The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
July 12, 2013
“The art of gastronomy is a friendly one.
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Food... it’s our Forte! Pre Performance Dinner Special
Lunch Tues. - Sat., 11:30 - 2:30 through July 548 Agua Fria, Santa Fe • 982-8608 • www.ristrarestaurant.com
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Re claimed wood and iron furniture. Large slab dining tables. Sectionals. Great beds. Coffee tables. Organic mattress. Nature art.
3 courses – $35 5:30 seating
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PASATIEMPO I July 12 - 18, 2013
ORIGINS® IS A REGISTERED TRADEMARK USED UNDER LICENSE. ©2013 MARGOLIS, INC.
HARI TRUNK SHOW 12:15 BURRO ALLEY CAFE
SAT, JULY 13th SUN, JULY 14th MON, JULY 15th
NEW ARRIVALS Dressed to Kill, Harari, Brazil Rocks, Lycee, Zonda & Zelda HOLD THE DATE TRUNK SHOW Catherine Bacon, Carter Smith, Susan Green & Faith Welsh July 19-21
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“A Swirl of Silliness... in an engaging, colorful production.” New Mexican
photo by Ken Howard
She’s the Ultimate Cougar
THE
GRAND DUCHESS OF GEROLSTEIN
Susan Graham portrays a sexy, spoiled aristocrat with an eye for a young cadet at the local military academy. There’s just one problem: He’s already engaged. THIS MEANS WAR! 8:30 PM: JULY 12, 19
O F F E N B A C H
8:00 PM: JULY 30; AUGUST 7, 15, 21, 24
T H E S A N T A F E O P E R A 2 0 1 3 F E S T I V A L S E A S O N • T H R O U G H AU G U S T 2 4 Love Unmasked
THE MARRIAGE OF FIGARO
I
MOZART
8:00 PM: AUGUST 3, 8, 13, 20, 23
Only The Heart Knows
I
L A DONNA DEL L AGO
ROSSINI 8:30 PM: JULY 13, 17, 26 8:00 PM: AUGUST 1, 6, 14
All That Blooms Fades
L A T R AV I ATA
I
VERDI
8:30 PM: JULY 20, 24 8:00 PM: JULY 29; AUGUST 2, 5, 10, 16, 22
The Love that Dared
OSCAR
WORLD PREMIERE
I
THEODORE MORRISON 8:30 PM: JULY 27 8:00 PM: JULY 31; AUGUST 9, 12, 17 photo by Kate Russell
TICKETS START AT $32!
• • • • • 4
Arrive Early with a Tailgate Supper Enjoy the Sunset & Stunning Mountain Views Free Prelude Talks on the Evening's Opera Instant Translation Screen at Your Seat Backstage Tours (Monday - Saturday mornings)
PASATIEMPO I July 12 - 18, 2013
505-986-5900
•
www.SantaFeOpera.org
A ne w ba r !?
The Linen & Cotton Store
A new outdoor bar in Santa Fe... Opening in July!
Larger Sizes Too Free Chocolate with Every Visit
Eat Drink Shop 505-988-2355 • 221 Shelby St. • tantiluce221.com
It is with great sadness that we say goodbye to our beloved Sunshine She had the most kind and beautiful soul. She was a lady in every way and she will be missed in every moment.
223 Galisteo between Water & Alameda • 505.983.6331 • Mon-Sat 10-6, Sun 11-5
Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room • Bedroom • Entertainment • Lighting • Accessories
Featuring Attractive Hand Crafted Southwestern Lighting
Great selection of Hand-Forged Iron Lamps, Unique Batik and Rawhide Lamp Shades. Reasonable prices every day of the year! Please come in, you’ll be pleasantly surprised.
SANTA FE COUNTRY FURNITURE 1708 Cerrillos Road • 984-1478 • Corner of 2nd & Cerrillos 525 Airport Road • 660-4003 • Corner of Center Drive & Airport
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Monday - Saturday
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PASATIEMPOMAGAZINE.COM
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THE SANTA FE NEW MEXICAN
July 12 - 18, 2013
www.pasatiempomagazine.com
On the cOver 38 You can’t go home again Working around events his childhood in Cuba, Enrique Martínez Celaya peels away layers of memory in The Pearl, a large-scale multimedia installation at SITE Santa Fe in which things at first are not quite what they seem. Objects, numbers, and themes appear and reappear with persistence in a beguiling exhibit the artist describes as “a house remembering itself.” On the cover is a detail of Martínez Celaya’s installation; courtesy SITE Santa Fe.
mOving images
BOOKs 14 in Other Words Spiritual American Trash 16 refitted lives The Good Life Lab
64 66 68 70 72
mUsic and dance 20 23 24 26 34
sound Waves Dueling banjo bands Onstage Aspen Santa Fe Ballet Pasa tempos CD Reviews terrell’s tune-Up Wide world of punk chamber made Chamber Music Festival
calendar 79 Pasa Week
and
santa Fe OPera
10 mixed media 13 codes 76 restaurant review: arroyo vino
28 highland fling La donna del lago 32 in the moment Joyce DiDonato
art 50 52 54 58 62
el camino real In images and words art in review Wanxin Zhang common entropy Making Places global contemporaries ART Santa Fe looters, beware Robert K. Wittman
advertising: 505-995-3819 santafenewmexican.com ad deadline 5 p.m. monday
Pasatiempo is an arts, entertainment & culture magazine published every Friday by The New Mexican. Our offices are at 202 e. marcy st. santa Fe, nm 87501. editorial: 505-986-3019. Fax: 505-820-0803. e-mail: pasa@sfnewmexican.com PasatiemPO editOr — Kristina melcher 986-3044, kmelcher@sfnewmexican.com ■
art director — marcella sandoval 986-3025, msandoval@sfnewmexican.com
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assistant editor — madeleine nicklin 986-3096, mnicklin@sfnewmexican.com
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chief copy editor/Website editor — Jeff acker 986-3014, jcacker@sfnewmexican.com
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associate art director — lori Johnson 986-3046, ljohnson@sfnewmexican.com
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calendar editor — Pamela Beach 986-3019, pambeach@sfnewmexican.com
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staFF Writers michael abatemarco 986-3048, mabatemarco@sfnewmexican.com James m. Keller 986-3079, jkeller@sfnewmexican.com Bill Kohlhaase 986-3039, billk@sfnewmexican.com Paul Weideman 986-3043, pweideman@sfnewmexican.com
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cOntriBUtOrs loren Bienvenu, laurel gladden, Peg goldstein, robert Ker, Jennifer levin, robert nott, adele Oliveira, Jonathan richards, heather roan-robbins, david J. salazar, casey sanchez, michael Wade simpson, steve terrell, hollis Walker, Khristaan d. villela
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PrOdUctiOn dan gomez Pre-Press Manager
The Santa Fe New Mexican
sculptures in artist linda Fleming’s studio
© 2013 The Santa Fe New Mexican
A Highjacking Casting By Fill the Void Pandora’s Promise Pasa Pics
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Robin Martin Owner
www.pasatiempomagazine.com
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advertising directOr Tamara Hand 986-3007
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marKeting directOr Monica Taylor 995-3824
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art dePartment directOr Scott Fowler 995-3836
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graPhic designers Rick Artiaga, Dale Deforest, Elspeth Hilbert
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advertising sales mike Flores 995-3840 stephanie green 995-3820 cristina iverson 995-3830 rob newlin 995-3841 Wendy Ortega 995-3892 art trujillo 995-3852
Ginny Sohn Publisher
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Santa Fe Garden Club presents
BEHIND ADOBE WALLS HOME AND GARDEN TOURS
Tuesday, July 23 & Tuesday, July 30 12:30pm- 5:00pm
Visit unique private homes and gardens! *Four homes each week *Luxury bus transportation *Pre-tour optional lunch
$75 per tour By reservation only: Westwind Travel, 505-984-0022 Or email terry@westwindtravel.net
www.thesantafegardenclub.org
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STEVE ELMORE STUDIO “Sacred Serpents and Fire Trees” – New Paintings by Steve Elmore
839 Paseo de Peralta, Santa Fe Free Parking between Palace and Alameda 505.995.9677 • gallery@elmoreindianart.com
“Roadside Attraction: Cochiti, 72” x 48”
Opening Reception: Friday, July 12 from 5 to 7 pm
steveelmorestudio.com
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PASATIEMPO I July 12 - 18, 2013
“Tree in the Arroyo”, 16” x 20”
S A N TA F E B O TA N I C A L G A R D E N E V E N T S ! CLAYTON BASS
Grand Opening Celebration Weekend Santa Fe Botanical Garden at Museum Hill July 19–21, 715 Camino Lejo
Friday Gala Benefit is SOLD OUT
Joins us Saturday & Sunday at Members Only Day and Free Community Day with activities for all ages. More info at www.santafebotanicalgarden.org.
¡Viva Flora!
Treasured Plants of New Mexico, Botanical Art Show
Painting by Jan Denton, New Mexico Evening Primrose
Open through August Tues–Fri 10am–5pm & Sat 9:30am–4pm Community Gallery, 201 West Marcy St. The show includes art classes, lectures and children’s activities. Free and open to the public.
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Lensic Presents
in association with the Albuquerque Museum of Art and History
FUSIONTheatre Company
MIXED MEDIA
Kicking a Dead Horse By Pulitzer Prize-winning playwright Sam Shepard Starring Paul Blott · Directed by Laurie Thomas
Art dealer Hobart Struthers leaves a life of riches in search of authenticity—and finds himself stranded in the desert, forced to reckon with the choices that define him. “Wonderful writing: tough, poetic, and funny . . . ” —Financial Times (UK)
July 20 2 pm & 8 pm $20–$40/$10 students
Photos Bob Smith
Tickets: 505-988-1234 www.TicketsSantaFe.org SERVICE CHARGES APPLY AT ALL POINTS OF PURCHASE
FUSIONTheatre Company Tradition // Innovation // Excellence
the lensic is a nonprofit, member-supported organization
FUSIONnm.org
Market-driven: International Folk Art Market EIGHTH ANNUAL
NEW MEXICO JAZZ FESTIVAL A L B U Q U E R Q U E | S A N TA F E
JULY 12–28
PERFORMANCES AT T H E L E N S I C
Stanley Clarke Band J ULY 2 1 , 7 : 30 P M
Terence Blanchard Quintet & Lionel Loueke Trio J ULY 2 6 , 7 : 30 P M
Eddie Palmieri Latin Jazz Band J ULY 2 7 , 7 : 30 P M O T H E R N M J A Z Z F E S T I VA L PERFORMANCES T R I O D A PA Z C AT H E R I N E R U S S E L L ARLEN ASHER & STRAIGHT UP YELLOWJACKETS R E D B A R A AT T H E R E L AT I V E S LARRY MITCHELL THE MIL-TONES LIONEL LOUEKE TOM MCDERMOTT ROUTE 66 SUMMERFEST
I N F O : N E W M E X I C O J A Z Z F E S T I VA L . O R G T I C K E T S : T I C K E T S S A N TA F E . O R G 505-988-1234 OUTPOST 505-268-0044
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PASATIEMPO I July 12 -18, 2013
The 2013 Santa Fe International Folk Art Market returns with ceramics, amulets, baskets, jewelry, hand-blown glass, tie-dyed clothing, and more. The market hosts artists from Mexico, Rwanda, China, Hungary, France, Cuba, Peru, and dozens of other nations. The event takes place on Museum Hill on Milner Plaza between the Museum of International Folk Art (706 Camino Lejo) and the Museum of Indian Arts and Culture (710 Camino Lejo). A tour through the market is an education in world cultures. Visitors have opportunities to meet and talk with more than 150 artists and to browse the many selections of folk art and crafts. Where else can you buy that Haitian voodoo tapestry you’ve been looking for? Or maybe your interests lie in Tuvan horse whips from Russia, kilim rugs from Uzbekistan, Balinese masks, or Moroccan daggers. These are just a fraction of the items available for sale. Visitors can also enjoy Andean flute music by Mario Reynolds, see the Quang Minh Buddhist Youth Lion Dance Team from Vietnam, take part in a Tuvan throat singing workshop, and much more. You can’t park on Museum Hill during the event, but market buses shuttle passengers from two locations: the west side of the bus platform at the South Capitol Rail Runner Station (1301 Alta Vista St.) and in front of the Lamy Building (491 Old Santa Fe Trail) across from the State Capitol. Parking is available nearby. The market is open Saturday and Sunday, July 13 and 14, from 9 a.m. to 5 p.m. each day. A $50 early-bird ticket gets you into the market from 7:30 to 9 a.m. Saturday morning (and includes admission the rest of the day). Regular tickets cost $15 in advance or $20 at the event on Saturday, and $10 in advance or $15 at the event on Sunday. There is no charge for those 16 and under. Advance tickets can be purchased online at www.holdmyticketcom, by calling 505-886-1251, at any gift shop in the Museum of New Mexico System, or at any Los Alamos National Bank location. For information on parking, bus schedules, participating artists, nations, and event details, visit www.folkartmarket.org or call 992-7600. — Michael Abatemarco
MIXED MEDIA Dinner Thursday - Sunday Breakfast & Lunch Tuesday – Sunday
info@SwissBakerySantaFe.com - SwissBakerySantaFe.com
Rodrigo Lara Zendejas; below, an untitled 2012 sculpture by Zendejas; images courtesy of Santa Fe Clay
I got it at wink! Sanbusco Market • 988-3840 WinkSantaFe
Body work
The summer slide lecture series at Santa Fe Clay continues with “Modeling the Figure: Mass and Form.” The presentation by Mexican ceramist Rodrigo Lara Zendejas is given in conjunction with a weeklong workshop of the same title that runs from Monday, July 15, to Friday, July 19. “The human figure is the meeting point of the gravity of the matter and the ethereality of emotion,” Zendejas writes. “Many of my works explore the fact that fear and love affect the body with similar intensity.” Imagery such as nudes in gas masks and people with hinged limbs like those of marionettes gives Zendejas’ works an unsettling edge and often a touch of melancholy. For his workshop Zendejas has students sculpt the human figure, working from a live model. He focuses on realistic depictions of the body, including muscle tone and anatomy and techniques for rendering flesh. He covers specific body parts in demonstrations during the workshops. At the end of the workshop, sculptures made by participants are bisque fired at Santa Fe Clay. The lecture takes place Wednesday, July 17, at 7 p.m. and is free to the public. Tuition for the workshop is $525, with a $50 lab fee, a model fee of $30, and a nonrefundable $50 registration fee. To register call Santa Fe Clay at 984-1122 or visit the studio at 545 Camino de la Familia. The lecture series runs weekly through Aug. 14. — Michael Abatemarco PASATIEMPOMAGAZINE.COM
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Now Open 839 Paseo de Peralta Come in for a free 20 minute biomat healing session
Treatments: John of God Crystal Light Therapy Energy Medicine Healing & Asian Body Work
www.amethystsantafe.com
Open daily 10am-4pm and by appointment Call 505-670-3538 or 505-954-1002
A free and family friendly summer concert series at St. John’s College. Enjoy great music in the open air. Wednesday evenings 6 - 8 p.m. on the athletic field.
8th
TM
17 John Proulx Quartet
NAT “KING” COLE AND MORE Parking for the event is limited. There is a free shuttle between Museum Hill and St. John’s College. Concertgoers may picnic on the field. No seating is available. Food and drink can be purchased from Walter Burke Catering and Sprouts Farmers Market. For safety purposes, no pets allowed on the field, bicycles must be parked along the tennis court fences, and parents need to monitor their children. Please drink responsibly. For more information and parking directions, or in case of rain, see our website at www.stjohnscollege.edu
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PASATIEMPO I July 12 - 18, 2013
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Put safety first and foremost, and then have as much fun and joy
as possible. We move into a tender, if heart-guarded, week, with inspiring and deeply challenging aspects working on us at the same time. Feisty Mars leaves talkative Gemini, shifts into Cancer, and brings out tenderness on a good day but also our defensive genius. Mars’ influence cranks up over the week as it approaches a conjunction with expansive Jupiter, beautifully visible just before dawn. Mental Mercury retrogrades back to oppose deep-thinking Pluto; it helps us concentrate while it stirs up our old ghosts and reminds us of what we’ve recently lost. This can be a healing transit, but watch for sadness or a feeling that things just aren’t changing fast enough. Use this Plutonian thoughtfulness to value every minute of life and every drop of beauty and to sort priorities. These aspects can trigger major changes — a revolutionary, self-protective willingness to fight for what matters to us. While this feeds heat into the world’s political hot spots, our home doesn’t have to be affected. Take the time to get to the heart of the matter. Echoing behind all this is a beautiful, inspiring grand trine of Jupiter, Saturn, and Neptune, which opens our intuition and helps us feel our connection to all sentient beings. It whispers that we can add luck, resources, and hard work to our dreams and make them happen. Friday, July 12: Keep the focus on what needs healing, not what needs fixing, and notice the subtle difference. Recent delays can leave us behind schedule, but we’ll catch up faster if we laugh, coordinate, and praise work accomplished rather than get irritable under a sensitive, earnest Virgo moon. Saturday, July 13: Goodwill doesn’t mean we work well together; ideas and efforts can run on skew lines and take extra time to coordinate. This afternoon we grow efficient but more persnickety and less able to take criticism as Mars enters Cancer. Exude acceptance and others become more cooperative. Sunday, July 14: Snafus occur as the moon enters friendly, egalitarian Libra while opposing Uranus and squaring Pluto, Mercury, and Jupiter. Notice an accident-prone quality and a competitive air. Maintain balance and watch for arguments over what is fair; think safety and cooperativeness. Give loved ones a little personal attention and watch ruffled feathers settle. Monday, July 15: The mood is pleasant and cooperative. Clarify confusion midday; let every moment be a teaching moment. Make positive connections this afternoon, and know when to retreat to neutral corners tonight. Tuesday, July 16: We have homework to do as the intense, snarky Scorpio moon turns our attention inward. If we look for the answers outside, it will be all too easy to blame and hand off personal responsibility. Focus and concentrate later on, but let’s be careful what we focus on. Believe in substantial magic. If people are distracted by their inner agenda, give them the benefit of the doubt. Wednesday, July 17: We want to know who’s got our back and need to show we’re trustworthy. An unusual turn of events can precipitate opportunity or crisis as Uranus turns direct. We can seed a whole new cycle of spiritual growth but may be challenged on more mundane levels with our insecurities. Dive below the waves and tune in to what really matters.
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Thursday, July 18: Relationships wobble easily; our feelings echo off one another unless we look for the best this morning. The mood shifts midday toward a fresher, more positive approach as the moon enters optimistic, impatient Sagittarius and encourages movement where we felt stuck. ◀ www.roanrobbins.com
78 Cities of Gold Rd. • 505-455-9086 • eBT & WIC accepted PASATIEMPOMAGAZINE.COM
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In Other wOrds book reviews Spiritual American Trash: Portraits From the Margins of Art & Faith by Greg Bottoms, Counterpoint Press, 220 pages “Outsider artists don’t often get ‘better’ in the way we might define that in academia or curatorial culture; they get more,” Greg Bottoms writes toward the end of Spiritual American Trash: Portraits From the Margins of Art and Faith. By the time he makes this observation, he has profiled eight outsider artists, all but one of whom created all-encompassing environments. They literally lived in the art they made, or lived with it, as in the case of Frank Jones, who drew his demons from a prison cell using pencil stubs and old paper. All the artists in the book suffered from some form of mental or emotional illness, diagnosed or not, whether organic or trauma-related, and all made art out of what they had or were able to scrounge from what other people left behind. Though some of the artists became well known during or after their lives, Bottoms hasn’t written a book about the curatorial value of outsider art; nor is this an academic exploration of the visual manifestations of fractured minds. The eight prose portraits — each introduced by an illustrated portrait drawn by W. David Powell — function as biographies, stories, journalism, poetry, commonplace books, and sociological studies. The book feels very much like an art object itself, not because of its design, which is lackluster, but because what is contained within its covers is honed and crafted and important. Nearly any sentence in Spiritual American Trash can be used as an example of Bottoms’ fine writing. In the first portrait, he describes James Hampton’s early adulthood with economy and grace: “For more than a decade, James worked as a short-order cook in various diners around the city, keeping to himself, hearing faint voices, taking prayer breaks instead of smoke breaks when he took a break at all.” Hampton, whose 14-year project The Throne of the Third Heaven of the Nations’ Millennium General Assembly is displayed in the Smithsonian American Art Museum, didn’t consider himself an artist and, like others in the book, came to art later in life, after personal tragedy and loss. Bottoms weaves together researched fact, critical speculation, and personal conjecture about and assessments of the artists’ lives to achieve a result that he describes in the book’s introduction as “far from a solid state (more like gas with the wind blowing).” Bottoms’ interest in the type of outsider art that mesmerizes with its layers and density, with all that is left unsaid inside the atmospheres it creates, stems from growing up in a Christian home in the South with a paranoid schizophrenic brother who had visions and hallucinations from a young age. Bottoms’ brother ended up homeless and incarcerated, a criminal and a victim of crime. Bottoms confesses to using the tools of fiction to tell the stories of people who existed on the margins, often spoken of now only in terms of the art they offered to the world and to no one in particular. He doesn’t psychoanalyze them; nor does he make them precious. He doesn’t disregard the darker aspects of their lives, such as the rape convictions that sent Frank Jones to prison or the tension between the willful poverty and filth in which Chief Rolling Mountain Thunder (also known as Frank Van Zant) raised his children and his children’s obvious devotion to and complete trust in their father. He offers at face value what is known of the artists’ beliefs and leaves it to the reader to interpret precisely how those beliefs inspired the artists, but he freely admits to shaping the stories with the details he wanted, though nothing is invented whole-cloth. “Over the years I’ve become increasingly interested in the gray area between fact and fiction, truth and memory, historical records and historical stories, as a space to work as a writer — not to be coy or to try to exploit some potential capital in the ‘true’ or ‘tragic,’ but because I am a product of my time and culture,” he writes. Interspersed among the portraits, in the tradition of commonplace books, are collections of quotes from artists, writers, and philosophers arranged around themes of faith, redemption, creativity, existence, and the nature of beauty. These sections allow readers to consider what they have just read, or are about to read, in light of these themes. They also function as the author’s personal collection of objects he has reclaimed and repurposed in service of his own narrative. Annie Hooper, the subject of the third portrait, made saints and angels — entire biblical scenes — out of driftwood she found on the beach. “By best estimates,” Bottoms writes, “she made more than five hundred scenes, which she separated with Christmas tinsel and plastic flowers, and twenty-five hundred figures, always using the same process.” — Jennifer Levin
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PASATIEMPO I July 12 -18, 2013
SubtextS Going nuclear Author James Reich has a problem. What’s he going to read from his new novel, Bombshell (Soft Skull Press), when he appears at Collected Works Bookstore at 6 p.m. on Tuesday, July 16? He can’t really read the overwritten first pages of his highminded thrill-and-kill radioactive adventure (“She watched crystals and lambent minerals glimmering in the blood-red rocks between sparse shadowy cacti”), even if that writing serves his finely wrought purpose. (Spoiler alert: the weirdly detailed descriptions reappear in the cataclysmic finale.) He can’t really read from the blood-splashed killing scenes, even though they’re the best of their type I’ve read in a good while. There could be kids in the audience. Nor does he dare read any of the bits that take part in Madrid, New Mexico. Some of that community’s more civic-minded citizens might object, though we suspect many of its free-thinking denizens will embrace the portrayal. So what’s Reich, a creative-writing instructor at the Santa Fe University of Art and Design and linchpin of the slightly outrageous band Venus Bogardus, to do? Go for a marathon session and read the whole thing? His story of a vengeful Chernobyl orphan’s rampage against the nuclearindustrial complex, beginning at New Mexico’s Trinity site (you know, where the first atomic bomb was detonated), deserves no less. Varyushka Cash, born in Chernobyl on the date of the infamous meltdown, wants one thing: to not let that 25th anniversary come and go “without being echoed by some conflagration of the present.” During her odyssey of destruction she’s pursued by a CIA agent who sizes up every woman he meets as a potential sexual partner. The story revs like a goosed engine until it overheats in the final scenes in a deserted Manhattan. Along the way, you can’t help but think the author wants us to seriously consider the nuclear question and crimes against women. But it’s almost too much fun for that. — Bill Kohlhaase
Part professional memoir and part case-study collection, Common Ground on Hostile Turf follows the gratifying and sometimes frustrating twists and turns inherent in Lucy Moore’s career as an environmental mediator. Though the book would be of particular interest to other professionals in Moore’s field, the stakes are high and the conflicts dramatic enough to make it thoughtprovoking for a general readership. Because Moore is a longtime Santa Fean with decades of experience in the region, many of the cases in question strike close to home. These include water-rights disputes between Pojoaque Pueblo and the city of Española, lingering conflicts over the Tierra Amarilla land grant, and the storage of nuclear waste in Navajo country. Moore believes there is a simple key to successfully bringing together diverse and conflicting groups: “For me as a mediator, it is all about the story. Each of us is made up of our stories — stories about our ancestors, our childhoods, crises that have changed our lives, moments of insight and inspiration. A story that sticks with the listener has drama and somehow inspires, or at least offers a new view of the world,” she writes. Appropriately, Moore offers a series of stories of her own that are often riveting as they unfold, because of the clash of interests involved and the reflections she makes along the way. In one case, Moore is tasked with the job of surveying Navajo reactions to a proposed temporary nuclear-waste facility. Though she was hired by San Juan County, not the Office of the U.S. Nuclear Waste Negotiator, she finds that many of the Navajos look at her as the personification of harmful foreign interests. “History is loaded with examples of abuse of all kinds visited on Navajo communities by outsiders. To these earnest young tribal bureaucrats, I may have looked like another suspicious, meddling outsider,” she writes. Having originally moved to the Southwest to live and work on Navajo land many years earlier, Moore manages to gain some of their trust by showing awareness and respect for Navajo traditions, but ultimately the issue is taken out of her hands when a new governor is elected. At times the book relies a little heavily on the language of alliance building, with bullet points on respectful listening, how to bridge cross-cultural differences, and so on — language that has less impact or meaning for those at an emotional remove from the conflict. However, such bullet points are the ammunition of the mediator, and their presence is helpful in showing how Moore conducts her sessions. Though the book closes with a sort of primer outlining conflict-mediation techniques, the author reaches a more personal conclusion when reflecting on a dispute between Ganados del Valle, a traditional sheepherding collective in Northern New Mexico, and environmental groups over grazing rights on public and private lands. Despite making progress, Moore and her partner ultimately fail to mediate a clear-cut solution. Such a tantalizing failure provides Moore with a learning experience for the next case. She writes, “We have experienced the same roller-coaster ride time and again — euphoria over a breakthrough, despair over a derailment. ... But every time, one or more participants will leave enlightened, or at least constructively confused. They will see things differently, let go of a stereotype or a prejudice, maybe even reach out in some way across that cultural divide. That is enough to keep us going. In fact, that is a lot.” — Loren Bienvenu
GORDON LAWRIE
Common Ground on Hostile Turf: Stories From an Environmental Mediator by Lucy Moore, Island Press, 199 pages
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Lucy Moore reads from “Common Ground on Hostile Turf” at Collected Works Bookstore (202 Galisteo St., 988-4226) on Thursday, July 18, at 6 p.m.
PASATIEMPOMAGAZINE.COM
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Hollis Walker I For The New Mexican
d
Garden be
Electric vehicles
used for hauling
his is the story of Wendy Jehanara Tremayne and Mikey Sklar, two idealists from New York City who renounced their consumerist urban existence, bought a run-down 40-year-old mobile home on an abandoned one-acre RV park in Truth or Consequences, and proceeded to prove that they could build a home and find happiness living life supported largely by the human waste stream. That is, Wendy and Mikey get by on junk the rest of us throw away. They call their T or C homestead Holy Scrap. Before T or C, the pair had regular jobs — Tremayne as a creative director for a marketing firm, Sklar as a programmer for a megabank. “Our life cycle was a patterned loop of working to earn money to buy what we could have made ourselves — better and more responsibly,” Tremayne writes in The Good Life Lab: Radical Experiments in Hands-On Living.. “Our creativity, our most precious gift, we traded for money.” Tremayne began to search for what she calls “an uncommodified life” by creating Swap-O-Rama-Rama, a clothing exchange event at which people teach each other how to repurpose used garments into new clothes or useful objects (socks into iPod covers, for example). It represented “a pledge to create a remedy for the lust for stuff,” she writes. The event went viral, spreading to 125 countries around the world. Later, a commercial company tried to co-opt it into a moneymaking marketing event, but Tremayne put the kibosh on that. She also got good offers to write books about it, but turned them down.
I turned to Mikey and said, ‘Let’s go.’ --- Wendy JeHanaRa Tremayne
Illustrati
on Kris
tian Ols
on
“At the time it was obvious that if I said yes to a book, I would be a product,” she said to Pasatiempo. Tremayne eventually licensed Swap-O-Rama-Rama so that nonprofit groups and communities can use it but not commercial organizations. In 2005 she and Sklar went looking for an apartment to buy in New York and were appalled at the prices and the annual taxes for a home in a “transitional” neighborhood, where the poor had been ousted for new development. “I saw a clear and distinct image of Mikey and me wearing matching metal shackles attached to long chains, tied to desks inside cubicles that fill the city’s skyscrapers,” the author writes. “I turned to Mikey and said, ‘Let’s go.’ We both knew that I meant, ‘Let’s get out of New York.’ ” They quit their jobs and began driving around the country in search of a place where they might be able to afford to experiment with a new way of life. Their first impression of
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PASATIEMPO I ????????? ??-??, 2013
Remember that money is the most abundant and least precious thing on earth. --- WJT
Illustration Grady McFer rin
T or C? “The whole place seemed to have been constructed piecemeal from what could be plucked from the dumpsters.” In other words, it was perfect. The renovation of the mobile home was their starter project, during which they added valuable skills to their already admirable aptitude set. (Tremayne could weld; Sklar knew electronics; both were techno-savvy.) Almost every material need was met from trash piles, landfills, and friends’ backyard stashes of stuff. Holy Scrap grew to include garden beds, irrigation systems, distillers, a solar array, shade structures, fences, sheds, fire pits. In keeping with their philosophy, they offered the plans they created free on the internet to like-minded folks. Transportation likewise was transformed in the couple’s decommodification program. They altered an old Mercedes to run on waste vegetable oil and a Volkswagen Bug to burn biodiesel. They acquired electric vehicles and charged them off their solar array. They learned to use herbs from the desert to make teas, tinctures, and food products. They created an online store to sell their excess, as well as useful technology items Sklar designed, such as temperature controllers and battery renewers. “It was a superblast,” Tremayne said. “It was so fun to wake up and say, What do you want to make? and then get out there and do it. There were just moments of total excitement and creativity and silliness and play.” They did a lot of things the “back-to-the-land” movement hippies of the 1960s and ’70s did, with the added benefit of access to technology — both to find out how to do things and to disseminate information to others. They dubbed themselves digital homesteaders. The couple documented their work in a blog and photographs online. They quickly became gurus in the “maker” community, people who are committed to using their own creativity and skills to get what they need and want in life. They declined offers to star in their own reality TV show. And people began to just show up at their gate, expecting to be invited in for a tutorial. “While we were building, people could see lots of weird things happening on the property and got interested. That was nice,” Tremayne recalled. But as time went on, the couple began to feel like celebrities chased by paparazzi. “A lot of people put us on their vacation list — only they didn’t tell us,” she said. “We’d come home and find people waiting at our gate. People would climb over our wall. Sometimes we’d see heads bobbing above the wall, people hopping to look in. People would be really angry when we didn’t want to give them a tour. And believe me, we’d given hundreds of people tours at that point.” It wasn’t that the pair didn’t want to share their experience; they just couldn’t do it one person at a time. Finally, writing a book seemed to make sense. When Tremayne started to look for a publisher, the right one materialized: Storey Publishing, whose mission is to publish “practical information that encourages personal independence in harmony with the environment.”
The whole place seemed to have been constructed piecemeal from what could be plucked from the dumpsters... --- WJT
continued on Page 18 Our front door made of metal scraps
Mikey Sklar
emayne filling Wendy Jehnara Tr vegetable oil e st wa th the car wi
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The Good Life Lab, continued from Page 17
n Grady
Illustrati o
Self-powered micro gas lights
McFerrin
Engineer Hydrocarbon Spacemaster X Lume Automatic - 41.5mm
When the whole world is for sale, the maker of things is the revolutionary of the age. --- WJT
Focused
Prep means Prepared. Ready for Anything.
Nearly half of The Good Life Lab comprises do-it-yourself recipes for making useful products, from biodiesel to rosemary hair detangler and kombucha drinks, and how-to’s on topics ranging from building a human manure recycling system to turning a shipping container into a building. It is also a philosophical treatise about living lightly on the land and reclaiming one’s soul from the money machine of corporate America. The book is part memoir, funny and soul-stirring, full of personal aphorisms. (“Remember that money is the most abundant and least precious thing on earth.”) Tremayne and Sklar don’t exactly know what comes next in their lives, though they plan to continue living at Holy Scrap. “I can’t imagine giving up a hot spring in my yard,” Tremayne said. What has the Good Life Lab taught her? Tremayne said a creed she wrote sums it up: “When the whole world is for sale, the maker of things is the revolutionary of the age.” “But to end there is to miss that it’s not really about the stuff,” she said. “As long as we go down the ‘stuff’ wormhole, we just fetishize things. I renounced the thing that had always had power over me, and to me that was money and the monetary system and a culture of commerce. I took back my labor, my domesticity, and did it myself. But it’s the pairing of contemplation and stuff that made value out of what I did.” ◀
details ▼ Wendy Jehanara Tremayne reads from The Good Life Lab: Radical Experiments in Hands-On Living ▼ 6 p.m. Monday, July 15 ▼ Collected Works Bookstore, 202 Galisteo St., 988-4226
Santa Fe Prep is proud to be the only secondary school in Santa Fe accredited by ISAS. isasw.org Learn more at sfprep.org 18
PASATIEMPO I July 12 -18, 2013
All photos ©Holy Scrap except photo of Truth or Consequences sign by Moshe Koenick; excerpts from The Good Life Lab © Wendy Jehanara Tremayne, courtesy Storey Publishing
Sensational! Santa Fe Chamber Music Festival All concerts this week @ SFA: St. Francis Auditorium, 107 W. Palace Ave., Santa Fe
mozArT & BrAHmS pLUS
HANDEL & STrAVINSKY CoNCErToS
BrAHmS – pIANo QUArTET
JuL 18
JuL 20
JuL 21 + 22
mENDELSSoHN & morE
JuL 25
THU 6 pm @ SFA
SAT 5 pm @ SFA
SUN + moN 6 pm @ SFA
THU 6 pm @ SFA
Mozart’s breathtaking String Quintet in C features violinists Daniel Hope and Benjamin Beilman. Hope and pianist Inon Barnatan play an invigorating Brahms Scherzo. And, the New Mexico premiere of Dalbavie’s Piano Quartet!
A chamber orchestra comprised of the world’s most celebrated chamber music artists plays masterworks by Handel, Josef Suk, and Stravinsky – in one exquisite evening.
The transcendent Brahms Piano Quartet No. 2 tops this concert, with pianist Soyeon Kate Lee. Hear Daniel Hope’s fiery fiddle playing in Schulhoff’s Duo for Violin and Cello!
The Miami String Quartet plays Mendelssohn’s entrancing String Quartet No. 6., and is joined by awardwinning Soyeon Kate Lee for Dohnányi’s lush, romantic Piano Quintet No. 2. Also, Schulhoff’s marvelous String Sextet.
Monday concert sponsored by
YoUTH CoNCErTS – FrEE!
NEIKrUG & NEW STrING QUArTETS
WED JUL 17 • 10 am @ SFA Inon Barnatan, Benjamin Beilman THU JUL 22 • 10 am @ SFA Miami String Quartet
mINI-FESTIVAL: YEArS oF WoNDEr
@ SFA Generously sponsored by the Edgar Foster Daniels Foundation
Upcoming concerts through July 25th
Schumann, Josef Suk, and many more. You can hear outstanding performances by celebrated artists.
If you’re looking for cutting edge classical music, you’ll find it here. Marc Neikrug’s String Quartet No. 4 and exhilarating premieres by young composers performed by the exciting FLUX Quartet, and the inauguration of the Young Composers String Quartet Program.
NOON
the Santa Fe Chamber Music Festival!
Beethoven, Handel, Stravinsky,
FrI 6 pm @ SFA
AT
Exceptional concerts keep on coming at
include works by Mozart, Brahms,
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MuSIC
Marvelous Music.
moN, AUG 12 • WED, AUG 14 • THU, AUG 15 • moN, AUG 19 Masterpieces by Mozart and Schumann. The Santa Fe Desert Chorale sings Gesualdo. A musical experience of a lifetime in just one week.
But please, reserve your seats now as many of our concerts will sell out! Our extraordinary season continues through August 19th!
THU JUL
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SOYEON KATE LEE PIANO RECITAL Winner of the prestigious Naumburg International Piano Competition, Soyeon Kate Lee plays the music of Janácek, Scriabin, Stravinsky, and Beethoven.
Intimate. Compelling. Unforgettable. Marc Neikrug, Artistic Director
TUE JUL
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JEREMY DENK PIANO RECITAL
THU JUL
25
BEETHOVEN & SHOSTAKOVICH
“Mr. Denk, clearly, is a pianist you want to hear no matter what he performs…” ~The New York Times
The Miami String Quartet plays Shostakovich’s vibrant String Quartet No. 9. Also, world renowned chamber stars perform Beethoven’s Piano and Wind Quintet.
pUrCHASE YoUr TICKETS ToDAY! 505.982.1890 SantaFeChamberMusic.com Ticket Office: NM Museum of Art 107 West Palace Avenue
The Santa Fe Chamber Music Festival is funded in part by the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax; New Mexico Arts, a division of the Office of Cultural Affairs; and the National Endowment for the Arts.
PASATIEMPOMAGAZINE.COM
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SOUND WAVES Loren Bienvenu
Dueling banjo bands
Shana Novak, courtesy Hildur Maral
During the Dunwells’ June 24 appearance at the Santa Fe Bandstand, David Dunwell pulled out a banjo for an encore piece and made a joke to the effect that every touring British musician must at one time or another face the delicate process of playing an inherently American instrument in front of its native audience. He proceeded to perform a banjo-based song (with the backing of his indie-pop rhythm section) that proved his competence with the instrument and his modesty but left few other lingering impressions. As the sometimes rocky soil of American folk continues to be ploughed and overturned in the laborious quest of musical reanimation, its nutrients seem at times near the point of depletion. Britpop bands aren’t the only ones seeking to capitalize on the banjo’s unlikely current status as a mainstream darling. American bands (with animal-inspired names) like Modest Mouse, Fleet Foxes, and Grizzly Bear are just a few of the numerous indie groups known to have plucked a tenor or five-string on stage at one time or another. Then there are the countless young bluegrass, nugrass, alt-folk, roots, old-timey, Americana, and so-called “beard-rock” groups out there adding to the general cacophony in barrooms and on street corners across the land. The benefits of this current musical movement (which, having been going on for several years, no longer qualifies as a mere craze) are certainly numerous. New interpretation of old material continues to expand our awareness of both the role of traditional instruments and the songs that showcase them, and, even more important — at least from a musicological point of view — the recovery of previously lost or fading folk songs greatly helps expand and preserve the musical heritage of this and other countries. Here’s where Sam Amidon comes in. The 32-year-old folk singer and musician from Vermont (who plays the banjo, among other instruments) recently released his seventh album, Bright Sunny South, on Nonesuch Records. In this and previous work, Amidon continues digging deeper into the ground of traditional music, rather than just sifting through the topsoil. So instead of tackling standards by the likes of Leadbelly, Dylan, or either of the Guthries, he focuses on much more antiquated material, which he reworks in surprising ways. “Weeping Mary,” the last song on the album, might be the oldest: it dates back to at least the ’30s ... the 1830s, that is. Liner notes explain that the piece “can be found in print in John G. McCurry’s 1855 collection, The Social Harp.” Similarly, the title track, “Bright Sunny South,” is a Civil War-era piece which tells the tale
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PASATIEMPO I July 12 -18, 2013
of a young man saying his plaintive farewells to his family before shouldering a musket and marching off to war. Amidon takes oxymoronic “obscure classics” like these and separates them from their traditional melodies or reworks their rhythmic aspects to fit his own personal aesthetic. In “Bright Sunny South,” his interpretation has few frills, the most obvious modern touch being some very light ambient synth noise underlying the guitar and vocals. Such simplicity draws one in to the extent that the song, not the singer, is of utmost importance. His voice, soft and haunting but occasionally raspy, summons the ancestral specters of past centuries, complete with their long-forgotten hopes and despairs, while his creative embellishments lend them added life. In fact, it’s this voice that gives the music much of its folk authenticity, especially when compared with the studio polish found on similar efforts by major-label bands. At times he comes across as somewhat oversimple and untrained but in a natural, rather than an affected, way. Overall he sounds more like a timeless everyman than a rising folk star.
Compared with Sam Amidon, musicians like Mumford & Sons and The Dunwells are not furthering folk traditions so much as capitalizing on them. Amidon only occasionally verges on the radical, as when he takes the unusual step — heresy to some traditionalists — of excising half the title of the woeful and antiquated folk ballad “Short Life of Trouble,” reducing it to “Short Life.” However, even here his interpretation is respectful and driven by a deep-rooted thoughtfulness. Bright Sunny South came about from his musings during a 600-day walking journey, and in the liner notes he describes the amalgamation of songs and sounds that resulted as a “sculpture garden of personal relics.” Amidon has spent considerable time living and touring in the U.K., where he’s been able to mine the rich music traditions of that region — while bands like the Dunwells tour his native land and sharpen their own banjo skills. Such cultural exchange is a good thing for music. The banjo and other elements of American folk music are in no way off-limits to exploration from people of all skill levels and background (musical and cultural). However, the right to experiment with or co-opt a particular sound does not guarantee that the resulting byproduct won’t come across as stale, especially when it’s overproduced. To that effect, David Dunwell’s banjo joke immediately brought to mind an even more successful British “folk-lite” band, Mumford & Sons. These winners of the 2013 Album of the Year Grammy have expanded the banjo’s mainstream popularity immensely, thanks to the instrument’s prominence in their sleek though uninspired pop songs. According to Billboard, this year Mumford & Sons became “the first band to chart as many as six concurrent Hot 100 titles since the Beatles more than 48 years ago.” Compared with Amidon, musicians like Mumford & Sons and The Dunwells are not furthering folk traditions so much as capitalizing on them. By riding (and fueling) the current wave of neo-folk popularity, these bands pack stadiums and sell digital downloads by the millions. However, the half-life of their hits seems limited, whereas the more modest and profound songs on Bright Sunny South promise a quiet staying power and might stick around for another 150 years. Calling out mainstream music for being shallow, and bemoaning the lack of recognition given to more profound creators, is nothing Sam Amidon new. Then again, neither is the banjo. ◀
Y R
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CLAIRE KAHN
designer Coreen Cordova in attendance Folk Art Market Weekend
trunk show with
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Continuum features the enormously popular crochet beaded works of American designer, Claire Kahn. Exclusively at Patina. July 5 - July 28 Meet Claire, July 12 -14 For an appointment ph: 986-3432 or email: allison@patina-gallery.com online exhibition a patina-gallery.com
Exhibiting through July 21
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p a t i n a - g a l l e r y . c o m Considered one of the most beautiful galleries in Santa Fe, Patina represents more than 100 American and European artists, Patina is the creation of artists Allison and Ivan Barnett whose fresh curatorial aesthetic has established Patina as an international destination.
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Kewl Ceiling fan sale Large stock of designer fans starting at $99.95
505.983.8977 604 N. GUADALUPE ST. DE VARGAS CENTER 5STARBURGERS.COM
Sconces, floor and table lamps at incredible prices Friday, July 12, 10 - 5 | Saturday, July 13, 10 - 4
1512 Pacheco St, Ste C202
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G er a ld P eTer s G a l l e ry i s P r o ud T o ho s T r e no w ne d j e w e l ry d e s i G ne r
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Three day Trunk show: july 18 - july 20Th Join us for an opening reception: tHursDaY, JuLY 18tH 5-7pM Trunk shows: july 19Th, 3-6Pm & july 20Th, 2-5Pm
The designer will be in attendance for all events. Las Vegas San Miguel County Convention & Visitor’s Bureau
1-855-425-8631
San Miguel County’s Official Visitor’s Guide
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PASATIEMPO I July 12 - 18, 2013
e n T i r e c o l l e c T i o n aT w w w . k aT h e r i n e j e T T e r . c o m
For further information contact: ana archuleta aarchuleta@gpgallery.com or call 505.954.5714
1011 Paseo de Peralta, santa Fe, new mexico 87501
ON STAGE Busy’s back: Busy + The Crazy 88!
Rising from the ashes of Busy McCarroll and the Ambassadors of Pleasure, the singer and her revamped band (now known as The Crazy 88! — a reference to the card game, a gang in Quentin Tarantino’s Kill Bill, and the number of keys on a piano) are returning to the spotlight. “There’s a number of reasons why we haven’t played live in a long time,” McCarroll explained. Having a few decades of local performance perspective under her belt, she emphasized that the current lack of dedicated nightclubs means Santa Fe no longer offers “a relevant performance and pay standard.” Nonetheless, on top of a handful of recent bar gigs, McCarroll and company are sharing their catchy hybrid of pop and jazz at the Santa Fe Bandstand on the Plaza on Monday, July 15, at 6 p.m. J.Q. Whitcomb, a talented and hard-hitting jazz trumpeter, follows at 7:15 p.m. The concert is free. — L.B.
THIS WEEK
Two new at Aspen Santa Fe Ballet
Aspen Santa Fe Ballet presents two new ballets when it takes the stage at the Lensic Performing Arts Center (211 W. San Francisco St.) at 8 p.m. on Friday and Saturday, July 12 and 13. Both ballets were commissioned by and created on the company. Cayetano Soto, a Spanish choreographer, has previously made three works for ASFB; the fourth is Beautiful Mistake with Nolan McGahan and Katherine Bolaños (pictured). The other new work, Fold by Fold, is by Norbert De La Cruz III, who won a 2012 Princess Grace Foundation choreography award for his first piece for the company, Square None. A recent graduate of Juilliard, De La Cruz has also danced with ASFB, playing the Jester in The Nutcracker. He was invited to work with the Alvin Ailey American Dance Theater’s New Directions Choreography Lab next fall. The program also includes Trey McIntyre’s Like a Samba. Tickets, $25-$72, are available by calling 988-1234 and from www.ticketssantafe.org. — M.W.S.
Celebrating Stravinsky and Diaghilev: Santa Fe Chamber Music Festival
This year the music world has been abuzz with celebrations of Stravinsky’s The Rite of Spring, which was unveiled by Serge Diaghilev’s Ballets Russes a century ago. It was Stravinsky’s third full score for that adventurous company. The first, premiered in 1910, was his colorful and perennially popular Firebird, and pianist Soyeon Kate Lee will conclude her recital this week for the Santa Fe Chamber Music Festival with a difficult piano transcription of that piece made by the revered Italian pianist and teacher Guido Agosti (1901-1989). The program also includes Janácek’s ˇ Piano Sonata 1.X.1905 (the date a young Czech carpenter was bayoneted during a political demonstration), Beethoven’s Sonata in A-flat Major (op. 110), and two preludes written in the 1920s by Ruth Crawford (later Seeger), a remarkable composer who, following her marriage, would largely abandon musical modernism to engross herself in American folk music — as did her children Mike and Peggy and her stepson Pete, folksingers all. The concert takes place at noon on Thursday, July 18, at St. Francis Auditorium of the New Mexico Museum of Art (107 W. Palace Ave.). Tickets ($20-$25, discounts available) may be purchased through Tickets Santa Fe at the Lensic (988-1234; www.ticketssantafe.org) or directly from the festival (982-1890). — J.M.K
Santa Fe Desert Chorale blows hot and cold
This week, Santa Fe Desert Chorale unveils its second program for the summer season, Northern Lights, focusing on Scandinavian music. Joshua Habermann directs half of the ensemble’s personnel — a chamberscaled assemblage of 12 singers — in pieces by a smorgasbord of composers, most of them unfamiliar. The most well-known composers in the mix are Wilhelm Stenhammar (above), a leading figure of Swedish music around the turn of the 20th century, and Einojuhani Rautavaara, a Finn who is much admired in contemporary-music circles. The latter will be represented by a five-movement Lorca Suite, based on poems by the murdered Spanish poet and playwright. A touch of Haitian traditional music adds variety, a tropical counterweight to the several arrangements of Scandinavian folk tunes that anchor the program. The concert takes place at 8 p.m. on Tuesday, July 16, at Loretto Chapel, 207 Old Santa Fe Trail. The program will be repeated on July 23 and on Aug. 1 and 7. For tickets ($30-$50, with student discounts available), visit www.desertchorale.org or call 988-2282 for reservations. — J.M.K. PASATIEMPOMAGAZINE.COM
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PASA TEMPOS
album reviews
EDWarD Dobrinka SiMon Trio Live In Tabakova String Paths (ECM) Bulgaria-born, LondonNew York at Jazz Standard educated Dobrinka Tabakova is garnering (Sunnyside) This album opens with favorable comparisons to everyone from “Poesía,” the title track of the previous Górecki and Arvo Pärt to Alfred Schnittke (2009) album by Venezuela-born pianist and Vaughan Williams. While there are Edward Simon, bassist John Patitucci, moments on her new recording that carry and drummer Brian Blade. The piano the feel of Vaughan Williams’ esotericism, is flowery and fluttery in the intro, and the comparisons the three varied pieces here then builds with its mates to a steaming call up are more general: the lavish orchesmix, Patitucci on a fast walk with lots tration of Samuel Barber, the Eastern folk of double-time flourishes, and Blade all influence of Béla Bartók, the down-home filigree of Aaron Copland. over the drum set. Through the various moods, Simon’s virtuosity The orchestrations for strings and at various times accordion and shines. He made his first recording as a leader in 1993; this is his harpsichord are warm and lushly embraceable, the harmonies predictably 11th disc and his first live album. In sideman work, he has tickled the sweet, the moods both melancholy and loving. There’s little dissonance ivories for Paquito D’Rivera, Terence Blanchard, and Herbie Mann, to here. Appropriate descriptions reside in the titles. Insight, Concerto for name a few. Simon also has the Ensemble Venezuela and is the pianist in Violoncello and Strings is made of sections labeled “Turbulent, tense,” the eight-member SFJAZZ Collective. The leader’s “Pathless Path” begins “Longing,” and “Radiant.” Frozen River Flows, Suite in Old Style abstractly, Simon fiddling with the piano strings and Patitucci is all chilly movement with a touch of sentimentality coming playing ethereal arco. A few minutes in, the bassist shifts into from the accordion. The piece’s third and final movement is a tight pizzicato pulse; that and Blade’s quiet cymbals form upbeat and geometrically baroque. The long Such Different a hypnotic soundbed for Simon’s explorations. It’s a slow, Paths is the most modern of the compositions, the violins fascinating crescendo, and by the 10-minute mark, all Run the Jewels has working occasionally at cross purposes but the overall three are flying. A flurry of wizardly Simon arpeggios effect inviting and accessible. Some of the performers builds and fades, signaling a slow wind-down to peace. an old-school approach were students with Tabakova at London’s Guildhall Also on the CD are bright covers of Antonio Carlos School of Music and Drama, and the performances seem Jobim’s “Chovendo Na Roseira” and John Coltrane’s that harks back to the to carry extra care and dedication. This is wonderful “Giant Steps” and another Simon original, “Pere.” All music with obvious but not overbearing influences, full in all, an incisive and involving set. — Paul Weideman days of boom boxes, of promise for original things to come. — Bill Kohlhaase varioUS arTiSTS This Is the End: Original Motion track suits, and rUn THE JEWELS Run the Jewels (Fool’s Gold) Picture Soundtrack (rCa records) The end must be nigh, trunk-rattling beats. Brooklyn’s El-P and Atlanta’s Killer Mike possess rap given that RCA just released a soundtrack that sandwiches careers that stretch back more than a decade and contain Cypress Hill between Funkadelic and the Backstreet Boys. robust discographies, but both seemed to reach new heights In the film, Seth Rogen, James Franco, Jonah Hill, and other in 2012, when they combined their strengths for Killer Mike’s comic standbys face the rapture, cannibals, a large winged demon, and an excess of drugs. Many of the selections on the El-P-produced R.A.P. Music and El-P’s Cancer 4 Cure, which featured soundtrack are topical, like “Everybody (Backstreet’s Back),” which Killer Mike. The two make an inspired pairing, as El-P’s brash is performed by a reunited Backstreet Boys in heaven, proving that divine rock-based production and gruff flow complement Killer Mike’s booming voice and heady lyrics perfectly — like KRS-One with a Southern drawl. wishes really do come true. Two of the 12 songs are extras that did not They’re pairing as Run the Jewels for a victory lap, and maybe the official appear in the movie, including the parodic opening track, “Take Yo Panties union is simply inevitable. With an old-school approach that harks back Off” by Snoop Dogg and comedian Craig Robinson, whose humorous lyrics cannot be reprinted here for reasons of decorum. The album’s to the days of boom boxes, track suits, and trunk-rattling beats, it’s a highlight is the instrumental Funkadelic track “A Joyful Process.” The natural step for the two to take the stanza-swapping approach favored song gives listeners a break from the comedy-by-contrast layout of by duos and posses of the 1980s. As with those groups, Run the the album — elsewhere hardcore anthems Jewels favors boasts and threats; on songs like Cypress Hill’s “When the $#*& Goes like “Banana Clipper” and “Job Well Done,” Down” alternate with such selections as they praise themselves for producing the best the gospel piece “Please Save My Soul.” beats of the year and compare their fierce competitive spirit to that of Mike Tyson. They Being a soundtrack, this compilation of hits also touch upon drugs (“No Come Down”), real and ironic is best fitted for road trips, sex (“Twin Hype Back”), and race (“DDFH”). with the feel of each diverse track serving I would have liked some more political topics, to accentuate the mood of the moment. but it’s looking like they have years Whether or not hilarity ensues ahead to explore that together. depends on who’s in the car. — Robert Ker — Loren Bienvenu
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PASATIEMPO I July 12 -18, 2013
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TERRELL’S TUNE-UP Steve Terrell
Wide world of punk Punk rock started out as an irreverent poke in the eye — and ears — to most musical traditions (especially the bloated rock royalty and grandiose prog-rock of the ’70s). So it might seem odd that strains of punk that embrace various ethnic music traditions have arisen through the years. It started with The Pogues, I suppose, back in the mid-’80s. They took traditional Irish sounds, sped them up, and played mad jigs of drunkenness, decay, and despair. No, they weren’t always reverent, but they could play the music — even at 90 mph. In their wake came a whole Mulligan’s stew of successors — The Men They Couldn’t Hang, Flogging Molly, The Tossers, Blood or Whiskey. The band Black 47 celebrated the whole scene and even name-checked some of those groups a few years ago in their song “Celtic Rocker.” But ethno-punk isn’t just for the Irish. Right now I’m anxiously awaiting the upcoming release from Gogol Bordello, a band that coined the phrase “Gypsy punk.” There was a Jewish punk band from Australia called Yidcore, whose EP The Great Chicken Soup Caper included a raucous version of “Vehi She’amda” and a 21-second take on “The Dreidel Song.” There are all sorts of varieties of blues-punk (from The Gun Club to The Jon Spencer Blues Explosion to early White Stripes and lots in between). I’ve written about punk polka bands like the The Polkaholics and Polkacide in this column. Here are a couple of (relatively) recent examples of this phenomenon.
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PASATIEMPO I July 12 -18, 2013
Piñata Protest does a fairly straight version of ‘Volver Volver.’ That is, until the last verse.
El Valiente by Piñata Protest. Here’s a hardrocking quartet from San Antonio, led by singer Alvaro Del Norte, who also plays accordion and trumpet when the spirit says trumpet. Piñata Protest plays what the group calls “Norteno punk.” Following up on the band’s 2010 debut album, Plethora, El Valiente (named for a masked luchador from Mexico) is actually an EP — nine songs, three of which clock in at less than a minute. The whole record is just over 15 minutes long, but some fine sounds are packed in this small package. After a short introduction track in Spanish, El Valiente kicks off with a frantic tune called “Vato Perron.” Here Del Norte declares, “I’m in a gang, I also do voodoo.” The melody reminds me of The Pogues’ “Fiesta.” Another instant addition to Piñata Protest’s greatest hits is the hard-driving, minor-key “Life on the Border.” There are two numbers that casual listeners of popular Mexican music should recognize. First there’s “Volver Volver,” a 1976 hit for Mexican crooner Vicente Fernandez. It’s been covered by American stars like Ry Cooder, Los Lobos, The Mavericks, and Linda Ronstadt. (One of my personal favorites is a live version in a medley with “Wasted Days and Wasted Nights” sung by the late Chris Gaffney with Billy Bacon & The Forbidden Pigs). Piñata Protest does a fairly straight version of “Volver Volver.” That is, until the last verse, when the musicians turn it into an insane slam dance. And then there’s “La Cucaracha” — yes, the old Mexican corrido about that lovable weed-smoking cockroach. Lyrics: “La cucaracha, la cucaracha/ Ya no puede caminar/Porque no tiene, porque le falta/Marijuana que fumar.” The Piñata boys attack this tune with blaring ferocity. It was one of the highlights when I saw them play the Española Plaza a couple of years ago. (Humorous aside: In 2001, Cecil Adams in his column “The Straight Dope,” wrote of the song, noting that a Mexican restaurant in Minneapolis was called La Cucaracha, “Somebody really ought to clue these people in.” But I just Googled it. and the restaurant named for the cockroach is still going today.) While El Valiente is a blast from start to finish, the EP ends too soon. Hopefully Del Norte and the guys
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will grace us with a full-length album pretty soon. Check out www.pinataprotestband.com. ▼ Signed and Sealed in Blood by The Dropkick Murphys. This Boston band of wild Irish (-American) musicians has been around for nearly 20 years. Of all the current-day Celt-rockers, the Murphs are the best in my book — I’ve believed it since Shane McGowan, original vocalist for The Pogues, bestowed his blessing by singing “The Wild Rover” with Dropkick Murphys a few years ago. They’ve got the good-time, hard-drinking, loud-shouting, uilleann pipe-wailing, pennywhistle-blowing Irish singalong bit down pat. And they’re also perfectly capable of playing slow, pretty tunes, as they prove here with “End of the Night.” No, I wouldn’t describe singer Al Barr’s weather-beaten tenor as pretty, any more than I would the voices of Tom Waits, Janis Joplin, or Bob Dylan. But the song itself, dealing with barroom denizens who don’t know what to do after last call, is quite touching. Among the highlights are “Rose Tattoo,” a minor-key tune with a ringing mandolin. The narrator sings of the art permanently etched on his body: “This one’s for the mighty sea/Mischief, gold, and piracy/This one’s for the man that raised me/ Taught me sacrifice and bravery/This one’s for our favorite game/Black and gold, we wave the flag/ This one’s for my family name/With pride I wear it to the grave.” While there are no traditional Irish songs, which the Murphs have been known to do, on this album, there is a song about a Boston Irish hero. “Jimmy Collins’ Wake” is about the former manager of the Red Sox (back when they were called the Boston Americans), who led the team to a World Series pennant in 1903. And there’s even a wicked Christmas song. “Some families are messed up, while others are fine/If you think yours is crazy, well just look at mine. … My nephew’s a horrible wise little twit/He once gave me a nice gift/Box wrapped full of …” In terms of songwriting, the Murphs are no match for The Pogues, or, to be more precise, McGowan. But they’re more fun than a barrel of Guinness on a St. Patrick’s night. Visit www.dropkickmurphys.com. ◀
LAST CHANCE Last chance to advertise in the Official SWAIA Guide Indian Market Magazine Publishing Sunday, Aug. 11 To advertise, call 505-995-3852
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James M. Keller I The New Mexican
HIGHLANd FLING La donna del lago Music by Gioachino Rossini. Libretto by Andrea Leone Tottola based on Walter Scott’s The Lady of the Lake. Premiere: Oct. 24, 1819, San Carlo Theater, Naples. Sung in Italian.
W
Walter Scott; top Gioachino Rossini
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PASATIEMPO I July 12 -18, 2013
hen Gioachino Rossini wrote his opera La donna del lago in 1819, he was plugging into an international fad for the kilted climes. Scotland was very hot indeed in cultural circles in the late 18th and early 19th centuries. The person most responsible for this was James Macpherson, a prolific Scottish poet who in 1761 announced that he had discovered an epic produced by a third-century bard named Ossian. Over the course of several years, he published various works by Ossian, which he translated into English from what he said was the original Scots Gaelic of the manuscript. Scholars almost immediately protested that the texts were a hoax, as indeed they were, and Macpherson never countered their charges. To the reading public it made little difference; they were hooked by these verses ostensibly recited by an old blind poet of yore. His tales were filled with evocative descriptions of nature and stirring scenes of battle, and they often detailed unhappy attachments of the heart. It was poetry perfectly crafted to align with the aesthetics of the incipient Romantic movement. Painters — even famous artists like Girodet and Ingres — produced canvases depicting Ossianic tales and composers reinterpreted his presumed writings into tones. Fake though he was, Ossian became a literary phenomenon, and his works were quickly translated into all the principal European languages. He was
proclaimed as a northern European equivalent to Homer, and writers began to honor him by penning direct parodies of the poems or creating entirely original works built on Ossianic themes. Nobody was better positioned to benefit from Ossian’s boost than Walter Scott. He actually was Scottish, born in Edinburgh in 1771 and raised by his grandparents in the Scottish Borders region abutting England, where he was sent in the hope that the climate would help cure the aftereffects of a bout with polio. At the age of 12 he began studying at the University of Edinburgh, and while a student there he made the acquaintance of a blind poet who introduced him to the Ossian poems. These, combined with the authentic ballads and bardic stories recited in the area where he grew up, proved profoundly influential in shaping Scott’s own literary voice. Following his university studies, he qualified as a lawyer, and his casework sometimes took him into the Scottish Highlands, a region he found captivating. He was bitten by the writing bug. In the last years of the century he published some translations of German Romantic texts, and in 1802-1803 he released three volumes he titled Minstrelsy of the Scottish Border, ostensibly restoring bardic stories to their original, unvarnished state but in fact being poetically powerful reimaginings of traditional Scottish tales. The collection proved immensely popular, and the books
Lawrence Brownlee and Joyce DiDonato; production photos Ken Howard, courtesy The Santa Fe Opera
catapulted Scott into a series of literary undertakings. For more than a decade he concentrated on long works of lyric poetry, including his very successful poem in six cantos The Lady of the Lake in 1810. After that, he shifted his attention to prose fiction, in 1814 bringing to completion a work he had begun back in 1805: the novel Waverley. It would launch a series of historical novels on Scottish themes, an outpouring of Romanticized exaltation of forgotten heroism that would range through such classics as Rob Roy (1817) and the four series of Tales of My Landlord, which included such volumes as The Heart of Midlothian (1818) and The Bride of Lammermoor (1819). About that time he expanded his purview south of the border to include historical novels on English themes; thus were born such stalwart classics as Ivanhoe (1819) and Kenilworth (1821). Scott was honored with a baronetcy and named the 1st Baronet of Abbotsford, but a few years later he suffered financial ruin due to a British banking crisis. He nonetheless remained one of the
most popular literary figures in Europe, and sales of his works continued to be so strong after his death in 1832 that all of his debts were gradually discharged through posthumous royalties. Operatic composers wasted no time jumping on the Walter Scott bandwagon, and an impressive roster of Scott-based operas reached the stage during the 19th century, the most famous being Donizetti’s Lucia di Lammermoor and Bizet’s La jolie fille de Perth. The first opera to be based on his writings was a transformation of The Lady of the Lake. Within months of that book’s publication, it was molded by playwright Thomas Morton and composer Henry Rowley Bishop into a musical drama titled The Knight of Snowdoun. The work opened at the Theatre Royal in London’s Covent Garden on Feb. 5, 1811, and four months later, on June 12, a production was mounted at the Park Theatre in New York City. In 1845, the noted American continued on Page 30
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La donna del lago, continued from Page 29 diarist and musical enthusiast George Templeton Strong reported hearing a “Tramp’s Chorus” from that opera on a musical program and described the piece as “not much.” Rossini almost certainly did not know Bishop’s opera. He was introduced to The Lady of the Lake by a young French composer named DésiréAlexandre Batton. Batton told Rossini’s early biographer Giuseppe Radiciotti that, passing through Naples in 1819 (enjoying the Italian residency he had won through the Prix de Rome competition), he spoke enthusiastically to Rossini of Scott’s poem La dame du lac — apparently Elisabeth de Bon’s French translation of 1813 — and lent him his copy, presumably telling Rossini that he planned to set it as an opera. When he returned to retrieve the book, Rossini thanked him profusely and stated, to Batton’s distress, that he had liked it so much that he had forwarded it immediately to the writer Andrea Leone Tottola, who would adapt it into an Italian libretto Rossini would set himself. Rossini needed a libretto just then. He was in the midst of a string of nine operas for the San Carlo Theater in Naples that would occupy him from 1815 through 1822. Most were successful, but not his most recent: Ermione, which was withdrawn after seven performances that spring. When a gap suddenly opened in the theater’s schedule (the composer Gasparo Spontini bailed out of a planned production), Rossini stepped in to regain his balance with the demanding Neapolitan public. Capitalizing on the fad for things Scottish seemed a timely strategy. Tottola streamlined Scott’s tale considerably, but he kept intact the setting in the 16th-century Scottish Highlands and the central love quadrangle in which Ellen Douglas (“The Lady of the Lake”— she becomes Elena Duglas in Tottola’s libretto) balances the demands of love and familial honor when selecting her husband from among three candidates — King James V (Giacomo V, disguised as Uberto), Rodrigo di Dhu, and Malcom Groeme — whose internecine conflicts extend well beyond their marital aspirations. The most arresting account of the premiere of La donna del lago comes from the novelist and biographer Henri Beyle, aka Stendhal, who may have embellished the facts without misrepresenting the spirited flavor of the evening. He viewed the piece as a transitional work, one that pointed toward the vast style that would culminate a decade later in Rossini’s Guillaume Tell. “There are, admittedly, one or two arias in La donna del lago, a work truly Ossianic in character, which suggest a return to the days of his youth,” he wrote, “but at bottom, this opera is epic rather than dramatic.” He largely lamented “the exhausted voice” of Isabella Colbran, Rossini’s
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PASATIEMPO I July 12 -18, 2013
Joyce DiDonato and Marianna Pizzolato; opposite page, top, Lawrence Brownlee; bottom, DiDonato
mistress, who appeared in the title role; Stendhal regretted that her inability to finesse sustained phrases left Rossini no choice but “to plunge ever more desperately into a welter of gorgheggi [rapid passagework], the only aspect of the whole craft of singing from whose mysteries Signorina Colbran could still emerge with her honour more or less intact.” At her entrance, he reported, she “was seen gliding gracefully along, upright beside the helm of a small boat.” He continued: “Signorina Colbran, who contrived to show considerable grace at the tiller of her skiff, managed to put up quite a creditable performance in her opening aria, and the audience, which was bursting for an opportunity to create an uproar, was grievously disappointed.” Finally they got their chance with the entrance of tenor Andrea Nozzari as Rodrigo. He sang a sustained tone a quarter-tone flat and ... “At this unhoped for chance to storm the stage with wild derision, the whole audience went mad as hatters, and the yell of malicious glee which ascended from the pit is still ringing in my ears! — a cage-full of roaring and ravenous lions, and the doors flung open! ... nothing can give the least, the sketchiest idea of the rage of a Neapolitan audience insulted by a wrong note, and so given the chance to work off a long-standing score of accumulated hatred!” Things went downhill from there. Stendhal recounted the brouhaha that accompanied the conclusion of the first act: “The Court was not present; and so there was nothing to restrain the exuberance of the young
bloods and officers whose privilege it was to occupy the first five rows of the pit, and who had earlier been engaged in drinking the King’s health with faithfulness, loyalty, and ... persistence. At the first note which sounded on the trumpets, one of these gentlemen snatched up his cane, and started imitating the sound of a galloping horse. Soon this brilliant notion was taken up by the rest of the audience, and instantly, the whole theatrepit became a bear-pit, the audience a screaming crowd composed of fifteen hundred schoolboys all busily imitating the noises of galloping horses, with a maximum of energy and in strict rhythm.” It was a one-off demonstration. The opera was received with warm enthusiasm at its second performance. Rossini, however, had already left by carriage for Milan, and he was not depending on the Neapolitans to make the about-face they did. Instead, as Stendhal related, “at every post-station along the route, he had spread the news that La donna del lago had been a resounding success. In all good faith, he was lying, and we must therefore accord him the maximum of honour which is due to a valiant liar.” Of course, he was actually telling the truth without knowing it. La donna del lago enjoyed international success, receiving many productions in leading musical capitals through the middle of the 19th century. In 1846, it provided some of the music for a pasticheopera, titled Robert Bruce, stitched (not by the composer) out of a handful of Rossini scores for a production at the Paris Opéra, its libretto drawn from another tale by Walter Scott. Elena’s concluding rondo-variations “Tanti affetti,” which serves as La donna del lago’s finale, became a well-known showpiece for sopranos and mezzo-sopranos who possessed an exceptional capacity for coloratura singing, and such piano titans as Franz Liszt and Sigismond Thalberg brought the opera’s most popular expanses into the parlor through dazzling keyboard transcriptions. Rossini himself dipped into the score on two occasions, in 1844 adapting the famous Chorus of Bards into a cantata celebrating the tricentenary of the poet Torquato Tasso and then in 1847 recasting it yet again as a cantata in tribute to the newly installed Pope Pius IX. In the opera, the accompaniment for the chorus makes prominent use of the harp, one of the rather rare instances in which the music itself alludes to authentic local color — the harp being the instrument the bards used to underpin their recitations. That the same music could be pressed into service for 16th-century Scottish bards, a Renaissance Italian poet, and a 19th-century pope underscores why the opera was as successful as it was: on the surface, it rode the tide of Romantic interest in exotic Scotland, but down deep, it delivered precisely the sort of Italianate tunefulness audiences expected of Rossini. ◀
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Ken Howard/courtesy Santa Fe Opera
Bill Kohlhaase I The New Mexican
In the moment
Our lady of the lake: Joyce DiDonato 32
PASATIEMPO I July 12 -18, 2013
J
oyce DiDonato, sitting under a shade tree on a bench above the canteen patio on the campus of the Santa Fe Opera, takes in the busy lunchtime scene. The atmosphere, with groups of chatting, laughing performers, crew, and staff, is something like that of summer camp. At one point, an apprentice appears on the patio grasping a snake. DiDonato, a Kansas native and a graduate of Philadelphia’s Academy of Vocal Arts, was an apprentice here in 1995, playing minor roles and serving as an understudy, winning that season’s Outstanding Apprentice Award. Did she imagine at that point what was in store for her? “That was such a wonderful summer. And honestly, I remember clear as day thinking, right here in this canteen, if this is as good as it gets, I’m happy because this has been phenomenal. I had no idea what was waiting. To be honest, I didn’t even have dreams as big as this.” Even if she had dreamt large, the coloratura mezzo-soprano could be forgiven for not seeing such a future. DiDonato has appeared on stages across Europe and the U.S., garnering accolades for roles ranging from Romeo in Bellini’s I Capuleti e i Montecchi to Sister Helen Prejean in the Jake Heggie-Terrence McNally operatic version of Dead Man Walking. She returned to Santa Fe in 2000 as Cherubino in Mozart’s Le nozze di Figaro and again in 2002 to play Annio in Mozart’s La clemenza di Tito. She made her Metropolitan Opera debut in 2005 again as Cherubino after years of recitals and major roles in Milan, Paris, Bologna, and Tokyo. Her recordings reflect her interests: Rossini and the operas of the Baroque period. Her album Diva Divo won her a Grammy in 2012. She is a product of modern times in an art form accused of being dated and elitist, using social media (she has more that 15,000 followers on Twitter) to engage her audience — especially her young audience — and inviting them to participate in her upcoming recording package. She is an outspoken advocate for opera and arts education. Earlier this year, she sang the title role in Donizetti’s Maria Stuarda at the Met. This spring, she appeared as Elena in London’s Royal Opera unique production of Rossini’s La donna del lago (“The sun shines out of Joyce DiDonato’s voice,” Rupert Christiansen wrote in his review in The Telegraph). Here, she’s recreating the role, one she’s done a handful of times, in Paul Curran’s more traditional production. She took time between lunch and a fitting session to talk to Pasatiempo. Pasatiempo: You recently performed the role of Elena at the Royal Opera House in a sort of unique production in which Sir Walter Scott and Rossini are present on stage. What consideration, what adaptations must you make for this production? Joyce DiDonato: This is actually my fourth new production of La donna del lago, which is kind of incredible. All of them have been very different. The thing about it is that each time obviously I get to know Elena a little better, and I can go a little bit more deeply with her. So much of what I do depends on who the rest of the cast is. A lot of this piece is about relationships. And so the dynamic with the tenors and the other mezzo is important. If I’m just doing what an actress does, which is interacting with them and listening, then I don’t have to worry about making it fresh or new. It just is what it is in this circumstance. Pasa: When you first took on the role of Elena in Geneva in 2010 what preparation did you do? How familiar were you with the opera? Had you read Sir Walter Scott’s poem? DiDonato: I’m not a singer that goes and listens to a lot of recordings. When I’m learning a piece, I find that my temptation is to be a bit of a chameleon and take on, or ape, the phrasing and the timbre of the singers I’m listening to. I prefer much more to sit at the piano with my score and really go directly to the source for the material. I tried very hard to wade through the entire Walter Scott poem, and I will honestly say I couldn’t make it through the whole thing. It’s just too dense. And at the end of the day, I think Rossini’s take on it is what’s important There are some
things to pull from the poetry. But quite a lot of it is simply that the music gives me so much information about what is happening emotionally, the psychology, and what the subtext is. Pasa: Elena is faced with a tangle of conflicting emotions: toward her father, toward her love, toward her country and an unwanted suitor. How do you present all that in performance? DiDonato: Admittedly, the plot is complex in that regard. However, it boils down for me to this idea of love versus honor, love and duty, which she keeps coming back to. Her entire purpose is to find a peace; she’s constantly talking about finding “Pace, pace, pace.” At the end of the day what do you choose? Do you follow your heart? Do you follow your duty? Do you stand up for what you believe in? And those are very universal themes that everybody has to confront in their lives. Pasa: You have a quote from a New York Times piece written by Suzanne Vega, of all people, referenced in a Twitter post: “What you carry in your mind onstage shows up through the magic of theater. Everyone in the audience sees it.” What are you carrying in your mind when you’re onstage? What do you want the audience to see? DiDonato: I look at myself very much as an actress in that regard. I need to be in the moment, I need to be present, I need to be listening. And if I’m doing those things, then everything else falls into place. If I’m walking out thinking, ‘I hope they like me. How do I sound?’ that’s exactly what’s going to be read by the people in the theater. If I’m really in the moment and in the character, that’s what’s going to come across. That gives the public a real chance to enter into the story, to really be transported into our world. But I love that quote because that’s when opera singers get into real trouble, when they aren’t actually playing the scene, playing the moment. Pasa: You’ve made a point of championing opera as relevant and meaningful for today’s audiences, as well as championing contemporary opera. How necessary are new works to opera’s survival? DiDonato: It’s essential. It’s a successor, it’s a grandchild, it’s a fifthgeneration offspring of Monteverdi and Handel. We need opera as a society because it’s through art that we learn about ourselves. When I was doing Dead Man Walking and talking to Sister Helen Prejean, she said, “Yeah, the movie was important and the book was important, but music opens the heart in a way no other art form does.” Music works on a fundamental level, it works on people in ways they aren’t even aware of. And you can explore these hot-button issues, you can explore these things that are too difficult to otherwise talk about. Pasa: How and why did you begin involving your audience, particularly young people, through social media? DiDonato: It started when I was asked to do a website, and I thought, oh my gosh, I don’t want to deal with this and just have here’s my opening night, here’s the review of this. I thought, I can’t really sustain this. So I decided to make it very personal — I’m going to write a journal. And that is really what people gravitated to. I was writing about very pertinent topics — personal things and the inside things — and particularly speaking to young people who are studying music; they used it as a resource. My goal is to use it to actually talk about something, to get dialogue going, to involve them. It’s certainly has taken on a life much grander than I expected. Pasa: You’ve said that arts education is the key to all issues we’re facing now. In light of austerity programs at all levels, are we losing that battle? DiDonato: I see what’s happening as tragic, devastating, and criminal. We’re robbing children of their chance for creativity. This is a big topic, and I’m taking some of this from Sir Kenneth Robinson, he has this fabulous TED talk online. We’re facing drastic issues in this world, and it’s not a good mathematician who’s going to get us out of it — we need creative thinkers. That’s not to demean mathematicians; we need those as well. But we need creative thinkers. And we are now bankrupting students of their creativity. ◀
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James M. Keller I The New Mexican
he Santa Fe Chamber Music Festival offers the opening concert of its 41st season on Sunday evening, July 14, the first of 40 performances that will keep audiences occupied through Aug. 19. Much of the musicians’ effort will be given over to well-loved small-ensemble masterworks by the great ones — Bach, Beethoven, Brahms, and their colleagues up on Mount Olympus — but the concerts also include some high-quality chamber pieces by figures we encounter less frequently in the course of concertgoing. Two such works — in both cases for assemblages that spotlight wind instruments — probably should get inscribed on your calendar before the summer gets too busy: on Aug. 4, the Dixtuor by George Enescu, a rarely encountered but impressive accomplishment from 1906 that by turns recalls Bach, Brahms, and Romanian folk music; and on Aug. 18, the Sextet for Winds and Piano, unveiled in 1889 by Ludwig Thuille, a piece of Brahmsian cast by a fellow who was at the time best friends with Richard Strauss, who arranged for the piece’s premiere. The season is not without its mysteries, to be sure. The festival seems to have made a deliberate effort to avoid acknowledging major anniversaries, so that means we will neither be hearing any music by centenarian Benjamin Britten nor encountering the highly appealing String Quartet of bicentenarian Giuseppe Verdi. Even more inexplicable is the lack of any music at all by Haydn, who pretty much qualifies as the wellspring of the entire domain of chamber music and composed reams of the stuff, masterpiece after masterpiece. I’m not sure how one would arrive at a chamber music season of 40 concerts without at least some Haydn sneaking in as a matter of course. Obviously, it can be done, but it must have taken some effort. Most of the performers are familiar to Santa Fe audiences, a result of the festival’s practice of building long-term relationships with what can sometimes seem a repertory company of musicians who come and go as the weeks unroll. Some of the players can be counted on to elevate whatever pieces they touch,
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PASATIEMPO I July 12 -18, 2013
sometimes to the point of making indelible musical memories. Violinist William Preucil and Daniel Hope, violist Cynthia Phelps, cellists Ronald Thomas and Peter Wiley, clarinetist Todd Levy, hornist Julie Landsman, pianists Anne-Marie McDermott and Inon Barnatan — the list continues from there, but each of these musicians can be depended upon to deliver excellent work even when playing in groups that coalesce only fleetingly. To be sure, the field’s very finest achievements are rarely encountered outside of self-standing groups, the string quartets and piano trios and so on whose members have delved into their repertoire as an ensemble over many years. This summer the festival is bringing in five fixedpersonnel string quartets. The Shanghai Quartet has delivered firmly etched performances here in the past, and its interpretations of Dvoˇrák’s op. 105 Quartet (on Aug. 6) and Beethoven’s Quartetto Serioso (on Aug. 8; to be performed the night before in Albuquerque) should play to their strengths. Of the other ensembles, the FLUX Quartet, a persuasive exponent of contemporary music since its founding 17 years ago, may prove particularly invigorating in its July 26 recital, which includes Conlon Nancarrow’s String Quartet No. 3 (from 1987) and new works by emerging voices Elizabeth Ogonek, Reena Esmail, and David Hertzberg, in addition to the String Quartet No. 4 by the festival’s artistic director, Marc Neikrug, many of whose pieces have been played here over the years. Among the festival’s most popular presentations are its noontime concerts at St. Francis Auditorium, a number of which are piano recitals. One of these takes place Thursday, July 18: a recital featuring Soyeon Kate Lee, who has put together a thoughtful program of music by Janáˇcek, the American modernist Ruth Crawford Seeger, Beethoven, and Stravinsky. Among upcoming noontime pianists will be Jeremy Denk, a frequent recitalist hereabouts. On July 23 he’ll play Bach’s Goldberg Variations, a work we always love to encounter but nonetheless a surprising choice since he played it in the neighborhood so recently, in Los Alamos this past January. continued on Page 36
Reena Esmail
David Fung
Christian Steiner
David Hertzberg
Artist in residence Garrick Ohlsson
FLUX Quartet
Richard Savino
Victor Santiago Asuncion
Shai Wosner
Shanghai Quartet
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Marco Borggreve
Lucy Shelton
SF Chamber Music Festival, continued from Page 34
save the date. Share your upcoming events with more than 300K monthly pasatiempomagazine.com and santafenewmexican.com readers by posting to The New Mexican’s community calendar. Quickly and Easily Post: Community Events Live Music and Nightlife Performances Recurring Meet-Ups Lectures Classes and Workshops and more…
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PASATIEMPO I July 12-18, 2013
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A particularly appealing program will arrive on July 30 from pianist Shai Wosner, who at last year’s festival delivered finely wrought, emotionally precise interpretations of central classics; this time around, he’ll play two works by Schubert, including the transcendent Sonata in B-flat Major, plus a set of pieces by contemporary German composer Jörg Widmann that are styled as “Schubert Reminiscences.” Beethoven will be the focus of festival regular Victor Santiago Asuncion on Aug. 7; he’ll offer both the “Waldstein” and “Appassionata” sonatas. This year the festival brings in noted pianist Garrick Ohlsson as artist in residence. On his noontime recital on Aug. 15 he’ll perform music by Chopin (whose complete works he has recorded), Prokofiev, Charles Tomlinson Griffes, and contemporary composer Michael Hersch. He’ll also appear in Chausson’s Concert for Violin, Piano, and String Quartet (Aug. 11) and the above-mentioned Thuille sextet (Aug. 18). That may strike some listeners as a rather light workload for an artist-in-residence, but of course quality is more important than quantity. Speaking of quantity, one concert of particular promise stretches to the limits of what would generally be considered chamber music. The Aug. 4 concert with the Enescu Dixtuor also includes a version of Mahler’s Lieder eines fahrenden Gesellen (Songs of a Wayfarer) that Arnold Schoenberg prepared in 1920 for a private musical society he oversaw. This setting for singer (here baritone Matthew Worth) and 10 instruments just barely qualifies as chamber music, which is classically understood to have one performer per part, with no conductor. Here — and in every other performance of it I have ever heard — it is performed with a conductor taking charge, in this case Lawrence Foster. On the same program is Schoenberg’s groundbreaking Pierrot lunaire, for speaker-singer and five players. It is often given without a conductor, but Foster will nonetheless lead this reading, which features veteran vocalist Lucy Shelton. A series of four concerts near the end of the season goes under the rubric “Years of Wonder,” each installment comprising music by Carlo Gesualdo, Mozart, and Schumann. The rationale for the programming seems to have evolved a bit over the past year, but a recent press release from the festival explains that the concerts look at “four particular years in their lives that resulted in some of their most revered works.” Essentially, this means the series is made up of a Mozart piano trio from 1786 and three others from 1788; two of Schumann’s three string quartets (the other one figuring on a noon concert on Aug. 13), plus his Piano Quartet and Piano Quintet, all from 1842; and, with the Santa Fe Desert Chorale, Book Five of Gesualdo’s Madrigals, a collection published in 1611 but compiled from works written over a number of years, some of them probably as early as 1596. The “Years of Wonder” incentive seems wobbly in terms of concept, and it will fall to the performers to make a persuasive argument for why these particular pieces belong on programs together. Expectations should run high for the Mozart piano trios in particular; they will be performed by pianist McDermott and cellist Wiley along with violinist Ida Kavafian, a threesome that has worked together so much over the years that it could qualify as a self-standing ensemble if it only had a name. For a tighter example of thematic programming, however, listeners may want to check out an unusually alluring presentation on July 27: “Reflection and Revolution: Music From the Time of Goya, 1746-1828.” Billed as a multimedia event, this is the brainchild of Richard Savino, a prominent, much-recorded guitarist who is particularly appreciated in the realm of early-music performance. He’ll be joined by soprano Christine Brandes and four string players for this exploration of the life and times of the famous Spanish painter, who grew up during an era of pampered nobility and flourished through the years of the Napoleonic revolutions, with selections by Boccherini and Sor providing the musical underpinning. See you there. ◀ Concerts of the 2013 Santa Fe Chamber Music Festival take place from Sunday, July 14, through Aug. 19. Venues include the St. Francis Auditorium in the New Mexico Museum of Art (107 W. Palace Ave.) and the Lensic Performing Arts Center (211 W. San Francisco St.). Several concerts are also held at Simms Auditorium in Albuquerque (6400 Wyoming Blvd. N.E.). For information about tickets, call the festival box office at 982-1890 or contact Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org). For a full schedule, visit www.sfcmf.org.
The Royal Road
artistic Impressions of el Camino Real
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An exhibit and book release with woodblock artist Leon Loughridge and poet John Macker
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37
Michael Abatemarco I The New Mexican
Domestic disturbance
T
Enrique Martínez Celaya’s The Pearl
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PASATIEMPO I July 12 -18, 2013
o walk through Enrique Martínez Celaya’s The Pearl — a large-scale site-specific installation that meanders from room to room throughout SITE Santa Fe — is to walk through a dark passage of fragmented memory. Details relating to a specific memory or series of memories are arranged through the space not chronologically, however, but in layers. One must reconstruct events, fictional or real, as one goes along. That makes for a challenging, cerebral experience. For Martínez Celaya, the work is personal, touching on autobiographical content, and from within that content he has attempted to cull more universal experience of how childhood trauma can shape one’s later life. “I’m interested in the friction between the epic and the domestic,” he told Pasatiempo. “This particular body of work has a lot of my own history in it. More than usual. I’m not so interested in a confession. The point is not a rumination of what happened, of what my experience was, but certain cracks open up those events. I want to explore what they mean, the larger questions. What I’m interested in is our condition. What is memory, and how do we find our place?” Entering the installation, visitors are confronted with an unsettling image, a projection of a snarling German shepherd devouring a house made of dog food. Visitors hear the laughter of a baby girl. “It’s very disorienting,” Martínez Celaya said. “You’re in the dark, and the laughter of the girl is so off from the images you’re looking at, it’s a dislocation
similar to the dislocation of going back to an image you cannot quite place.” Moving on, you come to a window looking out on a bucolic scene, installed in another room, of a fox approaching a small pond surrounded by trees. The pond is lit from inside by a mysterious light, and a hose extends from it through the window. The hose is suspended from the ceiling and courses through room after room. The next room brings you to a forest of Casuarina pine, and one can glimpse the sea through the pine trees, five of which are burned. These images — the German shepherd, the fox, pine, the number five — are repeated in various ways throughout the exhibit. One room, for instance, contains a sculpture of a German shepherd. “The German shepherd, for me, invokes immediately the idea of home and guardianship and protection and domesticity, but also there’s a certain threatening quality to it. Anything you guard you also hold.” There are other recurring motifs: songbirds, a lighthouse, a boat, the number 12. These may hold certain meanings for Martínez Celaya, and others must make an intellectual leap and begin constructing a narrative to account for them. The Pearl is like a story puzzle whose pieces need to be fitted together. Early in the installation, as you are guided through, always following the hose, there is a boat enveloped in tar and feathers, something suggesting humility and shame. Think about that when you come to a room with urine-stained sheets and, for some continued on Page 40
All images process shots of Enrique Martínez Celaya’s The Pearl, Miami Studio, 2013, courtesy of the artist unless otherwise noted Opposite page, Martínez Celaya Below, The Pearl, installation view at SITE Santa Fe; photo Peter Kirby
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c ur r e nt e x h i bi ti on
The Pearl, continued from Page 38
Georgia O’Keeffe in New Mexico:
Architecture, KAtsiNAM, ANd the LANd
Georgia O’Keeffe, Black Cross with Stars and Blue, 1929. Oil on canvas, 40 x 30 inches. private Collection © Georgia O’Keeffe Museum
M ay 1 7 – S e p t e M b e r 1 1 , 2 O 1 3
This beauTiful exhibiTion tells the little-known story of how the new Mexico landscape, and O’Keeffe’s introduction to Hispanic and indigenous art and architecture, inspired a significant creative shift in her painting. in addition to O’Keeffe’s iconic landscapes, it includes newly discovered paintings, and the work of Hopi artists ramona Sakiestewa and dan namingha.
Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land was organized by the Georgia O’Keeffe Museum. this exhibition and related programming were made possible in part by a generous grant from the burnett Foundation. additional support was provided by american express, the Healy Foundation, Shiprock Gallery, Hotel Santa Fe, the City of Santa Fe arts Commission 1% Lodger’s tax Funding. partiaLLy Funded by tHe City OF Santa Fe artS COMMiSSiOn and tHe 1% LOdGerS’ tax.
visitors, painful memories may surface. How, then, is this rather dark exhibit like a pearl? “We think of a pearl as a jewel that we like to wear, but it’s really an irritant that comes into the oyster. What the pearl is is just the effort of the oyster to wrap itself away from this irritant. I like this dual meaning. In many of our lives we have some sort of irritant, part of our childhood, and we’re somehow trying to do something to that memory to convert it.” Touches of domesticity run throughout the installation as well. There is a table, burned like the pines, surrounded by four chairs and a missing fifth (which shows up again further on). A gaudy jewel-encrusted elephant rests on the table. Moving through The Pearl is a bit like moving through a dream. Martínez Celaya likens it to a musical composition or story told in several acts. “You have a first movement, and then by the time you get to the end, you reconsider that first movement and say, ‘What I saw was not what I thought I saw.’ ” The strange repeated patterns continue into a room where a painting on the wall shows three boys playing on a pier. In this room the hose drops down and the water coursing through it flows as tears from the eyes of a bronze statue of a boy. It flows through a channel cut into five beds of pine needles, each set lower to the ground than the one before. It continues to flow along a narrow trough into another room where there is a house of undressed pine, its roof riddled with star-shaped cutouts. Illuminated from within, the roof casts a dreamy nighttime sky full of stars onto the ceiling. The house is surrounded by the stained sheets, which have butterfly shapes cut from them. Follow the water into the next room, and the cloth butterflies from the sheets line the walls. This is the room glimpsed at the start, through the window. Come to the pond with its otherworldly glow, where the river of tears finally empties out. Look inside the pond, and you see a pair of human lungs, inflating and deflating to the rush of air from a machine that gives them, like an oxygen tank hooked up to a patient in a hospital bed, the air they need to breathe. Martínez Celaya was born in Cuba in the 1960s, one of three brothers. He immigrated first to Spain when he was 8 years old and then to Puerto Rico before coming to the United States. As a child, he suffered from respiratory trouble. “I had these terrible asthma attacks. And then I had a domestic life that was full of unrest, violence, difficulty, sadness, and isolation, and then the move from one country to another, which is not so much a question of exile as it is a question of displacement within yourself — the sense of being dislocated and the loneliness that comes with that.” The five trees arranged around the pond, two big and three small, suggest the units of a nuclear family: a mother, a father, and three children. The jewel-encrusted elephant references Martínez Celaya’s long nights spent working with his brothers, often until the early morning hours, making costume jewelry to support their family. But these tangible expressions of memory hold meaning for us all. “As a child there’s a certain density to reality at times that you cannot pass through, so you project around it, instead. You project fantasies and fairy tales that allow you to bear the reality as is.” ◀
details ▼ Enrique Martínez Celaya: The Pearl ▼ Opening reception 5 p.m. Friday, July 12; exhibit through Oct. 13 ▼ SITE Santa Fe, 1606 Paseo de Peralta 217 Johnson street, santa fe, nm 87501 okeeffemuseum.org
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PASATIEMPO I July 12 -18, 2013
=
505.946.1000
▼ By museum admission (reception no charge); 989-1199
PASATIEMPOMAGAZINE.COM
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After riding in these bone-cracking / wooden wheeled carretas pulled by / dumb beasts for days / on end / swollen / parched lips too thick to whisper / Adele Oliveira I The New Mexican
El Camino Real in words and images 50
PASATIEMPO I July 12 -18, 2013
“As a youth I used to walk across deserts,” said poet John Macker during a recent interview at Gerald Peters Gallery, where he works at the bookstore. “I was in my 20s. I went in the spring, April, to the border area of Arizona or to the Gila. I’d sleep during the day and walk at night for three days, covering about 60 miles.” Macker’s writing is one half of an exhibition about walking (and driving, and riding) across the desert. The Royal Road: Artistic Impressions of El Camino Real, opening at the gallery on Friday, July 12, is a collaboration between Macker and artist Leon Loughridge, who created watercolor sketches and woodblock prints for the show. A book of the same name, produced at Loughridge’s Dry Creek Art Press in Denver, contains 46 of his woodcuts and 14 of Macker’s poems. The poems’ various themes include death in the open country, the atomic-bomb test site at Trinity, broken-down Buicks, coyotes, cottonwoods, and ghosts, while the woodblock prints depict ruins of military forts and pueblos set against sweeping landscapes. Like the poems, the woodcuts travel through time: images of Spanish missions, centuries-old roadside crosses, and mangled wagon wheels give way to highways and graffiti. Though Macker and Loughridge spoke often while they were writing, sketching, and printing, the two took trips to what still exists of El Camino Real independently. The exhibition deals only with the road north of the border, about 400 miles. Both are very clear that theirs is an artistic project, not a historical account or geographical survey. “It’s an impression of what I see now and my feelings about the history,” Loughridge said. Macker described his experience in similar terms: “They’re just impressions done from readings and being physically present on the trail. It’s two different tones melded together.” Macker and Loughridge have worked together before. In 2009, they produced the book Las Montañas de Santa Fe with an accompanying exhibit, also at Gerald Peters Gallery. The idea to do a project on El Camino Real came to Loughridge about two years ago. “I grew up in Pojoaque, and my mother and grandmother were very focused on the history of the area. I was exposed to Oñate’s journals. There’s so much history, but I think people don’t understand how important a trade route the Camino Real was or is.” Macker added, “People are familiar with the term, ‘El Camino Real,’ and though I knew what it was, basically, you really have to go back to Oñate.” El Camino Real de Tierra Adentro (The Royal Road to the Interior Land) brought the first Spanish colonists to New Mexico. In 1598, with an entourage of several
muy seco, / it will take some bruja to / dowse for water in this skull / & crossbones / expanse of / creosote ocean. — from “On the Jornada” by John Macker hundred people, soldiers, and 7,000 head of livestock, the Spanish explorer Juan de Oñate set out from Mexico City to conquer territory and establish Catholic missions. Oñate crossed the border (and the Río Grande) near what is now El Paso, and proceeded north, eventually reaching Ohkay Owingeh Pueblo (which the colonists renamed San Juan Pueblo) north of Santa Fe, establishing a capital, San Gabriel, close by. The roughly 1,500 mile-long trail proved arduous and bloody. Though Oñate and his men followed existing Native American trails and received some direction from Native people along the way, they lost many of their number on the Jornada del Muerto (Journey of Death), a 90-mile section of the road that deviates from the Río Grande near Fort Selden, because the terrain near the river becomes impassible for wagons and livestock. An exploratory offshoot of the expedition engaged in a war with the Acoma people. What began in a skirmish over supplies and a dozen Spanish soldiers killed ended with several hundred dead Acoma and many more enslaved or dismembered. El Camino Real remained a vital trade and travel route for nearly 300 years, until the advent of the railroad in the 1880s. Many of the poems and woodcuts recall the trail’s earliest days. In “On the Jornada,” Macker writes about Oñate and his colonists’ crossing. “After riding in these bone-cracking/wooden wheeled carretas pulled by/dumb beasts for days/on end/swollen/parched lips too thick to whisper/muy seco,/it will take some bruja to/dowse for water in this skull/& crossbones/expanse of/creosote ocean.” While the woodcuts address the desolation of the trail, Loughridge also depicts sanctuaries, namely the missions established along the way. “The Oñate expedition was marching up into an area with no cultural support system,” Loughridge said. “You’re just out there in really rugged, rough territory, and these missions seem to be a cultural haven.” An image called Ysleta Mission depicts the white facade of a chapel, topped with two crosses and another out front, against clouds at sunset. It pairs well with a line from Macker’s poem “Socorro”: “I have built churches to last a/thousand years.” As much as it draws on the Oñate narrative, the exhibition is also concerned with the continuing legacy of the trail and its environs. Loughridge and Macker are not terribly specific when dealing with the border between Mexico and the U.S., but Loughridge acknowledged, “It seemed like more tension the further south you got.” Macker’s poem “A Day in the Life of Las Cruces” includes the
lines: “A beat up pick-up truck/with Chihuahuan plates plows/through the midday dust/to Airstream heaven. The/Mexican food on Amador Avenue/is a miracle.” The poem accompanies the woodcut Graffiti, which shows two women sitting on a sidewalk in front of a wall, graffitied with a skull and a phrase that includes the word “siempre.” The exhibit also addresses the road’s continuing role as a trade route. One woodblock, The Río Grande, shows a truck, its bed heavy with onions, crossing a low bridge over the river near Las Cruces. Here, the riverbed is nearly dry. This is clearer in the watercolor sketch of the scene: a trickle of blue-brown water cuts the mud beneath the bridge. Another woodblock, The Royal Road, shows a highway under construction near El Paso. Semi trucks recede down the interstate, and an unfinished overpass reaches toward a cloudless sky. “At the beginning of the Royal Road, there’s this freeway, out in the middle of the desert,” Loughridge said. “I thought, Goodness, that’s where they were with carts, this is where the trail was. It’s still bustling with semis. No matter how old, the trail is still a thriving route of commerce.” The wagon ruts of El Camino Real are mostly worn away today, but there are a few spots where you can still see them. “A lot of it’s gone, unless you imagine I-25 to be part of it,” Macker said. “Down south of Truth or Consequences, they have part of the original trail. There’s an area that’s marked, I think it’s BLM land, and it has a trailhead. About a mile and a half from the road is an open space the size of a football field. There’s creosote and blooming desert on either side. There, you can imagine the carretas and oxen as they moved through.” ◀
details ▼ The Royal Road: Artistic Impressions of El Camino Real ▼ Opening reception 5 p.m. Friday, July 12; poetry reading & book signing 2 p.m. Saturday, July 13; exhibit through Aug. 17 ▼ Gerald Peters Gallery, 1101 Paseo de Peralta, 954-5719
From left, Leon Loughridge: The Río Grande; La Bajada; La Joya; Graffiti; all 2013 woodblock prints
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ART
IN REVIEW Wanxin Zhang: Warriors of Soul, Turner Carroll Gallery, 725 Canyon Road, 986-9800; exhibit through Aug. 18
A Wanxin Zhang: left, General (detail), 2010, fired clay and pigment; below, from left, Panda Warrior, 2010, fired clay and pigment; First Step, 2012, fired clay with glaze
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PASATIEMPO I July 12 -18, 2013
genogram is a family tree illustration that can be used to trace ancestral patterns of behavior, similarities of appearance, and medical, psychological, and religious factors, revealing our predecessors’ legacy — good and bad — for us. Creating a personal genogram can lead to major breakthroughs in self-awareness — for example, the recognition that alcoholism, red hair, diabetes, musical talent, divorce, or faith seem to run in one’s family. China-born artist Wanxin Zhang’s figurative sculptures, based on the terra-cotta funerary army created for the first Chinese emperor, speak to the issues of ancestry and heritage in a similarly powerful way. Zhang, who has been working in the United States for about 20 years, has integrated the weight of Chinese history and contemporary culture into his hand-built, slab-based figures, which range from about 2 feet tall to lifesize. Constructed of the same materials as the Qin Dynasty warriors that were discovered in 1974, the abstracted figures are glazed in strong hues; their shiny surfaces feature cracks, deep fissures, pebbling, and layered drips of multiple colors. They wear garments that approximate the ancient warriors’ heavy tiered robes, and their hair is drawn up into topknots. Some bear Chinese characters and carefully wrought clay buttons, loops, and other clothing notions on their surfaces. If Zhang had stopped there in his attempt to create what he calls “a new genre of warriors,” we would be disappointed. Instead he has explored who they might be today, if they were the descendants of the third-century B.C. army. It’s a dual narrative: one, it raises questions about the people upon whom the warriors were modeled, and two, it juxtaposes the art techniques and style of third-century B.C. China with those of today. Heady but accessible stuff.
Zhang has been influenced by the contemporary American ceramics movement, most obviously by California clay pioneer Peter Voulkos, whose macho abstract-expressionist sculptures were among the first to be labeled as fine art rather than craft in the United States. Likewise the Funk Art movement of the 1960s and ’70s, with its absurdist commentary, shows up in Zhang’s work. Half of the 10 figures in the exhibit wear tiny round wire-framed glasses à la John Lennon, and Zhang’s palette is decidedly pop. The bespectacled figure in Purple Trip wears an orange-streaked puce garment and has an odd stance that suggests his mind is definitely elsewhere. The prominent bulge in the region of his crotch is definitely Funk-y. Skateboarder, another cool dude wearing wire-frames, boasts a glassy black and green surface and rides a board marbled in psychedelic hues. But Zhang’s work is not all whimsical. General, the largest of the works, has those little round opaque glasses, but he’s also got an enormous pair of binoculars around his neck, suggesting he has been spying on someone or something. The figure’s structure and surface is the most symmetrical, balanced, and detailed of all those in the exhibit. The kiln can no doubt be credited for the deep cracks in his forehead that add to his mysterious presence. He is serious, heavy, and imposing — but his pants and shoes are color-spattered like a painter’s. Is the General but a worker in disguise? Another piece brings politics more blatantly into the exhibit. Big Hand Mao depicts Chairman Mao Zedong holding a tiny red bloblike infant, perhaps referencing his creation — the People’s Republic of China or Red China. The baby is only partly articulated, just as Mao’s grand idea came to be seen as imperfect, even ugly. Two works include a giant panda, the pop icon-ambassador of China: Panda Warrior is a two-sided figure, human on one side, pandalike on the other, with surfaces that seem to be melting. Is one morphing into the other, or are we to see their similar struggles for viability? In Who’s Better?, a warrior looks down from his pedestal onto a much smaller panda, which appears to be attempting to run away — but the panda’s foot is pinned beneath the man’s heel. Perhaps in both of these pieces the panda represents China and the human the West, or more specifically, the U.S. Who’s Better? suggests the absurdity of positing such a question. As provocative as the panda pieces are, an untitled work situated as the centerpiece of the show is most powerful. From the front, the warrior is glazed a Ming Dynasty blue, and bears the same topknot and mustache as most of the figures in the exhibit. But part of his garment — in the area of his left chest — has melted away, revealing his vulnerable inner self, his heart. From behind, one can see that the figure was split, cut from head to toe before firing; the clay remainder has fallen down and folded into itself, now looking much like deteriorating or burned human flesh. On the back of the upright human façade the artist drew a skeleton. In English, he scratched words: “them ... his ... her ... mine ... us” and a series of Chinese characters. Though we may appear whole, we are all hiding a brokenness. We are as decrepit as this figure — yet here is sketched evidence that something endures even the worst violence. Zhang reminds us that we all come with a history, like it or not; only if we acknowledge it can we understand ourselves today. As Carl Jung observed, what we do not bring to consciousness appears in our life as “fate.” Concurrent with the Zhang exhibit is Portrait of a Chinese Self, an exhibit of new oils by Bay Area artist Hung Liu, who recently had a retrospective exhibition on display at the Oakland Museum of California. An exhibit of Liu’s recent work shows through Sept. 29 at the San Jose Museum of Art, and she has work in major museum collections throughout the country. Her painted portraits are based on historical Chinese photographs and have a mythopoetic quality. In the works at Turner Carroll, Liu depicts herself at various ages in China, ranging from a young girl, perhaps age 5, dressed like Shirley Temple, and as a teenager or 20-something, painting with smuggled watercolors. Liu lived in China before, during, and after Mao’s Cultural Revolution, and her artworks address her personal suffering as well as the collective experience of that time. — Hollis Walker
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Jennifer Levin I For The New Mexican
COMMON ENTROPY
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PASATIEMPO I July 12 -18, 2013
Our radical statement was to build a life around making. — Linda Fleming
1968, when she was 22, Linda Fleming moved from New York to Colorado to help found the artists’ community Libre with her husband and former professor Dean Fleming. They bought land in the Huerfano Valley and built their home — a geodesic dome — themselves. Libre wasn’t like other communes in the Southwest, where hippies went to live outside of “straight” society. “It wasn’t communism. We didn’t share everything. Everyone had their own place. We wanted a place where artists could go and work, where we wouldn’t have to get involved in the radical politics that were going on at the time,” Fleming told Pasatiempo. “Our radical statement was to build a life around making.” The following year, the painter Michael S. Moore passed through Libre with some traveling companions. “They had a few structures up by then,” he recalled. “But I really liked old buildings and messing around with them, as opposed to starting from scratch. I didn’t want to start civilization from scratch like they did.” Moore moved to San Francisco. He grew as an artist, painting minimalist landscapes inspired by his annual travels to the northern Great Basin, and he began drawing a chronicle of the cars he has owned, incorporating stream-ofconsciousness narrative text as texture. Called Auto Biographies, the series engaged him on and off for decades. In perpetual need of both the city and the country, Fleming split her time between Libre and New York City and took various visiting-artist positions at colleges and universities. She made sculptures based on her fascination with mass and space. She suffered through the death of her young daughter and the breakup of her first marriage and then her second. She raised a son. Moore bought land on a mountaintop in Nevada and began spending more time away from California. Fleming and Moore married in the mid-1990s. Fleming has taught sculpture at California College of the Arts in Oakland since 1986. The couple continues to migrate according to the academic season, spending part of the year in the Bay Area, part in Nevada, and part in Colorado, with other excursions and locations woven into the mix. Their work is included in private collections and permanent
museum collections, but in their 26 years together, they’ve never shown in the same exhibition, because their work is so different. This changes on Friday, July 12, when Making Places opens at the Muñoz Waxman Gallery at the Center for Contemporary Arts. Not exactly a retrospective, the exhibit is a showcase for Fleming’s sculpture and maquettes and Moore’s paintings and drawings; it also includes a video piece by Fleming and her son and ephemera like journals and sketchbooks by both artists. While Fleming’s sculpture feels like living postmodern lace or like the movement of cells and bodies, Moore’s paintings and drawings depict the breakdown and dissolution of things. The cars and other objects he chronicles in Auto Biographies are an obvious manifestation of that, but even his paintings of the desert are about nature dividing itself into parts rather than becoming whole. Perhaps what the artists’ work has in common is the subtext of entropy. “The short explanation for the Auto Biographies is that he wants to enshrine his cars,” Fleming said. “I want to memorialize them,” Moore clarified. “I grew up in Southern California in the ’50s and early ’60s, and cars were a really pervasive part of growing up in L.A. The real impetus of the series has been lost in the sands of time, but once I got going, it became intermittently obsessive. I’ve only worked on them three times since 1973.” In the last six months, he has focused on the Auto Biographies to the exclusion of painting, bringing the narrative up to date for the show at CCA. “Thinking about the kinds of work we do and how they’re different from one another is something we both find really intriguing,” Fleming said. “We love each other’s work and know what it’s about, so we’re able to converse about it and spur each other on with it. There’s a sense that you don’t choose the work you’re going to make, that it is the work you make, so here we are with two very different kinds of work but with real respect.” “And continuing dialogue,” Moore said. “I think the work is complementary and plays off each other’s — not only in the actual work but in the way they’re continued on Page 56
Linda Fleming: Crinoline, 2008, wood; opposite page, top, Michael S. Moore: The Weather Channel (detail), 2012, watercolor; below, Greetings From No Time Flat, 2009, acrylic on canvas
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Making Places, continued from Page 55
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PASATIEMPO I July 12 -18, 2013
Moore: Auto Biographies #11, 1973-2013, graphite on paper
presented in the show. Linda is going to have more spotlit stuff, a video here and there, and her whole range of maquettes. I’m doing a very linear presentation.” Moore’s Auto Biographies will serve as a kind of timeline for his paintings, which will hang above. “When you walk into the back space of the gallery, it will be kind of like going into the unconscious mind, where it will be the places where we make things and how our lives evolved around the places where we make things,” Fleming explained. After her first marriage ended, Fleming built herself a new home at Libre, which she and Moore continue to use as a studio. (When they are not at Libre, they invite other artists they know well to use the house for residencies.) When she married Moore, they added on to the place. “One thing that was crucial when we first got together was that each of us had this really intensive practice. We’d already found that in ourselves, and we knew that was how we would proceed. We built a number of places together, fixed up a number of places. We have three studios,” Fleming said. “I’d never built anything before we met,” Moore said. “I’d done renovation and demolition, but I’d never built anything from the ground up. Within a year of meeting Linda I’d built a little shed, and then I kept on going from there.” “I told him it was possible,” Fleming said. “I showed him it was possible! He calls me his little homemaker, because I actually make these homes.” ◀
details ▼ Linda Fleming & Michael S. Moore: Making Places ▼ Muñoz Waxman Gallery, Center for Contemporary Arts, 1050 Old Pecos Trail ▼ Opening reception 6:30 p.m. Friday, July 12; exhibit through Sept. 22 ▼ No charge; 982-1338
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Michael Abatemarco I The New Mexican
Global contemporaries Each year ART Santa Fe brings an eclectic mix of artists, gallerists, and independent dealers to the Santa Fe Community Convention Center to showcase contemporary art on the international market. The art fair is a draw for collectors, families, and anyone interested in seeing fine art from around the world. Now in its 13th year, the fair, founded by gallery owner Charlotte Jackson, brings a stable contingent of returning faces, but there is always something new. For 2013, Jackson and her staff introduce some innovations. “What we try to do is not make it the same old thing every year,” Jackson said. “Let’s beef it up and do different things and freshen it up. I think that’s what we’ve done.” In past fairs, ART Santa Fe’s project spaces gave individual artists with gallery representation opportunities to showcase their work in small exhibits, but most booths were reserved for galleries that typically represent a number of artists. Independent artists could not represent themselves with a booth — until now. “Every year we’re inundated with artists asking if they can apply to the fair, and we always say no. If you have a dealer, your dealer can apply for the project space, but we really don’t have single, solo artist spaces. This year I was thinking about it and once again, we got the calls, and so we decided to do something called the solo booths.” Eight solo booths are included in the fair. The artists were juried in and most are established but not all. “I have one artist, Ariane Roesch — two or
ART Santa Fe
Alain Amiand: Hotel Bogota, Berlin, 2007, varnished Lambda print on Dibond; 31 Galerie, France
continued on Page 60
Isso Art Gallery, located in Tatebayashi, north of Tokyo, focuses on the work of emerging artists from Japan and abroad. Isso Oka, whose work is featured in the gallery, uses inks, pastels, and mixed media on washi, a tough, traditional Japanese paper. Her work ranges from simple repetitive motifs to elaborate abstractions that have a sense of depth, with tonal ranges from dark to light. You feel like you can move into them or through them into space. Of her calligraphy she writes, “I am convinced that a sentient, delicate, and infinite energy inhabits this simple colorless world.”
Isso Oka: Ancient Awakening, 2008, canvas, ink, and pastel; Isso Art Gallery, Japan
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Meg Carlson: Husht Reverberations, 2005, steel, wire, and fabric; courtesy the artist
Jaime Brett Treadwell: I Put It In It, 2012, oil on panel; Patrajdas Contemorary, Utah
Immerse yourself in folds of time in the lobby outside the entrance to ART Santa Fe. There you will find a large installation by New Mexico artist Meg Carlson, a first-time exhibitor at the fair. Her interactive sculpture, Husht Reverberations, is designed to be touched and sat upon. With layer after layer of fabric over steel and wire scaffolding, the work might remind you of geologic sediment layers like those seen in the canyonlands of the Southwest. Because it’s made from scrap fabric, it represents long years of use, like geologic time condensed. It took 10,000 yards of material for Carlson to construct. The piece was first exhibited at the John Sommers Gallery at the University of New Mexico in 2005. Since then Carlson has worked on the design to make it more versatile, with interchangeable parts allowing for different configurations. Though its form may change, its welcoming comfort has not.
Zorikto Dorzhiev: East I West, 2012, mixed media; Khankhalaev Gallery, Moscow
The paintings of Zorikto Dorzhiev touch on fantasy, myth, and intimate moments of domesticity inspired by his Siberian Buryat roots. Often placed in the landscapes of the Eurasian steppes, his portraits of nomadic peoples range from realism to caricature, delightful at times and at other times mystic, and rendered in vivid hues. Dorzhiev studied at the Russian Academy of Arts, among other institutes, and has emerged as an acclaimed international artist. He is among a group of artists represented at ART Santa Fe by Moscow’s Khankhalaev Gallery — a first-time exhibitor. The gallery also represents Vladimir Kush, who shows in Santa Fe at Chalk Farm Gallery. In addition to fine art, Khankhalaev promotes the work of the musical group Badma-Khanda, named for its lead singer, a Buryat woman from Inner Mongolia.
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ART Santa Fe, continued from Page 58 three years ago she came and did this whole ukulele thing. She was an installation artist. She was playing the ukulele and singing instruction manuals. It was hilarious and pretty amazing, and she actually got picked up by a gallery. This year she has some edgy, emerging artists from her UNIT Store in Houston she is going to put in a solo booth. I’ve known her since she was a little girl. When she applied for the solo booth, even though she’s going to bring some other artists, I said absolutely, because I want to support her. Every once in a while I get to do something nice for somebody I’ve known for a long time.” As for solo artists and installation art, the fair is featuring work by Meg Carlson, whose massive interactive sculpture Husht Reverberations is inside the lobby; sculptor Martin Spei, whose work depicts a contemporary everyman, a bloated product of a capitalist society; photographer Doris Hembrough, whose abstract images have a painterly quality; and Lightpaintings by Stephen Knapp. “In 2001 we were in the old convention center. We gave a space to Stephen Knapp. He works with pieces of glass he installs in the wall at specific angles so that when the lights hit them they cast these prismatic colors all over the wall. This is my big focal point for this year that’s different and unique.”
Top, Kenji Tsutsumi: On My Way 2, 2013, acrylic on board; Watanabe Fine Art, Japan Right, Martin Spei: Nostromo, cast bronze; Santa Fe
Cityscapes that pulse with energy and life characterize some of the mixed-media work by Mexican artist Rocío López Venero, represented by S.O.L.O Arte in Mexico City. In her canvases, López Venero overlays black and white photography with vibrantly colored imagery. Her photographs of busy street scenes convey a sense of movement and light. S.O.L.O Arte showcases the work of a number of artists at ART Santa Fe this year, including that of López Venero; photographer Paola Arena; sculptor and photographer Tania Espanda Aja, whose steel and bronze work has a sense of balance and dynamism that draws the eye; Claudia Ballesteros, a mixed-media artist and designer; and painter Gabriela Henkel. This is the first year S.O.L.O Arte exhibits at the fair.
Rocío López Venero: Union Square, 2012, photograph over canvas with acrylic paint; S.O.L.O. Arte, Mexico
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PASATIEMPO I July 12 -18, 2013
Dr. Glenda King
ART Santa Fe has brought a number of keynote speakers that draw big crowds over the years, and 2013 should be no different. Robert Wittman, founder of the FBI’s Art Crime Team and a private consultant dealing in the security, protection, and recovery of art investments, talks about his career as an art sleuth at the New Mexico History Museum at 6:30 p.m. on Saturday, July 13. In addition to Jackson’s own gallery, Charlotte Jackson Fine Art, local participants for 2013 include Zane Bennett Contemporary Art, Jane Sauer Gallery, Marji Gallery and Contemporary Projects, and the New Mexico Museum of Art. The museum’s booth features a small exhibit of work by conceptual artist Sol LeWitt, most pieces from the permanent collection and one on long-term loan. Other New Mexico galleries taking part are 203 Fine Art from Taos and Albuquerque’s Park Fine Art. Each year, Park Fine Art brings to the fair a contingent of Korean artists for the popular How Things Are Made program. The art of Korean papermaking is a step-by-step demonstration of the making of hanji, a traditional Korean paper derived from the bark of the mulberry tree. “They love to come back every year, because they love doing the demonstrations. It opens it up to being not just a fair for adults and big-time collectors but for people with children and families, and they can see how things are done in other parts of the world.” Oehme Graphics, a Colorado-based publisher of fine art prints, also participates in How Things Are Made with demonstrations of monotype and etching printmaking. Also returning are a few galleries based in Japan. Watanabe Fine Art from Osaka made its first appearance at last year’s fair and was the first to sign up for 2013. Edel, another gallery from Osaka, has maintained a steady presence. “Edel Gallery has a very special place in our heart. They have been coming to this fair for probably 10 years. Now they come back, and they bring their friends. So, we have this family of Japanese galleries, and I’m touched by that.” Other international gallerists are Systema, based in Kathmandu and Japan, and first-time exhibitors 31 Galerie from France, among whose featured artists is photographer Alain Amiand, who is engaged in an ongoing project photographing small hotels across the world that are in danger of disappearing. Also new are Galería Gaudí from Spain, S.O.L.O Arte from Mexico, and Russia’s Gallery Khankhalaev. This year is the first time ART Santa Fe has included a gallery from Russia. “Gallery Khankhalaev is from Moscow, but the artists that are coming are from Siberia. They’re trying to introduce younger, emerging Siberian artists. One of the things they’re trying to do is get them some exposure in the United States. They make beautiful paintings. Some are landscapes, some are abstracted, and some are fantasy-like images. There’s a handful of collectors in Santa Fe who collect Russian art.” Jackson’s fair is a homegrown affair, and attracting international attention to a small art expo is no easy task. “One of our promoters once asked, ‘How do you get all those people?’ You know what? We take really good care of them. I have a small staff. This is a handful of dedicated people. It’s hard work. It’s not an easy thing to put together. We’re reaching out to people from Siberia and Katmandu. It’s exciting, I think.” ◀
details ▼ ART Santa Fe ▼ 11 a.m.-6 p.m. Friday-Sunday, July 12-14 ▼ Santa Fe Community Convention Center, 201 W. Marcy St. ▼ $10; at the door and from Tickets Santa Fe at the Lensic
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Michael Abatemarco I The New Mexican
On the trail of looters, forgers, and thieves
IN
n 1987 looters raided the royal tombs at Sipán, an archaeological site associated with the Moche culture that flourished in northern Peru nearly 2,000 years ago. A small gold inlaid monkey-head bead from the site eventually made its way into the collection of pre-Columbian art at the Palace of the Governors, where it was exhibited in the late 1990s. The head attracted the attention of a Peruvian archaeologist who, suspecting it was stolen from Sipán, contacted the FBI, and an investigation was launched. The monkey-head bead has since been repatriated. The man who broke the case was the founder of the bureau’s Art Crime Team, Robert K. Wittman. Over the course of his career, Wittman, author of the 2010 book Priceless: How I Went Undercover to Rescue the World’s Stolen Treasures, has been close to some of the most high-profile art theft cases, rubbing elbows with criminals and risking his life on undercover assignments. Now president of a consulting firm on the security and protection of art investments and the recovery of stolen art, Wittman comes to Santa Fe as keynote speaker at this year’s ART Santa Fe international art fair. Pasatiempo: Your parents were in the antiques business, and you grew up surrounded by art and antiques. Did you know when you went into the FBI that art crime would be your focus? Robert K. Wittman: I had no clue where my future would lay. It was 1988, and I was interested in just working cases. My first assignment was in Philadelphia on the truck-hijacking squad. It was the furthest thing away from art. Pasa: I’ve often read that stolen art is used as collateral in drug deals and arms deals rather than ending up in the secret vaults of criminal masterminds. Has this been your experience? Wittman: People talk about it, but working in the FBI for 20 years, I never saw it. I never knew a drug dealer who would trade heroin for a Renoir. People talk about art theft and start ascribing all these ideas to it. The truth is that art theft is about 20 percent of all art crime. The real crimes in the art world are frauds, forgeries, fakes, looting. When we talk about these high-profile thefts, you know, pieces that are worth a million dollars or stolen at gunpoint from museums, those are the pieces that can’t be sold. In the end, we get them back through sting operations with law enforcement. Those pieces are so high profile that the uniqueness makes it impossible to place them on the black market. When we talk about pieces of art that are ten thousand dollars and less, that’s the vast majority. They’re unidentifiable, they’re multiples like prints or vases or lamps, and they can be sold in secondary markets, flea markets, and small auctions. Nationwide, statistically, I think, we get about 5 percent of that back. But high-profile, major artworks, we get 90 percent of those back. Pasa: Even though art theft is considered property crime and is low priority for the FBI, can it lead to bigger sting operations involving organized crime? Wittman: My point, whenever I was arguing with people at headquarters, was that art theft is a gateway crime. These individuals involved in stealing artwork from major museums at gunpoint, they’re involved in many things. Today they’re stealing art, yesterday it was stolen cars, last week it was money laundering and drugs and even weapons. If we can catch them in the art crime we can use that to bust up the entire criminal enterprise. Pasa: In 1990, 13 objects, including a Vermeer, several Rembrandts, and some works by Degas were stolen from the Isabella Stewart Gardner Museum in Boston. You’ve been close to recovering some of those objects.
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Art-crime specialist Robert K. Wittman Wittman: From 2006 to 2008 I was undercover working with criminals in Miami, as well as in Madrid, Barcelona, and Marseilles. We were chasing the Rembrandt seascape and the Vermeer painting, The Concert. At that point, the investigation did recover two stolen Picassos and four pieces taken from the Museum of Fine Arts in Nice, which was two Bruegels, a Sisley, and a Monet. But we didn’t get the Rembrandt or the Vermeer. At that time we were working with the French police. They suspected the pieces were in Corsica. Five years Photo Donna Wittman later I don’t know where they are. Pasa: In March of this year the FBI announced that they knew who was behind the theft but, as far as I know, no arrests have been made. Wittman: All I can say is that, in the last press conference, they did two interesting things. Number one, they focused the investigation on the recovery of the art and took it off the perpetrators, because 23 years later, it’s not really important who did it. What’s important is getting it back. The other thing they did was develop a website now that’s dedicated toward the heist, and they ask for tips from the public. They’re really pushing for crowdsourcing for information, and that’s good. All it takes is one lead, and it could crack the whole case. There is a 5 million dollar reward, so there is incentive to come up with that lead. I truly believe these paintings are all separated. I don’t think they’re all sitting in a warehouse a block away from the museum. That’s what the FBI says, but I don’t believe that. I’d hate to think they’re gone for good. I’ve got to try to keep an optimistic view and hope that whoever has them has kept them in good condition. ◀
details ▼ Art Santa Fe keynote speaker Robert K. Wittman ▼ 6:30 p.m. Saturday, July 13 ▼ New Mexico History Museum, 113 Lincoln Ave., 476-5200 ▼ $15; at the door or from Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org)
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Something’s rotten in the fleet of Denmark Jonathan Richards I For The New Mexican A Hijacking, thriller, not rated, in English and Danish with subtitles, The Screen, 3 chiles If you’ve ever wondered what it would be like to be captured by pirates and held for ransom, this movie is as close as you are likely to get, or likely to care to. It’s not quite like the old days, with swashbuckling hearties in bandannas and hoop earrings yelling “Shiver me timbers!” as they swing aboard dangling from ropes, cutlasses clenched between gleaming teeth and hearts set on doubloons and pretty women passengers. These days the pirates are mostly Somalis, and they’re after higher finance. And in Tobias Lindholm’s harrowing first solo feature, we never even see them come aboard. The movie opens with the Rozen, a Danish cargo ship, plowing the Indian Ocean. We meet Mikkel (Pilou Asbæk), the ship’s cook, a genial, bearded bear of a fellow with a wife and little girl back home. As he stands leaning over the ship’s rail, we can practically feel the salt breeze in his face and the joyous freedom of the high seas in his heart. Meanwhile, back in Copenhagen, CEO Peter Ludvigsen (Søren Malling) sails through the white, sterile corporate offices of his shipping company like a swift-moving iceberg, making decisions, calling shots, making deals, and putting underlings in their place. He’s a pale man in a pale environment, a man of cool efficiency and no sweat glands. We learn of the hijacking as Peter does, from a frantic aide rushing in with a faxed message. Only then do we cut to the ship to find a gang of
Søren Malling
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PASATIEMPO I July 12-18, 2013
Roland Møller and Pilou Asbæk
Kalashnikov-wielding pirates terrorizing the captive crew and demanding ransom. As Peter swings into crisis mode, an American expert in pirate hijacking is summoned. Connor Julian (Gary Skjoldmose Porter, who in real life is not an actor but a man with the rarefied expertise he represents here) advises Peter to call in a professional who can handle the ransom negotiations without emotion. Peter rejects this. “It’s my company and my responsibility,” he insists. He’s a man unapt to delegate, a man with supreme confidence in his own superiority in crafting a deal. And when Connor warns him of the danger of getting too emotionally involved, we share Peter’s belief that such a thing is not likely to happen to him. On board with the pirates, but insisting he is not one of them, is Omar (Abdihakin Asgar), the translatornegotiator who plays the role of good cop in the proceedings. The rest of the hijackers are virtually indistinguishable one from another, a gang of skinny black men with wild eyes and itchy trigger fingers. Omar is plump and disheveled and projects a weary reasonableness. When he puts the pirates’ initial $15 million ransom demand to Peter, Connor advises the CEO not to accede, which will only embolden them to ask for more. Peter offers $250,000. The days drag on. The captain is seriously ill. The crew is denied even basic sanitary facilities. They relieve themselves in a corner of the cabin, the air turns foul, the temperatures and tensions rise, the sense of desperation and abandonment grows. Mikkel, as an English speaker, is summoned to the phone to plead with the home office in a language Omar can understand and monitor. The contrast between the rough, sweaty, claustrophobic confines of the ship and the cool, clean,
air-conditioned precincts of the corporate offices is stark. Lindholm and director of photography Magnus Nordenhof Jønck keep the color scheme a dirty brown aboard the ship while showing the Copenhagen offices a whiter shade of pale. Days turn into weeks, weeks to months. Food runs low. Finally the pirates allow the use of a bathroom, and they bring the crew on deck to fish. They catch a whopper, and crew and pirates celebrate together with singing and carousing. But the gains in camaraderie are ephemeral, and the situation quickly returns to the status quo. Johnny Depp to the contrary, the piracy here has no romanticism but the feel of grim and terrifying reality. And though we have the ship’s cook as a central character, he’s no Steven Seagal, and his job description in this movie seems like a nod to Under Siege (1992), to emphasize the impossibility of real life replicating the heroics we’ve been taught to expect in action movies. Without resorting to that kind of extravagant behavior, Lindholm keeps the tension ratcheting up aboard the ship and in the increasingly desperate atmosphere of the home office, where family members come to plead for their loved ones and where Peter, who once wore his crisp shirts and suits with an aura of immortal freshness, now sleeps in his office, sits slumped in his undershirt, and loses his cool in the bargaining sessions. His attitude of invincibility is erased, and it is a suggestion from his maligned lieutenant (Dar Salim) that finally carries the day. This fall Tom Hanks is coming along with a Somali piracy thriller called Captain Phillips, based on a real 2009 hijacking. A Hijacking is not based on any specific incident, but it sets a high bar for realism. ◀
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If you love movies, you’re probably a sucker for anthology documentaries that show you clip after clip of great scenes from great films from the rich history of the medium. Sometimes these documentaries celebrate a genre, such as musicals or film noir. Sometimes they trumpet the career of an actor or a director — and on rare occasions even a writer. But Tom Donahue has come up with an angle that will surprise, delight, and inform even the most dedicated movie maven. Welcome to the world of the casting director, a world that flourished at its peak from the middle to the end of the last century. And meet its high priestess: Marion Dougherty. Dougherty didn’t exactly invent the field of casting, but she was instrumental in raising it to a respected art. And she fought for and received on-screen credit for the work of her profession. She never succeeded in getting it elevated to an Oscar-recognized part of the movie business, which celebrates separate achievements in sound mixing and sound editing but ignores such inspired decisions as Dustin Hoffman and Jon Voight as Ratso Rizzo and Joe Buck. Movie buffs know that Casablanca might have had to make its way in the world with Ronald Reagan and Ann Sheridan instead of Bogie and Bergman if the dice had tumbled a different way. But that was in the old studio days, when roles were assigned based on which actors the studios had under contract or could get in a deal. Dougherty came along as the studios were starting to relax their iron grip on the system. She got her start in the wild and woolly precincts of television’s early days, where she tapped talents such as Robert Redford, Glenn Close, Clint Eastwood, and Robert Duvall — as well as Hoffman, Voight, and dozens of others — steered them toward the right vehicles, and helped make them known. She was also godmother to the casting profession, giving many modern casting heavyweights their starts. When she moved on to movies, the stakes rose, and so did her stock. In Donahue’s engrossing documentary, we see a parade of directors and stars testifying to the difference she made in their lives, films, and careers. Voight remembers bombing in the first TV role she landed for him and his undying gratitude for her willingness to forget about it and champion him for Midnight Cowboy. One of the most moving testimonials comes from director Richard Donner, who remembers Dougherty suggesting Danny Glover as Murtaugh to pair with Mel Gibson’s Riggs in 1987’s Lethal Weapon. “But he’s black,” Donner protested, and then he withered under Dougherty’s scornful look. Donner credits Dougherty with helping him as a director and as a person. Dougherty, who died in 2011, isn’t around to see the finished film, but she is interviewed extensively and provides plenty of humor, history, and insight. ◀
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A woman’s right to choose Jonathan Richards I For The New Mexican Fill the Void, family drama, rated PG, in Hebrew with subtitles, Center for Contemporary Arts, 3 chiles The movie opens with a mother and a daughter shopping in a supermarket. They prowl up one aisle, down the next, and they’re not hunting for the gluten-free crackers. They are ultra-Orthodox Jews, and they are shopping for a husband for the 18-year-old maiden. An emergency cellphone call to the matchmaker who has arranged the viewing pins down the prospect’s location. He’s in the dairy section (which is presumably not next to the meat counter). They peer around the corner, and there he is: a tall bearded youngster, studying the cheeses and wiping his nose on his prayer shawl. The daughter likes what she sees, but the mother observes wryly, “You’re going to have to do a lot of laundry.” We are inside the Haredi Jewish community of Tel Aviv, and our guide is first-time feature filmmaker Rama Burshtein, herself a member of this closely guarded religious community. One of the great gifts of film is to spirit us into cultures to which we would normally never have an entree and expand our world with a greater understanding of the humanity of others. Before the arrangements can be finalized between Shira (Hadas Yaron) and the fellow at the dairy case, tragedy strikes. Shira’s adored older sister Esther (Renana Raz) dies in childbirth, leaving a grieving widower, Yochay (Yiftach Klein), and an infant for whom he is ill-equipped to care.
Hadas Yaron
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All happy mishpokhes are alike: from Fill the Void
The family is devastated by the death, of course. But what’s done is done. “May the Lord console you with Zion and Jerusalem,” the mantra runs, “and may you have no more sorrow.” For the girls’ mother, Rivka (Irit Sheleg), the real crisis is the one that something can be done about. Yochay must remarry to provide a mother to raise the child. But when it develops that there’s a Haredi widow in Belgium ready and willing to fill the void, and that Yochay will move there with the baby, Rivka goes into crisis mode. “How will I survive this?” she wails. Every grandparent knows the intoxicating joy of a grandchild. Rivka’s solution to the prospect of losing her grandson to Belgium is to propose an alternative wife who would keep the widower close to home. And that alternative is her surviving daughter, Yochay’s sister-in-law, Shira. The Haredi courtship tradition does not reflect the Western model of young people meeting, often by chance, going out together, getting to know each other, falling in love, and then getting married. In any case, that is a model with a mixed record of success, and many cultures have strong enduring traditions of brokered or arranged marriages, with love perhaps coming later. Generally speaking, no culture has the standing to pass judgment on the traditions of another. And the window Burshtein opens for us into this closed community shows us a bunch of sincere, likable people. The head rabbi is a genial, twinkling white-bearded elder who receives petitioners and dispenses boons like the Godfather and is genuinely concerned for his flock. There are no villains. Yochay is a gentle, decent, and attractive young man, not an ogre to whom the virgin is to be sacrificed. Nobody is forcing Shira to accept him. This is not like levirate marriage, as set out in the Book
of Deuteronomy, which obliges a brother to marry the widow of his deceased brother. Shira, everyone insists, has a choice, and she’s a bit appalled at first at the whole idea. Yochay isn’t so sure either, but he comes around. “I’m Esther’s little sister!” Shira protests in a courtship scene. “You’re not so little any more,” Yochay says. There is an underlying understanding that a woman without a husband is pretty worthless. One example here is Shira’s Aunt Hanna (Razia Israeli), who on rabbinical advice wears her hair covered to pass as a married woman and avoid questions. Her excuse is that she has no arms. The other embarrassment is Shira’s cousin Frieda (Hila Feldman), who has no excuse — she’s attractive, but she’s unaccountably sailed past prime marriageable age without snaring a man. But when Shira suggests to Yochay that Frieda might be a more suitable match, it’s as if she had kneed him in the groin. This is a movie with many strengths, from a subtly conceived lighting scheme to a complex understanding of its characters’ conflicted emotions and universally strong performances. Yaron won Best Actress at the Venice Film Festival, and the film scored big at the Israeli Academy of Film and Television Awards and was Israel’s entry for the Oscars. Burshtein is observant and uncritical of the community that she joined as an adult from a secular background. What is uncomfortable here is the devaluing of Shira into a game-piece to be moved on a board. Her mother’s thinking never seems to be, “Yochay is the perfect man for Shira, and he will make her happy.” It’s all about keeping the grandson in Tel Aviv. It’s not that she doesn’t hope it will work out as a good match. It’s just that that’s not the point. Shira is a means to an end. ◀
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The idea of nuclear power is one that scares a lot of people — for good reason. Most people have seen footage of atomic bomb tests, looked at pictures of the aftermath of Hiroshima and Nagasaki, and heard about the disasters at Chernobyl and Three Mile Island. The presence of these images in the public consciousness colors our perception of nuclear power and engenders strong distrust of anything so inextricably linked with destruction. Pandora’s Promise, a new film by documentary filmmaker Robert Stone, covers the history of nuclear energy and dispels commonly held misconceptions about using the power within the atom to fuel our cities. The film opens with a protest, in which a woman, working off the crowd’s energy, rails against nuclear power. Throughout the film, the footage is used to underscore how uninformed opponents are about the reality of nuclear power. Viewers may leave the theater thinking, as Stone and the people he interviews do, that it will be the only reliable source of power as the globe’s energy needs increase. The film features interviews with activists and authors, all of whom are proponents of nuclear power who were initially skeptical and in many cases vociferous opponents. The figure most opposed to nuclear power was activist Mark Lynas, who went around the world with a Geiger counter, testing background radiation — which is everywhere and increases with altitude — in different countries, including the sites of the Chernobyl and Fukushima Daiichi disasters. While the radiation is high in the area of the Fukushima plant, it’s not really much higher than it is on a beach in Brazil. And while that’s surprising, it isn’t jaw dropping, like the revelation that the beach is more radioactive than Chernobyl or that people still live near that plant, as they have since shortly after the accident. The film, as eye-opening as it is, should be taken with a grain of salt, since it is fairly one-sided in its positive portrayal of the technology, but its ability to seamlessly combine a history of nuclear technology and underscore a potential energy crisis makes the idea of a nuclear-powered future more than attractive. At the same time, the film presents quite a bit of information that is fairly commonly known but will most likely serve those less up to speed on nuclear issues. Whether or not you end up agreeing with the film’s message is a matter of personal preference, but as with Food, Inc. or The Cove, Pandora’s Promise brings to the fore a topic that isn’t discussed enough. It may shock you and make you think in a way that’s wholly unexpected. ◀
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MASTERS OF COMEDY: SILENT COMEDY EXTRAVAGANZA #1 This may be the perfect compilation for today’s YouTube-obssessed crowd — a series of short, often darkly comic cartoons and comedies featuring the still-famous (Charlie Chaplin) and the sadly obscure (Charley Chase). Chase’s What Price Goofy? is a neglected, beautifully paced delight and should amuse the kids thanks to the canine antics of Buddy the dog. Chaplin’s The Immigrant remains a sweet gem, and we even get early Felix the Cat causing grief in Arabia. All in all, a great way to start the day, since the screenings are in the morning. Not rated. 78 minutes. Center for Contemporary Arts Cinematheque, Santa Fe. (Robert Nott)
Bring some extra batteries: Charlie Hunnam and Rinko Kikuchi in Pacific Rim, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española
opening this week CASTING BY Marion Dougherty, who died in 2011, virtually created the realm of the casting director as an important part of the filmmaking process. This engrossing documentary by Tom Donahue celebrates the work of Dougherty and her colleagues. It collects accolades, reminiscences, and a treasure trove of film and TV clips of the early work of some of your favorite actors and directors, including Robert Redford, Al Pacino, Robert De Niro, Dustin Hoffman, Glenn Close, Woody Allen, and dozens more. It will surprise, delight, and inform even the most dedicated movie maven. 7 p.m. Wednesday, July 17, only (no charge; for information, call Santa Fe Independent Film Festival at 505-349-1414). Not rated. 89 minutes. Lensic Performing Arts Center, Santa Fe. ( Jonathan Richards) See review, page 66. FILL THE VOID One of the great gifts of film is to spirit us into cultures to which we would normally never have an entree and expand our world with a greater understanding of the humanity of others. Writer and director Rama Burshtein takes us inside the closely guarded Haredi Jewish community of Tel Aviv. Her story is of Shira (Hadas Yaron), pressured by her mother (Irit Sheleg) to marry the widower Yochay (Yiftach Klein) of her elder sister, who died in childbirth leaving a baby boy, to ensure that the bereaved father won’t move away 72
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with the child. It’s a strong, assured first feature from Burshtein, who joined the Haredim as an adult. Rated PG. 90 minutes. In Hebrew with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) See review, Page 68. GROWN UPS 2 Adam Sandler, Chris Rock, Kevin James, and David Spade. This collection of stand-up guys return for a sequel to their 2010 hit. In this installment, the four men attend their kids’ last day of school — but who acts more like children, the adults or their offspring? The answer might surprise you, but it probably won’t. Rated PG-13. 101 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) A HIJACKING Danish director Tobias Lindholm launches his first solo effort (he co-directed the prison movie R and co-wrote Thomas Vinterberg’s drama The Hunt) with this taut, tense pirate movie. These pirates are not the Caribbean sort but the Somali type who have made headlines in recent years off the eastern coast of Africa. A Danish ship is hijacked, and Lindholm takes us back and forth between the sweaty claustrophobia and terror aboard the ship in the Indian Ocean and the white, sterile offices of the shipping company in Copenhagen. As the days turn to months, the tension rises at both ends of the harrowing standoff. Not rated. 99 minutes. In English and Danish with subtitles. The Screen, Santa Fe. ( Jonathan Richards) See review, Page 64.
PACIFIC RIM Guillermo del Toro’s latest film is set on Earth in the near future. When giant monsters rise from a crevasse beneath the Pacific, massive robots known as Jaegers — each controlled by two pilots — are deployed to fight them off and save humanity. Idris Elba, Charlie Day, and Ron Perlman round out the cast. Rated PG-13. 131 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) PANDORA’S PROMISE Director Robert Stone’s feature-length documentary presents a one-sided but persuasive argument about the potential of nuclear power. Interweaving footage of protests, interviews with former opponents of nuclear energy, and visits to the sites of nuclear disasters, Stone’s film is eye opening and at times a little unsettling. Though the data it presents should be taken with a grain of salt, Pandora’s Promise effectively brings to the fore a discussion about something that isn’t discussed enough. Not rated. 87 minutes. Center for Contemporary Arts, Santa Fe. (David Salazar) See review, Page 70. PERFORMANCE AT THE SCREEN The series of high-definition screenings continues with Romeo and Juliet, danced by member’s of Moscow’s Bolshoi Ballet, with music by Prokofiev. Choreographed by Yuri Grigorovich. Anna Nikulina and Alexander Volchkov star. 11 a.m. Sunday, July 14, only. Not rated. 168 minutes plus one intermission. The Screen, Santa Fe. (Not reviewed) TURBO A tiny, slow snail (voiced by Ryan Reynolds) has big dreams: to win the Indianapolis 500. It sounds impossible, until a freak accident gives him the gift of extraordinary speed. From there, the trip from zero to hero is on. Paul Giamatti, Snoop Dogg, and Michelle Rodriguez also contribute their voices. Opens Wednesday, July 17, with a sneak preview at 10 p.m. Tuesday, July 16. Rated PG. 96 minutes. Regal Stadium 14, Santa Fe. (Not reviewed)
now in theaters BEFORE MIDNIGHT The third round of the collaboration between director Richard Linklater and stars Julie Delpy and Ethan Hawke that began with Before Sunrise (1995) is set at the end of a family vacation in southern Greece. Celine (Delpy) and Jesse (Hawke) have been together for the decade since Before Sunset (2004). Here they drive and talk and walk and talk and make love and talk. All that conversation ebbs and flows through the intimate knowledge two people develop about each other over a long time and the ways they make each other laugh and think and cry and rage. Both actors are as good as or better than they have ever been. Rated R. 108 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) THE BLING RING Directed by Sofia Coppola, this is the true-crime tale of celebrity-obsessed young Angelenos (played by the ever-sensational Emma Watson, a captivating Katie Chang; Taissa Farmiga; Israel Broussard; and Claire Julian) who, beginning in 2008, broke into celebrities’ homes and stole designer sunglasses, shoes, purses, jewelry, and clothes worth more than $3 million. This is a snappily paced wisp of a film, awash with Coppola’s trademark super-cool aesthetic, her ear for dialogue, and a good amount of tension. She reserves judgment, although as she portrays them, these teens are a lot like the houses of the vacationing celebrities they rob: the lights are on, but nobody’s home. Rated R. 90 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) CAVEDIGGER Ra Paulette has lived in Embudo for 29 years and has gained a reputation for his fantastically carved art caves. Now he’s eschewing clients and building a magnificent 10-year project. The documentary screens with the short Monument to the Dream. 11:30 a.m. Sunday, July 14, only (filmmaker Jeffrey Karoff and Paulette attend the screening). Not rated. Films total 67 minutes. Center for Contemporary Arts, Santa Fe. (Paul Weideman) DESPICABLE ME 2 The left-field hit of 2010 gets its sequel with this story about the ex-villain Gru (voiced by Steve Carell), who is called out of retirement to track down a bad guy who is even badder than he was. The animation is a big step up from the original film, and the plot is mercifully to the point. Unlike many animated family films, Despicable Me 2 is proudly a comedy first, and it shelves the action, life lessons, and goopy sentiment in favor of laugh attempts. Whether or not those
attempts are successful is up to the viewer, and the filmmakers hedge their bets by bringing slapstick for the kiddies (the yellow Minions are as silly as a sugarinduced giggle fit) and pop-culture references for the grown-ups (I enjoyed the goofy Boyz II Men tribute). Rated PG. 98 minutes. Shows in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. Screens in 2-D only at Storyteller, Taos. (Robert Ker) THE GREAT GATSBY Baz Luhrmann’s movie rendering of F. Scott Fitzgerald’s classic novel is The Great Gatsby the way Jay Gatsby might have directed it. Gaudy, extravagant, and ecstatically excessive, it lights up the screen like a lavish party into which Luhrmann hopes Daisy Buchanan will wander some night — and if not Daisy, then at least the rest of the world, looking for a good time. That is the quality that distinguishes this movie; when it slows down for the more intimate scenes, it usually fails to convince. Leonardo DiCaprio, Carey Mulligan, and Tobey Maguire star. Rated PG-13. 143 minutes. Screens in 2-D only at Regal DeVargas, Santa Fe. ( Jonathan Richards) HANNAH ARENDT In 1961, the great German-Jewish philosopher Hannah Arendt (played here by Barbara Sukowa) went to Jerusalem to cover the trial of Adolf Eichmann. What she reported, in a series of articles, angered Jews. She did not find a monster inside the glass cage that was the defendant’s dock. She found instead a “terrifyingly normal” human being who followed orders blindly. What really enraged her readers was her reporting that some European Jewish leaders were at least partly complicit in the Nazi treatment of Jews. For this she was vilified, threatened, and rejected by friends and colleagues. Not rated. 113 minutes. In English and German with subtitles. The Screen, Santa Fe. ( Jonathan Richards) HAVA NAGILA: THE MOVIE Let us rejoice. That is what hava nagila means, and this documentary about the song is cause for rejoicing. Director Roberta Grossman takes us on a journey, beginning with the song’s origins in Ukraine and through to Israel and America, offering wonderful photographs and film footage of Jewish people along with numerous disparate performances of the song. The movie is brief, lively, and informative, and it touches nicely on the spiritual balance between the earthly and the divine, between sorrow and joy. Not rated. 75 minutes. Center for Contemporary Arts, Santa Fe. (Robert Ker) THE HEAT With Bridesmaids, director Paul Feig put women in the traditionally male-dominated genre of the raunchy comedy. Now he does the same with the buddy-cop
Grown Ups 2
pic. Melissa McCarthy, who became a star with her frank character in Bridesmaids, plays the bad cop to Sandra Bullock’s good cop. Aside from Bullock’s downplayed character arc, the plot is mainly a vehicle to bring us from one McCarthy tirade to the next. That’s a wise decision: her sassy delivery and take-nocrap personality makes her an audience favorite, and rightfully so. Rated R. 117 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker) THE LONE RANGER The titular hero (Armie Hammer) and his faithful Comanche friend Tonto ( Johnny Depp) take on the railroad, the cavalry, bad guys led by a cannibalistic Butch Cavendish, and a host of other creeps in this fastmoving but curiously unexciting retelling of the classic tale. The duo should have gone after the film’s screenwriters and director and thrown them in the hoosegow. That the movie is terrible is disappointing, given that most of the creative talent was also involved with the successful and frequently entertaining Pirates of the Caribbean film franchise. Rated PG-13. 149 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Nott) LOVE IS ALL YOU NEED Danish director Susanne Bier, who normally deals in bleaker material, has gone all soft continued on Page 74
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and cuddly in this romantic comedy about two lost souls who unite, and in lesser hands the result would probably be insufferably cute. But Bier manages to keep this valentine on a very enjoyable track, helped immeasurably by a fine cast led by Pierce Brosnan and the wonderful Trine Dyrholm. It’s a grown-up film, beautifully photographed at a family wedding on an Amalfi coast. Rated R. 110 minutes. In English, Danish, and Italian with subtitles. Regal DeVargas, Santa Fe. ( Jonathan Richards) MAN OF STEEL The big screen has been Kryptonite to Superman — the hero has been thwarted by bad sequels, Hollywood turnaround, and false starts since 1980’s Superman II. Director Zach Snyder reboots the character from the ground up (no need for a story recap — you know the deal). The result is (sometimes too) dark and violent yet promising; it favors a realistic approach that lends a sense of awe to that which is super. With the exception of Henry Cavill, who looks the part but is often too stiff as Superman, the cast is inspired, especially Amy Adams as Lois Lane. Rated PG-13. 143 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) MONSTERS UNIVERSITY Pixar’s sequel to its 2001 smash Monsters, Inc. shows how far the estimable studio has come with animation: the textures and colors are awe-inspiring. It also shows how far Pixar has fallen with regard to its writing: the cleverness of the original Monsters movie is followed up with this uninspired plot. Set during the younger days of Mike and Sulley (voiced again by Billy Crystal and John Goodman), the story revolves around the two getting booted from their college program and competing in a scaring competition to get back in. It’s cute but not original or economical. Rated G. 103 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker) MUCH ADO ABOUT NOTHING Does it trouble you that Joss Whedon, creator of Buffy the Vampire Slayer and The Avengers, is adapting Shakespeare? Well, let me convert your thoughts of woe into hey-nonny-nonny,
spicy
medium
bland
heartburn
mild
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because this version of the beloved comedy is a sunny, effervescent, and refreshing summer treat. Reed Diamond, Sean Maher, Fran Kranz, Jillian Morgese, and Amy Acker star. Rated PG-13. 107 minutes. Center for Contemporary Arts, Santa Fe. (Laurel Gladden) NOW YOU SEE ME Assemble a highly watchable cast, which includes Woody Harrelson, Jesse Eisenberg, Morgan Freeman, Michael Caine, Mark Ruffalo, and Mélanie Laurent. Then roll out a crackerjack setup: four illusionists perform a trick in Las Vegas in which one of their audience members is “teleported” to Paris to rob a bank. As the FBI and an opportunist who exposes magicians’ secrets close in on the illusionists, make every scene interesting. Abracadabra! You have a movie that’s wildly entertaining, despite having to cheat to connect all the dots. Rated PG-13. 116 minutes. Regal DeVargas, Santa Fe. (Robert Ker) STAR TREK: INTO DARKNESS In the newest Star Trek movie, director J.J. Abrams ups the ante on action and visual effects. This film finds Kirk (Chris Pine) and Spock (Zachary Quinto) at odds after a violation of the Prime Directive and the arrival of a genetically enhanced villain (Benedict Cumberbatch). It steers the U.S.S. Enterprise in new and exciting directions while exploring themes of unjust war and terrorism. Rated PG-13. 132 minutes. Screens in 2-D at Regal DeVargas, Santa Fe. (Rob DeWalt) STORIES WE TELL Actress Sarah Polley’s documentary exploration of her family history is better if you don’t know too much about it. Polley’s mother, Diane, who died of cancer in 1990, when Polley was 11, is the heart of the film, which is primarily constructed through interviews with her friends and family. Diane emerges as a complicated figure, and there’s no consensus on her character. Stories We Tell is about the Polleys, but it speaks to the mythmaking that occurs in all families. Rated PG-13. 108 minutes. The Screen, Santa Fe. (Adele Oliveira) THIS IS THE END James Franco, Jonah Hill, Seth Rogen, Danny McBride, Craig Robinson, and Jay Baruchel are holed up in Franco’s mansion when the apocalypse hits during a raging party. These guys aren’t playing characters — they’re playing themselves, often as preening, egotistical jerks. Suffice it to say, the mileage you get out of this comedy will vary depending on how much you like these dudes. Emma Watson and Michael Cera kill in their cameos, and the cocky, obnoxious McBride pretty much steals the show. Rated R. 107 minutes. Regal DeVargas, Santa Fe. (Robert Ker)
20 FEET FROM STARDOM “Not everyone is cut out for stardom,” says Bruce Springsteen, one of the headliners who muses here on the contributions and frustrations of the backup singers whose vocals raise the sound to another level. Táta Vega, Claudia Lennear, and the sublime Lisa Fischer are a few that will send you out of the theater wondering about that imponderable barrier that kept them from headliner stardom. Some of it is temperament, some of it is luck, and some of it is just the business. But Morgan Neville’s documentary brings these singers front and center, and it’s glorious. Rated PG-13. 90 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) WHITE HOUSE DOWN Just in time for the Fourth of July, here’s a movie in which the White House gets blown up good. Don’t worry, though: the destruction is being carried out by director Roland Emmerich, who has done this before (in Independence Day) and is a total professional. This time, the enemies come not from outer space but from within our own country. Channing Tatum is the film’s tough guy, and Jamie Foxx is the President. Rated PG-13. 137 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) WORLD WAR Z Though this film thrusts its protagonist, played by Brad Pitt, into one Republic serial-type cliffhanging situation after another in rapid succession, what’s missing from Marc Forster’s production — based on the Max Brooks novel of the same name — is suspense. Pitt is the multi-talented expert who travels the world to find a way to end a zombie epidemic. The actors are convincing, and the characters more interesting than usual for such fare, but the combination of sloppy scripting, CGI special effects for the zombies, and the speed and confusion of most of the action scenes wears you out. Rated PG-13. 115 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Nott)
other screenings Railyard Park, 740 Cerrillos Road 8 p.m. Saturday, July 13: The Rocky Horror Picture Show. Free outdoor screening presented by the Santa Fe Independent Film Festival. Regal Stadium 14 7 p.m. Thursday, July 18: Red 2. Santa Fe Center for Spiritual Living 505 Camino de los Marquez, 983-5022 7:15 p.m. Thursday, July 18: Sirius. ◀
What’s shoWing Call theaters or check websites to confirm screening times. CCA CinemAtheque And SCreening room
1050 Old Pecos Trail, 982-1338, www.ccasantafe.org 20 Feet From Stardom (PG-13) Fri. to Mon. 3 p.m., 5 p.m., 7 p.m. Tue. 3:45 p.m., 5:45 p.m., 7:45 p.m. Wed. 3 p.m., 5 p.m., 7 p.m. Thurs. 12:45 p.m., 2:45 p.m., 7:45 p.m. CaveDigger & Monument to the Dream (NR) Sun, 11:30 a.m. Fill the Void (PG) Fri. to Sun. 4 p.m., 6 p.m., 8:15 p.m. Mon. 3:45 p.m., 5:45 p.m., 8 p.m. Tue. 3 p.m., 5 p.m., 7 p.m. Wed. and Thurs. 3:45 p.m., 5:45 p.m., 8 p.m. Hava Nagila (NR) Fri. and Sat. 11:30 a.m. Mon. 12 p.m. Wed. and Thurs. 12 p.m. Masters of Comedy: Silent Comedy Extravaganza I (NR) Fri.-Sun. 11 a.m. Much Ado About Nothing (PG-13) Fri. to Mon. 12:45 p.m. Wed. 12:45 p.m. Pandora’s Promise (NR) Fri. and Sat. 1:15 p.m. Sun. and Mon. 1:45 p.m. Wed. and Thurs. 1:45 p.m. regAl deVArgAS
562 N. Guadalupe St., 988-2775, www.fandango.com Before Midnight (R) Fri. and Sat. 1:40 p.m., 4:30 p.m., 7:30 p.m., 9:55 p.m. Sun. to Thurs. 1:40 p.m., 4:30 p.m., 7:30 p.m. The Bling Ring (R) Fri. and Sat. 4:20 p.m., 10:05 p.m. Sun. to Thurs. 4:20 p.m. The Great Gatsby (PG-13) Fri. to Thurs. 1:10 p.m., 6:50 p.m. Love Is All You Need (R) Fri. and Sat. 1:20 p.m., 4 p.m., 7:10 p.m., 9:55 p.m. Sun. to Thurs. 1:20 p.m., 4 p.m., 7:10 p.m. Now You See Me (PG-13) Fri. and Sat. 1:30 p.m., 4:10 p.m., 7:20 p.m., 10 p.m. Sun. to Thurs. 1:30 p.m., 4:10 p.m., 7:20 p.m. Star Trek Into Darkness (PG-13) Fri. and Sat. 1 p.m., 3:50 p.m., 7 p.m., 9:50 p.m. Sun. to Thurs. 1 p.m., 3:50 p.m., 7 p.m. This Is The End (R) Fri. and Sat. 1:50 p.m., 4:40 p.m., 7:40 p.m., 10:10 p.m. Sun. to Thurs. 1:50 p.m., 4:40 p.m., 7:40 p.m. regAl StAdium 14
3474 Zafarano Drive, 424-6296, www.fandango.com Call theater or consult site for times not shown. Despicable Me 2 3D (PG) Fri. to Sun. 11:10 a.m., 2 p.m., 4:30 p.m., 7 p.m., 9:35 p.m. Despicable Me 2 (PG) Fri. to Sun. 11:30 a.m., 12:10 p.m., 2:30 p.m., 3 p.m., 5 p.m., 5:30 p.m., 7:30 p.m., 8:05 p.m., 10:30 p.m. Grown Ups 2 (PG-13) Fri. to Sun. 11:35 a.m., 1:50 p.m., 2:20 p.m., 4:35 p.m., 5:05 p.m., 7:20 p.m., 7:50 p.m., 10:20 p.m., 10:45 p.m. The Heat (R) Fri. to Sun. 11:05 a.m., 1:55 p.m., 4:45 p.m., 7:40 p.m., 10:35 p.m. The Lone Ranger (PG-13) Fri. to Sun. 12 p.m., 12:30 p.m., 3:30 p.m., 4:15 p.m., 7:15 p.m., 7:45 p.m., 10:35 p.m., 11 p.m. Man of Steel (PG-13) Fri. to Sun. 12:20 p.m., 3:50 p.m., 7:10 p.m., 10:10 p.m., 10:25 p.m. Monsters University (G) Fri. to Sun. 11 a.m., 11:25 a.m., 2:05 p.m., 4:50 p.m., 7:45 p.m., 10:30 p.m. Pacific Rim 3D (PG-13) Fri. to Sun. 12:45 p.m., 4 p.m., 7:10 p.m., 10:15 p.m. Pacific Rim (PG-13) Fri. to Sun. 1:40 p.m., 4:40 p.m., 7:45 p.m., 10:50 p.m. Turbo (PG) Tues. 10 p.m., White House Down (PG-13) Fri. to Sun. 1 p.m., 4:20 p.m., 7:25 p.m., 10:40 p.m. World War Z (PG-13) Fri. to Sun. 11:05 a.m., 11:15 a.m., 2:05 p.m., 4:55 p.m., 7:55 p.m., 10:45 p.m.
the SCreen
Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, www.thescreensf.com Bolshoi Ballet: Romeo and Juliet (NR) Sun. 11 a.m. Hannah Arendt (NR) Fri. 5:35 p.m. Sat. 11 a.m., 5:35 p.m. Sun. 2:20 p.m. Mon. to Thurs. 5:35 p.m. A Hijacking (R) Fri. and Sat. 1:10 p.m., 7:45 p.m. Sun. 6:45 p.m. Mon. to Thurs. 1:10 p.m., 7:45 p.m. Stories WeTell (PG-13) Fri. and Sat. 3:20 p.m. Sun. 4:30 p.m. Mon. to Thurs. 3:20 p.m. mitChell dreAmCAtCher CinemA (eSpAñolA)
15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com Despicable Me 2 in 3D (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. and Tue. 4:30 p.m., 7 p.m. Despicable Me 2 (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. and Tue. 4:30 p.m., 7 p.m. Grown Ups 2 (PG-13) Fri. 4:50 p.m., 7:25 p.m., 9:45 p.m. Sat. 2:15 p.m., 4:50 p.m., 7:25 p.m., 9:45 p.m. Sun. 2:15 p.m., 4:50 p.m., 7:25 p.m. Mon. and Tue. 4:50 p.m., 7:25 p.m. The Heat (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. and Tue. 4:45 p.m., 7:20 p.m. The Lone Ranger (PG-13) Fri. 6:50 p.m., 9:55 p.m. Sat. 2:25 p.m., 6:50 p.m., 9:55 p.m. Sun. 2:25 p.m., 6:50 p.m. Mon. and Tue. 6:50 p.m. Monsters University (G) Fri. 4:40 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:40 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:40 p.m., 7:05 p.m. Mon. and Tue. 4:40 p.m., 7:05 p.m. Pacific Rim 3D (PG-13) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:50 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. Sun. 1:50 p.m., 4:30 p.m., 7:15 p.m. Mon. and Tue. 4:30 p.m., 7:15 p.m. Pacific Rim (PG-13) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:50 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. Sun. 1:50 p.m., 4:30 p.m., 7:15 p.m. Mon. and Tue. 4:30 p.m., 7:15 p.m. White House Down (PG-13) Fri. and Sat. 4:20 p.m., 7:10 p.m., 10 p.m. Sun. to Tue. 4:20 p.m., 7:10 p.m. World War Z (PG-13) Fri. 4:55 p.m., 7:30 p.m., 9:55 p.m. Sat. 2:20 p.m., 4:55 p.m., 7:30 p.m., 9:55 p.m. Sun. 2:20 p.m., 4:55 p.m., 7:30 p.m. Mon. and Tue. 4:55 p.m., 7:30 p.m.
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110 Old Talpa Canon Road, 575-751-4245, www. storyteller.com. Call theater for times not shown. Despicable Me 2 (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. and Tue. 4:30 p.m., 7 p.m. Grown Ups 2 (PG-13) Fri. 4:50 p.m., 7:25 p.m., 9:45 p.m. Sat. 2:15 p.m., 4:50 p.m., 7:25 p.m., 9:45 p.m. Sun. 2:15 p.m., 4:50 p.m., 7:25 p.m. Mon. and Tue. 4:50 p.m., 7:25 p.m. The Heat (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. and Tue. 4:45 p.m., 7:20 p.m. The Lone Ranger (PG-13) Fri. 6:50 p.m., 9:55 p.m. Sat. 2:25 p.m., 6:50 p.m., 9:55 p.m. Sun. 2:25 p.m., 6:50 p.m. Mon. and Tue. 6:50 p.m. Monsters University (G) Fri. 4:40 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:40 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:40 p.m., 7:05 p.m. Mon. and Tue. 4:40 p.m., 7:05 p.m. Pacific Rim 3D (PG-13) Fri. and Sat. 7:15 p.m., 10 p.m. Sun. to Tue. 7:15 p.m. Pacific Rim (PG-13) Fri. 4:30 p.m. Sat. and Sun. 1:50 p.m., 4:30 p.m. Mon. and Tue. 4:30 p.m. World War Z (PG-13) Fri. 4:55 p.m., 7:30 p.m., 9:55 p.m. Sat. 2:20 p.m., 4:55 p.m., 7:30 p.m., 9:55 p.m. Sun. 2:20 p.m., 4:55 p.m., 7:30 p.m. Mon. and Tue. 4:55 p.m., 7:30 p.m.
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75
RESTAURANT REVIEW Bill Kohlhaase I The New Mexican
Vine dining
Arroyo Vino 218 Camino la Tierra, 983-2100 Dinner 5-9 p.m. Tuesday-Saturday; closed Sundays & Mondays Noise level: moderate to distracting Vegetarian options Beer & wine Credit cards, local checks
•
The Short Order Chef Mark Connell, formerly of Max’s and Tomme, has landed in Las Campanas at Arroyo Vino, the excellent restaurant and wine bar attached to a wine shop of the same name. Diners can choose a bottle from the shop’s eclectic collection (a $20 corkage fee applies) or opt for wines by the glass or the bottle from the menu. Connell favors fresh, local ingredients and uses both imagination and good judgment in his small-plate offerings. The service can have some rough edges, the tables are crowded into one part of the room, and a few other kinks need to be worked out. The food, though, is close to perfect. Recommended: asparagus “fries,” stonefruit salad, pan-seared lamb top sirloin, short-rib ragù, and chocolate layer cake.
Ratings range from 0 to 4 chiles, including half chiles. This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value.
76
PASATIEMPO I July 12 -18, 2013
Those who would follow chef Mark Connell to the ends of the earth are in luck. Connell, formerly of Max’s and Tomme, can be found no farther away than Arroyo Vino wine bar and restaurant, out toward Las Campanas. Connell’s cooking, graced with fresh, locally raised ingredients, is smart and intuitive. He’s inventive, but not radically so. Even when he’s creating definitive contrasts, his dishes make sense, both intellectually and on the palate. It’s rare that one of his preparations, no matter how imaginative, puts you off. Being adjacent to the wine shop of the same name allows Arroyo Vino to offer something new in dining experiences: a wine cellar that you can peruse. For an additional $20 corkage fee, you can have anything found in the shop served with your dinner. The restaurant offers wines by the glass as well as a “What We’d Drink List” of bottles. No corkage fee there. The dining room is small and more crowded than it needs to be. There’s a bar at the center — a good place to sit and face the room and watch the action. Large pieces of art hang here and there, and even larger chalkboards list wine and dinner specials. One corner of the room near the kitchen is inexplicably empty other than a single tall table. The space is big enough to hold a jazz combo or a handful of dining tables. As is, it adds a touch of coldness to the room. The small-plate concept is in effect here, perfect for sampling and sharing a host of Connell’s dishes. You order bread not because it’s exquisite — in fact, it’s soft and spongy and without the crispy crust we prefer — but to dip it in a sampling of three oils, each more flavorful and with a bigger, more biting finish than the last. A dish of olives with a curl of orange peel seemed designed to show that the kitchen selects top-shelf cured foods. Sautéed pod peas were done just enough to maintain their snap. Thick spears of asparagus “fries” were lightly battered like fine tempura, a touch firm, and served with an airy, eggy hollandaise sauce. A small sampling of sweetbreads, not so lightly battered, looked like fried clams and tasted like oysters, the modest sweet-and-sour sauce served with them a nice complement. The dishes become more involved as you move past the “bites” and the cheese selection. A stone-fruit salad with white peaches, shaved fennel, arugula, and a wonderful pistachio dressing was a marvel of mix-and-match flavors. A plate of fine heirloom tomatoes served with tiny dollops of cool, firm, mildly flavored “goat cheese sorbet” was another revelation and one that surely will only get better as tomato season progresses. The dish that didn’t come together, both in flavor and in texture, was a cold watermelon gazpacho flavored with hibiscus and basil. Entrees on different nights (the menu changes weekly) included mussels and French fries, wild boar tenderloin, and green-curry shrimp served with an heirloom melon salad. These dishes — which pair a centerpiece meat or pasta with wonderfully compatible accompaniments — best display Connell’s genius. Pan-seared slices of lamb sirloin rested atop a minty pea purée with a few brilliantly green whole peas and plump, springy couscous. A fish special of seared sea bass sat next to a combination of thin fried spaetzle noodles and bits of morel mushrooms in a deliciously unctuous tarragon
sauce. Delightful red piquillo peppers, stuffed with a rich lamb sausage and looking like little elf caps, stood in a green pistou made with mint instead of basil. A barrel of crispy polenta sat in a short-rib ragù rich with gorgonzola, sage, and — ’tis the season — peas. Desserts — a thick, rich chocolate layer cake and a raspberry semifreddo on a salty shortbread crust topped with lemon meringue, for example — are stellar. Sadly, the coffee we ordered with dessert was barely warm and noticeably not freshly brewed. Some details on the floor still need to be worked out. You don’t expect a server to touch the bottle to your glass when pouring, especially in such a wine-conscious place, but that happened one night. We had to remind a server that we’d ordered bread. On the other hand, our second visit featured impeccable care, right down to the recommendation of a glass of 2010 Domaine de Fontsainte Corbières, stout enough for our meatiest entrees but still gentle enough for the bass. But a glass of 2009 Roland Thevenin Pinot Noir from Hautes-Côtes de Nuits was a disappointment. Searching for the bottle in the shop before leaving, we were told it was being discontinued and were given an explanation that included quotes from the wine-savvy film Sideways. Remember the part where Miles calls the pinot grape fickle? A good thing, I guess, that this fickle wine was being discontinued, but why serve it in the restaurant? ◀
Check, please
Dinner for two at Arroyo Vino: Olives ...........................................................................$ 4.00 Oil tasting with bread...................................................$ 5.00 Asparagus fries.............................................................$ 9.00 Sweetbreads .................................................................$ 8.00 Stone-fruit salad...........................................................$ 11.00 Pan-seared lamb top sirloin..........................................$ 16.00 Raspberry semifreddo ..................................................$ 9.00 Glass, 2009 Roland Thevenin Pinot Noir,....................$ 14.00 Coffee...........................................................................$ 2.50 TOTAL .........................................................................$ 78.50 (before tax and tip) Dinner for two, another visit: Heirloom-tomato salad ................................................$ 9.00 Sautéed snap peas ........................................................$ 4.00 Watermelon gazpacho..................................................$ 9.00 Seared sea bass with spaetzle........................................$ 17.00 Short-rib ragù with crispy polenta ...............................$ 15.00 Lamb-sausage-stuffed piquillo peppers........................$ 15.00 Chocolate layer cake ....................................................$ 9.00 Glass, 2010 Domaine de Fontsainte Corbières ............$ 10.00 TOTAL .........................................................................$ 88.00 (before tax and tip)
what’s happening
Art sAntA fe Friday–SuNday, July 12–14
Stop by and see works by Sol LeWitt from our collection at our booth in Art Santa Fe, at the Santa Fe Convention Center. For more information and tickets go to artsantafe.com.
public lecture wedNeSday, July 17, 6:30–8 pM
Narcissus Quagliata, “Archetypes and Visions in Light and Glass.” Italian artist Quagliata pioneered the methods that broke the boundaries of glass an as art medium. Co-presented with Bullseye Glass. $5 in advance at Bullseye Glass (505-4678951), or at the door.
MondAy GAllery tAlks weekly, 12:15 pM
Tour our exhibitions and meet some of New Mexico’s most interesting people. Free with museum admission. July 15: John Torres-Nez, Chief Operating Officer, Southwestern Association of American Indian Art (SWAIA), and Joseph Traugott, Curator of Twentieth-Century Art, New Mexico Museum of Art. July 22: Joyce Begay-Foss, Director of Education, Museum of Indian Arts and Culture. July 29: Mary Kershaw, Director, New Mexico Museum of Art.
New Mexico MuseuM of Art
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Kings, castles and unicorns appear in... Santa Fe Desert Chorale Summer Festival 2013
Northern LIGHTS
Joshua Habermann, Music Director July 16, 23; August 1, 7 8pm
In a program inspired by Nordic folklore, experience the clear blue light of a Scandinavian sky as the Santa Fe Desert Chorale journeys north to the Arctic Circle. Spanish flamenco and Caribbean salsa will inject southern passion into a cool Nordic blue. And, enjoy special appearances by the iconic and beloved Swedish Chef from The Muppet Show. For SFDC Summer Festival tickets visit: desertchorale.org or call 505.988.2282
Summer Festival 2013 is made possible, in part, by the National Endowment for the Arts; New Mexico Arts, a division of the Department of Cultural Affairs; and the City of Santa Fe Arts Commission and 1% Lodgers’ Tax.
S a n t a Fe
DESERT CHORALE PASATIEMPOMAGAZINE.COM
77
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78
PASATIEMPO I July 12 - 18, 2013
You turn to us.
pasa week Friday, July 12
Windsor Betts art Brokerage 143 Lincoln Ave., 820-1234. Works from folk artists’ estates, open house 5-7 p.m. Worrell gallery 103 Washington Ave., 989-4900. Along the Río Grande, plein-air paintings by Clarence Medina, reception 5-7 p.m.
gallery/museum openings
arT santa Fe 2013 International contemporary art expo; 11 a.m.6 p.m., Santa Fe Community Convention Center, $10 at the door and in advance at 988-1234, ticketssantafe.org, through Sunday; 6:30 p.m., Art in America party at the Farmers Market Pavilion, 1607 Paseo de Peralta, music by South African traditional Zulu band Ihashi Elimhlophe, and refreshments, admission with art expo ticket (see stories, Pages 58-62). axle Contemporary 670-7612 or 670-5854. Traveling Raveling, works by Michelle Goodman, Kathleen McCloud, and Gina Telcocci, reception 5-7 p.m., look for the mobile gallery’s van next to the Farmers Market Pavilion, 1607 Paseo de Peralta, visit axleart.com for van locations through Aug. 4. Bindle stick studio 616½-B Canyon Rd., 917-679-8080. The Drifter, recent work by Jeffrey Schweitzer, reception 5-7 p.m., through Aug. 30. B.J. lloyd Fine art 715 Canyon Rd., 989-9330. Grand-opening reception 5-7 p.m. Center for Contemporary arts 1050 Old Pecos Trail, 982-1338. Making Places, interdisciplinary installation by Linda Fleming and Michael S. Moore, reception 6:30-8 p.m., through Sept. 22 (see story, Page 54). Convergence gallery 219 W. San Francisco St., 986-1245. A Delicate Balance, paintings by Brad Stroman, reception 5-7 p.m., through July. Dominique Boisjoli Fine art 621 Canyon Rd., 989-7855. Evening Gowns, bronzes by Boisjoli, viewing 5-8 p.m. el Zaguán 545 Canyon Rd., 983-2567. Hard Rain’s A Gonna Fall, paintings by Max-Carlos Martinez, closing reception 5-7 p.m. gerald peters gallery 1011 Paseo de Peralta, 954-5700. The Royal Road: Artistic Impressions of El Camino Real, exhibit and book release with woodblock artist Leon Loughridge and poet John Macker, reception 5-7 p.m., through Aug. 17 (see story, Page 50). giacobbe Fritz Fine art 702 Canyon Rd., 986-1156. Imagined History, new work by Wendy Chidester, reception 5-7 p.m., through July. Heidi loewen porcelain gallery 315 Johnson St., 988-2225. Summer Highlights, work by Loewen, reception 5-8 p.m., through Aug. 2. Karan ruhlen gallery 225 Canyon Rd., 820-0807. Surface Beauty, group show, reception 5-7 p.m., through July 25. Kristin Johnson Fine art 323 E. Palace Ave., 780-5451. Electrico Magnetico, paintings by Maryanne Pollock, reception 5:30-7:30 p.m.
Pasa’s Little Black Book......... 80 Exhibitionism...................... 82 At the Galleries.................... 83 Museums & Art Spaces........ 83 In the Wings....................... 84
compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com
opera
Grand Duchess of Gerolstein Offenbach’s opéra bouffe, 8:30 p.m., Santa Fe Opera, 301 Opera Dr., tickets available at the box office, 986-5900.
ClassiCal musiC
TgiF piano recital Victoria Hudimac performs music of Handel, Mozart, and MacDowell, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., 982-8544, Ext.16, donations appreciated.
in ConCerT
son Volt Alt-country band, 7:30 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $23, ticketssantafe.org, 988-1234. suzanne Teng & mystic Journey New-age instrumental band, 7:30 p.m., Railyard Performance Center, 1611 Paseo de Peralta, $10-$20 sliding scale at the door.
THeaTer/DanCe
Giacobbe Fritz Fine Art shows new paintings by Wendy Chidester, 702 Canyon Rd.
lewallen galleries Downtown 125 W. Palace Ave., 988-8997. Wild Horses, abstracts by Ron Ehrlich, reception 5-7 p.m., through Aug. 25. meyer gallery 225 Canyon Rd., 983-1434. Paintings by Daniel Gerhartz, reception 5-7 p.m., through Aug. 1. new Concept gallery 610-A Canyon Rd., 795-7570. Big + Bold, group show, reception 5-7 p.m., through Aug. 5. red Dot gallery 826 Canyon Rd., 820-7338. Mixed-media group show, reception 4:30-7:30 p.m., through Aug. 11. santa Fe Community Foundation 501 Halona St., 988-9715. Invitation to Contemplation, works by Patricia Dobrin, Laura Orchard, and Carl Schuman, reception 5-6:30 p.m., through Sunday. selby Fleetwood gallery 600 Canyon Rd., 992-8877. Mumbo Jumbo, paintings and sculpture by Rodney Hatfield, reception 5-7:30 p.m., through July 23.
Elsewhere............................ 86 People Who Need People..... 87 Under 21............................. 87 Pasa Kids............................ 87
siTe santa Fe 1606 Paseo de Peralta, 989-1199. Enrique Martínez Celaya: The Pearl, site-specific installation, free reception 5-7 p.m., through Oct. 13 (see story, Page 38). sr Brennen gallery 555 Canyon Rd., 428-0274. Paintings by Eustaquio Segrelles, reception 5-7 p.m., through July 20. steve elmore studio 839 Paseo de Peralta, 995-9677. Sacred Serpents and Fire Trees, new paintings by Elmore, reception 5-7 p.m., through Oct. 1. Ventana Fine art 400 Canyon Rd., 983-8815. Equine-themed paintings by Jean Richardson, reception 5-7 p.m., through July 24. Waxlander gallery 622 Canyon Rd., 984-2202. Figuratively Romantic, new work by Andrée Hudson, reception 5-7 p.m., through July 22. William siegal gallery 540 S. Guadalupe St., 820-3300. Newlandia, work by Paula Roland; In the Middle of Nowhere, drawings and objects by Paula Castillo; reception 5-7 p.m., through Aug. 10.
aspen santa Fe Ballet New works by choreographers Cayetano Soto and Norbert De La Cruz III; plus, Trey McIntyre’s Like a Samba, 8 p.m., the Lensic, $25-$72, ticketssantafe.org, 988-1234, encore Saturday. Flamenco Fiesta! Student recital followed by a flamenco lesson and a fiesta; 5:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, call for tickets, 424-1601. Juan siddi Flamenco Theatre Company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, ticketssantafe.org, 988-1234, TuesdaysSundays through Sept. 1. yjastros: The american Flamenco repertory Company at el Farol 8 p.m. Tuesdays-Sundays through Aug. 11, $25, 983-9912.
BooKs/TalKs
The renga project Axle Contemporary’s yearlong public-art installation of revolving poems by New Mexico poets; poetry reading by Malena Mörling, 5 p.m., between SITE Santa Fe and Warehouse 21 on Paseo de Peralta, visit axleart.com for schedule of weekly readings, 670-7612 or 670-5854. The Virgin of guadalupe: The apparition of 1531 Presentation by John Barham, 6 p.m. today and Saturday, El Museo Cultural de Santa Fe, 555 Camino de la Familia, $5, 992-0591, a portion of the proceeds benefits the venue. ▶▶▶▶▶▶▶▶
calendar guidelines Please submit information and listings for Pasa Week
no later than 5 p.m. Friday, two weeks prior to the desired publication date. Resubmit recurring listings every three weeks. Send submissions by mail to Pasatiempo Calendar, 202 E. Marcy St., Santa Fe, NM, 87501, by email to pasa@sfnewmexican.com, or by fax to 820-0803. Pasatiempo does not charge for listings, but inclusion in the calendar and the return of photos cannot be guaranteed. Questions or comments about this calendar? Call Pamela Beach, Pasatiempo calendar editor, at 986-3019; or send an email to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. See our calendar at www.pasatiempomagazine.com, and follow Pasatiempo on Facebook and Twitter. PASATIEMPOMAGAZINE.COM
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events
santa Fe Opera Backstage tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900, weekdays through Aug. 13. santa Fe Opera Monthly Ranch tours Extended tour of the grounds with a meetthe-artist component, 10 a.m., tour $12, added backstage tour $20, call 986-5900, visit santafeopera.org for a schedule.
nightliFe
(See addresses below) Bishop’s lodge Ranch Resort & spa Jazz guitarist Pat Malone, 6-9 p.m., no cover. Café Café Los Primos Trio, traditional Latin rhythms, 6-9 p.m., no cover. ¡Chispa! at el Mesón The Three Faces of Jazz and Friends, featuring Bryan Lewis on drums, 7:30 p.m.-close, no cover. Cowgirl BBQ Acoustic dark-folk duo Zombie Plowboy, 5-7:30 p.m.; bluegrass band The RD Unit, 8 p.m.; no cover. el Cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. el Farol Reggae band Boomroots Collective, 9 p.m., no cover. evangelo’s Rolling Stones tribute band Little Leroy and His Pack of Lies, 9 p.m.-close, call for cover. hotel santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover.
d Wine Bar 315 Restaurant an 986-9190 il, Tra Fe 315 Old Santa 317 aztec 150 317 Aztec St., 820-0 e inn th at agoyo lounge E. Alameda St., 3 30 a ed am al e on th 984-2121 Betterday Coffee 5-1234 55 905 W. Alameda St., nch Resort & spa Ra e dg Bishop’s lo Rd., 983-6377 e 1297 Bishops Lodg oval St., 466-1391 nd Café Café 500 Sa Casa Chimayó 8-0391 409 W. Water St., 42 ón es ¡Chispa! at el M 983-6756 e., Av ton ing 213 Wash uthside Cleopatra Café so 4-5644 47 ., Dr o 3482 Zafaran Counter Culture 5 930 Baca St., 995-110 Cowgirl BBQ , 982-2565 319 S. Guadalupe St. Café te the den at Coyo 3-1615 98 , St. r ate W . 132 W lton el Cañon at the hi 811 8-2 98 , St. al 100 Sandov spa eldorado hotel & St., 988-4455 o 309 W. San Francisc
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PASATIEMPO I July 12 -18, 2013
la Fiesta lounge at la Fonda Blues band The HooDoos, 8-11 p.m., no cover. la Posada de santa Fe Resort and spa Nacha Mendez Duo, pan-Latin rhythms, 6:30-9:30 p.m., no cover. the legal tender at the lamy Railroad Museum Paw Coal & The Clinkers, bluegrass and old-timey music, 6-9 p.m., no cover. low ’n’ slow lowrider Bar at hotel Chimayó de santa Fe Jazz off the Plaza, jazz trio with special guests, 9:30 p.m.-close, no cover. the Mine shaft tavern Open mic with Kelli Ann and her band, 7 p.m., no cover. the Palace Restaurant & saloon C.S. Rockshow with Don Curry, Pete Springer, and Ron Crowder, classic rock, 9:30 p.m., call for cover. Pranzo italian grill Geist Cabaret with pianist David Geist, Broadway show tunes, 6-9 p.m., call for cover. second street Brewery Gregg Daigle Band, roots/blues/Americana, 6-9 p.m., no cover. second street Brewery at the Railyard July Rock & Blues Fiesta, guitarist Alex Maryol, 7-8:30 p.m.; grunge/folk-rock band Colorblind Poet, 9 p.m.-close, no cover. tiny’s Chris Abeyta Duo, easy listening, 5:30-8 p.m.; Controlled Burn, classic rock and country covers, 8:30 p.m.-close; no cover. the Underground at evangelo’s Local rock cover band Chango, 9:30 p.m., call for cover. vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; pianist/vocalist Bob Finnie, pop standards, 8 p.m.-close; call for cover.
Pasa’s little black book ill el Paseo Bar & gr 848 2-2 208 Galisteo St., 99 el Farol 3-9912 808 Canyon Rd., 98 evangelo’s o St., 982-9014 200 W. San Francisc hotel santa Fe ta, 982-1200 1501 Paseo de Peral asters ikonik Coffee Ro 6 99 1600 Lena St., 428-0 la Boca 2-3433 72 W. Marcy St., 98 ina nt la Casa sena Ca 8-9232 98 e., Av e lac Pa 125 E. at la Fonda la Fiesta lounge , 982-5511 St. o isc nc Fra 100 E. San a Fe Resort nt sa de da la Posa e Ave., 986-0000 lac Pa and spa 330 E. at the the legal tender eum us M d oa ilr Ra y m la 466-1650 151 Old Lamy Trail, g arts Center lensic Performin St., 988-1234 o isc nc Fra 211 W. San e lodge th at ge un lodge lo Francis Dr., St. N. 0 at santa Fe 75 992-5800 the Matador o St., 984-5050 116 W. San Francisc
13 Saturday galleRy/MUseUM OPenings
aRt santa Fe 2013 International contemporary art expo; 11 a.m.6 p.m., through Sunday, Santa Fe Community Convention Center; in addition, 6:30 p.m. talk by keynote speaker Robert Wittman, former special agent and founder of the FBI’s art crime team, New Mexico History Museum, 113 Lincoln Ave., expo $10 at the door and in advance, talk $15 in advance, tickets available at the Lensic box office, ticketssantafe.org, 988-1234 (see stories, Pages 58-62). la tienda exhibit space 7 Caliente Rd., Suite A-6, Eldorado, 428-0024. Intersection: Lens, Light, Life, works by Daryl A. Black, Caroline Jenney, and Kathy Olshefsky, reception 5-8 p.m., through Aug. 10. Matthew gray studio 821 San Mateo St., 699-1594. Mule, mixed-media installation, reception 6-9 p.m.
OPeRa
La Donna del Lago Mezzo-soprano Joyce di Donato in Rossini’s love story set against the turbulence of 18th-century Scotland, 8:30 p.m., Santa Fe Opera, 301 Opera Dr., tickets available at the box office, 986-5900 (see stories, Pages 28-33).
in COnCeRt
havana son Free salsa lesson 8:15-9 p.m., music 9 p.m.-12:30 a.m., La Tienda Performance Space, 7 Caliente Rd., call for ticket information, 603-0123 or 570-0707. santa Fe Bandstand New-age band Suzanne Teng & Mystic Journey, 6 p.m.; intermission act Azaheh Dance Company; ethnic-fusion band Wagogo, 7:30 p.m.; on the Plaza, series continues through Aug. 23, santafebandstand.org.
the Mine shaft tavern 2846 NM 14, Madrid, 473-0743 Molly’s kitchen & lounge 1611 Calle Lorca, 983-7577 Museum hill Café 710 Camino Lejo, Milner Plaza, 984-8900 Music Room at garrett’s desert inn 311 Old Santa Fe Trail, 982-1851 the Palace Restaurant & saloon 142 W. Palace Ave, 428-0690 the Pantry Restaurant 1820 Cerrillos Rd., 986-0022 Pranzo italian grill 540 Montezuma Ave., 984-2645 Rouge Cat 101 W. Marcy St., 983-6603 san Francisco street Bar & grill 50 E. San Francisco St., 982-2044 santa Fe Community Convention Center 201 W. Marcy St., 955-6705 santa Fe sol stage & grill 37 Fire Pl., solofsantafe.com second street Brewer y 1814 Second St., 982-3030 second street Brewer y at the Railyard 1607 Paseo de Peralta, 989-3278
theateR/danCe
aspen santa Fe Ballet New works by choreographers Cayetano Soto and Norbert De La Cruz III; plus, Trey McIntyre’s Like a Samba, 8 p.m., the Lensic, $25-$72, 988-1234, ticketssantafe.org. Juan siddi Flamenco theatre Company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, ticketssantafe.org, 988-1234, TuesdaysSundays through Sept. 1. yjastros: the american Flamenco Repertory Company at el Farol 8 p.m. Tuesdays-Sundays through Aug. 11, $25, 983-9912.
BOOks/talks
ancient sites & Crop Circles in southern england Slide presentation by Andy Nowak, 5 p.m., Travel Bug Books, 839 Paseo de Peralta, 992-0418. anne Bolinger-McQuade The author discusses and signs copies of Everyday Oracles: Decoding the Divine Messages That Are All Around Us, 2 p.m., Ark Books, 133 Romero St., 988-3709. Museum of international Folk art gallery talks Gallery of Conscience director Suzanne Seriff and artists participating in the International Folk Art Market; in conjunction with the exhibit Let’s Talk About This: Folk Artists Respond to HIV/AIDS, 1 and 3 p.m., 706 Camino Lejo, Museum Hill, by museum admission, 476-1200. the Royal Road: artistic impressions of el Camino Real Woodblock artist Leon Loughridge and poet John Macker read from and sign copies of their book, 2 p.m., Gerald Peters Gallery, 1011 Paseo de Peralta, 954-5700 (see story, Page 50).
steaksmith at el gancho 104-B Old Las Vegas Highway, 988-3333 sweetwater harvest kitchen 1512-B Pacheco St., 795-7383 taberna la Boca 125 Lincoln Ave., Suite 117, 988-7102 thunderbird Bar & grill 50 Lincoln Ave., 490-6550 tiny’s 1005 St. Francis Dr., Suite 117, 983-9817 tortilla Flats 3139 Cerrillos Rd., 471-8685 the Underground at evangelo’s 200 W. San Francisco St., 577-5893 Upper Crust Pizza 329 Old Santa Fe Trail, 982-0000 vanessie 427 W. Water St., 982-9966 veterans of Foreign Wars 307 Montezuma Ave., 983-9045 Warehouse 21 1614 Paseo de Peralta, 989-4423 Zia diner 326 S. Guadalupe St., 988-7008
The Virgin of Guadalupe: The Apparition 1531 Presentation by John Barham, 6 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, $5, 992-0591, a portion of the proceeds benefits the venue.
eVenTs
2013 santa Fe International Folk Art Market More than150 artists offer goods at the 10th annual event hosted by the Museum of International Folk Art; early bird market 7:30-9 a.m.; market 9 a.m.-5 p.m. through Sunday; Milner Plaza, Museum Hill, early bird tickets $50 (includes all-day admission), market $15 in advance, $20 at the gate, folkartmarket.org. Contra dance New England folk dance with live music by the Thrifters and calls by Katherine Buetler, beginner classes 7 p.m., dance 7:30 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $8, students $4, 820-3535. santa Fe Artists Market 8 a.m.-1 p.m. Saturdays at Railyard Park across from the Farmers Market, through November, 310-1555. santa Fe Farmers Market 7 a.m.-noon, Collected Works Bookstore hosts a reading and signing of It’s Our Garden by Santa Fe author George Ancona, 9 a.m.-noon, 1607 Paseo de Peralta, 983-4098. santa Fe Opera Insider Days Opera Guild members offer insights into productions and behind-the-scenes processes at no charge; refreshments 8:30 a.m., discussion and backstage tour 8:45 a.m., Saturdays through Aug. 24, meet at the box office, 986-5900, visit santafeopera.org for complete schedule of community events. santa Fe society of Artists show 9 a.m.-5:30 p.m., at the First National Bank parking lot on W. Palace Ave., across from the New Mexico Museum of Art, weekends through Oct. 20.
FleA MArkeTs
Pueblo of Tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through the year. The santa Fe Flea at the Downs 8 a.m.-3 p.m. Saturdays and Sundays through September, south of Santa Fe at NM 599 and Interstate 25 Frontage Rd., 982-2671, santafetraditionalflea.com.
nIGhTlIFe
(See Page 80 for addresses) Café Café Los Primos Trio, traditional Latin tunes, 6-9 p.m., no cover. ¡Chispa! at el Mesón Ryan Finn Jazz Quartet, 7:30 p.m.-close, no cover. Cowgirl BBQ The Santa Fe Chiles Dixie Jazz Band, 2-5 p.m.; Broomdust Caravan, juke joint, honky-tonk, biker bar rock, 8:30 p.m.-close; no cover. The Den Jazz and R & B vocalist Faith Amour and Friends, 7-9 p.m., no cover. el Cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. el Farol C.S. Rockshow with Don Curry, Pete Springer, and Ron Crowder, classic rock, 9 p.m., call for cover. la Fiesta lounge at la Fonda Blues band The HooDoos, 8-11 p.m., no cover. la Posada de santa Fe resort and spa Jazz vocalist Whitney Carroll Malone, bassist Asher Barreras, and guitarist Pat Malone, 6-9 p.m., no cover.
The legal Tender at the lamy railroad Museum Buffalo Nickel Band, boot-scootin’ music, 6-9 p.m., no cover. Pranzo Italian Grill Pianist David Geist and vocalist Julie Trujillo, 6-9 p.m., call for cover. The Mine shaft Tavern Bluegrass duo Paw & Eric, 3-7 p.m. on the deck, no cover. second street Brewery Singer/songwriter Eryn Bent, 6-9 p.m., no cover. second street Brewery at the railyard Hot Club of Santa Fe, Gypsy jazz, 7-10 p.m., no cover. sweetwater harvest kitchen Hawaiian slack-key guitarist John Serkin, 6 p.m., no cover. Tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m.-close, no cover. The Underground at evangelo’s The Collective Reggae Party with DJ Dynamite Sol and Brotherhood Sound’s Don Martin, 9 p.m., call for cover. Vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; pianist/vocalist Bob Finnie, pop standards, 8 p.m.-close; call for cover.
14 Sunday GAllery/MUseUM OPenInGs
ArT santa Fe 2013 International contemporary art expo; 11 a.m.6 p.m., Santa Fe Community Convention Center, $10 at the door and in advance at 988-1234, ticketssantafe.org (see stories, Pages 58-62).
ClAssICAl MUsIC
41st santa Fe Chamber Music Festival The season opens with Tchaikovsky & Russian Romance, includes violinists Lily Francis and Benjamin Beilman, violist Teng Li, and pianist Inon Barnatan, 6 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., tickets available at the SFCMF box office, 982-1890, santafechambermusic.com, or 988-1234, ticketssantafe.org (see story, Page 34). Chatter sunday and santa Fe Opera artists The ensemble joins counter-tenor Eric Jurenas, and pianists Jeanne-Minette Cilliers and Jeffrey Gilliam to perform music of Rzewski and Theodore Morrison’s Chamber Music and My Sweet Rose, 4 p.m., Muñoz Waxman Gallery, Center for Contemporary Arts, 1050 Old Pecos Trail, $15 at the door.
TheATer/DAnCe
Juan siddi Flamenco Theatre Company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, ticketssantafe.org, 988-1234, TuesdaysSundays through Sept. 1. Love’s Lonely Highway Teatro Paraguas presents a staged reading of New Mexico playwright Patricia Crespin’s drama, 6 p.m., 3205 Calle Marie, donations accepted, teatroparaguas.org, 424-1601. yjastros: The American Flamenco repertory Company at el Farol 8 p.m. Tuesdays-Sundays through Aug. 11, $25, 983-9912.
BOOks/TAlks
Celebrate French Independence: Bastille Day A discussion with FrancoisMarie Patorni, Celine LePluart-Kamm, and Xavier Grenet, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. Museum of International Folk Art gallery talk Gallery of Conscience director Suzanne Seriff and artists participating in the International Folk Art Market discuss What’s
Addison Rowe Gallery shows work by Stuart Walker, 229 E. Marcy St.
Happening in Our Communities, in conjunction with the exhibit Let’s Talk About This: Folk Artists Respond to HIV/AIDS, 11 a.m., 706 Camino Lejo, Museum Hill, by museum admission, 476-1200.
eVenTs
2013 santa Fe International Folk Art Market Family Day More than150 artists offer goods at the 10th annual event hosted by the Museum of International Folk Art; 9 a.m.5 p.m., Milner Plaza, Museum Hill, $10 in advance, $15 at the gate, visit folkartmarket.org for schedule and tickets. railyard Artisans Market 10 a.m.-4 p.m.; live music with Victor Andrada, Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, railyardartmarket.com. santa Fe society of Artists show 9 a.m.-5:30 p.m., at the First National Bank parking lot on W. Palace Ave., across from the New Mexico Museum of Art, weekends through Oct. 20.
FleA MArkeTs
Pueblo of Tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com.
The santa Fe Flea at the Downs 8 a.m.-3 p.m. Saturdays and Sundays through September, south of Santa Fe at NM 599 and Interstate 25 Frontage Rd., 982-2671, santafetraditionalflea.com.
nIGhTlIFe
(See Page 80 for addresses) Café Café Guitarist Michael Tait Tafoya, 6-9 p.m., no cover. Cowgirl BBQ R & B/gospel singer/songwriter Zenobia, noon-3 p.m.; Todd Wolfe Band, blues/rock, 8 p.m.; no cover. el Farol Nacha Mendez, pan-Latin chanteuse, 7 p.m., no cover. evangelo’s Tone & Company, R & B, 8:30 p.m., no cover. la Fiesta lounge at la Fonda Old movie night, 6-10 p.m., no cover. la Posada de santa Fe resort and spa Wily Jim, Western swingabilly, 6-9 p.m., no cover.
pasa week
continued on Page 85
PASATIEMPOMAGAZINE.COM
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exhibitionism
A peek at what’s showing around town
Rodney hatfield: The Elder, 2013, mixed media on wood. Rodney Hatfield’s work encompasses the abstract and the figurative in narrative paintings that merge human and animal forms with patterns in a flat painterly style. Mumbo Jumbo, an exhibit of his paintings and sculptures, opens at Selby Fleetwood Gallery (600 Canyon Road, 992-8877) on Friday, July 12, with a 5 p.m. reception.
maryanne Pollock: Obispo, 2013, sumi ink on paper. Maryanne Pollock works in a free-flowing abstract style incorporating geometric configurations. She draws inspiration from studies of ancient peoples and landscapes in Egypt, Spain, Istanbul, and other places where she engaged in plein-air painting. Her exhibition Electro Magnetico opens at Kristin Johnson Fine Art (323 E. Palace Ave.) on Friday, July 12, with a 5:30 p.m. reception. Call 780-5451.
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PASATIEMPO I July 12 -18, 2013
brandee Caoba: Passage, mixed media, 2013. Red Dot Gallery (826 Canyon Road) presents its Summer Art Show, which includes work by students of Santa Fe Community College and students and faculty of the Institute of American Indian Arts. The exhibit features ceramic, glass, new media, paintings, photography, and more. Participating artists include Rebecca Bradshaw, David Gamble, and Norma Evans. The show opens with a 4:30 p.m. reception on Friday, July 12. Call 820-7338 for a schedule.
michelle Goodman: Diviner’s Headdress, 2013, mixed media. Axle Contemporary turns to the mystic with Traveling Raveling, an exhibit of magical artistic objects by three artists with shared interests in healing and divination. Kathleen McCloud, Michelle Goodman, and Gina Telcocci are multimedia artists whose work touches on the esoteric. Axle is at the Railyard shade structure near the Santa Fe Farmers Market (1607 Paseo de Peralta) for the opening on Friday, July 12, at 5 p.m. and at Bat Mart (920 Baca St.) after dark on Friday and on Saturday, July 12 and 13. Visit www.axleart.com for the mobile gallery’s daily schedule or call 670-7612.
Daryl A. black: Staircase, United World College, 2003, archival giclée. The group exhibition Intersection: Lens, Light, Life opens at La Tienda Exhibit Space (7 Caliente Road, Eldorado) on Friday, July 12, with a reception to follow on Saturday, July 13, at 5 p.m. The show features work by New Mexican artists Kathy Olshefsky, Daryl A. Black, Fran Nicholson, and Caroline Jenney. Included are paintings, gelatin monotype collages, and photographs. A second reception is scheduled for 5 p.m. July 20, with music by Blue Moon Prairie. Call 428-0024.
At the GAlleries A Gallery Santa Fe 154 W. Marcy St., Suite 104, 603-7744. Rhode Island School of Design New Mexico Third Annual Alumni Show, through July 27. Bellas Artes 653 Canyon Rd., 983-2745. The Maquettes, work by the late ceramicist Ruth Duckworth, through July 27. Blue Rain Gallery 130-C Lincoln Ave., 954-9902. Picking Up the Pieces, new work by Jim Vogel, through July. Byzantium Lofts 1348 Pacheco St., Suite 105, 982-3305. Reacts 1-11 & Facts 1-8, new digital drawings by Jonathan Morse, through July 26. Charlotte Jackson Fine Art 554 S. Guadalupe St., 989-8688. Colours of Space, collaborative works by Heiner Thiel and Michael Post, through July 21. Darnell Fine Art 640 Canyon Rd., 984-0840. Edges, Tension & Structure, paintings by Amy Sullivan, through Monday, July 15. David Richard Gallery 544 S. Guadalupe St., 983-9555. A Career Exploring Color and Visual Perception, paintings by Paul Reed; Slave to Love, work by Steven Alexander; Technoforms, paintings on shaped canvas by Trygve Faste; Camino Real, Michael Cook’s gouache and charcoal works on paper; through July 27. Eggman & Walrus Art Emporium 130 W. Palace Ave., second floor, 660-0048. Third Annual Kaleidospoke, bike-themed group show and film showcase, through July 27; What Lies Beneath, paintings and an installation by Nick Peña, through Aug. 3. Eight Modern 231 Delgado St., 995-0231. Fay Ku: Asa Nisa Masa, works on paper, through Sunday, July 14. Evoke Contemporary 130-F Lincoln Ave., 995-9902. Paintings by Pamela Wilson, through July. Glenn Green Galleries 136 Tesuque Village Rd., 820-0008. Melanie Yazzie, an International Voice, works on paper, through July 20. GVG Contemporary 202 Canyon Rd., 982-1494. Southwest Abstraction, group show of paintings and sculpture, through July 19. Legends Santa Fe 125 Lincoln Ave., 983-5639. ¡Espiritu, Brilla!, group show, through July. Manitou Galleries 123 W. Palace Ave., 986-0440. William Haskell, Kim Wiggins, and Liz Wolf, through July 19. Marigold Arts 424 Canyon Rd., 982-4142. Monuments and Rivers, new watercolors by Robert Highsmith, through July. Mark White Fine Art 414 Canyon Rd., 982-2073. Music in Color, work by Javier López Barbosa, through July 21. Nedra Matteucci Galleries 1075 Paseo de Peralta, 982-4631. Works From My Wish List, plein-air paintings by Curt Walters, through Saturday, July 13. The Owings Gallery 120 E. Marcy St., 982-6244. Roses by Starlight, paintings by Page Allen, through July 27. Patina Gallery 131 W. Palace Ave., 986-3432. Ecstasy of Gold, works by jewelers Lilly Fitzgerald and Judith Kaufman, through July 21; Continuum, Claire Kahn, jewelry artist, through July 28. Peyton Wright Gallery 237 E. Palace Ave., 989-9888. Color Walk, paintings by Mokha Laget, through July.
Photo-eye Gallery 376-A Garcia St., 988-5152. Golden Eagle Nomads, photographs by John Delaney; Means of Reproduction, Svjetlana Tepavcevic’s plant seed studies, through Friday, July 12. Pippin Contemporary 200 Canyon Rd., 795-7476. Time-Lapse, new work by Eva Carter, through Tuesday, July 16. Santa Fe Art Institute 1600 St. Michael’s Dr., 424-5050. Cavities and Clumps: The Psychology and Physicality of Contested Space, site-specific installations by Martha Russo; plus, collaborative pieces with Katie Caron, Elizabeth Faulhaber, and Roberta Faulhaber, through Friday, July 12. Santa Fe Clay 545 Camino de la Familia, 984-1122. Works by Adam Field, Lorna Meaden, and Ben Krupka, through July 20. School for Advanced Research Administration Building, 660 Garcia St., 954-7200. A Certain Peace: Acceptance and Defiance in Northern Ireland, photographs by Martin J. Desht, through July 25. Silver Sun Gallery 656 Canyon Rd., 983-8743. Spirit of Flowers, collaborative show of paintings and dolls by Reiko Anderson; work by painter Dale Amburn; through Tuesday, July 16. Touching Stone Gallery 539 Old Santa Fe Trail, 988-8072. Weathered Beauty, ceramics by Yukiya Izumita, through July 27. Turner Carroll 725 Canyon Rd., 986-9800. New work by ceramicist Wanxin Zhang; Hung Liu: Portraits of a Chinese Self; through Aug. 18 (see review, Page 52). William & Joseph Gallery 727 Canyon Rd., 982-9404. Laughing Matters, mixed-media sculpture by Stephen Hansen, through July. Zane Bennett Contemporary Art 435 S. Guadalupe St., 982-8111. Cleromancy, dice installations by Robert Dean Stockwell, through July 19.
MuseuMs & Art spAces refer to the daily calendar listings for special events. Museum hours subject to change on holidays and for special events. Center for Contemporary Arts 1050 Old Pecos Trail, 982-1338. Making Places, interdisciplinary installation by Linda Fleming and Michael Moore, reception 6:30-8 p.m. Friday, July 12, through Sept. 22 (see story, Page 54). Gallery hours available online at ccasantafe.org or by phone, no charge. Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land, through Sept. 8. Open 10 a.m.-5 p.m. Saturday-Thursday, 10 a.m.-7 p.m. Friday. $12; seniors $10; NM residents $6; students 18 and over $10; under 18 no charge; no charge for NM residents first Friday of each month. Museum of Contemporary Native Arts 108 Cathedral Pl., 983-1666. Facing the Camera: The Santa Fe Suite, photographic portraiture by Rosalie Favell • Stands With a Fist: Contemporary Native Women Artists • For Instance, Look at the Land Beneath Your Feet, video installation by Kade L. Twist • Apache Chronicle, Nanna Dalunde’s experimental documentary on the artist
Church Steeple, 1930, in the Georgia O’Keeffe Museum exhibit Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land
collective Apache Skateboards; through July. Open 10 a.m.-5 p.m. Monday and WednesdaySaturday, noon-5 p.m. Sunday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays. Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 476-1250. What’s New in New: Recent Acquisitions, annual exhibit celebrating the gallery’s namesake, Lloyd Kiva New, through 2013 • Woven Identities: Basketry Art From the Collections • Margarete Bagshaw: Breaking the Rules, 20-year retrospective • Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month. Open 10 a.m.-5 p.m. TuesdaySunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups free; NM residents no charge on Sundays; no charge for NM residents over 60 on Wednesdays. Museum of International Folk Art 706 Camino Lejo, Museum Hill, 476-1200. Let’s Talk About This: Folk Artists Respond to HIV/AIDS, collaborative community exhibit, through Jan. 5, 2014 • Tako Kichi: Kite Crazy in Japan, exhibit of traditional Japanese kites, through March 2014 • Plain Geometry: Amish Quilts, textiles from the collection and collectors, through Sept. 2 • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, collection of toys and folk art. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; NM residents over 60 no charge on Wednesdays; no charge for NM residents on Sundays; school groups no charge.
Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 982-2226. Beltrán-Kropp Peruvian Art Collection, exhibit of gift items, including a permanent gift of 60 art pieces and objects from the estate of Pedro Gerardo Beltrán Espantoso, Peru’s ambassador to the U.S. (1944-1945), through May 27, 2014 • Stations of the Cross, works by New Mexico artists, through Sept. 2 • Metal and Mud — Out of the Fire, works by Spanish Market artists, through August • San Ysidro/St. Isidore the Farmer, bultos, straw appliqué, paintings on tin, and retablos • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late-colonial-period re-creation. Open 10 a.m.-5 p.m. Tuesday-Sunday. $8; NM residents $4; 16 and under no charge; no charge for NM residents on Sundays. New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 476-5200. Water Over Mountain, Channing Huser’s photographic installation • Cowboys Real and Imagined, artifacts and photographs from the collection, through March 16, 2014 • Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author, through Feb. 9, 2014. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Friday. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; no charge for NM residents over 60 on Wednesdays; NM residents no charge on Sundays; free admission 5-8 p.m. Fridays. New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Peter Sarkisian: Video Works 1994-2011, mixed-media installations, through Aug.18 • Shiprock and Mont St. Michel, Santa Fe photographer William Clift’s landscape studies, through Sept. 8 • Back in the Saddle, collection of paintings, prints, photographs, and drawings of the Southwest, through Sept. 15 • It’s About Time: 14,000 Years of Art in New Mexico, through January 2014. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Friday. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; NM residents free on Sundays. Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Pl., 988-8900. A Straight Line Curved, paintings by Helen Hardin, through September. Open noon-4 p.m. Friday-Sunday. $10 admission. Poeh Museum 78 Cities of Gold Rd., Poeh Center Complex, Pueblo of Pojoaque, 455-3334. Creativity Revisited, silver anniversary of the museum’s permanent collection, through Saturday, July13. Open 8 a.m.-5 p.m. MondayFriday; 9 a.m.-4 p.m. Saturday; donations accepted. Rotunda Gallery State Capitol, Old Santa Fe Trail and Paseo de Peralta, 986-4589. New Mexico: Unfolding, group show of mixed-media fiber art, through Aug. 16. SITE Santa Fe 1606 Paseo de Peralta, 989-1199. Enrique Martínez Celaya: The Pearl, site-specific installation, reception 5-7 p.m. Friday, July 12, through Oct. 13 (see story, Page 38). Open 10 a.m.-5 p.m. Tuesday-Saturday; 10 a.m.-7 p.m. Friday; $10; seniors and students $5; Fridays no charge, Saturdays 10 a.m.-noon no charge. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 982-4636. The Durango Collection: Native American Weaving in the Southwest, 1860-1880, through April 13, 2014. Open 10 a.m.-5 p.m. Monday-Saturday, 1-5 p.m. Sunday.
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In the wings MUSIC
Michael Fitzpatrick The cellist performs in a benefit concert for El Santuario de Chimayó, 7 p.m. Friday, July 19, 15 Santuario Dr., Chimayó, $25, VIP seating $50, brownpapertickets.com. KSFR Radio Music Café jazz series A New York State of Mind, Michael Morreale on trumpet, Tony Regusis on piano, Andy Zadrozny on bass, and John Trentacosta on drums, 7 p.m. Saturday, July 20, Museum Hill Café, 710 Camino Lejo, Milner Plaza, $20, 428-1527. New Mexico Jazz Festival Stanley Clarke Band, Sunday, July 21; Terence Blanchard Quintet and Lionel Loueke Trio, July 26; Eddie Palmieri Latin Jazz Band, July 27; all concerts begin at 7:30 p.m. at the Lensic, $20-$50, 988-1234, ticketssantafe.org; free Santa Fe Bandstand concerts, The Mil-Tones and Larry Mitchell, July 23, full concert schedule available online at newmexicojazzfestival.org.
soprano christine Brewer in recital honoring Wagner and Britten, accompanied by Joseph illick, 4 p.m. sunday, Aug. 4, at the Lensic
Kid Rock: Rebel Soul Tour Kool & The Gang and Uncle Kracker open, 6:45 p.m. Tuesday, July 23, Isleta Amphitheater, 5601 University Blvd., Albuquerque, tickets start at $20, livenation.com. Runa Celtic-roots ensemble, 8 p.m. Saturday, July 27, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com. New Orleans Sunset Santa Fe Youth Symphony Association fundraising concert and 20th anniversary celebration, with jazz sets that include Dave Anderson, Dave Brady, Chris Ishee, and Jan McDonald, 6 p.m. Sunday, July 28, $100, couples $180, includes food and wine, call 467-3770 for tickets and venue details. Toad the Wet Sprocket Alt-rock band, 7:30 p.m. Thursday, Aug. 8, Santa Fe Sol Stage & Grill, 37 Fire Pl., $27, 988-1234, ticketssantafe.org. Santa Fe Opera community events Special family performances of Britten’s Noah’s Flood, fully staged with costumes, sets, and orchestra, featuring baritone Alan Dunbar and mezzo-soprano Ellie Jarrett Shattles, 6 p.m. Saturday, Aug. 10, 10:30 a.m. and 1 p.m. Sunday, Aug. 11, $5 in advance; Apprentice Showcase Scenes, fully staged performances, 8 p.m. Sunday, Aug. 11 and 18, $21, child discounts available; 986-5900. Music From Angel Fire The 30th season features Chick Corea as the 2013 composer-in-residence; artists include Ida Kavafian, Anne-Marie McDermott, the
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PASATIEMPO I July 12 -18, 2013
Harlem Quartet, and Imani Winds, Aug. 16Sept. 1, Angel Fire, Taos, Raton, and Las Vegas, $20-$35, 888-377-3300, musicfromangelfire.org. 39th Annual Santa Fe Bluegrass and Old Time Music Festival Headliners, Claire Lynch Band and Foghorn Stringband, featured New Mexico bands include Hard Road Trio, The Lost Howlin’ Coyotes, and The Bill Hearne Trio, Friday-Sunday, Aug. 23-25, Santa Fe County Fairgrounds, $15-$40, three-day pass $50, southwestpickers.org. Slaid Cleaves Singer/songwriter, 7:30 p.m. Friday, Aug. 30, Music Room at Garrett’s Desert Inn, 311 Old Santa Fe Trail, $20 in advance, $25 at the door, southwestrootsmusic.org. Music and Myth Robert Mirabal’s theatrical concert, 7 p.m. Friday and Saturday, Aug. 30-31, Santa Fe Opera, 301 Opera Dr., $25-$65, 986-5900. Melissa Etheridge Rock singer/songwriter, 7:30 p.m. Friday, Sept. 6, Santa Fe Opera, 301 Opera Dr., $44-$81, 986-5900. Neko Case Alt-country singer/songwriter, 7:30 p.m. Friday, Sept. 13, the Lensic, $29-$39, ticketssantafe.org 988-1234. Blondie: No Principals Tour Rock band, X opens, 7 p.m. Monday, Sept. 23, Santa Fe Opera, 301 Opera Dr., $38-$86, 986-5900, proceeds benefit the Española Valley Humane Society.
THEATER/DANCE
Kicking a Dead Horse Fusion Theatre presents Sam Shepard’s 2007 drama, 2 and 8 p.m. Saturday, July 20, the Lensic, $10-$40, ticketssantafe.org, 988-1234. Gross Indecency: The Three Trials of Oscar Wilde Santa Fe REP presents a reading of Moisés Kaufman’s play, 7 p.m. Friday, 4 p.m. Sunday, July 26 and 28, Santa Fe Woman’s Club, 1616 Old Pecos Trail, $15, discounts available, 629-6517 or sfrep.org. The Screwtape Letters Fellowship for the Performing Arts presents its comedic theatrical adaptation of the C.S. Lewis novel, 8 p.m. Friday, 4 p.m. Saturday, Aug. 2-3, the Lensic, $35-$55, student discount available, 988-1234, ticketssantafe.org. Still Around Kaye Ballard and Liliane Montevecchi on stage at the Lensic, 7:30 p.m. Thursday, Aug. 8, tickets start at $20, VIP tickets ($125) include a reception with the performers, ticketssantafe.org, 988-1234. From Nofire Hollow to Hollywood Wes Studi’s one-man show, 6:30 p.m. Monday, Aug. 12, The Club at Las Campanas, $85 in advance, includes wine and hors d’oeuvres, 820-0552, silverbulletproductions.com, proceeds benefit SBP’s educational workshops. All for Your Delight Scenes and songs from Shakespeare’s comedies, 7:30 p.m. Friday-Sunday, Aug. 16-18, outdoors
Upcoming events at St. John’s College, 1160 Camino de Cruz Blanca, $20 in advance, student discounts available, 988-1234, ticketssantafe.org. Secret Things Camino Real Productions presents Elaine Romero’s play about New Mexico CryptoJews, Friday-Sunday, Aug. 16-25, Teatro Paraguas Studio, 3205 Calle Marie, call 424-1601 for details. Stepology: Tap into the Now! Tap dancers’ showcase, 7:30 p.m. Thursday, Aug. 29, the Lensic, $15-$35, 988-1234, ticketssantafe.org. Aspen Santa Fe Ballet Dancer Katie Dehler is showcased in the final performance of the summer season, 8 p.m. Saturday, Aug. 31, the Lensic, $25-$72, 988-1234, ticketssantafe.org.
HAPPENINgS
Museum Hill garden grand opening Santa Fe Botanical Garden hosts a gala with live music, tapas, and tours of the newly planted Meadow Garden, 6-8 p.m. Friday, July 19, santafebotanicalgarden.org, $125 in advance. Behind Adobe Walls House and garden Tour Santa Fe Garden Club’s annual guided tour of local private residences; noon-5 p.m. Tuesday, July 23 and 30, tour $75, optional pre-tour luncheon $20, call Terry at Westwind Travel, 984-0022, or visit thesantafegardenclub.org for information and reservations. Oscar Wilde: Celebrity or Notoriety? Four-day seminar presented by the Santa Fe Opera; Thursday-Sunday, July 25-28, keynote speaker, biographer and grandson of Wilde, Merlin Holland; also, a staged reading of Moisés Kaufman’s play Gross Indecency: The Three Trials of Oscar Wilde, Santa Fe Woman’s Club, 1616 Old Pecos Trail, $85, 946-2417. Santa Fe Opera community events Ranch Tours, extended tours of the grounds with a meet-the-artist component, July 26 and August 30, tour $12, added backstage tour $20, call 986-5900, visit santafeopera.org for a schedule of other community events. Institute of American Indian Arts Writers Festival Free readings begin at 6 p.m. July 28 and run through Aug. 1; 83 Avan Nu Po Rd., in conjunction with the festival, writer Sherman Alexie hosts a fundraiser on campus, 6 p.m. Friday, Aug. 2, $50 in advance, 988-1234, p84cticketssantafe.org.
SITE Santa Fe gala Featuring a live auction of contemporary art; guest artist Richard Tuttle; Wednesday and Thursday, Aug. 7-8, 1606 Paseo de Peralta, 989-1199. 30th Annual Antique Ethnographic Art Show Gala preview Thursday, Aug. 8, show Friday and Saturday, Aug. 9-10, Santa Fe Community Convention Center, 201 W. Marcy St., 955-6707, preview opening $75, general admission $10, whitehawkshows.com, 992-8929. Santa Fe Show: Objects of Art More than 65 galleries and exhibitors, gala opening night Friday, Aug. 9, expo Aug. 10-13, El Museo Cultural de Santa Fe, 555 Camino de la Familia, $13 run-of-show, opening-night gala $50, tickets available in advance online at thesantafeshow.com, proceeds benefit New Mexico PBS. 35th Annual Invitational Antique Indian Art Show Gala preview Sunday, Aug. 11, show Monday and Tuesday, Aug. 12-13, Santa Fe Community Convention Center, 201 W. Marcy St., gala preview opening $75, general admission $10, whitehawkshows.com, 992-8929. 92nd Annual Indian Market Monday-Sunday, Aug. 12-16; more than 1,000 Native artists; market events include the 13th Annual Native Cinema Showcase, Best of Show ceremony and luncheon, concerts, and a Native American Clothing Contest, on the Plaza and surrounding streets; visit swaia.org for full events schedule. 38th annual Wheelwright Museum of the American Indian benefit auction Silent auction and live auction preview Thursday, Aug. 15; The Collector’s Table, live auction preview, and live auction Friday, Aug. 16; plus, artist demonstrations and optional catered lunch, 704 Camino Lejo, Museum Hill, 982-4636, wheelwright.org. Palace Portal Artisans’ Celebration Native specialties food booth, music, handcrafted work, and traditional dances, 10 a.m.-5 p.m. Saturday and Sunday, Aug. 17-18, Palace of the Governors on the Plaza, 476-5200. Jim Hightower talk and reception The national radio commentator is the guest speaker at an event presented by KSFR Radio, 5:30 p.m. Saturday, Aug. 24, Museum Hill Café, $35, 428-1527.
Kool & the gang perform July 23, at isleta Amphitheater in Albuquerque.
pasa week
from Page 81
14 Sunday (continued) The Mine Shaft Tavern Soulful-blues band The Barbwires, 3-7 p.m., no cover. Second Street Brewery at the Railyard Joe West & The Santa Fe Revue, Psychedelic country, 1-4 p.m., no cover. Vanessie Pianist Doug Montgomery, jazz and classics, 7 p.m.-close, call for cover.
15 Monday claSSical MuSic
Santa Fe chamber Music Festival Tchaikovsky & Russian Romance, performers include pianist Inon Barnatan and cellists Nicholas Canellakis and Ronald Thomas, 6 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., tickets available at the SFCMF box office, 982-1890, santafechambermusic.com, or 988-1234, ticketssantafe.org (see story, Page 34).
in conceRT
Santa Fe Bandstand Floozy, Americana/pop/folk band, noon, hipster-pop band Busy & The Crazy 88!, 6 p.m., J.Q. Whitcomb, jazz trumpeter, 7:15 p.m., on the Plaza, santafebandstand.org, series continues through Aug. 23.
BookS/TalkS
new Mexico Museum of art gallery talk The summer series continues with John TorresNez and Joe Traugott, in conjunction with the Back in the Saddle exhibit, 12:15-1 p.m., 107 W. Palace Ave., by museum admission, 476-5072. underwater archaeology in the americas A Southwest Seminars lecture with Dan Lenihan, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775. Wendy Jehanara Tremayne The author reads from and signs copies of The Good Life Lab: Radical Experiments in Hands-On Living, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see story, Page 16).
eVenTS
Santa Fe opera Backstage Tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900, weekdays through Aug. 13.
nighTliFe
(See Page 80 for addresses) cowgirl BBQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover. el Farol Jazz saxophonist Trey Keepin, 8 p.m., no cover. la Fiesta lounge at la Fonda Funk and R & B band Soulstatic, 7:30 p.m.-close, no cover. Vanessie Pianist Doug Montgomery, jazz and classics, 7 p.m.-close, call for cover.
16 Tuesday galleRy/MuSeuM openingS
Sweetwater harvest kitchen 1512 Pacheco St. ARTsmart/ Fine Art for Children & Teens instructors’ exhibit, reception 5:30-7:30 p.m., through July 28, call 603-4643 for more information.
claSSical MuSic
Santa Fe chamber Music Festival Beethoven at Noon, includes violist Carla Maria Rodrigues, cellist Ronald Thomas, and violinist Benjamin Beilman, noon, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., tickets available at the SFCMF box office, 982-1890, santafechambermusic.com, or 988-1234, ticketssantafe.org (see story, Page 34). Santa Fe Desert chorale 2013 Summer Festival Northern Lights, 8 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $15-$50, 988-2282, desertchorale.org.
in conceRT
Santa Fe Bandstand Alt-country band Anthony Leon & The Chain, 6 p.m.; rock and blues band The HooDoos, 7:15 p.m.; on the Plaza, santafebandstand.org, series continues through Aug. 23.
TheaTeR/Dance
Juan Siddi Flamenco Theatre company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, ticketssantafe.org, 988-1234, TuesdaysSundays through Sept. 1. yjastros: The american Flamenco Repertory company at el Farol 8 p.m. Tuesdays-Sundays through Aug. 11, $25, 983-9912.
BookS/TalkS
James Reich and Joe Badal The authors read from and sign copies of their respective books Bombshell (see Subtexts, Page 14) and The Lone Wolf Agenda, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. new Mexico lawyers for the arts Summer Series The Art Dealer: Best Practices for the Modern Gallery/Artist Relationship, panel discussion, 6 p.m., Santa Fe Arts Commission Community Gallery, Santa Fe Community Convention Center, 201 W. Marcy St., no charge, info@nmlawyersforthearts.org. Santa Fe photographic Workshops instructor image presentation series Open conversation and slide presentation of works including those of Debbie Fleming Caffery, David Johnson, and Bob Sacha, 8:30-10 p.m., Santa Fe Prep auditorium, 1101 Camino de Cruz Blanca, no charge, 983-1400, Ext 11. SiTe Santa Fe My life in art series Lowery Stokes Sims and Jaune Quick-to-See Smith open the series, 6 p.m., Armory for the Arts, 1050 Old Pecos Trail, $5 and $10, 989-1199.
eVenTS
Mixing o’keeffe’s clean colors Workshop, materials provided, 6-8 p.m., Georgia O’Keeffe Museum Education Annex, 123 Grant Ave., no charge, 946-1039. Santa Fe Farmers Market 7 a.m.-noon, 1607 Paseo de Peralta, 983-4098. Santa Fe Farmers Market on the Southside 3-6 p.m., Santa Fe Place Mall, Zafarano Dr. entrance, 913-209-4940, Tuesdays through Sept. 24. Santa Fe opera Backstage Tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900 weekdays through Aug. 13.
J.Q. Whitcomb performs on the Plaza at 7:15 p.m. Monday, July 15.
nighTliFe
(See Page 80 for addresses) cowgirl BBQ Guitarist Molten Soul, 8 p.m., no cover. el Farol Canyon Road Blues Jam with Tiho Dimitrov, Brant Leeper, Mikey Chavez, and Tone Forrest, 8:30 p.m.-midnight, no cover. la casa Sena cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Funk and R & B band Soulstatic, 7:30 p.m.-close, no cover. Second Street Brewery at the Railyard Acoustic open-mic nights with Case Tanner, 7:30-10:30 p.m., no cover. Tiny’s Mike Clymer of 505 Bands’ acoustic open-mic night, 8:30 p.m., no cover. Vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; pianist/vocalist Bob Finnie, pop standards, 8 p.m.-close; call for cover.
17 Wednesday opeRa
La Donna del Lago Mezzo-soprano Joyce di Donato in Rossini’s love story set against the turbulence of 18thcentury Scotland, 8:30 p.m., Santa Fe Opera, 301 Opera Dr., tickets available at the box office, 986-5900 (see stories, Pages 28-33).
in conceRT
Music on the hill 2013 St. John’s College’s free outdoor summer concert series continues with jazz pianist John Proulx and his quartet, 6-8 p.m., outdoors at the college’s athletic field, 1160 Camino de Cruz Blanca.
Santa Fe Bandstand Blue Moon Prairie, country band, noon; Felix y Los Gatos, zydeco/Tejano/juke-swing, 6 p.m.; Curley Taylor Band & Zydeco Trouble, 7:15 p.m.; on the Plaza, santafebandstand.org, series continues through Aug. 23.
TheaTeR/Dance
Juan Siddi Flamenco Theatre company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, 988-1234, ticketssantafe.org, Tuesdays-Sundays through Sept. 1. yjastros: The american Flamenco Repertory company at el Farol 8 p.m. Tuesdays-Sundays through Aug. 11, $25, 983-9912.
BookS/TalkS
hobbesian providence St. John’s College’s free summer lecture and Q & A series continues with a discussion of 17th-century political theorist Thomas Hobbes; by Jay Smith, 3:15 p.m., Junior Common Room, Peterson Student Center, 1160 Camino de Cruz Blanca, 984-6070. narcissus Quagliata The Italian glass artist discusses Archetypes and Visions in Light and Glass, 6:30 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $5, call Bullseye Resource Center for tickets, 467-8951. Santa Fe clay Summer Slide lecture The series continues with Modeling the Figure: Mass and Form, by ceramist Rodrigo Lara Zendejas, 7 p.m., Santa Fe Clay, 545 Camino de la Familia, no charge, 984-1122, Wednesdays through Aug. 14. School for advanced Research lecture Placing Care: Embodying Architecture in Outpatient Hospital Care for Immigrant and Refugee Patients, by Susan E. Bell, noon, 660 Garcia St., no charge, 954-7203. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM
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second street Brewery Felix y Los Gatos, zydeco/Tejano/juke-swing, 6-9 p.m., no cover. second street Brewery at the railyard Roots-rock duo Man No Sober, 6-8 p.m., no cover. tiny’s DJs Feathericci and Bacon, 9 p.m., no cover. vanessie Bob Finnie, pop standards piano and vocals, 7 p.m.-close; no cover.
▶ Elsewhere albuquErquE Museums/Art spaces
Narcissus Quagliata discusses his glass designs at 6:30 p.m. Wednesday, July 17, St. Francis Auditorium, 107 W Palace Ave.; Taiwan Dome of Light pictured
outdoors
trail walk Meet at Los Alamos’ Pajarito Environmental Education Center for a one- to two-mile walk, 9:15 a.m., 3540 Orange St., 662-0460.
events
santa Fe opera Backstage tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900, weekdays through Aug. 13.
nightliFe
(See Page 80 for addresses) Agoyo lounge at the inn on the Alameda Jazz guitarist Pat Malone, 5-7 p.m., no cover. ¡Chispa! at el Mesón Flamenco guitarist Joaquin Gallegos, 7:30 p.m.-close, no cover. Cowgirl BBQ Renegade Mountain Band, country rock, 8 p.m., no cover. el Farol Pan-Latin chanteuse Nacha Mendez with Santastico, 8 p.m.-close, no cover. la Casa sena Cantina Guitarist Ramón Bermudez Trio, 5:30-7:30 p.m., no cover. la Fiesta lounge at la Fonda The Bill Hearne Trio, classic country, 7:30-11 p.m., no cover. the Pantry restaurant Acoustic guitar and vocals with Gary Vigil, 5:30-8 p.m., no cover. tiny’s Mike Clymer of 505 Bands’ electric jam, 7:30 p.m.-close, no cover. vanessie Bob Finnie, pop standards piano and vocals, 7 p.m.-close, no cover.
18 Thursday gAllery/MuseuM oPenings Addison rowe gallery 229 E. Marcy St., 982-1533. Works by early 20th-century Santa Fe artists known as the Transcendental Painting Group, reception 5-7 p.m., through Sept. 6.
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PASATIEMPO I July 12 -18, 2013
ClAssiCAl MusiC
santa Fe Chamber Music Festival Soyeon Kate Lee piano recital, noon, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., tickets available at the SFCMF box office, 982-1890, santafechambermusic.com, or 988-1234, ticketssantafe.org (see story, Page 34).
in ConCert
santa Fe Bandstand Gregg Daigle Band, Americana/roots/blues, 6 p.m.; local string band The Free Range Ramblers, 7:15 p.m.; on the Plaza, santafebandstand.org, continues through Aug. 23.
theAter/dAnCe
Juan siddi Flamenco theatre Company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, 988-1234, ticketssantafe.org, TuesdaysSundays through Sept. 1. Spring Awakening opening night Gemini Productions and Warehouse 21 present the musical, 7 p.m., Warehouse 21, 1614 Paseo de Peralta, $12, 989-4423, Thursday-Sunday through July 28, ages 16 and under must be accompanied by an adult. yjastros: the American Flamenco repertory Company at el Farol 8 p.m. Tuesdays-Sundays through Aug. 11, $25, 983-9912.
Books/tAlks
lucy Moore The Santa Fe artist reads from and signs copies of Common Ground on Hostile Turf: Stories From an Environmental Mediator, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see Subtexts, Page 15). santa Fe Jewish Film Festival The season continues with a discussion of Rama Burshtein’s film Fill the Void with Naomi Israel, 10:30 a.m., Center for Contemporary Arts, 1050 Old Pecos Trail, $5 suggested donation, santafejff.org, 216-0672.
outdoors
Wildflower walk Led by Jemez Mountains Herbarium curator Chick Keller, 5:30 p.m., Los Alamos’ Pajarito Environmental Education Center, 3540 Orange St., 662-0460.
events
santa Fe opera Backstage tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900, weekdays through Aug. 13.
nightliFe
(See Page 80 for addresses) ¡Chispa! at el Mesón John Carey and Bob Andrews, New Orleans-style funky jazz and blues, 7:30 p.m.-close, no cover. Cowgirl BBQ Blues band Hello Doll Face, 8 p.m., no cover. el Farol Erin & The Project, blues and soul, 8 p.m., no cover. evangelo’s Rolling Stones tribute band Little Leroy and His Pack of Lies, 9 p.m.-close, call for cover. la Boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover. la Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda The Bill Hearne Trio, classic country, 7:30-11 p.m., no cover. la Posada de santa Fe resort and spa Pat Malone Jazz Trio, with Kanoa Kaluhwa on saxophone, Asher Barreras on bass, and Malone on archtop guitar, 6-9 p.m., no cover. the Matador DJ Inky Inc. spinning soul/punk/ska, 8:30 p.m.-close, no cover. rouge Cat Church of Feathericci, spinning deep house and tech, 9:30 p.m.-close, call for cover.
516 Arts 516 Central Ave. S.W., 505-242-1445. Native American contemporary artists’ group shows: Air, Land, Seed and Octopus Dreams, through Sept. 21. Albuquerque Museum of Art & history 2000 Mountain Rd. N.W., 505-243-7255. Estampas de la Raza: Contemporary Prints From the Romo Collection, through Sept. 29 • Changing Perceptions of the Western Landscape, contemporary group show, through Sept. 1 • Landscape Drawings From the Collection, through Oct. 27. Open 9 a.m.5 p.m. Tuesday-Sunday; adults $4 ($1 discount for NM residents); seniors $2; children ages 4-12 $1; 3 and under no charge; the first Wednesday of the month and 9 a.m.-1 p.m. Sundays no charge. indian Pueblo Cultural Center 240112th St. N.W., 866-855-7902. Challenging the Notion of Mapping, Zuni map-art paintings, through August. Open 9 a.m.-5 p.m. daily; adults $6; NM residents $4; seniors $5.50. inpost Art space Outpost Performance Space, 210 Yale Blvd. S.E., 505-268-0044. Jazz at Half Moments, photographs by Mark Weber, in conjunction with the 8th Annual New Mexico Jazz Festival, reception followed by a film screening of Carol Chamberland’s The Legend of Bop City, 4-6 p.m. Sunday, July 14. new Mexico Museum of natural history & science 1801 Mountain Rd. N.W., 505-841-2804. Open 9 a.m.-5 p.m. daily; adults $7, seniors $6, under 12 $4; NM seniors no charge on Wednesdays. richard levy gallery 514 Central Ave. S.W., 505-766-9888. Alex Katz, retrospective exhibit of prints; Elderly Animals, photographs by Isa Leshko; through July 26.
events/Performance
8th Annual new Mexico Jazz Festival concerts Trio da Paz, 8 p.m. Friday, July 12, Outpost Performance Space; Catherine Russell, 1 p.m. Saturday, July 13, Old Town Plaza, no charge; Santa Fe ensemble Arlen Asher & Straight up, 8 p.m. Thursday, July 18, OPS, 210 Yale Blvd. S.E., Outpost sets $25 and $30, 505-268-0044, or ticketssantafe.org, 988-1234. Chatter sunday Santa Fe Opera counter-tenor Eric Jurenas and pianists Jeanne-Minette Cilliers and Jeffrey Gilliam join the ensemble to perform music of Rzewski and Theodore Morrison’s Chamber Music and My Sweet Rose, 10:30 a.m. Sunday, July 14, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available. santa Fe Chamber Music Festival Mozart & Brahms Plus, performers include pianist Inon Barnatan, violinist Lily Francis, and cellist Nicholas Canellakis, 7:30 p.m. Wednesday, July 17, Simms Auditorium, 6400 Wyoming Blvd. N.E., $30 and $40, tickets available at the SFCMF box office, santafechambermusic.com, 982-1890, or 988-1234, ticketssantafe.org.
española
Pojoaque River Art Tour Area artists are invited to join the annual studio tour Sept. 21-22; pojoaqueriverarttour.com, 455-3496. Santa Fe Public Libraries exhibits Month-long exhibits open to local artists; all two-dimensional work considered; no commissions taken; for information call 955-4862 or 955-6784; visit santafelibrary.org for application process details.
Bond House Museum 706 Bond St., 505-747-8535. Preserve the Old, But Know the New: Traditional and Contemporary Native American Art, opening reception 5-7 p.m. Friday, July 12, through Sept. 20. Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). Open noon-4 p.m. Tuesday-Saturday, no charge.
los alamos
Filmmakers/Performers
Museums/Art Spaces
New Mexico Dance Coalition student scholarships Three scholarships awarded to New Mexico residents aged 8 to adults in the amount of $400; visit nmdancecoalition.org for guidelines and application forms; applications accepted through Friday, July 26; email Dyan Yoshikawa at nmdancecoalition@gmail.com. Reel New Mexico Independent Film Series New Mexico filmmakers may submit shorts, narrative and documentary features, student films, and works-in-progress through 2013; for more information or to submit a film, contact reelnewmexico@gmail.com.
Mesa Public Library (Art Gallery) 2400 Central Ave., 662-8247. Mostly Clear and Partly Cloudy: Climate as Metaphor, mixed-media works by Janice Wall and Shaun Gilmore, reception 4:30-6:30 p.m. Friday, July 12, through Aug. 4. Pajarito Environmental Education Center 3540 Orange St., 662-0460. Exhibits of flora and fauna of the Pajarito Plateau; an herbarium, live amphibians, and butterfly and xeric gardens. Open noon-4 p.m. Tuesday-Friday, 10 a.m.-1 p.m. Saturday, no charge, visitpajaritoeec.org for weekly programs and events schedule.
Volunteers
Events/Performances
Girls Inc. of Santa Fe Artists needed to act as jurors during the 41st Annual Arts & Crafts Show Aug. 3-4, on the Plaza; also, various positions are available during the show; visit girlsincofsantafe.org or call 982-2042 for details and to sign up. Railyard Stewards Yardmasters Develop new project ideas; lead educational training sessions; fund-raise; help out in the office; free training and workshops on keeping Railyard Park vibrant; contact Alanna for schedules, 316-3596, alanna@railyardpark.org. Santa Fe Community Farm Help with the upkeep of the garden that distributes fresh produce to The Food Depot, Kitchen Angels, St. Elizabeth Shelter, and other local charities; the hours are 9:30 a.m.4 p.m. daily, except Wednesdays and Sundays; email sfcommunityfarm@gmail.com or visit santafecommunityfarm.org for details. Santa Fe Spanish Market Sit at barricades for two- or three-hour shifts 7 a.m.-7 p.m. July 26-28, call Linda at 982-2226, Ext. 121 for details and to sign up.
Downtown Friday Nights City-wide cultural, historical, and educational events; 5-8 p.m. Friday, July 12 and 26, visit creativelosalamos.org or call Los Alamos Main Street, 661-4844, for events schedule. Gordon’s Summer Concerts West African Highlife Band, dance band, 7 p.m. Friday, July 12, Ashley Pond, 2132 Central Ave., no charge, gordonssummerconcerts.com. Dig In for One Day Only! Hands-on archaeology exhibit and talk with Chuck Hannaford, lobby show opening 10 a.m.-5 p.m. Thursday, July 18, slide show and talk 7 p.m., Los Alamos County Mesa Public Library, 2400 Central Ave., 662-8247.
madrid
Madrid Old Coal Town Mine Museum 2846 NM 14, 438-3780 or 473-0743. Madrid’s Ghost Town Past, new display celebrating Madrid’s 40th Rebirth Day, through October. Steam locomotive, mining equipment, and vintage automobiles. Open 10:30 a.m.-4:30 p.m. daily. $5, seniors and children $3.
taos Museums/Art Spaces
E.L. Blumenschein Home and Museum 222 Ledoux St., 575-758-0505. Hacienda art from the Blumenschein family collection, European and Spanish Colonial antiques. Open 10 a.m.-5 p.m. Monday-Saturday, noon-5 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge; Taos County residents no charge on Sunday. Encore Gallery Taos Community Auditorium, Taos Center for the Arts, 133 Paseo del Pueblo Norte, 575-758-2052. In the Groove, paintings by Mimi Chen Ting, reception 5-7 p.m. Friday, July 12, through Sept. 1. Harwood Museum of Art 238 Ledoux St., 575-758-9826. The Taos art colony is celebrated with four exhibits, Woody Crumbo: The Third Chapter; Jim Wagner: Trudy’s House; R.C. Gorman: The Early Years; and Fritz Scholder: The Third Chapter; through Sept. 8. Open 10 a.m.-5 p.m. Tuesday-Saturday, noon5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday.
Bob Sacha’s work is shown at Santa Fe Photographic Workshops’ Instructor Image Presentation series, 8:30 p.m. Monday, July 16, Santa Fe Prep auditorium, 1101 Camino de Cruz Blanca
Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson. Open 11 a.m.-5 p.m. daily, $5; seniors $4; teens $3; ages 12 and under no charge. La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. Open 10 a.m.-5 p.m. Monday-Saturday, noon-5 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge. Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. Open 10 a.m.-5 p.m. daily. NM residents $5; nonresidents $10; seniors $8; students $6; ages 6-16 $2; Taos County residents no charge. Taos Artist Collective 106 Paseo del Pueblo Norte, 575-751-7122. New works by painter Peter Bonesteel, pastelist Carolene Herbel, and mixed-media artist Jan Nelson, through Aug. 2. Taos Art Museum and Fechin House 227 Paseo del Pueblo Norte, 575-758-2690. Open 10 a.m.-5 p.m. Wednesday-Sunday. $8, Taos County residents with ID no charge on Sunday.
Events/Performances
Kit Carson Home & Museum Summer Lecture Series Kit Carson: Frontiersman or Border Man? with David Remley, 6 p.m. Saturday, July 13, 113 Kit Carson Rd., no charge, 575-758-4945, Saturdays through Aug. 5. Borromeo String Quartet The Taos School of Music season continues with music of Beethoven, 7:30 p.m. Sunday, July 14, Taos Community Auditorium, Taos Center for the Arts, 133 Paseo del Pueblo Norte, $20, discounts available, 575-776-2388, taosschoolofmusic.com.
▶ people who need people Artists
La Cienega/La Cieneguilla Studio Tour Artists interested in participating in the annual tour held Thanksgiving weekend can contact Lee Manning for information, 699-6788, lensandpens@comcast.net.
▶ Under 21 On Believer and Beyond Fused Noise-rock and heavy-metal bands, 7 p.m. Friday, July 12, Warehouse 21, 1614 Paseo de Peralta, $5 at the door, $2 if girls dress in school uniforms and boys dress in suits and ties, 989-4423. Spring Awakening opening night Gemini Productions and Warehouse 21 present the musical, 7 p.m. Thursday, July 18, Warehouse 21, 1614 Paseo de Peralta, $12, ages 16 and under must be accompanied by an adult, 989-4423, Thursday-Sunday through July 28.
▶ pasa Kids Bee Hive Kids Books Story time with Jesse Wood, 11 a.m. Saturday, July 13, 328 Montezuma Ave., no charge, 780-8051. Wise Fool New Mexico A Look Inside the World of Puppetry, kids interactive show, 2 p.m. Saturday, July 13, Peñasco Theatre, 15046 NM 75, call for details, 575-587-2726. Dig Into Reading Santa Fe Public Library 2013 Summer Reading Program, toddlers and children up to age 12, visit santafelibrary.org for registration and events schedule, through July 27. ◀ PASATIEMPOMAGAZINE.COM
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