Pasatiempo July 4, 2014 by The New Mexican

The New Mexicanâ&#x20AC;&#x2122;s Weekly Magazine of Arts, Entertainment & Culture July 4, 2014

Let’s Celebrate July 4th Weekend... join us for the Hot Dog!

S AVO R I N G A

SOUTHWESTERN SUMMER Join us for our Three-Course Pre Opera Prix Fixe Menu 5:30-7:00 PM $40.00 The Anasazi Patio

Al fresco drinks & casual dining on the Plaza. Small plate menu with full bar & wine selections

Hebrew National™ All – Beef Frankfurter on Housemade Bun w/ Sauerkraut Slaw, Jalapeño Mustard & Rosemary Potato Chips – 9.50 Happy Hour Continues! Monday thru Friday from 4:00 - 6:00pm 231 Washington Ave 505 984 1788 Lunch – Dinner – Sunday Brunch www.santacafe.com 2

PASATIEMPO I July 4 - 10, 2014

The Anasazi Restaurant & Bar Fusing Southwestern and Argentinean flavors to create a unique dining experience.

A NA SAZ I RESTAURANT Rosewood Inn of the Anasazi 113 Washington Avenue Santa Fe, NM 87501 (505) 988.3236 · rosewoodhotels.com

SALE 25%

Off

July

4, 5, 6, 7

new linens new jerseys new cottons Special Sale Area $20, $40, $60 racks

Origins

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

b o t w i n e y e s

g r o u p

o p t i c s s a n t a

f e

505.954.4442

Artwork By: Hal and Margie Hiestand

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

101 W. SAN FRANCISCO ST. SANTA Fe

e y e

505-988-1866 OPeN 7 DAYS

| Dr. Jonathan botwin | Dr. Jeremy botwin

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

PASATIEMPOMAGAZINE.COM

INTERNATIONAL FOLK ARTS WEEK AT THE MUSEUM OF INTERNATIONAL FOLK ART

between two worlds

Folk Artists Reflect on the Immigrant Experience An Interactive Exhibition In the Mark Naylor and Dale Gunn Gallery of Conscience

Visit the museum for a full week of activities. Meet and participate with local and international folk artists. Sunday, July 6, 2014

Exhibition Opening

in the Mark Naylor and Dale Gunn Gallery of Conscience

Between Two Worlds: Folk Artists Reflect on the Immigrant Experience. 1–2pm

Explore the exhibition with international, immigrant, refugee, New Mexican and Native American traditional artists.

2–4pm

Sample food from immigrant-owned restaurants in Santa Fe & hear the owners’ stories; Cuban street music by Savor. Reception hosted by the Women’s Board of the Museum of New Mexico.

Folk Art Demonstrations & Hands-on Workshops Hands-on Projects for ages 3-103. By museum admission.

Tuesday, July 8, 2014 1–4pm

What Makes a Place Feel Like Home? Demonstrations by local, Native American, and immigrant artists. Making a Miniature Home Story Box Activity Tracing Your Family’s Journey Map Activity

Wednesday, July 9, 2014 8:30–10am Breakfast with Gallery of Conscience Team Members and artist, Luis Tapia Registration required, $25 for MNMF members,$30 for non-members. Call Stephanie Riggs, (505) 476-1215. 1–4pm

What Would You Take With You? Demonstrations by international artists from Cuba and Tibet. Painting Your Favorite Symbols of Home Tweet or Post: What would you take with you? in 140 characters or less.

internationalfolkart.org

Museum Hill in Santa Fe • (505) 476-1200

PASATIEMPO I July 4 - 10, 2014

Cenia Gutiérrez Alfonso (Cienfuegos, Cuba), Menina con Gallo (Girl with Rooster), 2013. Museum of International Folk Art. Photo courtesy of the Museum of International Folk Art. Exhibition funded in part by an Art Works award from the National Endowment for the Arts. Additional funding from Mark Naylor and Dale Gunn, the International Folk Art Alliance, the International Folk Art Foundation, MNMF, and the National Dialogues on Immigration Project of the International Coalition of Sites of Conscience.

Open July 4th New Linen Cotton Tencel

Larger Sizes Too

223 Galisteo between Water & Alameda • 505.983.6331 Monday-Saturday 10-6 • Sunday 11-5 Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room

Elegance and Luxury grace this Golf Course Home in Prestigious Gated Community of Sauvignon in Albuquerque. Spectacular views, privacy and proximity to Airport for frequent travelers. View this lovely 7500 square foot home at www.11712BeringerAve.com

•

Bedroom

•

Entertainment

Reasonable Prices every day of the year!

•

Lighting

•

Accessories

Our Warehouse Showroom on Airport Road features over 8,000 sq. ft. of Southwestern Furniture. Warm and inviting to the touch, our pieces reflect simple, attractive, and functional designs that will enhance the investment in your home. We offer Southwestern Style Furniture, Great one-of-a-kind Pieces, Wonderful Hand-Forged Iron Lamps, and Unique Handmade Lamp Shades. Locally owned and operated since 1987, our goal has always been to offer the best selection of Quality Handcrafted Furniture at the best value in Santa Fe. Please come in, you’ll be pleasantly surprised.

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



PASATIEMPOMAGAZINE.COM

THE SANTA FE NEW MEXICAN

July 4 - 10, 2014

www.pasatiempomagazine.com

ON THE COVER 32 The shock of the true Tres Visiones, an exhibit of photos opening on Wednesday, July 9, at Scheinbaum & Russek Ltd., features images taken in Mexico by Manuel Álvarez Bravo (1902-2002) and Manuel Carrillo (1906-1989), and in Guatemala by living artist Luis González Palma. Their subjects, ranging in cast from classic to contemporary, are lifted from ordinary life but sometimes contain emphatic notes of surrealism. On the cover is Álvarez Bravo’s 1932 photo La Hija de los Danzantes.

MOVING IMAGES

BOOKS

48 On My Way 50 Pasa Pics

16 In Other Words All Our Names 38 Zingerology Dissecting humor

CALENDAR

MUSIC AND PERFORMANCE 18 22 24 26 29 30

Listen Up Song of the Lowlands Choices we make Good People Pasa Tempos CD reviews Terrell’s Tune-Up Best little label in Brooklyn Onstage Annie Sellick Mystic power S.F. Desert Chorale & Voasis

Pasa Week

AND 12 15 54

Mixed Media Star Codes Restaurant Review: Burro Alley Café

ART AND ARCHAEOLOGY 40 Art in Review Hannah Holliday Stewart 42 Passionate Minimalist Anne Truitt 44 Viajes La Fonda’s tiles

In Pasatiempo’s June 27 issue, we incorrectly stated when Georgia’s bar menu begins: it starts at 5:45 p.m.

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

Pasatiempo is an arts, entertainment & culture magazine published every Friday by The New Mexican. Our offices are at 202 E. Marcy St. Santa Fe, NM 87501. Editorial: 505-986-3019. E-mail: pasa@sfnewmexican.com PASATIEMPO EDITOR — KRISTINA MELCHER 505-986-3044, kmelcher@sfnewmexican.com ■

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

■

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

■

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

■

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

■

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

■

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

The Santa Fe New Mexican

■

Robin Martin Owner

www.pasatiempomagazine.com

■

Ginny Sohn Publisher

■

ADVERTISING DIRECTOR Heidi Melendrez 505-986-3007

■

MARKETING DIRECTOR Monica Taylor 505-995-3824

■

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

■

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

■

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

■

ADMINISTRATIVE ASSISTANT Claudia Freeman 505-995-3841

Ray Rivera Editor

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet

WE DO DENTAL HYGIENEâ&#x20AC;Ś AND WE DO IT RIGHT!

NO GIMMICKS E JUST GREAT CAR

Unique Getaway Close to Home Wine Tasting & Moonlight Train July 11, 2014 Ride the 2014 Moonlight Train sponsored by the Friends of the Cumbres & Toltec Scenic Railroad Call (505)880-1311 for info/tickets Adults $99.00 Children $65.00

Tickets include afternoon ride from Chama to Osier, wine tasting, complete prime rib, cod, or vegetarian dinner, and moonlit return.

www.cumbrestoltec.org PASATIEMPOMAGAZINE.COM

IT’S DATE NIGHT AT THE OPERA!

Don Pasquale

8:30 pm: July 4, 9 8:00 pm: July 29; August 4, 9, 13, 19, 22

Seriously...

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

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

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

Ken Howard photo

SEASON

20 14 THROUGH AUGUST 23

PASATIEMPO I July 4 - 10, 2014

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

CARMEN Double Bill

Bizet

DON PASQUALE

THE IMPRESARIO American Premiere

Mozart

Donizetti

FIDELIO

LE ROSSIGNOL

DR. SUN YAT-SEN

Huang Ruo

Beethoven Stravinsky

www.SantaFeOpera.org 505-986-5900

PAYNE’S July 4th Weekend NURSERIES

Payne’s South 715 St. Michael’s 988-9626 Payne’s North 304 Camino Alire 988-8011

SALE at Payne’s An EXPLOSION of SAVINGS!

Summer Hours Mon - Sat 8 to 6 Sun 10 to 4

The Kit Carson Home and Museum 2014 Summer Lecture Series

Lectures start at 6:00pm in the KCHM Courtyard and are free to the public.

Saturday, July 5 Community scholar Rick Thompson will present, “General James Carleton: Hero or Villain”

Saturday, July 19 Author Stephen Zimmer will discuss “Kit Carson and Lucien Maxwell: Campadres”

Payne’s Organic Soil Yard 6037 Agua Fria 424-0336 Mon - Fri 8 to 4 Sat 8 to Noon

CLOSED Friday July 4th Payne’s Discount Coupon

25% OFF

Don’t miss the 2014 KCHM Summer Fundraiser, Sunday, July 6 • 3:00 – 7:00pm Music, barbeque, silent auction, prizes and fun! Tickets available at the door or call 575-758-4945

ANY RED, WHITE OR BLUE/GREEN PLANT!

113 Kit Carson Road, Taos, NM 87571 Open daily from 10 – 5 www.kitcarsonmuseum.org • 575-758-4945 The Kit Carson Home and Museum 2014 Summer Lecture Series is made possible by a grant from the New Mexico Humanities Council

SAVE 25% WITH THE COUPON BELOW!

www.paynes.com

Good at either St. Michael’s Dr. or Camino Alire location. Coupon must be presented at time of purchase. Applies to cash, check or credit card sales only. Limit one coupon per customer, please. Cannot be combined with any other coupon or offer. Good through 7/10/14.

PASATIEMPOMAGAZINE.COM

PRESENTING SPONSOR

ASPEN SANTA FE BALLET presents

Juan Siddi

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

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

All shows at 8:00pm

For more information visit

www.juansiddiflamencosantafe.com

www.aspensantafeballet.com

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

CORPORATE SPONSORS

PREFERRED HOTEL PARTNER

BUSINESS PARTNER

Investment Management SEASON PRESENTING SPONSOR

FOUNDATIONS / GOVERNMENT Melville Hankins

MEDIA SPONSORS Family Foundation

Partially funded by the City of Santa Fe Arts Commission and the 1% Lodgers Tax, and made possible in part by New Mexico Arts, a Division of the Department of Cultural Affairs, and the National Endowment for the Arts. 10

PASATIEMPO I July 4 - 10, 2014

PHOTO: RJ MUNA

PHOTO: SHAREN BRADFORD

SANTA FE

SEASON PRESENTING SPONSOR

Heather Roan Robbins Astrologer, Intuitive, and Ceremonialist Author of Pasatiempo’s “Starcodes.” Readings by phone and Skype. 30-plus years experience in NM, MN, NYC.

Your chart is a map, a brilliant navigational tool. It’s an honor for me to walk with you into your inner workings, offer you a perspective to help understand the past, open up the future, and make dynamic choices.

www.roanrobbins.com

9am - 5 pm Monday - Friday

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

Saturday by Appointment Only

FAMILY FUN DAY FR E E • S UN DAY • J U LY 6 , 2 01 4 • 1 – 4 PM

OUTSIDE THE FRAME

Explore what lies beyond the frame of the artworks on display in the galleries. Spend time doing an activity inside the museum. Then, enjoy a hands-on art project in the patio to create the world beyond the frame of your favorite art.

107 West Palace Avenue • 505-476-5072 • www.nmartmuseum.org

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

F U N FOR ALL AGE S ! L I G H T R E F R E S H M E N TS ! PASATIEMPOMAGAZINE.COM

Classical Realist Art Training in Santa Fe Portrait Painting in Oil & Figure Drawing from Life

MIXED MEDIA

“Heidi” by Anthony Ryder

The Ryder Studio

Ages 18 & up. All Levels. Beginners welcome Full and Part-time Study www.theryderstudio.com (505) 474-3369 Anthony Ryder www.tonyryder.com

Implant Dentistry of the Southwest If you are missing one

If you are missing one more teeth, or or more teeth, whywhy not not be a consider a Dental Implant? part of a study or clinical research? They maythem be your bestmoney. solution. Replace and save

Dr.Burt BurtMelton Melton Dr.

2 Locations Albuquerque 7520 Montgomery Blvd. Suite D-3 Mon - Thurs 505-883-7744

Santa Fe 141 Paseo de Peralta, Suite C Mon Wed -- Fri Fri 505-983-2909

Sunsets & Star gazing & Buffet Brunch Tr Trains include: ain Diam ond Class

- Lounge Seating - Priority Meal Se rvice - Modern Luxury Cars - Booth Seating - Exhibition Cookin g - Meet with the Ch ef - Unlimited Tea/Co ffee

Turquoise Class

- Table Seating - Groups Welcom e - Vintage Cars - Military / Senior Discounts

ing Eventn RPailwlayaisnprnoud to annountoceoffer:

ther ore Santa Fe Sou e! We now have even m rvic se of al w nts ne re orporate Eve

- Weddings rties - Bachelor Pa Parties - Bachelorette - Reunions

-C arter - Private Ch - Filming your event! - Ask about

Admit One

- Buffet Style Brun ch or Three Course m eal - Gluten Free Optio ns - Vegetarian Optio ns - Dairy Free Optio ns - Desert Scenery - Southwestern Vis tas

*10% off available for brunch and sunset & stargazing trains all offers subject to change

Use code: NM714 for 10% off Train Rides . Visit us at: sfsr.com

Call 1-855-730-2040

PASATIEMPO I July 4-10, 2014

Las Alegres Ambulancias

Death cab cuties: International Folk Art Market The Afro-Colombian group Las Alegres Ambulancias head the opening show for the 11th annual International Folk Art Market. The band performs at 8:15 p.m. on Thursday, July 10, in the Santa Fe Railyard Park. The rhythm-intense music features players on alegre, congalegre, and tambora drums; other percussion instruments, including maracas and a guache; and electric guitar and bass. The market event begins at 5 p.m., with an hour and a half of artist demonstrations by people from Mexico, Haiti, Madagascar, South Africa, Myanmar, and Peru. Albuquerque poets Andrea Serrano and Carlos Contreras offer readings in the 5:10 to 5:40 p.m. slot. Four musical acts perform from 5:45 to 7:30 p.m.: Bali’s Ida Bagus Anom Suryawan, Akeem Ayanniyi of Nigeria, Madagascar’s Edmond Rivo Randrianarisoa, and Alba Rosa Sepúlveda Tapia and Wilfredo Arriagada Sepúlveda of Chile. The event’s yearly procession of artists — more than 100 people from more than 60 nations — starts at 7:30 p.m., after which Las Alegres Ambulancias take the stage. Known in English as the Jolly Ambulances, the nine-member group was founded 109 years ago in the northern Colombian village of San Basilio de Palenque. “Each time a villager dies, the family of the deceased calls for the Jolly Ambulances to perform during the funeral wake, which must last nine days and nights,” according to the Palenque Records website. As explained on the National Hispanic Cultural Center’s website, the group’s chantlike music is traditionally played during funerals to “accompany the duel occurring between death and the family members” of the deceased. The market continues through July 13. Admission to the Railyard Park events is free. For information, visit www.folkartalliance.org. — Paul Weideman

L AU R A S H E P P H E R D ATELIER

Folk Art Trends! Handbags from Uzbekistan Shawls from India, Laos, Kashmir, and Pakistan Kantha fabric from India Jackets made in New Mexico

photosantagto.com

Masha Archer Jewelry using beads from everywhere!

65 w. marcy street santa fe, nm 87501 505.986.1444 laurasheppherd.com •

NINTH ANNUAL

NEW MEXICO JAZZ FESTIVAL ALBUQUERQUE | SANTA FE

JULY 11–27, 2014 A COLLABORATIVE PROJECT OF THE OUTPOST PERFORMANCE SPACE THE LENSIC PERFORMING ARTS CENTER & THE SANTA FE JAZZ FOUNDATION

PERFORMANCES AT T H E L E N S I C

Bumblebee’s Jazz All-Stars: Dick Hyman, Bucky Pizzarelli, Lewis Nash & More J U LY 2 0 , 7 : 3 0 P M

Terri Lyne Carrington’s Mosaic Project J U LY 2 5 , 7 : 3 0 P M

Jack DeJohnette Trio with Ravi Coltrane & Matt Garrison J U LY 2 6 , 7 : 3 0 P M

OTHER NM JAZZ F E S T I VA L P E R F O R M A N C E S C L A U D I A V I L L E L A Q U A RT E T C E D R I C WAT S O N & B I J O U C R E O L E T O O T I E H E AT H , E T H A N I V E R S O N , BEN STREET TRIO BUTLER, BERNSTEIN & THE HOT 9 ARRESTED DEVELOPMENT

I N F O:

NewMexicoJazzFestival.org T ICKETS: TicketsSantaFe.org 505-988-1234 O UTP OST: 505-268-0044

RAOUL MIDÓN O M A R S O S A Q U A RT E T O AFROCUBANO

PASATIEMPOMAGAZINE.COM

Tonight, Friday, July 4, 5:00-7:30

FIRST FRIDAY 2014

Downtown Museum District

ART WALK

ENJOY AN EVENING IN THE HEART OF DOWNTOWN SANTA FE Discover the heart, and Art, of Santa Fe’s distinguished Downtown Museum District, a diverse group of galleries and renowned museums including New Mexico Museum of Art, Palace of the Governors, New Mexico History Museum, and Georgia O’Keeffe Museum. Participating galleries are open until 7:30, museums until 7:00.

ART WALK

There’s always something new to experience where contemporary culture meets 400 years of history.

VERVE GALLERY

MANITOU GALLERIES

SF ARTS COMMISSION

Greg Mac Gregor

William Haskell & Kim Wiggins

Eric Haskins

ELLSWORTH GALLERY

PATINA GALLERY

Fanny Sanin

Victor Teng

BLUE RAIN GALLERY Shelley Muzylowski-Allen

Explore museums, galleries, restaurants, bars, boutiques and hotels within a 4-block radius, and plenty of parking. COME JOIN US!

PASATIEMPO I July 4 - 10, 2014

Photo: Ivan Barnett

LITTLE BIRD at LORETTO David K John

SORREL SKY GALLERY Billy Schenck

CASWECK GALLERY

STAR CODES Heather Roan Robbins What does it mean to be an American? On this Fourth of July the planets ask this and other questions as the fireworks ignite and picnics abound. Along with the friendly buzz from a lighthearted Libra moon, the sun opposes Pluto, the planet that symbolizes life, death, loss, power, and riches gained from digging deep in the earth. The emotional arbiters, Venus and Mars, are both in the sociable air sign. But in the middle of the cheerful weekend festivities we may have a moment feeling alone in the universe or need to stand back from the bustling crowd and take a moment to ourselves. Be careful with the power of explosives with the sun opposing Pluto. This opposition has extra power because it bisects a grand trine with the sun, Mars, and Neptune in intuitive, sympathetic water signs. This opens our sense of empathy and nudges us to walk our talk, especially when we’re being tested. This weekend a Libra moon encourages sociability and camaraderie. Sunday afternoon, as the moon enters Scorpio, we may need to go on a solitary journey but should leave a breath of room for serendipitous interactions as Venus sextiles mischievous Uranus. Early next week we get a glimpse of new long-range work as the sun trines Saturn and squares Uranus. The mood bounces back midweek as the moon enters Sagittarius and encourages us to travel and reweave our connection to the natural world. Friday, July 4: A haunting morning can leave us feeling unprepared as the sun opposes Pluto. The moon enters Libra as the day unfolds with more friendliness and camaraderie, if we can relax and let the details go. Prioritize making one another feel welcome.

RESIDE

HOME

Saturday, July 5: The mood is generally warmhearted and connected this morning as the sociable Libra moon trines Venus. Stay flexible midday and adjust plans as needed around unexpected opinions or necessities. Compromise on the easy stuff for the sake of collaboration but don’t give away anything truly important. Tonight, if people get a little tense, reassure them. Sunday, July 6: Give people room to work by themselves or follow their own light as the moon enters Scorpio. Our deeds are reflected back to us — if we’ve been helpful, we receive help; if we’ve been difficult, we can feel the sting. Bring old information into the future midday. If tails twitch tonight, give others a wide berth. Monday, July 7: Recognize the spark in others. After a somewhat sullen morning, Venus sextiles iconoclastic Uranus and encourages fresh ideas and new connections. Tonight, as the moon conjuncts Saturn, an itchy seriousness can demand attention in the corners of the psyche. Tuesday, July 8: Be careful and expect the unexpected as the sun squares Uranus. The mood is both private and anxious about what’s been left undone. People become eccentric under stress and need acceptance to find their resources. Pieces begin to fall into place midday as the sun trines Saturn. Tonight is lively as the moon enters upbeat Sagittarius. Wednesday, July 9: Early-morning signals can get blurred. The day picks up and little glitches can offer opportunities for healing interactions. Frame a problem in an inclusive, expansive way. This evening the moon trines Uranus and brings a touch of spice to our lives. Wandering is good for the soul. Thursday, July 10: Relationships can feel the friction this morning as the moon opposes Venus — our timing is just a little off, and people are cheerful but impatient. Midday we see the consequences of earlier actions and are painfully aware that we’re planting the seeds for future harvest. As the moon enters Capricorn tonight, let go of being right and make being tenderhearted a priority. ◀ www.roanrobbins.com

PASATIEMPOMAGAZINE.COM

IN OTHER WORDS book reviews All Our Names by Dinaw Mengestu, Alfred A. Knopf/Penguin Random House, 272 pages The names that mark us — those passed down by parents, grandparents, and other relatives — how much of their history clings to us, what genetic meaning do they hold? In Dinaw Mengestu’s latest novel, names are discarded and bestowed, cast aside or embraced. New ones mark a country’s switchback descent into reaction, revolt, and violence as old ones resurface on new faces. The story of three people on two continents, All Our Names focuses on two men — one from Uganda, the other from Ethiopia — who leave rural Africa for the university in Kampala. Both are named Isaac. The Ugandan Isaac (named by his parents, who were killed during Uganda’s struggle for independence) sees the capital as the heart of his country and his name as part of its legacy. The Ethiopian Isaac discards a string of old family names he has been given as he crosses the frontier. Awkward and out of place, the Isaacs become a team, joined by their poverty and isolation. This part of the two-plotline story, told in alternating chapters that take place in different years, is set during the early 1970s, when “every aspiring militant, radical, and would-be revolutionary in Eastern and Central Africa was drawn to the university.” Students are growing impatient for the “socialist, Pan-African dream” that had been promised when the British turned the country over a decade before. Both Isaacs see political action as a means to acceptance and absorption. Those actions are modest at first, with “interrogations” of the privileged students, in which they’re asked “if they had enough room in their fathers’ cars for all of us.” Fliers are printed in a “paper revolution” that lists “Crimes Against the Country.” These include not knowing “what is a Crime Against the Country.” It is also “a Crime Against the Country to read this.” As events unfold, the two Isaacs change: one radically, one less so. One Isaac stays bookish. The other embraces extremes, demonstrating a commitment to social activism by provoking his own beating at the hands of rich students and, later, the police. This Isaac’s interest in revolution is more about identity than ideology. “Very soon,” he tells the future Isaac, “the whole campus will know who we are. After that we’ll be famous.” Isaac comes up with a string of descriptive names for his comrade — Dickens, Langston, Professor, Ali, the Emperor of Ethiopia — as events follow a predictable path to violence. The third character is Helen, a social worker who is assigned to ease Isaac’s entry into the U.S. as a foreign 16

PASATIEMPO I July 4-10, 2014

exchange student. Their lives become intertwined almost immediately. Helen, who says her mother would describe her as “a woman of a certain age,” suffers from identity problems of her own. But falling into an uneasy love affair with Isaac seems to help. As the frustrations of their relationship compound, Helen begins to look less sideways at herself. Isaac finds resolve in the memory of the Isaac left behind. Points of reference for making comparisons between the African experience and small-town U.S.A. are nonexistent in the Midwestern burg of Laurel, which does have a college, and which is where Helen works. Yet Isaac’s African civility, something he grew up with, serves him well there. Though Laurel has none of the tension and chaos of Kampala, its residents harbor resentments and biases nonetheless. At a diner, Isaac takes a stand against the veiled and not-so-veiled racism that has been shadowing the couple: a display of principled determination expected from the Isaac left behind in Africa. Helen is slower to react to the obvious stares, too involved in experiencing her romantic relationship with Isaac as “the greatest trip” she “had taken so far.” Isaac mostly keeps his past in Kampala away from Helen, but when he does talk about this days at the university, she asks him to stop. (“All I could think of was how small my life must have looked in comparison,” she says.) Like Mengestu’s previous novels, The Beautiful Things That Heaven Bears and How to Read the Air, this one is broadly about immigration: international, yes, but also rural/urban. But it’s more specifically about personality — about how his characters adapt to changing circumstances. Setting the story during the events that led to Idi Amin’s rise to power leaves unspoken consequences to haunt its background, but readers don’t need to know that history to be captured by this book. What happens seems familiar — exactly what we’ve come to dread from such situations. Mengestu’s use of identical names and his jumping back and forth in time between chapters turns the opening of the book into a puzzle. Which Isaac is which? Mengestu is a master of this kind of manipulation, laying everything out slowly, tantalizingly, without spoiling the surprises. Best are the narrations, the “Isaac” chapters in the American Isaac’s voice, and the “Helen” chapters, told from her point of view. We can see inside their thinking, which makes All Our Names something of a psychological thriller: deeply personal and propelled by events we recognize in places we know. — Bill Kohlhaase

SUBTEXTS Lucky boy Jim Fergus has given us a wonderfully idealized hero in 17-year-old cowboy Bogart Lambert. Bogie, whose exploits open Fergus’ new, self-published The Memory of Love, leaves his family’s Colorado ranch in 1916 with his stallion, Crazy Horse, to fight the Germans in France. Bogey is something of a perfectly formed hero — an accomplished athlete, a rodeo star, an expert in fast-draw shooting, and a skilled pugilist, who, early on in the novel, knocks out an aggressive horse auctioneer with a single punch. Luck also seems to be with him. After arriving in New York, he’s hired to be the bouncer at a house of ill repute, a job with pay and benefits. Later, Bogey, who has somehow managed to get Crazy Horse to the front lines, is seen galloping across no-man’s-land, leaping the highest tangles of barbed wire. Remarkable though Bogey is as a character, the book focuses as much on an actual person, the expressionistic painter Chrysis Jungbluth. Her controversial painting Orgie, completed when she was 18, serves as a common thread of creativity and spirit. Fergus, in what’s one of the most personal, maybe even embarrassing, forewords to a novel, reveals his longtime partner’s fondness for the sort of freedom the painting depicts, along with his daughter’s surprising reaction to that. Needless to say, Chrysis and Bogey are made for each other, the two meeting in Paris after Bogey heals from his war injuries and spends time as a pub fighter. The result of that meeting and the intensity of their relationship are captured in the painting. Fergus might stand to tighten up his writing a bit, but he certainly knows how to construct an entertaining story about two larger-than-life people. Keep this one away from the kids. When Fergus reads at 6 p.m. on Tuesday, July 8, at Collected Works Bookstore (202 Galisteo St., 505-988-4226), he’ll be introduced by local literary figure Frederick Turner. — Bill Kohlhaase

Come and join us for our new summer menus. Enjoy the patio and lunch specials starting at $8.95 Zucchini blossom filled with ricotta cheese over a bed green, coli of bell peppers Vitello tonnato over a bed of greens New Mexico organic lamb Burger over brioche Tour of eggplant over pomodoro basil.

Enjoy the beautiful out site. 986-5858 • 58 S. Federal Place • Santa Fe, NM 87501 • www.osteriadassisi.com

ALAN ROGERS, M.D., P.C.

Comprehensive .Compassionate .Patient Centered Health Care

Family Physician | Board Certified ABFM In Santa Fe since 1987

983-6911 530-A Harkle Road

www.alanrogersmd.familydoctors.net

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

community matters

A New CommuNity GAtheriNG PlACe ComiNG this FAll

santa Fe Place is getting a New Center Court! • New stone Fireplace • New seating • New Carpet • Free wi-fi • New Paint and lighting Visit santaFePlace.com for updates and details. PASATIEMPOMAGAZINE.COM

LISTEN UP James M. Keller

Song of the Lowlands

at Pasatiempo try to go the extra mile for our readers, or even, on occasion, an extra 5,000 miles. Among the more intriguing offerings at Santa Fe Opera this summer is the company’s first production of Beethoven’s Fidelio, which is set to open on July 12 with the American tenor Paul Groves in the role of Florestan. Groves is no stranger to Santa Fe audiences, having made his debut here in 2009 in Gluck’s Alceste and returning in the two succeeding years in Offenbach’s Les contes d’Hoffmann and Vivaldi’s Griselda. He established his career in the 1990s, winning the Metropolitan Opera National Council Auditions in 1991 and the Richard Tucker Award in 1995, and staked his place as a lyric tenor particularly appreciated in Mozart. Since then he has moved gradually into roles associated with greater vocal heft, even to the point of appearing as Wagner’s Parsifal at Chicago Lyric Opera this past November — quite a distance from the Belmontes and Don Ottavios of his early years. Florestan would qualify as one of those heavier roles. When the Théâtre de la Monnaie in Brussels announced that it would present Groves in that part on June 11 and 12, it struck me as a performance we should cover since it promised to reveal this artist’s approach to the role in a significantly different context from what we will encounter in Santa Fe. The Brussels performance was to be a concert version with a period-instrument orchestra, Le Cercle de l’Harmonie, which might allow a somewhat lighter vocal treatment than will be required in our staged production with modern instruments. Then, too, this was to be his first performance of the role of Florestan. (His official program bio says with absolute honesty that he has performed in Fidelio at the Metropolitan Opera, but the Met’s archives reveal that it was in the minuscule part of First Prisoner for five performances in 1993.) The Brussels concert would therefore provide a logical platform from which to proceed to a full staging a month later. I settled into my seat on June 12 not at La Monnaie but at the Victor Horta-designed Palais des Beaux-

PASATIEMPO I July 4-10, 2014

Arts (popularly known as “Bozar”), which was now co-producing the event, and opened my program to discover that the tenor was not Groves but Joseph Kaiser. Inquiries to the press desks of both co-presenters were met with unflappable sangfroid and blasé assurances that Groves had never been announced for the event, notwithstanding the considerable correspondence with La Monnaie I presented as evidence to the contrary. (Doubting my sanity, I was consoled to find later that numerous online opera calendars shared my delusion. Petitions to Groves’ manager elicited the response, “I have no insight into, nor do I have any comment on, the casting of Le Cercle de l’Harmonie.”) Oh, well. There was nothing to do but to sit back and enjoy the performances, and this proved easy to do. Kaiser, a Canadian who has earned considerable acclaim in international circles, was a very pleasing Florestan, tending toward the stentorian though without sacrificing a forthright, well-focused tone and touches of interpretative elegance. (He began his career as a baritone, and you can still hear how that would have been possible.) In the main, his colleagues were well cast. Soprano Malin Byström delivered thrilling moments as Leonore, her plush but controlled voice providing ample resources for vocal drama, and Sophie Karthäuser was a near-ideal Marzelline, her instrument proving more ample than suggested by recent recordings, which present her as something of a songbird. A new name to me was that of Robert Gleadow, a Canadian bass near the outset of what should be a fine career. His menacing portrayal of Rocco the jailer was a good vehicle for a voice of vivid possibilities, one that will have no trouble filling large opera houses. An endearing interpretation of Jaquino, the lovesick prison assistant, came by way of fresh-voiced, sweet-timbred Michael Colvin, whose credits include the tenor solos in a 2011 performance of Haydn’s Creation with the late New Mexico Symphony Orchestra. What set the evening apart, however, was the orchestral work. Jérémie Rhorer, formerly an assistant to early-music superstars William Christie and Marc Minkowski, co-

founded his orchestra in 2005 and in the years since has molded it into a well-coordinated group with a distinctive sound. The playing was not perfect; horns in particular were given to uneasy attacks, but on the other hand they enriched Leonore’s “Abscheulicher!” with stunning sound, their earthy bite contrasting dramatically with the velvet richness of the strings (which section never conveyed the pinched or whining quality often encountered in period-instrument circles). Rhorer took a somewhat “instrumental” approach, asking his singers to fit in with his orchestral conception rather than vice versa. It was, in fact, a concert — a point reinforced by the deletion of much of the spoken dialogue, which turned Fidelio into a surprisingly short opera.

msterdam, which is less than two hours from Brussels by high-speed train, afforded an opportunity for further opera-going: Verdi’s Falstaff at De Nationale Opera, or, as it is to be officially identified in English, the Dutch National Opera. (This is the company that was formerly known as De Nederlandse Opera, but its branding changed with a merger of several arts organizations in 2013.) This Falstaff was the Robert Carsen production that beamed out this past December as a live broadcast from The Met: Live in HD, the Metropolitan Opera being one of its co-producers. This was a case in which the production came across more appealingly in the broadcast than it did on the stage. The expanses of the set are simply too vast, and the characters tend to get lost in them, diminishing the possibility of intimacy in an opera that needs precisely that. A good example arrived with the Act 2 scene in Alice Ford’s kitchen. In the Met broadcast I was amused by its canary-yellow, “Mad Men” design, apparently ripped from the pages of a 1959 Good Housekeeping, but in person, I grew weary of the fact that the thing was actually 28 cabinet doors wide (plus refrigerator, stove, etc.), almost large enough for the Ringling Bros. to set up shop. Some of the principals carried over from the Met broadcast. Ambrogio Maestri rendered a Falstaff that will be spoken of as long as Falstaff is spoken

it) landed at New York’s John F. Kennedy International Airport because they thought the glue smelled funny. He did make a wary peace with our nation after that, but other unfortunate incidents kept arising, like when U.S. Customs agents held one of his successor pianos in limbo for five days when he entered the country, throwing his tour schedule into chaos. Five years ago he announced that he would not appear in the United States anymore, a boycott that remains in effect. Hearing him therefore requires and fully merits a detour, and his Beethoven interpretations, spiritual yet unfussy, reminded me how much he has been missed on our shores. Metroversy hile I was away, an operatic brouhaha erupted in the United States. Some while ago, the Metropolitan Opera announced that it would present John Adams’ The Death of Klinghoffer during the 2014-2015 season, and then when the company released the lineup for its HD broadcasts, it slated the piece for inclusion. The production would open in October and the simulcast would be aired in November. It was a co-production with the English National Opera, which had already unveiled it in 2012. It is a “ripped from the headlines” opera about the 1985 hijacking of the cruise ship Achille Lauro by the Palestine Liberation Front and how the hijackers killed a wheelchair-bound American, Leon Klinghoffer, and made the ship’s staff toss him overboard. Klinghoffer was Jewish and therefore a particular target of the Muslim hijackers’ ire. The Klinghoffer family was understandably unhappy about having this event put on the stage (well, offstage, when it comes to the murder, but still …). A more broadly based issue was that protests arose charging that the opera was anti-Semitic in that it presented the matter to suggest that the Israel-Palestine conflict was not a black-and-white, right-and-wrong issue but rather one that involved historical justifications for the divergent stances. The Death of Klinghoffer (with a libretto by Alice Goodman based on a concept by Peter Sellars, its original director) has been a lightning rod ever since it was premiered in March 1991 at Brussels’ Théâtre de la Monnaie. Already by the time it was presented at the Brooklyn Academy of Music that autumn, the

of. Generous and genial, he came close to filling the cavernous spaces. He is funny, he acts well, and, most important, his voice acts well. Nannetta and Fenton, the young lovers, were also played by the same artists as at the Met, soprano Lisette Oropesa and tenor Paolo Fanale. Oropesa stole our hearts in Santa Fe as Susanna in last summer’s Le nozze di Figaro, and she rather did the same as Nannetta in the Met broadcast. In Amsterdam, however, she spent a lot of time mugging and otherwise overacting, particularly when she was “listening” rather than singing — indeed, to a degree that it made her character considerably less enjoyable (at least at the June 16 performance). Perhaps she did the same at the Met out of camera range. She was, however, utterly charming as the Queen of the Fairies in the final act. Fanale was again an entirely affable singer and actor, and he rendered his Act 3 sonnet-aria with the finesse of a lieder singer. The house band at the Dutch National Opera is the Royal Concertgebouw Orchestra, which over the years has struck me as a credible candidate for “World’s Most Consistently Great Orchestra.” This matters in Falstaff, in which the orchestra plays a role that far exceeds the accompanimental, and Daniele Gatti led the group with élan. The orchestra’s tone was ravishing, and its attention to detail extended to simultaneous trills coordinated among instruments with not just uncanny rhythmic precision but also expressive manipulation of tone. Since the orchestra was busy in the opera house, the vaunted Concertgebouw concert hall was free for other bookings. Of those I heard, two were particularly memorable: Philippe Herreweghe leading his Collegium Vocale Gent in a beautifully calibrated evening of Bach cantatas (on June 7), and (on June 15) Krystian Zimerman giving captivating readings of Beethoven’s last three piano sonatas. Zimerman is one of the most extraordinary of pianists, but we cannot expect to hear this Polish master in the United States anymore. He travels with and maintains his own Steinway; indeed, he basically rebuilds it with his own hands to meet the demands of whatever repertoire he is playing on a given tour. He took umbrage when, not long after the incidents of Sept. 11, 2001, agents of the U.S. Transportation Security Administration confiscated and destroyed his instrument when he (and

The English National Opera’s production of John Adams’ The Death of Kinghoffer; left, Angelo Maestri in the title role of the Dutch National Opera’s production of Verdi’s Falstaff; opposite page, DNO’s Falstaff

work was beset with controversy. Apart from the philosophical stance, there was a scene in which some of the Klinghoffers’ Jewish neighbors were depicted in terms that suggested tasteless stereotyping. Although the creators deleted this scene following the Brooklyn production, its prior existence helped justify the charge of anti-Semitism. Over the years, The Death of Klinghoffer has received several stagings, concert performances, and even a televised broadcast. Some scheduled presentations have been scheduled and then canceled.

he Anti-Defamation League became deeply involved in protesting this opera, and on June 17, the Metropolitan Opera announced that it was responding to outside pressure, and particularly to pressure from that organization, by canceling its scheduled simulcast. The New York Times reported that the Anti-Defamation League’s national director, Abraham H. Foxman (who has said that he has never seen the opera in question), could live with the compromise of having the Met cancel its simulcast while still going forward with its live performances. “Serious concerns remain about this opera,” he said, “and we are aware that this decision will not satisfy all of the Met’s critics. Yet it does ensure that the opera will have far less of an impact beyond the walls of the opera house at Lincoln Center.” Peter Gelb, the Met’s general manager, observed that sending the piece out through an international broadcast “would be inappropriate at this time of rising antiSemitism, particularly in Europe.” Stated Adams: “My opera accords great dignity to the memory of Leon and Marilyn Klinghoffer, and it roundly condemns continued on Page 20

PASATIEMPOMAGAZINE.COM

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

Repair

Touch-up

Listen Up, continued from Page 19

Polishing

CALL BARRY METZGER

505-670-9019

OR VISIT OUR NEW LOCATION

1273-B Calle De Comercio, Santa Fe, NM 87507

www.thewoodcarespecialist.com

ENO’s The Death of Kinghoffer

When It Matters WHAT You Eat And HOW You Feel Open all day today!

Locally Sourced European Influenced And Utterly Delicious

Museum Hill Café 710 Camino Lejo • Santa Fe, NM 87505 505.984.8900

Friday Nights Only Happy “2” Hours 4 – 6 All wine by the glass $7.00 All speciality drinks also $7.00 All beers $3.50 and Our new little plates menu all $7.00 vvv

Friday Night Dinner 5 – 8 A very tasty dinner menu and Fabulous Desserts

Tonight

Join us for dinner on the 4th Bossa Nova with

Julie Yates – Vocals 20

PASATIEMPO I July 4-10, 2014

Rio

Tim Drackert – Guitar

his brutal murder. It acknowledges the dreams and the grievances of not only the Israeli but also the Palestinian people, and in no form condones or promotes violence, terrorism, or antiSemitism.” Gelb can chalk this up as an artistic and managerial misstep. If he had canceled his company’s live performances along with the broadcast, the decision would merit deeper discussion. As it is, he comes across as a sort of mugwump, sitting with his mug on one side of the fence and his wump on the other. Either he stands by his programming or he doesn’t. The Death of Klinghoffer may not be a masterpiece for the ages, but I remember basically admiring it at its American premiere and not finding that it seemed anti-Semitic, even if it did leave us thinking about gray areas. It probably merits a Met production as legitimately as have the other Adams operas the company has produced, Nixon in China and Doctor Atomic. Obviously it is possible for people to take exception to some of its undercurrents, but this is far from the first artwork to get people worked up and make them confront ideas that they do not like or that they choose to reject. The Merchant of Venice is famously unsettling in its personalized depiction of Jewish-Christian conflict, but theater companies present it nonetheless, often with a symposium attached so people can get their grievances out of the way and enjoy the poetry. Many opera-goers who attend Die Meistersinger must be aware that the character of Beckmesser is Wagner’s intentionally anti-Semitic riff on Jews in general and Jewish music critics in particular. The Met will be simulcasting Die Meistersinger in December — not yet canceled, anyway — so you might watch it with that in the back of

your mind. Last year’s movie Captain Phillips, a news-derived story about Somali pirates commandeering a U.S.flagged shipping vessel, was widely commended for allowing a glimpse of the back story that inspired the desperate pirates to do the unquestionably bad things they did — and, for heaven’s sake, it earned the actor portraying the lead hijacker an Oscar nomination. Amid all the high dudgeon, we might remind ourselves that the work at the center of this controversy is a modern opera, and that modern opera is, frankly, a marginalized art form that, judged by statistical percentages, almost nobody cares about. If a broadcast of The Death of Klinghoffer were actually to foment anti-Semitic acts, as the Anti-Defamation League fears, that would really be something. You would have trouble convincing me that persons so disposed are part of the opera demographic anywhere. I have considerable faith in the idea that audiences who go to the opera are able to partition their minds so as to keep a bit of theatrical distance from what they’re seeing and hearing. People go to Cavalleria rusticana all the time without deciding to stick up for the Mafiosi, and I don’t know anybody who has taken up smuggling as a direct result of having attended Carmen. When it comes to inspiring the sort of fanaticism that nourishes terrorists, The Death of Klinghoffer can be considered significant only within the context of opera-world navelgazing. It would have been gentlemanly for Gelb to stick to his guns, stand by the performances and simulcast he had announced, and not abet the Anti-Defamation League in a venture that is surely a distraction from the important and effectual work it does so often so well. ◀

ly n O ys le

a e Sa D 3 rewid Sto

4th of July

Sale

30-50% Off More Bang for the Buck Sale

July 4, 5 & 6 FAIRCHILD & CO. EXCELLENCE IN FINE JEWELRY SINCE 1976 110 West San Francisco Street • Santa Fe, New Mexico 87501

505.984.2093 • 800.773.8123 • fairchildjewelry@aol.com • fairchildjewelry.com

$5 MILLION BACK TO YOU

PERSONAL APPEARANCE AND TRUNK SHOW at Malouf on the Plaza

July 4th - 5th PASATIEMPOMAGAZINE.COM

SC O

H TT

A RR

ISON

NI EL LE

LESLIE HARRE LL

R E D DI CK

DI SAN FORD

e are born into differing sets of advantages and disadvantages. When two people come from the same close-knit environment, those differences may be slight, amounting to luck or chance. But what do our choices, or our relative abundance of luck, say about who we really are? Does making something of yourself, in terms of aspiring toward and succeeding at the American dream, reflect a moral or ethical superiority over those who don’t? In Good People playwright David Lindsay-Abaire asks us to consider some of these different outcomes and questions. A new production of the work, a col22

Carrie McCarthy

M AT T

NN AS CHE ER

EN LL IN DW O O LYNN G

PASATIEMPO I July 4-10, 2014

Jennifer Levin I For The New Mexican laboration between Ironweed Productions and Santa Fe Playhouse, opens with a preview on Thursday, July 10. Lifelong South Boston resident Margaret (played in this production by Lynn Goodwin), a woman of about 50, gets fired from the Dollar Store and then, at the prodding of her friends Jean (Donna Scheer) and Dottie (Leslie Harrell Dillen), goes to see her childhood pal Mike (Scott Harrison), a successful endocrinologist, about the possibility of a job. Their old connection is still there, but they are communicating across a great divide. The play is driven by conversation and moves quickly, revealing the characters a little bit more in each scene, until finally secrets come out, are denied, and then, somewhat obliquely, confirmed.

“Who are the good people?” director Wendy Chapin asked. “Are we good people or are we bad people, and does it depend on circumstance? The play is about race and class, and those two things rarely get discussed in the theater.” For more than 10 years Chapin worked as a stage manager on and off Broadway at Lincoln Center, the Manhattan Theatre Club, and the Public Theater, among other venues. Good People is the first full-length play she has directed since leaving her teaching position at the College of Santa Fe in 2001. Since then she has worked on smaller projects and has taught acting privately as well as at Santa Fe Community College and NDI New Mexico. Five of the six cast members

have studied under Chapin at some point. She met Harrison, Ironweed’s founder and artistic director, in her class and approached him about doing the play, which she had seen in London, directed by Jonathan Kent and starring Imelda Staunton. The set in that production was on a turntable, which allowed the play to move at lightning speed, Chapin said. Chadney Everett’s set design at the playhouse incorporates the sides of the stage and part of the aisle to accomplish the same task. “The dialogue is muscular. It’s aggressive,” Chapin said. “So much depends on what they say and don’t say. What are they really saying? That’s where the suspense comes in. In its pacing, the play is a thriller.” In the world of the play, each person in Margaret’s life — her nickname is Margie, pronounced with a hard “g” — has a function. Jean, who has been her best friend for an unspecified but lengthy amount of time, causes trouble. “Jean brings up the things that no one wants to talk about or wants to say out loud. She doesn’t see why it’s a problem — and it stirs up action in the play,” Scheer said of the role. Dottie is Margie’s landlord, a decade or two older, and demonstrably more pragmatic than the other women. In addition to renting out apartments for income, she makes Styrofoam bunnies and sells them for five dollars each. (All the bunnies in the play were made by Dillen.) “Those other two are dreamers. My job in the play is to pull everyone back to earth,” Dillen said. Through dialogue, Dottie also gives dimension to Joyce, Margie’s unseen developmentally challenged daughter, whom she often looks after. In Margie’s interactions with Mike, he displays a surprisingly detached attitude toward Joyce after Margie tells his young, African-American wife a story about his past that he’d rather have kept from her. He and Margie were incredibly close growing up, and part of him really misses her, but he’s uncomfortable with his past. “A lot of his vitriol is coming from what Margie revealed. It’s something he was deeply ashamed of, and she knew it,” Harrison said. “Margie is good at surviving,” Chapin added. “When you survive for 50 years, you lose your softness. When Mike teases her, earlier in the play, about having gotten ‘mean’ — that’s about surviving as a single parent with a handicapped child. You have to get hard to assist them, to get benefits for them. When she punches at him about this racist thing he did, she puts her finger right in the wound. It’s something that’s unhealed, and he punches back.” In the end, however, it is Stevie (Matt Sanford), Margie’s former supervisor at the Dollar Store, who shows what it means to be good. Stevie is a neighborhood boy; his mother, who died when he was young, went to school with Margie and Jean. He plays bingo with the older ladies, who tease him about his sexuality and tell him stories about his mom. He has struggled, just as the previous generation struggled. He is not hardened to what it means to have fired Margie — a consequence of tardiness, due to caring for Joyce in the mornings, and unyielding corporate policy over which Stevie has no control. “He works hard. He has principles,” Sanford said. “And he’s the catalyst for the story, when he propels Margaret’s arc into action by firing her. His actions at the end lend a little bit of definition to the title, in stark contrast to the character of Mike.” Goodwin compared Good People to a layer cake that deepens in flavor and texture with repeated readings. “The play is about being rooted, whether you keep your roots or lose them. The whole concept of being good to other people, taking care of other people, being part of a clan, of a community. Where are your loyalties? Do you stay or do you go?” ◀

New Mexico Wines • Live Music Great Food • Arts and Crafts Taste the fine wines and meet the vintners from around the state, all in the historic setting of a Spanish colonial ranch and living history museum! $13 Adult (includes souvenir wine glass) • $5 Youth 13-20 (under 13 free)

details ▼ Good People

Just south of Santa Fe at 334 Los Pinos Rd • I-25 Exit 276; follow signs santafewinefestival.com • 505-471-2261 • Free parking •No pets please!

▼ Preview performance 7:30 p.m. Thursday, July 10 (gala Friday, July 11); continues Thursdays-Sundays through July 27 ▼ Preview $10 ($25 gala); then $20 with discounts available; Thursdays $10 ▼ Santa Fe Playhouse, 142 E. De Vargas St.; call 505-988-4262 or visit www.santafeplayhouse.org for reservations

Presented in cooperation with New Mexico Wine Country. Additional support provided by Santa Fe County Lodgers’ Tax Advisory Board, Santa Fe Arts Commission and New Mexico Arts

PASATIEMPOMAGAZINE.COM

Photo courtesy of the artist

A Program of

International Folk Art Alliance

Meet the World in Santa Fe!

International FolkArtMarket | Santa Fe July 11,12, &13, 2014

Featuring more than 150 master folk artists from around the world. New this year! Tickets are limited. The Market Opening Party on Friday is SOLD OUT. Buy now to secure your tickets for Saturday and Sunday. Buy online: folkartalliance.org

Tickets also available at the Museum of New Mexico Shops & Los Alamos National Banks or by calling 505.886.1251 Connect with us:

#FolkArtFan

TheInternationalFolkArtMarket|SantaFe isaprogramoftheInternationalFolkArtAlliance,atax-exempt,501(c)3nonprofitorganization in partnership with the New Mexico Department of Cultural Affairs, Museum of International Folk Art, Museum of New Mexico Foundation, and City of Santa Fe. Partially funded by the City of Santa Fe Arts Commission and the 1% Lodgers’Tax and the County of Santa Fe Lodgers’Tax.

Santa Fe Trails

PASATIEMPO I July 4-10, 2014

PASA TEMPOS

album reviews

OWEN PALLETT In Conflict (Domino) The violin — particularly in the upper ranges, or when the strings are plucked or played in a staccato fashion — is an instrument that can induce anxiety. Witness how often those sounds appear in horror films just at the moment when something really bad is about to happen. Indie-pop virtuoso Owen Pallett, who often makes miracles with just a violin and a loop pedal, opens many of his songs on In Conflict with those sounds. According to the lyrics here, the really bad thing is hitting your 30s in 2014: it’s a wilderness, fraught with financial and romantic uncertainty, in which one is burdened by bad habits and one’s ability to make decisions is hampered by a sense of helplessness. Enlisting the aid of Brian Eno — most memorably on the twitchy, new wave “Soldiers Rock” — Pallett tells stories that often hinge on the balance between expectations and reality, between want and need. It’s effective. And there is something unnerving about a distinctly pop album without drums, guitars, bass, or recognizable keyboards — but with Pallett’s lovely, romantic voice drifting at odd angles from his own lyrical content to evoke a sense of detachment. In “On a Path,” he drives the album’s themes home, singing, “I stand in a city that I don’t know anymore/Spending every year bent over by the weight of the year before.” Of course, the song opens with a high-pitched violin squeal that would make Hitchcock shudder. — Robert Ker CONOR OBERST Upside Down Mountain (Nonesuch) Singer-songwriter-guitarist and former Bright Eyes frontman Conor Oberst recorded his first songs at 13 and was being hailed as the next Bob Dylan before he was 20. He’s one of alt’s lost boys, a guy so tied to his emotions that he’ll forever carry something of his early, neo-emo reputation. Now well into his 30s, Oberst is still something of a Peter Pan figure, equal parts enthusiasm and need. His first recording for the Nonesuch label touches on all the different styles he’s used over the years: folk, rock, Americana. These new tunes, while retaining something of a country flavor, are catchy and well orchestrated with multiple guitars and keyboard effects. Lyrics remain central, and Oberst’s phrases can make guitars weep. Listen to “Double Life.” Oberst is occasionally despondent: “I don’t need my concentration/To know when I’m in pain.” But these days he’s often optimistic: “What a thing to be a witness to sunshine/What a dream to just be walking on the ground.” His voice is still thin, fragile, and wavering, qualities that give it an attractive vulnerability, and the minor keys are where he does his most attractive, most personal work. Oberst is still no Dylan — he’s a clever tunesmith but too self-indulgent — yet he does sing to those among us who, like him, never quite lost our taste for teenage angst. — Bill Kohlhaase

—Shakespeare, The Tempest

A Summer of Sacred Song featuring

Santa Fe Opera Apprentices

2013 Santa Fe Opera Apprentices

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

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

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

unitedchurchofsantafe.org

Will Wilson

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

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

Rimi Yang and ShelleY muzYlowSki allen

The Year of the Horse July 4 – 19, 2014 Artists’ Reception: Rimi Yang

Friday, July 4th, 5 – 7 pm

Shelley Muzylowski Allen

130 Lincoln Avenue, Suite C Santa Fe, New Mexico 87501 505.954.9902 www.blueraingallery.com

PASATIEMPOMAGAZINE.COM

TERRELL’S TUNE-UP Steve Terrell

The best little label in Brooklyn

Since today’s the Fourth of July — or Independence Day, as the cool people call it — I thought it would be appropriate to salute Norton Records, a truly independent American record company and a firecracker of a label, which recently released three bitchen albums that will make you feel patriotic just listening to them. I know, I know. I’ll stop. Norton is a great American story. It was founded in 1986 by Billy Miller and Miriam Linna, a Brooklyn couple that published a rock ’n’ roll magazine called Kicks. After Miller and Linna ran a story about rocking West Virginia wild man Hasil Adkins that received a huge response, they decided to start a label to reissue Adkins’ recordings (eventually recording some new material with him). The pair named their label after Ed Norton, Ralph Cramden’s pal on The Honeymooners, and it grew, reissuing tons and tons of obscure old R & B, garage rock, soul, rockabilly, proto-punk, and general craziness — not to mention the fresh sounds of singers and bands who fit in with the general Norton aesthetic. And then, not quite two years ago, disaster struck. Hurricane Sandy smashed into Norton’s Brooklyn warehouse, destroying a major portion of the company’s inventory. Miller and Linna, who worked countless hours trying to salvage what they could, soon found they had a lot of support. Friends and label fans showed up to help dry off vinyl records

PASATIEMPO I July 4-10, 2014

and put them in fresh sleeves before they all went to mold. Around the country, people organized benefit rock ’n’ roll shows for Norton, while hip radio programs and podcasts played special shows to draw attention to the label’s plight. Norton survived, and it’s still the place “where the loud sound abounds.” These new albums attest to that. ▼ Ears Wide Shut by The A-Bones. This loose-knit group of rock fanatics might be considered Norton’s house band. Billy Miller is the lead singer and Miriam Linna plays drums and sings. (She was the first drummer for The Cramps, back in the ‘70s.) Longtime A-Bones bassist Marcus “The Carcass” Natale and guitarist Bruce Bennett are on this album, as are Yo La Tengo’s Ira Kaplan, on keyboards, guitar, and vocals, and sax man Stan Zenkoff. The first thing a devoted Bones fan notices about Ears is that it’s raw and lo-fi, even by A-Bones standards. It has a real live (1965) at the amusement-park-picnic-pavilion feel. Which, to my ears, is not a bad thing. There are some fine songs here. As usual, the majority are covers, but most are so obscure they might as well be original material. Only two were actually written by The A-Bones, “Lula Baby,” which sounds like a slower, sludgier “Tutti Frutti,” and Catahoula Stomp,” which could be passed off as a long-forgotten masterpiece by Paul Revere & The Raiders. It features some tasty — if a little psychotic — organ from Kaplan. I’m not even sure where “Henrietta” came from, but it’s one of those songs that has bounced around at the edges of a lot of old rockers’ repertoires. Doug Sahm, John Fogerty, and The Trashmen have all recorded it. “Luci Baines,” apparently a rocking ode from Arthur Lee, of the band Love, to one of LBJ’s daughters, was initially recorded by Lee’s pre-Love band, The American Four, back in the Great Society era. There’s a surfy instrumental, “Thunder,” first recorded by Bob Taylor & The Counts on Yucca Records, an old Alamogordo label. And they saved their best for the last. The crunchy, frantic “Sorry” was first recorded by The Easybeats, an Australian band from the mid-’60s. I’ve always preferred the version done a couple of decades later by The Plimsouls (available only on a couple of their live albums), but The A-Bones give the latter group a run for their money here. My only serious complaint about Ears Wide Shut is that there’s only one track here sung by Linna: the perfectly lecherous “Little School Boy,” originally done by Billy Garner as “Little School Girl.” But if you’re craving more Miriam songs, read on. ▼ Nobody’s Baby by Miriam. That’s right, just one name, like Cher or Madonna. Or Winger, for that matter. This is Miriam’s first solo album, and it’s a gem. If you’re expecting the same high-intensity, raucous ’n’ roll you find with The A-Bones, you won’t get it on Nobody’s Baby. Instead, this album reminds me of two

previous records, classy efforts both, in the Norton catalog: Dangerous Game, the 2007 “comeback” album by Mary Weiss, lead singer of The Shangri-Las, and All or Nothing by La La Brooks, who used to sing with The Crystals. Like those older albums, Nobody’s Baby is a contemporary take on the classic early- to mid-’60s girlgroup sound — an adult update on the teen yearning and, yes, angst of that golden period. Norton is a great American story. It was founded in 1986 by Billy Miller and Miriam Linna ... The pair named their label after Ed Norton, Ralph Cramden’s pal on “The Honeymooners.” Linna draws from a wide variety of songwriters, including Jeff Barry (who, with partner Ellie Greenwich, wrote “Leader of the Pack,” “Chapel of Love,” hits for The Ronettes, and dozens more songs — many, you’ve probably never heard of), Tim Buckley, Bobby Darin, Gene Clark (formerly of The Byrds), Neil Young (an early, obscure tune called “There Goes My Babe”), and The Ramones (though Miriam’s version of “Questioningly” sounds more like The Chiffons than anyone who ever played CBGBs). Besides the influence of Shangri-Las, The Crystals, The Ronettes, and The Angels, I also hear echoes of folk rock – at least Jackie DeShannon-style folk rock – here. That’s especially obvious in the opening song, “My Love Is Gone.” And there are traces of British Invasion siren Sandie Shaw on the noirish “So Lonely.” Currently, my favorite on Nobody’s Baby is “Walking Down the Street.” It’s the closest thing to a real rocker on the album. I thought this might be an obscure Shangri-Las B-side, but it was originally done by a Pretty Things offshoot band called The Electric Banana. ▼ Blood From a Stone by Daddy Long Legs. Simply put, this Brooklyn-based trio (originally from St. Louis) is the most exciting blues/punk group, this side of Rev. Peyton’s Big Damn Band, on the scene today. Led by a tall, gangly singer, who also goes by the name Daddy Long Legs, they are raw but melodic. This is the group’s second full-length album for Norton — its third, if you count The Vampire, on which they backed R & B crazy man T. Valentine (of “Lucille, Are You a Lesbian” infamy). Highlights include the frantic “Motorcycle Madness,” the Bo Diddleyinspired “Castin’ My Spell,” a banjo-enhanced country stomp called “Chains-a-Rattlin’,” and “Flesh-Eating Cocaine Blues,” which is just as herky-jerky jitterywild as the title suggests. These albums are available at www.nortonrecords. com; hear songs from all three on my latest show at www.bigenchiladapodcast.com. ◀

“Blooms” By CHRISTOPHER THOMSON Improvised Forged Steel Sculpture Artist Reception July 4th 5-7pm with live improvised music by the artist

This Weekend ANNUAL SUMMER STOMP! Friday, July 4, 5:30–7:30 p.m. Come tap your toes and take a twirl to the dancin’ music of Judge Bob and the Hung Jury. Free. FAMILY FUN DAY Sunday, July 6, 1–4 p.m. “Outside the Frame.” Explore the museum with guided activities and have fun making an art project outside the frame. Free.

Coming up GALLERY TALK Friday, July 11, 5:30–6:30 p.m.

Photographer Richard Baron will discuss his work in Grounded. Free.

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

LA MESA OF SANTA FE 225 Canyon Road • Santa Fe NM 505.984.1688 • lamesaofsantafe.com

PUBLIC LECTURE Wednesday, July 30, 6–7 p.m. “Judy Chicago: Feminist Icon and Iconoclast.” Scholar Lois Rednick will discuss Judy Chicago from her explosive breakthrough project, The Dinner Party, and into her thirty years in New Mexico. Free.

Weekly SUNDAYS: PLEIN-AIR PAINTING IN THE PATIO

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

MONDAYS: GALLERY CONVERSATIONS

12:15–1 p.m. Every Monday a new speaker gives an informal tour through the museum, offering a unique point of view. July 7: Joe Illick from Performance Santa Fe. July 14: Curator Ryan Rice.

WEDNESDAYS: IN-DEPTH GUIDED TOURS

12:15–1 p.m. The museum’s knowledgeable and friendly guides lead in-depth exploration into speciﬁc artists and topics.

FRIDAYS: DROP IN AND DRAW See Club Rock for promotional rule details.

Noon–1 p.m. Stop by, pick up pencils and a drawing board, and be inspired by the iconic building and diverse artworks.

Daily GUIDED TOURS 10:30 a.m. and 2 p.m. Join our knowledgeable and friendly guides as they shine the spotlight on our current exhibitions. TESUQUE

FLEA MARKET OPEN 9AM- 4PM | FRI, SAT, SUN

RUGS, POTTERY, JEWELRY, IMPORTS & MORE!

15 Flea Market Rd | 505.670.2599 www.tesuquefleamarket.com

THE PHOTO LAB: WHERE IDEAS DEVELOP

Investigate photographic ideas in the upstairs galleries during our year-long “Focus on Photography” exhibition series.

THE PARLOR IN LOCAL COLOR

Explore identity and gender, art and ideas, and send Judy Chicago a postcard. 10 Min. North of DOWNTOWN Santa Fe Exit 175 on Hwy 84/285

1-800-GO-CAMEL camelrockcasino.com

PASATIEMPOMAGAZINE.COM

July 10th & 11th @ 7PM Greer Garson Theatre Santa Fe ➤

➤

Concert and Devotional Chant Online: TicketsSantaFe.org By phone: 505.988.1234 or at the Lensic Box Office

“Cochiti Storyteller” by Helen Cordero c. 1970

(services charges apply)

Reserved Seating: $36.50 in advance $45 at the door

839 Paseo de Peralta Santa Fe, NM elmoreindianart.com 505-995-9677

Presented by

Center For Inner Truth & Transitions Radio Magazine

MONROE GALLERY of photography

STEVE SCHAPIRO: ONCE UPON A TIME IN AMERICA

Boy with flag, Selma March, 1965

One of the most respected American documentary photographers, Steve Schapiro has photographed American history, and the fractured fabric of contemporary American life, over the last five decades. The list of people Steve Schapiro has photographed during his career reads like a Who’s Who of the most influential politicians, celebrities and newsmakers in contemporary American history. Opening Reception with the photographer • Saturday, July 5 5 - 7 PM 112 don gaspar santa fe nm 87501 505.992.0800 f: 505.992.0810 e: info@monroegallery.com 28

PASATIEMPO I July 4 - 10, 2014

www.monroegallery.com

ON STAGE Nouveau Americana: Little Tybee

Andrew Kornylak

Little Tybee, the usually six-piece strings, keys, and percussion ensemble out of Atlanta, is something different from your usual folk rock or alt rock band. The group’s music is rhythmically experimental, smartly orchestrated, and cleverly composed (credit vocalist-keyboardist Brock Scott). Viola and violin blend with electric eight-string guitar and voice. The beats can be languid, aggressive, or globally influenced in a way you can’t quite put your finger on. Little Tybee’s 2011 video collaboration with puppeteer Tom Haney, Boxcar Fair, is the strangest, most engaging bit of music and theater you’ll see and hear in some time. L.T.’s music, immensely pleasant on the band’s 2009 debut, Building a Bomb, is bit edgy, sometimes strange, and often unpredictable. Little Tybee plays at 8 p.m. on Monday, July 7, in the intimate and acoustically friendly Gig Performance Space (1808 Second St.). Tickets are $20 at the door. Visit www.gigsantafe.com. — B.K.

THIS WEEK

Flute city: Santa Fe Flute Immersion

Santa Fe Flute Immersion, a study seminar for flutists that has been taking place in town through the past week, reaches its conclusion on Sunday, July 6, with a closing concert featuring students and faculty, the latter comprising Bart Feller (principal flutist at Santa Fe Opera), Susan Levitin (a Chicago-based professional), and Linda Marianiello (the event’s organizer, who runs the New Mexico Performing Arts Society). The wide-ranging program includes pieces by Bach, Mozart, Enescu, Howard Hanson, and Charles Tomlinson Griffes. Bill Epstein assists at the piano. The concert, which begins at 5:30 p.m. at the Immaculate Heart of Mary Chapel (50 Mount Carmel Road), is free and open to the public. For information, call 505-474-4513 or visit www.nmperformingartssociety.org. — J.M.K.

Swing classic: Annie Sellick

Tamara Reynolds Photography

Annie Sellick is a singer in the old style, which is to say you can hear some Sarah Vaughan, some Carmen McRae, even some Anita O’Day, when she performs love songs, especially in blues form. The fact that she’s based in Nashville also says something good about her music. There’s a video at www.anniesellick.com recorded with pianist Gerald Clayton’s trio at the Gene Harris Jazz Festival in Boise that captures her warmth, her pitch and invention, and her ability to swing without effort but with plenty of personality. You can hear her at 6 p.m. on Wednesday, July 9, as part of St. John’s College’s Music on the Hill series. The free concert takes place on the college’s athletic field (1160 Camino de Cruz Blanca). Call 505-984-6000 or visit www.sjc. edu/events-and-programs. — B.K.

PASATIEMPOMAGAZINE.COM

in the air

et’s say Group A consists of choral music lovers who have no qualms about squeezing into church pews to hear sacred music from the Renaissance, and Group B is made up of young a cappella fans who tweet one another before, during, and after episodes of TV shows Glee and The Sing-Off. Joshua Habermann, music director of the Santa Fe Desert Chorale, has a plan to bring both subsets, dissimilar though they might be, together. It’s called Voasis, an eight-member chorale offshoot whose raison d’être is rock/pop a cappella and counts its own music director, Greg Jaspere, among the voices. “We’re trying to break down the barriers between the two groups,” Habermann explained. “We jokingly call Voasis the gateway drug to the Desert Chorale.” The producer for Voasis is Deke Sharon — a longtime friend of Habermann’s — who produced The Sing-Off and served as music director for the 2012 film Pitch Perfect, a musical comedy. Habermann said he and Sharon met as singers in a pop/rock vocal group they both joined right out of college and have stayed in touch ever since. “I approached Deke at one point and told him that we needed to do something together,” Habermann recalled. The Desert Chorale director may have headed, professionally speaking, into the classical wing of choral music, while Sharon, who has a degree 30

PASATIEMPO I July 4-10, 2014

Santa Fe Desert Chorale & Voasis

Michael Wade Simpson I For The New Mexican from the New England Conservatory, turned away from classical roots to make a career for himself in a more commercial world (where he’s credited by many for creating the dense, vocalists-doing-instrumentals sound of contemporary a cappella), but Habermann said that this contrast is partly the point. “The two styles need not be enemies. We are constantly asking ourselves, How can we make the world bigger? My feeling as a musician is that if we are going to survive, crossover is a big part of that.” In a way, having Voasis on tap may have allowed Habermann the freedom to pursue a slightly more classical vein for the Desert Chorale’s four programs in five venues (two are in Albuquerque) this summer, which include performances of Mozart’s Requiem with the Santa Fe Symphony featuring renowned soloist (and part-time local resident) mezzo-soprano Susan Graham. The New World: Music of the Americas, offers a variety of sacred and secular music from the cultures of North, Central, and South America; Spanish Mystics, timed to coincide with Spanish Market, performs Renaissance and Baroque music from Spain with accompaniment on lute and guitar by Richard Savino. A Romantic Evening With Brahms highlights some of the brilliant orchestral composer’s lesser-known smallscale pieces for chorus and piano. The 24-member chorale’s summer season begins on Thursday, July 10. Voasis appears at Warehouse 21 for four shows from Aug. 15 through Aug. 17.

The New World: Music of the Americas highlights American spirituals, 20th-century music from Haitian and American composers, and Spanish-language pieces arranged by Conrado Monier and Electo Silva. A selection from Reincarnations by Samuel Barber, whom Habermann calls one of the great treasures of choral composing, is performed, along with works of two young American composers, Dan Forrest and Sydney Guillaume. The program opens Thursday, July 10, at the Cathedral Basilica of St. Francis of Assisi and July 27 at the Cathedral Church of St. John in Albuquerque. “Presenting Spanish, Mexican, and South American music in Santa Fe makes perfect sense,” Habermann said. “We’re the crossroads of all these cultures. Besides, I love it. I used to be a Spanish teacher — I’m from California, and I’ve lived in border states my whole life. I often think I’m a Latin American person trapped in a Scandinavian body.” Spanish Mystics centers on music from the Renaissance by composer Tomás Luís de Victoria (circa 1548-1611). If you’re familiar with the work of one of Victoria’s contemporaries, the Italian composer Palestrina, the difference between them is like night and day, Habermann pointed out. “Palestrina is the Apollonian version of things — everything is beautiful and shiny. Victoria’s music is like Goya’s art — he leaves the problems in. Sometimes the harmonies are crunchy. Think of Goya’s painting Saturn Devouring Children: there’s a lot of darkness.” The

Spanish Baroque will be represented by pieces that offer dancer rhythms, Habermann said. The program, which includes pieces by Javier Busto (born in 1949), a physician from the Basque region of Spain who also happens to be widely known as a choral conductor and composer, opens July 17 at Loretto Chapel. A Romantic Evening With Brahms, which opens July 22 at the First Presbyterian Church, offers secular music the composer published with a market of amateurs in mind. “The 19th century saw the rise of the middle class (in both Europe and the United States). People would gather in their homes around pianists and sing. The music is about romance, love, and night. There’s a sweetness to the music, but Brahms was a melancholy fellow — it’s the sweetness of lost love,” Habermann observed. Gypsy songs, piano interludes performed by Debra Ayers (“they have one of the nicest pianos in Santa Fe at First Presbyterian,” he confided), and little masterpieces such as op. 92 (“O schöne Nacht”) and op. 31 (“Drei Quartette”) complete the evening. “This music is sublime,” Habermann said. “It’ll be a good date night.” Mozart’s Requiem, which appears Aug. 7 and 9 at the Cathedral Basilica of St. Francis of Assisi and Aug. 10 at Immanuel Presbyterian Church in Albuquerque, features a chamber-scaled version of that piece. The chorus slightly expands its forces to 32 voices, but that’s still a small number compared with some of the big symphony ensembles (like the one Habermann directs in Dallas) that regularly take this work on. “It works with 130 or 32, but our version is more historically informed — the way it might have been presented in Mozart’s time.” The chorale uses a modern version of the score by Robert D. Levin. Mozart died before finishing his Requiem, and Franz Xaver Süssmayr, a copyist for the composer, assumed the task of extrapolating his style and thematic directions, completing the work not long afterward. This version has been traditionally presented, until now. According to Habermann, the new version is not an attempt to rewrite Süssmayr’s work, but to take a fresh look at the original manuscript, with an eye to correcting earlier stylistic inconsistencies. According to Habermann, Levin, a musicologist, did just a touch-up rather than reconstructive surgery. ◀

SANTA FE DESERT CHORALE & VOASIS Summer Festival 2014 The New World: Music of the Americas

8 p.m. Thursday, July 10, and continues July 19 & 25 and Aug. 2, Cathedral Basilica of St. Francis of Assisi 4 p.m. July 27, Cathedral Church of St. John, Albuquerque

Spanish Mystics

8 p.m. July 17, 20, 24 & 29 and Aug. 5, Loretto Chapel

A Romantic Evening With Brahms

8 p.m. July 22, 26 & 31 and Aug. 1, First Presbyterian Church

Mozart Requiem, featuring Susan Graham

8 p.m. Aug. 7 & 9, Cathedral Basilica of St. Francis of Assisi 4 p.m. Aug. 10, Immanuel Presbyterian Church, Albuquerque

Voasis: Soaking Up the Summer

8 p.m. Aug. 15 & 16, and 4 p.m. Aug. 16 & 17, Warehouse 21 Tickets: $25-$120 (discounts available); www.desertchorale.org, 505-988-2282

Venues Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Place Cathedral Church of St. John, 318 Silver Ave. S.W., Albuquerque First Presbyterian Church, 208 Grant Ave. Immanuel Presbyterian Church, 114 Carlisle Blvd. S.E., Albuquerque Loretto Chapel, 207 Old Santa Fe Trail Warehouse 21, 1614 Paseo de Peralta

EXCLUSIVE ENGAGEMENT

Now pLAyING

Santa Fe UA De Vargas Mall 6 (800) FANDANGO #608

CHECK DIRECTORIES FOR SHOWTIMES NO PASSES ACCEPTED

PASATIEMPOMAGAZINE.COM

The shock of the true Paul Weideman I The New Mexican

tunning works by Latin American photographers Manuel Álvarez Bravo, Manuel Carrillo, and Luis González Palma are featured in the exhibition Tres Visiones, which opens Wednesday, July 9, at Scheinbaum & Russek Ltd. with a reception and book-signing of the exhibit catalog for Mi Querido Mexico by Stuart Ashman, president of Long Beach’s Museum of Latin American Art. (That exhibit, dedicated to Carrillo’s legacy, runs in California through Nov. 30.) Because gallery owners Janet Russek and David Scheinbaum, both noted photographers themselves, have had long-standing relationships with all three artists, their show at Scheinbaum & Russek offers rare works that have not often been seen by the public, along with many well-known and sought-after images. Álvarez Bravo, a native of Mexico City, is regarded as his country’s first significant artistic photographer and the most important 20thcentury Latin American figure in that medium. Self-taught, he surfaced professionally around 1925, winning first prize in a Oaxaca photography competition. Later that decade, he became acquainted with the modernist artists Tina Modotti and Edward Weston, both of whom encouraged and influenced him as he developed his greatly admired ability to charge everyday images with unexpected (and frequently surrealistic) intent. Throughout his life, he remained devoted to the indigenous cultures of Mexico, embracing ideas from other parts of the world as well. He died at 100 in 2002. Mexico City is also where Manuel Carrillo (1906-1989) lived and worked. Carrillo, who came to professional photography at 49 (he had a 36-year career as a Mexico City agent for the Illinois Central Railroad), specialized in haunting portrayals of ordinary people: a woman sweeping the street, another coming home from church, a boy sitting in a doorway. He also photographed distinctive buildings and domestic animals. Though Carrillo’s images offer moving glimpses into poverty, his greatest interest was in simply capturing the reality of everyday lives — his approach was documentary, rendered with an artist’s eye. Ashman has said that you can see in Carrillo’s photographs his “tremendous amount of respect for the indigenous people of Mexico,” and “for the beauty of that culture,” noting also that Carrillo, though “recognized as a master of Mexican photography,” has been underacknowledged and underexposed.

PASATIEMPO I July 4-10, 2014

Luis González Palma, born (1957) and raised in Guatemala City but a longtime resident of Córdoba, Argentina, photographs his native country’s indigenous cultures, including the considerable brutalities its members have long endured. The Central American nation was a Spanish colony from the 16th century until its 1821 independence, after which Guatemalans experienced nearly four decades of guerrilla warfare before the signing of a peace agreement in late 1996. González Palma depicts the starkly beautiful faces of women, children, and men, their expressions often somber, at times even fearful. The photographer is also admired for how skillfully he applies sepia toning to his prints, keeping his subjects’ eyes free of the brown hues during the process so they stand out dramatically from the other features. The result is a stirring intensification of their gazes. For some of his work, González Palma uses contemporary devices to alter straightforward, portraiture-type images — collage-layering people with images of shirts, buildings, and text — thereby achieving a symbol-rich surrealism that often functions more in the service of multidimensional depictions of a culture’s miseries than of giving viewers aesthetic pleasure. Examples of strictly nonhuman pictures include a holstered pistol, close-ups of bullets and of an old soccer ball, and a chair that has long, sharp spikes sticking up from its seat. The artist’s work has shown at the Lannan Foundation; the Art Institute of Chicago; the Australian Centre for Photography in Sydney; and the Royal Festival Hall, London. In 1999, he received a PHotoEspaña grand prize; in 2008, he contributed to a production of Chilean playwright Ariel Dorfman’s Death and the Maiden at the Malmö Opera in Sweden. González Palma first picked up a camera (a 35mm Pentax) in 1986, when he was in his late 20s. He soon switched to using a medium-format Mamiya. With both cameras, he shot black-and-white film and developed his own prints. Pasatiempo: What were your earliest subjects? Luis González Palma: I started taking pictures at the Guatemala Ballet and also did portraits and some landscapes. Then I went through a period of experimentation in Guatemala City with other artists in a group we called Imaginaria. From that experience came several series that were exhibited in 1992 at FotoFest, in Houston. In 2001, I came to live in Córdoba, where I started another series of projects that were different from the ones I did in Guatemala — they involved other techniques and motives. All the same, I carried out continued on Page 34

Clockwise, from opposite page upper left, Luis González Palma: Bodyguard #5, 2009, goldtone in vintage case; Manuel Álvarez Bravo: Ventana a los Magueys, 1976, gelatin silver print; Manuel Carrillo: Oaxaca, Oaxaca, 1958, gelatin silver print; Luis González Palma: El Leon, 1994, gelatin silver print with asphaltum; Manuel Carrillo: Viejita Calleon Sombras Piramidales, Guanajuato, 1960, gelatin silver print

An exhibition of Luis González Palma’s work is on view at The Owings Gallery (120 E. Marcy St.) through July 11.

PASATIEMPOMAGAZINE.COM

“Holding your “Holding your hand through the hand through the entire process” entire process” • Over 20 Years Experience

Expert Personalized | Service & Instruction • Over• No 20“Geek YearsSpeak” Experience ExpertHome Personalized & Instruction or Office| |Service Onsite Repairs • Same Day Service Speak” PC•orNo Mac“Geek | iPhones & iPads Home or Office | Onsite Repairs • Remote Access Repairs • Same Day Service PC or Mac | iPhones & iPads

Tres Visiones, continued from Page 33 several projects in collaboration with my wife, Graciela De Oliveira. Right now I’m working on a series that is a reflection on forms of representation of great validity in Latin America — geometric abstraction and figuration. This series consists of photographs modified with acrylic paint. Pasa: You first studied architecture. How did that influence your photography? González Palma: I think it helped me to deeply understand the idea of space, as well as the purpose of light and shadow. Pasa: You address the plight of Guatemala’s indigenous Maya and their mestizo peoples — those with mixed Native and European roots. González Palma: Guatemala is a racist country, where natives have been denied and segregated for centuries. They are the majority of the country’s population and the most affected in every social aspect, yet they are a part of the society that is completely marginalized, and this generates tremendous problems that inhibit the growth and development of Guatemala. Pasa: Can you describe the power of symbolism in your photography? González Palma: The symbolic element is essential to my work — and it first forms conceptually. From the beginning of my career, all my work starts from an idea that I try to carry out. Many of the subjects that interest me, such as fear, meaninglessness, disaffection, loneliness, require images that, without being explicit, can help to express several feelings or sensations. This can only be achieved at a symbolic level. There are aspects of what we call “the reality” that can only be approached from a symbolic angle. Apart from that, I clearly understand that all representation is political: there is an ethical, aesthetic, and political responsibility with each representation, with each decision we make regarding our images. ◀

details ▼ Tres Visiones: Manuel Álvarez Bravo, Manuel Carrillo, and Luis González Palma ▼ Opening reception and book signing 4 p.m. Wednesday, July 9; exhibit through Sept. 13 ▼ Scheinbaum & Russek Ltd., 812 Camino Acoma, 505-988-5116

Luis Gonzáles Palma: Annunciation — Variation 3, 2007, archival inkjet print

PASATIEMPO I July 4-10, 2014

ANTONIO GRANJERO + ESTEFANIA RAMIREZ

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

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

classicalseries

JULY 10 Opening Night Dinner | La Fonda at 6:00 p.m. 10 The New World: Music of the Americas | CBSF

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

venueguide

in Albuquerque

31 A Romantic Evening with Brahms | FPC AUGUST 1 A Romantic Evening with Brahms | FPC 2 The New World: Music of the Americas | CBSF 5 Spanish Mystics | LC

Santa Fe

DesertChorale Intimate. Timeless. Transcendent.

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

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

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

7 Mozart Requiem with Susan Graham | CBSF 9 Mozart Requiem with Susan Graham | CBSF 10 Mozart Requiem with Susan Graham | IPC*

in Albuquerque

popseries

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

Matinee and Evening Performances

17 Soaking up the Summer with Voasis | W21*

PASATIEMPOMAGAZINE.COM

museum of indian arts and culture presents

2014 SUMMER PROGRAMS

PUEBLO SASH WEAVING DEMONSTRATION SUNDAY MARCH 9, 2014 10AM–4PM

Experience the Savings Visit our showroom and let us demonstrate this and other LED lighting PAR30L LED Single Optic technology. lamp with AirFlux

Technology

Save Energy Save Money

1000 Siler Park Lane, Suite A Santa Fe, New Mexico 87507-3169 505.471.7272 • Fax 505.471.9232 Mon-Fri 8am - 5pm & Sat 10am - 2pm

SUNday, July 6th & MONDAY, JULY 7th

www.dahllighting.com

10:00 am–4:00 pm

Native Portrait Studio Create a memory of your visit to MIAC! Step into the mobile photo booth In the Lloyd Kiva New Gallery and an automatic digital photo will be produced. You are invited to add one print to the Community Gallery.

1-Hour Pottery Class For Two Only

$25

Regularly $50

NEXT UP wednesday, JuLY 9th, 1:00–4:00 pm

Southwest Pottery Artist Demonstration with Erik J. Fender (San Ildefonso Pueblo)

Ongoing series of demonstrations and discussions of various techniques, clays, and styles by Native artists from different Southwest tribes. Ongoing series of demonstrations and discussions of various techniques, clays, and styles by Native artists from different Southwest tribes. Splurg

co eTaos.

All are free with paid admission, 16 and under always free. New Mexico residents with ID always free on Sundays.

Museum of Indian Arts and Culture

on Museum Hill 710 Camino Lejo (off Old Santa Fe Trail) 505-476-1250 indianartsandculture.org

PASATIEMPO I July 4 - 10, 2014

Exclusively available at SplurgeTaos.com

T o re c e i v e t h i s of f e r, vi si t Sp lur ge Ta os. com b efor e m id night Jul y 9th and p urc hase th e Spl u rge c er ti fi ca te, whi ch c an be re de em ed for t he abo ve of fer . Thi s ad ver tisem e nt is n ot a Sp lu rg e c er tif ic ate.

JUly

THE RAILYARD S

E AN T A F

RAILYARD PARK SUMMER MOVIE SERIES • 8-10:30pm

Horseback Riding

SunSet RideS SunSet/Moonlight RideS

Broken Saddle Riding Company C        , N  M    

Well trained & conditioned, smooth riding Tennessee Walkers & Missouri Fox Trotters

Walk, Trot, Canter or Gallop  

•

 

For more information or to make an appointment call:

505.424.7774 • www.brokensaddle.com

Est. 1993

at the railyard

JULY 3 (Thursday) • Caddyshack Be the ball! Kick off the weekend with Bill Murray and the gopher!

JULY 18 (Friday) • Balto

Bring Your Dog to the Movie Night and cheer on the true adventures of Balto the Wolf Dog! Bring a picnic or choose one from Dr. FieldGoods. Free popcorn from 1st National Bank. Presented by Heath Concerts heathconcerts.org

JULY 19 • 4-6pm / On the Plaza

5pm-midnight / Farmers Market

BEST OF SANTA FE CELEBRATION

First time ever! Come sample the best of everything from the Reporter’s annual “Best Of” issue. Music, food, drink,goodies and more! Presented by the Santa Fe Reporter sfreporter.com

JULY 20 / SITE Santa Fe Opening Festivities July 17-19 UNSETTLED LANDSCAPES

A new biennial exhibition series exploring contemporary art from Nunavut to Tierra del Fuego. sitesantafe.org

MORE MOVIES IN THE RAILYARD PARK!

JULY 25

JULY 12 • 8-10:30pm

LAST FRIDAY ARTWALK

Rocky Horror Picture Show Come dance the Time Warp again and wear your Rocky Horror finest! This film for ages 18+. Presented by the SF Independent Film Festival santafeindependentfilmfestival.com

RAILYARD PLAZA SUMMER CONCERT SERIES JULY 13 • 6-9pm

5-7pm / All Railyard Galleries Experience the variety of exceptional art galleries in the Railyard District. Last Friday of every month. santaferailyardartsdistrict.com

CONTINUING . . . SANTA FE FARMERS MARKET Tues. 8am-1pm / Sats. 7am-12pm Railyard Plaza & Shade Structure santafefarmersmarket.com

Bonnie Prince Billy and his Americana punk country rock. Following the World Cup Soccer final. Presented by Heath Concerts

SANTA FE ARTISTS MARKET Saturdays / 8am-1pm / Railyard Park santafeartistsmarket.com

JULY 5 • 7-10pm / Warehouse 21 WH21 FREE SUMMER CONCERT

RAILYARD ARTISAN MARKET Sundays 10am- 4pm Farmers Market Pavilion artmarketsantafe.com

Almost a Lie, Exalt, All the Wrong Reasons & Beyond Fused warehouse21.org

JULY 10 • 5-9pm / Railyard Park FOLK ART MARKET COMMUNITY CELEBRATION Food, music and artists from around the world!Presented by the International Folk Art Alliance. folkartalliance.org

JULY 13 • 4-6pm /On the Plaza WORLD CUP SOCCER FINAL

Come see the finishers on our big LED screen at the Water Tower. BYO Chair. Presented by NNM Soccer & Heath Concerts

SECOND STREET BREWERY Live Music Thursday-Sunday Acoustic Open Mic 6-9 pm Tuesday secondstreetbrewery.com WAREHOUSE 21 OPEN JAM NIGHT Wednesdays / 7-9pm warehouse21.org AXLE CONTEMPORARY PERFORMANCE ART SERIES Various Dates / Shade Structure Various times and artists axleart.com

ALL EVENTS FREE UNLESS NOTED For more information, and a printable Railyard map, visit:

WWW.RAILYARDSANTAFE.COM PASATIEMPOMAGAZINE.COM

D I S

S E C T

PASATIEMPO I July 4-10, 2014

H U M O R

Bill Kohlhaase I The New Mexican

hat’s so funny?” our parents asked when we chuckled at their demands. “Why are you laughing?” our friends ask when we don’t take their requests for sympathy or money to heart. What and why indeed? Few of us bother to understand the physical response of laughter and except for those who make a living being funny, most of us never question the psychological process that results in finding something humorous. But there’s a long history of such questioning. Plato, Aristotle, and Freud wrote about humor and laughter. In 1900 French philosopher Henri Bergson attempted to explain the comic in a collection of essays entirely devoid of actual humor entitled Le rire: Essai sur la signification du comique (Laughter: An Essay on the Meaning of the Comic). He found the comic ideal to be a product of the imagination rather than the intellect and a function of identification, such as finding human traits in nonhuman entities. According to modern research, he was on the right track.

New Yorker cartoons courtesy Henry Holt and Company

N G

of When We Laugh and Why discusses researcher Willibald Ruch’s “3WD Humor Test.” WD stands for Witz Dimensionen, or “joke dimension,” and Weems throws around terms like anterior cingulate cortex, the region of the brain responsible for insight. The graphics from statisticians and others are downright laughable; Thomas Veatch’s

N+V THEORY Humor occurs when there is a violation of a subjective moral principle (V) with the simultaneous realization that the situation is normal (N).

one chart seeks to illustrate the “script opposition” in the following joke: “Is the doctor home?” the patient asked in a bronchial whisper. “No,” the doctor’s young and pretty wife whispered in reply. “Come right in.” Then there’s the formula from psychologist Peter Derks that seeks to explain it all: “Humor = salience (trait + state ) x incongruity + resolution.” Got it? Despite the studies and statistics, Weems likes to think that what makes things funny is “the kick of discovery,” a phrase he attributes to physicist Richard Feynman, Humor = salience (trait + state) who was in on the development of the atomic bomb and x incongruity + resolution won a Nobel Prize for his contribution to the theory of quantum electrody— psychologist Peter Derks namics. Feynman, of These days, researchers use brain imaging and course, wasn’t talkneuroscience to understand the laughing mechanism. ing laughs. He was Cultural studies statistically examine what it is we addressing the joy find funny. In other words, there’s a laugh science, that he felt when and yes, it shouldn’t be confused with life sciences, making a discovery or solving a problem. Weems no matter what kind of a punch line that might applies the statement to what he thinks lead to. People such as stand-up comics makes jokes funny. You follow someand script writers take the science and thing in a certain direction until all the theorizing about the nature — bam! The joke turns on you, of what’s funny seriously. Three and you’re going a completely recent books examine laughing different way. The technical matters, the science and the term for speech that does social theorizing behind them, this is paraprosdokia. Weems and their practical applications illustrates with an example to live performance, comedic from Groucho Marx: “One film and video, and humor morning I shot an elephant writing of all sorts, including the in my pajamas. How he got classic single-panel cartoon. in my pajamas, I don’t know.” You might think Scott Weems, What does Weems do with all an adjunct research scientist at the the info in what’s really — no jokCenter for Advanced Study of Language ing now — a readable and enjoyable at the University of Maryland in College study of funny? He applies it to his Park, who received a PhD in cogniown attempt at stand-up comedy. I SCOTT WEEMS likes tive neuroscience from UCLA, would to think that what makes won’t divulge the results other than take a mostly scientific approach when things funny is “the kick to say he gets laughs, but not where examining humor, and he does. But he he expects them. There’s always a of discovery,” a phrase also writes about taking a turn at stand- he attributes to physicist leap between theoretical sciences and up. His recent book Ha! The Science Richard Feynman (above). their practical applications.

Philosopher HENRI BERGSON found the comic ideal to be a product of the imagination rather than the intellect and a function of identification, such as finding human traits in nonhuman entities.

More easily fathomed is the discussion of the comic in Peter McGraw and Joel Warner’s The Humor Code: A Global Search for What Makes Things Funny. McGraw, a PhD who heads the University of Colorado’s Humor Research Lab, or HuRL (I know, I know), brings the science while Warner, a freelance writer, brings the words and therefore the laughs. They take

an examination of what makes a cartoon funny, and part a behind-the-scenes exposé of how cartoons are chosen for the magazine, as well as those punch

lines supplied by readers to finished illustrations. The story of his rise to New Yorker cartoon editor is supplemented by memories from Roz Chast, Mick Stevens, and other well-known cartoonists about their acceptance into the magazine’s fold. Mankoff’s ascent seems due to persistence and luck. The telling may be corny — Mankoff is a terrible punster — but there are two or three cartoons on nearly every page for relief. Mankoff defines what is funny. He uses comparisons of past and present New Yorker cartoons, the evolution of his own work, and straight-out advice: “Things are

In The Humor Code: A Global Search for What Makes Things Funny, Peter McGraw and Joel Warner describe theirjourney to Belén, Peru, with 100 clowns in an effort to find out if indeed laughter is the best medicine. issue with Sigmund Freud’s theory from his 1905 funnier in threes because you need a sequence of at book, Jokes and Their Relation to the Unconscious. least two to create the right surprise. Without surprise, Freud states that humor is a way to release pent-up there is no joke.” Compare that with Derks’ or Veatch’s psychic energy, suggesting that it works only with formulas. In the chapter “Seinfeld and the Cartoon dirty jokes. They argue against Thomas Veatch’s N Episode,” he talks about a much-encountered prob+ V theory, which says that lem: people just not getting a One morning I shot an elephant humor occurs when there cartoon. He says, “New Yorker is a violation of a subjective in my pajamas. How he got in my pajamas, cartoons are not meant to be moral principle (V) with the an IQ test, but they are intelI don’t know. — Groucho Marx simultaneous realization that ligent humor, which requires the situation is normal (N). Who would guess that a certain amount of cultural literacy to appreciate.” He moral principle plays such a large part in comedy? quotes E.B. White (as do McGraw and Warner), who The joke that Veatch uses to support his theory isn’t said, “Analyzing humor is like dissecting a frog. Few worth repeating. More interesting is McGraw and people are interested and the frog dies of it.” Warner’s trip to Africa to examine the famous (at Many of us are obsessed with the New Yorker’s least among humor researchers)1962 Tanganyika cartoon-caption contest. Mankoff sympathizes, suplaughter epidemic, in which hundreds of people plying a formula and a crudely drawn chart of how began laughing uncontrollably. Laughter, it seems, is slim our chances are of ever winning. (The magazine actually contagious. Equally receives some 5,000 entries intriguing is their journey to per contest.) He offers five the shantytown of Belén in things to consider as you Peru along with 100 clowns in prepare your submission (no. an effort to find out if indeed 5: “FANTASIZE. Imagine you laughter is the best medicine. have won the contest”). He The book ends with McGraw even tells you whom to doing a stand-up routine at blame if you don’t win, givthe Just for Laughs festival in ing the judge’s name but Montreal. The results? Let’s not his home address (still, just say he doesn’t bomb. we know where he works). Least scientific and most The one thing that can be entertaining, and indeed said about Mankoff’s book is 1962 funny, is Bob Mankoff’s memthat the frog survives despite Tanganyika (Tanzania) oir of sorts, How About Never the dissection. — Is Never Good for You? Then there’s Sam Gross’ 2008 laughter epidemic My Life In Cartoons, named New Yorker cartoon in which 14 schools shut down • 1,000 people affected for one of his cartoons for a frog headed for the pot in a Other symptoms included pain, fainting, The New Yorker. The book is chef’s hand tells the frogs left flatulence, rashes, respiratory problems, part the story of his sense of behind, “We will always have attacks of crying, and random screaming lasting from a few hours to 16 days. humor’s coming-of-age, part Paris.” Now that’s funny. ◀

Humor is a way to release pent-up psychic energy. “Ha! The Science of When We Laugh and Why” by Scott Weems is published by Basic Books/Perseus Books Group. “The Humor Code: A Global Search for What Makes Things Funny” by Peter McGraw and Joel Warner comes from Simon & Schuster. “How About Never — Is Never Good for You? My Life In Cartoons” by Bob Mankoff is published by Henry Holt and Company. The three titles came out this year.

NewYorker cartoons are not meant to be an IQ test, but they are intelligent humor, which requires a certain amount of cultural literacy to appreciate. -- cartoon editor Bob Mankoff

PASATIEMPOMAGAZINE.COM

ART IN

REVIEW

Hannah Holliday Stewart: An Artistic Legacy Rediscovered, opening reception 5 p.m. Friday, July 4, Matthews Gallery, 669 Canyon Road, 505992-2882; exhibit through July 18 “The material world and the flesh are only temporary … spirit is everything!” — author Leslie Marmon Silko

annah Holliday Stewart was born into the upper classes of Birmingham, Alabama, in 1924, but she wasn’t cut out for the life of a Southern belle. From a young age, she was fascinated by the natural world and all its subtle wonders. In a journal entry from her later years, she wrote, “When I was 8 years old I asked my mother what the wind looked like. I remember spending hours ... days ... sitting with my hands open wide or running with my lightning-bug jar, hoping to catch the wind.” In adulthood, Stewart went to art school, where it wasn’t enough to simply try to understand unseen things; she wanted to make them visible. There’s a dearth of information about this important American sculptor, whose oeuvre ranges from

representational to ecstatically, bizarrely abstract. Stewart lived for many years in Houston and moved to Albuquerque abruptly in her early 60s, where she quietly continued to make art until her death in 2010. A trove of more than 100 artworks was discovered then, many of them the bronze sculptures on view at Matthews Gallery. Stewart’s work abounds with Sapphic inspiration. Egyptian queens and goddesses of all stripes were high on her list of influences. If much of her work makes use of thrilling, unexpected slopes and angles, it seems not entirely accurate to describe her practice as hard-edged. A handful of them are representational, like the nearly2-foot-tall Untitled (Figure and Child). A long-torsoed androgyne hoists a tiny figure up in the air, both their necks arched backward as if looking up to the sky. Many other bronzes are fantastically abstract and rich with mysterious symbolism. Wu Li is covered in a dazzling gold patina, whose light-catching shimmer emphasizes the stocky lines of its stridently geometrical, thickly assembled forms. If I started a riot-grrrl band, I know what I’d name it: Kosmic Nomad, after Stewart’s series of maquette-sized statues rendered in varying degrees of resemblance to anything figurative. When they are humanoid, it’s plainly obvious that they’re female; what else could explain their shapely bellies, pervasive calmness, and the Lady of Guadalupe-esque halos that circle their heads? What about Penrose, consummately abstract yet convincingly, endearingly mammalian — its odd form supported by two split legs, its black patina exaggerating a sure-footed, angular body? Stewart’s female figures are never coquettish or flirty but rather unselfconsciously strong and steady, with a square-shouldered awareness that borders

on omnipotence. The Agnostic looks like it was unearthed from some antediluvian cave. Its triplicate head-topping might be feathers or flames, or even jagged teeth, and its blunt features and blocky limbs are delicately incised with hieroglyphic-like symbols. In Queen Golden Sheen, a woman’s tall, slender figure perches on a throne, her feet planted on the ground, her long-fingered hands spread out on her lap. The back of her seat curves wildly upward into a pinched half-moon shape, its surface carved with symbols. An artist on the front lines of feminism, Stewart reconfigured the feminine, crafting new structures and introducing new symbolism. This exhibition affords a rare opportunity to study a modern yet consummately contemporary artist, whose work can be experienced visually as well as intellectually.

From left, Hannah Holliday Stewart: The Agnostic, bronze with gold patina; The artist installing Atropos Key Sculpture in Houston’s Hermann Park in 1972; Untitled (Figure and Child), bronze with black patina

PASATIEMPO I July 4-10, 2014

— Iris McLister

Galerie Züger presents

Michael Atkinson

Maria Benitez Institute for Spanish Arts presents:

2014 Explore the Spanish Arts Summer YouthWorkshop Ages 10 - 14 This year ISA invites students age 10 to 14 to its annual 10 day Spanish Arts Program. The workshop offers a handson array of exciting and educational courses in Flamenco Dance, Spanish Guitar, Theater, and Percussion. Students will perform and display their work in a final community performance.

14 - July 25 x July Performance July 26 Reserve your spot today! Some scholarships available 505-467-3773 for more info flamenco@mariabenitez.com 1604 Agua Fria (Larragoite) Partially funded by:

Sierra Sunset 29” x 38” Framed, Watercolor

Meet the Artist Friday and Saturday July 4 & 5 from 1 - 5 pm 120 W San Francisco St, Santa Fe 505.984.5099 galeriezuger.com

Join us for a creative and exciting two weeks! Flamenco Dance

Spanish Guitar

Theater x Percussion

www.mariabenitez.com

Poetic Threads of Pakistan

Preserving & Promoting Traditional Textile & Jewelry Arts July 8 - July 27

“Journeys on Our Silk Road”

..along the Dusty Roads of Khyber Patthun ...Land of Gandhara

Opening Reception - Tuesday July 8th - 5 pm - 8 pm Video Slide Show & Discussion Door Prizes & Refreshments RSVP for seating - 505-989-7667 Poetic Threads of Pakistan, a socially conscious organization, works with artisans from the Khyber Pakhtunkhwa Province of Pakistan to build sustainable livelihoods and preserve cultural hand-crafting traditions. Located along the Afghan border, the region is generally represented in the mainstream media as a site of ongoing conflict. Poetic Threads aims to present a different face of residents’ lives by highlighting the area’s ancient, rich and dynamic culture.

Traveler’s Market DeVargas Center, (Behind Office Depot) 153B PaSEO De Peralta, Santa Fe. NM. 87501 505-989-7667

43 Dealers of Fine Tribal Art & Jewelry, Books, Antiques, Folk Art & Furniture, Textiles, Beads

Mon - Sat 11am-6pm Sunday Noon-5pm

PASATIEMPOMAGAZINE.COM

Michael Abatemarco I The New Mexican

P A S S I O N A T E

nne Truitt (1921-2004) made waves in the art world with her first solo exhibition at André Emmerich Gallery in New York in 1963. Her work was composed of arrangements of bulky columns, boxes, and slab forms in somber colors. Artist and critic Donald Judd, writing for Arts Magazine in April of that year, described her arrangements as “thoughtless” and her work as appearing “serious without being so,” a far more dismissive comment than the praise Clement Greenberg, writing some years later about the same exhibition, heaped on Truitt. Greenberg, an influential art critic, a promoter of Abstract Expressionism, and a friend of Truitt’s, credited her with anticipating, with her boxy monoliths, the Minimalist movement that would reach its zenith before the 1960s came to a close. In his 1967 essay “Recentness 42

PASATIEMPO I July 4-10, 2014

M I N I M A L I S T

of Sculpture,” Greenberg wrote about her early works, saying, “Despite their being covered with rectilinear zones of color, I was stopped by their deadpan ‘primariness,’ and I had to look again and again, and I had to return again, to discover the power of these ‘boxes.’ ” Judd remained unconvinced, writing in April 1969 that Greenberg’s attempt to credit Truitt with Minimalism’s invention was garbled and further suggesting that it wasn’t even worth inventing. Truitt had not embraced the Minimalist aesthetic to the extent that her contemporaries did, choosing to paint her works by hand and, later in her career, turning to more polychromatic sculpture. Minimalist works, for the most part, are created in series, industrially produced, and geometric. They are simplified in form, and color, when used, is done so sparingly. The works are also nonreferential, hinting at nothing beyond their own appearance. In his authoritative compendium Minimalism, James Meyer writes that Truitt had an intuitive approach to making art and that her works often dealt with personal memory, aspects that seem to be at odds with the basic markers of Minimalism and may have

more in common with the emotional intensity of Abstract Expressionism. Truitt amassed a considerable number of paintings and works on paper over her career. These are the subject of an exhibition on view at Charlotte Jackson Fine Art. Truitt’s two-dimensional works bear some of the same elements explored in her vertical monoliths: irregular, hand-painted geometric forms. Color and form appear to be primary concerns, but this is a superficial reading because she used color to evoke mood and to impassion her works. Her paintings were not about color itself but about what it could epitomize. Her acrylic paintings have bright yellows, fiery reds, and oranges as well as cooler blues and whites. Few pieces in the show are entirely monochromatic. There are two-tone pieces and some paintings with three colors or more. The compositions are imperfectly shaped rectangles that roughly follow the contours of the canvas or paper, seeming, somehow, trapped within the rigid confines of the frame. Subtly, even minimally, Truitt explores variation within a finite set of parameters. Rectangular shapes and more oblong, rounded forms appear again and again in her works,

A R T I S T

but never exactly in the same way. Repetition of forms seems not to have been a major consideration for Truitt, who, like Agnes Martin, rejected the technical precision associated with Minimalism. Truitt’s titles reference subject matter not apparent in the work, such as her 1989 painting Promise. Her titles are oblique, with no corresponding figuration or representationalism within the compositions. Among the highlights of the exhibition is a selection from her Arundel series, begun in the 1970s. The title refers to Anne Arundel County in Truitt’s home state of Maryland. The works are monochromatic, white-onwhite paintings bearing faint graphite lines done in various sizes and formats — from perfect squares to long, thin rectangles. The title is the sole indicator of an autobiographical meaning for the artist, a contrast to the straightforward “what you see is what you get” concerns of Minimalism. While her art is direct on the surface, it is subjective as well. “The real reward of art is quintessentially immediate and private,” she wrote in her autobiography, Prospect: The Journey of an Artist. As simply as possible, it seems that Truitt engaged a host of impressions gleaned from the world she knew and

A N N E

T R U I T T

sought to capture their essence in her art. “It is art that renders individuality visible,” she wrote, “first as a personal ever-beckoning mystery, then as an available resource to all who hunger for companionship as they strive toward their own development.” Truitt’s paintings and works on paper are less distinctive than her sculpture. Comparisons to Ellsworth Kelly’s color field and hard-edge paintings are easy to make, but Truitt’s approach to mark making was less structured and more raw, and she did not have Kelly’s interest in patterns and grids. She did not identify herself with the Washington Color School, although she spent much of her life in the D.C. area and is often associated with that movement. She could change the dynamic of a painting with the addition of a thin sliver of color along one edge that anchors a shape in the composition, giving even the most unwieldy of her not-quite-geometric shapes some balance and weight. A slightly curved dark line at the bottom edge of a painting called Quick, for instance, mimics a horizon line, becoming the painting’s focal point. In her sculptural works of the 1960s Truitt relied on darker hues such as deep reds, browns, and grays —

funereal colors that were suited to significant works like Southern Elegy, a minimally figurative slab resembling a tombstone. Her palette became brighter and more polychromatic in the 1980s and so did her paintings. In a 2002 ArtForum interview with Meyer, Truitt stated that her intent as an artist was to instill life into her works. “My idea was not to get rid of life but to keep it and to see what it is. But the only way I seem to be able to see what anything is, is to make it in another form, in the form in which it appears in my head. Then when I get it made I can look at it.” ◀

details ▼ Anne Truitt: Paintings and Works on Paper ▼ Exhibit through July 27 ▼ Charlotte Jackson Fine Art, 554 S. Guadalupe St., 505-989-8688

Anne Truitt: above, Promise, 1989, acrylic on canvas; opposite page, from left, Untitled, 1971, acrylic on paper; No. 30, 1964, acrylic on paper

PASATIEMPOMAGAZINE.COM

VIAJES PINTORESCOS Y ARQUEOLÓGICOS Khristaan D. Villela

Small tiles tell tale of Maya madness

idden in plain sight in a back stairwell of La Fonda is a fascinating artifact of the 1920s: tiles modeled after ancient Maya hieroglyphs that were made in Los Angeles by the Ernest Batchelder Tile Company. The Maya were an essential component of the research program Edgar L. Hewett envisioned as the founding director of the Museum of New Mexico and the School of American Archaeology, the predecessor of the School for Advanced Research. Hewett’s team — including Sylvanus G. Morley, A.V. Kidder, and Jesse Nusbaum — conducted archaeological investigations in the Southwest and south of the border. Documents in the Fray Angelico Chávez Library at the New Mexico History Museum show that Hewett considered excavating at the Maya ruins at both Palenque and Chichén Itzá, but he settled on Quiriguá, Guatemala, because the United Fruit Co. — which owned the banana plantation where the ruins lay — offered financial and material support. The Quiriguá project supplied exhibits — reproductions of four stelae and two monoliths found at the ruins — for the PanamaCalifornia Exposition in San Diego in 1915 and 1916. Casts of the sculptures of Quiriguá are still on display in the San Diego Museum of Man. The Maya also interested Carlos Vierra, who painted large-scale views of six ruined Maya cities for the expo. Vierra’s 1917 painting of the conversion of the Mayas

PASATIEMPO I July 4-10, 2014

and Aztecs, in the St. Francis Auditorium of the New Mexico Museum of Art, was also related to the state’s participation in the San Diego exposition.

anta Fe’s Maya madness continued in the 1920s in the form of a Maya-inspired parade float in the 1926 Santa Fe Fiesta and, earlier that summer, a Maya pageant and mock virgin sacrifice at the dedication of socialite and Native arts patron Amelia White’s swimming pool. While White — who bequeathed her sprawling property to SAR in 1972 — and her guests frolicked by the pool, the team responsible for today’s La Fonda (including the Batchelder tiles) met for the first time to discuss the hotel’s expansion under its new owners. As recounted in Bainbridge Buntings’ John Gaw Meem: Southwestern Architect (School of American Research/University of New Mexico Press, 1983), the group included Meem, Mary Colter, and R. Hunter Clarkson and his wife, Louise, daughter of the Santa Fe Railway president. Clarkson directed the Santa Fe Transportation Company, a division of the Fred Harvey Company that provided transportation services from Santa Fe Railway depots to Harvey properties, including the Grand Canyon’s El Tovar Hotel. He was the genius behind the Indian Detours. As Arnold Berke notes in Mary Colter: Architect of the Southwest (Princeton Architectural Press, 2002), the Indian Detours offered transcontinental train passengers a three-day luxury

car tour of New Mexico beginning or ending at the Santa Fe Railway depots at Las Vegas, New Mexico, and Albuquerque. The “Detourists” or “dudes” were driven through the landscape and to Indian pueblos by men dressed as cowboys and guided by young women decked out in Navajo silver necklaces and concho belts. The detours were one of the main reasons the Harvey Company bought La Fonda in 1926 — and also the justification for its expansion. When they began, also in 1926, it was immediately apparent that La Fonda’s 46 rooms were inadequate to meet demand. Meem had come to Santa Fe in 1920 as a tuberculosis patient at Sunmount Sanatorium. After two years, he left to work in an architectural firm in Denver, returning to Santa Fe in 1924. If Isaac Rapp was the first professional architect to promote the PuebloSpanish Revival style, Meem was its greatest and most prolific exponent. La Fonda was his first large-scale nonresidential commission. Colter was the Fred Harvey Company’s architect and designer, trained as an arts educator and architect at the California School of Design in San Francisco. After graduating in 1890, she returned to St. Paul, Minnesota, and taught art and design at the Mechanic Arts High School. According to an article published in 1997 by Karen Bartlett in Craftsman Home Owner, Colter was hired by the Harvey Company through the intervention of Minnie Harvey Huckel, a daughter of the company founder. Colter’s first contribution

to Harvey’s enterprise was to arrange the interior of the Indian Building at Harvey’s new Alvarado Hotel in Albuquerque. The Indian Building housed a museum, demonstration space, and sales outlet. It was a place where Santa Fe Railway passengers could have lunch, admire the Native American arts and crafts in the museum, see Navajo and Pueblo artists at work, and purchase some of their wares. The Alvarado project led to several other Harvey Company commissions for Colter, beginning with the Hopi House at the Grand Canyon (1905), which she designed after Old Oraibi — a Hopi village on Third Mesa in northeastern Arizona. Hopi House was constructed by Hopi builders and featured displays of Native art, a demonstration room, and a store. In New Mexico, Colter designed the interiors of El Ortiz Hotel in Lamy (1910) and El Navajo Hotel in Gallup (1923). In 1922, she returned to the Alvarado to rework the lobby and lunchroom. All three of these projects were later

demolished; they survive only in plans, photographs, and, in the case of El Navajo, as a small portion of the building that is the Gallup Cultural Center.

Top right, La Fonda Hotel at the end of the Santa Fe Trail, Santa Fe, mid-1920s, published by Southwest Arts and Crafts, Negative No. 040752 Below, contemporary photos of tiles at La Fonda Opposite page, bottom left, The Fonda (Old Exchange Hotel), at the end of the Santa Fe Trail, Santa Fe, circa 1907-1910; published by Zook’s Pharmacy, Negative No. 016522 Opposite page, bottom right, interior staircase in La Fonda, Santa Fe, circa 1930; photo T. Harmon Parkhurst, Negative No. 010704 Images, unless otherwise noted, courtesy the Palace of the Governors Photo Archives (NMHM/DCA)

Clyde Mueller/The New Mexican

hile an inn had occupied the corner of what is now East San Francisco Street and Old Santa Fe Trail as far back as the Spanish colonial period, the building where Meem, Colter, and the Clarksons met in 1926 was finished only in 1922 and designed by the architectural firm of Rapp, Rapp, and Hendrickson in the PuebloSpanish Revival style. The Rapp firm had designed several buildings for Santa Fe clients, including the New Mexico Building at the Panama-California Exposition and the related Museum of Fine Arts (1917) — now the New Mexico Museum of Art — across the Plaza from La Fonda. But the company that owned the hotel failed in 1924, thus presenting an opportunity to the Fred Harvey Company to expand into the Northern New Mexico tourism market. Colter was involved in every aspect of the interior design of La Fonda, and Berke notes that manuscripts in the Meem Papers at the University of New Mexico’s Center for Southwest Research show she also contributed to the building’s design. She was behind the Moorish-Spanish-style tile fountain in the placita, many of the tin light fixtures, the dark Mexican- and Spanishstyle furniture, paintings by Olive Rush, and fireplaces with terra-cotta relief panels by Arnold Ronnebeck.

Top left, construction on the addition to La Fonda, Santa Fe, circa 1928-1929; photo T. Harmon Parkhurst, Negative No. 055540

continued on Page 46

Clyde Mueller/The New Mexican

PASATIEMPOMAGAZINE.COM

Viages, continued from Page 45 Berke speculated that Colter met Ernest Batchelder before he began his tile business, when she was living in St. Paul and he was directing the Handicraft Guild of Minneapolis’ summer school from 1905 to 1909. Batchelder’s sources can be partly identified, and they include books and articles on Maya hieroglyphs written by Morley, including his Introduction to the Study of Maya Hieroglyphs (1915) and an article on Maya glyphs he published in National Geographic Magazine in February 1922 with the hyperbolic title “The Foremost Intellectual Achievement in Ancient America.”

olter’s choice was probably also related to the rise of the Maya Revival style of architecture and design and perhaps to the country’s fascination with Mexican art and culture in the 1920s and 1930s. Probably no buildings better express the Maya Revival than Frank Lloyd Wright’s Hollyhock House (1919-1921) and Ennis House (1924), both constructed of concrete blocks with many features lifted from Maya architecture, especially from the ruins of Palenque and Uxmal. Many hotels and theaters were also built in the Maya or Aztec Revival style, including the Aztec Hotel in Monrovia, California (1924-1925); the Aztec Theater in San Antonio, Texas (1926); the Mayan Theater in Los Angeles (1927); and the Mayan Theatre in Denver (1930). Albuquerque’s KiMo Theatre, built in 1927, is in the related Pueblo Deco style and features tiles with Southwestern Native American themes, as well as others based on Maya glyphs and Aztec motifs, all manufactured by Claycraft Potteries in Los Angeles. In addition to Claycraft and Batchelder, other California companies made tiles with Maya and Aztec themes, including Muresque Tiles, Malibu Potteries, American Encaustic Tiling Company, Western Art Tile Company, Calco Tile, and the Handcraft Tile Company. The first building in the U.S. to use pre-Columbianthemed tiles for an interior decoration program was Paul Philippe Cret’s Pan American Union Building in Washington, D.C. (1910). The building’s annex, originally the director’s home and now the Art Museum of

Courtesy Wells Tile & Antiques, Los Angeles

The Maya tiles Colter selected can be found by walking past the concierge desk in the lobby, past La Plazuela Restaurant and the Things Finer shop, and stopping at the stairwell on the right. They decorate the treads and risers, as well as the landing of the first two flights of stairs that lead to the hotel’s second floor. These tiles were made by the Batchelder Tile Company, which, by the 1920s, was the most prolific tile manufacturer in Southern California. As Robert Winter notes in Batchelder, Tile Maker (Balcony Press, 1999), tile mantels, walls, counters, furniture, and fountains were essential decorative elements in the Arts and Craft style, which sought the marriage of “the hand, the head, and the heart.” Arts and Crafts designers like William Morris promoted a return to artisanal homes, furnishings, and even books as an answer to the menace of the Industrial Revolution’s machine-made objects. Batchelder made his first tiles in his backyard in Pasadena in 1910. While business boomed in the 1920s, the company did not survive the Depression and closed in 1931. The tiles at La Fonda include eight designs derived from Maya hieroglyphs. Batchelder made the tiles in two sizes, and the smaller size, measuring about 2 inches square, was used in La Fonda. Most of the patterns are adapted after the glyphs for days and months in the 260- and 365-day Maya calendars. There is a bat, for the Maya month Zotz’; an owl for the month Muwan; a rodent for the month Xul; and the Day 4 Ahaw in the 260-day calendar. Other tiles are more fanciful confections of more than one hieroglyph or seem to be based on a misreading of the actual glyphs. The tiles were installed in La Fonda’s staircase with little attention to their orientation, with some upside down and others on their side. Indeed, Colter seems to have selected them for their exotic feel and because they were a popular Batchelder pattern. She had used the same tiles in the fixtures in her 1922 renovation of the Alvarado Hotel lunchroom. The Albuquerque Museum has a pie case Colter designed that is decorated with the same Maya-style tiles.

the Americas, has a porch decorated with remarkable Maya-theme tiles made by Enfield Pottery and Tile Works in Enfield, Pennsylvania. Ultimately, Colter’s choice of the Batchelder Maya tiles for La Fonda was probably connected to her investment in the Arts and Crafts aesthetic they emerged from, the prominence of the Batchelder firm in 1920s U.S. tile decoration, and perhaps even to her personal exposure to ancient Maya art and artifacts. Colter made the model for the Painted Desert Exhibit for the Panama-California Exposition. This large collection of pseudo-Pueblo, Navajo, and pre-Columbian Southwestern buildings was commissioned by the Santa Fe Railway and closely connected to the Harvey Company. Hewett was in charge of the arts and culture exhibits at the fair, and Nusbaum oversaw construction of the Painted Desert. When it was complete, the structures, which partly resembled a huge version of Colter’s Hopi House, were populated with actual Navajo and Pueblo Indians, including potter Maria Martinez and her family. These living-exhibit demonstators made pottery, danced the Eagle Dance, and wove rugs for the tourists, many of whom probably saw the same displays on their way to San Diego at Harvey’s Alvarado Hotel. In San Diego, we can also be nearly certain that Colter saw Hewett’s Maya archaeology display, with its casts of Quiriguá sculptures. ◀

Pie case from the Alvarado Hotel lunchroom, 1922, designed by Mary Colter with tiles from the Ernest Batchelder Tile Company, Los Angeles, courtesy Albuquerque Museum of Art & History; above, Aztec-inspired design by Claycraft Potteries, Albuquerque’s KiMo Theatre; below, Batchelder’s larger Maya tiles, all based on glyphs from the Maya calendar

PASATIEMPO I July 4-10, 2014

THE CINEMATHEQUE

Proud Sponsors of the CCA Cinematheque

July 4 - July 10

1050 Old Pecos Trail • 505.982.1338 • ccasantafe.org

Santa Fe’s only not-for-profit, community-supported independent theater, showing the best in cinema since 1983

singulAr & breAthtAking.” “ONE OF THE FINEST EUROPEAN FILMS IN RECENT MEMORY.”

“

-A.O. SCOTT, THE NEW YORK TIMES

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

-TwITch

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

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

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

“TRANSPORTING. ” -JOE NEUMAIER, NEW YORK DAILY NEWS “A

“UNFORGETTABLE. ” -FARRAN SMITH NEHME, NEW YORK POST

” superb mAsterpiece. mAsterpiece -MTV

“A TOTAL-DANA MARVEL. ” STEVENS, SLATE

“Astonishing,

epic, ” incendiArY. smArt and -BadaSS dIGEST FINAL SHOWS THIS WEEKEND!!!

“enormouslY

Ambitious and visuAllY stunning.” -VaRIETY

CHRIS

SONG

E VA N S

TILDA

KANG HO O C TAV I A

SPENCER

SWINTON JOHN

WITH

HURT

/snowpiercerofficial

CRITICS PICK!

AND

HARRIS

St. John’s College presents

THE AUTEURS: Yasujiro Ozu’s

TOKYO STORY

- ERNEST HARDY, THE VILLAGE VOICE

GORE VIDAL THE UNITED STATES

OF AMNESIA Friday July 4

Sat-Sun July 5-6 11:00a - Auteurs: Tokyo Story 11:45a - Ida* 1:30p - Gore Vidal* 2:00p - Snowpiercer 3:30p - Snowpiercer* 4:45p - Snowpiercer 6:15p - Gore Vidal* 7:30p - Snowpiercer 8:15p - Snowpiercer*

a ﬁlm by

PAWEL PAWLIKOWSKI

MUSICBOXFILM.COM/IDA FACEBOOK.COM/MUSICBOXFILMS

www.thesacredengine.com

“ IMMENSELY ENJOYABLE... INVIGORATING’.

11:45a - Ida* 1:30p - Gore Vidal* 2:00p - Snowpiercer 3:30p - Snowpiercer* 4:45p - Snowpiercer 6:15p - Gore Vidal* 7:30p - Snowpiercer 8:15p - Snowpiercer*

JAMIE

BELL

11:00a Sat-Sun, July 5-6 5:30p Mon, July 7 Mon July 07 1:30p - Gore Vidal* 2:00p - Snowpiercer 3:30p - Snowpiercer* 5:30p - Auteurs: Tokyo Story 6:15p - Gore Vidal* 8:15p - Snowpiercer* 8:30p - Snowpiercer

Tues July 08 1:30p - Gore Vidal* 2:00p - Snowpiercer 3:30p - Snowpiercer* 4:45p - Gore Vidal 6:15p - Gore Vidal* 7:00p - SF Opera: The Soong Sisters with Huang Ruo 8:15p - Snowpiercer*

Weds July 09 1:30p - Gore Vidal* 2:00p - Snowpiercer 3:30p - Snowpiercer* 4:45p - Snowpiercer 6:00p - SFCF: Early Childhood panel and film* 7:30p - Snowpiercer 8:15p - Snowpiercer*

THE SOONG SISTERS

Part of CHINA RISING: Dr. Sun Yat-sen Film Series 7:00p Tues July 8 Introduced by Composer Huang Ruo $10 / $8 for CCA & Opera Guild Members

Santa Fe Community Foundation: Early Childhood Film Screening & Panel Discussion - 6:00p Weds, July 9 - FREE Thurs July 10 1:30p - Gore Vidal* 2:00p - Snowpiercer 3:30p - Snowpiercer* 4:45p - Snowpiercer 6:15p - Gore Vidal* 7:30p - Snowpiercer 8:15p - Snowpiercer*

COMING SOON to CCA:

• AUTEURS: Ford’s The Searchers • Life Itself • Venus in Fur • Yves St. Laurent • Boyhood & more... PASATIEMPOMAGAZINE.COM

MOVING IMAGES film reviews

Nicotine fit Jonathan Richards I For The New Mexican On My Way, road trip, not rated, in French with subtitles, The Screen, 2 chiles There are many worse ways to spend a couple of hours than in the company of Catherine Deneuve. Having said that, there are probably few worse ways to spend a couple of hours in the company of the grande dame of French cinema than in Emmanuelle Bercot’s third feature, an aimless meander through the French countryside in search of a story. But still, it is Catherine Deneuve, who remains vibrantly beautiful as she sails into her eighth decade, carrying a few more pounds than she did in her salad days, but doing so with grace and elegance. Deneuve plays Bettie, the owner of a small restaurant in Brittany that is, we are told, on shaky legs. She is a widow, her husband having died some years earlier from choking on a chicken bone, a story she has developed into an anecdote that she tells with some amusement. She lives at home with her controlling mother (Claude Gensac), who cheerfully reveals to Bettie (“You had to hear it from somebody”) that her lover of many years, a married man, has finally left his wife — but not for her, for a 25-year-old. The news rocks Bettie, and knocks her off the smoking wagon. And, to make matters worse, she’s out of cigarettes. What begins as a cigarette run turns into a road trip, which eventually becomes a buddy picture of the grandparent-and-grandchild-who-start-out-pricklybut-come-to-love-each-other genre. This development doesn’t come along until well into Bettie’s wanderings, which include a drunken one-night stand with a young man she picks up in a bar, a night spent sleeping in a furniture showroom under the protection of a

PASATIEMPO I July 4-10, 2014

Smoke and mirrors: Catherine Deneuve

kindly security guard, and a scene, perhaps the most memorable in the picture, in which Bettie waits with heroic patience as an old man tries, with gnarled, arthritic fingers, to roll her a cigarette. About three-quarters of an hour along, Bercot decides the movie needs to be heading somewhere, so Bettie gets a phone call from her estranged and volatile daughter, Muriel (the pop singer Camille). Muriel’s starting a new job, and she demands that her mother come and pick up her 11-year-old son, Charly (Nemo Schiffman), and drive him to stay with his paternal grandfather, the mayor of a distant small town. It’s a trip amounting to many hundreds of kilometers, but having nothing better to do, and wearing parental guilt like a shawl, Bettie agrees. Along the way to grandfather’s house, Bettie and Charly stop off at a 50th reunion of former Miss France contestants assembled for a calendar photo shoot at a resort hotel. Bettie, a Miss Brittany of that distant year, has been getting calls from the organizers about this. We think she’s blown them off, but suddenly she’s there, clambering into a gown and sash

and being told to suck in her tummy and lift her head to minimize the double chin. This extended sequence is here to illustrate what the movie is essentially about, which is the trials and indignities of advancing age, especially for women, and the inevitable, unsparing retreat of youthful beauty — and how, without any viable alternative, one might as well make the best of it. Life, as the movie does not hesitate to remind us from time to time, goes on. Many of the characters Bettie comes in contact with along her way, including the cigarette-rolling old man and the young stud from the bar, are played by nonactors — real people, as they say. They handle themselves well and add some spontaneity to the film, bolstered by the star’s capable, comforting presence. The boy (played by the director’s son) is engaging and spirited, and Deneuve remains eminently watchable throughout, but there is seldom a moment when you are convinced that there was a reason, apart from her, to make this film. As it turns out, there wasn’t. “For me, the reason for this film to exist was Catherine,” Bercot revealed at a festival press conference. “I wrote it for her. The driving force behind this film was not the story we tell in the film, but rather working with Catherine. She is the film as far as I’m concerned. I can’t put it better than that. I had one idea as a starting point, to film Catherine.” Using Deneuve as the lynchpin for a movie about getting old hardly seems fair — it is setting the bar high on the aging process. On My Way (the French title, Elle s’en va, which roughly translates as “She’s leaving,” makes more sense) dallies through a series of unrelated vignettes, picks up a trite storyline about halfway through, and then makes a sudden swerve into an unlikely romance near its close. “Two days ago,” Bettie says toward the end of the film, “I was in my little town with my little life. I got in my car for a drive, and one thing led to another.” That’s a pretty fair summary. ◀

“A

CHRIS

E VA N S

SUPERB MASTERPIECE.” ALEX ZALBEN,

SONG

KANG HO

TILDA

SWINTON

JAMIE

BELL

/snowpiercerofficial

O C TAV I A

SPENCER

JOHN

WITH

HURT

AND

HARRIS

www.thesacredengine.com

EXCLUSIVE ENGAGEMENT NOW PLAYING SANTA FE The Center For Contemporary Arts (505) 982-1338 CHECK DIRECTORIES FOR SHOWTIMES • NO PASSES ACCEPTED

PASATIEMPOMAGAZINE.COM

MOVING IMAGES pasa pics

— compiled by Robert Ker

July 8, only. Not rated. 145 minutes. In Mandarin with subtitles. Center for Contemporary Arts, Santa Fe. (Not reviewed)

now in theaters AMERICA Right-wing pundit and filmmaker Dinesh D’Souza (2016: Obama’s America) returns with a documentary that aims to prove that liberals are America-loathing traitors and to show us what the world would look like if the U.S. didn’t exist. Historical reenactments of various hypothetical situations are included. Rated PG-13. 95 minutes. Regal DeVargas, Santa Fe. (Not reviewed)

E.T. reboot: Earth to Echo at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week AND SO IT GOES The New York Film Critics series features this feel-good comedy about a crusty realtor (Michael Douglas) who is suddenly asked to care for a granddaughter he didn’t know he had. Diane Keaton co-stars. A simulcast Q & A session with director Rob Reiner follows the screening. 7 p.m. Wednesday, July 9, only. Rated PG-13. 94 minutes. The Screen, Santa Fe. (Not reviewed) LE CHEF Although it shouldn’t be confused with Jon Favreau’s recent cream puff of a similar name, this silly French comedy is equally light and predictable — just not as enjoyable. Clownish wannabe chef Jacky (Michaël Youn) has a pregnant girlfriend, but he can’t keep a job — he berates diners for their orders and corrects their wine selections. Meanwhile, veteran celebrity chef Alexandre ( Jean Reno) has prioritized his career over his family. He’s under pressure from his boss, who prefers molecular gastronomy to classic cooking and wants Alexandre to use cheaper ingredients. Jacky and Alexandre form an unlikely alliance, and the result is a classic goofy farce from the Jerry Lewis and Peter

PASATIEMPO I July 4-10, 2014

Sellers school of sometimes-cringe-inducing comedy. Rated PG-13, 84 minutes. In French with subtitles. Jean Cocteau Cinema, Santa Fe. (Laurel Gladden) ON MY WAY There are worse ways to spend a couple of hours than in the company of Catherine Deneuve. Having said that, there are probably few worse ways to spend a couple of hours in the company of the grande dame of French cinema than in Emmanuelle Bercot’s third feature, an aimless meander through the French countryside in search of a story. What begins as a desperate errand to buy cigarettes turns into a road trip, which eventually becomes a buddy picture of the grandparent-and-grandchild-who-start-out-pricklybut-come-to-love-each-other genre. Deneuve remains eminently watchable throughout, but there is seldom a moment when you are convinced that there was a reason, apart from her, to make this film. Not rated. 116 minutes. The Screen, Santa Fe. In French with subtitles. ( Jonathan Richards) See review, Page 48. THE SOONG SISTERS Huang Ruo, composer of Santa Fe Opera’s Dr. Sun Yat-Sen, introduces this 1997 historical drama about three sisters (Michelle Yeoh, Vivian Wu, and Maggie Cheung) who played significant roles in China’s history. 7 p.m. Tuesday,

BEGIN AGAIN John Carney, director of 2006’s Once, returns with another music-themed romantic comedy. Mark Ruffalo plays a former record-label executive who comes across a beautiful young singer (Keira Knightley) and suggests they make sweet music — and, inevitably, magic — together. Singers and rappers such as Adam Levine, Mos Def, and Cee Lo Green help fill out the cast. Rated R. 104 minutes. Regal DeVargas, Santa Fe. (Not reviewed) BELLE A double portrait painted in 1779 shows two aristocratic young Englishwomen, one dark-skinned and one fair-skinned. From that source and the few discoverable facts about its subjects, director Amma Asante built an intriguing story about Dido Elizabeth Belle (Gugu Mbatha-Raw). She was the illegitimate daughter of British naval officer Sir John Lindsay (Matthew Goode) and a slave. The historical Lord Mansfield ruled on several important cases involving slavery, one of which figures centrally in the plot of this film. Its smartness and intricacy are unfortunately undercut by an occasional reliance on convention. The cast is excellent, and Mbatha-Raw is a real discovery. Rated PG. 104 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) CHEF This movie is the latest offering from writer-director Jon Favreau (Elf). Favreau plays Carl Casper, an L.A. chef with a successful restaurant and a failed marriage. Carl gets into a war of words with a critic (Oliver Platt); loses his job; and with the help of his ex-wife (Sofia Vergara), her ex (Robert Downey Jr.), and an amiable line cook ( John Leguizamo) heads to Miami with his son (Emjay Anthony), hoping to start over. Chef is part “food porn,” part tale of self-discovery, part father-son bonding story, and part road-trip movie — with nary a conflict or villain in sight.

It will remind you to appreciate the simple things in life, and you may never make a grilled cheese sandwich the same way again. Rated R. 114 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) DELIVER US FROM EVIL Eric Bana plays a New York City police officer who investigates a series of demonic possessions around town. Since the Ghostbusters are never around when you need them, he enlists the help of a priest (Édgar Ramírez) to help get his exorcise regimen on. Rated R. 118 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) EARTH TO ECHO This family-oriented sci-fi film evokes a low-budget, early-career Steven Spielberg, right down to the gangs of bicycle-riding youngsters and wonder-filled shots of special effects in suburbia. The plot may also sound familiar: the kids involved find an E.T. named Echo (a little robot-looking thing), and help it phone home. Rated PG. 91 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) EDGE OF TOMORROW It’s Groundhog Day meets a sci-fi D-Day in this flick, in which a soldier (Tom Cruise) repeatedly relives the same day — on which the Earth loses a major battle against hordes of invading aliens — until he develops the skills necessary to change the outcome. The action is strong, but the effects, particularly of the aliens, seem overcooked. Cruise handles the gravity and levity, and a tough-as-nails Emily Blunt proves her action-movie mettle. It’s hard to frown on an original sci-fi concept during a summer full of superheroes and adaptations, but with flaws in the first and third acts, Edge of Tomorrow doesn’t quite succeed. Rated PG-13. 113 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) THE FAULT IN OUR STARS Teenage romance films often involve a girl wearing a prom dress and a boy wearing a sweet pair of shades. This one is much different: the girl (Shailene Woodley) wears an oxygen tank and the boy (Ansel Elgort) a prosthetic leg; she is dying, and they meet in a cancer-support group. This film is based on a beloved book that readers insist isn’t as depressing as it sounds. Rated PG-13. 125 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) GORE VIDAL: THE UNITED STATES OF AMNESIA There’s a bit of hagiography at work in Nicholas Wrathall’s documentary about Gore Vidal, but its subject stands up to the treatment. Born to privilege and one of the towering literary figures and social critics of the 20th century, Vidal comes across as

sometimes bitter, often contemptuous, brilliantly witty, and generally cynical about America’s power structure — yet with a burning, unquenchable idealism when it comes to social justice. The film gives us highlights of the life of this remarkable, controversial, supremely articulate, and never boring American literary lion, and Wrathall leaves us wanting more. Not rated. 83 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) THE GRAND BUDAPEST HOTEL It is truly a joy to witness the work of Wes Anderson, who devotes such attention to his creative vision that he crafts his own singular world. Here, he tells a tale of an Eastern European hotel manager (Ralph Fiennes) who is willed a priceless painting by a former lover (Tilda Swinton). This angers a relative (Adrien Brody), who feels he should be the true heir. Anderson adds suspense worthy of Hitchcock or Carol Reed to his impeccably designed “dollhouse” aesthetic. Willem Dafoe, Jeff Goldblum, Edward Norton, Jude Law, and Harvey Keitel co-star. Rated R. 100 minutes. Regal DeVargas, Santa Fe. (Robert Ker) THE GRAND SEDUCTION The Canadian coastal town of Tickle Cove is in desperate need of a doctor. When a prospective doc (Taylor Kitsch) comes to check the place out, the whole village — led by one feisty man (Brendan Gleeson) — does whatever it takes to convince him to stay, often with comic results. Rated PG-13. 113 minutes. Regal DeVargas, Santa Fe. (Not reviewed) HOW TO TRAIN YOUR DRAGON 2 In this sequel to the much-loved 2010 animated adventure, Hiccup (voiced by Jay Baruchel) and Toothless — his wonderful, expressive, doglike dragon — return to explore the vast horizons of their Viking kingdom. They come into trouble in the form of would-be world-conqueror Drago (Djimon Hounsou), which leads to enough action to bloat the running time. The animation is spectacular, however, and Cate Blanchett (as Hiccup’s mother) helps flesh out one of the strongest female

spicy

medium

bland

heartburn

mild

Read Pasa Pics online at www.pasatiempomagazine.com

characters in a non-Frozen animated film in years. Rated PG. 102 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Robert Ker) IDA Polish director Pawel Pawlikowski’s stark black-and-white film follows Anna (Agata Trzebuchowska), a young novice in 1960s Poland about to take her vows to become a nun. Anna meets her only surviving relative, a former judge known as “Red Wanda” (Agata Kulesza). She informs Anna, raised as an orphan, that her real name is Ida Lebenstein and that she was born Jewish. Anna and Wanda begin an investigation to discover the fates of Anna’s family during World War II. This beautifully shot film offers no new insights into the horrors of war, and the shocking revelations Anna uncovers are almost expected. Rated PG-13. 80 minutes. In Polish with subtitles. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) JERSEY BOYS Music is in the heart of the beholder. If you were a Four Seasons fan, you’ll find plenty to like in this greatesthits album packaged with a disappointingly routine hand by director Clint Eastwood into a biopic by way of a mob movie wrapped up in a rags-to-riches tale. John Lloyd Young is a stretch as 16-year-old innocent Frankie Valli in the beginning, but as the character ages he catches up. He does a good job reprising his Tony-winning performance from the Broadway hit, and he does sound uncannily like Valli. Christopher Walken adds his usual leavening presence to an otherwise fairly anonymous but energetic cast. Rated R. 134 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Jonathan Richards) LOCKE Ivan Locke (Tom Hardy) is driving from Birmingham to London on a matter of honor and responsibility. He has left a construction site where he is the supervisor for a massive concrete pour. He must deal over the phone with his superiors, his underlings, and his family as his life falls apart. For virtually the entire movie we are with him inside his BMW. No other character appears onscreen. Does that get tedious? Not for a moment. Hardy holds us riveted as he keeps his cool on the phone and erupts with emotion when he’s off it or talking to the imagined presence of his father, a man whose irresponsibility shaped the man Locke has become. Written and directed by Steven Knight and shot in eight nights on a budget of less than $2 million, the film is a testament to imagination and talent. Rated R. 85 minutes. The Screen, Santa Fe. ( Jonathan Richards) continued on Page 52

PASATIEMPOMAGAZINE.COM

MOVING IMAGES pasa pics

continued from Page 51

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

In over their heads: Tammy at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

MALEFICENT In Disney’s latest take on “Sleeping Beauty,” Angelina Jolie dresses up as the villainous Maleficent from the 1959 animated film to show us what makes the evil queen tick. It turns out she has been misunderstood all these years. Rated PG. 97 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE SIGNAL Three MIT students discover that someone has hacked into the college’s computer system numerous times. The trail leads them to the Nevada desert in search of the culprit. They lose consciousness and awake to find Laurence Fishburne (playing a mysterious man in a suit) talking to them. Well, that’s never a good sign. Rated PG-13. 97 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) SNOWPIERCER Chris Evans (Captain America in those Marvel films) plays a dude in a future world, where global warming has wiped out mankind and the few remaining survivors choo-choo Earth aboard a train. A class system evolves with the rich people (led by Tilda Swinton) up front and the poor people out back, until the downtrodden start talking about a revolution. Joon-ho Bong (The Host) directs. Rated R. 126 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) TAMMY Melissa McCarthy has established herself as the current queen of comedy with smash hits like Bridesmaids and The Heat. Her latest is this dark comedy about a woman who loses her job, learns of her husband’s infidelity, and takes to crime with her 52

PASATIEMPO I July 4-10, 2014

rough-and-tumble grandma. Susan Sarandon costars. Rated R. 96 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THINK LIKE A MAN TOO The heroes and heroines of 2010’s Think Like a Man (including Kevin Hart, Adam Brody, Regina Hall, and more) return for this sequel, which takes them to Las Vegas, where mischief goes down at bachelor and bachelorette parties. Rated PG-13. 106 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) TRANSFORMERS: AGE OF EXTINCTION The latest installment in Michael Bay’s highly popular yet critically reviled series stars a welcome Mark Wahlberg as a Texas dad who gets wrapped up in a war between giant, transforming robots. These films are based on toys, and Bay plays with them like an 8-year-old might, applying a nonsensical plot to get from one over-the-top action sequence to the next. The movie is loud, dumb, exploitative of both female and male bodies, often unfunny, and distractingly jingoistic, but it’s also more stylish than the typical superhero film and more colorful than the usual sci-fi movie — which counts for a lot. Fans and critics of the series will both get exactly what they’re looking for, but everyone may agree that it could easily lose 20 minutes from the explosions and the daddy-daughter story. Rated PG-13. 157 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker)

VIOLETTE For the first two hours or so of this absorbing examination of the life and career of Violette Leduc, the mood is as dark and grim as the leaden skies of a Parisian winter. Leduc (Emmanuelle Devos, Just a Sigh) was a 20th-century French feminist author who wrote with savage self-examination and broke new ground for what women could say, though she remained largely in the shadow of more famous colleagues like Sartre and de Beauvoir. As played with ferocious energy by Devos, she is a raging, whining, neurotic, needy bundle of insecurities and selfloathing. But, as her mentor de Beauvoir (Sandrine Kiberlain) observes, she finds her salvation through literature. Not rated. 132 minutes. Jean Cocteau Cinema, Santa Fe. (Jonathan Richards) WORDS AND PICTURES Clive Owen and Juliette Binoche play a writer and a painter, respectively, who work as college professors. They dislike each other, and engage their students in a competition to determine if words or pictures are more important. Rated PG-13. 111 minutes. Regal DeVargas, Santa Fe. (Not reviewed)

other screenings Center for Contemporary Arts, 505-982-1338 The Auteurs series presents Tokyo Story; Santa Fe Community Foundation presents a panel discussion and screening of the short film Are We Crazy About Our Kids? Jean Cocteau Cinema, 505-466-5528 Airplane!; Andy Primm & Friends; John Adams; Yankee Doodle Dandy. Regal Stadium 14 505-424-6296 Dawn of the Planet of the Apes screens in 2-D & 3-D; Rise of the Planet of the Apes; Willie Wonka & the Chocolate Factory; X-Men: Days of Future Past. ◀

WHAT’S SHOWING Call theaters or check websites to confirm screening times. CCA CINEMATHEQUE AND SCREENING ROOM

How to Train Your Dragon 2 3D (PG)

Fri. to Sun. 9:45 p.m.

1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org

Jersey Boys (R) Fri. to Sun. 10 a.m., 1 p.m., 4:25 p.m.,

Gore Vidal:The United States of Amnesia (NR)

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

Fri. to Mon. 1:30 p.m., 6:15 p.m.Tue. 1:30 p.m., 4:45 p.m., 6:15 p.m. Wed. 1:30 p.m. Thurs. 1:30 p.m., 6:15 p.m. Ida (PG-13) Fri. to Sun. 11:45 a.m. Snowpiercer (R) Fri. to Sun. 2 p.m., 3:30 p.m., 4:45 p.m., 7:30 p.m., 8:15 p.m. Mon. 2 p.m., 3:30 p.m., 8:15 p.m., 8:30 p.m. Tue. 2 p.m., 3:30 p.m., 8:15 p.m. Wed. and Thurs. 2 p.m., 3:30 p.m., 4:45 p.m., 7:30 p.m., 8:15 p.m. The Soong Sisters,The Tue. 7 p.m. Tokyo Story (NR) Sat. and Sun. 11 a.m. Mon. 5:30 p.m. JEAN COCTEAU CINEMA

418 Montezuma Ave., 505-466-5528 Airplane! (PG) Fri. and Sat. 11 p.m. Andy Primm & Friends (NR) Mon. 7 p.m. John Adams (NR) Sun. 3 p.m. Wed. 7 p.m. Le Chef (PG-13) Fri. and Sat. 6:30 p.m. Sun. 7:30 p.m. Tue. 6:30 p.m. Wed. 4:30 p.m. Thurs. 2 p.m., 6:30 p.m. The Signal (PG-13) Fri. and Sat. 8:30 p.m. Tue. 8:30 p.m. Thurs. 8:30 p.m. Violette (NR) Fri. and Sat. 4 p.m. Wed. 2 p.m. Thurs. 4 p.m. Yankee Doodle Dandy (G) Fri. and Sat. 1:30 p.m. Sun. 12:45 p.m. REGAL DEVARGAS

562 N. Guadalupe St., 505-988-2775, www.fandango.com America: Imagine the World Without Her (PG-13)

Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 9:55 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m. Begin Again (R) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 9:30 p.m. Sun. to Thurs. 1 p.m., 4 p.m., 7 p.m. Belle (PG) Fri. to Thurs. 4:10 p.m., 7:10 p.m. Chef (R) Fri. and Sat. 1:10 p.m., 3:50 p.m., 6:50 p.m., 9:25 p.m. Sun. to Thurs. 1:10 p.m., 3:50 p.m., 6:50 p.m. The Grand Budapest Hotel (R) Fri. and Sat. 1:40 p.m., 4:40 p.m., 7:35 p.m., 10 p.m. Sun. to Thurs. 1:40 p.m., 4:40 p.m., 7:35 p.m. The Grand Seduction (PG-13) Fri. and Sat. 1:15 p.m., 4:15 p.m., 7:15 p.m., 9:50 p.m. Sun. to Thurs. 1:15 p.m., 4:15 p.m., 7:15 p.m. Words and Pictures (PG-13) Fri. and Sat. 1:20 p.m., 9:35 p.m. Sun. to Thurs. 1:20 p.m. REGAL STADIUM 14

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

7:25 p.m., 10:30 p.m.

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

Rise of the Planet of the Apes (PG-13) Thurs. 7 p.m. Tammy (R) Fri. to Sun. 10 a.m., 11:15 a.m.,

11:45 a.m., 1:40 p.m., 2:20 p.m., 4:10 p.m., 5 p.m., 7:10 p.m., 7:40 p.m., 9:45 p.m., 10:15 p.m. Think Like a Man Too (PG-13) Fri. to Sun. 11 a.m., 1:40 p.m., 4:20 p.m., 7:05 p.m. Transformers:Age of Extinction (PG-13) Fri. to Sun. 10:45 a.m., 12 p.m., 2:30 p.m., 3:45 p.m., 6:15 p.m., 7:30 p.m., 8 p.m., 10 p.m., 11:15 p.m. Transformers:Age of Extinction 3D (PG-13) Fri. to Sun. 11:30 a.m., 12:30 p.m., 3:15 p.m., 4:15 p.m., 7 p.m., 10:45 p.m. Willy Wonka & the Chocolate Factory (G) Sun. 2 p.m. X-Men: Days of Future Past (PG-13) Fri. to Sun. 9:40 p.m. THE SCREEN

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com And So It Goes (PG-13) Wed. 7 p.m. Locke (R) Fri. to Tue. 3:40 p.m., 7:45 p.m. Wed. 3:40 p.m. Thurs. 3:40 p.m., 7:45 p.m. On My Way (NR) Fri. to Tue. 1:15 p.m., 5:30 p.m. Wed. 1:15 p.m. Thurs. 1:15 p.m., 5:30 p.m. MITCHELL DREAMCATCHER CINEMA (ESPAÑOLA)

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.storytellertheatres.com 22 Jump Street (R) Fri. 4:50 p.m., 7:25 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 p.m., 7:25 p.m. Deliver Us From Evil (R) Fri. 4:45 p.m., 7:25 p.m. Sat. 2:10 p.m., 4:45 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:10 p.m., 4:45 p.m., 7:25 p.m. Mon. to Thurs. 4:45 p.m., 7:25 p.m. Earth to Echo (PG) Fri. 4:30 p.m., 7 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. The Fault in Our Stars (PG-13) Fri. 4:30 p.m., 7:10 p.m. Sat. 1:50 p.m., 4:30 p.m., 7:10 p.m., 9:50 p.m. Sun. 1:50 p.m., 4:30 p.m., 7:10 p.m. Mon. to Thurs. 4:30 p.m., 7:10 p.m. How to Train Your Dragon 2 (PG) Fri. 4:35 p.m., 7:05 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m. Mon. to Thurs. 4:35 p.m., 7:05 p.m. Jersey Boys (R) Fri. to Thurs. 7:20 p.m. Maleficent (PG) Fri. 4:40 p.m. Sat. and Sun. 2:05 p.m., 4:40 p.m. Mon. to Thurs. 4:40 p.m. Tammy (R) Fri. 4:55 p.m., 7:30 p.m. Sat. 2:25 p.m., 4:55 p.m., 7:30 p.m., 9:50 p.m. Sun. 2:25 p.m., 4:55 p.m., 7:30 p.m. Mon. to Thurs. 4:55 p.m., 7:30 p.m. Think Like a Man Too (PG-13) Fri. 5 p.m., 7:20 p.m. Sat. 2:30 p.m., 5 p.m., 7:20 p.m., 9:40 p.m. Sun. 2:30 p.m., 5 p.m., 7:20 p.m. Mon. to Thurs. 5 p.m., 7:20 p.m. Transformers:Age of Extinction (PG-13) Fri. 4:15 p.m., 6:45 p.m. Sat. 2:15 p.m., 4:15 p.m., 6:45 p.m., 10 p.m. Sun. 2:15 p.m., 4:15 p.m., 6:45 p.m. Mon. to Thurs. 4:15 p.m., 6:45 p.m. Transformers:Age of Extinction 3D (PG-13) Sun. 7:40 p.m.

Friday through Tuesday at 1:15 and 5:30 • Wednesday at 1:15 • Thursday at 1:15 and 5:30

LIVE AST SIMULC ith w Q and A r t Direc o R NE ROB REI

Friday through Tuesday at 3:40 and 7:45 Wednesday at 3:40 • Thursday at 3:40 and 7:45 Santa Fe’s #1 Movie theater, showcasing the best DOLBY in World Cinema. ®

D I G I T A L

S U R R O U N D •E X

Wednesday Only At 7:00 Advance Tickets available on Website. SANTA FE University of Art and Design 1600 St. Michael’s Dr. information: 473-6494 www.thescreensf.com

Bargain Matinees Monday through Friday (First Show ONLY) All Seats $8.00 PASATIEMPOMAGAZINE.COM

RESTAURANT REVIEW Bill Kohlhaase I The New Mexican

Night and day

Burro Alley Café 207 W. San Francisco St., 505-982-0601 8 a.m. - 9 p.m. daily; lounge 10 p.m. - 2 a.m. Thursdays-Sundays Takeout available Vegetarian options Handicapped accessible Patio dining in season Noise level: restaurant and patio quiet; lounge moderate to loud Full bar Credit cards, no checks

The Short Order The Burro Alley Café seems to have everything going for it: location, a wonderful patio, a certain Franco-New Mexico feel, and a pastry case full of tempting treats. While one can have a wonderful breakfast or lunch here, dinner tends to be disappointing. Service, snappy during the day, also takes a fall at night. The lounge is a good bet as long as one sticks to drinks. It offers an array of specialized and garden-to-glass cocktails expertly crafted, though the recent loss of their mixologist might change that. Recommended: pastries, quiche Lorraine, croque monsieur, and rack of lamb.

Ratings range from 1 to 5 chiles, including half chiles. This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value. 5 = flawless 4 1/2 = extraordinary 4 = excellent 3 1/2 = very good 3 = good 2 1/2 = average 2 = fair 1 1/2 = questionable 1 = poor

PASATIEMPO I July 4-10, 2014

The Burro Alley Café seems to have everything going for it: location, a wonderful patio, a certain Franco-New Mexico feel that our other fine patisseries don’t quite manage. But it can be a frustrating place. The difference between decent and disappointing here is the difference between night and day. You can have a pleasant late lunch on the large patio — quiche or crepes with red potatoes and a small salad, finishing off with some exquisite almond cookies. Then you show up on a Friday evening with friends and savor some exceptional and expensive cocktails followed by a hit-and-miss, expensive dinner that starts with extra-chewy escargot. Since the place expanded next door and added a lounge, it’s become a puzzle whose pieces don’t come together. A space along Burro Alley was once home to the Paris Bakery, and what fills Burro’s pastry case, we’re told, comes from the Paris’ original recipes. The Burro’s French leanings are evident beyond the pastry case. Breakfasts are available through the lunch hours. Omelets, quiches, and crepes — sweet crepes for breakfast and savory crepes with creamed chicken for lunch — are served alongside enchiladas and a breakfast burrito. A slice of quiche Lorraine with its chopped ham set in a rich custard wasn’t big enough to satisfy me. Crepes rolled around fine ratatouille — the vegetables not overcooked or soggy — were sufficiently eggy but a bit overdone. These dishes came with firm, cubed, rosemary-laced red potatoes and a simple salad sporting radicchio leaves and a dark balsamic dressing. There’s a green-chile cheeseburger and also a good but overpriced croque monsieur — thinly battered and done perfectly, the melted cheese and ham inside accenting its warm, moist texture. The best morning selections come from the pastry case. The croissants are buttery and puffy in the American way. The tarts are perfectly formed, their crusts in need of just a touch more butter for texture and give. The raspberry filling in ours was gently sweetened, the fruit’s flavor dominant. An apricot pastry was a marvel of flakiness and taste. But possibly the best things from the case are the cookies. If you can get the Mexican wedding cookies and flat almond cookies on the day they come from the oven, you’ll have a treat worth lingering over. Too bad the coffee isn’t stellar to match. The bar in the adjoining lounge hosts a strange and beautiful tin-framed mirror that gives guzzlers a view back over their shoulder. DJs come in after 9 p.m. on some nights, and the place has been known to host a hookah night out on the patio. An evening of drinks — a strange margarita with cucumber chile, bacon, smoked chipotle, and a sea-salt rim; a delicious, not-too-sweet rum drink called Eye of the Storm; and

a variation on a Moscow mule called (what else?) the Burro, which boasted an oversized sprig of mint — was compromised by the food that followed. Steamed mussels, served in a lukewarm broth, hadn’t been cleaned of their beards. (We wondered what this said about the kitchen.) Escargot, served in a crispy pastry shell, were of poor quality. Yet the rack of lamb was a treat, done medium rare as requested, and fragrant with rosemary. The filet mignon was also perfectly done, the meat slightly chewy, the beefy flavor overshadowed by a mustard-and-brandy demi-glace that occasionally offered up a hot bite from a whole peppercorn. Chicken cordon bleu seemed tired and formulaic, something from 1950s French cooking. All the entrees were served with the same things: pommes gratin —layered, pan-back slices of potato prepared with little cheese — accompanied by big thick tough chunks of carrot and a broccoli floret. At the price, one might expect more refinement in the side dishes. The woman who made our drinks and runs the bar also came to our table to take our order (she had help bringing the plates). She even cleared our dishes while a couple of servers sat at a table in the the adjoining room. Something seemed amiss in this division of labor. As good as our drinks were that evening, there’s no guarantee that yours will be as good. The industrious bartender has since left and replacements don’t seem to have the same flair for mixing cocktails. Maybe its best just to stick to breakfast and lunch or get a box of cookies to go. ◀

Lunch for two at Burro Alley Café : Ratatouille crepes .................................. $ 11.00 Croque monsieur ................................... $ 13.00 Arnold Palmer ....................................... $ 4.00 TOTAL ................................................... $ 28.00 (before tax and tip) Dinner for four, another visit: 3 specialty cocktails, happy-hour price ... $ 30.00 Escargot ................................................. $ 13.00 Steamed mussels with French fries ....... $ 16.00 Filet mignon .......................................... $ 28.00 Chicken cordon bleu ............................. $ 16.00 Rack of lamb .......................................... $ 27.00 TOTAL ................................................... $130.00 (before tax and tip)

Transformers 2d 2:15** 4:15 6:45 Transformers 3d deliver us from evil 2:10** 4:45 7:25 maleficenT 2d 2:05** 4:40 jersey boys 7:20 faulT in our sTars 1:50** 4:30 7:10 how To Train your draGon 2d 2:05** 4:35 7:05 22 jump sTreeT 2:20** 4:50 7:25 earTh To echo 2:00** 4:30 7:00 Think like a man Too 2:30** 5:00 7:20 Tammy 2:25** 4:55 7:30 **saturday & sunday only *friday & saturday only Times for friday, july 2 - Thursday, july 10

10:00 (sat. only) 7:40 (sat. only) 9:55* (sat. only) 9:50* (sat. only) 9:35* (sat. only) 9:55* (sat. only) 9:30* (sat. only) 9:40* (sat. only) 9:50* (sat. only)

70’S & 80’S RETRO THURSDAY DJ OoNa Hosts

“HILARIOUS! Le Chef is feel-good cinema to the max!” –Doris Toumarkine, FILM JOURNAL

Competition Can Be Delicious

“CEASELESSLY CHARMING! –Jeffrey Lyons, LYONS DEN RADIO

FRIDAY, JULY 4TH • KISSED ALIVE KISS TRIBUTE BAND

“RIOTOUS & DELECTABLE!”

HIP HOP SATURDAY

–CREATIVE LOAFING

COHEN MEDIA GROUP

Jean Reno

presents

LIVE DJ

Michaël Youn

Chef A film by Daniel

JULY 12, 19 & 26

Cohen

cohenmedia.net

EXCLUSIVE ENGAGEMENT

STARTS TODAY

JEAN COCTEAU CINEMA

418 MONTEZUMA AVE, SANTA FE 505-466-5528

HARLEY DAVIDSON

win

StREEt gLIDE

New Patient X-rays, Exam and Cleaning

$99*

*In absence of periodontal (gum) disease

The highest quality dentistry at affordable prices

Now Offering:

We’ll be giving aWay three harley Street gliDeS in JUly hourly Drawings on Saturday, July 12, 19 & 26 from 6pm to 10pm. See lightning rewards Club desk for complete contest rules and details.

E arn 10x E ntriEs on MonDaYs!

Gabriel Roybal DDS

Trusted in Santa Fe for over 27 years 505-989-8749 gabrielroybal.com • 444 st. michaels dr. • santa fe, n.m.

PASATIEMPOMAGAZINE.COM

C A L E N D A R

L I S T I N G

G U I D E L I N E S

• To list an event in Pasa Week, send an email or press release to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. • Send material no less than two weeks prior to the desired publication date. • For each event, provide the following information: time, day, date, venue, venue address, ticket prices, web address, phone number, brief description of event (15 to 20 words). • All submissions are welcome. However, events are included in Pasa Week as space allows. • There is no charge for listings. • Return of photos and other materials cannot be guaranteed. • Pasatiempo reserves the right to publish received information and photographs on The New Mexican website. • For further information contact Pamela Beach, pambeach@sfnewmexican.com, 202 E. Marcy St., Santa Fe, NM 87501, phone: 505-986-3019, fax: 505-820-0803.

ARTS AND ENTERTAINMENT CALENDAR

July 4-10, 2014

CALENDAR COMPILED BY PAMELA BEACH

FRIDAY 7/4 Gallery & Museum Openings Art Gone Wild Gallery

130-D Lincoln Ave., 505-820-1004 Wildlife pastels by D. Arthur Wilson, reception and artist talk 5-8 p.m., talks continue through Monday.

Bill Hester Fine Art

621 Canyon Rd., 505-660-5966 Storyteller, bronze sculpture by David Unger, reception 5-7 p.m., through July.

Blue Rain Gallery

130-C Lincoln Ave., 505-954-9902 Year of the Horse, paintings by Rimi Yang and blown-glass sculpture by Shelley Muzylowski Allen, reception 5-7 p.m., through July 19.

Contemporary Tapestry Gallery

835 W. San Mateo Rd., 505-231-5904 51 American Cities, group show, reception 3-6 p.m. today through Sunday, exhibit up through July 26.

Giacobbe Fritz Fine Art

702 Canyon Rd., 505-986-1156 Art Circus, paintings by Ben Steele, reception 5-7 p.m., through July 20.

La Mesa of Santa Fe

225 Canyon Rd., 505-984-1688 KaBloom!, sculpture by Christopher Thomson, reception 5-7 p.m.

Liquid Outpost

211 Old Santa Fe Trail, 505-983-6503 Paintings by Sheila Mahoney Keefe, reception 3-5 p.m., through July.

Manitou Galleries

123 W. Palace Ave., 505-986-0440 Western Regionalism, works by Kim Wiggins and William Haskell, reception 5-7:30 p.m., through July 18.

Matthews Gallery

669 Canyon Rd., 505-992-2882 Hannah Holliday Stewart: An Artistic Legacy Rediscovered, sculpture by the late artist, reception 5-7 p.m., through July 18. (See review, Page 40)

McLarry Fine Art

225 Canyon Rd., 505-988-1161 American Cowgirl, paintings by Donna HowellSickles, reception 5-7 p.m., through July 18.

Meyer East Gallery

225 Canyon Rd., 505-983-1657 Paintings by David Dornan, reception 5-7 p.m., through July 17.

Patina Gallery

131 W. Palace Ave., 505-986-3432 La Vaca Loca, sculpture and works on paper by Victor Teng, reception 5-7:30 p.m., through July 17.

PASATIEMPO I July 4-10, 2014

Contemporary Tapestry Gallery shows works by Robin Reider, 835 W. San Mateo Rd.

Pop Gallery

125 Lincoln Ave., Suite 111, 505-820-0788 Paintings by Daniel Martin Diaz, art raffle to benefit Southwest CARE Center, tickets $10 or thirteen for $100, through August.

Santa Fe Gallery

223 E. Palace Ave., 505-983-6429 Photographs by Robert Dawson; works by jewelers James Faks and Kenna Chavarria, reception 5-8 p.m.

Selby Fleetwood Gallery

600 Canyon Rd., 505-992-8877 Box 2, sculpture by Kevin Box and Jennifer Cady Box, reception 5-7:30 p.m., through Thursday.

Silver Sun Gallery

656 Canyon Rd., 505-983-8743 Paint Skins, mixed-media paintings by Kathamann, reception 5-7 p.m., through July 22.

Tansey Contemporary

652 Canyon Rd., 505-995-8513 The Persistence of Religion, paintings by Patrick McGrath Muñiz, wood sculpture by Bob Cardinale, and beadwork by Teri Greeves, reception 5-7 p.m., through July 22.

Ventana Fine Art

400 Canyon Rd., 505-883-8815 Movement and Grace, works by painter Jean Richardson and sculptor Rebecca Tobey, reception 5-7 p.m., through July 16.

Opera Family night: Don Pasquale

As the title character, baritone Andrew Shore settles for being just the butt of the practical joke that surrounds him. Corrado Roveris presides stylishly in the orchestra pit. 8:30 p.m., family-night tickets $25; children $12; santafeopera.org.

Classical Music TGIF Chancel Bell Choir recital

First Presbyterian Church of Santa Fe, 208 Grant Ave., 505-982-8544, Ext. 16.

Music of Douglas E. Wagner, Hart Morris, and David Beatty, 5:30-6 p.m., donations welcome.

In Concert Santa Fe Concert Band

The Plaza bandstand Fourth of July performance during Pancakes on the Plaza, 8 a.m., no charge.

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

Events 39th Annual Pancakes on the Plaza

Car show, arts & crafts booths, silly-hat contest, and music (American Jem performs at 1:30 p.m.), pancakes served 7 a.m.-noon, events run until 5 p.m., $8, pancakesontheplaza.com.

July 28), Joyce El-Khoury sings Micaëla, Roberto De Biasio portrays Don José. 8:30 p.m., tickets begin at $32, standing room $15.

In Concert Black Sea Hotel

Jim Almand, classic country, 5-7:30 p.m.; Deltaphonic, outlaw funk, 8:30 p.m., no cover.

¡Chispa! at El Mesón

Three Faces of Jazz, with guest tumpeter Tom Rheam, 7:30 p.m., no cover.

El Farol

Sean Healan Band, rock, 9 p.m., call for cover.

Events Santa Fe Opera Backstage Tours

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

Santa Fe Wine Festival

Nightlife

Pianist John Rangel and vocalist Barbara Bentree, 6-9 p.m., call for cover.

Second Street Brewery

Singer/songwriter Eryn Bent, 6-9 p.m., no cover.

Second Street Brewery at the Railyard

Groove-jazz ensemble Müshi, 7-10 p.m., no cover.

Shadeh

DJ Chil and Kissed Alive, 9 p.m.-4 a.m., no cover.

Swiss Bakery Pastries and Bistro

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

Tiny’s

Guitarist Chris Abeyta, 5:30-8:30 p.m.; classic-rock band The Jakes, 8:30 p.m.-close; no cover.

Vanessie

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

SATURDAY 7/5 Gallery & Museum Openings Monroe Gallery of Photography

112 Don Gaspar Ave., 505-992-0800 Once Upon a Time in America, work by documentary photographer Steve Schapiro, reception 5-7 p.m., through Sept. 21.

Opera Carmen

Santa Fe Opera, 301 Opera Dr., 505-986-5900 In this Stephen Lawless production, Bizet's tragedy unrolls in the U.S.-Mexican borderlands a half century ago, with black-and-white film integrating with live stage action to enhance the period feel. Daniela Mack is Carmen (until Ana María Martínez assumes the role beginning

Swiss Bakery Pastries and Bistro

Classic-rock band Dusk, 8:30 p.m.-close, no cover.

Pranzo Italian Grill

Palace Restaurant & Saloon

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

Southside Santa Fe Bandstand

House music, 10 p.m., no cover.

Nacha Mendez Quartet, 6:30 p.m., no cover.

Sweetwater Harvest Kitchen

Jazz off the Plaza, with The Shiners Club Jazz Band, 7:30-close, no cover.

El Rancho de las Golondrinas, 334 Los Pinos Rd., 505-471-2261 21st annual affair; tastings, food, music, and arts & crafts, noon-6 p.m. today and Sunday, $13, discounts available.

La Posada de Santa Fe Resort and Spa

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

DJ Flo Fader, 9 p.m.-4 a.m., no cover.

Gig Performance Space, 1808 Second St., gigsantafe.com New York-based Balkan a cappella trio, 8 p.m., $20 at the door.

3466 Zafarano Dr., behind Regal Stadium 14 Rock ’n’ roll band Little Leroy and His Pack of Lies, 7-8 p.m.; old-school rock band The Santa Fe Opera Backstage Tours Pleasure Pilots, 8:15-9:45 p.m.; no charge, Santa Fe Opera, 301 Opera Dr., 505-986-5900 Behind-the-scenes tours including production and visit santafebandstand.org for the summer front-of-house areas are offered Mondays-Saturdays series schedule. through Aug. 22, 9 a.m., $10; seniors $8; no charge The Soulshine Tour for ages 22 and under. Downs of Santa Fe, 27475 W. Frontage Rd. Michael Franti and Spearhead, SOJA, Brett Dennen, Nightlife and Trevor Hall, 6 p.m. , $47 and $64, kids $15, (See addresses to the right) 505-988-1234, ticketssantafe.org and Bishop’s Lodge Ranch Resort & Spa holdmyticket.com, lawn chairs and blankets recommended. Jazz guitarist Pat Malone, 6-9 p.m., no cover.

Cowgirl BBQ

Vanessie

Shadeh

(See addresses to the right)

¡Chispa! at El Mesón

Noche de Flamenco, with Flamenco Conpaz, 7:30-10:30 p.m., no cover.

Cowgirl BBQ

Bill Hearne Trio, classic country, 2-5 p.m.; Busy & The Crazy 88, Busy McCarroll, Kevin Zoernig, Baird Banner, and Justin Bransford, hipster pop, 8:30 p.m.close; no cover.

Del Charro

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

Duel Brewing

Groove-jazz ensemble Müshi, 8 p.m., no cover.

El Farol

C.S. Rockshow with Don Curry, Pete Springer, and Ron Crowder, 9 p.m.-close, call for cover.

La Fiesta Lounge at La Fonda

Country band Buffalo Nickel, 8 p.m., no cover.

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

Palace Restaurant and Saloon

Alex Maryol on the patio, 2 p.m., no cover; DSR & Friends, 10 p.m.; call for cover.

Pranzo Italian Grill

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

Second Street Brewery

Alex Culbreth, Americana and alternative country, 6-9 p.m., no cover.

Second Street Brewery

Tiny’s

Chec k the website

SUNDAY 7/6 Gallery & Museum Openings El Gancho Fitness Swim & Racquet Club

104 Old Las Vegas Hwy., 505-988-5000 Watercolors and glass art by Laura Fram Cowan, reception 3-5 p.m., through July.

s of these venues

for update s and sp

ecial

events 317 Aztec Lodge Lounge 317 Aztec St., 505-8 20-0150 at The Lodge at Sa Agoyo Lounge nta Fe 750 N. St. Francis Dr at the Inn on the Ala ., 505-992-5800 meda Low ’n’ Slow Lowride 303 E. Alameda St., 505-984-2121 r Bar at Hotel Chimayó de Anasazi Restauran Santa Fe t & Bar 12 5 Wa shington Ave., 505-9 113 Washington Av 88-4900 e., 505-988-3030 The Matador Betterday Coffee 11 6 W. San Francisco St. 905 W. Alameda St., 505-555-1234 Mine Shaft Tavern Bishop’s Lodge Ranc h Resort & Spa 2846 NM 14, Madrid, 1297 Bishops Lodge 505-473-0743 Rd., 505-983-6377 Museum Hill Café Burro Alley Café 710 Camino Lejo, Mi 207 W. San Francisc lner Plaza, o St., 505-982-0601 505-984 -8900 Café Café Music Room at Garre 500 Sandoval St., 50 tt’s Desert Inn 5-466-1391 31 1 Old Santa Fe Trail, ¡Chispa! at El Mesó 505-982-1851 n Omira Bar & Grill 213 Washington Av e., 505-983-6756 1005 St. Francis Dr., Cowgirl BBQ 505-780-5483 Palace Restaurant 319 S. Guadalupe St. & Saloon , 505-982-2565 142 W. Palace Ave., 50 The Den at Coyote 5-428-0690 Café Pranzo Italian Grill 132 W. Water St., 50 5-983-1615 540 Montezuma Av Duel Brewing e., 505-984-2645 Sa nta Fe Community 1228 Parkway Dr., 50 5-474-5301 Convention Center El Cañon at the Hilto n 201 W. Marcy St., 50 5-955-6705 100 Sandoval St., 50 5-988-2811 Santa Fe Sol Stage Eldorado Hotel & Sp & Grill a 37 Fire Place, solofsan 309 W. San Francisc tafe.com o St., 505-988-4455 Second Street Brewery El Farol 1814 Second St., 50 5-982-3030 808 Canyon Rd., 505-9 83-9912 Second Street Brew El Paseo Bar & Grill ery at the Railyard 1607 Paseo de Peral 208 Galisteo St., 505-9 ta, 505-989-3278 92-2848 Shadeh Buffalo Th under Evangelo’s Resort & Casino 200 W. San Francisc o St., 505-982-9014 Pojoaque Pueblo, U.S. 84/285, High Mayhem Emerg 505-455-5555 ing Arts 2811 Siler Lane, 505-4 38-2047 Sweetwater Harve st Kitchen Hotel Santa Fe 1512-B Pacheco St., 505-795-7383 1501 Paseo de Peral ta, 505-982-1200 Swiss Bakery Pastr ies and Bistro Iconik Coffee Roas 401 S. Guadalupe St. ters , 505-988-5500 1600 Lena St., 505-4 28-0996 Taberna La Boca Jean Cocteau Cinem 125 Lincoln Ave., 50 a 5-988-7102 418 Montezuma Av e., 505-466-5528 Tiny’s Junction 1005 St. Francis Drive , Suite 117, 505530 S. Guadalupe St. 983-9817 , 505-988-7222 La Boca The Underground at Evangelo’s 72 W. Marcy St., 505-9 200 W. San Francisc 82-3433 o St. La Casa Sena Canti Upper Crust Pizza na 25 E. Palace Ave., 50 329 Old Santa Fe Tra 5-988-9232 il, 505-982-0000 La Fiesta Lounge at Vanessie La Fonda 100 E. San Francisco St., 505-982-5511 434 W. San Francisco St., 50 5-982-9966 La Posada de Santa Veterans Fe 330 E. Palace Ave., 50 Resort and Spa 370 Mo of Foreign Wars 5-986-0000 ntezuma Ave., 505-9 84-2691 Lensic Performing Warehouse 21 Arts Center 211 W. San Francisc o St., 505-988-1234 1614 Paseo de Peralta, 50 5-989-4423 Zia Dinner 326 S. Guadalupe St. , 505-988-7008

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

In the Mood: Artists and musicians in collaboration

MVIII Jazz, 7-10 p.m., no cover.

PASATIEMPOMAGAZINE.COM

Nightlife

(See Page 57 for addresses)

Cowgirl BBQ

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

La Fiesta Lounge at La Fonda

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

Upper Crust Pizza

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

Vanessie

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

TUESDAY 7/8 Gallery & Museum Openings Santa Fe Weaving Gallery

124 ½ Galisteo St., 505-982-1737 Contemporary South + Southeast Asia Textiles, group show of works by Asian artists, through July 14.

In Concert Santa Fe Bandstand

The Plaza Bill Palmer’s TV Killers, Americana/rock, 7:15-8:45 p.m., no charge, summer schedule available onlin at santafebandstand.org .

Books/Talks Jim Fergus

Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The author discusses and signs copies of Memory of Love, 6 p.m. (See Subtexts, Page 16)

Michael Franti and Spearhead perform on Saturday at the Downs of Santa Fe, 27475 W. Frontage Rd.

Museum of International Folk Art

706 Camino Lejo, Museum Hill, 505-476-1200 Between Two Worlds: Folk Artists Reflect on the Immigrant Experience, International Folk Arts Week kick-off exhibit, reception with artist meet-and-greet, live music by Savor, workshops, and talks 1-4 p.m., by museum admission.

Classical Music Santa Fe Flute Immersion 2014

Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd. Flutists Bart Feller, Susan Levitin, and Linda Marianiello, and pianist Bill Epstein perform music of Bach, Mozart, and Piazzolla, 5:30 p.m., no charge, nmperformingartssociety.org.

Events Museum of Indian Arts & Culture Native portrait studio

710 Camino Lejo, Museum Hill, 505-476-1269 A photo booth will be on the premises from 10 a.m.-5 p.m. today through July 20. Take your photos with you, but leave one print for the Community Gallery.

New Mexico Museum of Art Family Fun Day

107 W. Palace Ave., 505-476-5068 Explore the museum with guided activities and participate in an art project titled Outside the Frame, 1-4 p.m., no charge.

Santa Fe Wine Festival

El Rancho de las Golondrinas, 334 Los Pinos Rd., 505-471-2261 21st annual affair; tastings, food, music, and arts & crafts, noon-6 p.m., $13, discounts available.

PASATIEMPO I July 4-10, 2014

Nightlife

(See Page 57 for addresses)

Cowgirl BBQ

Santa Fe Revue, all-star Americana, noon-3 p.m.; Alex Culbreth, Americana and alternative country, 8 p.m.; no cover.

Duel Brewing

Railyard Reunion Band, country and bluegrass, 5 p.m., no cover.

El Farol

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

Evangelo’s

Tone and Company jam band, 8:30-11:30 p.m., call for cover.

Santa Fe Bandstand

The Plaza Balladeer J. Michael Combs and Eaglestar, noon-1 p.m.; cumbias/rancheras duo Sorela, 6-7 p.m.; Tex-Mex/honky-tonk band Tejas Brothers, 7:15-8:45 p.m.; visit santafebandstand.org for the summer series schedule, no charge.

Books/Talks Breakfast With O’Keeffe

Georgia O’Keeffe Museum, 217 Johnson St., 505-946-1000. Gallery talk on the David H. Arrington Ansel Adams collection, 8:30 a.m., by museum admission.

Santa Fe Photographic Workshops

Bluesman Alex Maryol, 1-4 p.m., no cover.

Second Street Brewery at the Railyard

Santa Fe Prep auditorium, 1101 Camino de Cruz Blanca, 505-983-1400, Ext. 111 Instructor presentations by Paul Mobley, Arthur Meyerson, and Bobbi Lane, 8-9:30 p.m., no charge.

Vanessie

Southwest Seminars lecture

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

MONDAY 7/7 Gallery & Museum Openings Casa

1098 ½ S. St. Francis Dr., 505-982-2592 Corazones Heridos, fume-fired ceramics by Susan Ohori.

In Concert Little Tybee

Gig Performance Space, 1808-H Second St. Folk/rock band, 8 p.m., $20 at the door, gigsantafe.com.

Hotel Santa Fe, 1501 Paseo de Peralta Southwest Conquest of the Southern Cone of South America, by Thomas Dalton Dillehay, 6 p.m.,

$12 at the door, southwestseminars.org, 505-466-2775.

Events Santa Fe Opera Backstage Tours

Santa Fe Opera, 301 Opera Dr., 505-986-5900 MARK NELSON Behind-the-scenes tours including production and front-of-house areas are offered Mondays-Saturdays The ecosystem engineer and author of The Wastewater Gardener: Preserving the Planet One through Aug. 22, 9 a.m., $10; seniors $8; no charge Flush at a Time discusses case studies and addresses for ages 22 and under. the problem of the world’s dwindling supply Swing dance of fresh water at 6 p.m. Thursday, July 10, Odd Fellows Hall, 1125 Cerrillos Rd. at Collected Works Bookstore, 202 Galisteo St. Weekly all-ages informal swing dance, lessons and at the Santa Fe Farmers Market Pavillion 7-8 p.m., dance 8-10 p.m., , dance $3, lesson at 9 a.m., Saturday, July 12. Call 505-988-4226. and dance $8, 505-473-0955.

Events Santa Fe Opera Backstage Tours

School for Advanced Research boardroom, 660 Garcia St., 505-954-7200 A talk by professor Carol Ann MacLennan, noon-1 p.m., no charge.

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Behind-the-scenes tours including production and front-of-house areas are offered Mondays-Saturdays Santa Fe Clay Wednesday Night Slide Lecture through Aug. 22, 9 a.m., $10; seniors $8; no charge 545 Camino de la Familia, 505-984-1122 for ages 22 and under. The series continues with ceramist Nightlife Linda Christianson, 7 p.m., no charge. (See Page 57 for addresses)

¡Chispa! at El Mesón

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

Cowgirl BBQ

Local bluesman Kenny Skywolf, 8 p.m., no cover.

Duel Brewing

Folk singer/songwriter Joshua Whalen, 7 p.m., no cover.

El Farol

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

La Fiesta Lounge at La Fonda

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

Tiny’s

Singer/songwriters open-mic, 7-10 p.m., no cover.

Vanessie

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

WEDNESDAY 7/9 Gallery & Museum Openings Museum of Spanish Colonial Art

750 Camino Lejo, Museum Hill, 505-982-2226 Secrets of the Symbols: The Hidden Language of Spanish Colonial Art.

Scheinbaum & Russek

812 Camino Acoma, 505-988-5116 Tres Visiones, photographs by Manuel Álvarez Bravo (1902-2002), Manuel Carrillo (1906-1989), and Luis González Palma, through Sept. 13, reception and book signing by Stuart Ashman author of Mi Querido México 4-6 p.m.

Opera Don Pasquale

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Soprano Laura Tatalescu and remarkable tenor Alek Shrader are the young lovers in director Laurent Pelly's shtick-laden take on Donizetti's comedy, apparently inspired by sit-com gags. As the title character, baritone Andrew Shore settles for being just the butt of the practical joke that surrounds him. Corrado Roveris presides stylishly in the orchestra pit. 8:30 p.m., family-night tickets $25; children $12; santafeopera.org.

Events

Artist demonstration: Southwest pottery

Theater/Dance

Santa Fe Opera Backstage Tours

Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 Ironweed Productions presents David LindsayAbaire’s drama, 7:30 p.m. Thursdays-Saturdays, 4 p.m. Sundays through July 27, $10. (See story, Page 22)

Museum of Indian Arts and Culture, 710 Camino Lejo, Museum Hill, 505-476-1269 Native artists discuss and demonstrate different techniques, clays, and styles, 1-4 p.m.

Mining and Water Pollution: The Experience of Two Copper Districts in Michigan and New Mexico

Los Alamos green-hour hikes

Pajarito Environmental Education Center, 3540 Orange St., 505-662-0460 Meet at local trailheads for meandering hikes where kids set the pace, 9 a.m., no charge, pajaritoeec.org.

Events Santa Fe Opera Backstage Tours

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

Nightlife

(See Page 57 for addresses)

Cowgirl BBQ

Boxcar Bandits, North Texas skunkgrass, 8 p.m., no cover.

El Farol

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

La Boca

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

Del Charro

Duel Brewing

Singer/songwriter Gary Paul, folk/blues, 7 p.m., no cover.

El Farol

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

La Fiesta Lounge at La Fonda

C.S. Rockshow with Don Curry, Pete Springer, and Ron Crowder, 7:30-11 p.m., no cover.

Tiny’s

Electric jam, hosted by Nick Wimett, 9 p.m.-midnight, no cover.

Vanessie

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

THURSDAY 7/10 Gallery/Museum Openings ART Santa Fe 2014 Vernissage

Santa Fe Community Convention Center, 201 W. Marcy St. Opening-night gala and preview of works in the international contemporary art fair, 5 p.m., $100, VIP pass $125, 505-988-1234, ticketssantafe.org.

Classical Music

Books/Talks

Outdoors

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

Season opener: Santa Fe Desert Chorale Summer Festival Concert Series

Santa Fe Bandstand

Preview: Good People

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Behind-the-scenes tours including production and front-of-house areas are offered Mondays-Saturdays Books/Talks through Aug. 22, 9 a.m., $10; seniors $8; no charge for ages 22 and under. Mark Nelson Collected Works Bookstore, 202 Galisteo St., Nightlife 505-988-4226 (See Page 57 for addresses) The author discusses The Wastewater Gardener: Cowgirl BBQ Preserving the Planet One Flush at a Time, 6 p.m. Chris Jamison, folk/Americana/country, 8 p.m., no cover.

In Concert

The Plaza Traditional Ecuadorian folk ensemble Grupo Samy, noon-1 p.m.; Santa Fe Opera apprentices, 6-7 p.m.; Joe King Carrasco, Tex-Mex rock ’n’ roll; no charge, visit santafebandstand.org for the summer series schedule.

Santa Fe Bandstand

The Plaza Bluegrass band The Rifters, 6-7 p.m.; folk-rock band The Ballroom Thieves, 7:15-8:45 p.m.; no charge, visit santafebandstand.org for the summer series schedule.

Music on the Hill 2014

St. John’s College, 1160 Camino de Cruz Blanca, 505-984-6000 The annual free outdoor music series continues with jazz vocalist Annie Sellick, 6-8 p.m. Wednesdays through July 23.

International Folk Art Market at 8:15 p.m.; preceded by festivities beginning at 5 p.m. including food vendors, artist demonstrations, and hands-on activities for families, annual Artists’ Procession begins at 7:30 p.m., no charge.

Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Place The New World: Music of the Americas, music of Barber, Jennings, and Silva, 8 p.m., $15-$65 in advance, desertchorale.org, 505-988-2282. (See story, Page 30)

In Concert Krishna Das & The Kirtan Wallah Tour

Greer Garson Theatre, SFUA&D, 1600 St. Michael’s Dr. Kirtan, 7 p.m., $36.50, 505-988-1234, ticketssantafe.org.

Las Alegres Ambulancias

Santa Fe Railyard Park, Paseo de Peralta and N. Guadalupe Street The Afro-Colombian band kicks off the 11th Annual

Manitou Galleries shows paintings by William Haskell, 123 W. Palace Ave.

PASATIEMPOMAGAZINE.COM

La Fiesta Lounge at La Fonda

C.S. Rockshow with Don Curry, Pete Springer, and Ron Crowder, 7:30-11 p.m., no cover.

La Posada de Santa Fe Resort and Spa

Second Street Brewery

TAOS

Pianist David Geist, 6-9 p.m., call for cover. Joe West, psychedelic country, 6-9 p.m.,

Events/Performances

Shadeh

Taos Ski Valley, 116 Sutton Place Parade 2 p.m., 13th Annual Rubber Duck Race 3 p.m., live music with Brent Berry y Tambien 3-6 p.m., no charge, skitaos.org or taosskivalley.com.

no cover.

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

Tiny’s

Eric George & Man No Sober, roots-rock duo, 8:30 p.m.-close, no cover.

Vanessie

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

ABIQUIÚ Events/Performances Ghost Ranch Museum

U.S. 84, 14 miles north of Abiquiú, ghostranch.org. Water for Life, works by members of New Mexico Potters and Clay Artists, reception 2-4 p.m. Saturday, July 5, nmpotters.org.

ALBUQUERQUE Events/Performances Tom McDermott

Outpost Performance Space, 210 Yale Blvd. S.E., 505-268-0044 The New Orleans pianist performs with The Smooth Operators, 7:30 p.m. Saturday, July 5, $15 at the door, outpostspace.org.

Las Alegres Ambulancias

National Hispanic Cultural Center, 1701 Fourth St., S.W. Afro-Columbian band, 7:30 p.m. Sunday, July 6, $17 in advance at ampconcerts.org or holdmyticket.com, $22 day of show, discounts available.

19th Annual Summer Thursday Jazz Nights at the Outpost

Fourth of July festivities

Michael McCormick Gallery

106-C Paseo del Pueblo Norte, 800-279-0879 Pastels by Bill Baker, reception 4-8 p.m. Friday, July 4, through Saturday, July 5.

Historic E.I. Couse and J.H. Sharp properties studio and garden open house 146 Kit Carson Rd., 575-770-3705 Guided tours of the properties and the garden from 3 to 5 p.m. Saturday, July 5, no charge.

203 Fine Art

203 Ledoux St., 575-751-1262 Modern Drawings, work by Couse’s great-grandson Dustin Leavitt, reception 5-7 p.m. Saturday, July 5, through July 28.

PEOPLE WHO NEED PEOPLE Artists

23rd Annual National Pastel Paintings Exhibition

Prospectus and details for the Nov. 1-30 show held at Albuquerque’s Expo New Mexico are available online at pastelsnm.org.

Fiestas de Cerrillos

Artists, craftspeople, and nonprofits may sign up to participate in the market held Sept. 20; contact Sandy Young for details, 505-438-2885, sandy@dirtdauberstoneware.com.

Fourth Annual National Juried Encaustic Wax Exhibit

Outpost Performance Space, 210 Yale Blvd. S.E., 505-268-0044 Robert Lah Quartet, the pianist performs with vocalist Lori Michaels, bassist John Blackburn, and percussionist Jay Blea, 7:30 p.m. Thursday, J uly 10, $15 in advance and at the door, students $10, outpostspace.org.

Artists 18 years and older may enter up to three images for the Oct. 4-Nov. 2 exhibit held at the Encaustic Art Institute in Cerrillos; application deadline Monday, Aug. 4; award details and applications available online at juriedartservices.com.

JEMEZ SPRINGS

Artists are invited to join the annual tour held Saturday and Sunday, Sept. 27-28; call 505-670-7045 for information, entry deadline is July 31.

Jemez Historic Site Elder in Residence Program

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

MADRID Events/Performances Madrid Old-Timers Show & Tell Day

Engine House Theatre, 2846 NM 14, 505-474-0344

Locals tell their stories and display a collection of photographs from 1920 to 1950, 2 p.m. Friday, July 4.

Johnsons of Madrid

PASATIEMPO I July 4-10, 2014

The Last Ritual Hamster Dance

Pranzo Italian Grill

Palace Restaurant and Saloon

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

Events/Performances Peñasco Theatre, 15046 NM 75, 575-587-2726 A one-woman acrobatic performance by Laura Stokes, 8 p.m. Saturday, July 5, call for details, adult content, ages 13-17 must be accompanied by an adult, 13+.

Pat Malone Jazz Trio, 6-9 p.m., no cover.

Chalk Farm Gallery shows paintings by Lukas Kandl, 729 Canyon Rd.

PEÑASCO

2843 NM 14, 505-471-1054 Group show of paintings, sculpture, and fiber arts, reception 3-5 p.m. Saturday, July 5, through July 29.

Pecos Studio Art Tour

Santa Fe Photographic Workshops 25th-Anniversary Photography Contest Photographers age 18 and over can enter works on the theme of water in one or more categories: landscape, portrait, documentary, abstract; deadline September 17, guidelines and fee information are available online at santafeworkshops.com.

SITE Santa Fe Spread 5.0

Grant applications sought from New Mexico studio artists interested in participating in SITE’s recurring public dinners, designed to generate financial support for artistic innovation; all disciplines considered; application period continues to Sunday, July 6; details available online at spreadsantafe.com/apply; no phone calls, please.

Community Fight Illiteracy

Literacy Volunteers of Santa Fe will train individuals willing to help adults learn to read, write, and speak English; details available online at lvsf.org, or call 505-428-1353.

Food for Santa Fe

The nonprofit needs help packing and distributing groceries at 6 and 8 a.m. Wednesdays and Thursdays, 505-471-1187 or 505-603-6600.

St. Elizabeth Shelter

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

Santa Fe Humane Society and Animal Shelter

Dogs need individuals to take them on daily walks; all shifts available, call Katherine at 505-983-4309, Ext. 128.

Filmmakers/Performers/Writers 2014 Fiesta Melodrama auditions and call for props

Workshop rehearsal space, 3205-B Richards Lane, 505-988-4262. Auditions held 2-4 p.m. Saturday, July 5; with improvisational work and cold readings; also in need of furniture and clothing for costumes.

New Mexico Dance Coalition Student Scholarships 2014

Two scholarship awards distributed in time or fall tuition; available to residents ages 8 and up; application forms and guidelines available online.

PASA KIDS

39th Annual Pancakes on the Plaza

Car show, arts & crafts booths, silly-hat contest, and music (American Jem performs at 1:30 p.m.), pancakes served 7 a.m.-noon Friday, July 4, events run until 5 p.m., $8, pancakesontheplaza.com.

New Mexico Museum of Art Family Fun Day

107 W. Palace Ave., 505-476-5068 Explore the museum with guided activities and participate in an art project titled Outside the Frame, 1-4 p.m. Sunday, July 6, no charge.

Santa Fe Opera Backstage Tours

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Behind-the-scenes tours including production and front-of-house areas are offered MondaysSaturdays through Aug. 22, 9 a.m., $10; seniors $8; no charge for ages 22 and under. Saturdays are free and include a short program preceding the tour at 8:30 a.m.

Bee Hive Books: story times

328 Montezuma Ave., 505-780-8051 Music, stories, and movement for ages 3 and up, 10:30-11:15 a.m. every Wednesday in July, no charge.

Los Alamos green-hour hikes

Pajarito Environmental Education Center, 3540 Orange St., 505-662-0460 Meet at local trailheads for meandering hikes where kids set the pace, 9 a.m. Thursday, July 10, no charge, pajaritoeec.org. ◀

Sixth Annual Mariachi and Dance Concert

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

Avett Brothers

MUSIC

Poncho Sanchez

Santa Fe Sol Stage & Grill, 37 Fire Place Veteran conguero, salsa singer, and band leader, 7:30 p.m. Saturday, July 12, $28, 505-988-1234, ticketssantafe.org.

Fidelio

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

THEATER/DANCE

Wassa Wassa African Dance & Drum Festival benefit performance

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Soprano Alec Penda sings Leonore and tenor Paul Groves portrays Florestan in Stephen Wadsworth's production of Beethoven's drama; opening at 8:30 p.m. Saturday, July 12, tickets begin at $32, standing room $15.

Railyard Performance Center, 1611 Paseo de Peralta Featuring Soriba Fofana & Alhassane Camara, traditional music and dance; Moussa Kourouma & Ousmane Sylla, circus acrobatics, 8 p.m. Saturday, July 12, $10 donation at the door, soribafofana.com.

The Impresario & Le Rossignol

Lodge at Santa Fe, 750 N. St. Francis Dr. Flamenco group from the María Benítez Institute for Spanish Arts, 2 p.m. Sundays, July 13-Aug. 24, institutespanisharts.org.

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

Patti Littlefield and the Arlen Asher Quintet

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

Santa Fe Chamber Music Festival

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

Danela Mack and Alex Shrader

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

Flamenco’s Next Generation

Aspen Santa Fe Ballet

Las Campanas Clubhouse, 132 Clubhouse Dr. Raise the Barre benefit for the ballet, 6 p.m. Monday, July 14, $250, aspensantafeballet.com, 505-983-5591.

Juan Siddi Flamenco Santa Fe

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

Sylvia

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

HAPPENINGS

Santa Fe International Folk Art Market Museum Hill More than 150 folk artists from more than 50 countries, July 11-13, 505-992-7600, folkartmarket.org.

Santa Fe Greek Festival

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

SITElines.2014: Unsettled Landscapes

Museum Hill SITE Santa Fe’s biennial focusing on contemporary art of the Americas; ticketed opening-weekend programming (July 17-19, at various venues): preview exhibit and cocktail party; gala dinner; performances by artist Pablo Helguera; curator’s introduction; artists’ panel discussion; tickets available online at sitesantafe.org, or call 505-989-1199.

Behind Adobe Walls Home and Garden Tour

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

¡Viva la Cultura! Hispanic Cultural Festival

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

Salaam-Shalom

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

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

Fifth Annual Objects of Art Santa Fe

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

Antique American Indian Art Show Santa Fe 2014

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

39th Annual Wheelwright Museum of the American Indian Benefit Auction

704 Camino Lejo, Museum Hill

Silent auction and preview of live auction items 4-6 p.m. Thursday, Aug. 21, Collector’s Table

10 a.m. Friday, Aug. 22, followed by live auction preview and live auction; catered lunch available, 505-982-4636, wheelwright.org.

Indigenous Fine Art Market- IFAM

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

93rd Annual Santa Fe Indian Market Launch Party

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

Woody Shaw tribute

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

Ray Lamontagne

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

The Hold Steady

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

Brenda Rae

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

Folk-pop band Avett Brothers performs at the Santa Fe Opera Aug. 27.

PASATIEMPOMAGAZINE.COM

AT THE GALLERIES

New Mexico History Museum/ Palace of the Governors

Allan Houser Gallery

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

125 Lincoln Ave., 505-982-4705. Within the Seventh Fire, works on paper

and paintings by Ben Wright, through Wednesday, July 9.

Argos Studio Gallery & Santa Fe Etching Club

1211 Luisa St., 505-988-1814 Susan Cornish: Prints and Drawings, through July 13.

Bellas Artes

New Mexico Museum of Art

653 Canyon Rd., 505-983-2745 Black White Silver, group show, through Aug. 30.

Chalk Farm Gallery

729 Canyon Rd., 505-983-7125. Magic Square, paintings by Lukas Kandl, through July.

Charlotte Jackson Fine Art

554 S. Guadalupe St., 505-989-8688 Anne Truitt: Paintings and Works on Paper, through July 27. (See story, Page 42)

Chiaroscuro Contemporary Art

702½ Canyon Rd., 505-992-0711 Australian Contemporary Indigenous Art III, through Aug. 3.

Hunter Kirkland Contemporary

200-B Canyon Rd., 505-984-2111. Wilderness Within, pastel and oil paintings

by Rick Stevens, through July 6.

Meyer Gallery

225 Canyon Rd., 505-983-1434 Chris Young: A One Man Exhibit, through Thursday, July 10.

The Owings Gallery

120 E. Marcy St., 505-982-6244 Photographs by Luís Gonzalez Palma; new work by painter Ray Abeyta through July 14.

Santa Fe Clay

545 Camino de la Familia, 505-984-1122 Finished With Fire, works by ceramicists Bonnie Lynch and Mary Roehm, through Aug. 2.

Taylor Dale Fine Tribal Art

129 W. San Francisco St., 505-670-3488 The Art of New Guinea, featuring items from the Thomas-Rosen collection, through July.

William Siegal Gallery

540 S. Guadalupe St., 505-820-3300 Ruah, works on paper by Judy Tuwaletstiwa, through July 22.

Zane Bennett Contemporary Art

435 S. Guadalupe St., 505-982-8111 New Media Transforms Tradition, group show,

through July 19.

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

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

Georgia O’Keeffe Museum

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

PASATIEMPO I July 4-10, 2014

Vivo Contemporary shows paintings by George Duncan in the group show In the Mood, 725 Canyon Rd.

Museum of Contemporary Native Arts

108 Cathedral Place, 505-983-1777 We Hold These Truths, contemporary paper baskets by Shan Goshorn • Brandywine Workshop Collection, works by indigenous artists donated to the Philadelphia facility • Articulations in Print, group show • Bon à Tirer, prints from the permanent collection • Native American Short Films, continuous loop of five films from Sundance Institute’s Native American and Indigenous Program; all exhibits up through July. Closed Tuesdays; iaia.edu/museum.

Museum of Indian Arts & Culture

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

Museum of International Folk Art

706 Camino Lejo, Museum Hill, 505-476-1200 Between Two Worlds: Folk Artists Reflect on the Immigrant Experience, International Folk Arts Week kick-off exhibit on immigration, reception with artist meet-and-greet, live music by Savor, workshops, and talks 1-4 p.m. Sunday, July 6 • Wooden Menagerie: Made in New Mexico, early 20th-century carvings, through Feb. 15, 2015 • Tako Kichi: Kite Crazy in Japan, exhibition of Japanese kites, through July 27 • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, international collection of toys and folk art • Brasil and Arte Popular, pieces from the museum’s collection, through Aug. 10. Closed Mondays; internationalfolkart.org.

Museum of Spanish Colonial Art

750 Camino Lejo, Museum Hill, 505-982-2226 Secrets of the Symbols: The Hidden Language of Spanish Colonial Art, opening Wednesday, July 9 • San Ysidro/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, latecolonial-period re-creation; spanishcolonial.org; open daily through Sept. 1.

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

Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Place, 505-988-8900 Closed Mondays; pvmiwa.org.

Poeh Cultural Center and Museum

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

Wheelwright Museum of the American Indian

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

Albuquerque Albuquerque Museum of Art & History

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

Holocaust and Intolerance Museum of New Mexico

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

Indian Pueblo Cultural Center

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

Maxwell Museum of Anthropology

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

National Hispanic Cultural Center

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

UNM Art Museum

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

Los Alamos Bradbury Science Museum

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

Los Alamos Historical Museum

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

Pajarito Environmental Education Center

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

Taos E.L. Blumenschein Home and Museum

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

Harwood Museum of Art

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

La Hacienda de los Martinez

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

Millicent Rogers Museum

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

Taos Art Museum at Fechin House

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

Steve Schapiro: Andy Loves Edie, Andy Warhol and Edie Sedgwick, New York 1965, gelatin silver print Monroe Gallery of Photography, 112 Don Gaspar Ave., 505-992-0800

Steve Schapiro’s work in photography spans more than five decades, during which he captured a multitude of happenings in American life and culture that includes the civil rights movement, Bobby Kennedy’s presidential campaign, and the presence of celebrities in the realms of politics, cinema, art, and music. Once Upon a Time in America, an exhibit of his work, opens with a 5 p.m. reception on Saturday, July 5.

David Dornan: Callabash 2014, oil on canvas Meyer East Gallery, 225 Canyon Road, 505-983-1657

The gallery is showing an exhibit of new works by David Dornan. He paints artist materials like paintbrushes, rags, and bottles of varnish — as well as flowers, tubes of lipstick, and various kinds of small containers — arranging them in colorful collections by type and rendering them with a high degree of realism to explore the subtle differences among them. The show opens on Friday, July 4, with a 5 p.m. reception and barbecue catered by the Ranch House.

A P E E K AT W H AT’S S H OW I N G A R O U N D TOW N Beatrice Mandelman: Rocks Near Gallup circa 1945, gouache on paper David Richard Gallery, 544 S. Guadalupe St., 505-983-9555

The gallery presents Landscapes and Cloudscapes: As Seen Through Gestural Abstract Painting, an exhibition of modernist and contemporary works by Ward Jackson, Wolf Kahn, Matsumi Kanemitsu, Beatrice Mandelman, Forrest Moses, and Jon Schueler. The artists use abstraction to explore imagery of land and sky. The show is on view through Aug. 24. There is no reception.

Rimi Yang: Queen’s New March 2014, oil on canvas Blue Rain Gallery, 130 Lincoln Ave., 505-954-9902

The Year of the Horse, an exhibition of paintings by Rimi Yang and glass sculpture by Shelley Muzylowski Allen, is showing at Blue Rain Gallery. Yang’s expressionistic, horse-themed canvases combine abstract and figurative imagery in a patchwork of colors. Muzylowski Allen’s glass works capture the same creature in a variety of poses that accentuate the beauty of its form. The opening reception is at 5 p.m. on Friday, July 4.

Ben Steele: Tamed 2014, oil on canvas Giacobbe-Fritz Fine Art, 702 Canyon Road, 505-986-1156

Ben Steele recontextualizes significant works by Leonardo da Vinci, John Singer Sargent, Andy Warhol, and others in compositions that reflect his interest in photorealism and Pop Art. He layers applications of acrylics and oils using a silk-screen technique, inserting images from the past into his own pieces. Art Circus, an exhibition of Steele’s paintings, opens with a reception at 5 p.m. on Friday, July 4.

PASATIEMPO

Better Selection… Better Prices… Better Service Apple Trees

Clump Aspen Trees

Time to ! ow Plant N

Golden Delicious Spitzenburg Jonathan Wolf River Sweet 16 McIntosh Arkansas Black Spur Winesap

Pottery sale SALE

#15 containers $100 Regularly $159.99

#5 containers $29.99 Or 5 for $100

Entire Collection

lavender

Heirloom Tomatoes

Agastache

50% off

y Loved b ds ngbir Hummi

#1 containers $7.99

21/2” containers 99¢ each Regularly $2.99

#1 containers $7.99

Gro Power

organic Potting soil

Alaska Fish emulsion Organic

o Time tw ! use no

2 cubic foot bags $15.99 Regularly $19.99

We are going to be closing at 1pm on Friday July 4th 64

PASATIEMPO I July 4 - 10, 2014

ALWAYS FRIENDLY PROFESSIONAL NURSERY SERVICE

Jaguar Drive

NEWMAN’S Newmans

sR oa

Family Owned & Operated Since 1974

Ocate Road

Walmart

llo

on record and our trees and shrubs are suffering because of it. To give them that much needed boost you should fertilize them with Gro-Power. With our monsoon season upon us trees and shrubs will be able to better utilize the nutrients provided from Gro-Power. For your flower pots use SeaGrow fertilizer twice a week to get them to really fill out and bloom all summer.

rri

Pete Moss’ Garden Tip: We have just gone through one of the driest periods

1 gallon $15.99 Regularly $19.99

40lb. Bag $29.99 Regularly $37.99

oPeN 9Am-5Pm 7 dAYs A WeeK Good thru 7/10/14 • while supplies last • stop by today and see our Great selection.

5 I-2

7501 Cerrillos rd.

471-8642