum that are centered around the TIME project. In addition to the screening, an interactive 3-D digital land- and soundscape produced by xRez Studio that captures the June 28 installation event at Coyote Canyon is on display at MoCNA and can be experienced in a new, 50-foot-wide dome structure there during the reception on July 16. After that the dome travels to Museum Hill on Friday, July 18, where it’s on view from 5 to 9 p.m., and again on Saturday, July 19, from 10 a.m. to 5 p.m. In addition, a monitor on the grounds of MoCNA broadcasts the audio-visual 3-D digital model in a loop every Wednesday through Friday, July 16 through Oct. 16. Benally did a second collaboration, a performance piece with German sound artist and computer-music software developer Robert Henke based on sounds they recorded at Coyote Canyon during the installation of Shí kéyah. “He does a lot of land-based, ambient kinds of sounds,” said Benally. “At the opening he’s going to play some of those he developed. I’ve developed some as well, though I will probably leave out some elements that are specific to a Navajo audience.” ◀

details ▼ Pull of the Moon: interactive 3-D digital landscape/sound piece and premiere of the documentary Bert & Weiwei: TIME 2014 ▼ Opening reception 5 p.m. Wednesday, July 16 ▼ Museum of Contemporary Native Arts, 108 Cathedral Place, 505-428-5907

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Begin collecting treasures from children and grandchildren of the Palace Portal’s artisans. A free, family event in the shady Palace Courtyard. Enter through the Blue Gate on Lincoln Avenue.

Printing Our Lady Saturday, July 19, 1–3 pm

CommunITy LeCTure

Is Time Travel Possible?

Testing the ‘Grandfather Paradox’ Wednesday, July 16 7:30 p.m. James A. Little Theater 1060 Cerrillos Rd., Santa Fe Lectures are free and open to the public. Seating is limited.

Time travel is a science fiction staple, inspiring the plots of countless books, movies, and Star Trek episodes. But while basic physics allows for the possibility of moving through time, practical concerns like the “Grandfather Paradox,” in which a traveler jumps back in time, kills his grandfather, and therefore prevents his own existence, seem to stand in the way. Self-described “quantum mechanic” Seth Lloyd looks at an alternate mode of time travel that eliminates any events that could later prove paradoxical, making this phenomenon both theoretically possible and creatively irresistible, whether you’re an astrophysicist or just a daydreamer.

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Use a replica medieval press to print an image of the Virgin Mary and learn how artists based their works on them. Part of the exhibit Painting the Divine: Images of Mary in the New World. Free with admission. Sundays free to NM residents; children 16 and under free daily.

Make a Camera Obscura Sunday, July 20, 2–4 pm

Santa Fe photographer Jackie Mathey helps you make a take-home tabletop camera obscura and learn to use it like a Renaissance artist. Part of the exhibit Poetics of Light: Pinhole Photography. Free with a reservation. Space limited. Call 505-476-5087.

Historical Downtown Walking Tours

Meet at the Blue Gate on Lincoln Avenue Monday through Saturday at 10:15 am to learn more about what happened when and where. Tours are led by museum-trained guides. Fees benefit museum programs and education. $10; children 16 and under free with an adult.

Seth LLoyd

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

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Gallery Walk-About 2014 July 11, 9:30am - 1:30pm

9:30am Casa Nova 530 South Guadalupe St. In the Railyard 983-8558

"Mali Chic" – exhibiting work of 200 artisanal groups-traditional & contemporary textiles, jewelry & home décor. Plus: talk on Moroccan textiles.

10:45am John Ruddy 129 W. San Francisco St.,2nd Fl. 989-9903 “Time Warp / Recycled Textiles from Japan”- A range of Japanese textiles, traditionally the result of recycled weaving: saki-ori, boro, more.

11:15am Taylor A. Dale Fine Tribal Art 129 W. San Francisco St.,2nd Fl. 670-3488 “The Art of New Guinea” - Fine traditional art forms, from 19th century to mid-20th. Featuring a select group from the Thomas-Rosen collection.

12:45am Santa Fe Weaving Gallery 124- 1/2 Galisteo Street 982-1737 “The Power of Trend and Color –2015” – A pictorial analysis of international fashion catwalks by Barbara Arlen, textile designer. Trends & colors for 2015 innuence our fashion, political, economic, cultural, domestic lives.

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MOVING IMAGES film reviews Restrepo redux Bill Kohlhaase I The New Mexican Korengal, documentary, not rated, Regal DeVargas, 3 chiles Sebastian Junger and Tim Hetherington’s 2010 film Restrepo was the rare war documentary that came without a back story. It didn’t dwell on the origins and or character of the war in Afghanistan begun in 2001. It offered little background on the soldiers we would come to know through the film. Its only context was that which viewers brought to it. Junger and Hetherington took us straight to the most dangerous place in Afghanistan for American soldiers, the mountainous region of the Korengal Valley, and then let us watch as the members of the 173rd Airborne Brigade, Battle Company, went on patrol, met with villagers, and exchanged frequent fire with the enemy located down the mountain and across the valley. Larger questions of purpose and strategy, let alone reasons for establishing an outpost in the far-flung region, were barely discussed. Instead, the daily rigors of survival were the focus. Conditions were grim, crowded, and frequently deadly. The men established a base of holes, tarps, and sandbags on a ridge top and named it for a fellow fighter killed early on, Juan “Doc” Restrepo. The footage was shot over 14 months in 2007 and 2008 and the resulting film earned an Oscar nomination for best feature-length documentary. A moving, engaging, and at times troubling film, Restrepo succeeded in bringing the war home — not just its combat, but the grinding and difficult existence these men experienced at this isolated outpost. It was exactly what those of us at home, so loose with our platitudes about supporting the troops, so ignorant of what they were actually facing, needed to see. Hetherington and Junger had talked about putting together another film from the extensive footage that

Mountain men: U.S. soldiers in Korengal Valley

PASATIEMPO I July 11-17, 2014

was left out of Restrepo. When Hetherington was killed in 2011 covering the uprising in Libya, Junger dedicated himself to putting it together (about the same time, Junger also assembled a documentary, Which Way Is the Front Line From Here: The Life and Times of Tim Hetherington, which was shown on HBO in 2013). Named for the valley where it was filmed, Korengal, is less a sequel than a collection of outtakes that further develop the ideas hovering behind the story of Restrepo. While themes of survival and camaraderie addressed in the first film are explored here, the film pokes into the minds of the men and how they cope with what sometimes seem impossible circumstances. Now with some 10,000 American troops slated to stay until the end of 2016, the film gives us a needed reminder of the specific difficulties and sacrifices made by individuals who’ve been largely invisible during America’s longest war. As in Restrepo, the new film portrays the overwhelming isolation of the Americans dug in on the mountainside. The outside world surfaces in radio static and the occasional helicopter visit. The men are seen hiking to nearby villages, visiting with tribal elders, and handing out gifts. To keep from being easy targets, they choose the most difficult routes over rocks and up steep draws to return to the outpost. They’re most uneasy at night when nature calls and they must travel a short distance away from the post to visit the tubes that serve as toilets. They wait out rumors that they will be attacked from the north. But they also discuss, sometimes in studio interviews, their views of responsibility to their fellow soldiers and the true meaning of bravery. These things, indirectly addressed in Restrepo, make Korengal a somewhat different take on what it means to be in combat. Bravery, to paraphrase one soldier, is when someone goes out of their way, despite the risk of being killed, to protect a buddy. “We didn’t talk about that word much,” says one soldier, “because it’s what everybody was doing.” The soldiers don’t claim to do what they

do out of patriotism or national pride, as another soldier explains. They’re doing it for “the guys on our right and our left.” Despite the dedication to one another, the soldiers also have their problems. “Imagine living two feet away from somebody for months at a time. Eventually, they get pretty annoying,” says one. We’re shown a shirtless soldier wandering around camp during downtime, harassing his comrades and fidgeting against a wall in an attempt to get a grip. Boredom as well as the Taliban (always referred to as the “bad guys’’) fight against them as well. To defeat it, the men hold discussions over who would win in a boxing match: George Clooney or Fabio. Time is passed throwing stones and wrestling. Help arrives in the form of a generator that gives the men enough juice to play Guitar Hero and other video games. “You want to fight so bad just to pass the time,” says one man. Fighting and the adrenaline that comes with it become addictive. Combat holds a certain exhilaration, and Hetherington’s hand-held camera footage during such times — reeling, bouncing, and sometimes focused only on the ground at his feet — captures these feelings. Soldiers are heard to yell and cheer like sports fans as battles rage. Asked what he misses when on leave, one soldier says killing people. Between the fighting and the downtime boredom is the intense tension that follows the men while on patrol or when expecting an attack. After seeing fellow soldiers maimed or killed, the question among the survivors is who will be next. It doesn’t take much reading between the lines to see the problems these men will face once back home, and in that Junger and Hetherington have provided us with the means to understand what our often-trumpeted commitment to the troops will entail in terms of both physical and psychological care. Korengal may not be the revelation that Restrepo was. But it’s a relevant and timely reminder that this war, now winding down, put troops through a complex and, to those of us at home, an unimaginable kind of hell. ◀

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MOVING IMAGES film reviews In the dark Michael Abatemarco I The New Mexican Life Itself, documentary, rated R, Center for Contemporary Arts, 4 chiles It seems touching that veteran documentary filmmaker Steve James should direct a movie based on Roger Ebert’s life. Ebert, after all, championed James’ first feature film,1994’s Hoop Dreams, writing a rave review and, later, adding it to his Great Movies list. In Life Itself James takes us on an intimate and revealing journey into Ebert’s past, his rise to become the most recognized film critic working in America, and the long battle with cancer that eventually ended his life. Ebert was a participant in the making of the film (he died while it was still in production), which makes Life Itself more interesting. James makes no attempt to paint Ebert as a saint — this is no vanity project. It is a well-rounded portrait of an intelligent, thoughtful critic who could be stubborn and irascible at times, had a penchant for large-breasted women, and liked to drink. Ebert, sober since 1979, was a member of Alcoholics Anonymous and broke his anonymity in a blog post in 2009. Life Itself draws heavily on the critic’s autobiography of the same name, detailing his early years as a journalist for the University of Illinois’ student-run Daily Illini, his brief stint as screenwriter for Russ Meyer’s titillating exploitation flick Beyond the Valley of the Dolls, and his long career as lead film critic for the Chicago Sun-Times, a position he held until his death in 2013. It’s clear that his final years were fraught with difficulties. James films him during long hospital stays,

Roger Ebert with his wife, Chaz

PASATIEMPO I July 11-17, 2014

Focal point: Roger Ebert

along with stoic wife, Chaz, a former trial attorney who now runs Ebert Productions, is publisher of Ebert Digital, and continues to organize the annual Ebertfest film festival in Champaign, Illinois. Ebert was diagnosed with thyroid cancer in 2002 and jaw cancer in 2006. After a seemingly successful operation on his jaw that year, his carotid artery burst as he was preparing to go home from the hospital. He nearly died. In the end, his lower jaw was removed entirely and he was left without the ability to eat, drink, or speak, fed by a feeding tube for the last few years of his life. But on camera, Ebert seems happy despite his medical issues. Entries on his popular blog, like his movie reviews, became prolific. He let his fingers do all the talking. Gene Siskel, Ebert’s longtime collaborator on the syndicated television shows Sneak Previews and Siskel and Ebert at the Movies, underwent his own battle with cancer when diagnosed with a brain tumor in the late 1990s. Siskel kept his medical condition a secret from his friend. Although hurt by this, Ebert planned to visit Siskel in his final days but never got the chance. Siskel died in 1999, just days before Ebert’s visit. Those who miss the legendary banter that made their film critiques engaging to watch will find the behindthe-scenes footage from their shows satisfying and revealing. From the beginning, the pairing was an odd match. In their respective careers they were professional enemies. Siskel wrote reviews for the Chicago Tribune, the Sun Times’ biggest rival. On and off the set they needled and ribbed each other incessantly, engaging in a contentious game of one-upmanship. For viewers, the dynamic worked, and there are instances in James’ documentary where Siskel and Ebert are on the verge of smiling while cracking wise at the other’s expense. They had a shtick and they knew it. The shows were broadcast nationwide, and the memorable “thumbs up” the pair reserved for positive reviews became their trademark. Initially, Los Angeles and New York didn’t pick up Sneak Previews. Who were these two men from Chicago, and what qualified them to tell us about film? They had no connection to the Hollywood scene and New York

already had Pauline Kael, a prominent reviewer for The New Yorker. But Ebert had mass appeal, plus the advantage of being a regular TV personality. He covered the Cannes Film Festival in depth each year, as well as other film festivals, eventually starting one of his own. He engaged with students on college campuses by doing shot-by-shot analyses of Vertigo and other films, revealing details ardent movie buffs and casual moviegoers might otherwise miss. “We’d find it even if it wasn’t there,” he jokes at one point. Interspersed with the life story are numerous testimonials from filmmakers and critics who discuss the extent of Ebert’s influence. Martin Scorsese, a close friend, recounts a moving story about his battle with drug addiction, a problem that almost derailed his career in the 1980s. It was only when Siskel and Ebert invited him to participate in a panel discussing Scorsese’s work that the director realized the extent of his own influence. It was a life-changing experience that set him back on track to become one of the nation’s top directors. We also hear from filmmakers Werner Herzog, Errol Morris, and Ramin Bahrani, all of whom benefited from Ebert’s positive reviews. But the critic spared no punches if a film missed the mark, giving negative reviews to films by directors he usually liked, if they deserved it, as he did with Scorsese’s The Color of Money (1986). Some seemed to take his more acerbic zingers in stride, seeing a negative review from Ebert as an indication to try harder next time. Ebert loved films in every genre, writing eloquently about popular cinema and supporting more obscure efforts such as 1978’s Gates of Heaven, a documentary about a pet cemetery in California and one of Ebert’s personal favorites. Life Itself is a profoundly moving tear-jerker of a documentary that does the job of depicting its subject about as well as can be expected. Ebert always maintained that it wasn’t what a movie was about as much as how it was about it. That’s what made a film good or bad. One wonders what Siskel and Ebert would have thought of Life Itself: I, for one, think they would give it two thumbs way up. ◀

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Incidental politics Laurel Gladden I For The New Mexican Obvious Child, indie rom-com, rated R, The Screen, 3 chiles By day, 20-something Donna Stern (Jenny Slate, the voice behind the popular “Marcel the Shell With Shoes On” YouTube video) works at the Unoppressive Non-Imperialist bookstore in Brooklyn. By night, she’s an aspiring comedienne who performs raunchy confessional-style stand-up at a local club. Her mother (Polly Draper), a business-school professor, nags her about her college loans and lack of professional ambition. She makes spreadsheets of Donna’s debts and job opportunities and complains, “You waste that 780 verbal [SAT score] telling jokes about having diarrhea in your pants.” To add insult to injury, one night after her routine, Donna’s boyfriend breaks up with her in the club’s unisex bathroom, and the next morning she finds out she’s going to lose her job. So she does what many of us might do — goes out with a friend and drowns her sorrows in bourbon and Coke. That inevitably leads to a drunken one-night stand with a nice guy named Max (Jake Lacy), a boat-shoe-wearing MBA candidate from a small town in Vermont. A few weeks later, Donna realizes she’s pregnant and decides to get an abortion. The timing of this film’s release seems remarkably apt, in the wake of the recent Supreme Court rulings. And while the idea of a romantic comedy whose plot hinges on an abortion certainly sounds divisive, anyone expecting this film to incite a partisan battle might want to hold their fire. Rather than using the film as a political soapbox, director Gillian Robespierre presents a provocative issue as something ultimately human — a common, unfortunate fact of life for many women — and she finds humor in it. Obvious Child isn’t really about abortion — it’s about Donna. If this film angers anyone, it won’t be because it isn’t funny or endearing. Donna is a little like Sarah Silverman Lite: she cracks jokes about bodily functions and sex, but she doesn’t have a full-blown potty mouth. (Still, if a frank discussion about a woman’s day-old underwear isn’t your cup of tea, stay home.) Donna’s requisite gay BFF Joey (Gabe Liedman) adds some biting humor with lines like, “I like my men like I like my coffee: weak and bitter.” The film is short and sketchily developed, but everything about it feels believable and real. Robespierre does inject some politics here and there. Over dinner, Donna’s roommate Nellie (Gaby Hoffmann, warm and levelheaded) complains about our “patriarchal society where some weird old white dudes in robes get to legislate our [xxxxx].” Mostly, though, she presents a vivid, realistic picture of Donna’s rather typically messy young-person’s life without judging, lecturing, or imposing some sort of moral or life lesson. After all, American audiences sit through countless assaults, rapes, and murders in movies and on TV on a regular basis. Isn’t it time for us to allow a filmmaker to present the story of a reasonable woman having to make a crummy life decision, politically contentious though it may be? ◀

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MOVING IMAGES pasa pics

— compiled by Robert B. Ker

soldiers and circumstances from the original film to Junger’s new doc. More than a sequel, Korengal lets the men more deeply explore notions of bravery, responsibility, and the adrenaline of combat,while it records firefights and downtime between patrols. Along with Restrepo, Korengal is a valuable document of combat conditions that went mostly unnoticed at home. Not rated. 93 minutes. Regal DeVargas, Santa Fe. (Bill Kohlhaase) See review, Page 56.

Big-city brats: Romain Duris and Audrey Tautou in Chinese Puzzle at the Center for Contemporary Arts in Santa Fe

opening this week CHINESE PUZZLE French filmmaker Cédric Klapisch concludes his informal “Xavier trilogy,” which began with 2002’s L’Auberge Espagnole and continued with 2005’s Russian Dolls. Those films are fairly trifling, and you don’t need to see them to get this one: the story tells the fairly insufferable journey of a white, middle-class writer named Xavier (the ever-likable Romain Duris), through the seemingly endless parade of beautiful women in his life, and concluding here in a New York City that never feels real. Xavier’s vaguely existential dilemmas stem from a place of deep narcissism and privilege, which would be forgivable if the film were funny (see every Woody Allen movie). Alas, as filmmakers go, Klapisch isn’t in the same ballpark as Allen. Rated R. 117 minutes. In French with subtitles. Center for Contemporary Arts, Santa Fe. (Robert Ker) DAWN OF THE PLANET OF THE APES The sequel to 2011’s terrific (if very similarly titled) Rise of the Planet of the Apes swings into theaters, thumping its chest and ready to go bananas on our box office. The chimpanzee Caesar (played once more by Andy Serkis with a lot of cool CGI) gathers his ape army to 62

PASATIEMPO I July 11-17, 2014

take out whatever humans survived a massive plague (Jason Clarke, Gary Oldman, and Keri Russell chief among them). Rated PG-13. 130 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) FILTH James McAvoy gives a searing performance as Bruce an abusive, misanthropic Scottish police sergeant investigating a death. He is addicted to drugs, alcohol, and rough sex and haunted by the memory of a child whose life he couldn’t save. Bruce takes his anger out on the world around him. Not 10 minutes in, and he is molesting a 16 year-old girl. He plays mean-spirited practical jokes on colleagues and threatens and cajoles witnesses. Moments of jarring comedy and an ill-timed song-and-dance number make you question exactly what Filth is aiming to achieve. A plot twist fans of Fight Club might appreciate ushers in a powerful and compelling third act, but the filmmakers can’t resist one final, ill-advised joke in the form of an animated sequence before the credits roll. This is a dark film with cynicism at its heart. Rated R. 97 minutes. Jean Cocteau Cinema, Santa Fe. (Michael Abatemarco) KORENGAL Outtakes from Sebastian Junger and the late Tim Hetherington’s 2010, Oscar-nominated documentary, Restrepo, about a remote U.S. outpost in the mountains of Afghanistan, bring together many of the same

LIFE ITSELF Helmed by Hoop Dreams director Steve James, Life Itself is as moving and revealing a documentary you could expect to see about film critic Roger Ebert. Drawing heavily from Ebert’s autobiography, James paints a complete portrait of the man, detailing his early years in journalism, his contentious relationship with former rival, then partner, Gene Siskel, and his influence on cinema. Ebert emerges as something of a man of the people, even if, sometimes, he was difficult to get along with. Testimonials from friends, family, and a host of admirers including newspaper colleagues, fellow film critics, and directors reveal that his position at the top of a long list of critics was well-deserved. The film goes back and forth from the distant past to Ebert’s final years when a long battle with cancer left him without the ability speak but, fortunately for us, not without the ability to write. Bring tissues. Rated R. 115 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) See review, Page 58. OBVIOUS CHILD Aspiring 20-something comedienne Donna (Jenny Slate) works at the Unoppressive Non-Imperialist bookstore and performs raunchy confessional-style stand-up at a local club. After her boyfriend dumps her and she finds out she’s going to lose her job, she drowns her sorrows in booze and has a drunken one-night stand. A few weeks later, she realizes she’s pregnant and decides to get an abortion. While the idea of a romantic comedy whose plot hinges on that political hot-button issue certainly sounds divisive, anyone expecting this film to incite a partisan battle might want to hold their fire. Rather than using her film as a soapbox, director Gillian Robespierre presents the contentious issue as something ultimately human — a common, unfortunate fact of life for many women — and she finds humor in it. Obvious Child isn’t about abortion — it’s about Donna. Rated R, 84 minutes. The Screen, Santa Fe. (Laurel Gladden) See review, Page 61. PERFORMANCE AT THE SCREEN The series of high-definition screenings of performances from afar continues with a showing of Rudolf Nureyev and Margot Fonteyn’s 1966 performance of Swan Lake

from the Vienna State Opera House, restored in HD from the original film reels. 11 a.m. Sunday, July 13, only. Not rated. 107 minutes. The Screen, Santa Fe. (Not reviewed) TEST Frankie (Scott Marlowe) is a young dancer in 1985 San Francisco. He’s working hard to make it as an understudy and finds himself falling for a veteran dancer in the company (Matthew Risch). As the two men attempt to grow their relationship, their efforts are made complicated by Frankie’s suspicions that he has HIV. Not rated. 89 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) THIRD PERSON Writer and director Paul Haggis, who won the Oscar for his screenplay for 2005’s Crash, returns with another film that balances numerous actors and storylines. This time, the theme is love and the interlocking tales take place in New York City, Rome, and Paris. The cast includes Maria Bello, Mila Kunis, Kim Basinger, Adrien Brody, James Franco, and Liam Neeson. Rated R. 137 minutes. Regal DeVargas, Santa Fe. (Not reviewed)

now in theaters AMERICA Right-wing pundit and filmmaker Dinesh D’Souza (2016: Obama’s America) returns with a documentary that aims to prove that liberals are America-loathing traitors and to show us what the world would look like if the U.S. didn’t exist. Historical reenactments of various hypothetical situations are included. Rated PG-13. 95 minutes. Regal DeVargas, Santa Fe. (Not reviewed) BEGIN AGAIN John Carney, director of 2006’s Once, returns with another music-themed romantic comedy. Mark Ruffalo plays a former record-label executive who comes across a beautiful young singer (Keira Knightley) and suggests they make sweet music — and, inevitably, magic — together. Singers and rappers such as Adam Levine, Mos Def, and Cee Lo Green help fill out the cast. Rated R. 104 minutes. Regal DeVargas, Santa Fe. (Not reviewed) CHEF This movie is the latest offering from writer-director Jon Favreau (Elf). Favreau plays Carl Casper, an L.A. chef with a successful restaurant and a failed marriage. Carl gets into a war of words with a critic (Oliver Platt); loses his job; and with the help of his ex-wife (Sofia Vergara), her ex (Robert Downey Jr.), and an amiable line cook ( John Leguizamo) heads to Miami with his son (Emjay Anthony), hoping to start over. Chef is part “food porn,” part tale of self-discovery,

part father-son bonding story, and part road-trip movie — with nary a conflict or villain in sight. It will remind you to appreciate the simple things in life, and you may never make a grilled cheese sandwich the same way again. Rated R. 114 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) DELIVER US FROM EVIL Eric Bana plays a New York City police officer who investigates a series of demonic possessions around town. Since the Ghostbusters are never around when you need them, he enlists the help of a priest (Édgar Ramírez) to help get his exorcise regimen on. Rated R. 118 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) EARTH TO ECHO This family-oriented sci-fi film evokes a low-budget, early-career Steven Spielberg, right down to the gangs of bicycle-riding youngsters and wonder-filled shots of special effects in suburbia. The plot may also sound familiar: the kids involved find an E.T. named Echo (a little robot-looking thing), and help it phone home. Rated PG. 91 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) EDGE OF TOMORROW It’s Groundhog Day meets a sci-fi D-Day in this flick, in which a soldier (Tom Cruise) repeatedly relives the same day — on which the Earth loses a major battle against hordes of invading aliens — until he develops the skills necessary to change the outcome. The action is strong, but the effects, particularly of the aliens, seem overcooked. Cruise handles the gravity and levity, and a tough-as-nails Emily Blunt proves her action-movie mettle. It’s hard to frown on an original sci-fi concept during a summer full of superheroes and adaptations, but with flaws in the first and third acts, Edge of Tomorrow doesn’t quite succeed. Rated PG-13. 113 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) THE FAULT IN OUR STARS Teenage romance films often involve a girl wearing a prom dress and a boy wearing a sweet pair of shades. This one is much different: the girl (Shailene Woodley) wears an oxygen tank and the boy (Ansel Elgort) a prosthetic leg; she is dying, and they meet in a cancer-support group. This film is based on a beloved book that readers insist isn’t as depressing as it sounds. Rated PG-13. 125 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) GORE VIDAL: THE UNITED STATES OF AMNESIA There’s a bit of hagiography at work in Nicholas Wrathall’s documentary about Gore Vidal, but its subject stands up to the treatment. Born to privilege and one of

Dawn of the Planet of the Apes

the towering literary figures and social critics of the 20th century, Vidal comes across as sometimes bitter, often contemptuous, brilliantly witty, and generally cynical about America’s power structure — yet with a burning, unquenchable idealism when it comes to social justice. The film gives us highlights of the life of this remarkable, controversial, supremely articulate, and never boring American literary lion, and Wrathall leaves us wanting more. Not rated. 83 minutes. Center for Contemporary Arts, Santa Fe. (Jonathan Richards) THE GRAND BUDAPEST HOTEL It is truly a joy to witness the work of Wes Anderson, who devotes such attention to his creative vision that he crafts his own singular world. Here, he tells a tale of an Eastern European hotel manager (Ralph Fiennes) who is willed a priceless painting by a former lover (Tilda Swinton). This angers a relative (Adrien Brody), who feels he should be the true heir. Anderson adds suspense worthy of Hitchcock or Carol Reed to his impeccably designed “dollhouse” aesthetic. Willem Dafoe, Jeff Goldblum, Edward Norton, Jude Law, and Harvey Keitel co-star. Rated R. 100 minutes. Regal DeVargas, Santa Fe. (Robert Ker) continued on Page 64

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HOW TO TRAIN YOUR DRAGON 2 In this sequel to the much-loved 2010 animated adventure, Hiccup (voiced by Jay Baruchel) and Toothless — his wonderful, expressive, doglike dragon — return to explore the vast horizons of their Viking kingdom. They come into trouble in the form of would-be world-conqueror Drago (Djimon Hounsou), which leads to enough action to bloat the running time. The animation is spectacular, however, and Cate Blanchett (as Hiccup’s mother) helps flesh out one of the strongest female characters in a nonFrozen animated film in years. Rated PG. 102 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) JERSEY BOYS Music is in the heart of the beholder. If you were a Four Seasons fan, you’ll find plenty to like in this greatest-hits album packaged with a disappointingly routine hand by director Clint Eastwood into a biopic by way of a mob movie wrapped up in a rags-to-riches tale. John Lloyd Young is a stretch as 16-year-old innocent Frankie Valli in the beginning, but as the character ages he catches up. He does a good job reprising his Tonywinning performance from the Broadway hit, and he does sound uncannily like Valli. Christopher Walken adds his usual leavening presence to an otherwise fairly anonymous but energetic cast. Rated R. 134 minutes. Regal Stadium 14, Santa Fe. (Jonathan Richards) LE CHEF Although it shouldn’t be confused with Jon Favreau’s recent cream puff of a similar name, this silly French comedy is equally light and predictable — just not as enjoyable. Clownish wannabe chef Jacky (Michaël Youn) has a pregnant girlfriend, but he can’t keep a job — he berates diners for their orders and corrects their wine selections. Meanwhile, veteran celebrity chef Alexandre (Jean Reno) has prioritized his career over his family. He’s under pressure from his boss, who prefers molecular gastronomy to classic cooking and wants Alexandre to use cheaper ingredients. Jacky and Alexandre form an unlikely alliance, and the result is a classic goofy farce from the Jerry Lewis and Peter Sellers school of sometimes-cringe-inducing comedy. Rated PG-13, 84 minutes. In French with subtitles. Jean Cocteau Cinema, Santa Fe. (Laurel Gladden)

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PASATIEMPO I July 11-17, 2014

MALEFICENT In Disney’s latest take on “Sleeping Beauty,” Angelina Jolie dresses up as the villainous Maleficent from the 1959 animated film to show us what makes the evil queen tick. It turns out she has been misunderstood all these years. Rated PG. 97 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

— which counts for a lot. Fans and critics of the series will both get exactly what they’re looking for, but everyone may agree that it could easily lose 20 minutes from the explosions and the daddy-daughter story. Rated PG-13. 157 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Robert Ker)

ON MY WAY There are worse ways to spend a couple of hours than in the company of Catherine Deneuve. Having said that, there are probably few worse ways to spend a couple of hours in the company of the grande dame of French cinema than in Emmanuelle Bercot’s third feature, an aimless meander through the French countryside in search of a story. What begins as a desperate errand to buy cigarettes turns into a road trip, which eventually becomes a buddy picture of the grandparent-and-grandchild-who-start-out-pricklybut-come-to-love-each-other genre. Deneuve remains eminently watchable throughout, but there is seldom a moment when you are convinced that there was a reason, apart from her, to make this film. Not rated. 116 minutes. The Screen, Santa Fe. In French with subtitles. ( Jonathan Richards)

22 JUMP STREET You know it’s summer at the cinema when you get a sequel to an adaptation of a TV show. But this has a lot going for it: 2012’s 21 Jump Street was an underrated comedy, and filmmakers Phil Lord and Christopher Miller are fresh off the success of The Lego Movie. Jonah Hill and Channing Tatum return as the undercover-cop odd couple, who have moved on from pretending to be high-school students to trying to blend in with the college crowd. Rated R. 112 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

SNOWPIERCER Chris Evans (Captain America in those Marvel films) plays a dude in a future world, where global warming has wiped out mankind and the few remaining survivors choo-choo Earth aboard a train. A class system evolves with the rich people (led by Tilda Swinton) up front and the poor people out back, until the downtrodden start talking about a revolution. Joon-ho Bong (The Host) directs. Rated R. 126 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) TAMMY Melissa McCarthy has established herself as the current queen of comedy with smash hits like Bridesmaids and The Heat. Her latest is this dark comedy about a woman who loses her job, learns of her husband’s infidelity, and takes to crime with her rough-and-tumble grandma. Susan Sarandon co-stars. Rated R. 96 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) TRANSFORMERS: AGE OF EXTINCTION The latest installment in Michael Bay’s highly popular yet critically reviled series stars a welcome Mark Wahlberg as a Texas dad who gets wrapped up in a war between giant, transforming robots. These films are based on toys, and Bay plays with them like an 8-year-old might, applying a nonsensical plot to get from one over-the-top action sequence to the next. The movie is loud, dumb, exploitative of both female and male bodies, often unfunny, and distractingly jingoistic, but it’s also more stylish than the typical superhero film and more colorful than the usual sci-fi movie

VIOLETTE For the first two hours or so of this absorbing examination of the life and career of Violette Leduc, the mood is as dark and grim as the leaden skies of a Parisian winter. Leduc (Emmanuelle Devos, Just a Sigh) was a 20th-century French feminist author who wrote with savage self-examination and broke new ground for what women could say, though she remained largely in the shadow of more famous colleagues like Sartre and de Beauvoir. As played with ferocious energy by Devos, she is a raging, whining, neurotic, needy bundle of insecurities and selfloathing. But, as her mentor de Beauvoir (Sandrine Kiberlain) observes, she finds her salvation through literature. Not rated. 132 minutes. Jean Cocteau Cinema, Santa Fe. (Jonathan Richards)

other screenings Center for Contemporary Arts, 505-982-1338 The Auteurs series presents The Searchers (1956). Jean Cocteau Cinema, 505-466-5528 Adventures of Buckaroo Banzai Across the 8th Dimension (1984); The Man Who Shot Liberty Valance (1962); Moulin Rouge: Royal Winnipeg Ballet; Stagecoach (1939). Regal Stadium 14, 505-424-6296 Planes: Fire & Rescue in 2-D & 3-D; Pretty Woman (1990); The Purge: Anarchy; Sex Tape. The Screen, 505-473-6494 The Nance. ◀

WHAT’S SHOWING

T H I S I S W H aT Wa R F E E L S L I K E

“Sebastian Junger ’s

korengal is, simply put, a masterpiece.”

Call theaters or check websites to confirm screening times. CCA CINEMATHEQUE AND SCREENING ROOM

Maleficent (PG) Fri. to Wed. 11:50 a.m., 2:35 p.m.,

5:05 p.m., 7:35 p.m., 10:10 p.m.

1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org Chinese Puzzle (R) Fri. to Thurs. 3 p.m.

Planes: Fire & Rescue (PG) Thurs. 7 p.m., 9:15 p.m. Planes: Fire & Rescue 3D (PG)

Gore Vidal:The United States of Amnesia (NR)

Pretty Woman (R) Sun. 2 p.m. Wed. 2 p.m., 7 p.m.

Fri. to Thurs. 1 p.m. Ida (PG-13) Sat. and Sun. 11:15 a.m. Life Itself (R) Fri. to Thurs. 1:30 p.m., 5:30 p.m. The Searchers (PG) Sat. and Sun. 11 a.m. Mon. 5:30 p.m. Snowpiercer (R) Fri. to Sun. 4 p.m., 6:30 p.m., 8:15 p.m., 9 p.m. Mon. 8:15 p.m., 9 p.m.Tue. to Thurs. 4 p.m., 6:30 p.m., 8:15 p.m., 9 p.m. JEAN COCTEAU CINEMA

418 Montezuma Avenue, 505-466-5528 Adventures of Buckaroo Banzai Across the 8th Dimension (PG) Fri. and Sat. 11 p.m. Filth (R) Fri. and Sat. 8:30 p.m.

Tue. to Thurs. 8:30 p.m.

Le Chef (PG-13) Fri. 2 p.m. Thurs. 4:15 p.m. The Man Who Shot Liberty Valance (NR)

Sun. 1:30 p.m. Thurs. 1:30 p.m.

Moulin Rouge : Royal Winnipeg Ballet

Sun. 4 p.m. Mon. 7 p.m. Stagecoach (NR) Sat. 2 p.m. Wed. 2 p.m. Test (NR) Fri. and Sat. 6:45 p.m. Sun. 7 p.m. Tue. to Thurs. 6:45 p.m. Violette (NR) Sat. 4 p.m. Wed. 4 p.m. REGAL DEVARGAS

562 N. Guadalupe St., 505-988-2775, www.fandango.com America: Imagine the World Without Her (PG-13) Fri. and Sat. 1 p.m., 4:10 p.m., 7:20 p.m., 9:45 p.m. Sun. to Thurs. 1 p.m., 4:10 p.m., 7:20 p.m. Begin Again (R) Fri. and Sat. 1:30 p.m., 4:40 p.m., 7:30 p.m., 9:55 p.m. Sun. to Thurs. 1:30 p.m., 4:40 p.m., 7:30 p.m. Chef (R) Fri. and Sat. 1:15 p.m., 4 p.m., 7:10 p.m., 9:45 p.m. Sun. to Thurs. 1:15 p.m., 4 p.m., 7:10 p.m. The Grand Budapest Hotel (R) Fri. and Sat. 1:40 p.m., 4:20 p.m., 7:40 p.m., 10 p.m. Sun. to Thurs. 1:40 p.m., 4:20 p.m., 7:40 p.m. Korengal (R) Fri. and Sat. 1:50 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. to Thurs. 1:50 p.m., 4:30 p.m., 7 p.m. Third Person (R) Fri. and Sat. 12:50 p.m., 3:50 p.m., 6:50 p.m., 9:50 p.m. Sun. to Thurs. 12:50 p.m., 3:50 p.m., 6:50 p.m. REGAL STADIUM 14

3474 Zafarano Drive, 505-424-6296, www.fandango.com 22 Jump Street (R) Fri. to Wed. 11:45 a.m., 2:20 p.m., 4:50 p.m., 7:45 p.m., 10:20 p.m. Dawn of the Planet of the Apes (PG-13) Fri. to Wed. 12:40 p.m., 1:10 p.m., 3:15 p.m., 4:20 p.m., 7:30 p.m., 9:40 p.m., 10:10 p.m. Dawn of the Planet of the Apes in 3D (PG-13) Fri. to Mon. 10 a.m., 12:05 p.m., 3:50 p.m., 6:30 p.m., 7 p.m., 10:40 p.m. Tue. and Wed. 12:20 p.m., 3:50 p.m., 6:30 p.m., 7 p.m., 10:40 p.m. Deliver Us From Evil (R) Fri. to Wed. 10:30 a.m., 1:45 p.m., 4:45 p.m., 7:40 p.m., 10:35 p.m. Earth to Echo (PG) Fri. to Wed. 11:35 a.m., 2:05 p.m., 4:40 p.m., 7:15 p.m., 9:45 p.m. Edge of Tomorrow (PG-13) Fri. to Wed. 10:15 a.m., 1:05 p.m., 7:10 p.m. The Fault in Our Stars (PG-13) Fri. to Wed. 4:05 p.m., 10 p.m. How to Train Your Dragon 2 (PG) Fri.to Sun. 10:05 a.m.,11 a.m.,1:30 p.m., 4 p.m.,7:15 p.m., 9:45 p.m. 1:30 p.m., 4 p.m.,7:15 p.m., 9:35 p.m. Tue. andWed. 11 a.m.,1:30 p.m.,4 p.m., 7:15 p.m., 9:35 p.m. Jersey Boys (R) Fri. to Wed. 10 a.m., 1 p.m., 4:25 p.m., 7:25 p.m., 10:30 p.m.

–OAF Nation

q&a w/ a veteran from

Thurs. 9 p.m., 10 p.m.

The Purge:Anarchy (R) Thurs. 8 p.m., 10:35 p.m. SexTape (R) Thurs. 7:15 p.m., 9:50 p.m. Tammy (R) Fri. and Sat. 11:15 a.m., 11:45 a.m., 1:40 p.m., 2:20 p.m., 4:10 p.m., 5 p.m., 7:10 p.m., 7:40 p.m., 9:45 p.m., 10:15 p.m. Sun. 11:15 a.m., 11:45 a.m., 2:20 p.m., 4:45 p.m., 5 p.m., 7:10 p.m., 7:40 p.m., 9:45 p.m., 10:15 p.m. Mon. 11:15 a.m., 11:45 a.m., 1:40 p.m., 2:20 p.m., 4:10 p.m., 5 p.m., 7:10 p.m., 7:40 p.m., 9:45 p.m., 10:15 p.m. Tue. 11:15 a.m., 1:40 p.m., 2:20 p.m., 4:10 p.m., 5 p.m., 7:10 p.m., 7:40 p.m., 9:45 p.m., 10:15 p.m. Wed. 11:45 a.m., 1:40 p.m., 4:10 p.m., 4:40 p.m., 7:10 p.m., 9:45 p.m., 10:15 p.m. Transformers:Age of Extinction (PG-13) Fri. to Wed. 12 p.m., 3:30 p.m., 7:05 p.m., 10:40 p.m. Transformers:Age of Extinction 3D (PG-13) Fri. to Wed. 11:30 a.m., 3 p.m., 6:40 p.m., 10:10 p.m.

From the AcAdemy AwArd ® nominAted director oF RestRepo BeSt docUmentAry FeAtUre

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DEVARGAS 6 562 N Guadalupe St • (505) 988-1110 DAILY: 1:50, 4:30 & 7:00PM • ADD’L FRI/SAT: 9:30PM

THE SCREEN

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com The Nance (NR) Thurs. 7 p.m. Obvious Child (R) Fri. to Wed. 2:10 p.m., 4 p.m., 5:50 p.m., 7:45 p.m. Thurs. 2:10 p.m., 4 p.m. On My Way (NR) Fri. and Sat. 12 p.m. Mon. to Thurs. 12 p.m. Swan Lake (NR) Sun. 11 a.m.

Mon-Sat 10-6, Sun 11-5 133 Romero St, 988-3709

In the Railyard behind REI

www.arkbooks.com

MITCHELL DREAMCATCHER CINEMA (ESPAÑOLA)

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.storytellertheatres.com 22 Jump Street (R) Fri. 4:50 p.m., 7:25 p.m., 9:50 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:25 p.m., 9:50 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 p.m., 7:25 p.m. Dawn of the Planet of the Apes (PG-13) Fri. 4:25 p.m., 7:10 p.m., 9:55 p.m. Sat. 1:45 p.m., 4:25 p.m., 7:10 p.m., 9:55 p.m. Sun. 1:45 p.m., 4:25 p.m., 7:10 p.m. Mon. to Thurs. 4:25 p.m., 7:10 p.m. Dawn of the Planet of the Apes in 3D (PG-13) Fri. 4:25 p.m., 7:10 p.m., 9:55 p.m. Sat. 1:45 p.m., 4:25 p.m., 7:10 p.m., 9:55 p.m. Sun. 1:45 p.m., 4:25 p.m., 7:10 p.m. Mon. to Thurs. 4:25 p.m., 7:10 p.m. Deliver Us From Evil (R) Fri. 4:45 p.m., 7:20 p.m., 9:50 p.m. Sat. 2:10 p.m., 4:45 p.m., 7:20 p.m., 9:50 p.m. Sun. 2:10 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs. 4:45 p.m., 7:20 p.m. Earth to Echo (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. How to Train Your Dragon 2 (PG) Fri. 4:35 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m. Mon. to Thurs. 4:35 p.m., 7:05 p.m. Maleficent (PG) Fri. 4:40 p.m., 7:15 p.m., 9:45 p.m. Sat. 2:05 p.m., 4:40 p.m., 7:15 p.m., 9:45 p.m. Sun. 2:05 p.m., 4:40 p.m., 7:15 p.m. Mon. to Thurs. 4:40 p.m., 7:15 p.m. Tammy (R) Fri. 4:55 p.m., 7:30 p.m., 9:40 p.m. Sat. 2:25 p.m., 4:55 p.m., 7:30 p.m., 9:40 p.m. Sun. 2:25 p.m., 4:55 p.m., 7:30 p.m. Mon. to Thurs. 4:55 p.m., 7:30 p.m. Transformers:Age of Extinction (PG-13) Fri. 4:15 p.m., 6:45 p.m., 9:25 p.m. Sat. 2:15 p.m., 4:15 p.m., 6:45 p.m., 9:25 p.m. Sun. 2:15 p.m., 4:15 p.m., 6:45 p.m. Mon. to Thurs. 4:15 p.m., 6:45 p.m.

Your Jeweler for Generations

Trunk Show—July 11, 12, 13 On the Santa Fe Plaza 505.988.1561 | 505.603.0191 | SantaFeDiva.com PASATIEMPOMAGAZINE.COM

RESTAURANT REVIEW Bill Kohlhaase I The New Mexican

Cooking, with sauces Epazote on the Hillside 86 Old Las Vegas Highway, 505-982-9944, www.epazotesantafe.com Lunch only 11:00 a.m. - 2:30 p.m., Thursdays -Tuesdays; closed Wednesdays Vegetarian options Handicapped accessible Noise level: quiet No alcohol Credit cards, no checks

The Short Order Fernando Olea has brought the name of his previous restaurant and his mole recipes to his new location on Old Las Vegas Highway. On the site of a former nursery, the new Epazote on the Hillside is a bright, spacious place that’s something like an atrium filled with curious art and tropical houseplants. Botanas, or small dishes, of raw meats are cooked by diners at their tables on oval stones heated to 600 degrees, then dipped in infused oils. Entrees, prepared in the kitchen, include meats and seafoods accompanied by one of four moles. Not every infused oil or sauce may be to your preference — but, with several to choose from, it’s easy to find something to like. Recommended: pork loin, duck breast, and salmon botana, ensalada de la casa, mole dishes, and avocado ice cream.

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

PASATIEMPO I July 11-17, 2014

Chef Fernando Olea’s former Epazote on Agua Fria was a quaint, crowded place. His new location at the Hillside, on Old Las Vegas Highway, is something else again. The site of a former nursery, the room is big, bright, and soaring. Light pours in through the fiberglass ceiling, held high on steel trusses. A pathway ascends between stone walls right down the middle of the place, leading past potted tropical plants and succulents, paintings, and curious art objects. It’s something of an atrium and gallery of folk art rolled into one. The back wall holds Federico Leon de la Vega’s mural-sized canvas New Mexican Mole, a still life of the fruits, cloves, nuts, seeds, pods, and spices a traditional recipe might include. Olea’s fascination with mole has followed him to the Hillside. There isn’t another place in town that serves so many variations. Four were offered on each of our visits — not always the same, but always including the chef’s dusky, complex signature mole. Paired with seared slices of duck breast, it added a warm, earthy finish to the mellow-flavored fowl. The combination of fat and sauce made for something immensely satisfying. That’s the program at Epazote: meats dipped in sauces or infused oils. When you order the botanas, or small plates, of meat or seafood, you do the cooking yourself on oval rocks heated to 600 degrees. Use the tongs to lay a piece of the pork loin on the stone. There’s an immediate sizzle. Pay attention — the meat cooks quickly. You flip it over after a minute or so. The loin, having lost some of its fat, has become curled, so you use the tongs to push down its edges. Once it’s finished cooking, you roll it up in small flour tortillas with greens, sprouts, and twisted strings of beet, then dip it in a habaneroinfused oil tarted up with tangerine juice. The taste arrives in a pile-on scrum of flavors that takes its time to untangle. Meanwhile, you place another loin slice on the stone, next to where your dining partner has a butterfly shrimp going. It’s something like Japanese yakiniku restaurants or Korean barbecue places, where you grill meats at your table, only Southwestern-style. One meal here started with a complimentary corn truffle served on one of those small tortillas, the truffle dominating the flavor. Then came a wooden tray holding a large, hot rock at its center that was surrounded by slices of salmon and lamb loin. The salmon smelled clean and fresh. It cooked quickly and was good dipped in all four oils: sage-infused, basilinfused, chile-infused, and that sweet habenero-tangerine one. The lamb — we tried to keep it near-rare — was of good quality and went well with the sage oil. The actual act of cooking and dipping was engaging, bringing us in touch with the food and each other as we shared meats, dips, and space on the stone. The oil used in the infusions is robust and a touch pungent with a clean, slightly acid finish. It tends to overpower the herbal flavors, especially the basil and sage.

That same oil is at play in the salad vinaigrettes. A very green-flavored dressing, done with cilantro and herbs, came with the house salad of spinach, mango, bacon, sliced onion, and Cotija cheese; a slightly tart raspberry vinaigrette came on a salad of arugula and other greens, almonds, and red onions. A special salad with slices of tender tongue was all about the meat: beefy and slightly chewy. Entrees, cooked in the kitchen, are of the same, good-quality meats and seafood, attractively presented, often with curls of cabbage, beet, and crispy rice noodles. A pepper-encrusted beef tenderloin, ordered medium rare, was barely pink inside. The chef’s mole made a strange match with one day’s special of perfectly cooked black cod. Small duck tacos, a special, were best without dipping sauces. All of the sauces, including a rich tomatillo, were unique, if not as in tune with our palates as the mole. Dessert at one meal featured delicious, chunky scoops of avocado ice cream topped with either a surprisingly mild beet foam or an amaretto one. For now, Epazote is open only for lunch — word is that the owner is waiting for a liquor license before expanding to evening hours: a shame, since this seems like a great place to gather with a group of friends to share the process of stone-cooking a meal while enjoying pleasantly curious surroundings. What does this space, so bright in daytime, look like at night? ◀

Lunch for two at Epazote on the Hillside: Shrimp botana ........................................................ $ 8.00 Pork loin botana..................................................... $ 8.00 Ensalada de la casa, large ....................................... $ 10.00 Duck breast in mole sauce ..................................... $ 20.00 Pepper-crusted beef tenderloin (6 ounces) ........... $ 24.00 Avocado ice cream with beet and amaretto foam............................................. $ 5.00 Pellegrino ............................................................... $ 6.00 TOTAL.................................................................... $ 81.00 (before tax and tip) Lunch for two, another visit: Salmon botana........................................................ $ 7.00 Lamb loin botana ................................................... $ 2.00 Ensalada de almendras ........................................... $ 6.00 Beef tongue salad.................................................... $ 12.00 Duck tacos.............................................................. $ 12.00 Black cod in mole................................................... $ 20.00 Iced tea (2) ............................................................ $ 5.50 TOTAL.................................................................... $ 74.50 (before tax and tip)

THE CINEMATHEQUE

Proud Sponsors of the CCA Cinematheque

July 11 - July 17

1050 Old Pecos Trail • 505.982.1338 • ccasantafe.org

Santa Fe’s only not-for-profit, community-supported independent theater, showing the best in cinema since 1983 THE ONLY THING ROGER LOVED MORE THAN MOVIES

singulAr & breAthtAking.”

“

-twitch

DEEPLY ENTHRALLING.

“

Documentary master Steve James has put the pieces of Ebert’s life together with extraordinary fascination and vision.” – Owen Gleiberman, ENTERTAINMENT WEEKLY

A REMARKABLY INTIMATE PORTRAIT OF A LIFE WELL LIVED.” “

- Bruce Ingram, CHICAGO SUN-TIMES

“RICHLY SATISFYING. ENGROSSING, UNFLINCHING, MOVING AND COMPREHENSIVE. An astute and sensitive account of a fully realized man and a life overflowing with abundance and achievement.” – Todd McCarthy, HOLLYWOOD REPORTER

HHHH

“

”

– Joshua Rothkopf, TIME OUT NEW YORK

“A

” superb mAsterpiece. -MtV

“Astonishing, epic, incendiArY.” smArt and -Badass diGest “enormouslY

Ambitious

and visuAllY stunning.”

A GREAT ” DOCUMENTARY . – Ty Burr, BOSTON GLOBE “

-Variety

ROMAIN DURIS

KELLY CÉCILE AUDREY TAUTOU DE FRANCE REILLY

“one of

the best sci-fi movies

DEEPLY STIRRING.” – Aaron Hillis, THE VILLAGE VOICE “

in years.” -KotaKu

A NEW COMEDY BY CÉDRIC KLAPISCH The director of L’AUBERGE ESPAGNOLE and RUSSIAN DOLLS

cohenmedia.net

CHRIS

SONG

E VA N S

KANG HO O C TAV I A

SPENCER FROM THE DIRECTOR OF HOOP DREAMS & THE INTERRUPTERS

FESTIVAL DE CANNES

CRITICS PICK!

“ IMMENSELY ENJOYABLE... INVIGORATING’. - ERNEST HARDY, THE VILLAGE VOICE

GORE VIDAL THE UNITED STATES Friday July 11

HURT

JAMIE

BELL

AND

HARRIS

www.thesacredengine.com

St. John’s College presents

“ONE OF THE FINEST EUROPEAN FILMS IN RECENT MEMORY.” -A.O. SCOTT, THE NEW YORK TIMES

“‘IDA’ WOULD BE A MASTERPIECE IN ANY ERA, IN-GODFREY ANY COUNTRY.” CHESHIRE, ROGEREBERT.COM

“★★★★ DEEPLY MOVING.” -TOM HUDDLESTON, TIME OUT NEW YORK

THE AUTEURS: John Ford’s

“NOT-GEORGE TOROBINSON, BE MISSED. ” THE JEWISH WEEK

THE SEARCHERS

“★★★★ ABSOLUTELY PERFECT.” -STEPHEN WHITTY, THE STAR-LEDGER

“TRANSPORTING. ” -JOE NEUMAIER, NEW YORK DAILY NEWS “UNFORGETTABLE. ” -FARRAN SMITH NEHME, NEW YORK POST

OF AMNESIA

1:00p - Gore Vidal: US of Amnesia* 1:30p - Roger Ebert: Life Itself 3:00p - Chinese Puzzle* 4:00p - Snowpiercer 5:30p - Roger Ebert: Life Itself* 6:30p - Snowpiercer 8:15p - Snowpiercer* 9:00p - Snowpiercer

SWINTON JOHN

WITH

/snowpiercerofficial

OFFICIAL SELECTION

CANNES CLASSICS

AND EXECUTIVE PRODUCERS MARTIN SCORSESE & STEVEN ZAILLIAN

TILDA

11:00a Sat-Sun, July 12-13 5:30p Mon, July 14 Saturday-Sunday July 12-13

11:00a - Auteurs: The Searchers

4:00p - Snowpiercer

11:15a - Ida*

5:30p - Roger Ebert: Life Itself*

1:00p - Gore Vidal: US of Amnesia*

6:30p - Snowpiercer

1:30p - Roger Ebert: Life Itself

8:15p - Snowpiercer*

3:00p - Chinese Puzzle*

9:00p - Snowpiercer

Monday July 14 1:45p - Roger Ebert: Life Itself 3:00p - Chinese Puzzle* 5:30p - Auteurs: The Searchers 6:00p - Roger Ebert: Life Itself* 8:15p - Snowpiercer* 9:00p - Snowpiercer

FINAL SHOWS THIS WEEKEND!!! Tues-Thurs July 15-17 1:00p - Gore Vidal: US of Amnesia* 1:30p - Roger Ebert: Life Itself 3:00p - Chinese Puzzle* 4:00p - Snowpiercer 5:30p - Roger Ebert: Life Itself* 6:30p - Snowpiercer 8:15p - Snowpiercer* 9:00p - Snowpiercer

“A TOTAL-DANA MARVEL. ” STEVENS, SLATE

a ﬁlm by

PAWEL PAWLIKOWSKI

COMING SOON to CCA: • AUTEURS: Diary of a Country Priest • Venus in Fur • Yves St. Laurent • Boyhood & more...

PASATIEMPOMAGAZINE.COM

C A L E N D A R

L I S T I N G

G U I D E L I N E S

• To list an event in Pasa Week, send an email or press release to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. • Send material no less than two weeks prior to the desired publication date. • 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

July 11-17, 2014

CALENDAR COMPILED BY PAMELA BEACH

FRIDAY 7/11

TGIF piano recital

First Presbyterian Church of Santa Fe, 208 Grant Ave., 505-982-8544, Ext. 16. Juanita Madland plays music of Mozart, Schubert, and Chopin, 5:30-6 p.m., donations welcome.

Gallery & Museum Openings ART Santa Fe 2014

Santa Fe Community Convention Center, 201 W. Marcy St. Contemporary art fair with international, national, and local exhibitors, 11 am.-6 p.m., $10 in advance and at the door, 505-988-1234, ticketssantafe.org, runs through Sunday. (See story, Page 26)

In Concert American Jem

Back Street Bistro

La Tienda Performance Space, 7 Caliente Rd., Eldorado Dance to the music of acoustic Americana trio, Jay Cawley, Ellie Dendahl, and Michael Umphrey, guitars and vocals, 6 p.m., americanjem.com, $10 at the door.

Bill Hester Fine Art

In the Mood: Artists and musicians in collaboration

513 Camino de los Marquez, 505-982-3500 Vivid Summer, paintings by Janet Bothne, reception 5:30-7:30 p.m., through Sept. 6. 621 Canyon Rd., 505-660-5966 Río Grande Gorge Series, paintings by Margaretta Caesar, reception 5-7 p.m., through July.

Canyon Road Contemporary

Vivo Contemporary, 725 Canyon Rd., 505-982-1320 Meet-and-greet with live music 5-7 p.m. Fridays through Aug. 29, tonight’s performer: Michael Handler, harmonica/guitar, no charge.

Cloud 5 Project

Las Chivas Coffee Gallery shows works by photographer Jack Arnold, Agora Shopping Center, 7 Avenida Vista Grande, Eldorado.

Greer Garson Theatre, SFUA&D, 1600 St. Michael’s Dr. 7 p.m., $36.50, $45 at the door, 505-988-1234, ticketssantafe.org, encore performance.

Patina Gallery

Theater/Dance

403 Canyon Rd., 505-983-0433 The Barn as a Portrait, pastels by Kathy Beekman, reception 5-7 p.m., through Aug. 10. 1805 Second St., 505-577-0360, cloud5project.com Lucent, group show of multimedia works, reception 7-11 p.m., limited hours Fridays-Sundays and by appointment through Aug. 10.

Eggman & Walrus Art Emporium

130 W. Palace Ave., second floor, 505-660-0048 Cracking the Egg, group show, reception 5-9 p.m., through Aug. 10.

Fogelson Library Fine Art Gallery — Santa Fe University of Art & Design

1600 St. Michael's Dr., 505-473-6569 Water Spirits Walking on the Land, paintings, photographs, and an installation by Cate Moses, reception 5-7 p.m., through Aug. 20.

Gallery 901

901 Canyon Rd., 559-304-7264 Grand opening celebration with works by gallery artists, 6-9 p.m.

Krishna Das & The Kirtan Wallah Tour

131 W. Palace Ave., 505-986-3432 Shape Shifter, paintings by David Solomon, reception 5-7:30 p.m., through Aug. 24. (See story, Page 32)

Phil Space

1410 Second St., 505-983-7945 In the Realm of Surrealism, mixed-media work (1969 to 2014) by Dana Newmann, reception 5-8 p.m., through Aug. 8. (See story, Page 34)

Red Dot Gallery

826 Canyon Rd., 505-820-7338 Annual Summer Art Exhibition, group show, reception 4:30-7p.m., through Aug. 14.

Richard Long Fine Art

Marigold Arts

715 Canyon Rd., 505-913-9762 Body Molds: Goose Bumps, Freckles & Veins, sculpture by the gallerist, reception 5-7 p.m., through Aug. 30.

Mark White Fine Art

421 Canyon Rd., 505-988-3444 Seasons of Beauty, figurative paintings by Bryce Cameron Liston, reception 5-7 p.m., through July.

424 Canyon Rd., 505-982-4142 New watercolors by Robert Highsmith, reception 5-7 p.m., through Aug. 28. 414 Canyon Rd., 505-982-2073 Brainstorm, works by painter Javier López Barbosa and sculptor J.D. Hansen, reception 5-8 p.m., through Aug. 25.

New Concept Gallery

610 Canyon Rd., 505-795-7570 Sailing to Byzantium, pigment prints by Roger Arvid Anderson, reception 5-7 p.m., through July 28.

PASATIEMPO I July 11-17, 2014

Sage Creek Gallery

Santa Fe Collective Pop-Up Gallery

101 W. Marcy St. Group show of contemporary works, 11 a.m.-7 p.m. today and Saturday.

Santa Fe Time Bank Gallery

1219 Luisa St., Suite 1 Faces of the Santa Fe Time Bank: Self Portraits, reception 5-7 p.m.

Turner Carroll Gallery

725 Canyon Rd., 505-986-9800. Biomorphed, works by Rex Ray, Shawn Smith, and

Josh Garber, reception 5-7 p.m., through July 27.

Waxlander Gallery

622 Canyon Rd., 505-984-2202

Wild for Color!, paintings by Andrée Hudson,

reception 5-8 p.m., through July 21.

Winterowd Fine Art

701 Canyon Rd., 505-992-8878 Tenth anniversary celebration and group show, reception 5-7 p.m., through July.

Opera Carmen

Santa Fe Opera, 301 Opera Dr., 505-986-5900 In this Stephen Lawless production, Bizets' tragedy unrolls in the U.S.-Mexican borderlands a half century ago, with black-and-white film integrating with live stage action to enhance the period feel. Daniela Mack is Carmen (until Ana María Martínez assumes the role beginning July 28), Joyce El-Khoury sings Micaëla, and Roberto De Biasio portrays Don José. 8:30 p.m., tickets begin at $32, standing room $15.

Classical Music Sibelius Academy concert

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Voice and instrumental students perform, led by composer Magnus Lindberg and soprano Barbara Hannigan, 1 p.m., no charge, wisc-amh.org.

Aspen Santa Fe Ballet: Mixed Repertory

The Lensic Square None by Norbert De la Cruz III; Return to a Strange Land, by Jiří Kylián; The Heart(s)pace, by Nicolo Fonte, 8 p.m., $25-$72, 505-988-1234, ticketssantafe.org, Saturday encore.

Gala opening: Good People

Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 Ironweed Productions presents David LindsayAbaire’s drama, gala celebration 6:30 p.m., curtain 7:30 p.m., $25, runs Thursdays-Sundays, through July 27.

Books/Talks New Mexico Museum of Art: photography gallery talk

107 W. Palace Ave., 505-476-5068 Santa Fe photographer Richard Baron discusses his series, Still Lives, New Mexico, focusing on anonymous grave sites, in conjunction with the exhibit Grounded, 5:30-6:30 p.m., no charge.

Events Backyard Astronomy

Santa Fe Community College Planetarium, 1401 Richards Ave., 505-428-1744 A live presentation and an outdoor viewing of the night sky, 8-9 p.m., $5 at the door at 7:30 p.m., discounts available.

Santa Fe International Folk Art Market July 12-13 Santa Fe Opera Backstage Tours

Casa Nova, 530 S. Guadalupe St., 505-983-8558. Mali Chic, group show of textiles, jewelry, and home décor, 9:30 a.m. John Ruddy, 129 W. San Francisco St., second floor, 505-989-9903. Time Warp: Recycled Textiles From Japan, 10:45-11:15 a.m. Taylor A. Dale Fine Tribal Art, 129 W. San Francisco St., second floor, 505-989-9903. The Art of New Guinea, featuring works from the Thomas-Rosen collection, 11:15-11:45 a.m. Santa Fe Weaving Gallery, 124 ½ Galisteo St., 505-982-1737. The Power of Trend and Color 2015, pictorial analysis of 2015 international fashion catwalks by Barbara Arlen, 12:45 p.m.

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Behind-the-scenes tours including production and front-of-house areas are offered Mondays-Saturdays Gebert Contemporary through Aug. 22, 9 a.m., $10; seniors $8; no charge 558 Canyon Rd., 505-992-1100 for ages 22 and under. Without Gravity, paintings by Lawrence Fodor, reception 2-4 p.m., through Aug. 9. Nightlife (See addresses to the right) Santa Fe Collective Pop-Up Gallery 101 W. Marcy St. Café Café Group show of contemporary works, 11 a.m.-7 p.m. Trio Los Primos, 6 p.m., no cover.

Cowgirl BBQ

Country singer/songwriter Bill Hearne, 5-7:30 p.m.; Jay Boy Adams & Zenobia, with Mister Sister, R & B, 8:30 p.m., no cover.

¡Chispa! at El Mesón

Three Faces of Jazz, with guest guitarist Tony Cesarano, 7:30-10:30 p.m., no cover.

Duel Brewing

Americana band Boris & The Salt Licks, 8-11 p.m., no cover.

El Farol

Opera Fidelio

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Soprano Alex Penda sings Leonore and tenor Paul Groves portrays Florestan in Stephen Wadsworth's production of Beethoven's drama; opening at 8:30 p.m., tickets begin at $32, standing room $15. (See story, Page 18)

In Concert Santa Fe Bandstand

La Fiesta Lounge at La Fonda

The Plaza Salsa and timba quartet En-Joy, 6-7 p.m.; Latin-rhythm ensemble Nosotros, 7:15-8:45 p.m.; visit santafebandstand.org for the summer series schedule, no charge.

La Posada de Santa Fe Resort and Spa

Theater/Dance

Palace Restaurant & Saloon

James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. Dance company including break dancers, aerial artists, and African dances, noon and 7:30 p.m., $15, ages 11 and under $10, proceeds benefit Teen Shelters of Santa Fe, tickets available in advance at Dance Space Santa Fe, 3208 Richards Lane, and at the box office.

J.J. and the Hooligans, rock, 9 p.m., call for cover. Cathy Faber's Swingin' Country Band, 8 p.m.-close, no cover. Nacha Mendez Quartet, 6:30 p.m., no cover.

Digital Storm Riders & Friends, 10 p.m., no cover.

Pranzo Italian Grill

Pianist David Geist, cabaret, 6-9 p.m., call for cover.

Second Street Brewery

Blugrass band Acadian Drifters, 6-9 p.m., no cover.

Second Street Brewery at the Railyard

Gypsy-jazz ensemble Swing Soleil, 7-10 p.m., no cover.

Swiss Bakery Pastries and Bistro

Troubadour Gerry Carthy, on the patio, 7-10 p.m., no cover.

Tiny’s

Guitarist Chris Abeyta, 5:30-8:30 p.m.; Sean Healen Band, rock, 8:30 p.m.-close; no cover.

All for the Love of Dance 2

Aspen Santa Fe Ballet: Mixed Repertory

The Lensic Square None by Norbert de la Cruz III; Return to a Strange Land, by Jiri Kylián; The Heart(s)pace, by Nicolo Fonte, 8 p.m., $25-$72, 505-988-1234, ticketssantafe.org.

Good People

Vanessie

Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 Ironweed Productions presents David LindsayAbaire’s drama, 7:30 p.m., $20, discounts available, runs Thursdays-Sundays, through July 27.

SATURDAY 7/12

Wassa Wassa African Dance & Drum Festival benefit performance

Pianists Doug Montgomery (6-8 p.m.) and Bob Finnie (8-11 p.m.), call for cover.

Gallery & Museum Openings Allen Houser Gallery

125 Lincoln Ave., 505-982-4705 Emotions: The Human Condition, sculpture by Nour Kuri and Phillip M. Haozous, reception 6-8 p.m., through Aug. 19.

ART Santa Fe 2014

Santa Fe Community Convention Center, 201 W. Marcy St. Contemporary art fair with international, works by international, national, and local exhibitors, 11 am.-6 p.m., $10 in advance and at the door, 505-988-1234, ticketssantafe.org, runs through Sunday. (See story, Page 26)

Railyard Performance Center, 1611 Paseo de Peralta Soriba Fofana & Alhassane Camara, traditional music and dance; Moussa Kourouma & Ousmane Sylla, circus acrobatics, 8 p.m., $10 donation at the door, soribafofana.com.

Books/Talks Art Santa Fe: keynote speaker James Meyer

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Children of the Sixties, a lecture by James Meyer, National Gallery of Art associate curator of modern art, 6:30 p.m., $10 in advance, 505-988-1234, ticketssantafe.org. (See story, Page 30)

Books at the Market: Mark Nelson

Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta The ecoengineer and author discusses The Wastewater Gardener: Preserving the Planet One Flush at a Time, 9 a.m.-noon, call Collected Works Bookstore for details, 505-988-4226.

Scott Mastro

Op. Cit. Books, 500 Montezuma Ave., Sanbusco Center, 505-428-0321

The author reads from and signs copies of Blood Money: Tales From Two Continents, 4 p.m.

Check with venues

Events Contra dance

Odd Fellows Hall, 1125 Cerrillos Rd.

New England folk dance with music by the Adobe Brothers, beginner classes 7 p.m., dance 7:30 p.m., $9, students, $5, 505-820-3535.

Santa Fe Greek Festival

Pavilion Room, Eldorado Hotel & Spa, 309 W. San Francisco St. Food, music, dancing, and beer and wine; 11 a.m.-9 p.m. today and Sunday, $3, ages 12 and under no charge.

for updates and sp

ecial ev

ents 317 Aztec Lodge Lounge 317 Aztec St., 505-8 20-0150 at The Lodge at Sa Agoyo Lounge nta Fe 750 N. St. Francis Dr at the Inn on the Ala ., 505-992-5800 meda Low ’n’ Slow Lowride 303 E. Alameda St., 505-984-2121 r Bar at Hotel Chimayó de Anasazi Restauran Santa Fe t & Bar 125 Washington Av 113 Washington Av e., 505-988-4900 e., 505-988-3030 The Matador Betterday Coffee 116 W. San Francisc 905 W. Alameda St., o St. 505-555-1234 Mi ne Shaft Tavern Bishop’s Lodge Ranc h Resort & Spa 2846 NM 14, Madrid, 1297 Bishops Lodge 505-473-0743 Rd., 505-983-6377 Mu seum Hill Café Burro Alley Café 710 Camino Lejo, Mi 207 W. San Francisc lner Plaza, o St., 505-982-0601 505-984 -8900 Café Café Music Room at Garre 500 Sandoval St., 50 tt’s Desert Inn 5-466-1391 311 Old Santa Fe Tra ¡Chispa! at El Mesó il, 505-982-1851 n Omira Bar & Grill 213 Washington Av e., 505-983-6756 10 05 St. Francis Dr., 50 Cowgirl BBQ 5-780-5483 Palace Restaurant 319 S. Guadalupe St. & Saloon , 505-982-2565 142 W. Palace Ave., 50 The Den at Coyote 5-428-0690 Café Pranzo Italian Grill 132 W. Water St., 50 5-983-1615 540 Montezuma Av Duel Brewing e., 505-984-2645 Santa Fe Community 1228 Parkway Dr., 50 5-474-5301 Convention Center El Cañon at the Hilto n 201 W. Marcy St., 50 5-955-6705 100 Sandoval St., 50 5-988-2811 Santa Fe Sol Stage Eldorado Hotel & Sp & Grill a 37 Fire Place, solofsan 309 W. San Francisc tafe.com o St., 505-988-4455 Second Street Brewery El Farol 1814 Second St., 50 5-982-3030 808 Canyon Rd., 505-9 83-9912 Second Street Brew El Paseo Bar & Grill ery at the Railyard 1607 Paseo de Peral 208 Galisteo St., 505-9 ta, 505-989-3278 92-2848 Shadeh Buffalo Th under Evangelo’s Resort & Casino 200 W. San Francisc o St., 505-982-9014 Pojoaque Pueblo, U.S. 84/285, High Mayhem Emerg 505-455-5555 ing Arts 2811 Siler Lane, 505-4 38-2047 Sweetwater Harve st Kitchen Hotel Santa Fe 1512-B Pacheco St., 505-795-7383 1501 Paseo de Peral ta, 505-982-1200 Swiss Bakery Pastr ies and Bistro Iconik Coffee Roas 401 S. Guadalupe St. ters , 505-988-5500 1600 Lena St., 505-4 28-0996 Taberna La Boca Jean Cocteau Cinem 125 Lincoln Ave., 50 a 5-988-7102 418 Montezuma Av e., 505-466-5528 Tiny’s Junction 1005 St. Francis Drive , Suite 117, 505530 S. Guadalupe St. 983-9817 , 505-988-7222 La Boca The Underground at Evangelo’s 72 W. Marcy St., 505-9 200 W. San Francisc 82-3433 o St. La Casa Sena Canti Upper Crust Pizza na 25 E. Palace Ave., 50 329 Old Santa Fe Tra 5-988-9232 il, 505-982-0000 La Fiesta Lounge at Vanessie La Fonda 100 E. San Francisco St., 505-982-5511 434 W. San Francisco St., 50 5-982-9966 La Posada de Santa Veterans Fe 330 E. Palace Ave., 50 Resort and Spa 370 Mo of Foreign Wars 5-986-0000 ntezuma Ave., 505-9 84-2691 Lensic Performing Warehouse 21 Arts Center 211 W. San Francisc o St., 505-988-1234 1614 Paseo de Peralta, 50 5-989-4423 Zia Dinner 326 S. Guadalupe St. , 505-988-7008

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

7/12

Gallery Walk-About 2014

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David Stuart

Garcia Street Books, 376 Garcia St., 505-986-0151 The author discusses and signs copies of Anasazi America: Seventeen Centuries on the Road From Center Place, noon.

Events Santa Fe Greek Festival

Pavilion Room, Eldorado Hotel & Spa, 309 W. San Francisco St. Food, music, dancing, and beer and wine; 11 a.m.-9 p.m., $3, ages 12 and under no charge.

Family Day: Santa Fe International Folk Art Market

Museum Hill More than 150 folk artists from more than 50 countries; 9 a.m.-5 p.m., $10 in advance at holdmyticket.com; $15 day of event; ages 16 and under no charge; 505-992-7600, folkartmarket.org.

Young Natives Arts & Crafts Show

Palace of the Governors courtyard, enter through the blue gate on Lincoln Ave., 505-476-5200 Works by the children and grandchildren of the Palace of the Governors’portal artists, 9 a.m.-3 p.m., no charge. 516 Arts shows the video Ay Papi, by Jessica Pizaña Roberts, in the group show Digital Latin America, 516 Central Ave. S.W., Albuquerque.

Santa Fe International Folk Art Market

Museum Hill More than 150 folk artists from more than 50 countries; 9 a.m.-5 p.m. today and Sunday, $15 in advance at holdmyticket.com; $20 day of event; ages 16 and under no charge; 505-992-7600, folkartmarket.org.

Santa Fe Opera Backstage Tours

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Behind-the-scenes tours including production and front-of-house areas are offered Mondays-Saturdays through Aug. 22, Saturday short program 8:30 a.m., tour 9 a.m., no charge on Saturdays.

Young Natives Arts & Crafts Show

Palace of the Governors Courtyard, enter through the blue gate on Lincoln Ave., 505-476-5200 Works by the children and grandchildren of the Palace of the Governors’portal artists, 9 a.m.-3 p.m. today and Saturday, no charge, 505-476-5200.

Del Charro

Mariachi Teotihuacan, with Stephen Montoya, Jaime Martinez, and Daniel Martinez, 2-9 p.m., no cover.

Duel Brewing

Santa Fe Revue, psychedelic rock, 8 p.m., no cover.

El Farol

John Carey, blues/Americana, 9 p.m.-close, call for cover.

La Fiesta Lounge at La Fonda

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

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

Palace Restaurant and Saloon

Half Broke Horses, country-western band, on the patio, 2 p.m., no cover; Vanilla Pop, '80s-infused lounge duo, 10 p.m.; call for cover.

Pranzo Italian Grill

7/12

Santa Fe Greek Festival July 12-13

Nightlife

(See Page 69 for addresses)

Café Café

Guitarist Ramon Bermudez, 6:30 p.m., no cover.

¡Chispa! at El Mesón

Jon Gagan Quartet, jazz riffs, 7:30-10:30 p.m., no cover.

Cowgirl BBQ

Acoustic-soul singer/songwriter Stacey Joy, 2-5 p.m.; Electro-marimba-trance band Jaka, 8:30 p.m.-close; no cover.

PASATIEMPO I July 11-17, 2014

Pianist Todd Lowry and vocalist Kari Simmons, 6-9 p.m., call for cover.

Second Street Brewery

Folk singer-songwriter Steve Guthrie, 6-9 p.m., no cover.

Second Street Bewery

Double bill: banjo-driven roots-rock duo Todd & The Fox and Austin-based jazz/blues band Love Leighs, 6 p.m., no cover.

Sweetwater Harvest Kitchen

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

Swiss Bakery Pastries and Bistro

Jazz pianist Robin Holloway & Friends, 7:30 p.m.-close, no cover.

Tiny’s

Showcase karaoke with Nanci and Cyndy, 8:30 p.m.-close, no cover.

Vanessie

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

SUNDAY 7/13 Gallery & Museum Openings ART Santa Fe 2014

Las Chivas Coffee Gallery

Agora Shopping Center, 7 Avenida Vista Grande, Suite B-7, Eldorado, 505-466-1010 Where I Find Myself, landscape photographs by Jack Arnold, reception 1-3 p.m., through Aug. 2.

In Concert Bonnie "Prince" Billy

Railyard Plaza, 1607 Paseo de Peralta, Folk-rock singer/songwriter, 7 p.m., no charge, heathconcerts.org.

Theater/Dance Flamenco’s Next Generation

Lodge at Santa Fe, 750 N. St. Francis Dr. Flamenco group from the María Benítez Institute for Spanish Arts, 2 p.m. Sundays, beginning today through Aug. 24, institutespanisharts.org.

Good People

Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 Ironweed Productions presents David LindsayAbaire’s drama, 4 p.m., $20, discounts available, runs Thursdays-Sundays through July 27.

Welcome to Arroyo's

Teatro Paraguas Studio, 3205 Calle Marie, 505-424-1601 A staged reading of the play by Kristoffer Diaz, directed by Roxanne Tapia, no charge, donations accepted, teatroparaguas.org.

Books/Talks Journey Santa Fe presents

Collected Works Bookstore, 202 Galisteo St., 505-988-4226. A Bastille Day presentation by Francois-Marie Patorni, 11 a.m., journeysantafe.com.

Nightlife

(See Page 69 for addresses)

Cowgirl BBQ

Santa Fe Revue, Americana, noon-3 p.m.; Tom Rheam Trio, rock/pop, 8 p.m.; no cover.

Duel Brewing

Americana/folk singer Reed Turner, 5 p.m., no cover.

El Farol

Chanteuse Nacha Mendez, 7:30 p.m., call for cover.

Evangelo’s

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

Vanessie

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

MONDAY 7/14 In Concert Santa Fe Bandstand

The Plaza Americana trio American Jem, noon; Santa Fe Chiles Dixie Band, 6 p.m.; blues/rock artist Alex Maryol, 7:15-8:45 p.m.; no charge, visit santafebandstand.org for the summer series schedule, .

Theater/Dance Aspen Santa Fe Ballet

Las Campanas Clubhouse, 132 Clubhouse Dr. Raise the Barre benefit for the ballet, 6 p.m., $250, aspensantafeballet.com, 505-983-5591.

Books/Talks Santa Fe Photographic Workshops

Santa Fe Prep auditorium, 1101 Camino de Cruz Blanca, 505-983-1400, Ext. 111 Instructor presentations by Allen Birnbach, Brenda Tharp, Laurie Klein, Rick Allred, Kate Breakey, and Julieanne Kost, 8-9:30 p.m., no charge.

Southwest Seminars lecture

Hotel Santa Fe, 1501 Paseo de Peralta But That's What the Timpanagos Said: Bernardo de Miera Maps the Great Basin, 1777-1778, by John L. Kessell, 6 p.m., $12 at the door, 505-466-2775, southwestseminars.org.

Events Amish Quilts: The Story of America's First Abstract Art

Cowgirl BBQ

Americana singer/songwriter Matt Campbell, 8 p.m., no cover.

Georgia O'Keeffe Museum Research Center, 135 Grant Ave., 505-946-1000 Workshop led by Janneken Smucker, 6 p.m., $5.

El Farol

Santa Fe Opera Backstage Tours

Bill Hearne Trio, 7:30-11 p.m., no cover.

Canyon Road Blues Jam, 8:30 p.m., call for cover.

La Fiesta Lounge at La Fonda

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Vanessie Behind-the-scenes tours including production and Pianists Doug Montgomery (6-8 p.m.) front-of-house areas are offered Mondays-Saturdays and Bob Finnie (8-11 p.m.), call for cover. through Aug. 22, 9 a.m., $10; seniors $8; no charge for ages 22 and under.

Swing dance

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 Page 69 for addresses)

Cowgirl BBQ

Karaoke with Michele Leidig, 8 p.m., no cover.

El Farol

Blues/rock guitarist Tiho Dimitrov, 8:30 p.m., call for cover.

La Fiesta Lounge at La Fonda

Bill Hearne Trio, 7:30-11 p.m., no cover.

Upper Crust Pizza

Troubadour Gerry Carthy, on the patio 6-9 p.m., no cover.

Vanessie

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

TUESDAY 7/15 In Concert Santa Fe Bandstand

The Plaza Instrumental post-rock band As In We, 6-7 p.m.; funk and rock band The Strange, 7:15-8:45 p.m., no charge, summer schedule available online at santafebandstand.org.

Books/Talks Jann Arrington Wolcott

Collected Works Bookstore, 202 Galisteo St., 505-988-4226. The author discusses Deathmark, with an introduction by author Michael McGarrity, 6 p.m.

Events Drawing Flowers: Working With the Excitement of Expressive Line

Georgia O'Keeffe Museum Research Center, 135 Grant Ave., 505-946-1000 Artist Ted Hallman guides participants in the use of pencils and charcoal for capturing dimensionality, 6-8 p.m., $8.

Santa Fe Opera Backstage Tours

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Behind-the-scenes tours including production and front-of-house areas are offered MondaysSaturdays through Aug. 22, 9 a.m., $10; seniors $8; no charge for ages 22 and under.

Nightlife

(See Page 69 for addresses)

¡Chispa! at El Mesón

Argentine Tango Milonga, 7:30-11 p.m., call for cover.

WEDNESDAY 7/16

Gallery & Museum Openings James Kelly Contemporary

1611 Paseo de Peralta, 505-989-1601 Pages, new drawings by James Drake, reception 5-7 p.m., through Aug. 27.

Museum of Contemporary Native Arts

Allan Houser Art Park, 108 Cathedral Place, 505-983-1777 Free public event held 5-7 p.m. in conjunction with the temporary site-specific installation (Pull of the Moon) on the Navajo Nation by Ai Weiwei and Bert Benally; including a 3-D digital landscape of the project, a live performance by German sound artist Robert Henke and Benally based on sounds captured during the installation, and a screening of the documentary Bert & Wei Wei: TIME 2014 by Daniel Hyde and Blackhorse Lowe (exhibits up through Oct. 16), nmarts.org.

Opera Fidelio

In Concert

Santa Fe Clay Wednesday Night Slide Lecture

545 Camino de la Familia, 505-984-1122 The series continues with ceramist Julia Galloway, 7 p.m., no charge.

Del Charro

Mariachi Teotihuacan, with Stephen Montoya, Jaime Martinez, and Daniel Martinez, 7-9 p.m., no cover.

Duel Brewing Santa Fe Institute Community Lectures 2014 Santa Fe's own Bill Hearne, classic country James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. Seth Lloyd of MIT discusses Time Travel: Testing the Grandfather Paradox, 7:30 p.m., no charge, 505-984-8800.

School for Advanced Research colloquium

660 Garcia St., 505-954-7200 Reconnecting the Past: Network Approaches to Regional Interaction in the Archaeology of the Late Prehistoric Southwest, a lecture by Barbara J. Mills, University of Arizona, noon-1 p.m., no charge.

and honky-tonk, 7 p.m., no cover.

El Farol

Guitarist/singer John Kurzweg, 8:30 p.m., no cover.

La Fiesta Lounge at La Fonda

Country band Half Broke Horses, 7:30 p.m., no cover.

Vanessie

Pianist Bob Finnie, 6:30-9:30 p.m., call for cover.

THURSDAY 7/17

Outdoors

Gallery & Museum Openings

Gentle walk

Jean Cocteau Cinema Gallery

Pajarito Environmental Education Center, 3540 Orange St., 505-662-0460 One- to two-mile walk along a relatively flat trail in Los Alamos, 8 a.m. Meet at PEEC to carpool to the trailhead, no charge, register online at pajaritoeec.org or call 505-662-0460.

418 Montezuma Ave., 505-466-5528 Monoprints, linocuts, and digital mixed media by Linda Hunsaker and Eleanor Rappe, reception 5-7 p.m.

SITElines.2014: Unsettled Landscapes

SITE Santa Fe, 1606 Paseo de Peralta, 505-989-1199 SITE Santa Fe’s biennial focusing on contemporary Santa Fe Opera Backstage Tours art of the Americas; ticketed opening-weekend Santa Fe Opera, 301 Opera Dr., 505-986-5900 programming: preview exhibit and cocktail party, Behind-the-scenes tours including production and 5-7 p.m.; gala dinner (Santa Fe Farmers Market front-of-house areas are offered Mondays-Saturdays Pavilion), 7:30 p.m.; tickets available online at through Aug. 22, 9 a.m., $10; seniors $8; no charge sitesantafe.org. Ticketed events continue Friday for ages 22 and under. and Saturday, July 18-19, culminating in a public opening 2-5 p.m. Saturday, July 19. Nightlife

Events

(See Page 69 for addresses)

¡Chispa! at El Mesón

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

Cowgirl BBQ

Marlee Crow, Americana/indie folk, 8 p.m., no cover.

Classical Music

Santa Fe Desert Chorale

Loretto Chapel, 207 Old Santa Fe Trail Spanish Mystics, featuring guitarist and lutenist Richard Savino, 8 p.m., $20-$55, desertchorale.org, 505-988-2282.

Music on the Hill 2014

St. John’s College, 1160 Camino de Cruz Blanca, 505-984-6000 The annual free outdoor music series continues with SuperSax New Mexico; saxophonists include Sam Reid, Dave Anderson, and Aaron Lovato, featuring Bobbie Shew on trumpet, Bert Dalton on piano, Colin Deuble on bass, and Cal Haines on drums, 6-8 p.m. Wednesdays through July 23.

Santa Fe Bandstand

The Plaza Albert Martinez & Sierra, noon; dance troupe Baile Español, 6-7 p.m.; chanteuse Nacha Mendez, 7:15-8:45 p.m., no charge, visit santafebandstand.org for the summer series schedule.

Books/Talks Mia Kalef

Collected Works Bookstore, 202 Galisteo St., 505-988-4226. The author discusses The Secret Life of Babies: How Our Prebirth and Birth Experiences Shape Our World, 6 p.m.

New Mexico Lawyers for the Arts Summer-Fall Series

Santa Fe Arts Commission Community Gallery, Santa Fe Community Convention Center, 201 W. Marcy St. Artist as Entrepreneur: The Visual Artist, a panel discussion with Kate Russell, Jennifer Joseph, Ross Cheney, and Kevin Box, 6 p.m., no charge, nmlawyersforthearts.org.

Giacobbe-Fritz Fine Art shows paintings by Ben Steele, 702 Canyon Rd.

PASATIEMPOMAGAZINE.COM

Lavender in the Valley Festival

Purple Adobe Lavender Farm, NM 84 between mile markers 210 and 211, 505-685-0082 Food, artisans, music, and lavender crafts; 10 a.m.-4 p.m. Saturday and Sunday, July 12-13, follow the purple flags.

ALBUQUERQUE Events/Performances Ninth Annual New Mexico Jazz Festival

Friday, July 11, Claudia Villela Quartet, 8 p.m., Outpost Performance Space, $25 and $30, 505-988-1234, ticketssantafe.org; Saturday, July 12, Cedric Watson & Bijou Creole, Wagogo opens, 1-4 p.m., Old Town Plaza, no charge; Sunday, July 13, Tootie Heath, Ethan Iverson, and the Ben Street Trio, 8 p.m., Outpost Performance Space, $25-$30, holdmyticket.com; Thursday, July 17, screening of Bayou Maharajah: The Tragic Genius of James Booker, 8 p.m., panel discussion follows with director Lily Keber and musician Henry Butler, Outpost Performance Space, no charge. Events run through July 27, newmexicojazzfestival.org.

Chatter Sunday

The Kosmos, 1715 Fifth St. N.W. Iridium Saxophone Quartet, 10:30 a.m. Sunday, July 13, $15 at the door only, discounts available, chatterabq.org.

Chatter Cabaret

Turner Carroll Gallery shows paintings by Rex Ray, 725 Canyon Rd.

In Concert Santa Fe Bandstand

The Plaza Folk-rock duo The Bus Tapes, 6-7 p.m.; blues/rock guitarist Tiho Dimitrov, 7:15-8:45 p.m.; no charge, santafebandstand.org.

Theater/Dance Good People

Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 Ironweed Productions presents David LindsayAbaire’s drama, 7:30 p.m. , $10, runs ThursdaysSundays through July 27.

The Phantom Tollbooth

Armory for the Arts, 1050 Old Pecos Trail Santa Fe Performing Arts City Different Players (ages 7-12) presents its adaptation of Norton Juster's novel, 7 p.m., $8, 505-984-1370, sfperformingarts.org, runs Saturdays and Sundays through July 27, opening night.

Books/Talks Malcolm Ebright, Rick Hendricks, and Richard Hughes

Collected Works Bookstore, 202 Galisteo St., 505-988-4226. The authors discuss Four Square Leagues: Pueblo Indian Land in New Mexico, 6 p.m.

Cowgirl BBQ

Folk-rock duo The Bus Tapes, 8 p.m., no cover.

Duel Brewing

Prana Jazz Trio, with Cari Griffo, 8-11 p.m., no cover.

El Farol

Guitarras con Sabor, Gypsy Kings-style rhythms, 8 p.m., no cover.

La Boca

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

La Fiesta Lounge at La Fonda

Country band Half Broke Horses, 7:30-11 p.m., no cover.

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

Palace Restaurant and Saloon

Limelight karaoke, 10 p.m., no cover.

Pranzo Italian Grill

Pianist David Geist and vocalist Julie Trujillo, 6-9 p.m., call for cover.

Second Street Brewery

Hotel Andaluz, 125 Second St. N.W. The ensemble performs a mixed repertoire of Bach, Martin˚u, and David Lang, 5 p.m. Sunday, July 13, $25 in advance at brownpapertickets.com.

516 Arts

516 Central Ave. S.W., 505-242-1445

Digital Latin America, group show, through Aug. 30.

JEMEZ SPRINGS

LOS ALAMOS Events/Performances

Gordon’s Summer Concerts

Events Santa Fe Opera Backstage Tours

no cover.

Ashley Pond, gordonssummerconcerts.com The weekly (Fridays) free music series continues with Eric McFadden Band, blues/rock/soul, 7 p.m. Friday, July 11.

Vanessie

TAOS

ABIQUIÚ

29th Annual Taos Pueblo Pow Wow

Nightlife

(See Page 69 for addresses)

Pianist Bob Finnie, 6:30-9:30 p.m., call for cover.

Events/Performances Galeria Arriba

Abiquiú Inn, 21120 NM 84, 505-685-4378 Tierra Sonikete, featuring J.Q. Whitcomb on trumpet Paintings and works on paper by Valerie Gray, reception 5-7 p.m. Friday, July 11, through July. and Joaquin Gallegos on guitar, 7 p.m., no cover.

¡Chispa! at El Mesón

PASATIEMPO I July 11-17, 2014

Artists Santa Fe Photographic Workshops 25th-Anniversary Photography Contest

Photographers age 18 and over can enter works on the theme of water in one or more categories: landscape, portrait, documentary, abstract; deadline September 17, guidelines and fee information are available online at santafeworkshops.com.

Filmmakers/Performers/Writers 2014 Fiesta Melodrama call for props

Workshop rehearsal space, 3205-B Richards Lane, 505-988-4262. In need of furniture and clothing for costumes.

Musical Theatre Works Studio auditions

4001 Office Court Dr., Suite 206, 505-946-2468 Seeking males and females ages 11 to 99 to perform in staged readings of four new musicals at the Santa Fe Musical Theatre Festival in August; 1-4 p.m. Sunday, July 13.

PASA KIDS

Laser Mania in New Mexico Museum of Natural History and Science Planetarium

1801 Mountain Rd. N.W., 505-841-2804

Tiny’s

PEOPLE WHO NEED PEOPLE

Santa Fe Opera Backstage Tours

18160 NM 4, 575-829-3530 Jemez tribal elders provide tours and share stories on-site Friday-Sunday, July 11-13. Tours held 10 a.m. and 2 p.m., by site admission.

2400 Central Ave., 505-662-8253 Paintings by Ryszard Wasilewski, reception Blues guitarist/singer Alex Maryol, 6-9 p.m., no cover. 4:30-6:30 p.m. Friday, July 11, through Aug. 5.

Funk and rock band The Strange, 8 p.m.-close,

Martha Reich

Taos Inn, 125 Paseo del Pueblo Norte, 575-758-2233 Americana/folk guitarist-singer, 4-6 p.m., no cover.

Fulldome music videos; Friday, July 11: The Beatles 7 and 9 p.m.; Led Zeppelin 8-10 p.m.; Saturday, July 12: Pink Floyd: Best of Echoes 7 and 9 p.m.; Pink Floyd: Dark Side of the Moon 8 and 10 p.m.; nmnaturalhistory.org, by museum admission.

Second Street Brewery at the Railyard

DJ Oona, retro rewind, 9 p.m.-4 a.m., no cover.

The season continues at 8 p.m. Saturday, July 12, Young Artist concert, music of Mendelssohn and Ravel, Hotel St. Bernard, Taos Ski Valley, no charge; 7:30 p.m. Sunday, July 13, Young Artist concert, music of Schubert and Janácek, Taos Community Auditorium, 145 Paseo del Pueblo Norte, $8, 575-776-2388, taosschoolofmusic.com.

Jemez Historic Site Elder in Residence Program

Joe West, psychedelic country, 6-9 p.m., no cover. Mesa Public Library Art Gallery

Shadeh

Taos School of Music Festival

Events/Performances Gates open at noon Friday, July 11; food and arts & crafts booths; 7 p.m. grand entry, 8 p.m. dance and drum competition; events continue through the weekend, taospueblopowwow.

Young Natives Arts & Crafts Show

Santa Fe Greek Festival

Pavilion Room, Eldorado Hotel & Spa, 309 W. San Francisco St. Food, music, dancing, and beer and wine; 11 a.m.-9 p.m. Saturday and Sunday, July 12-13, $3, ages 12 and under no charge.

Bee Hive Books: story times

328 Montezuma Ave., 505-780-8051 Music, stories, and movement for ages 3 and up at no charge, 10:30-11:15 a.m. every Wednesday in July; mindfulnness workshop for ages 4 and up, 10:30-11:30 a.m. Sunday, July 13, $12. ◀

7/12

Abiquiú: Lavender in the Valley Festival July 12-13

Brenda Rae

St. John’s United Methodist Church, 1200 Old Pecos Trail Santa Fe Opera soprano, accompanied by pianist In Sun Suh, 4 p.m., Sunday, Aug. 10, $22.50-$75, 505-988-1234.

Lake Street Dive

Santa Fe Sol Stage & Grill Jazz and soul band, 7:30 p.m. Sunday, Aug. 10, $25, 505-988-1234, ticketssantafe.org.

MUSIC

The Impresario & Le Rossignol

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Mozart's comic opera and Stravinsky's one-act opera share a double bill; opening at 8:30 p.m. Saturday, July 19, tickets begin at $32, standing room $15.

Freedom Work: Folk Forms and Variations

Outpost Performance Space, Albuquerque A five-part jazz suite by Santa Fean Lenny Tischler, 7:30 p.m. Thursday, Aug. 14, performers include woodwind artist Arlen Asher, saxophonist Brian Wingard, and bassist Andy Zadrozny, $10-$15 in advance at holdmyticket.com.

Hayes Carll and His Band

Patti Littlefield and the Arlen Asher Quintet

Santa Fe Sol Stage & Grill Singer/songwriter, 7:30 p.m. Friday, August 15, $17, ticketssantafe.org, 505-988-1234.

Santa Fe Chamber Music Festival

Angel Fire, Las Vegas, Raton, and Taos

Museum Hill Café, 710 Camino Lejo Jazz set, 7 p.m., Thursday, July 24, $25, 505-983-6820, santafemusiccollective.org.

July 20 marks the beginning of the 42nd season. Performers include the Dover Quartet, the Orion String Quartet, pianist Inon Barnatan, and violinist William Preucil. Schedule available online at santafechambermusic.com.

Jon Nakamatsu: Schumann recital

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Noon Tuesday, July 22, $20-$25, tickets available through Santa Fe Chamber Music, 505-982-1890, santafechambermusic.com.

Classical Meets Flamenco

Garrett's Desert Inn, 311 Old Santa Fe Trail Classical guitarist David Wescott Yard and vocalist Mito de Soto, 7 p.m. Fridays July 25-Aug. 15, $10 in advance, $15 at the door, 505-204-5443.

Daniela Mack and Alex Shrader

St. John’s United Methodist Church, 1200 Old Pecos Trail Santa Fe Opera mezzo-soprano and tenor, accompanied by pianist Joseph Illick, 4 p.m. Thursday, July 31, $22.50-$75, 505-988-1234, ticketssantafe.org, visit performancesantafe.org for the 2014-2015 season schedule.

Woody Shaw tribute

Music From Angel Fire

The 31st festival season running Aug. 15-31, opening night features Ida Kavafian, Steven Tenenbom, and Anne-Marie McDermott in works of Beethoven and Andrew Hsu, tickets start at $30, discounts available, 888-377-3300, musicfromangelfire.org.

Dave & Phil Alvin

James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. Country-blues brothers, 7:30 p.m. Tuesday, Aug. 19, $25 in advance, $29 at the door, brownpapertickets.com.

Sylvia

Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 The New Mexico Actors Lab presents A.R. Gurney’s comedy, 7:30 p.m. Thursdays-Saturdays, 4 p.m. Sundays, July 31-Aug. 17, $10-$25, santafeplayhouse.org.

Daniel Ulbricht and New York City Ballet performers

The Lensic 7:30 p.m. Wednesday and Thursday, Aug. 13-14, includes a pre-performance talk by Ulbricht, $13.50-$100, 505-988-1234, ticketssantafe.org.

HAPPENINGS

Behind Adobe Walls Home and Garden Tour

Buses depart from Hotel Santa Fe, 1501 Paseo de Peralta 75th annual bus tour of private residences and gardens, sponsored by the Santa Fe Garden Club, 12:15-4:45 p.m. Tuesday, July 22 and July 29, $75 per tour, $22 optional lunch, contact Westwind Travel, 505-984-0022, thesantafegardenclub.org.

¡Viva la Cultura! Hispanic Cultural Festival

Santa Fe Opera, 301 Opera Dr. North Carolina-based folk-rock band, 8 p.m. Wednesday, Aug. 27, $35-$55 in advance, ticketmaster.com, $40-$60 day of show.

Mariachi Extravaganza de Santa Fe

Salaam-Shalom

Avett Brothers

Santa Fe Community Convention Center, 101 W. Marcy St. Annual Santa Fe Fiestas concert; Mariachi Reyna de Los Angeles (with Angel Espinoza), Mariachi Buenaventura, and Los Niños de Santa Fe, 7 p.m. Sunday, Aug. 31, call 505-988-1234 for advance tickets.

Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta Annual gathering of young women from Palestine and Israel in conversation about their experiences

at the 2014 Creativity for Peace summer-camp session, 4:30-6 p.m Thursday, July 31., $25 in advance at creativityforpeace.com, $30 at the door.

Fifth Annual Objects of Art Santa Fe

El Museo Cultural de Santa Fe, 555 Camino de la Familia Contemporary, ethnic, and antique objects, including sculpture, jewelry, furniture, and books, ticketed preview 6-9 p.m. Thursday, Aug. 14 ($50, benefits New Mexico PBS), show runs 11 a.m.6 p.m. Friday-Sunday, Aug. 15-17, $10 run of show in advance, $13 at the door, objectsofartsantafe.com.

Antique American Indian Art Show Santa Fe 2014

El Museo Cultural de Santa Fe, 555 Camino de la Familia Presenting works from national galleries; preview party 6-9 p.m. Tuesday, Aug. 19; show 11 a.m.6 p.m. Wednesday and Thursday, Aug. 20-21, preview party and Institute of American Indian Arts benefit $50 in advance and at the door, show tickets $10 run of show in advance, $13 at the door, tickets available online at antiqueindianartshow.com.

39th Annual Wheelwright Museum of the American Indian Benefit Auction

704 Camino Lejo, Museum Hill Silent auction and preview of live auction items 4-6 p.m. Thursday, Aug. 21, Collector’s Table 10 a.m. Friday, Aug. 22, followed by live auction preview and live auction; catered lunch available, 505-982-4636, wheelwright.org.

Indigenous Fine Art Market- IFAM

Santa Fe Railyard More than 400 Native artists are slated to participate in this inaugural market ThursdaySaturday, Aug. 21-23; events include a kickoff Glow Dance Party, youth programming, and film screenings, indigefam.org.

93rd Annual Santa Fe Indian Market Launch Party

On The Plaza Thursday, Aug. 21; sneak preview Friday, Aug. 22; live auction dinner and gala Saturday, Aug. 23; market Saturday and Sunday, Aug. 22-23; swaia.org, 505-983-5220.

Jerry López and Friends

The Lensic Local singer/guitarist, 7 p.m. Friday, Sept. 12, $25-$35, 505-988-1234, ticketssantafe.org, benefit concert in support of the National Latino Behavorial Health Association.

Ray Lamontagne

Lyle Lovett and His Large Band

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

The Downs of Santa Fe, 27475 W. Frontage Rd. Texas singer/songwriter, 7 p.m. Saturday, Sept. 13, $12-$76, 505-988-1234, ticketssantafe.org.

The Hold Steady

Santa Fe Farmers Market Pavilion Louisiana-based accordianist/singer, 7:30 p.m. Wednesday, Sept. 24, $25 in advance, $30 at the door, brownpapertickets.com.

Sixth Annual Mariachi and Dance Concert

THEATER/DANCE

Buffalo Thunder Resort & Casino Performers include Johnny Hernandez, Mariachi Sonido Nuevo, Allen Muñiz, and Mariachi Buenaventura; silent auction 5:30-6:30 p.m., music starts at 7 p.m. Saturday, Aug. 9, $18 in advance at tickets.com, $20 at the door, proceeds benefit the nonprofit organization Sangre de Cristo Funeral Fund.

Teatro Paraguas Studio, 3205 Calle Marie, 505-424-1601 Southwest Rural Theatre Project presents the second melodrama in the series written and directed by Leslie Joy Coleman, 7:30 p.m. Saturday, July 19, $12, discounts available.

Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill Tuesday, July 22, through Saturday, July 26; including performances by Cipriano Vigil y la Familia Vigil and Nosotros, a Spanish Market preview, lunch and dinner events, and film screenings; hosted by the Spanish Colonial Arts Society, call 505-982-2226, Ext. 109, for advance tickets.

Santa Fe Center for Spiritual Living, 505 Camino de los Marquez Featuring J. Q. Whitcomb on trumpet, Ben Finberg on trombone, John Rangel on piano, Andy Zadrozny on bass, and John Trentacosta on drums, 7:30 p.m. Friday, Aug. 1, $15 at the door.

Santa Fe Sol Stage & Grill, 37 Fire Place Rock band, 7:30 p.m. Wednesday, Aug. 6, $25, 505-988-1234, ticketssantafe.org.

Stop That Train Before Penny, or Buster Feels the Spirit

Buckwheat Zydeco

As You Like It

Monte del Sol Charter School, 4157 Walking Rain Rd. Santa Fe Shakespeare Society presents the comedy, outdoors at 6 p.m. Fridays-Sundays, July 18-Aug. 3, $5-$20 sliding scale, 505-490-6271, sfshakespeare.org.

Juan Siddi Flamenco Santa Fe

The Lensic Dance ensemble, 8 p.m. July 18, July 27, Aug. 3, and Aug. 9, ticketssantafe.org, 505-988-1234.

Singer/songwriter Ray Lamontagne performs Aug. 5 at the Downs of Santa Fe.

PASATIEMPOMAGAZINE.COM

AT THE GALLERIES

Museum of Spanish Colonial Art

750 Camino Lejo, Museum Hill, 505-982-2226 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; open daily through Sept. 1.

Blue Rain Gallery

130-C Lincoln Ave., 505-954-9902 Year of the Horse, paintings by Rimi Yang and blown-glass sculpture by Shelley Muzylowski Allen, through July 19.

Contemporary Tapestry Gallery

835 W. San Mateo Rd., 505-231-5904 51 American Cities, group show, through July 26.

New Mexico History Museum/ Palace of the Governors

Giacobbe Fritz Fine Art

702 Canyon Rd., 505-986-1156 Art Circus, paintings by Ben Steele, through July 20.

113 Lincoln Ave., 505-476-5200 Poetics of Light: Pinhole Photography, through March 29, 2015 • Transformed by New Mexico, work by photographer Donald Woodman, through Oct. 12 • Water Over Mountain, Channing Huser’s photographic installation • Telling New Mexico: Stories From Then and Now, core exhibit • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe; nmhistorymuseum.org; open daily through Oct. 7.

LewAllen Galleries at the Railyard

1613 Paseo de Peralta, 505-988-3250. Henry Jackson: Halted in Transition, abstract paintings, through July 27.

Liquid Outpost

211 Old Santa Fe Trail, 505-983-6503 Paintings by Sheila Mahoney Keefe, through July.

Manitou Galleries

New Mexico Museum of Art

123 W. Palace Ave., 505-986-0440 Western Regionalism, works by Kim Wiggins and William Haskell, through July 18.

Matthews Gallery

669 Canyon Rd., 505-992-2882 Hannah Holliday Stewart: An Artistic Legacy Rediscovered, sculpture by the late artist, through July 18.

McLarry Fine Art

225 Canyon Rd., 505-988-1161 American Cowgirl, paintings by Donna HowellSickles, through July 18.

J. Miguel da Silva, Retirantes, 1995, in the Museum of International Folk Art exhibit Between Two Worlds: Folk Artists Reflect on the Immigration Experience.

Meyer East Gallery

225 Canyon Rd., 505-983-1657 Paintings by David Dornan, through Thursday, July 17.

Patina Gallery

131 W. Palace Ave., 505-986-3432 La Vaca Loca, sculpture and works on paper by Victor Teng, through Thursday, July 17.

Tansey Contemporary

652 Canyon Rd., 505-995-8513 The Persistence of Religion, paintings by Patrick McGrath Muñiz, wood sculpture by Bob Cardinale, and beadwork by Teri Greeves, through July 22.

Ventana Fine Art

400 Canyon Rd., 505-883-8815 Movement and Grace, works by painter Jean Richardson and sculptor Rebecca Tobey, through July 16.

MUSEUMS & ART SPACES Santa Fe Santa Fe Center for Contemporary Arts

1050 Old Pecos Trail, 505-982-1338 The Curve, Center’s annual show of awardwinning photography • Dear Erin Hart, multimedia exhibit by Jessamyn Lovell • Air Force: Aesthetic Experiments in Aviation, works on paper created via remote-controlled airplane; exhibits through Aug. 10. Open Thursdays-Sundays; ccasantafe.org.

Georgia O’Keeffe Museum

217 Johnson St., 505-946-1000 Georgia O’Keeffe and Ansel Adams: The Hawaii Pictures • Abiquiú Views; through Sept. 17. Open daily; okeeffemuseum.org.

Museum of Contemporary Native Arts

108 Cathedral Place, 505-983-1777 Free public event held 5-7 p.m. Wednesday, July 16, in conjunction with the temporary site-specific

PASATIEMPO I July 11-17, 2014

installation (Pull of the Moon) on the Navajo Nation by Ai Weiwei and Bert Benally; including a 3-D digital landscape of the project, a live performance by German sound artist Robert Henke and Benally based on sounds captured during the installation, and a screening of the documentary Bert & Wei Wei: TIME 2014 by Daniel Hyde and Blackhorse Lowe (exhibits up through Oct. 16) • We Hold These Truths, contemporary paper baskets by Shan Goshorn • Brandywine Workshop Collection, works by indigenous artists donated to the Philadelphia facility • Articulations in Print, group show • Bon à Tirer, prints from the permanent collection • Native American Short Films, continuous loop of five films from Sundance Institute’s Native American and Indigenous Program; exhibits up through July. Closed Tuesdays; iaia.edu/museum.

Museum of Indian Arts & Culture

710 Camino Lejo, Museum Hill, 505-476-1269 Turquoise, Water, Sky: The Stone and Its Meaning, highlights from the museum’s collection of jewelry • Native American Portraits: Points of Inquiry, vintage and contemporary photographs, through January 2015 • The Buchsbaum Gallery of Southwestern Pottery, traditional and contemporary works • Here, Now, and Always, artifacts from the museum collection. Open daily; indianartsandculture.org.

Museum of International Folk Art

706 Camino Lejo, Museum Hill, 505-476-1200 Between Two Worlds: Folk Artists Reflect on the Immigrant Experience, International Folk Arts Week kick-off exhibit on immigration • Wooden Menagerie: Made in New Mexico, early 20th-century carvings, through Feb. 15, 2015 • Tako Kichi: Kite Crazy in Japan, exhibition of Japanese kites, through July 27 • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, international collection of toys and folk art • Brasil and Arte Popular, pieces from the museum’s collection, through Aug. 10. Open daily; internationalfolkart.org.

artwork and craftsmanship of each of the 19 pueblos. Weekend Native dance performances; indianpueblo.org.

Maxwell Museum of Anthropology

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

National Hispanic Cultural Center

1701 Fourth St. S.W., 505-604-6896 ¡Papel! Pico, Rico y Chico, group show of works in the traditional art of papel picado (cut paper). Closed Mondays; nationalhispaniccenter.org.

UNM Art Museum

1 University of New Mexico Blvd., 505-277-4001 Oscar Muñoz: Biografías, video works; Luz Restirada, Latin American photography from the museum collection, through July 26. Closed Sundays and Mondays; unmartmuseum.org.

Los Alamos Bradbury Science Museum

107 W. Palace Ave., 505-476-5072 Local Color: Judy Chicago in New Mexico 1984-2014, focusing on public and personal projects, through Oct. 12 • Southwestern Allure: The Art of the Santa Fe Art Colony, including early 20th-century paintings by George Bellows, Andrew Dasburg, Marsden Hartley, and Cady Wells, through July 27 • Focus on Photography, rotating exhibits • Beneath Our Feet, photographs by Joan Myers • Grounded, landscapes from the museum collection • Photo Lab, interactive exhibit explaining the processes used to make color and platinum-palladium prints from the collection, through March 2015 • New Mexico Art Tells New Mexico History, including works by E. Irving Couse, T.C. Cannon, and Agnes Martin, through 2015 • Spotlight on Gustave Baumann, works from the museum’s collection, through 2015. Open daily through Oct. 7; nmartmuseum.org.

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

Poeh Cultural Center and Museum

Taos

78 Cities of Gold Rd., 505-455-3334 Nah Poeh Meng, 1,600-square-foot installation highlighting the works of Pueblo artists and Pueblo history. Closed Saturdays and Sundays; poehcenter.org.

Wheelwright Museum of the American Indian

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

Albuquerque Albuquerque Museum of Art & History

2000 Mountain Rd. N.W., 505-243-7255 Everybody’s Neighbor: Vivian Vance, family memorabilia and the museum’s photo archives of the former Albuquerque resident, through January 2015 • Arte en la Charrería: The Artisanship of Mexican Equestrian Culture, more than 150 examples of craftsmanship and design distinctive to the charro. Closed Mondays; cabq.gov/ culturalservices/albuquerque-museum/generalmuseum-information; closed Mondays.

Holocaust and Intolerance Museum of New Mexico

616 Central Ave. S.W., 505-247-0606 Exhibits on overcoming intolerance and prejudice; nmholocaustmuseum.org; closed Sundays and Mondays.

Indian Pueblo Cultural Center

2401 12th St. N.W., 866-855-7902 Our Land, Our Culture, Our Story, historical overview of the Pueblo world, and contemporary

1350 Central Ave., 505-667-4444 Information on the history of Los Alamos and the Manhattan Project as well as over 40 interactive exhibits. Open daily; lanl.gov/museum.

Los Alamos Historical Museum

1050 Bathtub Row, 505-662-4493 Core exhibits on area geology, homesteaders, and the Manhattan Project. Housed in the Guest Cottage of the Los Alamos Ranch School. Open daily; losalamoshistory.org.

Pajarito Environmental Education Center

E.L. Blumenschein Home and Museum

222 Ledoux St., 575-758-0505 Color-field paintings by Donald Roy Thompson, through Aug. 10. Hacienda art from the Blumenschein family collection, European and Spanish colonial antiques. Open daily; taoshistoricmuseums.org.

Harwood Museum of Art

238 Ledoux St., 575-758-9826 Highlights From the Gus Foster Collection, contemporary works, through Sept. 7. Open daily through October; harwoodmuseum.org.

La Hacienda de los Martinez

708 Hacienda Way, 575-758-1000 One of the few Northern New Mexico-style, Spanish-colonial “great houses” remaining in the American Southwest. Built in 1804 by Severino Martinez. taoshistoricmuseums.org; open daily.

Millicent Rogers Museum

1504 Millicent Rogers Rd., 575-758-2462 Historical collections of Native American jewelry, ceramics, and paintings; Hispanic textiles, metalwork, and sculpture; and contemporary jewelry. Open daily through October; millicentrogers.org.

Taos Art Museum at Fechin House

227 Paseo del Pueblo Norte, 575-758-2690 Intimate and International: The Art of Nicolai Fechin, paintings and drawings, through Sept. 21. Housed in the studio and home that artist Nicolai Fechin built for his family between 1927 and 1933. Closed Mondays; taosartmuseum.org.

Roger Arvid Anderson: Byzantium 2014, archival rag paper pigment print New Concept Gallery, 610 Canyon Road, 505-795-7570 Sailing to Byzantium exhibits large-scale pigment prints and bronze sculpture by Roger Arvid Anderson, whose prints draw on a number of sources that include Navajo, Peruvian, Chinese, and Japanese textile designs. Also on show is sculpture from Anderson’s Trail Marker series inspired by historic cairns. The exhibition’s title is taken from the William Butler Yeats poem. The opening reception is at 5 p.m. on Friday, July 11.

Bryce Cameron Liston: Marigolds 2014, oil on canvas Sage Creek Gallery, 421 Canyon Road, 505-988-3444 A show of figurative paintings by Bryce Cameron Liston, Seasons of Beauty,, opens with a 5 p.m. reception on Friday, July 11. Liston’s works, in the tradition of late-19th-century paintings by artists such as John Singer Sargent and John William Waterhouse, capture intimate scenes of idyllic beauty in oils.

A P E E K AT W H AT’S S H OW I N G A R O U N D TOW N Joe Long: Ferris Wheel 2014, digital print of a 1949 photograph

Cate Moses: We’ll Get There 2014, oil on panel

Red Dot Gallery, 826 Canyon Road, 505-820-7338 This venue’s Annual Summer Art Exhibition opens with a reception on Friday, July 11, at 4:30 p.m. The show includes pieces by students, faculty, and alumni of the Santa Fe Community College as well as students and alumni of Eastern New Mexico University, Clovis Community College, Santa Fe University of Art and Design, and the Institute of American Indian Arts. Glass and ceramics, paintings, photographs, and other art forms are included. The gallery is open Fridays through Sundays only.

Santa Fe University of Art and Design, Fogelson Library, 1600 St. Michael’s Drive, 505-473-6569 Water Spirits Walking on the Land shows new paintings and photographs by Cate Moses, whose works combine quirky depictions of animals and unusual subjects with elements of traditional wildlife art and landscape photography. There is a 5 p.m. opening reception on Friday, July 11 .

Alex Watts: Emergence 2014, bronze Winterowd Fine Art, 701 Canyon Road, 505-992-8878 The gallery celebrates its 10-year anniversary with a group show. The exhibit includes watercolor landscapes by Sarah Bienvenu, Karen Bexfield’s glass sculptures, Jamie Kirkland’s landscapes, bronze figurative sculpture by Alex Watts, Tom Kirby’s minimalist abstractions, Charlie Burk’s detailed paintings of grass, and more. The reception is on Friday, July 11, at 5 p.m.

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