Pasatiempo June 27, 2014 by The New Mexican

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

Carmen ••

SANTA FE OPERA 2014

June 27, 2014

Great new arrivals daily Kiss of the Wolf Catherine Bacon Carter Smith Dressed to Kill Cynthia Ashby

New Sale Areas 50%-75% Off

Origins

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THE SEASON IS HERE! ROMANCE DRAMA FUN

SEASON

20 14

. . . all at THE SANTA FE OPERA

Mark Nohl photo

JUNE 27 - AUGUST 23

CARMEN

Bizet

DON PASQUALE FIDELIO

Donizetti

Beethoven

Kate Russell photo

DOUBLE BILL

AN INCREDIBLE SETTING Arrive early with a tailgate supper to enjoy a spectacular sunset and mountain views. Tickets start at $32! New Mexico Residents: Ask about a special first-time offer when you call. SantaFeOpera.org I 505-986-5900 I 800-280-4654

PASATIEMPO | June 27 - July 3, 2014

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RISK&REINVENTION: How Women Are Changing the World

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SANTA FE’S RAILYARD ARTS DISTRICT The Destination for Contemporary Art L A S T F R I DAY A R T WA L K

TO N I G H T, J U N E 2 7. 2 0 1 4

5:00-7:00PM

PHOTO-EYE Richard Tuschman: Hopper Meditations

CHARLOTTE JACKSON FINE ART Anne Truitt, Paintings and Works on Paper

EVOKE CONTEMPORARY Re-presenting the Nude III, curated by John O’Hern

TAI MODERN Fujitsuka Shosei, Cosmos

WILLIAM SIEGAL GALLERY Judy Tuwaletstiwa, ruah

ZANE BENNETT CONTEMPORARY ART Matthew Szösz, Complications Damian Stamer, Byways

LEWALLEN GALLERIES Henry Jackson, Halted in Transition

JAMES KELLY CONTEMPORARY Jeff Burton, Untitled #86 (4 Queens)

RAILYARDARTSDISTRICT P

JAMES KELLY

S PA EO

WAREHOUSE 21

CAMINO DE LA FAMILIA

EL MUSEO CULTURAL

LEWALLEN

MARKET STATION

A DE ALT R PE

SITE Santa Fe

MANHATTAN

CAMINO DE LA FAMILIA

FARMER’S MARKET

REI

SANTA FE DEPOT

RAILYARD PLAZA

TAI MODERN

R A I L YA R D PA R K

WILLIAM SIEGAL DAVID PHOTO-EYE RICHARD

EVOKE

CHARLOTTE JACKSON

ZANE BENNETT

READ ST.

SITE SANTA FE SITE is closed in preparation for the launch of our new biennial series SITElines: New Perspectives on Art of the Americas, and the ﬁrst edition: Unsettled Landscapes.

T TA N

DAVID RICHARD GALLERY Judy Chicago, Heads Up John Connell, A Mind To Obey Nature Beverly Fishman, Max Almy, Teri Yarbrow, Robert Drummond, Matthew Kluber

P RAILYARD PARKING GARAGE

The Railyard Arts District (RAD) is comprised of nine prominent Railyard area galleries and SITE Santa Fe, a leading contemporary arts venue. RAD seeks to add to the excitement of the new Railyard area through coordinated events like this monthly Art Walk and Free Fridays at SITE, made possible by the Brown Foundation, Inc., of Houston. We invite you to come and experience all we have to offer.

www.santaferailyardartsdistrict.com

PASATIEMPOMAGAZINE.COM

THE SANTA FE NEW MEXICAN

June 27 - July 3, 2014

www.pasatiempomagazine.com

ON THE COVER 21 Setting the stage Santa Fe Opera’s 58th season opens this weekend with performances of two warhorses, Bizet’s Carmen and Donizetti’s Don Pasquale, both in new productions. By the time the season ends, on Aug. 23, the company will have given 47 performances of five main-stage presentations, which also include Beethoven’s Fidelio (led by the company’s newly appointed chief conductor, Harry Bicket), Huang Ruo’s Dr. Sun Yat-sen, and a double bill of Mozart’s The Impresario and Stravinsky’s Le rossignol. On the cover is a portrait of Carmen from a vintage postcard.

MOVING IMAGES

BOOKS 14

60 62 64

In Other Words The Paris Herald and Your Fathers, Where Are They? And the Prophets, Do They Live Forever?

CALENDAR

MUSIC AND PERFORMANCE 16 19

Bad boys playing nice Old 97’s Onstage EntreFlamenco

Pasa Week

AND

SANTA FE OPERA 22 26 28 32 36

Violette Who Is Dayani Cristal? Pasa Pics

13 68

Lackluster to blockbuster Carmen Carmen: A Gypsy Geography A tragedy foretold in the (post) cards The newlywed game Don Pasquale He said, she said Alek Shrader & Daniela Mack

Star Codes Restaurant Review: Georgia

ART

44 From here to Iberia Painting the Divine 48 Art in Review Digital Latin America 50 Fright night Devil’s Promenade 54 Lure of the deep Ray Abeyta

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

False Lights, a photograph by Lara Shipley and Antone Dolezal

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

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

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

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

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

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STAFF WRITERS Michael Abatemarco 505-986-3048, mabatemarco@sfnewmexican.com James M. Keller 505-986-3079, jkeller@sfnewmexican.com 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, Grace Labatt, Jennifer Levin, James McGrath Morris, Robert Nott, Jonathan Richards, Heather Roan Robbins, Casey Sanchez, Michael Wade Simpson, Steve Terrell, Khristaan D. Villela PRODUCTION Dan Gomez Pre-Press Manager

The Santa Fe New Mexican

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Robin Martin Owner

www.pasatiempomagazine.com

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Ginny Sohn Publisher

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ADVERTISING DIRECTOR Heidi Melendrez 505-986-3007

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MARKETING DIRECTOR Monica Taylor 505-995-3824

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

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

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

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ADMINISTRATIVE ASSISTANT Claudia Freeman 505-995-3841

Ray Rivera Editor

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NINTH ANNUAL

NEW MEXICO JAZZ FESTIVAL

ALBUQUERQUE | SANTA FE

J U LY 11–2 7, 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

PAYNE’S NURSERIES

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Terri Lyne Carrington’s Mosaic Project

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Jack DeJohnette Trio with Ravi Coltrane & Matt Garrison

Summer Hours

J U LY 2 5 , 7 : 3 0 P M

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

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ARRESTED DEVELOPMENT RAOUL MIDÓN

20% OFF

OMAR SOSA QUARTETO AFROCUBANO IN F O :

Your Organic

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NewMexicoJazzFestival.org TicketsSantaFe.org 505-988-1234 O U T P O S T: 505-268-0044

TI CK E T S :

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 7/3/14.

PASATIEMPOMAGAZINE.COM

Under New Ownership!

HenryJackson

Halted in Transition June 27-July 27.2014 arTisT recepTion: Friday, June 27, 5:00-7:00pm

Now serving Organic Burgers and Fresh Garden Salads!

3530 Zafarano C-3, (505) 471-0108

total access PRINT + DIGITAL

30 days

Automated monthly payments. Must reside within home delivery area.

santafenewmexican .com/subscribe

Untitled (#107-13), 2013, oil & cold wax on canvas over panel, 58" x 48"

You turn to us.

Wheelwright Museum OF THE AMERICAN INDIAN

Case Trading Post: Artist at Work Series Untitled (#59-14), 2014, oil & cold wax on canvas over panel, 28" x 30"

LewAllenGalleries Railyard Arts District 1613 Paseo de Peralta (505) 988.3250 www.lewallengalleries.com info@lewallengalleries.com 10

PASATIEMPO | June 27 - July 3, 2014

June 28 10:00 a.m. – 2:00 p.m.

Jerry Ingram Parfleche Creations

704 Camino Lejo • Museum Hill | 505-982-4636 | www.wheelwright.org

Funded by the FRIENDS of the Wheelwright

Classical Realist Art Training in Santa Fe Portrait Painting in Oil & Figure Drawing from Life Ages 18 & up. All Levels. Beginners welcome Full and Part-time Study

Attribution: Toby Hall by Anthony Ryder

The Ryder Studio

www.theryderstudio.com (505) 474-3369 Anthony Ryder www.tonyryder.com

matthew SzöSz Complications Damien Stamer Byways

Explore your “Self” this Summer Come for a Day-Long Meditation Retreat = July 5 & 12 (Weekend stay offered)

Zazenkai

with Roshi Zoketsu Norman Fischer Discover Your Inner Artist = July 25 - 27

Calligraphy: Breakthrough with the Brush with Sensei Kazuaki Tanahashi

Immerse in the Spirit of Zen Master Dogen = August 1 - 3

Dogen Symposium

with Writer Natalie Goldberg, Roshi Joan Halifax, Sensei Kazuaki Tanahashi, and Professor Carl Bielefeldt

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

6th Annual

A Bishop’s Lodge SUMMER EVENT 4th of July Weekend • Sunday, July 6

Grilled Steaks and Chicken, Braised Ribs, Ranch Burgers and All the Fixin’s • FREE Pony Rides • Cash Bar only on the Mesa Live Country Music & Dancing with Steve Rose & The Buffalo Nickel Band

Gourmet BBQ Dinner from 6 pm

bishopslodge.com

$39.95 per person • $34.95 seniors $19.95 for buckaroos under 18, under 5 free

June 27 - July 19, 2014 RECEPTION FRIday, JuNE 27, 5-7 Pm

zane bennett contemporary art

435 S GuadaluPE ST, SaNTa FE, Nm 87501 T: 505-982-8111 F: 505-982-8160 zaNEBENNETTGallERy.COm OPEN TuE-SaT 10-5, SuN 12-4 OR By aPPT

RESERVATIONS 505.819.4035 • Please arrive by 5:45 pm 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

CURIOUS? Kevin Avants 505 982 2892, cell 505 780 1061 1061 Pen Road, Santa Fe

The downtown luxury residences at The Lincoln will be open from 11:00 to 2:00 on Saturday and Sunday, June 28th and 29th. Located at the corner of Lincoln and Marcy – 142 Lincoln Avenue. List prices range from $1,150,000 to $1,647,000. See how living in downtown Santa Fe can change your life! Represented by Gary R. Hall and Meleah Artley 505-920-0900 / 505-920-8150

Expert installation of Driveways - Walkways - Patios

PORPHYRY SALES - PORPHYRY SPECIALISTS

avantsstone.com | GB98 #83938

classicalseries

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

venueguide

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

29 Spanish Mystics | LC

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*

530 S. Guadalupe St. (Historic Railyard) | Santa Fe, NM 87501 | 505.982.9836 | SantaFeRealEstate.com

PASATIEMPO | June 27 - July 3, 2014

Santa Fe

DesertChorale

CSJ Cathedral of St. John IPC Immanuel Presbyterian Church W21 Warehouse 21

Intimate. Timeless. Transcendent.

2014 summerfestival

All concerts begin at 8:00 p.m. *Matinee performances begin at 4:00 p.m.

This summer, delight in music that celebrates our human experience. Exploration and curiosity. Mysticism and devotion. Romance and passion. Sacrifice and radiance.

For more information, seating charts, and to purchase tickets, please visit our website at www.desertchorale.org SantaFeDesertChorale 311 E. Palace Ave. Santa Fe, NM 87501 (505) 988-2282

Traveler’s Market

STAR CODES Heather Roan Robbins It’s a good week to sit in a hammock or enjoy arts festivals as the

sun and Venus interact with intuitive, impressionistic, vague, and watery Neptune. This combination can feed our summer daydreams, but it also brings a layer of emotional fog as Mercury finishes its retrograde cycle (June 7 to Tuesday, July 1). We can become overimpressionable and get lost in an imaginary world. It’s all too easy to give into Neptunian lassitude. It can be quite healing when old illusions and dreams are cleared; we just have to watch the tendency to project them onto the present. Watch out for water damage, floods, and liquids that don’t stay in within their bounds. These Neptune transits can leave us feeling affected by allergens and invasive habits, but we are also open to beauty. Friday morning the new moon in Cancer calls us back to our emotional roots — to understand what we need and empathize with others — and then begins a new cycle from there. We could all use a little nurturing — the last few weeks have brought some rocky tension as Mars bounced its energy off Pluto and Uranus. That low-lying tension and impulsiveness continues under the surface. Mercury turns direct (after three weeks retrograde) on Tuesday, July 1, and begins to clear the air in time for July 4 festivities. Friday, June 27: The new moon at 2:08 a.m. brings us back to our tender self. The mood drifts, and people resist demands as the moon opposes Pluto. Let’s not rock the boat any more than we have to. Tonight, familiar people help us unwind around dinnertime, but we may get crabby as the evening progresses.

It’s On!! Antique & Tribal Art Market DeVargas Center Parking Lot

Sunday June 29, 8am - 1 pm July 20, August 17 & 31, September 21

8am - 1 pm Call Valarie for reservations 505-989-7667 Must be Antiques, Vintage or Tribal all size booths available

T r av e l e r ’s M a r k e t

4 5 De a l e r s of T r i ba l & F ol k A r t, A n t iqu e s , B o oks & J e w e l ry

at t h e D e Va r g a s C e n t e r 1 5 3 B Pa s e o d e P e r a l ta , S a n ta F e , N M 87501 505-989-7667 Hours: M o n - S at 1 1 - 6 p m s u n 1 2 p m - 5 p m w w w. t r av e l e r s m a r k e t. n e t

Saturday, June 28: Things take longer than we intended, so keep schedules open. People will be friendlier on their home territory. A sense of adventure and openness picks up tonight as the moon conjuncts Jupiter. Gather with friends over a delicious picnic; appetites can be unusually voracious. Sunday, June 29: The mood is sentimental, sensitive, intuitive, and effusive — life can feel like performance art under the Leo moon. Dream together and be intoxicated with possibility. Watch out for water damage as Venus squares soggy Neptune. Monday, June 30: The Leo moon trines Uranus and excites us with a gentle sense of adventure. Graciousness helps us make the best of any situation. Detours weave through our day, and melancholic, discontented undertones seep in as the sun begins to oppose Pluto. Put one foot in front of the other. Tuesday, July 1: After a slow start as Mercury leaves retrograde, problems begin to unwind. Mistakes continue if we hurry, but we get a chance to make up lost time and get back on track in a practical way. Tonight, as the moon enters Virgo, it’s productive to talk things out as long as we don’t hold one another responsible for recent snafus. We’re all in this together. Wednesday, July 2: Sort out mistaken orders, measurement problems, and forgotten details — just don’t project blame on one another. The lighter the touch, the more likely we are to be heard. Thursday, July 3: Emotions, relationships, and work issues become clear. Take advantage of this understanding as you prepare for July 4. ◀ www.roanrobbins.com

PASATIEMPOMAGAZINE.COM

IN OTHER WORDS book reviews The Paris Herald by James Oliver Goldsborough, Prospecta Press, 304 pages When a book’s introductory author’s note declares, “This is an historical novel with a few names changed just to be nice,” get excited. When its flap copy establishes it as a successor to Hemingway’s A Moveable Feast, it’s fair to be impressed by the boldness of such a declaration — and a little worried about hubris. Fortunately, it takes confidence to attempt what James Oliver Goldsborough has in The Paris Herald, and a sure authorial hand has guided his narrative from memory-imbued conception to printed book. During his four-decade career in journalism, Goldsborough spent 15 years in Europe as a foreign correspondent for the New York Herald Tribune, the International Herald Tribune, and other papers. His experiences during that time have created an undercurrent of nostalgia that runs throughout his work, adding art and nuance to what easily could have been dry reportage on a newspaper’s business dealings and political backdrop. The novel depicts a key period in the history of the Paris Herald, an English-language newspaper founded in 1887 by American publishing tycoon James Gordon Bennett Jr. as the European edition of the New York Herald. For decades, it was the conduit of information to Americans at home, sending stories of Parisian jazz clubs and European policy. During Nazi Germany’s 1940-1944 occupation of Paris, the paper shuttered its doors. When it renewed production, Charles de Gaulle was well on his way to becoming a postwar world leader. By the ’60s, the setting of Goldsborough’s novel, de Gaulle was president of France, America was at war, and students and unions in both countries were broadcasting their outrage. It was up to staff members of the Paris Herald to make sense of it all, even as their own institution was facing potentially calamitous upheaval. When its New York-based counterpart closed down in 1966, the Paris Herald faced extinction, prompting a series of tense negotiations with other newspapers that ultimately led to the establishment of the International Herald Tribune (now, since October 2013, the International New York Times). While such economic and sociopolitical contentions and compromises add historical weight to The Paris Herald, as in any good story, it is the people, minutely observed, who form the book’s core. Rupert Archer is the closest thing the novel has to a protagonist, although Goldsborough is more interested in presenting a panoramic bird’s-eye view, rather than one man’s impressions, of the newspaper’s workings. In that sense, and in several others, The Paris Herald brings to mind another novel about a Europe-based English14

PASATIEMPO I June 27-July 3, 2014

language newspaper, Tom Rachman’s excellent 2010 work, The Imperfectionists. Rupert, like so many fictional Americans in Paris, is a wanderer, an observer, an adapter, and, ultimately, an outsider. He comes to Paris after working at various newspapers around America, then spending a year and a half in Europe failing at some writing and business ventures. He practically drifts into a position at the Herald’s busy copy desk, becoming, essentially by default, the influential Paris reporter for the paper. Rupert does not resist the romance of Paris, or its temptations. Yet, despite his openness, his nationality prohibits true immersion: there is an indefinable divide that forever separates him from the French. It is partially linguistic, somewhat culinary (“In the States you eat corn. ... Here it’s for animals,” one character remarks), largely values-based, and seemingly impassable. “Were he French, he would be thrilled that his wife had embarked on a biography of Diane de Poitiers,” the narrator postulates. “Were he French he would find his wife’s project ... ravissant, éblouissant, merveilleux, something Proust himself might admire and praise. But he was not French.” Similar cultural stumbling blocks come up for many of Rupert’s Herald colleagues, whose personal and professional lives thread in and out, introducing us to different sides of the expatriate world. Inevitably, some of their stories are less engaging than others. Perhaps one or two too many pertain to casual seduction and infidelity — weathered subjects on the Americanimpressions-of-Paris fictional landscape, in films as well as in books. Some could have been excised without sacrificing anything; characters enter and vanish without having any effect on what happens to others. Those narratives that do enrich the plot, however, are often poignant. Two notably vivid lives are those of Eddie Jones, the elderly African-American newspaper “boy” with an enigmatic past, and Sonny Stein, admirable, despite some obvious character flaws, as the bootstraps-pulling, self-taught editor who could well be “the first guy from Hester Street to live on the Place des Vosges.” Stein’s gradual decline coincides with the increasing presence of technology at the paper, which he is reluctant to incorporate into his long-established methods. He has nostalgia for the better old days. So does Goldsborough; so might we all. Though The Paris Herald is a tribute to those times gone by, it is not some wistful, rosy-colored ode. Rather, it is an incisive book, written with such crisp prose that it seems of a different era — as if it were written at a time when floridness was dismissed and concision embraced. Maybe the Hemingway comparison isn’t so blustering after all. — Grace Labatt

SUBTEXTS David Morrell’s first novel placed warrior icon John Rambo on the big screen and in the Americanpatriot consciousness. His 29th, Murder As a Fine Art (just released in paperback by Little, Brown and Company), follows laudanum-addled Thomas De Quincey, author of Confessions of an English Opium-Eater (1822), as he seeks to prove himself innocent of homicide. Morrell takes the title from De Quincey’s 1827 essay, “On Murder Considered as One of the Fine Arts,” and uses the entire first chapter of his novel to describe exactly how the killer, called the artist of death, creates his bloody tableau. It may be the goriest thing you’ll read all year. But keep going. Morrell pulls in a small cast of characters, including De Quincy’s daughter Emily, who keep the action swirling. These include Detective Ryan and Constable Becker, as well as (teleported from the even-more-distant past) serial killer John Williams, who, 43 years earlier, in 1811, had perpetrated similarly ghastly murder scenes in London’s East End — ones that De Quincey vividly described in previous essays. Morrell also gives an entertaining look at London circa 1854, when the concept of physical addiction was unknown, despite the widespread use of laudanum (90 percent alcohol, 10 percent opium) as a painkiller and mood enhancer (it was even given to colicky babies). Both smart and entertaining, Murder As a Fine Art seems to reconcile the Morrell paradox: How can the man holding a Ph.D. in American literature, which he taught for 16 years at the University of Iowa, also be the man who created one of the great pulp heroes of the last several decades? The quote from De Quincey (“something more goes to the composition of a fine murder. ... Design, grouping, light and shade, poetry, sentiment are indispensable to the ideal murder”) that opens the book seems to encapsulate Morrell’s approach to writing a thriller. He reads and answers questions at 7 p.m. on Monday, June 30, at the Jean Cocteau Cinema (418 Montezuma), prior to a screening of First Blood. Tickets are $10 or $5 with the purchase of a paperback. Call 505-466-5528 or visit www.jeancocteaucinema.com for more information. — Bill Kohlhaase

Dr aw Sp ec fo in ia r g lg ift S

ALLAN HOUSER Your Fathers, Where Are They? And the Prophets, Do They Live Forever? by Dave Eggers, Alfred A. Knopf/Random House & McSweeney’s Books, 212 pages One of the darkest mysteries of contemporary American life hides in the minds of mass killers. The clues left behind by perpetrators of massacres at college campuses, public schools, and military installations across the country paint pictures of men driven to rampage by perverse senses of justice and frustration over their inability to control the world around them. Dave Eggers’ ninth book, Your Fathers, Where Are They? And the Prophets, Do They Live Forever?, tackles that mind-set through the eyes of Thomas and his dialogue with a cast of captives he’s chosen to depose of with the gnawing questions that haunt his consciousness. The book opens with a confused astronaut who awakes from a chloroform-induced slumber shackled inside a barren building on the grounds of an abandoned military base on the Pacific Coast. And there it stays. Thomas, a frustrated 30-something who feels marginalized by society and exaggerates his connections to people he’s crossed paths with throughout his life, revels in the satisfaction of abducting a handful of people whom he believes hold the answers to his questions about injustices — both real and perceived. Though not a killer, he rationalizes his actions as villains from modern headlines might — righteous wrongs justified by a world steeped in unfairness and too often for his taste motivated by shades of gray, rather than the overt black and white of right and wrong. Eggers splashed onto the literary scene in 2000 with his memoir of the devastating tragedies visited on his family, A Heartbreaking Work of Staggering Genius. His debut could be characterized accurately as simply heartbreaking. It catapulted Eggers to a place in American literature where he’s recognized as one of the central voices of a generation. Since then, his work has populated the bookshelves of Gen Xers alongside the likes of David Foster Wallace, Jonathan Franzen, and Jonathan Lethem. Your Fathers, Where Are They? And the Prophets, Do They Live Forever? lacks the descriptive beauty of What Is the What?, arguably Eggers’ true work of staggering genius, which was released in 2006. Instead, his latest novel relies purely on dialogue as a vehicle for Thomas’ self-absorbed conversations with his detainees. It sets a breezy pace that at times lapses into predictable monotony and seldom delivers the gut punch Eggers’ readers have come to anticipate when they pick up his novels. Someone looking for a quick summer read that hints at deeper overtones but largely leaves those to the reader’s imagination might find the book worthwhile. A sympathetic congressman missing two limbs who was among Thomas’ captives delivers one of the book’s more memorable passages, and at the same time cements its theme. He observes a recent development in human emotion that explains his captor’s angst. “The things we all have, love and hate and passion, and the need to eat and yell and screw, these are things every human has. But there’s this new mutation, this ability to stand between a human being and some small measure of justice and blame it on some regulation. To say that the form was filled out incorrectly.” Eggers can’t count this among the more memorable masterpieces of his celebrated career, but it successfully reflects contemporary life by exploring a phenomenon that is uniquely prevalent at this moment in America’s journey. — Patrick Malone

Please join us for our

100

Year Celebration In honor of Allan Houser’s 100th Birthday Anniversary & the Fort Still Apache’s 100 Years of Freedom

June 28, 2014

Ground Blessing Ceremony and an Apache Mountain Spirit Dance performed by Joe Tohonnie Jr. and the Apache Crown Dancers from White River, Arizona. Allan Houser Studio and Sculpture Garden 30 minutes south of Santa Fe just off of NM Highway 14

4:30pm Gates Open 5:30pm Light Dinner & Refreshments 8:00pm Ceremony Commences Tickets are $35.00+tax by June 27th $40.00+tax at the door Children under 12 years of age are Free. Allan Houser Studio and Sculpture Garden South of Santa Fe • (505) 471-1528 toursandevents@allanhouser.com • allanhouser.com PASATIEMPOMAGAZINE.COM

PLAYING NICE

Jennifer Levin I The New Mexican

lt-country band the Old 97’s, contemporaries of the Jayhawks and Uncle Tupelo, formed during the Grunge era, quickly becoming famous among music writers for not living up to their potential. The music industry had proclaimed alt-country the next big thing, but mainstream America didn’t wholeheartedly embrace countrified punk as predicted. But really, who cares? Mainstream appeal isn’t all that appealing in the grand scheme of things, anyway. And is there anything more 1990s, more Gen X, than underachieving? As the group sings on “Longer Than You’ve Been Alive,” the opening track of Most Messed Up, they don’t really care about the hype. They make music: What else do you want? The Old 97’s, who took their name from the 1924 Vernon Dalhart song commemorating a train wreck, have chugged along. They released their 16th album, Most Messed Up, in May, and it promptly rated in the Top 10 of Billboard’s Independent Albums list, the best debut so far in the band’s career. 16

PASATIEMPO I June 27-July 3, 2014

In advance of their Sunday, June 29, show at Sol Santa Fe, bass player Murry Hammond answered some questions about life as an Old 97. Pasatiempo: Why do you think people hate country music so much? Murry Hammond: Because a lot of it sounds like it was made by a corporation. In the world of country music, just like in punk music, people argue over what the real stuff is. I think it’s a legitimate discussion. There’s something that’s very real, made by people, that comes from their blood and guts and hearts. And then there’s stuff that seems to be kind of manufactured. You’ve got the Beatles, and you’ve got the Monkees — I’m sorry, but the real stuff is the Beatles. Pasa: Do you identify as alt-country? Do labels matter to you? Hammond: It only mattered to us when we would run up against fences, when we felt like we were sort of being dismissed or confined in some way because of the label, or when people inside our own fan base didn’t like that we stepped beyond what was seen as our bounds. We didn’t like that because that’s an inhibitor to creativity. Pasa: Do you draw inspiration from any classic country artists?

Hammond: We really draw songwriting inspiration from people like Johnny Cash, Hank Williams, and especially the Carter Family. But it’s different for different songwriters in the band. Rhett [Miller] gets his inspiration from David Bowie and Elvis Costello. We draw so much from the last few decades of rock ’n’ roll and the songwriters who have always operated inside alt-rock and that sort of thing. I think we all own Sonic Youth records. Rhett is a big Pixies fan. Pasa: Your songs are like little stories, for the most part. Are they personal? Are they based on real experiences? Are the songs with women’s names really about women with those names, or do the names just rhyme? Hammond: I might not be a hundred percent right about this, but every woman’s name that has popped up in our songs — I know who that girl is. They’re real people. It’s all autobiographical stuff, but sometimes it gets placed in story form about someone else. I think the thing that this new record is doing is being more direct. It’s not really stories about other people as much as it is stories about ourselves. Pasa: Esquire puts “You Smoke Too Much,” from The Grand Theater Volume One, at number 8 on its 2011 list of “50 Songs Every Man Should Listen To.” What do you think men can learn from this song? Hammond: It’s about a girl, not about smoking. It’s about when your vice becomes a human being, when you’re addicted to that person. Men can get in a bad way by a girl, so that’s probably why the song made that list. Pasa: Blender ranked “Murder (Or a Heart Attack),” from Fight Songs, number 176 on its “Top 500 Greatest Songs Since You Were Born” roundup of music from the beginning of the ’80s to the fall of 2005. You’re two spots behind Liz Phair’s “[Expletive] and Run” and one behind Nas’ “Made You Look.” Which artist would the Old 97’s rather fight in order to move up the list? Hammond: The thing is, “Murder (Or a Heart Attack)” is about a cat that gets lost and then found again, so that’s like bringing a knife to a gunfight. I think we can sneak past those people instead of fighting them, due to the song’s sheer ludicrousness. We’re singing about our problems; we’re singing about pain that’s going on right now. It’s still real stuff to us. We’re a real band. We write about real stuff, some rough stuff that has gone on. I’m proud of that. — Murry Hammond

Pasa: The new album is louder and harder, with a lot of cursing. Suddenly, the Old 97’s aren’t so sweet. What led you in this new direction? Hammond: Most Messed Up is about behaving badly in the middle of your life. We’re singing about our problems; we’re singing about pain that’s going on right now. It’s still real stuff to us. We’re a real band. We write about real stuff, some rough stuff that has gone on. I’m proud of that. ◀

details ▼ Old 97’s with special guest Madison King (21 and older show) ▼ 7 p.m. Sunday, June 29 ▼ Sol Santa Fe Stage & Grill, 37 Fire Place ▼ $20; Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org)

M A R T I N C A RY H O R OW I T Z

M O D E R N

A L C H E M Y

JUNE 27 – AUGUST 11, 2014 P R E V I E W + R E C E P T I O N F R I D AY, J U N E 2 7 , 5 : 3 0 – 7 : 3 0 P M

YARES ART PROJECTS 123 GRANT AVE, SANTA FE, NEW MEXICO 87501 www.yar esar tpr o jec ts. c o m ( 5 0 5 ) 9 8 4 -0 0 4 4

Above: Bronze Disc 1

2013

23K gold on bronze

33.25 diameter x 6.5 inches (84.5 diameter x 16.5 cm)

PASATIEMPOMAGAZINE.COM

ON STAGE THIS WEEK

In moving dolor: Federal Dances Local choreographer Micaela Gardner directs Federal Dances, her abstract-minimalist treatment set and staged in the Federal Plaza park in downtown Santa Fe. The site-specific piece explores the complex cultural, colonial, and federal history of New Mexico through its cast of seven dancers (including Gardner) and an original score. Performances are at 6:30 p.m. on Friday, June 27, and Saturday, June 28, and at 2 p.m. on Sunday, June 29. Audiences will gather at the park’s gate on South Federal Place and Washington Avenue, following the interpretive work as it unfolds through the public space, coming to a close near the gate at Paseo de Peralta. This New Mexico Dance Coalition project is free of charge. For more information, call 505-231-5160. — M.W.S.

Surrounded by Bach: Jonathan Schakal

Organist Jonathan Schakal is the co-music director at a Presbyterian church in Charlottesville, Virginia, but he makes time to pursue a concert career apart from that, with recent recitals including appearances at St. Giles’ Cathedral in Edinburgh and the Engelse Kerk in Amsterdam. He earned his master’s degree in organ and early music from the Longy School of Music in Cambridge, Massachusetts, and went on to study with such master organists as Luigi Ferdinando Tagliavini and Olivier Latry. He takes his seat at the organ of First Presbyterian Church (208 Grant Ave.) for a half-hour concert at 5:30 p.m. on Friday, June 27. At the center of his program is a fine work rarely encountered: Herbert Howells’ 1940 composition Master Tallis’s Testament, a brief set of variations on a melancholic, modal theme that builds into an impressive climax sure to show off the church’s C.B. Fisk instrument at its most sizable registrations. Surrounding it are arrangements of music by Bach: Alexandre Guilmant’s transcription of the Sinfonia from Cantata No. 29 and Henri Messerer’s organ version of the celebrated Chaconne originally conceived for unaccompanied violin. Admission is free, though donations are welcome. For information, call 505-982-8544, Ext. 16. — J.M.K

Andalusian ardour: EntreFlamenco

EntreFlamenco, a dance company launched in Madrid in 1998 by two protégés of María Benítez, is taking over the intimate “tablao” at the Lodge at Santa Fe (750 N. St. Francis Drive) with 8 p.m. performances, all nights but Tuesdays, from Wednesday, July 2, through August. Antonio Granjero, from Jerez de la Frontera, Spain, and his wife, Estefania Ramirez, an American who danced in Seville, Jerez, and other Spanish cities, present an evening of flamenco featuring a company of five dancers and four musicians. Tickets, which cost between $25 and $45 (discounts available), can be purchased through Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org). — M.W.S. 18

PASATIEMPO I June 27-July 3, 2014

50 YEARS + 50 ARTISTS

J ule s Olitski: Pink Doozi e

1964

Mag na o n c anvas

8 4" x 80"

A T R I B U T E TO R I VA YA R E S G A L L E RY Established 1964

JUNE 27 – NOVEMBER 3, 2014 P R E V I E W + R E C E P T I O N F R I D AY, J U N E 2 7 , 5 : 3 0 – 7 : 3 0 P M

YA R E S A R T P R O J E C T S 123 GRANT AVE, SANTA FE, NEW MEXICO 87501

w w w. ya r e sa r tp r o j e cts. co m (505) 984-0044

PASATIEMPOMAGAZINE.COM

PHOTO BY A.V. ELKAIM

PHOTO BY G. MARTIN

PHOTO BY J. BLACKMON

PHOTO BY J. TYRRELL

PORTFOLIO VIEWING

ARTIST TALKS

PARTY IN BLACK & WHITE

SEE THE 100 PHOTOGRAPHIC PROJECTS

HEAR THE STORIES BEHIND THE IMAGES

PRINT AUCTION & CELEBRATION

THE INTERNATIONALLY-ACCLAIMED PHOTOGRAPHY FESTIVAL

27 JUNE 2014, 6 –8 PM

27-28 JUNE 2014

28 JUNE 2014, 6:30– 9:00 PM

26-29 JUNE 2014

EXPOSING GREAT PHOTOGRAPHY. VISITCENTER.ORG CENTER PROGRAMS ARE MADE POSSIBLE IN PART BY NEW MEXICO ARTS, A DIVISION OF THE DEPARTMENT OF CULTURAL AFFAIRS, AND THE NATIONAL ENDOWMENT FOR THE ARTS, AND THE CITY OF SANTA FE ARTS COMMISSION AND THE 1% LODGERS TAX.

Australian Contemporary Indigenous Art III

Third Bi-ennial Exhibition Illustrated Catalog 40 New Works

June 27 - August 3 Opening June 27, 5-7:30

c h i a r o s c u r o 702 1/2

708 CANYON RD

GYPSY ALLEY, SANTA FE, NM

505-992-0711

w w w .chi a rosc urosa n ta fe . c om Caption: Ginger Wikilyiri & Keith Stevens, 2014, Acrylic on canvas, 79 x 77

PASATIEMPO | June 27 - July 3, 2014

James M. Keller I The New Mexican

Santa Fe Opera T

he opening night of Santa Fe Opera marks the launch of the city’s extravagantly musical summer season, which will keep music lovers hopping almost through the end of August. The company offers its customary five productions, but this year that adds up to six operas, because one of the productions is a double bill of two short works, Mozart’s The Impresario and Stravinsky’s La Rossignol (The Nightingale). That’s a rare step for the local company, which has been largely allergic to doubling up pieces in that way. Its last double bill was in 1993, when the pairing brought together two lesserknown stage pieces by Kurt Weill, The Protagonist and The Tsar Has His Photograph Taken. Before that we would have to look back to 1975: a dyad of Falla’s La vida breve and Ravel’s L’enfant et les sortilèges. Apparently this year’s linking of The Impresario and The Nightingale is being justified through a conception that will be imposed on the evening: Mozart’s feuding divas are auditioning for parts in Stravinsky’s shimmering opera. Extra dialogue has been crafted to clarify the context, and some Mozart concert arias are to be inserted to flesh out what qualifies as Mozart’s slightest operatic score. Whether this enriches one’s appreciation of either work we shall see when this production, overseen by English stage director Michael Gieleta, gets its first outing on July 19. Perhaps the exercise will open the company to being more amenable to one-acters and other operas that don’t fill an entire evening on their own. Such works represent a wealth of terrific, audience-friendly repertoire, and when they are banished a priori as possible repertoire, listeners are the losers. The season begins on Friday, June 27, with the ultimate operatic blockbuster, Bizet’s Carmen, which the company hopes will pack audiences in for 12 performances scattered through nine

weeks. Director Stephen Lawless did a fine job with the company’s L’elisir d’amore in 2009 and Faust in 2011. We hope he does as well with his current charge, which, we gather, involves moving Carmen out of 19th-century Seville and into a mid-20th-century nightclub. Sharing the opening weekend (on Saturday, June 28) is Donizetti’s Don Pasquale, a comic romp that, depending on the production, risks celebrating its inherent mean spirit more than anything else. Maybe director Laurent Pelly (remem-

The stage is set for the 58th season bered, not always fondly, from the company’s past outings of La belle Hélène, Cendrillon, Platée, and La traviata) will instill some kindness in the piece to inform the acres of splendid melody and vocal figuration we know will be there. The most hotly anticipated of the season’s operas must be Beethoven’s Fidelio, which opens on July 12 in its first-ever Santa Fe Opera production. One blinks in disbelief, but somehow it is true that the company has made it to its 58th season with no prior whisper of Fidelio. One of the most essential of operas, it is Beethoven’s mash up of different operatic genres of the early 19th century — partly a disguise comedy but mostly a heroic rescue opera with serious-ascan-be political overtones, its musical content ranging from wispy melodrama to stentorian symphonic outpourings. On the podium will be Harry Bicket, making his first appearance here since being named the company’s chief conductor a year ago. The director is Stephen Wadsworth, who guided the company’s mystical King Roger in 2012 and can usually be depended on to find logic and strength in the pieces he takes on. Far from incidentally, Fidelio

should offer stirring choral opportunities for the company’s apprentice singers. The year’s final production arrives through the side door to fill the spot intended for a contemporary opera. The company’s original selection was Miss Fortune, a recent work by Scottish composer Judith Weir, its title proving prescient when it was pelted with negative reviews after it was given at the Royal Opera House, Covent Garden. Santa Fe Opera’s general director, Charles MacKay, promptly removed it from the schedule and replaced it with Dr. Sun Yat-sen, by Chinese-born American composer Huang Ruo. Introduced by Hong Kong Opera in 2011 and then given a partial reading in 2012 at the Asia Society in New York, the piece gets its first American staging here. The plot involves China’s transition from a tradition-bound monarchy to a nation — or, in this case, nations — better suited to the political realities of the modern world. If that sounds too much like dry history, be assured that the piece does not skimp on Sun Yat-sen’s marriage to one of the colorful, powerful Soong sisters. The company seems to be hedging its bets on this one, offering only four performances (beginning July 26), but it is the season’s wild card and just might end up being the piece that gets tongues wagging most vigorously. The season both opens and closes (on Aug. 23) with Carmen, by which time the theater and surrounding hills will have resounded on 37 evenings with the sounds of operatic lovers (some devoted, some devious), cigar girls, military men, smugglers, bullfighters, a pompous bachelor, a merry widow, a political prisoner and his cross-dressing wife, sopranos being sopranos, a bird who keeps a Chinese emperor going, and a patriot who takes the reins of government when the Chinese monarchy is deemed outmoded. On that list there should be something for every taste. ◀ PASATIEMPOMAGAZINE.COM

James M. Keller I The New Mexican

From lackluster to blockbuster Carmen Music by Georges Bizet. Libretto by Henri Meilhac and Ludovic Halévy after a novella by Prosper Mérimée. Premiere: March 3, 1875, Opéra-Comique, Paris. Sung in French.

hen the curtain first came down on Georges Bizet’s Carmen, on March 3, 1875, nobody in attendance would have guessed that they had witnessed what would become admired as one of opera’s finest masterpieces. Ludovic Halévy, who served along with Henri Meilhac as co-librettist, left an account from behind the scenes. “As the first act ended there were many curtain calls. Backstage, Bizet was surrounded, congratulated! The second act, less enthusiasm. … Backstage, fewer admirers, congratulations restrained.” In the third act, he reported, the climate grew still chillier, and “the audience was frigid during the fourth act. Only a few devotees of Bizet came backstage. Carmen was not a success. Meilhac and I walked home with Bizet. Our hearts were heavy.” The only mitigating factor for Bizet was that disappointment was not a new experience for him. Although he was only 36 years old, Carmen was the 30th of his operas, if one tallies complete, incomplete, and projected works. It was the seventh to have made it to a staged production, and none of the first six had made much impact. A couple of them had not sunk outright. Les pêcheurs de perles (The Pearl Fishers), unveiled in 1863, got 18 performances before it was retired. That proved to be

PASATIEMPO I June 27-July 3, 2014

Bizet’s unlucky number; 18 performances were also all his operetta La jolie fille de Perth (The Fair Maid of Perth) could sustain in 1867, although at least it did get a second production the following year, in Brussels. These were the high points of his operatic career to date, and they were not very high. And yet, even as audiences averted their gazes and critics oozed venomous ink, some discriminating listeners in the opera community were glimpsing what they felt was a composer of distinct ability — a talent unfulfilled, perhaps, but an undeniable talent nonetheless. He had gained admittance to the Paris Conservatoire at the age of 9, after all. He had distinguished himself as an organist and pianist, even to the point that Franz Liszt, the ultimate authority on matters pianistic, stated that Bizet could make a career as a piano virtuoso if he so desired. He won the Prix de Rome, a seal of approval desired by all emerging French composers of that era, and the composer Charles Gounod took him under his wing. He received the cautious backing of Léon Carvalho, one of Paris’ most prominent producers, which led to his two 18-evening runs at the Théâtre Lyrique. Other composers took notice, and even the opinionated Hector Berlioz spoke of him with admiration, urging him from the sidelines to seek his fortune as a composer rather than as a performing musician.

“The score of Les pêcheurs de perles does M. Bizet the greatest honor,” he observed in a review, “and he will have to be recognized as a composer in spite of his rare talent as a pianist.”

he producer Camille du Locle felt secure enough to take a risk on Bizet at the company he co-directed with Adolphe de Leuven, the Opéra-Comique. In 1872 he mounted a one-act Orientalist effusion by the young composer titled Djamileh, derived from a poetic tale by Alfred de Musset. Du Locle cared about the work more for its possibilities of spectacle than for its musical content. When a friend of Bizet’s went to play through the freshly completed score for him, he was greeted by a piano in du Locle’s office that sported a gap where the middle-C key was supposed to be. “It doesn’t really matter, does it?” asked du Locle. In any case, Djamileh was also not a success, but it served as a steppingstone to the greatness that had constantly eluded the composer. Bizet’s biographer Mina Curtiss explains: Perhaps the epigraph at the head of the first canto [of Musset’s poem] caught his imagination. “A woman is like your shadow: run after it, and it escapes you; run away from it, and it follows.” It is a short step from there to Don José’s observation in both Mérimée’s and Meilhac and Halévy’s ‘Carmen’: “Women are like cats; they don’t come when you call them and do come when you don’t.”

Even though Djamileh ran for only 10 performances and received antagonistic reviews, it won further support for Bizet from some discerning quarters. The excellent (if now largely forgotten) composer Ernest Reyer wrote to Bizet, “The composer who stumbles in taking a step forward is worth more attention than the composer who shows us how easily he can step backwards.” Appreciative, encouraging notes also crowded into Bizet’s mailbox from the likes of Jules Massenet and Camille Saint-Saëns (who framed his praise in the form of a sonnet). Du Locle felt he had placed his bet on a winning horse, even if this particular race hadn’t worked out as he hoped. Even before Djamileh’s short run was over, he placed another commission in Bizet’s hands. This time it would be for a full-length opera, and although the subject was still to be decided, he was determined to harness Bizet to a couple of dependable and experienced collaborators. Meilhac and Halévy had by then churned out 10 librettos for Offenbach operettas, including such hits as La belle Hélène, La vie parisienne, and La Grande-Duchesse de Gérolstein. Another of their Offenbach librettos, La Périchole, was based on a play by Mérimée (18031870), one of those astonishing Renaissance men of continued on Page 24

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Carmen,

continued from Page 23

19th-century France. In addition to writing plays and short stories, Mérimée was the first important French translator of Russian classics by Alexander Pushkin and Nikolai Gogol, gained expertise in archaeology, rediscovered the long-lost “The Lady and the Unicorn” tapestries, served as France’s inspector general of historical monuments, and co-led a successful campaign to prevent the French government from demolishing the fortified medieval city of Carcassonne. Back in 1845 he had published a novella titled Carmen in the travel and foreignaffairs magazine La revue des deux mondes, which is still published today.

Another take on Carmen

must have been around 1978 that someone gave me my first copy of the not entirely accurate plot summary of Carmen (below), ostensibly distributed to English-speaking attendees at the Teatro Carlo Felice in Genoa. Further typed copies arrived by mail or fax for a decade or so, sometimes attributed to other opera companies but otherwise identical. Distribution seemed to dry up by the era of email — strangely, since this sparkling sapphire of prose would seem custom-made for that medium. I am told it has been handed out in translation classes as a cautionary tale. One senses the possible hand of a fabricator, and yet nobody has ever taken credit for authoring it, so far as I know. In any case, it deserves to remain in circulation. — J.M.K.

Act 1. Carmen is a cigar-makeress from a tabago factory who loves with Don Jose of the mounting guard. Carmen takes a flower from her corsets and lances it to Don Jose (Duet: “Talk me of my mother”). There is a noise inside the tabago factory and the revolting cigar-makeresses burst into the stage. Carmen is arrested and Don Jose is ordered to mounting guard her but Carmen subduces him and he lets her escape. Act 2. The Tavern. Carmen, Frasquito, Mercedes, Zuniga, Morales. Carmen’s aria (“The sistrums are tinkling”). Enter Escamillio, a balls-fighter. Enter two smuglers (Duet: “We have in mind a business”) but Carmen refuses to penetrate because Don Jose has liberated her from prison. He just now arrives (Aria: “Stop, here who comes!”) but hear are the bugles singing his retreat. Don Jose will leave and draws his sword. Called by Carmen shrieks the two smuglers interfere with her but Don Jose is bound to dessert, he will follow into them (final chorus: “Opening sky wandering life”). Act 3. A roky landscape, the smuglers shelter. Carmen sees her death in cards and Don Jose makes a date with Carmen for the next balls fight. Act 4. A place in Seville. Procession of balls-fighters, the roaring of the balls is heard in the arena. Escamillio enters (Aria and chorus: “Toreador, toreador, all hail the balls of a Toreador”). Enter Don Jose (Aria: “I do not threaten, I besooch you”) but Carmen repels him wants to join with Escamillio now chaired by the crowd. Don Jose stabbs her (Aria: “Oh rupture, rupture, you may arrest me, I did kill her”) he sings “Oh my beautiful Carmen, my subductive Carmen.”

PASATIEMPO I June 27-July 3, 2014

érimée cast his three-part novella in the first person. In Part One, Mérimée, searching for a particular archaeological site, makes the acquaintance in Andalusia of a mysterious Don José, who is reputed to be a dangerous robber. In Part Two, the author is in Córdoba, and there he meets a beautiful Gypsy woman named Carmen; he is surprised when they are joined by Don José, who escorts the author out. In Part Three, we learn the stories of Don José and Carmen. After murdering a man, Don José fled to Seville and joined a unit of dragoons. There he met Carmen, who worked in a cigar factory. After she cut another woman in a fight, he arrested her, but she charmed him into letting her go, for which he was demoted. Their paths continued to cross, and as they grew increasingly intimate, he fell deeper into crime, eventually murdering her husband and marrying her. The more she reels him in, the less she loves him. She rebuffs his entreaties to take her to America, where they might start an honest life together. Instead, she takes up with a virile young picador. The enraged Don José stabs her to death and turns himself in to the authorities. When Carmen was published in book form a year later, Mérimée appended a fourth section, a largely specious treatise on the history and language of the Romany (Gypsies). This apparently grows out of Don José’s insistence, in Part Three, that the whole tragedy is a result of what he views as the Romany character and how Carmen was raised. Meilhac and Halévy zeroed in on Part Three of the novella and, with their well-honed instincts for stagecraft, massaged it into a libretto for Bizet’s commissioned opera. The love triangle of Carmen balancing the corporal Don José and the bullfighter Escamillo (whom they promoted from picador to matador) was hot and spicy, but it couldn’t hurt to place Don José in the center of his own love triangle, torn between the temptress Carmen and Micaëla, a sweet-as-pie girl from back home who, to make her even more wholesome, pops up as an emissary from Don José’s saintly mother. Some of the novella’s more evocative sites beckoned to serve as settings — the plaza outside the cigar factory in Seville, a tavern frequented by shady characters, a deserted smugglers’ camp, the exterior of the bullring — and the librettists worked in extended scenes to ramp up the exoticism with street urchins, fortune-tellers, and unrestrained Gypsy dancers. Co-producer de Leuven had suggested several other subjects, but Bizet was adamant about writ-

ing a Carmen opera. Du Locle supported the idea, which promised a full measure of lurid sexuality and shocking violence — good news at the box office. He knew that de Leuven would protest. “But we have de Leuven to contend with,” he told Halévy. “Such a subject would put him in a rage.” Halévy consented to go persuade de Leuven and reported: “I had not finished my first sentence when [de Leuven] interrupted: ‘Carmen! The Carmen of Mérimée? Wasn’t she murdered by her lover? And the underworld of thieves, Gypsies, cigarette girls — at the OpéraComique, the theatre of families, of wedding parties? You would put the public to flight. No, no, impossible!’ ” Halévy promised to depict “a softer, tamer Carmen.” “True,” he said, “we would have Gypsies, but Gypsy comedians. And the death of Carmen would be glossed over at the very end, in a holiday atmosphere, with a parade, a ballet, a joyful fanfare.” If Halévy’s account is at all factual, his promises even at that formative point in the opera’s history must have been duplicitous. He surely knew that this opera would break from the typical, cheerful traditions of the Opéra-Comique. Before Carmen had a chance to put the public to flight, it put de Leuven to flight. He resigned his position in 1874, outraged by the direction the work was taking, leaving du Locle to take the producing credit or blame on his own.

nd so, after the sort of sustained chaos that has attended the birth of many an opera, Bizet stood with Meilhac and Halévy in du Locle’s Opéra-Comique on that winter night in 1875, his entourage gradually peeling away as Carmen sunk toward ignominy. Most of the critics let loose with abandon. “Friends of unrestrained Spanish gaiety must have been delighted,” railed the reviewer in Le siècle, which was actually a liberal newspaper. “There were Andalusians with sun-burned breasts, the kind of women, I like to think, who are found only in the low cabarets of Seville and lovely Granada. A plague on these females vomited from Hell! … this Castilian licentiousness! It is a delirium of castanets, … of provocative hip-swinging, of knife-stabs gallantly distributed among both sexes, of cigarettes roasted by the ladies. … The pathological condition of this unfortunate woman, consecrated unceasingly and pitilessly to the fires of the flesh … is fortunately a rare case, more likely to inspire the solicitude of physicians than to interest the decent spectators who come to the Opéra-Comique accompanied by their wives and daughters.” A minority of critics, however, were glad to see the old traditions challenged. The poet Théodore de Banville, doubling as critic for Le national, wrote, “Instead of those pretty sky-blue and pale-pink puppets who were the joy of our fathers, [Bizet] has tried to show real men and real women, dazzled, tortured by passion.” Even as he encouraged the audacity of the libretto, du Locle grew increasingly worried about Bizet’s music, which at one point he dismissed as “CochinChinese” — meaning utterly incomprehensible. Fortunately, the singers cast as Carmen and Don José found much to admire in their parts, and they stood by their composer. Open-minded listeners tended to agree about the score. Massenet and

Saint-Saëns both sent the composer warmly worded congratulations shortly after the opening. Pyotr Ilyich Tchaikovsky, visiting Paris from his home in Moscow, caught Carmen in its original production, and he later wrote of it: “In my opinion it is a masterpiece in the full meaning of the word — that is, one of those rare pieces that are destined to reflect most strongly the musical aspirations of an entire epoch. … There’s an abundance of piquant harmonies, of completely new combinations of sound — but all this isn’t simply an end in itself.” Even though the work’s reception on opening night was far from enthusiastic, du Locle kept the production going for 45 performances in 1875 and a further three in 1876. In October 1875, it was produced in Vienna; it was for this production that the opera’s original spoken dialogue was replaced by sung recitatives, which became the usual version as Carmen began to overtake the world. Those recitatives were written by Bizet’s longtime friend Ernest Guiraud, who took on the job because the composer himself was no longer available. At three in the morning of July 3, 1875, Bizet died at the age of 36, felled by what may have been a heart condition or the effects of a tumor in his ear. Exactly four months had passed since the opening of Carmen, which was just then reaching its 33rd performance. It qualified as his biggest success so far, but by the time he died, Bizet could not have supposed that the run would be stretched out much longer. He could scarcely have imagined that within a few years, music lovers everywhere would be humming Carmen’s Habanera and Seguidilla, Don José’s Flower Song, and Escamillo’s Toreador Song. Only in his dreams could he have envisioned that orchestras around the world would be programming suites of the work’s most infectious melodies or that Carmen would be held up as a model of musico-dramatic balance as opera moved into a future increasingly marked by realism on the stage. ◀

Carmen opens at Santa Fe Opera at 8:30 p.m. on Friday, June 27, and continues with performances at 8:30 p.m. on Wednesday, July 2, 5, 11, and 18, and at 8 p.m. on July 28 and Aug. 2, 6, 11, 16, 20, and 23. Mezzo-soprano Daniela Mack portrays the title character through July 18, and soprano Ana María Martínez from July 28 on. Tenor Roberto De Biasio is Don José, and bass-

baritone Kostas Smoriginas is Escamillo. Rory Macdonald conducts, and Stephen Lawless is the director. Santa Fe Opera is seven miles north of Santa Fe on U.S. 84/285. Single ticket prices vary from performance to performance depending on demand.Prices start at $32; standing room is $15. Call 505-986-5900 or visit www.santafeopera.org.

PASATIEMPOMAGAZINE.COM

James M. Keller I The New Mexican

C Chronicles of Carmen

Gypsy Woman Dancing, photo by Gaston Paris

PASATIEMPO I June 27-July 3, 2014

armen occupies an indelible place in the consciousness of practically anybody who comes in touch with the arts, whether through literature, music, dance, painting, film, or Tom and Jerry cartoons. She personifies the untamable free spirit. As Ninotchka Devorah Bennahum writes in Carmen: A Gypsy Geography, this female archetype was born of deep historic roots, but she first took enduring form in Prosper Mérimée’s novella Carmen, published in Paris in 1845. Even there she is swathed in mystery, wafting between reality and the imagination. Writes Bennahum: “Carmen appears to Mérimée through a puff of smoke; he is smoking the very tobacco she rolls when he catches a glimpse of her. The reader is left with the poetic impression that it is not he who sees her first, who invents her, but rather she who sees him, who invents him. In Carmen, Mérimée, who spent fifteen years shaping her character, unearthed himself.” The novella and its title character gained considerable notoriety, but when Bizet followed up with his opera 30 years later, the naughty Gypsy was elevated to celebrity status. “Overnight, thanks to the French critics, Carmen became famous, the embodiment in popular consciousness of the anti-heroine, the ‘bad girl,’” Bennahum says. “While the novella seemed tame enough as she did not appear in the flesh …, the opera and its real-life femme did not fare as well. A ‘real’ Carmen brought to life on the stage led to a barrage of criticism that literally ritualized her, sacrificing even Bizet’s complex, thematic melodies in favor of middle-class morality. Until she was surely dead and gone, the critics continued to publish articles linking her singing voice to ‘evil.’ Herein began a complex historiography of prejudice against the ideal Gypsy woman whose crime was to be free.” Bennahum sets herself the challenge of tracking down the essence of this character, which she does compellingly by pursuing interdisciplinary paths. She is first and foremost a dance historian, but you wouldn’t necessarily realize it, as she dissects her subject from the perspectives of mythography, ethnography, history, and geography. The novel and the opera are her points of departure, and she devotes substantial chapters to both. Mérimée was specifically inspired by a visit he made to Spain in 1830. There he befriended a noble couple, and the wife shared with him a story she had read in a Madrid newspaper about “a jacquerie from Malaga who had murdered his mistress — a Gypsy — for having ‘devoted herself to the public’ and having refused to be in his company exclusively.” From this germ grew the novella, from the novella the libretto, from the libretto the opera. You are not likely to find a more punctilious consideration of the historical backdrop to Bizet’s opera. For example, Bennahum’s readers are treated to a detailed description of the actual tobacco factory in Seville where Bizet’s librettists put their anti-heroine to work. Erected between 1728 and 1771, “the tobacco factory, situated on the calle San Fernando, when in operation, contained 21 courtyards, 21 fountains, 10 wells for cleaning the factory, 116 grinding mills, 40 reviewing mills, and 87 pens and stables to contain 400 animals used for the milling work. … When it was finally closed in 2003, its 233 workers, mostly women, claiming to be the ‘rightful heirs’ of Carmen, protested the closure of a practice that had been an institution in Spain for four hundred years.” Indeed her account does not shirk when it comes to details; the footnotes and bibliography fill 54 pages, leaving just about 200 pages of actual text. This book is not an easy read,

Gypsy Festival, Sacromonte, Granada Left, Lyric Artist in the Role of Carmen Bottom, Algerian Woman Posing for the Camera All images courtesy Wesleyan University Press/Roger-Viollet Archives, Paris

sometimes weighed down by vocabulary redolent of the college campus, but it will be enriching to people who stick with it. The author investigates Carmen-like figures from antiquity, spotting the anti-heroine’s ancestors in ancient Babylon, Egypt, and Crete. She explores the complicated cultural geography of the Gypsy people, a “cartography of exile,” as she puts it, that spread from India westward through Persia and the Arab world to Spain, and she chronicles the often severe social restrictions that were placed on these perpetual outsiders. In Spain they were viewed with predictable bigotry. “The Gitanas are public harlots,” a Spanish theologian reported to King Philip III back when the Inquisition was in full swing. “[Their] dances, demeanor, and filthy songs are the cause of continual detriment to the souls of the vassals of your Majesty.” Bennahum follows the Gypsies in dance cafés around the Mediterranean, noting how European observers conflated Middle Eastern dancing and flamenco into a generalized perception of Gypsy dance. “Carmen as Gypsy geographer,” she concludes, “dances on an immanent field that represents her journey.” That journey had already passed through vast distances and many centuries by the time the character of Carmen coalesced in Mérimée’s novella and Bizet’s opera. Bennahum reminds us that, complex though that character is, Carmen’s roots are richer still. ◀ “Carmen: A Gypsy Geography,” by Ninotchka Devorah Bennahum, is published by Wesleyan University Press. PASATIEMPOMAGAZINE.COM

James M. Keller

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The New Mexican

Carmen

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A Tragedy Foretold in the (Post)Cards

he golden age of American and European picture postcards began at the turn of the 20th century and lasted for about 15 giddy years. World War I put a damper on the fad, and in the United States the death knell was sounded in 1917, when mailing rates for postcards increased from one penny to two. During that short span, printers issued a torrent of postcards depicting every imaginable topic. Opera was well served, and a number of publishers issued postcards in series that, taken together, offered a condensed narrative of a work’s plot. The Milan firm of E. Sormani managed to condense Carmen into nine seminal images, each accompanied by a bit of text (in Italian translation) and a snippet of relevant musical notation. As a group, this set of cartoline liriche, which appeared just after 1900, might be taken as a harbinger of the graphic novels of a century later. Act I: Following a vivacious orchestral Prelude in which bullfighting music sets the scene in Seville, soldiers watch over a public square that fronts a tobacco factory. Micaëla, arrived from the country, seeks a corporal named Don José; but, frightened by the busy scene, she runs off. Arriving after a changing of the guard, Don José tells his lieutenant, Zuniga, about Micaëla, an orphan girl from back home in Navarre who has been raised by his saintly mother. He also alerts Zuniga about the girls who will shortly return to the factory to continue rolling cigars following their lunch break. They arrive, dominated by La Carmencita (Carmen). She sings her seductive Habanera, espousing that one should seize love when one can. She throws a flower at Don José’s feet. He picks it up but tucks it away when Micaëla arrives back at the square bearing a letter from his mother urging him to marry Micaëla. She leaves on an errand and a fight breaks out in the factory. It seems Carmen is to blame, and Don José is ordered to conduct her to jail. She seduces him by singing the sinuous Seguidilla and he lets her get away. Act II: Partying in a tavern with her Gypsy friends, Carmen learns from Zuniga that Don José has been stripped of his rank for allowing her to escape his custody. The bullfighter Escamillo arrives, sings his strutting Toreador Song, and expresses his interest in Carmen. She rebuffs him. Her sights are set on Don José, who continued on Page 30

PASATIEMPO I June 27-July 3, 2014

Act I—Free-spirited Carmen nearly shows a bit of ankle as she sings herHabanera.

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Act II—Carmen convinces Don José to desert his regiment and follow her to the mountains.

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Act I—Seduced by Carmen’s Seguidilla, Don José lets her escape on her way to jail.

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Act II—Bullfighter Escamillo displays bravado in his Toreador Song, but Carmen is unmoved.

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Act III—Carmen finds in her fortune-telling cards bad portents for her and Don José.

Act III—Don José is out of his depth when he fights with Escamillo over Carmen. PASATIEMPOMAGAZINE.COM

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Act III—Don José refuses to leave Carmen even after she says her love for him has withered.

Act IV—Before entering the bullring, Escamillo woos Carmen, who now proves receptive.

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Act IV—Carmen refuses to yield to Don José, even knowing that death awaits her at the tip of his knife. 30

PASATIEMPO I June 27-July 3, 2014

arrives to woo her, displaying the flower she had thrown to him earlier. Zuniga, disarmed by the Gypsies, is led out, and Don José leaves with Carmen, becoming a military deserter to join her in the outlaw life. Act III: After a bucolic entr’acte, Carmen and Don José are busy among their smuggler friends at a remote site outside Seville. Their romance is not going well. Her Gypsy friends disport themselves by telling fortunes with playing cards. When Carmen joins them, she finds in the cards only premonitions of death for herself and Don José. The smugglers’ encampment turns out to be a busy destination. Micaëla shows up, and then Escamillo, whom Don José engages in a knife fight. Escamillo is about to kill him when Carmen appears and intercedes. He leaves, inviting everybody to his upcoming bullfight. Micaëla, who has been hiding through the fight, begs Don José to return home with her. Carmen seconds that idea, but Don José refuses to relinquish her. Nonetheless, when Micaëla reveals that Don José’s mother is dying, he rushes off with her. Act IV: Throngs fill the plaza outside the bullring in Seville, where Zuniga and Carmen’s friend Frasquita express worries about the beleaguered couple. Escamillo is cheered at his entrance, and he and Carmen exchange affections. Frasquita warns her that Don José is in the crowd, but she stays behind when everyone enters the bullring. She confronts him boldly, refusing his entreaties to rekindle their love. Enraged, he stabs her to death. Cheers accompany Escamillo’s triumph inside the bullring, and the attendees burst out into the plaza as Don José, standing above Carmen’s lifeless body, surrenders to the law. ◀

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The newlywed game 32

PASATIEMPO I June 27-July 3, 2014

Don Pasquale Music by Gaetano Donizetti. Libretto by Giovanni Ruffini and the composer. Premiere: Jan. 3, 1843, Théâtre-Italien, Paris. Sung in Italian.

••

oday, people who go to the opera don’t blink at the idea of a modern-dress production, but it was a strange concept in 1842, when Gaetano Donizetti decided that was how he wanted audiences to experience Don Pasquale, the new piece he was working on. By convention, operas were viewed as having a somewhat antique character. That was inalienably the case with works based on historical subjects or set in some specifically defined period in the past — a trait left over from the armor-clad, toga-draped days of Baroque and Classical opera seria — but it also extended in a general way to comic operas. There was good logic in this. A work of comedy ought to make its viewers laugh, of course, but it might also get under their skin, inviting them to laugh not just at the characters onstage but also at themselves. Some attendees might prove a bit thin-skinned in that regard, but at least dressing the dramatis personae not exactly like the people in the audience would provide requisite distance for the hypersensitive. By the time he turned his sights on Don Pasquale, Donizetti’s theatrical instincts had been honed to a razor point. He had been watching audiences react to his operas since 1818, when he saw the first production of one of his operas just two weeks before his 21st birthday and his second a month later. He continued to churn out new works at a head-spinning pace, often unleashing two, three, or even four in the course of a single year. Not all of them were successes, to be sure, and through the passing years most of his titles have receded into the shadows of obscurity. Nonetheless, he scored bull’s-eyes with a handful that, along with Don Pasquale, earned places on opera’s honor roll: L’elisir d’amore in 1832, Lucia di Lammermoor in 1835, La favorite in 1840, La fille du régiment in 1840, and his “Tudor queens” trilogy, comprising Anna Bolena in 1830, Maria Stuarda in 1834-1835, and Roberto Devereux in 1837. He gained a reputation for working well with his colleagues, and singers appreciated the fluency with which he created scores that showed off their individual strengths. He was dependable, practical, and marketable. Opera producers clamored to snag his new works for their rosters. He became a star composer not only in his native Italy, where his works appeared on the leading stages of Naples, Rome, Venice, and Milan, but also in foreign music centers. Among the latter, Paris played an especially important role in his career. It was arguably the most heady of all European music capitals in the 1820s, ’30s, and ’40s. It was a natural destination for Italian opera composers, the way having been cleared by Gioachino Rossini, who had been based there since 1824, scored remarkable triumphs

through 1829, and remained a high-profile Parisian through his ensuing four decades of retirement. Vincenzo Bellini followed in his wake, and so did Donizetti, who composed his first opera for Paris in 1835 and moved to the city three years later. Paris would be his home practically until his death, although in Donizetti’s final months his family moved him, entirely debilitated by tertiary syphilis, back to Bergamo, the city in which he had been born and in which, in 1848, he died at the age of 50. In Paris, Donizetti’s operas became mainstays of several theaters. His Italian-language scores proved popular at the Théâtre-Italien, where Don Pasquale was unveiled on Jan. 3, 1843; but others of his operas, written originally to French texts or else adapted to French translations, graced the stages of the Paris Opéra and the Opéra-Comique. When La fille du régiment was produced at the latter, Hector Berlioz quipped, “One can no longer speak of the opera houses of Paris but only of the opera houses of Monsieur Donizetti.” Donizetti was leading a cosmopolitan life in 1842. At the beginning of the year he was in Milan working on his opera Linda di Chamounix, and he had expected to be also writing a new work for London — an opera to a libretto by Felice Romani (the librettist of Anna Bolena and L’elisir d’amore, among many other works). The London opera would have been Donizetti’s highest paying commission to date, but Romani failed to provide the libretto within the time promised, and the project was scrapped. Romani had an excuse: at the age of 56 he had just become a newlywed. Donizetti was angered nonetheless, and it may be that this episode inspired him to ponder the folly that might attach to an aging bridegroom. It’s not as if he lacked other opportunities. In March, he headed to Vienna to conduct the local premiere of Rossini’s Stabat Mater — a charity event, but Rossini presented him with four diamond studs as personal thanks. On May 19, still in the Austrian capital, he presided over the premiere of Linda di Chamounix, which received 17 curtain calls at its first performance, and the following day he presented the Austrian emperor with an Ave Maria for five-part chorus plus strings. Within weeks he was named Hofkapellmeister to the emperor, which would obligate him to provide an opera the following year. Then he was off to Italy to visit old friends and attend to some personal business involving real estate, and in September his path led him back to Paris, where he was immediately handed a contract from the ThéâtreItalien for what would become Don Pasquale, the 64th of his 66 operas. continued on Page 34

PASATIEMPOMAGAZINE.COM

Don Pasquale, continued from Page 33 Although Donizetti later boasted that he composed Don Pasquale in 11 days, that was an exaggeration; his work covered about three months, and even at that he recycled several of the opera’s numbers from pre-existent compositions, as he did habitually. Donizetti chose the subject himself: a recasting of Ser Marc’Antonio, an 1810 opera composed by the now-obscure Stefano Pavesi to a libretto by Angelo Anelli (who had most likely drawn some inspiration from Ben Jonson’s plays Volpone and Epicoene, or The Silent Woman). He hired Giovanni Ruffini, an Italian ex-pat living in Paris, to adapt Anelli’s libretto to his new requirements and then altered Ruffini’s text so much that he really should be credited as co-librettist, which he sometimes is. By the time the project was done, Ruffini was so upset that he removed his name as author of the libretto, which instead appeared with the cryptic and perhaps meaningless attribution of authorship to “M.A.” The opera’s story is a comedy of a broad and implausible sort centering on a corpulent, aged bachelor, Don Pasquale, who is so annoyed that his nephew Ernesto is intent on marrying Norina, a young widow of whom he disapproves, that he decides to disinherit Ernesto, get married himself, and sire some children to be proper heirs to his wealth. He consults his physician, Dr. Malatesta, who not only supports this plan but also proposes that Don Pasquale marry his (Malatesta’s) own sister, Sofronia, who is sure to be a perfect match. Once the marriage is officialized, Sofronia turns out to be a demanding shrew. Following various complications, Dr. Malatesta shares a brainstorm with his friend: if Don Pasquale were to allow Ernesto and Norina to be married, then Norina could move in as mistress of the house, and Sofronia

Luigi Lablache, creator of the title role in 1843.

PASATIEMPO I June 27-July 3, 2014

would surely be so angered by this that she would leave. This strikes Don Pasquale as a congenial solution. It works out according to plan, except that Sofronia turns out to be Norina in disguise, of course, and the whole business is revealed to have been staged to convince Don Pasquale to allow Ernesto and Norina to marry. When the trickery is laid plain, Don Pasquale responds with surprising equanimity, relieved that he hasn’t gotten himself chained to an intolerable wife after Gaetano Donizetti all. In the work’s finale, Norina hammers home the point: “The moral of all this is easily found. … The man who marries when he’s old is utterly weak in the head. He is going out of his way to seek out a heap of trouble.” Did Donizetti select this tale to serve as a sly rebuke to Felice Romani, whose activities as an aging bridegroom had torpedoed a remunerative operatic commission? Very possibly so, and it may be that this real-life connection lay behind Donizetti’s desire to present this opera as a contemporary comedy, with the singers appearing in upto-date dress. But the composer did not get his way. Librettist Ruffini, in a letter to his mother, explained what happened, oddly referring to himself in the third person: “Donizetti wanted the cast of Don Pasquale to wear costumes in the style of the contemporary bourgeoisie; the artists, on the other hand — except for Lablache — rebelled against this order. Ruffini was of the same opinion as the artists, because he felt that wigs and velvet costumes were much more in keeping with the subject matter; but Donizetti replied in a peremptory manner, ‘The music works against this.’ He had to give in, however, so as not to store up too much bad feeling against his opera, which was already coming up against a fair number of obstacles.” When the reviews came out, many journalists took Donizetti’s side on the matter. Wrote the critic for the Journal des débats, “What the play of Don Pasquale lacks is costuming for the characters that renders their conduct and their appearance lifelike.” No matter. In the course of a successful career that by then lay mostly behind him, Donizetti had learned that it behooves a composer to have the singers on his side. This, therefore, was a battle he decided not to fight. For this opera he had four of the greatest singers of the era: as Norina/Sofronia, the soprano Giulia Grisi; as Ernesto, the tenor Giovanni Matteo Mario (who used just “Mario” as a stage name and in real life was married to Grisi); as Dr. Malatesta, the baritone Antonio Tamburini; and, as Don Pasquale, the bass Luigi Lablache. (Rounding out the roster, as the false notary who solemnizes the marriage, was Federico Lablache, Luigi’s son, noted in operatic circles for his vocal incompetence.) Following the premiere, the French critics were most effusive in their praise of Grisi and Luigi Lablache, finding Mario and Tamburini vocally admirable but a bit faceless in their portrayals. This may have been a function of the parts quite as much as of the performances, since Norina and Don Pasquale do seem at heart more detailed in their characterization. If one member of the cast shone the brightest, it was Lablache, whom Donizetti described, in a letter to his publisher, as the “pivot” to the new opera. Lablache was particularly renowned for his portrayal of comic bass parts and found that the role of Don Pasquale fit him like a glove. He must have been wondrous to behold. The poet and critic Théophile Gautier described the experience:

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Don Pasquale opens at Santa Fe Opera at 8:30 p.m. on Saturday, June 28, and continues with performances at 8:30 p.m. on July 4 and 9, and at 8 p.m. on July 29 and Aug. 4, 9, 13, 19, and 22. Baritone Andrew Shore portrays the title character. Tenor Alek Shrader sings Ernesto. Soprano Laura Tatulescu plays Norina/Sofronia. Baritone Zachary Nelson sings Dr. Malatesta. Corrado Rovaris conducts, and Laurent Pelly is the director. Santa Fe Opera is seven miles north of Santa Fe on U.S. 84/285. Single ticket costs vary from performance to performance depending on demand. Prices start at $32; standing room tickets are $15. Call 505-986-5900 or visit www.santafeopera.org.

The title character of Don Pasquale did leave some progeny in later operas, including such famous figures as Verdi’s Falstaff, Puccini’s Gianni Schicchi, and Strauss’ Baron Ochs in Der Rosenkavalier and Sir Morosus in Die schweigsame Frau. And yet, those characters were created in a puff of memory, within an acknowledged framework of historical quaintness. Donizetti’s Don Pasquale, in contrast, rumbles across the stage as the last in a distinguished succession of basso buffo roles that rose in the second quarter of the 18th century and persisted for more than a hundred years, characters who still hold the stage today through the likes of Uberto in Pergolesi’s La serva padrona, Dr. Bartolo in Rossini’s Il barbiere di Siviglia, and Dr. Dulcamara in L’elisir d’amore. Outrageous as they are, these uncles and guardians and braggadocios seem curiously authentic, as if they actually were wrought out the fabric of real life. Even if Donizetti did not succeed in convincing his colleagues to portray the personages of Don Pasquale as contemporary types, at least the title character has a good chance of coming across as believable. He is a vain, self-deluding, yet somehow endearing, peacock — which is to say that he is very much like some of us. ◀

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The uncle, played by Lablache in the most fluttering manner, wearing a housecoat of white dimity, nankeen trousers, and a black silk bonnet, is like all uncles everywhere, very displeased with his nephew. … To receive [Sofronia], Don Pasquale makes a most extravagant toilette: a superb wig the color of mahogany with too many curls; a green tailcoat with engraved gold buttons, which he could never fasten because of the enormous rotundity of his figure. All of this gives him the look of a monstrous beetle that wants to open its wings to fly and cannot succeed. With the most gallant air he advances with popping eyes, his mouth heart-shaped, to take the girl’s hand. She emits a cry as though she had been bitten by a viper.

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Michael Wade Simpson I For The New Mexican

Alek Shrader and Daniela Mack

Carmen and Don Pasquale may be alternating on the same stage at Santa Fe Opera this weekend, but that won’t stop some cast members from fraternizing. Daniela Mack and Alek Shrader, who are playing, respectively, the title role in Carmen and Ernesto in Don Pasquale, will definitely be seeing each other on and off stage. They happen to be married. They met playing Cinderella and Prince Charming in Rossini’s La Cenerentola in San Francisco. At the final dress rehearsal, as Mack was about to go onstage, Shrader, standing next to her in the wings, blurted out that he had feelings for her. Bad timing, maybe, but Mack admitted, “I went on with my heart racing. I was riding high: ‘He likes me!’ ” It was in the parking lot, after the last performance, that he asked her to go steady. “When I first heard her voice,” Shrader said, “I was stunned. Then I thought, I need to get into the practice room before she hears me again.” “I fell in love with the quality of his voice,” Mack said. “It has a beautiful, distinct quality. Our voices fit well together.” Mack unwittingly delivered her own engagement ring from the United States to Europe, where Shrader was working. Shrader’s sister had asked her to carry a wrapped “Christmas gift” from home in her luggage. Shrader proposed on Christmas Eve. In a production of Mozart’s Idomeneo that they both appeared in, Shrader played a role that required

PASATIEMPO I June 27-July 3, 2014

him to be made up to look 80. “I kept looking at him, thinking, Is that what it’s going to be like?” The two seem to be managing the demands of separate careers, international travel, and a threeyear-old marriage. “If one of us isn’t working, the other tags along,” Shrader said. “Twelve weeks is the longest we’ve been apart, and it was agonizing.” What is it like to sit in the audience and watch your partner perform? “When Daniela recently premiered in Dead Man Walking [playing Sister Helen Prejean], I don’t think I’ve ever been more nervous in my entire life. I knew what a big deal the role was — what it meant to her. I know how much she cared. It made me want her to crush it.” “Alek only told me that story recently,” Mack said. “I get that way too. It’s almost worse than being onstage. In the audience, you have to sit still and be quiet and hold in your nerves. I’m not good at that. Last summer Alek was in Glyndebourne doing the same role in Don Pasquale. I was there all summer hanging out. At dress rehearsal he was under the weather. Knowing that made it really hard to sit there. My heart was beating so fast. I know what it is to deal with nerves.” Mack, who was raised by an Argentine mother and an American father in Houston, said that although she definitely has a little of her mother’s outspokenness, she’s a lot more demure than Carmen. “It’s fun. I get to live in somebody else’s skin. I pretend to be

Ken Howard; courtesy Santa Fe Opera

He said, • she said

an aggressive woman. I like all my characters for different reasons. I identify with Cinderella quite a bit. She’s sweet. I like her very much.” Shrader said of his upcoming role that “Ernesto believes the best in people. He’s an optimist, clumsy, a little oblivious. I try to be optimistic. I try to retain a grounded sense of reality. That’s healthy for an opera singer.” In 2010, he played the title role in Santa Fe Opera’s production of Britten’s Albert Herring. “Albert means to do well but can’t get ahead. I can connect with that. I’ve had times when I say, Why is this happening to me? “There is a certain Zen enjoyment from what I do that doesn’t come from applause. I’m living through a vocal shift. I’ll have different roles in the future. I used to sing the super-high repertory, but that’s not where my voice lies anymore. Someday, when my voice is at its heaviest, I might get a chance to play the role of the Duke in Rigoletto. That’s on my bucket list.” Talk of starting a family has already begun. “Did Alek tell you he’s been ready to have a family of six for about 19 years?” Mack asked. “We both come from small families. He doesn’t know quite what that means. But I’d love to have a lot of kids. There will have to be a shift in my career, but I have a great many friends who are singers with kids, and they make it work. We’ll be traveling with a nanny or a relative. My mom has already volunteered.” ◀

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Native Portrait Studio A photo booth will be at the museum to take your snapshots. You may take your photos home with you, but please leave one print for the Community Gallery.

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

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

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amish Quilts: the story of america’s “first abstract art” Museum research Center, 135 Grant Avenue $5. Members & Business Partners Free friDaY, JUlY 18

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PASATIEMPO | June 27 - July 3, 2014

Book Signing

Tuesday, July 1st | 6-7:30 pm Ambassador Sichan Siv will be in Santa Fe to discuss his life and recently published novel Golden State. He is the author of a bestselling autobiography Golden Bones that tells of his childhood in Cambodia, perilous escape from the killing fields of the Khmer Rouge, arrival in the U.S. as a refugee, career at the United Nations representing Cambodia and later the U.S., and his work in Washington as deputy assistant secretary of state for South Asia under President George Bush.

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Michael Abatemarco I The New Mexican

from

HERE to IBERIA

H I S PA N I C I M AG E S OF M A RY, OL D A N D N E W

the late 1960s, after many years spent living and working with Latin American communities in Central and South America, Charles Wood Collier and Nina Perera Collier established the International Institute of Iberian Colonial Art on their private estate, Los Luceros, in Alcalde, New Mexico. In the decades before they founded their institute, the Colliers traveled extensively throughout the Americas when Nina Collier worked for Nelson Rockefeller in the State Department’s Bureau of Educational and Cultural Relations. During World War II, both Colliers served on an American diplomatic mission to Bolivia, relocating in 1942 to La Paz, where they remained until 1944, when they came back to the U.S. The Colliers lived in Maryland during the rest of the 1940s and ’50s, pursuing a number of scientific, educational, and artistic endeavors that included crossbreeding cattle to improve herds in Caribbean nations. They continued their journeys, traveling in Mexico and the Andean nations and collecting and restoring the examples of Iberian colonial paintings and sculptures that would form the backbone of the Los Luceros collection. Religious themes of course predominate in colonial painting, and inside the Latin American churches and missions the Colliers visited, such precious iconographic works were falling into disrepair from long-term neglect, prompting the couple to preserve this important legacy. 44

PASATIEMPO I June 27-July 3, 2014

In 2005, 70 paintings and three sculptures from the Los Luceros estate — among them significant pieces by Juan Correa (1646–1716), Melchor Pérez de Holguín (1660-1732), and José de Alcíbar (1730-1803) — were given to the Palace of the Governors. Josef Díaz, the New Mexico History Museum’s curator of Southwest and Mexican colonial art, has assembled an exhibition around the collection, focusing on Latin American depictions of Mary from Spain’s three colonial capitals: Cuzco, Peru; Mexico City, Mexico; and Santa Fe, New Mexico. Painting the Divine: Images of Mary in the New World opens at the museum on Sunday, June 29. About half of the Colliers’ donated collection is on view, with around a dozen items recently restored by conservators. Other works, from both private and public venues, as well as pieces from the museum’s own holdings, are included. In the Americas, religious iconography developed along various trajectories, blending styles of European painting, such as Spanish Baroque, with locally gathered materials and landscape features from the Old and New worlds. European-style guilds and schools were formed for the production of religious art, commissioned by

the Catholic Church for installation in places of worship. An underlying motif that the show’s works bring to light is how much their strong faith sustained the Spanish colonists during difficult times on the remote frontiers far from Europe, and how this powerful grounding in religion caused art to evolve in these colonial centers — and beyond. At the start of the exhibit, visitors are greeted by a large-scale painting called Our Lady of the Rosary, an 18th-century oil on canvas by an unidentified Mexican artist. The piece is included as an example of a “sculpture painting,” a genre based on the traditional bulto, a religiously themed sculpture typically carved in wood. According to Díaz, sculpture paintings can be identified by the statuesque pose of the central figure and the pedestals on which standing figures are placed. Sculpture paintings also portray the Virgin wearing the elegant, opulently embroidered textiles used to clothe the carvings they refer to. Examples of the kinds of bultos artists copied in paint are included, minus their dress, allowing visitors to see the wooden framework beneath. Most colonial-era works were left unsigned, attributed to schools rather than to a single artist. Only about a half dozen works on display are signed, with many more matched to artists only later, through careful research to identify styles and techniques. Colonial-era artists also worked collaboratively on continued on Page 46

Unidentified artist, Peru or Bolivia: Our Lady of Copacabana With Saint Joseph and Saint Peter, 17th century, oil on canvas. Opposite page, unidentified artist, Cuzco School: Rest on the Flight Into Egypt, 18th century, oil on canvas; all photos Blair Clark

Painting the Divine, continued from Page 44 a single image. A painter skilled in depicting flora, for instance, might add his talents to a scene painted by another artist. One 18th-century image from the Cuzco School, an artistic tradition that began in Peru and spread to other Andean regions, treats the often-painted theme of the rest on the flight into Egypt. Mary, Joseph, and the baby Jesus are in the composition on the far left, surveying a landscape replete with New World flora and fauna, including birds that Unidentified New Mexico artist: Virgin of look like peacocks. (Díaz Guadalupe, circa 1760, pigment on hide thinks they may actually be a species of turkey.) The holy family appears again at the far right of the painting, rendered in a completely different, and more simplistic, style from the figures on the left, suggesting that the former were added later. Other images of Mary in the show include renderings of biblical accounts of her life, such as Correa’s late-17th-century painting The Assumption of the Virgin and Holguín’s early-18th-century canvas Virgin of the Immaculate Conception. Painting the Divine includes works that reference alleged New World miracles and events, like the one given form in Our Lady of the War Club, a piece that depicts a replica of a Spanish carving, Our Lady of the Sacristy of Toledo, that was brought to New Mexico in the late 16th century. Through the sculpture, Mary is believed to have uttered a foretelling of the Pueblo Revolt of 1680 to the paralyzed daughter of Juan de Durán de Miranda (the governor of New Mexico in 1664 and 1665 and from 1671 to 1675). Painting the Divine represents moments on a continuum from past to present. Rounding out the exhibit are contemporary examples that reflect Mary’s enduring veneration in Latin American art and culture. For example, Delilah Montoya’s mixed-media photo mural La Guadalupana shows the back of a handcuffed prison inmate, exposing his detailed tattoo of the Virgin of Guadalupe. Her likeness appears again in a contemporary hide painting by Ramón José López. In 18th-century New Mexico, hides served as painting material when finer options were scarce, and santeros gathered natural pigments to create their images. López continues that tradition, using hand-ground pigments in his work, including for the hide piece. Also on view is a stunning 1999 oil on linen by Ray Abeyta, Triptych, Las Tres, which was inspired by traditional paintings of Our Lady of Pomata. The work shows three similar portraits of Our Lady, each bearing a resemblance to people of different racial backgrounds — a conscious nod to a genre in Mexican colonial art called casta painting, in which subjects were identified by characteristics associated with race. The three figures in Triptych, Las Tres represent Mary in varying skin tones, from light to dark, suggesting the impact of cultural mixing on images of the Virgin over time. Concurrent with Painting the Divine, the Owings Gallery (120 E. Marcy St.) shows an exhibit of Abeyta’s new work through July 14. ◀

details ▼ Painting the Divine: Images of Mary in the New World ▼ Reception 1 p.m. Sunday, June 29; exhibit through March 2015 ▼ New Mexico History Museum, 113 Lincoln Ave., 505-476-5200 ▼ By museum admission (free on Sundays for New Mexico residents)

PASATIEMPO I June 27-July 3, 2014

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Sunday, July 6, 1–4 p.m. Explore the museum with guided activities and participate in an art project to “think outside the frame” and imagine what might be going on beyond what you see. Fun for all ages. Free.

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ART IN

REVIEW

Digital Latin America, 516 Arts, 516 Central Ave. S.W., Albuquerque, 505-242-1445; through Aug. 30

igital communication brings assumptions of precision and of crisp, immediate information exchange. If you “like” something on Facebook, for example, a thumbs-up icon quickly and clearly announces your preference. But the exhibition Digital Latin America, on display at 516 Arts in Albuquerque, is about digital communication that confuses, complicates, and raises questions — about language, the definition of art (or is this science?), the preservation of culture, and the morality of what we do and disseminate in the digital realm. Seventeen artists — from Argentina, Brazil, Chile, Colombia, Mexico, Peru, the Navajo Nation, and the United States — are featured in the exhibit: 15 at 516 Arts and one each at the Albuquerque Museum of Art and History and the University of New Mexico Art Museum. Their media range from textiles to dictionaries, computerized surveillance systems, smart phones, pinto beans, and pantyhose. Many of the works have sound — machines “speaking” to one another or the driving beats often associated with Latin pop — or video, and most invite, or require, at least some participation from the viewer. That participation is unsettling from the start. Upon entering the downtown gallery, visitors behold a two-story mural called Hemispherical Immersion by Jessica Angel. “Can we fantasize that we are as teeny as a living megabyte, sightseeing through the superhighways of information?” the wall plaque reads. The viewer will have no doubt about the answer when observing a flat work that feels three-dimensional, with black-and-white blocks and squares that look like QR codes seeming to shoot out from the wall and a “floor” that appears to go on forever. Viewers

PASATIEMPO I June 27-July 3, 2014

might as well be video-game characters perpetually stuck on the same level. On the gallery’s second floor, a plasma screen features an extreme close-up of a calmly attentive human eye. It’s a disturbing image to begin with, but it becomes more distressing when the viewer moves and the eye follows. Mexican-Canadian artist Rafael LozanoHemmer developed the piece eight years after 1984, the year George Orwell warned about, when Big Brother would be watching, and 21 years before we found out, from former CIA systems administrator Edward Snowden, the extent to which the National Security Agency actually has been watching. Part of the thrill of the digital age is the casual voyeurism it invites. Sixty years ago, Jimmy Stewart’s L.B. “Jeff” Jefferies used binoculars to spy on his neighbors in Alfred Hitchcock’s Rear Window; now we just need Google and a clickpad. It’s tantalizing and feels harmless, but Lozano-Hemmer’s work reminds us that, even in an art gallery, our presumption that we are always the viewers is a foolish one, and viewing is never an innocuous act. Our complicity in the digital age’s ethical sketchiness was a recurrent theme during the exhibit’s two-day opening symposium, which took place earlier this month at the Albuquerque Museum of Art and History. During a presentation on the YouTube-savvy Ecuadorian pop star Sisa Toaquiza, UNM professors Miguel Gandert and Enrique Lamadrid questioned how digital art can be best used to contribute to the global community. Pablo Helguera, an artist who works in various media and directs adult and academic programs at the Museum of Modern Art in New York, discussed how society’s focus on the future enables ignorance of the past and of cultural history. During his symposium talk “Globalization of Information and Communities,” filmmaker Alex Rivera outlined some of the ethical concerns specific

Opposite page, above, Rafael Lozano-Hemmer: Surface Tension, 1992, plasma screen, computerized surveillance system, and custom-made software; below, Jessica Angel: Hemispherical Immersion, 2014, offset prints and adhesive vinyl

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to Latin America. In his movies, Rivera probes the relationship between the migration of people across borders and the borderless technological migration of information. In the futuristic, science-fiction film Sleep Dealer (2008), workers in Mexico who are unable to cross the border remotely operate robot counterparts in the United States. They are thus migrant laborers without the migration. “The Latin American reality, especially in terms of how it’s connected to the American reality, is uniquely capable of being depicted through digital metaphors,” he said. “The connectivity between north and south, the dynamics of immigration ... really avail themselves to being read through the digital vocabulary.” Many of the artists in Digital Latin America address such moral ambiguities directly by using their works to raise social awareness. Activism courses through the exhibit, countering the creepy aspects of the digital world with clear proof that it can just as easily be used for good. The video project Cinema Lascado (Chipped Movies), by Giselle Beiguelman, documents the desolation wrought upon landscapes in the artist’s home country, Brazil, by the construction of massive elevated expressways. For Maquila Región, Amor Muñoz (Mexico) created a mobile electronics- and textile-producing factory that travels to poverty-stricken areas in Mexico City offering workers $8 an hour. The products created are appended with codes that activate web pages, on which the names of the workers are declared, along with other details about how the products were made. Eight dollars an hour is a low wage by U.S. standards, but it far surpasses the earnings of workers in maquilas along the U.S.-Mexico border. Visitors to 516 Arts can see a replica of Muñoz’s factory, watch a video of the factory’s movement through Mexico City, examine two textiles produced, and touch the information codes. Gabriel Vanegas (Colombia) and Matt Garcia (U.S.) both explore attempts to preserve lost or dying languages. Vanegas conducted interviews with indigenous people in Colombia, Ecuador, Bolivia, and Peru, the sounds of which emanate from his installation, The Lost Sounds of the Quipu. The frequency of these sounds correlates to the structure of the quipu, an ancient means of Andean communication that consisted of a cord with knots that conveyed coded information. Garcia’s installation Community Language Space (CLS) draws a parallel between linguistic diversity and biodiversity. A partitioned space allows the viewer to watch videos of people speaking Tewa, a language native to several Northern New Mexico pueblos. While the viewer repeats the words, his or her photo is taken, creating a kind of immersive linguistic photo-booth experience. (Garcia’s work is not the only one in the exhibit to originate outside of Central or South America. Mirroring the internet’s erasure of borders, the exhibit muddies the northern border of Latin America and features several works from the U.S. Southwest.) Digital Latin America is not an indirect, roundabout exhibit. It forces confrontation — with social concerns, with sensory overload, with oneself. Yet the exhibition is galvanizing rather than bleak. There is no dearth of humor, as in Argentine artist Paula Gaetano-Adi’s videotaped attempts to “literally” eat definitions in her Spanish-English dictionary (Pica) or Jessica Pizaña Roberts’ taped presentation featuring a “Rosarita” character who gyrates and pulls burritos out of a dress made of beans. Given the exhibit’s disorientation, even its fundamental conceit introduces questioning: What is it about Latin America’s digital landscape that distinguishes it from that of another region? After all, the internet may be the single greatest force of globalization in history, and globalization encourages sameness. The exhibit does not shy away from general themes — immediacy, interconnectivity — that could just as easily appear in a broader show. Instead, it tosses these concepts in with others pertaining to geographically specific economies, cultures, and infrastructures. If the result is a complicated jumble, it is a riveting one. — Grace Labatt

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Jennifer Levin I For The New Mexican

PHOTOGRAPHERS ANTONE DOLEZAL AND LARA SHIPLEY

the middle of a dark, moonless forest, a light filters through the trees. Where is it coming from? Is it a specter? An alien? If you’re in the Missouri Ozarks, it’s probably the Spook Light — a mysterious floating, glowing orb that locals have been seeing down a rural back road since the 19th century. Photographers Antone Dolezal and Lara Shipley grew up in that area, hearing about the Spook Light from parents, relatives, and local oldtimers. Shipley has encountered the light herself, though she doesn’t elaborate on her experience. It’s enough for us to know that, like many Ozark teens, she hung out in the woods for fun and for fright. She and Dolezal have collaborated on a series of three art books about the phenomenon, collectively titled Spook Light Chronicles and published by Search Party Press. On Sunday, June 29, they discuss the second book in the trilogy, The Phosphorescent Man, at a reception for an accompanying exhibition, Devil’s Promenade, at Photo-eye Bookstore + Project Space. The exhibition takes its name from a remote region of the Ozarks where the Spook Light mythology originates. “It is believed by many locals that the devil wanders this region at night, looking for lost souls,” Dolezal told Pasatiempo. “It is a place of rolling hills, tucked-away homes, and hidden caves covered in a canopy of dense, overhanging trees.” Though it’s generally chalked up to folklore (countryspeak for urban legend), there have been enough reported sightings of the light that, in the 1950s, the United States Army Corps of Engineers investigated it, coming up empty-handed. For Dolezal and Shipley, searching for an otherworldly light in such a dark place was symbolic enough to be the framework for their project about Ozark culture and storytelling traditions. They’ve been working together on this for three years — but not with the objective of getting at any scientific explanations for the Spook Light or of documenting it through a purely sociological lens. Photographs of eerie, winding paths and silver light on leaves capture the spirit of the phenomenon’s lore, creating a mood that carries over into the duo’s pictures of people: a fully dressed couple lying in bed during the day; a teenage boy exhaling smoke beside a Tiki torch at dusk; two children, carrying a goat, who look as if they couldn’t possibly care whether or not someone was taking their picture. “It’s been a long time since either of us lived in that region, but it has maintained an active role in both of our imaginations as a magical place that’s difficult to define,” said Shipley, who teaches photography at the University of Kansas. She met Dolezal when she was living in Santa Fe, where he still lives. “There is so much more to the Ozarks than what you can see,” she added. “The value of a myth is not whether it’s factual, but if it rings true.” The photographers decided against a traditional monograph because they wanted room to explore

Photographs of eerie, winding paths and silver light on leaves capture the spirit of the phenomenon’s lore, creating a mood that carries over into the duo’s pictures of people: a fully dressed couple lying in bed during the day; a teenage boy exhaling smoke beside a Tiki torch at dusk; two children, carrying a goat, who look as if they couldn’t possibly care whether or not someone was taking their picture.

continued on Page 52 Left, Antone Dolezal: Spook Light Road; right, from top, all Lara Shipley: Katrina; Believer; Having Heard the Old Stories

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Devil’s Promenade, continued from Page 51 multiple narratives, weaving in images and ideas beyond their own photography. In an attempt to create an immersive environment, the books include vernacular pictures and artifacts, collected quotes, and fictional literature. The first book, The Road and the Light, focuses on present-day experiences on Spook Light Road, while the second book, which quickly sold out of its first printing, is about a historic roadside attraction, the Spook Light Museum, and its proprietor, Spooky, who lured people from all over the Midwest to come see the mysterious phenomenon. (And Spooky, we end up learning, wasn’t an individual but a series of people, while the “museum” was more like a shack where teenagers hung out.) Some stories hold that Spooky wandered the woods naked, singing a song to entice the devil. Shipley and Dolezal recently completed their travel and photographic work for the final book in the trilogy, which will be a more expansive view of the Ozark community and its narrative tradition. “The stories we recorded from the people who have seen the Spook Light vary from the mundane to the completely unbelievable,” Dolezal said. “Our project isn’t focused on whether the stories are true or not. It’s the act of keeping them alive, and what that symbolizes for the community, that’s important to us. As one Ozark man told us, ‘Back then, there were stories of all kinds of lights happening out here, in all different locations. People stopped telling the stories, and the lights decided to stop showing themselves.’” Many of the photos that seem to show the Spook Light were constructed — at least in part — but they’re nevertheless effective. They feel like a ghost story, or an encounter with something extraterrestrial, or (probably depending on your frame of reference) a reckoning with the devil or some other spiritual being, good or evil. In Encounter, a figure walks out of the darkness and into a beam of light that’s coming from the general direction of a house or shelter but stops short of emanating from it. The beam of light is blue and laserlike, washing the figure out to white. It’s like something from The X-Files. That it might be just a strong security light doesn’t make it less unsettling. A 1960s publication from the Arkansas Folkloric Society resonates with Shipley’s idea that they are not documenting existing folklore, but the nature of folklore itself. “It said, ‘If you are wondering whether or not something is folklore, it probably is,’ ” Shipley said. “In the Ozarks, these tales are living and ever-changing. We loved finding out that the stories we had read about from the late 19th century were still being told by young people today.”

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PASATIEMPO I June 27-July 3, 2014

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“Our intention is to continue telling the tale of the light in a way that celebrates both the people of this region and the mysterious, otherworldly realm they have created as this story has evolved and been passed down,” Dolezal said. “Through the act of giving our own interpretation of the story, we become part of the tradition. Now, if you search for the Spook Light online, you’ll find our pictures mixed in with other images of the light.” ◀

details ▼ Antone Dolezal & Lara Shipley: Devil’s Promenade ▼ Opening reception (including artist talk) 3 p.m. Sunday, June 29; exhibit through Aug. 16 ▼ Photo-eye Bookstore + Project Space, 376-A Garcia St., 505-988-5152

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Paul Weideman I The New Mexican

the

ay Abeyta’s portrait of Moby-Dick’s Queequeg, the powerfully built harpooner of South Pacific origins, is straightforward and even stark, but properly charged with the character’s otherworldliness. Ishmael, the tale’s narrator and the only member of Captain Ahab’s crew to survive the encounter with the terrifying whale, describes Queequeg as savage but serene. “Through all his unearthly tattooings, I thought I saw the traces of a simple honest heart; and in his large, deep eyes, fiery black and bold, there seemed tokens of a spirit that would dare a thousand devils.” Hold Fast is the title of the new canvas by Abeyta, featured in Profundo Baby! his one-man show that opens at the Owings Gallery on Friday, June 27. Queequeg stands facing his viewers, a harpoon in one hand and a shrunken head dangling from the other. Oval insets at the top corners bear images of a sailing ship and of a black whale wreaking calamity on small boats. The word “unforgiven” is illuminated at the bottom of the background, which is a map of James Cook’s 18th-century South Pacific explorations. In his finely executed body art on the figure’s arms, torso, and legs, Abeyta tells the story of the man’s journeys and experiences. A geometrical pattern is tattooed on his face. “I’m guessing that Queequeg is Maori, and that’s pretty much how I’ve made him up with the tattoos on his face,” the artist said. “But I was very careful not to be too specific because, just as in New Mexico, certain symbols are sacred.” Abeyta grew up in the Northern New Mexico village of Santa Cruz and earned his bachelor’s degree in fine art at the University of New Mexico. A resident of Brooklyn for the last 28 years, he shares his 16,000-square-foot work space with a couple of other artists, along with a trapeze studio and a buddy’s motorcycle shop. The painter is known for his vibrant, religion-themed canvases. Two of them — Nuestra Señora de Pomata, Tres Potencias (1995) and the 5-by-12-foot Triptych, Las Tres (1999) — are included in the exhibition Painting the Divine: Images of Mary in the New World, opening at the New Mexico History Museum on Sunday, June 29. By contrast, the 10 large, oil-on-canvas paintings showing in Profundo Baby! have more to do with the sea than with anything overtly religious. “I always loved the ocean. It speaks to me in the same way as the landscape in New Mexico does, those expanses with the unknown mystical-magical quality. The ocean is also the perfect metaphor for painting. It’s this surface and what lies beneath.” Besides reading Moby-Dick (and collecting different versions of the 1851 novel), the artist has perused Eric Jay Dolin’s 2007 book, Leviathan: The History of Whaling in America. “The thing with Melville is that he spent the whole of his young life writing this book. He spent all this time on whaling boats and did all this research, but the son of a bitch needed an editor,” Abeyta said. “There’s way too much friggin’ information in that book. In the movie with Gregory Peck, they nailed it down with the 54

PASATIEMPO I June 27-July 3, 2014

R A Y

of the deep A B E Y T A

essentials. It gets to the gist of the metaphor and the epic quality. Melville’s was the first important American novel written here in the New World, but by the time he was finished, nobody gave a rat’s ass, and the book sunk like Ahab’s ship. People had moved on to cowboys and Indians, the romanticism of the Wild West.” Thus, the context for another painting in the exhibit, a portrait of Buffalo Bill Cody and Herman Melville entitled The Artist and the Showman (East Coast West Coast). In it, Abeyta calls attention to the contrast between their appearances — Melville, the typical Eastern Seaboard resident, looks withdrawn and is dressed in black; Cody wears earth-tone duds and sits confidently, his legs open. Look closely, and you’ll discover that both subjects throw up a gang sign associated with their parts of the country. Another work, Rock Salt Love, stands out for its lack of human characters (and, in the case of Los Spectre Whalemen, the humans are reduced to skeletons). It is an unembellished portrait of a white whale, whose power the artist compared to that of the white buffalo in Native American culture. “I love every aspect of painting, from cave painting on, and I do have a certain affection for the Abstract Expressionists, but I wanted the whale to have this really painterly, tortured, simple, white-on-black quality. At one point, I was putting in harpoons and ropes, and I thought, that’s

Ray Abeyta: Rock Salt Love, 2010, oil on canvas; opposite page, top, Los Spectre Whalemen, 2008, oil on canvas; bottom, The Artist and the Showman, 2013, oil on canvas

cluttering up everything. I wanted the idea of the whiteness of the whale and the the entanglements that we all feel. I wanted the mermaids to have that kind of exposure of our intent, our emotions, against the starkness of the background. And seductive appraisal of the viewer.” Equally arresting is his Un Amor Perdido. A muscular, bearded, tattooed man — I was also thinking of rock salt, which you load in your shotgun to chase away varmints or unwanted people or whatever, and that kind of slowly dissolving pain.” perhaps a manifestation of Poseidon — sits on a black rock, gazing out on the The subjects in what are arguably the most eye-catching paintings in this show stormy sea. Draped across his lap is a beautiful mermaid. This was one of the earliest paintings in the Melville/ocean series. “This are naked mermaids. Two of them flank a humongous was based on that love for impossibilities we all octopus wearing a crown in El Rey de los Mares. The At one point, I was putting in harpoons and ropes, have, whether they’re creative processes or relationoctopus came from a fascination with “the things and I thought, that’s cluttering up everything. I wanted the ships. Every painting is an impossibility because that live underneath the surface of the sea,” Abeyta idea of the whiteness of the whale and the exposure of our I am making something from nothing. I’m using said. The apparent consorts of the tentacled being are less difficult to explain. “I was thinking about intent, our emotions, against the starkness of the background. every reference, memory, thought that I want to mermaids and how they have this tremendous mythipull together to make something from nothing hapAnd I was also thinking of rock salt, which you load in your pen and become this amazing, fascinating thing cal pull when it comes to the way that, say, someone shotgun to chase away varmints or unwanted people … for myself and, hopefully, for somebody else. I like myself views women. The siren song always pulls wanted this idea of two things that should not be you in, and then you have to deal with the weight and that kind of slowly dissolving pain. of the issues. And this is an unrealistic relationship, together, the sailor and the mermaid, but the two the mermaid and the octopus. I’m basically the octoof them choose to be together. It turned out to be pus. So I had a couple of friends model for me and prophetic that I chose this couple. The sailor is my decided to do a full-on sailor-tattoo kind of image looking at the metaphorical relationship between continued on Page 56 PASATIEMPOMAGAZINE.COM

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PASATIEMPO I June 27-July 3, 2014

Hold Fast, 2009, friend, a graphic artist here, and oil on canvas the mermaid is his ex-wife. The two were going through a rough patch, so the emotional psychology was perfect for me. She could swim away, but she doesn’t, and maybe he’s waiting for rescue.” Contained in the image are references to an allegorical painting by the Mexican artist Jesús Helguera of an Aztec prince beside his dying princess (The Legend of the Volcanoes, 1940) and to Michelangelo’s Pietá. Abeyta spoke of the challenge of “trying to figure out how to put the female form on someone’s lap. I’m telling you, brother, that is awkward and probably a physical impossibility, and when Michelangelo did it — that’s one of the most perfectly balanced pieces of sculpture ever made. I look at that and I’m amazed, that axis of horizontals and verticals and that love between Mary and her son, Jesus. But it’s like, you can’t do that. It doesn’t work. But Michelangelo faked it in such a way that it’s completely friggin’ believable. What I was doing with these models was so awkward. I had to fake it too.” ◀

details ▼ Ray Abeyta: Profundo Baby! ▼ Opening reception 5 p.m. Friday, June 27; exhibit through July 14 ▼ The Owings Gallery, 120 E. Marcy St., 505-982-6244

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The City of Santa Fe Arts Commission Community Gallery Presents:

Great NEWS

CHAIRS

An Exhibit of Sculptural and Functional Chairs Created by New Mexico Artists

Featuring:

Victor Archuleta, Roger Atkins, Larry & Nancy Buechley, Marcus Cadman, Tamara Cameron, Matthew Chase-Daniel, Matthew Duran, Dennis Esquivel, Andrew Garcia, Susan Guevera, Kay Hamilton, Bob Haozous, Eric Haskins, Nicholas Herrera, Michael Hoffer, Douglas Jones, Kim Kulow-Jones, Mark Levin, Rand Marco, Christoph Neander, Dean Pulver, Fred Romero, Suzanne Stern, DeeAnne Wagner, Scott White, Tom Wood

June 27 – September 12 Opening Reception Friday, June 27, 2014 from 5-7pm

Visit us in the southeast corner of the Community Convention Center building 201 W. Marcy (at the intersection of Marcy and Sheridan Streets)

David Walther

James Bristol

Santa Fe now boasts 2 AAML Fellows. Fellows of the American Academy of Matrimonial Lawyers (AAML) are nationally recognized by judges and attorneys as preeminent family law practitioners.

David Walther amicably welcomes James Bristol to the AAML.

Gallery Hours: 10 am to 5 pm, Monday through Friday, 9:30 am to 4 pm Saturday For more information call the Community Gallery 955.6705

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The essential parent resource for getting Santa Fe Kids ready for a successful school year! School-year calendar, supply lists, start times and more!

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Festivals and Carnivals

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Southwestern Sleepers Lecture Series: Sleep Hygiene 5:30 p.m., Room 433 505-438-3101 Backyard Astronomy 8 to 9 p.m., Planetarium, $5/$3

New Mexican readers

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Pink Panther Comic Strip Co-Creators Teach Summer Workshops

Main Campus 505-428-1270 Plus, special exhibit at Chuck Jones Gallery, 135 W Palace Ave.

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“Money Making Vacations” Course by Travel Author Gina Henry 5:30 to 9 p.m., Room 488 505-428-1270 Space is limited. Register by June 11. SFCC Governing Board Meeting 5 p.m., Board Room 505-428-1148 Board packet materials and information at www.sfcc.edu/about_SFCC/governing_board. PLUS...

May 30 — Opening Reception, 5 p.m.: New Metal: Jewelry and Metal Arts by Class of 2014 Graduates at Red Dot Gallery, 826 Canyon Road. Exhibit runs through June 27 Through August 15 — 2014 Arts and Design Juried Student Exhibition at the Visual Arts Gallery, SFCC MORE AT WWW.SFCC.EDU

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MOVING IMAGES film reviews

In the prison of her skin Jonathan Richards I For The New Mexican

Violette, biographical drama, not rated, in French with subtitles, Jean Cocteau Cinema, 3.5 chiles 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. But there are occasional shafts of brightness that break through the clouds as the story goes along; and then, toward the end, the sun comes out. Leduc 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 Jean-Paul Sartre, Albert Camus, and Simone de Beauvoir. She was born out of wedlock to Berthe Leduc (Catherine Hiegel), a servant in a wealthy household, and grew up feeling miserably unloved. “My mother never held my hand,” she writes. The book that finally earned her a share of popular recognition, published in 1964, was the autobiographical La Batarde (The Bastard). This film is the second in director Martin Provost’s series on women artists. Earlier, he examined the work of painter Séraphine de Senlis in Séraphine (2008). He picks up Leduc’s story during World War II, when Violette (Emmanuelle Devos) is scratching out a living in the countryside as a black marketeer, and supporting the writer Maurice Sachs (Olivier Py) in what is a desperately one-sided love affair. A problem (although, as we will see as we get to know Violette, not the only problem) is that Maurice is gay.

PASATIEMPO I June 27-July 3, 2014

Scenes from a marriage (of sorts): Emmanuelle Devos, foreground, and Sandrine Kiberlain

But then, who isn’t? Violette is bisexual, her ravenous hunger for being loved extending to whomever might be available. Hardly anyone is. Her most tender affair, about which she wrote explicitly but was forced to cut from her 1955 novel, Ravages, described her first love, a boarding-school friend named Isabelle (the censored section was published afterward as a separate piece). Later, Leduc would become obsessed with de Beauvoir (Sandrine Kiberlain), who wrote of her own bisexuality, and who recognized and championed Leduc’s talent while rejecting her amorous advances. In another scene, Violette tries to seduce her unambiguously gay friend, the perfume magnate (and fellow bastard) Jacques Guérin (Olivier Gourmet), dismissing with exasperation the restrictive, reductive classifications of man or woman, straight or gay. Guérin doesn’t succumb to her advances, but he makes amends by underwriting her next publication. In the movie, Violette is started down the road to writing by Sachs, who pushes her toward it as a way of getting her off his back, urging her in exasperation to express herself on paper. After the war, when she

becomes aware of de Beauvoir (“A woman writer?” she marvels), she stalks her, pushes her first manuscript at the surprised author, and is stunned when she receives encouragement. Violette in no way sugarcoats its heroine. As played with ferocious, lacerating energy by Devos, she is a raging, whining, neurotic, needy bundle of insecurities and self-loathing. Jean Genet (Jacques Bonnaffé) calls her a drama queen. But, as de Beauvoir spells out to an interviewer late in the film, she is redeemed, finding her salvation through literature. Leduc begins the film, in a voice-over, by ruminating on the unhappy lot of the ugly woman. This is the Violette that Devos gives us, working with a prosthetic nose and a sour puss (a far cry from her recent turn as the sexually seductive femme fatale in Just a Sigh). Kiberlain is just as effective, if immeasurably more self-contained, as de Beauvoir. She is confident, authoritative, and coolly impervious to the erotic advances and volcanic outbursts of her friend, whose talent she is determined to see recognized. Kiberlain plays her a little stiff-spined, but the contrast is welcome. Without that calming influence, the character of Violette might tear a hole through the screen. The other principal relationship in Violette’s life is her continuing love-hate war with her mother, and Hiegel turns in a remarkable performance as the harridan who surely shaped the creature her daughter became, but manages to show compassion and support when the chips are all the way down. The movie runs a little long, but Provost smartly segments it into seven chapters, each named for the important figure featured in Leduc’s life. You might wish for a little relief, a smile, a light moment somewhere in the piece, but that’s not the Violette Provost wants to show — until the end, when she moves to the countryside, spreads her skirts upon a grassy hill, and writes in calm contentment under blue and sunny skies. Whether the output there turned out any differently, you’d have to read Violette Leduc to discover. ◀

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MOVING IMAGES film reviews

Dead man’s walking shoes: Gael García Bernal

Hard traveling Jonathan Richards I For The New Mexican Who Is Dayani Cristal? documentary, not rated, in English and Spanish with subtitles, The Screen, 2.5 chiles Immigration. It’s one of the hottest buttons in American politics today. Politicians bloviate, parties try to calculate positions that will get them votes in primaries and then retool those positions for the general election, careers crash and burn for lack of perceived toughness in dealing with the “huddled masses.” At the other end of the stick are the desperately poor Latin Americans who risk everything to try to make it across the border into our Promised Land, leaving behind home, culture, and loved ones, perhaps forever. The impetus behind Marc Silver’s documentary is a desire to put a human face on the statistics and stump speeches that shape our awareness of the tide of immigrants streaming north. The film is a loose-limbed, gawky creature, stalking the issue along three separate paths. The filmmaker begins not with a human face but with a human body. The Border Patrol comes across a corpse in the Sonoran Desert, about a half-hour by car from Tucson. The images look like actual footage shot by officials at the scene. On the dead man’s chest is tattooed what appears to be a name: Dayani Cristal. Who, as the title asks, is Dayani Cristal? One branch of the film proceeds, through forensics, through sleuth work, through interviews with mostly sympathetic workers in the immigration system, to track down the identity of the man and the meaning of the tattoo. At the same time, we hear from people who knew the dead man, including his widow, fellow travelers, and friends from home (a built-in spoiler alert is that the search eventually gets to the bottom of the mystery). They talk about what kind of a man he was, about what he risked to make this trip, and why. For the third path, we are in the hands of the film’s co-producer, the Mexican international movie star Gael García Bernal, who undertakes to travel in the dead man’s shoes and recreate his pilgrimage. Talking to the destitute immigrants making the journey, riding with them in cramped vans and swaying dangerously on top of the train they call “the Beast,” he tries to give us a firsthand look at what these people go through. Back in 1941, during the Great Depression, Preston Sturges made a classic satirical film called Sullivan’s Travels, in which a successful Hollywood director of light comedies (Joel McCrea) decides to make a hard-hitting movie about the lot of the downtrodden by taking to the road as a hobo and experiencing that life personally. Bernal’s obviously heartfelt presence here smacks a little of Sullivan’s noble delusion. Still, the movie is sincere, well-meant, and sometimes successful in opening our eyes to the human tragedy out of which political candidates will be making hay this fall. ◀ 62

PASATIEMPO I June 27-July 3, 2014

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11:00a - Auteurs: Rules of the Game 12:30p - Particle Fever* 1:30p - James Surls Panel discussion 2:45p - Gore Vidal* 3:45p - Ida 4:45p - Lucky Them* 5:30p - Gore Vidal 6:45p - Lucky Them* 7:30p - Gore Vidal

11:00a - Auteurs: Rules of the Game 12:30p - Particle Fever* 1:30p - Ida 2:45p - Gore Vidal* 4:00p - Gore Vidal 4:45p - Lucky Them* 7:00p - SFJFF: The Green Prince 7:30p - SFJFF: The Green Prince*

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COMING SOON to CCA:

• AUTEURS: Ozu’s Tokyo Story • Life Itself • Venus in Fur • Opera: The Soong Sisters • Boyhood & more... PASATIEMPOMAGAZINE.COM

MOVING IMAGES pasa pics

— compiled by Robert B. Ker

investigative story loses its drive in coy subplots and characters, including an archly caricatured animalrights activist. Rated R. 97 minutes. Center for Contemporary Arts, Santa Fe. (Jonathan Richards) 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 the 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) Dino-mite!: Transformers: Age of Extinction at Regal 14 in Santa Fe and DreamCatcher in Española

opening this week AMERICA Right-wing pundit and filmmaker Dinesh D’Souza (2016: Obama’s America) returns with a documentary that aims to prove that liberals are America-loathing traitors and to show us what the world would look like if the U.S. didn’t exist. Historical reenactments of various hypothetical situations are included. Rated PG-13. 95 minutes. Regal DeVargas, Santa Fe. (Not reviewed) BEGIN AGAIN John Carney, director of 2006’s Once, returns with another music-themed romantic comedy. Mark Ruffalo plays a former record-label executive who comes across a beautiful young singer (Keira Knightley) and suggests they make sweet music — and, inevitably, magic — together. Singers and rappers such as Adam Levine, Mos Def, and Cee Lo Green help fill out the cast. Rated R. 104 minutes. Regal DeVargas, Santa Fe. (Not reviewed) 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 exorcize regimen on. Opens Wednesday, July 2. Rated R. 118 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) 64

PASATIEMPO I June 27-July 3, 2014

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. Opens Wednesday, July 2. Rated PG. 91 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) 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) LUCKY THEM This slight, modestly entertaining movie owes everything to the talents of its actors, starting with the redoubtable Toni Collette. Ellie Klug (Collette) is a mess — a music critic for a Seattle rock magazine whose career, drinking, and love life are all on downward spirals. Ordered by her editor (Oliver Platt) to do a 10-year anniversary piece on the presumed suicide of a rock icon who was her former lover, she teams up with Charlie (Thomas Haden Church), a humorless,wealthy, would-be documentarian, to track down leads. The

SUPERMENSCH: THE LEGEND OF SHEP GORDON This documentary by Beth Aala and comedian Mike Myers paints a portrait of Shep Gordon — manager and confidante to the stars, businessman, and all-around swell guy. The film’s witnesses to Shep’s greatness include Alice Cooper, Michael Douglas, Sylvester Stallone, Willie Nelson, and many more. Rated R. 85 minutes. Regal DeVargas, Santa Fe. (Not reviewed) TAMMY Melissa McCarthy has established herself as the current queen of comedy with smash hits like Bridesmaids and The Heat. Her latest is this dark comedy about a woman who loses her job, learns of her husband’s infidelity, and takes to crime with her rough-and-tumble grandma. Dan Aykroyd, Kathy Bates, and Susan Sarandon co-star. Rated R. 96 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) TRANSFORMERS: AGE OF EXTINCTION Director Michael Bay’s Independence Day tradition of unleashing an awful, overblown Transformers movie on the public resumes this year. While the plot is still a bunch of battling-robots nonsense, there are signs that this installment of the franchise could be better than the last three: star Mark Wahlberg is a step up from Shia LaBeouf, and this one features the kinda-cool Dinobots. Still, check out that running time — that makes for an awful lot of loud noises and ugly CGI. Rated PG-13. 157 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

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 self-loathing. 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) See review, Page 60.

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)

WHO IS DAYANI CRISTAL? Filmmaker Marc Silver has made an awkward but sometimes effective, even heart-wrenching, documentary that attempts to put a human face on the issue of illegal immigration from the south. He begins not with a face, but with a body, shown in Border Patrol footage, where it was found in the Sonoran Desert near Tucson. On the man’s chest is a tattoo reading “Dayani Cristal.” The film searches for the meaning of the tattoo and the identity of the dead man along three paths: a forensic investigation, interviews with family and friends, and a recreation of his journey by Mexican movie star Gael García Bernal, the film’s co-producer. The movie is sincere in opening our eyes to the human tragedy out of which political candidates will be making hay this fall. Not rated. 83 minutes. The Screen, Santa Fe. ( Jonathan Richards) See review, Page 62.

THE DOUBLE Simon James ( Jesse Eisenberg), buried in a bland, bureaucratic job where he is unable to win the attentions of Hannah (Mia Wasikowska), is so unremarkable that the security guard at work routinely asks him to produce his ID. One day, James Simon (also Jesse Eisenberg), Simon’s outgoing doppelgänger, shows up at the office and turns Simon’s world upside down. The Double is made fresh by director Richard Ayoade (Submarine), who uncorks a visual gag reel loaded with bright colors, unusual sets, and inventive camerawork reminiscent of Terry Gilliam’s Brazil. Rated R. 93 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Ker)

now in theaters 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)

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; DreamCatcher, Española. (Robert Ker) THE FAULT IN OUR STARS Teenage romance films often involve a girl wearing a prom dress and a boy wearing a sweet pair of shades. This one is much different: the girl (Shailene Woodley) wears an oxygen tank and the boy (Ansel Elgort) a prosthetic leg; she is dying, and they meet in a cancer-support group. This film is based on a beloved book that readers insist isn’t as depressing as it sounds. Rated PG-13. 125 minutes. Regal Stadium 14, Santa Fe. (Not reviewed)

GODZILLA The original 1954 Godzilla is harrowing in part because it sprung from the horrors of Hiroshima and Nagasaki. This slick update nods to the recent Fukushima disaster, which should be fertile ground for both allegory and terror. Sadly, though, after a promising start referencing Close Encounters of the Third Kind and grounding the action with a superb Bryan Cranston, it slips into militarism. Director Gareth Edwards shows a knack for suspense, scale, and cool imagery, all of which are important traits in a Godzilla film. He is let down by Max Borenstein’s bloated, wobbly script and a color palette that looks like vomit. Rated PG-13. 123 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) 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) 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 continued on Page 66

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action to bloat the running time. The animation is spectacular, however, and Cate Blanchett (as Hiccup’s mother) helps flesh out one of the strongest female characters in a 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 Director Clint Eastwood dabbles in the musical biopic for the first time since 1988’s Bird, this time telling the story of The Four Seasons. Based on the Tony Award-winning musical, the film details the rise to fame of Frankie Valli (John Lloyd Young) and his three bandmates. Christopher Walken co-stars. Rated R. 134 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) 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

spicy

medium

bland

heartburn

mild

Read Pasa Pics online at www.pasatiempomagazine.com

PASATIEMPO I June 27-July 3, 2014

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) 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) PARTICLE FEVER Director Mark Levinson filmed events at the Large Hadron Collider as they unfolded during the most expensive scientific experiment to date — scientists from more than 100 nations sought to prove or disprove the existence of the Higgs boson, a theorized elementary particle that would help explain how matter is given mass. The discovery of the Higgs boson is a dramatic and entertaining story that opens wide the door on a mystery of the universe that has been perplexing scientists since the 1960s, and it will leave you fascinated. Not rated. 99 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) THE ROVER The Australian Outback is no stranger to dystopian stories set in the future (see the Mad Max series), but the latest one, from director David Michôd (Animal Kingdom), has a more brutal, realistic edge. Guy Pearce plays a loner named Eric, who is the victim of a car robbery. He and the abandoned brother of one of the robbers (Robert Pattinson) set off to find the men that done them wrong. Rated R. 102 minutes. Regal DeVargas, Santa Fe. (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) 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)

WE ARE THE BEST! This film is sweet and unpretentious and an accurate depiction of being a 13-year-old punkrocker in Sweden or anywhere else. Best friends Bobo (Mira Barkhammar) and Klara (Mira Grosin) form a band, recruiting and transforming a Christian guitar player along the way. The girls are goofy and convincing as they bicker, meet boys, and express progressive political convictions. Natural performances make the movie feel unscripted. Not rated. 102 minutes. In Swedish with subtitles. The Screen, Santa Fe. ( Jennifer Levin) 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. No doubt the two heroes will be writing love letters and drawing hearts by the film’s end. Rated PG-13. 111 minutes. Regal DeVargas, Santa Fe. (Not reviewed) X-MEN: DAYS OF FUTURE PAST The cast of the original X-Men trilogy meets the cast of X-Men: First Class, thanks to the wonders of time travel. Wolverine (Hugh Jackman) leaves a nightmare future and returns to the 1970s to prevent the destruction of mutantkind. The script is tight and handled with resourcefulness by returning X-filmmaker Bryan Singer (director of the first two installments), who stages solid action, plenty of “wow” moments, and impressive set pieces. The film also has heart, which can be attributed to work by the strongest cast to ever don spandex for a superhero flick. Rated PG-13. 132 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker)

other screenings Center for Contemporary Arts, 505-982-1338 The Auteurs series presents Rules of the Game; Four Minute Mile; The Santa Fe Jewish Film Festival presents The Green Prince; Santa Fe Opera presents Bodyguards & Assassins. Duel Brewery and Taproom 1228 Parkway Drive, 404-474-5301 8 p.m. Sunday, June 29: Richard’s Wedding. Short animation by local filmmakers 12FPS precedes the feature. Jean Cocteau Cinema, 505-466-5528 John Adams, Rambo: First Blood, Sin City. ◀

THOMAS

TONI

COLLETTE HADEN CHURCH “

– NEW YORK POST

SMART” AND NIMBLE. ‘‘

Call theaters or check websites to confirm screening times. 1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org Four Minute Mile (PG-13) Mon. 7 p.m. Bodyguards and Assassins (NR) Tue. 7 p.m. Gore Vidal:The United States of Amnesia (NR) Fri. and Sat. 2:45 p.m., 5:30 p.m., 7:30 p.m. Sun. 2:45 p.m., 4 p.m. Mon. 2:45 p.m., 7:45 p.m. Tue. 2:45 p.m., 5 p.m., 7:30 p.m. Wed. and Thurs. 1:30 p.m., 6:15 p.m. The Green Prince (NR) Sun. 7 p.m., 7:30 p.m. Ida (PG-13) Fri. 1:30 p.m., 3:30 p.m. Sat. 3:45 p.m. Sun. 1:30 p.m. Stadium Seating Mon. and Tue. 1:30 p.m., 3:15 p.m. Stadium Seating Lucky Them (R) Fri. and Sat. 4:45 p.m., 6:45 p.m. Sun. to Tue. 4:45 p.m. Particle Fever (NR) Fri. to Tue. 12:30 p.m. The Rules of the Game (NR) Sat. and Sun. 11 a.m. Mon. 5:30 p.m. Snowpiercer (R) Wed. and Thurs. 2:30 p.m., 3:30 p.m., 5 p.m., 7:30 p.m., 8:15 p.m. JEAN COCTEAU CINEMA

418 Montezuma Avenue, 505-466-5528 The Double (R) Fri. 1:40 p.m. Sat. 8:10 p.m. Wed. 1:40 p.m. John Adams (NR) Thurs. 7 p.m. Rambo: First Blood (R) Mon. 8:40 p.m. The Signal (PG-13) Fri. 6:20 p.m. Sat. 1:40 p.m., 6:20 p.m. Sun. 4:40 p.m. Tue. and Wed. 6:20 p.m. Thurs. 4:40 p.m. Sin City (R) Fri. and Sat. 11 p.m. Violette (NR) Fri. 3:40 p.m., 8:10 p.m. Sat. 3:40 p.m. Sun. 2 p.m. Tue. 8:20 p.m. Wed. 3:40 p.m., 8:20 p.m. Thurs. 2 p.m. REGAL DEVARGAS

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

Tue. 7 p.m.

Begin Again (R) Belle (PG) Fri. and Sat. 1:40 p.m., 4:20 p.m.,

7:20 p.m., 9:45 p.m. Sun. to Tue. 1:40 p.m., 4:20 p.m., 7:20 p.m. Chef (R) Fri. and Sat. 1:10 p.m., 4 p.m., 6:50 p.m., 9:30 p.m Sun. to Tue. 1:10 p.m., 4 p.m., 6:50 p.m. The Grand Budapest Hotel (R) Fri. to Mon. 1:50 p.m., 7:35 p.m. Tue. 1:50 p.m. The Grand Seduction (PG-13) Fri. and Sat. 1 p.m., 3:50 p.m., 7 p.m., 9:45 p.m. Sun. to Tue. 1 p.m., 3:50 p.m., 7 p.m. The Rover (R) Fri. and Sat. 4:40 p.m., 10 p.m. Sun. to Tue. 4:40 p.m. Supermensch:The Legend of Shep Gordon (R) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 9:55 p.m. Sun. to Tue. 1:30 p.m., 4:30 p.m., 7:30 p.m. Words and Pictures (PG-13) Fri. and Sat. 1:20 p.m., 4:10 p.m., 7:10 p.m., 9:50 p.m. Sun. to Tue. 1:20 p.m., 4:10 p.m., 7:10 p.m. REGAL STADIUM 14

3474 Zafarano Drive, 505-424-6296, www.fandango.com 22 Jump Street (R) Fri. to Tue. 11:45 a.m., 2:20 p.m., 4:50 p.m., 7:45 p.m., 10:20 p.m. Deliver Us From Evil (R) Earth to Echo (PG) Edge ofTomorrow (PG-13) Fri. to Tue. 11:35 a.m.,

2:15 p.m., 5:05 p.m., 7:50 p.m., 10:30 p.m.

The Fault in Our Stars (PG-13) Fri. to Mon.

10:15 a.m., 1:10 p.m., 4:05 p.m., 7:10 p.m., 10 p.m. Tue. 1:10 p.m., 4:05 p.m., 7:10 p.m., 10 p.m. Godzilla (PG-13) Fri. to Mon. 11:20 a.m., 2:10 p.m., 5 p.m., 7:55 p.m., 10:40 p.m. Tue. 11:20 a.m., 2:10 p.m., 5 p.m., 10:40 p.m.

How toTrain Your Dragon 2 (PG) Fri. to Tue. 11:20 a.m., 2 p.m., 4:30 p.m., 7:40 p.m., 10:10 p.m. How toTrain Your Dragon 2 3D (PG) Fri. to Tue. 11 a.m., 1:30 p.m., 4 p.m., 7:15 p.m., 9:45 p.m. Jersey Boys (R) Fri. to Mon. 10 a.m., 1 p.m., 4:25 p.m., 7:25 p.m., 10:30 p.m. Tue. 1 p.m., 4:25 p.m., 7:25 p.m., 10:30 p.m. Maleficent (PG) Fri. to Mon. 11:50 a.m., 2:30 p.m., 5:05 p.m., 7:35 p.m., 10:10 p.m. Tue. 11:50 a.m., 2:30 p.m., 5:05 p.m., 7:35 p.m. Tammy (R) Tue. 8 p.m., 10 p.m. Wed. and Thurs. 11:15 a.m., 1:40 p.m., 4:10 p.m., 7:10 p.m., 9:45 p.m. Think Like A ManToo (PG-13) Fri. to Tue. 11 a.m., 1:40 p.m., 4:20 p.m., 7:05 p.m., 9:40 p.m. Transformers:Age of Extinction (PG-13) Fri. and Sat. 10 a.m., 12 p.m., 2:30 p.m., 3:45 p.m., 6:45 p.m., 7:30 p.m., 10:15 p.m., 11:15 p.m. Sun. to Tue. 10 a.m., 12 p.m., 2:30 p.m., 3:45 p.m., 6:45 p.m., 7:30 p.m., 10:15 p.m. Wed. 12 p.m., 3:45 p.m., 7:30 p.m., 11:15 p.m. Transformers:Age of Extinction 3D (PG-13) Fri. and Sat. 11:30 a.m., 12:30 p.m., 3:15 p.m., 4:15 p.m., 7 p.m., 8 p.m., 10:45 p.m., 11:30 p.m. Sun. to Tue. 11:30 a.m., 12:30 p.m., 3:15 p.m., 4:15 p.m., 7 p.m., 8 p.m., 10:45 p.m. Wed. 11:30 a.m., 3:15 p.m., 7 p.m., 10:45 p.m. X-Men: Days of Future Past (PG-13) Fri. to Tue. 10:30 a.m., 1:35 p.m., 4:35 p.m., 7:40 p.m., 10:35 p.m. THE SCREEN

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com Locke (R) Fri. 7:45 p.m. Sat. and Sun. 12 p.m., 7:45 p.m. Mon. to Thurs. 7:45 p.m. We are the Best! (NR) Fri. to Thurs. 3:45 p.m. Who is Dayani Cristal? (NR) Fri. to Thurs. 2 p.m., 6 p.m.

– LA WEEKLY

ENGAGING.

“

Every once in a while it’s nice to have a good movie sneak up on you unawares. ‘Lucky Them’ is as sneaky as they come.” – AV CLUB

EXCLUSIVE ENGAGEMENT STARTS TODAY

Transformers 3d Transformers 2d Transformers 2d maleficenT 2d faulT in our sTars jersey boys edge of Tomorrow 2d 22 jump sTreeT Think like a man Too how To Train your dragon 2d

2:15 (sun) 2:15** 2:05** 1:50** 1:45** 2:15** 2:20** 2:10** 2:00**

4:40 4:30 4:30 4:55 4:50 4:45 4:35

CCA CINEMATHEQUE (505) 982-1338 1050 OLD PECOS TRAIL • SANTA FE

6:45 4:15 6:45 7:05 7:10 7:15 7:25 7:20 7:15 7:00

4:15/7:30* 7:30* 10:00* 9:35* 9:50* 9:55* 9:45* 9:50* 9:30*

**saturday & sunday only *friday & saturday only Times for friday, june 27 - Thursday, july 1

“

1/2

”

-Kristin Tillotson, Minneapolis Star-Tribune

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., 7:20 p.m., 9:45 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:20 p.m., 9:45 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:20 p.m. Mon. and Tue. 4:50 p.m., 7:20 p.m. Edge of Tomorrow (PG-13) Fri. 4:55 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:15 p.m., 4:55 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:15 p.m., 4:55 p.m., 7:25 p.m. Mon. and Tue. 4:55 p.m., 7:25 p.m. The Fault in Our Stars (PG-13) Fri. 4:30 p.m., 7:10 p.m., 9:50 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. and Tue. 4:30 p.m., 7:10 p.m. How toTrain Your Dragon 2 (PG) Fri. 4:35 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:35 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:35 p.m., 7 p.m. Mon. and Tue. 4:35 p.m., 7 p.m. Jersey Boys (R) Fri. 4:30 p.m., 7:15 p.m. Sat. and Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m. Mon. and Tue. 4:30 p.m., 7:15 p.m. Maleficent (PG) Fri. 4:40 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:40 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:40 p.m., 7:05 p.m. Mon. and Tue. 4:40 p.m., 7:05 p.m. Think Like A ManToo (PG-13) Fri. 4:45 p.m., 7:15 p.m., 9:50 p.m. Sat. 2:10 p.m., 4:45 p.m., 7:15 p.m., 9:50 p.m. Sun. 2:10 p.m., 4:45 p.m., 7:15 p.m. Mon. and Tue. 4:45 p.m., 7:15 p.m. Transformers:Age of Extinction (PG-13) Fri. 4:15 p.m., 6:45 p.m., 7:30 p.m., 10 p.m. Sat. 2:15 p.m., 4:15 p.m., 6:45 p.m., 7:30 p.m., 10 p.m. Sun. 2:15 p.m., 4:15 p.m., 6:45 p.m. Mon. and Tue. 4:15 p.m., 6:45 p.m. Transformers:Age of Extinction 3D (PG-13) Fri. and Sat. 4:15 p.m., 7:30 p.m. Sun. 2:15 p.m., 6:45 p.m. Mon. and Tue. 6:45 p.m.

OLIVER

PLATT

A LOVELY FILM.”

WHAT’S SHOWING CCA CINEMATHEQUE AND SCREENING ROOM

and

“Emmanuelle Devos triumphs.” -Scott Foundas, Variety

“A deeply satisfying film.” -Manohla Dargis, The New York Times

Emmanuelle Devos

Sandrine Kiberlain

a film by Martin Provost

STARTS TODAY “AN

JEAN COCTEAU CINEMA

418 MONTEZUMA AVE (505) 466-5528 SANTA FE

ABSOLUTE TREAT.

Hilarious, heartfelt and not to be missed.” -Pete Hammond, MOVIELINE

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UA DEVARGAS MALL CINEMA 6 562 North Guadalupe St., 505-988-1110 • www.regmovies.com PASATIEMPOMAGAZINE.COM

RESTAURANT REVIEW Laurel Gladden I For The New Mexican

Peach of a place

Georgia 225 Johnson St., 505-989-4367, www.georgiasantafe.com “Après lunch” 1:30-5 p.m., dinner 5:45-10 p.m., bar menu 1:30 p.m.-10 p.m. daily Takeout available Vegetarian options Handicapped accessible Patio dining in season Noise level: subdued Full bar Credit cards, no checks The Short Order Georgia, the new restaurant adjoining the Georgia O’Keeffe Museum, is still getting its bearings, but it came out of the gate strong. Helmed by former Luminaria executive chef Bret Sparman, it features a menu that’s solid, if unadventurous, but that’s OK. The usual suspects are here — steaks, seafood, poultry, lamb, and a vegetarian dish — and a short but appealing “après lunch” menu is offered in the afternoon beginning at 1:30 p.m. Service is already smooth and professional. The ambience in the bar is sophisticated without being stuffy; the dining room feels formal and a tad snooty; but you could linger for hours on the airy brick-paved patio. While the food isn’t flawless, with a little refining and attention to detail, Georgia could be one of those reliable, enduring, make-someonetake-you-on-your-birthday kind of places. Recommended: calamari, cheese and charcuterie plates, crab cake, Texas quail, Wagyu burger, halibut, and apricot tart.

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 June 27-July 3, 2014

“A real gimlet,” insists a character in Raymond Chandler’s The Long Goodbye, “is half gin and half Rose’s Lime Juice and nothing else. It beats martinis hollow.” That classic cocktail is one of my favorites, an easy, juicy aperitif. Imagine my dismay, then, when the eager-to-please starched-white-shirted bartender at Georgia realized there was no Rose’s in stock. It was a forgivable oversight. The restaurant, which adjoins the Georgia O’Keeffe Museum on Johnson Street, had only recently opened its doors. Anyway, the determined bartender concocted a laudable substitute by muddling fresh lime and sugar. (She had to use the wooden handle of a steak knife, since the bar also didn’t yet have a muddler.) Georgia, helmed by former Luminaria executive chef Brett Sparman, is still getting its bearings, but it came out of the gate strong. The menu is solid, if unadventurous, but I’d rather have an exceptionally well-made classic dish than a cleverly conceived but sketchily executed experiment. The usual suspects are here — steaks, seafood, poultry, lamb, and a vegetarian dish. Service, the bugbear that can take a while to unkink, is already mostly smooth and professional. And while the food isn’t flawless, with a little refining and attention to detail, Georgia could be one of those reliable, enduring, make-someone-take-you-on-your-birthday kind of places. The ambience in the bar is sophisticated but not stuffy. You may have been to similarly stylish places in, say, San Francisco or Charleston — a tin-topped bar with a weathered patina, exposed brick on the walls, wide-screen TVs (muted, thankfully), and comfortable leather-upholstered bar chairs. Wines are stocked decoratively in an open metal rack, which creates a pretty, gemlike effect, but is it wise to store wine in the direct line of two west-facing windows? The dining room feels formal and a tad snooty — creamy walls, white tablecloths, an array of glistening glassware, blousy cloth balloon shades looking like 19th-century ladies bloomers, and Edison bulb pendants that cast nary a shadow. You could linger for hours on the airy brick-paved patio, under twinkling little white lights that are trained along the edges of oversized umbrellas. While the service there was steady, self-assured, and friendly, in the dining room it wavered between nervously self-conscious and obsequious. Rather than serving a traditional midday meal, Georgia offers a short but appealing “après lunch” menu beginning at 1:30 p.m. (dinner begins at 5:45, but the bar menu is available throughout opening hours). You could make a wonderful light meal out of the cheese and charcuterie plates — rustic serving boards strewn with crisp seed-and-fruit crackers, plump dried cranberries, rubylike quince paste, glistening honeycomb, aromatically smoky just-grilled bread, and some enthrallingly sinus-clearing mustard. You’ll get cubes and wedges of several cheeses (including a tantalizing hard blue) and smoky, spicy, fatty, salty meats. Georgia’s calamari, an ideal serving size for two, is one of the finest iterations of the popular appetizer I’ve had, the squid tender and well-seasoned, the batter light and crisp. Between tentacles, nibble on the thinly sliced wheels of bitter, tart fried lemon. The chunky crab cake is moist, plump, and not stretched with annoying fillers. A purple-black olive

purée adds a briny saltiness, while a basil puree lends a grassy, herby sweetness. Don’t ignore the side of bias-cut summer beans, refreshing and sweet. I was lucky to steal one tender, exceedingly moist bite of the Texas quail appetizer. This is a well-balanced plate, though the flavors — yam, mushroom, and scallion — seemed out of sync on breezy June night. Like a tastebud time machine, they transported me straight to autumn. The menu’s one pasta dish was disappointing. It involved a light vegetal “sauce” tossed with wide overly al-dente noodles and dry, underseasoned lamb meatballs. Both steaks were forgettable. The flat-iron was juicy but tough, the New York strip noticeably underseasoned, its romesco surprisingly bland. Seafood fared better. Buttery-soft salmon gets textural accents from a crunchy crust and a bed of toothy brown barley. Freshly made beurre blanc is poured over flaky white halibut, broad beans, purple cauliflower, and baby carrots. This is a Chanel suit kind of dish — it’s elegant, traditional, tasteful, and rich, and it never goes out of style. The roasted cauliflower is a pretty plate, edible flowers strewn among beige and purple florets, but I was taken aback at the $19 price tag. I couldn’t finish the dish, though, probably thanks to dollops of apple purée enriched by truffle oil. That overplayed additive shows up again on the light-golden shoestring fries that accompany the fine, juicy Wagyu beef burger. Everything we sampled on the dessert menu impressed: towering velvety cheesecake, dark-chocolate layer cake, a snappy lemon tart, an utterly smooth crème brûlée with a crackling scrim of toasty sugar, and a solid carrot cake with tangy-sweet cream cheese frosting. I love a good cocktail, but I’ll take the crumble-topped apricot tart over a martini any day. ◀

Dinner for two at Georgia: Gimlet ....................................................................... $ 12.00 Martini ...................................................................... $ 10.00 Calamari .................................................................... $ 12.00 Soft-shell crab appetizer special ............................... $ 18.00 Roasted cauliflower ................................................... $ 19.00 Lamb pasta ................................................................ $ 24.00 Cake sampler ............................................................ $ 15.00 TOTAL ...................................................................... $ 110.00 (before tax and tip) Dinner for six, another visit: Crab cake .................................................................. $ 18.00 Texas quail ................................................................ $ 14.00 Halibut ...................................................................... $ 32.00 Salmon ...................................................................... $ 28.00 Flat-iron steak ........................................................... $ 30.00 New York strip steak ................................................. $ 34.00 Wagyu burger ............................................................ $ 18.00 Crème brûlée ............................................................. $ 10.00 TOTAL ...................................................................... $ 184.00 (before tax and tip)

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PASATIEMPO | June 27 - July 3, 2014

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

pasa week TO LIST EVENTS IN PASA WEEK: Send an email or press release two weeks before our Friday publication date. SUBMISSION GUIDELINES Provide the following details for each event/occurrence: • • • • •

Time, day, and date Place/venue and address Website and phone number Brief description of events Tickets? Yes or no. How much?

All submissions are welcome. However, events are included in Pasa Week as space allows.

Friday, June 27 GALLERY/MUSEUM OPENINGS 333 Montezuma Arts 333 Montezuma Ave., 505-988-9564. The Deeper the Southern Roots: Thornton Dial and Lonnie Holley, mixed media, reception 5-7 p.m., through December. Addison Rowe Gallery 229 E. Marcy St., 505-982-1533. Redefining Modernism, group show of works from the 1940s to the 1970s, closing reception 5-8 p.m. Argos Studio Gallery & Santa Fe Etching Club 1211 Luisa St., 505-988-1814. Susan Cornish: Prints and Drawings, reception 5:30-7:30 p.m., through July 13. Bellas Artes 653 Canyon Rd., 505-983-2745. Black White Silver, group show, through Aug. 30. Charlotte Jackson Fine Art 554 S. Guadalupe St., 505-989-8688. Anne Truitt: Paintings and Works on Paper, reception 5-7 p.m., through July 27. Chiaroscuro Contemporary Art 702½ Canyon Rd., 505-992-0711. Australian Contemporary Indigenous Art III, reception 5-7 p.m., through Aug. 3. El Zaguan 545 Canyon Rd., 505-983-2567. Recent Paintings, work by Max-Carlos Martinez, reception 5-7 p.m., through July 19. Envision 528 N. Guadalupe St., DeVargas Center, 505-795-7874. Meta Art Visions, group show featuring paintings by Wolfgang Gersh, grand opening 5-8 p.m.

Pasa’s Little Black Book......... 72 Elsewhere............................ 75 People Who Need People..... 75 Pasa Kids............................ 75

The Santa Fe Studio Tour opens with a preview exhibit Friday, June 27 at Santa Fe University of Art & Design, 1600 St. Michael’s Dr.; tour continues Saturday and Sunday; shown, Elwood Loves His Girls, by Darlene Olivia McElroy.

Evoke Contemporary 550 S. Guadalupe St., 505-995-9902. Representing the Nude III, biennial group show, reception 5-7 p.m., through Aug. 27.

At the Galleries.................... 76 Museums & Art Spaces........ 76 Exhibitionism...................... 77 In the Wings....................... 78

Gerald Peters Gallery 1011 Paseo de Peralta, 505-954-5700. Will Clift: Forms in Balance, sculpture in wood, steel, and carbon fiber composite, reception 5-7 p.m., through Aug. 16.

compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com

Intrigue Gallery 238 Delgado St., 505-820-9265. No Friday Night Blackout, figurative paintings by Pamela Frankel Fiedler, reception 5-7 p.m., through July. LewAllen Galleries at the Railyard 1613 Paseo de Peralta, 505-988-3250. Henry Jackson: Halted in Transition, abstract paintings, reception 5-7 p.m., through July 27. Manitou Galleries 225 Canyon Rd., 505-986-9833. A New Look at the Old Southwest, group show featuring Dennis Ziemienski, reception 5-7:30 p.m. Meyer Gallery 225 Canyon Rd., 505-983-1434. Chris Young: A One Man Exhibit, reception 5-7 p.m., through July 10. The Owings Gallery 120 E. Marcy St., 505-982-6244. Photographs by Luís Gonzalez Palma; new work by painter Ray Abeyta (see story, Page 54), reception 5-7 p.m., through July 14. Santa Fe Studio Tour preview exhibit Artists’ reception 5:30-7:30 p.m., Preview Gallery, Studio 38, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., open 10 a.m.-5 p.m. through Sunday in conjunction with the self-guided tour of more than 30 studios around the city, for details visit santafestudiotour.com. A Sea in the Desert Gallery 407 S. Guadalupe St., 505-988-9140. Ladies From the 80s and One Rebel, group show, reception 5-7 p.m. Somers Santa Fe 125 E. Palace Ave., Suite 137, 505-986-0288. Works by jeweler Hillary Randolph and sculptor Somers Randolph, grand-opening reception 5-8 p.m. 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, reception 5-7 p.m., through July. Vivo Contemporary 725 Canyon Rd., 505-982-1320. In the Mood, collaborative group show between artists and musicians, including artists Joy Campbell, Patty Hammarstedt, and Ruth Weston, with singer/guitarist Karen Marrolli, reception 5-7:30 p.m. through Sept. 2. Waxlander Gallery 662 Canyon Rd., 505-984-2202. Seasons of Color, landscapes by Marshall Noice, reception 5-8 p.m., through July 7. Wilford Gallery 403 Canyon Rd., 505-982-2403. Voices of the West, paintings by Barry Thomas, reception 5-8 p.m. William Siegal Gallery 540 S. Guadalupe St., 505-820-3300. Ruah, works on paper by Judy Tuwaletstiwa, reception 5-7 p.m., through July 22. ▶▶▶▶▶▶▶▶

calendar guidelines

Please submit information and listings for Pasa Week no later than 5 p.m. Friday, two weeks prior to the desired publication date. Resubmit recurring listings every three weeks. Send submissions by mail to Pasatiempo Calendar, 202 E. Marcy St., Santa Fe, NM, 87501, by email to pasa@ sfnewmexican.com, or by fax to 505-820-0803. Pasatiempo does not charge for listings, but inclusion in the calendar and the return of photos cannot be guaranteed. Questions or comments about this calendar? Call Pamela Beach, Pasatiempo calendar editor, at 505-986-3019; or send an email to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. See our calendar at www.pasatiempomagazine.com, and follow Pasatiempo on Facebook and Twitter. PASATIEMPOMAGAZINE.COM

Yares Art Projects 123 Grant Ave., 505-984-0044. Modern Alchemy, mixed-media sculpture by Martin Cary Horowitz, reception 5:30-7:30 p.m., through July. Zane Bennett Contemporary Art 435 S. Guadalupe St., 505-982-8111. Byways, work by painter Damian Stamer, reception 5-7 p.m., through July 19. OPERA Opening night: Carmen Bizet’s masterpiece heralds the start of Santa Fe Opera’s 2014 season, 8:30 p.m., 301 Opera Dr., tickets begin at $32, standing room $15, 505-986-5900, santafeopera.org. (See story, Page 22) CLASSICAL MUSIC TGIF organ recital Jonathan Schakel performs music of Bach, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations welcome, 505-982-8544, Ext. 16. IN CONCERT Music at the Museum High Desert Harps, 5:30 p.m., New Mexico Museum of Art, 107 W. Palace Ave., no charge, 505-476-5072. Santa Fe Bandstand Banjo-driven roots-rock duo Todd & The Fox, 6-7 p.m.; zydeco/Tejano/juke-swing band Felix y Los Gatos, 7:15-8:45 p.m., the Plaza, no charge, visit santafebandstand.org for the summer series schedule.

317 Aztec 20-0150 317 Aztec St., 505-8 the Inn at ge un Agoyo Lo a on the Alamed 505-984-2121 303 E. Alameda St., nt & Bar Anasazi Restaura Anasazi, the of Inn Rosewood e., 505-988-3030 113 Washington Av Betterday Coffee 5-555-1234 , 50 905 W. Alameda St. nch Resort & Spa Bishop’s Lodge Ra ., 505-983-6377 Rd 1297 Bishops Lodge fé Ca ley Al Burro o St., 505-982-0601 207 W. San Francisc Café Café 5-466-1391 500 Sandoval St., 50 ón es M El ¡Chispa! at e., 505-983-6756 Av ton ing ash W 3 21 Cowgirl BBQ , 505-982-2565 319 S. Guadalupe St. Del Charro , 505-954-0320 101 W. Alameda St. Duel Brewing 5-474-5301 1228 Parkway Dr., 50 lton Hi e th El Cañon at 5-988-2811 50 , St. al ov nd Sa 0 10 Spa Eldorado Hotel & St., 505-988-4455 o isc nc Fra n Sa . 309 W

PASATIEMPO I JUNE 27-JULY 3, 2014

THEATER/DANCE Federal Dances Outdoor modern-dance performance directed by Micaela Gardner, 6:30 p.m., Federal Plaza Park, S. Federal Place and Washington Ave., no charge, Saturday and Sunday encores. Invaders of the Heart 2014 Bellydancing with Mosaic Dance Company, Kaeshi Chai, and Hannah Mullins, 7 p.m., James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., $25 (five for $100), tickets available at Pomegranate Studios, 505-986-6164, Saturday encore. Wise Fool New Mexico Twelfth annual Bust circus workshop performance, 7 p.m., 2778-D Agua Fria St., $10-$15 sliding scale, kids $5, continues Saturday, wisefoolnewmexico.org. BOOKS/TALKS Cheryl Jamison and Bill Jamison The authors and Rancho de Chimayó restaurant owner Florence Jaramillo mark the 50th anniversary of the establishment in a discussion of The Rancho de Chimayó Cookbook, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. Richard Haddaway The author reads from and signs copies of A Little Something, 5 p.m., Op. Cit. Books, 500 Montezuma Ave., Sanbusco Center, 505-428-0321. EVENTS Santa Fe Opera Ranch Tours Extended tours of the grounds with a meet-the-artist component 10 a.m., tour $12, combined backstage tour $20, 505-986-5900, santfeopera.org, continues July 25 and Aug. 22.

PASA’S LITTLE BLACK BOOK El Farol 5-983-9912 808 Canyon Rd., 50 ill Gr El Paseo Bar & 92-2848 5-9 50 , St. teo lis 208 Ga Evangelo’s o St., 505-982-9014 200 W. San Francisc erging Arts High Mayhem Em 38-2047 5-4 50 , 2811 Siler Lane Hotel Santa Fe ta, 505-982-1200 1501 Paseo de Peral asters Ro Iconik Coffee 28-0996 5-4 50 , St. na Le 1600 ma Jean Cocteau Cine 505-466-5528 e., Av ma zu 418 Monte Junction , 505-988-7222 530 S. Guadalupe St. La Boca 5-982-3433 72 W. Marcy St., 50 ina nt Ca La Casa Sena 5-988-9232 50 e., Av e lac Pa E. 125 La Fonda at La Fiesta Lounge , 505-982-5511 St. o isc nc Fra n 100 E. Sa a Fe Resort La Posada de Sant Ave., 505-986-0000 e lac Pa E. and Spa 330 Arts Center g in rm rfo Lensic Pe St., 505-988-1234 o isc 211 W. San Franc

NIGHTLIFE (See addresses below) Bishop’s Lodge Ranch Resort & Spa Jazz guitarist Pat Malone, 6-9 p.m., no cover. Cowgirl BBQ Wendy Woo, rock/blues/jazz, 5-7:30 p.m.; Sean Healen Band, rock ’n’ roll, 8:30 p.m., no cover. ¡Chispa! at El Mesón Three Faces of Jazz, with guest saxophonist Bruce Holmes, 7:30 p.m., no cover. El Farol R & B band Twisted Owls, 9 p.m., 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 Nacha Mendez Quartet, 6:30 p.m., no cover. Palace Restaurant & Saloon Rockers Anthony Leon & The Chain, 10 p.m., call for cover. Pranzo Italian Grill Pianist David Geist, 6-9 p.m., with special appearances from the Santa Fe REP cast of Follies: The Concert Version, call for cover. Second Street Brewery Bill Hearne’s classic-country trio, 6-9 p.m., no cover. Second Street Brewery at the Railyard, Appalachian-inspired string band Hot Honey, 7-10 p.m., no cover. Shadeh Funklicious Friday, 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 Marc Yaxley, 5:30-8:30 p.m.; J.J. & The Hooligans, 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.

Lodge Lounge at The Lodge at Santa Fe 750 N. St. Francis Dr., 505-992-5800 The Matador 116 W. San Francisco St. Mine Shaft Tavern 2846 NM 14, Madrid, 505-473-0743 Museum Hill Café 710 Camino Lejo, Milner Plaza, 505-984-8900 Music Room at Garrett’s Desert Inn 311 Old Santa Fe Trail, 505-982-1851 Odd Fellows Hall 1125 Cerrillos Rd. Omira Bar & Grill 1005 St. Francis Dr., 505-780-5483 Palace Restaurant & Saloon 142 W. Palace Ave., 505-428-0690 Pranzo Italian Grill 540 Montezuma Ave., 505-984-2645 Santa Fe Community Convention Center 201 W. Marcy St., 505-955-6705 Santa Fe Sol Stage & Grill 37 Fire Place, solofsantafe.com Second Street Brewer y 1814 Second St., 505-982-3030

28 Saturday GALLERY/MUSEUM OPENINGS Barbara Meikle Fine Art 236 Delgado St., 505-992-0400. Bindy the burro visits the gallery for a live-painting session by the gallerist during a fund drive for the nonprofit horse rescue/therapeutic-riding center Equine Spirit Sanctuary, 11 a.m.-2 p.m. Sculpt Santa Fe Sculpture show and sale, 10 a.m.-5 p.m. today and Sunday; visit ssfnm.com for list of artists; Eldorado Hotel Pavilion, no charge. Studio Broyles 821 Canyon Rd., second floor, 505-699-9689. Praxis, paintings, sculpture, and mixed media by Andrea Broyles, open house 10 a.m.-5 p.m. today and Sunday. Wade Wilson Art 217 W. Water St., 505-660-4393. Sculpture by James Surls, through Aug. 2, reception 9:30-11:30 a.m., followed by gallery-led tours of the artist’s works. OPERA Don Pasquale Donizetti’s romantic comedy, 8:30 p.m., Santa Fe Opera, 301 Opera Dr., tickets begin at $32, standing room $15, 505986-5900, santafeopera.org. (See story, Page 32) IN CONCERT Michael Anthony L.A.-based jazz guitarist, joined by Michael Glynn on bass and Cal Haines on drums, 7 p.m., call 505-989-1088 or 505-930-7001 for details, tickets, and venue directions, $35.

Second Street Brewer y at the Railyard 1607 Paseo de Peralta, 505-989-3278 Shadeh Buffalo Thunder Resort & Casino, Pojoaque Pueblo, U.S. 84/285, 505-455-5555 Sweetwater Harvest Kitchen 1512-B Pacheco St., 505-795-7383 Swiss Bakery Pastries and Bistro 401 S. Guadalupe St., 505-988-5500 Taberna La Boca 125 Lincoln Ave., 505-988-7102 Tiny’s 1005 St. Francis Drive, Suite 117, 505-983-9817 The Underground at Evangelo’s 200 W. San Francisco St. Upper Crust Pizza 329 Old Santa Fe Trail, 505-982-0000 Vanessie 434 W. San Francisco St., 505-982-9966 Veterans of Foreign Wars 370 Montezuma Ave., 505-984-2691 Warehouse 21 1614 Paseo de Peralta, 505-989-4423 Zia Dinner 326 S. Guadalupe St., 505-988-7008

29 Sunday

THEATER/DANCE Federal Dances Outdoor modern-dance performance directed by Micaela Gardner, 6:30 p.m., Federal Plaza Park, S. Federal Place and Washington Ave., no charge, Sunday encore. Follies: The Concert Version Santa Fe REP presents Stephen Sondheim’s musical, 7:30 p.m., Warehouse 21, $25, discounts available, 505-629-6517, sfrep.org, concludes on Sunday. Invaders of the Heart 2014 Bellydancing with Mosaic Dance Company, Kaeshi Chai, and Hannah Mullins, 7 p.m., James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., $25 (five for $100), tickets available at Pomegranate Studios, 505-986-6164 Wise Fool New Mexico Twelfth annual Bust circus workshop performance, 2 and 7 p.m., 2778-D Agua Fria St., $10-$15 sliding scale, kids $5, wisefoolnewmexico.org. BOOKS/TALKS Sculpture panel discussion Sculptor James Surls is joined by ARTNews publisher Milton Esterow, SITE Santa Fe chief curator Irene Hofmann, and others, 1:30-3:30 p.m., Center for Contemporary Art, 1050 Old Pecos Trail, call Wade Wilson Art for more information, 505-660-4393, no charge. OUTDOORS Leonora Curtin Wetland Preserve Walking trails open 9 a.m.-noon Saturdays; bird-watching walk 8 a.m.; 27283 W. Frontage Rd., adjacent to El Rancho de las Golondrinas, santafebotanicalgarden.org, 505-471-9103, donations appreciated. EVENTS Allan Houser celebration In honor of the late artist’s 100th birthday and the Fort Sill Apaches’ 100 years of freedom; gates open at 4:30 p.m., light dinner and

Talking Heads

Ambassador Sichan Siv Join the former U.S. ambassador to the United Nations and author of Golden Bones and Golden State as he discusses growing up in Cambodia and escaping the Khmer Rouge reign to settle in America, 6-7:30 p.m. Tuesday, July 1, Collected Works Bookstore, 202 Galisteo St., 505-988-4226.

Marigold Arts shows watercolors by Ruth Tatter, 424 Canyon Rd.

refreshments 5:30 p.m., ground-blessing ceremony and an Apache Mountain Spirit Dance performed by Joe Tohonnie Jr. and the Apache Crown Dancers 8 p.m., Allan Houser Studio and Sculpture Gardens, 26 ABCD Haozous Rd., $40 at the door, ages 11 and under no charge, 505-471-1528. Model Train Show Santa Fe Model Railroad Club presents detailed scale-model layouts; 9 a.m.-5 p.m. today and Sunday, Santa Fe County Fair Grounds, 3229 Rodeo Rd., santafemodelrailroadclub.org, no charge. Mr. Z’s 1920 New Mexico Speakeasy An event commemorating the 50th anniversary of the Kiwanis Club’s acquisition of the rights to Zozobra; taco and tequila tasting; costumes encouraged; 6 p.m., former Borders Books space, 500 Montezuma Ave., Sanbusco Center, $20 in advance, available online at holdmyticket.com, 21+. Party in Black & White Celebrating anniversaries for photography organizations Center (20th), Santa Fe Photographic Workshops (25th), and Center for Contemporary Arts (35th); hors d’oeuvres and wine, auction, and raffle, 6:30-9 p.m., Muñoz Waxman main gallery, CCA, 1050 Old Pecos Trail, $45, 505-982-1338. Paw Pageant: From Barks to Bach Casual dog show competition with categories including best singing, best dressed, and waggiest tail; family activities begin at 10 a.m., performance by Santa Fe Youth Symphony Association ensemble students, Santa Fe Railyard, South Guadalupe St. and Paseo de Peralta, no charge, sfysa.org. Santa Fe Pride 2014 Pride on the Plaza kick-off parade runs along Old Santa Fe Trail from the state capitol to the Plaza at 11 a.m., entertainment follows; visit santafehra.org for more information. Santa Fe Studio Tour Self-guided tour of more than 30 studios around the city, 10 a.m.-5 p.m. today and Sunday, visit santafestudiotour.com for artist index and details.

NIGHTLIFE (See Page 72 for addresses) ¡Chispa! at El Mesón Tierra Sonikete: J.Q. Whitcomb on trumpet and Joaquin Gallegos on guitar, 7:30-10:30 p.m., no cover. Cowgirl BBQ Americana and rock band White Buffalo, 2-5 p.m.; blues guitarist Jono Manson, 8:30 p.m.; no cover. Del Charro Mariachi Teotihuacan, with Stephen Montoya, Jaime Martinez, and Daniel Martinez, 2-9 p.m., no cover. El Farol Blues band Tone and Company, 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 Santa Fe Pride DJ party, 8 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 Western-swing band The Tumbleweeds, 6-9 p.m., no cover. Shadeh DJ Flo Fader, 9 p.m.-4 a.m., no cover. Sweetwater Harvest Kitchen John Serkin on Hawaiian slack-key guitar, 6 p.m., no cover. Swiss Bakery Pastries and Bistro Jazz off the Plaza, with Robin Holloway & Friends, 7:30-10:30 p.m., no cover. Tiny’s Showcase karaoke with Nanci and Cyndy, 8:30 p.m.-close, no cover. The Underground at Evangelo’s Rock/R & B/grunge band Underground Cadence, 6-9 p.m.; DJ 13 Pieces & The Infektor, 9 p.m.-2 a.m., call for cover. Vanessie Pianists Doug Montgomery (6-8 p.m.) and Bob Finnie (8-11 p.m.), call for cover.

GALLERY/MUSEUM OPENINGS New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 505-476-5200. Painting the Divine: Images of Mary in the New World, Spanish-colonial paintings, reception 1-4 p.m., through March 29, 2015. (See story, Page 44) Photo-eye Bookstore + Project Space 376-A Garcia St., 505-988-5152. Devil’s Promenade, photographs by Antone Dolezal and Lara Shipley, reception 3-5 p.m., exhibit talk 3:30 p.m., through Aug. 16. (See story, Page 50) Sculpt Santa Fe Sculpture show and sale, 10 a.m.-5 p.m.; visit ssfnm.com for list of artists; Eldorado Hotel Pavilion, no charge. Studio Broyles 821 Canyon Rd., second floor, 505-699-9689. Praxis, paintings, sculpture, and mixed media by Andrea Broyles, open house 10 a.m.-5 p.m. Wade Wilson Art 217 W. Water St., 505-660-4393. Sculpture by James Surls, reception 10 a.m.-noon., artist talk 11:30 p.m., through Aug. 2. CLASSICAL MUSIC Concordia Santa Fe Wind Orchestra Music of Shostakovich, Stravinsky, and Marquez, 2 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., donations accepted at the door. IN CONCERT The Old 97s Alternative-country band, 7 p.m., Santa Fe Sol Stage & Grill, $20 in advance, 505-988-1234, ticketssantafe.org. (See story, Page 16) THEATER/DANCE Federal Dances Outdoor modern-dance performance directed by Micaela Gardner, 2 p.m., Federal Plaza Park, S. Federal Place and Washington Ave., no charge. Follies: The Concert Version Santa Fe REP presents Stephen Sondheim’s musical, 4 p.m. Warehouse 21, $25, discounts available, 505-629-6517, sfrep.org. Julesworks Follies The monthly variety show series continues with skits, readings, and musicians, 7 p.m., Jean Cocteau Cinema, $7, jeancocteaucinema.com. Unmerciful Good Fortune DNAworks presents a reading of playwright Edwin Sanchez’s drama, 5 p.m., part of Teatro Paraguas’ Sangria Sunday series, 3205 Calle Marie, by donation, 505-424-1601. BOOKS/TALKS Journey Santa Fe Presents A weekly discussion series; author Ilan Shamir shares details about his 40-day walk across Iceland, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. Max Evans The author discusses his new edition of The Hi Lo Country, 3 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. Jon Davis Santa Fe’s poet laureate hosts a group reading with local poets, including Hakim Bellamy, Donald Levering, and Luci Tapahonso, 3 p.m.4:30 p.m., Lloyd Kiva New Welcome Center, Institute of American Indian Arts, 83 Avan Nu Po Rd., no charge, for more information contact Santa Fe Arts Commission, 505-955-6707. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM

OUTDOORS Leonora Curtin Wetland Preserve Walking trails open 1-4 p.m. Sundays, 27283 W. Frontage Rd., adjacent to El Rancho de las Golondrinas, santafebotanicalgarden.org, 505-471-9103.

IN CONCERT Santa Fe Bandstand Rock band White Buffalo, 6-7 p.m.; Los Wise Guys, oldies/country/rock, 7:15-8:45 p.m., the Plaza, no charge, visit santafebandstand.org for the summer series schedule.

EVENTS Santa Fe Studio Tour Self-guided tour of more than 30 studios around the city, 10 a.m.-5 p.m., artist index and details available online at santafestudiotour.com for artist index and details.

THEATER/DANCE Antonio Granjero and EntreFlamenco opening night Flamenco dance troupe, with Estefania Ramirez, 8 p.m., María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr., $25-$45, 505-988-1234, ticketssantafe.org, nightly performances, except Tuesdays, through August. Modas Repertory Workshop performance Featuring choreography by Robert Moses and dancers ages 16-25, 7 p.m., Greer Garson Theatre, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., no charge, 505-473-6439.

NIGHTLIFE (See Page 72 for addresses) Cowgirl BBQ The Shiner’s Club, tin-pan alley and swing jazz, noon-3 p.m.; All the Wrong Reasons, rock, 8 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. Second Street Brewery at the Railyard, Santa Fe Revue, country, bluegrass, and R & B mash-up, 1-4 p.m., no cover. Vanessie Pianist Doug Montgomery, 6:30-10:30 p.m., call for cover.

BOOKS/TALKS Santa Fe Clay Wednesday Night Slide Lecture The series continues with ceramist Janis Mars Wunderlich, 7 p.m., Santa Fe Clay, 545 Camino de la famila, no charge, 505-984-1122.

30 Monday IN CONCERT Santa Fe Bandstand Railyard Reunion Band, bluegrass/country, noon-1 p.m.; James Carothers and The Renegade Mountain Band, 6-7 p.m.; modern-country artist Simon Balkey, 7:15-8:45 p.m.; the Plaza, no charge, visit santafebandstand.org for the summer series schedule. THEATER/DANCE Santa Fe Opera Backstage Tours Behind-the-scenes tours including production and front-of-house areas are offered daily through Aug. 22, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10; seniors $8; no charge for ages 22 and under, 505-986-5900.

OUTDOORS

Los Alamos hike Four-week program hosted by Los Alamos’ Pajarito Environmental Education Center, 6-8 p.m., 3540 Orange St., $8, call 505-662-0460 to register, pajaritoeec.org. BOOKS/TALKS David Morrell The author reads from and answers questions about Murder As a Fine Art, 7 p.m., Jean Cocteau Cinema, $10 general admission, $5 with a purchase of a paperback, 505-466-5528, jeancocteaucinema.com. (See Subtexts, Page 14) Santa Fe Photographic Workshops Instructor presentations by Gregory Heisler, Elizabeth Krist, Henry Horenstein, and Brett Erickson, 8-9:30 p.m., Santa Fe Prep auditorium, 1101 Camino de Cruz Blanca, 505-983-1400, Ext. 111. Southwest Seminars lecture The series continues with 1929: New Mexico Modern Artists in the Miracle Year, by Lois Rudnick, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, southwestseminars.org, 505-466-2775.

PASATIEMPO I JUNE 27-JULY 3, 2014

Yares Art Projects shows sculpture by Martin Cary Horowitz, 123 Grant Ave.

NIGHTLIFE (See Page 72 for addresses) Cowgirl BBQ Karaoke hosted by Michele Leidig, 8 p.m., no cover. La Fiesta Lounge at La Fonda Bill Hearne Trio, 7:30-11 p.m., no cover. Odd Fellows Hall Weekly all-ages swing dance Weekly all-ages informal swing dance, lessons 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, dance $3, lesson and dance $8, 505-473-0955. Upper Crust Pizza Troubadour Gerry Carthy, 6-9 p.m., no cover. Vanessie Pianist Doug Montgomery, 6:30-10:30 p.m., call for cover.

1 Tuesday GALLERY/MUSEUM OPENINGS David Richard Gallery 544 S. Guadalupe St., 505-983-9555. Landscapes and Cloudscapes: Seen Through Gestural Abstract Painting, group show, through Aug. 24

BOOKS/TALKS Ambassador Sichan Siv The author of Golden Bones and Golden State recounts his life growing up in Cambodia, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. NIGHTLIFE (See Page 72 for addresses) Cowgirl BBQ Memphis singer/songwriter Amy LaVerne, 8 p.m., no cover. ¡Chispa! at El Mesón Argentine Tango Milonga, 7:30-11 p.m., call for 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/songwriter 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.

2 Wednesday

IN CONCERT Santa Fe Bandstand Folk singer/songwriter Lipbone Redding, 6-7 p.m.; Stephanie Hatfield and Hot Mess, Americana, 7:15-8:45 p.m., the Plaza, no charge, visit santafebandstand.org for the summer series schedule.

GALLERY/MUSEUM OPENINGS Santa Fe Public Library Main Branch, 145 Washington Ave., 505-955-6784. Abstract paintings by Sara Vacha, through July 30.

EVENTS International folk dances Weekly on Tuesdays, lessons 7 p.m., dance 8 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5 donation at the door, 505-501-5081 or 505-466-2920.

OPERA Carmen Bizet’s masterpiece, 8:30 p.m., Santa Fe Opera, 301 Opera Dr., tickets begin at $32, standing room $15, 505-986-5900, santafeopera.org. (See story, Page 22)

OUTDOORS Gentle walk Los Alamos’ Pajarito Environmental Education Center offers a guided one- to two-mile trek along a relatively flat trail from 8 a.m.-noon. Meet at PEEC to carpool to the trailhead, to register call 505-662-0460, pajaritoeec.org, no charge. NIGHTLIFE (See Page 72 for addresses) Cowgirl BBQ Steel Toed Slippers, rock and funk, 8 p.m., no cover. ¡Chispa! at El Mesón Flamenco guitarist Joaquin Gallegos, 7-9 p.m., no cover. Del Charro Mariachi Teotihuacan, with Stephen Montoya, Jaime Martinez, and Daniel Martinez, 7-9 p.m., no cover. Duel Brewing Seattle singer/songwriter Naomi Wachira, 7 p.m., no cover. El Farol Guitarist/singer John Kurzweg, 8:30 p.m., no cover. La Fiesta Lounge at La Fonda Bert Dalton, Latin/swing, 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.

3 Thursday GALLERY/MUSEUM OPENINGS Freeform Art Space 1619 C de Baca Lane, 505-692-9249. Rita Bard: Space, Structure & Story, work on canvas and paper, salon 1-4 p.m. through July.

Community

THEATER/DANCE Antonio Granjero and EntreFlamenco Flamenco dance troupe, with Estefania Ramirez, 8 p.m. nightly through August, María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr., $25-$45, 505-988-1234, ticketssantafe.org.

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.

BOOKS/TALKS Jason Flores-Williams The author reads from and signs copies of The Last Stand of Mr. America, 6 p.m., Op. Cit. Books, 500 Montezuma Ave., Sanbusco Center, 505-428-0321. NIGHTLIFE (See Page 72 for addresses) Cowgirl BBQ John Kurzweg Band, rock ’n’ roll, 8 p.m., no cover. ¡Chispa! at El Mesón Jazz bassist Jon Gagan, 7-9 p.m., no cover. Duel Brewing Avery Burke, with Grannia Griffith and Aunt Kackle & The Coleslaw King, 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. La Fiesta Lounge at La Fonda Bert Dalton, Latin/swing, 7:30-11 p.m., no cover. La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio, 6-9 p.m., no cover. Palace Restaurant and Saloon Limelight karaoke, 10 p.m., no cover. Pranzo Italian Grill Pianist David Geist, 6-9 p.m., call for cover. Second Street Brewery Singer/songwriter Joe West, psychedelic country, 6-9 p.m., no cover. Shadeh DJ Oona, retro rewind, 9 p.m.-4 a.m., no cover. Vanessie Pianist Bob Finnie, 6:30-9:30 p.m., call for cover.

▶ Elsewhere ABIQUIÚ

Galeria Arriba Abiquiú Inn, 21120 NM 84, 505-685-4378. Sculpture and jewelery by Santa Fe artists Tom Bowker and Carole Bowker, artist conversation noon-4 p.m. Thursday, July 3, reception 5-8 p.m., through July.

ALBUQUERQUE

Events/Performances

Chatter Sunday Mahler’s Symphony No. 4, followed by ABQ Youth Slam Team poetry readings, 10:30 a.m., Sunday, June 29, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, chatterabq.org. 19th Annual Summer Thursday Jazz Nights at the Outpost Double bill: Kanoa Kaluhiwa Quartet and The Aplha Cats, 7:30 p.m. Thursday, July 3, Outpost Performance Space, 210 Yale Blvd. S.E., $15 in advance and at the door, students $10, outpostspace.org, 505-268-0044.

Galleries/Museums

516 Arts 516 Central Ave. S.W., 505-242-1445. Digital Latin America, group show, through Aug. 30. (See review, Page 48)

Filmmakers/Performers/Writers

New Mexico Dance Coalition Student Scholarships 2014 Two scholarship awards distributed in time for fall tuition; available to residents ages 8 and up; application forms and guidelines available online at nmdancecoalition.org; apply by Friday, Aug. 15.

▶ Pasa Kids

Nocona Burgess opens his Eagle Serpent Sudios 10 a.m.-5 p.m. Saturday, June 28, Cochiti Lake, 6614 Vooscane Ave.; shown, Circle of Power — Plenty Coup.

SCA Contemporary Art 524 Haines N.W., 505-228-3749. Adaptations: An Exhibition About Survival, group show by artists with serious illnesses, through Aug. 22.

COCHITI LAKE

Eagle Serpent Studios 6614 Vooscane Ave., 505-465-3012. Figurative paintings by Nocona Burgess, annual studio opening 10 a.m.-5 p.m. Saturday, June 28.

LOS ALAMOS

Gordon’s Summer Concerts DK & The Affordables, roots rock and Americana and Higher Ground Bluegrass, 7 p.m. Friday, June 27, Ashley Pond, gordonssummerconcerts.com, no charge.

TAOS

Taos School of Music The 52nd season continues with free Young Artist concerts (music of Beethoven and Schumann): 8 p.m. Saturday, June 28, Hotel St. Bernard, Taos Ski Valley; (music of Haydn and Ravel) 7:30 p.m. Sunday, June 29, Taos Community Auditorium, 133 Paseo del Pueblo Norte; Paths Not Taken, Borromeo String Quartet discusses alternate versions of various Bartók quartets in this seminar, 8 p.m. Thursday, July 3, Hotel St. Bernard, no charge; concerts continue into August at various venues, taosschoolofmusic.com.

▶ 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 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. Pecos Studio Art Tour 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. Santa Fe Photographic Workshops 25thAnniversary Photography Contest Photographers age 18 and over can enter works on the theme of water in one or more categories: landscape, portrait, documentary, abstract; early submission deadline Tuesday, July 1, final 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. Tear Mirror art project Santa Fe Art Institute artist-in-residence Tomoko Hayashi invites individuals to share written personal stories behind their tears, as well as their actual tears to be made into jewelry; call 505-424-5050 for more information, tomokohayashi.com.

Santa Fe Children’s Museum Fridays: 10:30-11:30 a.m., Preschool Prime Time, literacy and reading programs designed for children 5 and younger, 2:30-4:30 p.m., open art studio, led by local artists; Wednesdays: 10:30-11 a.m., Wee Wednesday, a bilingual preschool program with storytelling, songs, and games; 1050 Old Pecos Trail, by museum admission, 505-982-8359. Wise Fool New Mexico Twelfth annual Bust circus workshop performance, 7 p.m., 2778-D Agua Fria St., $10-$15 sliding scale, kids $5, continues Saturday, wisefoolnewmexico.org. Model Train Show Santa Fe Model Railroad Club presents detailed scale-model layouts; 9 a.m.-5 p.m. Saturday, June 28, 10 a.m.-4 p.m. Sunday, June 29, Santa Fe County Fair Grounds, 3229 Rodeo Rd., no charge, santafemodelrailroadclub.org. Georgia O’Keeffe Museum family program Art and Movement Expedition to Hawaii, watercolor class inspired by movement and dance, led by Anabella St. Peter, 9:30-11:30 a.m. Saturday, June 28, 217 Johnson St., 505-946-1000, no charge. Paw Pageant: From Barks to Bach Casual dog show competition with categories including best singing, best dressed, and waggiest tail; family activities begin at 10 a.m. Saturday, June 28, performance by Santa Fe Youth Symphony Association ensemble students, Santa Fe Railyard, South Guadalupe St. and Paseo de Peralta, no charge, sfysa.org. Santa Fe Public Library summer programs Family Bedtime Stories, led by children’s librarian Walter Cook, 6:30 p.m. the first Wednesday of each month, Oliver La Farge Branch, 1730 Llano St. Books and Babies, a weekly play and language group for children ages six months to 2 with their caregivers; 10:30-11 a.m. Tuesdays, Main Branch, 145 Washington Ave., 505-955-6783. 10:30-11 a.m. Wednesdays, Oliver La Farge Branch, 1730 Llano St., 505-955-4863; 10:30-11 a.m. Thursdays, Southside Branch, 6599 Jaguar Dr., 505-955-2828, schedule of events available online at santafelibrary.org. Bee Hive Kids Books workshop Make clothespin dragonflies (all ages), 11 a.m.-noon Saturday, June 28; Music, Stories, and Movement classes (ages 3 and up), 10:30-11:15 a.m. every Wednesday in July, $55 for all five classes, drop-in price $12; 328 Montezuma Ave., no charge, 505-780-8051. ◀

PASATIEMPOMAGAZINE.COM

AT THE GALLERIES Allan Houser Gallery 125 Lincoln Ave., 505-982-4705. Within the Seventh Fire, works on paper and paintings by Ben Wright, through July 9. Chalk Farm Gallery 729 Canyon Rd., 505-983-7125. Magic Square, paintings by Lukas Kandl, through July. David Rothermel Contemporary 142 Lincoln Ave., Suite 102, 575-642-4981. Poetic Principles, abstract paintings by the gallerist, through Wednesday, July 2. Hunter Kirkland Contemporary 200-B Canyon Rd., 505-984-2111. Wilderness Within, paintings by Rick Stevens, through July 6. Marigold Arts 424 Canyon Rd., 505-982-4142. Birds, paintings by Ruth Tatter and Janice Jada Griffin, through July 10. McCreery Jordan Fine Art 924 Paseo de Peralta, 505-501-0415. Raven-ous!, sculpture and paintings by Jordan, through July 13. Meyer East Gallery 225 Canyon Rd., 505-983-1657. High Desert Meditation, paintings by David Jonason, through Thursday, July 3. Nedra Matteucci Galleries 1075 Paseo de Peralta, 505-982-4631. Dawn to Dusk, landscapes by Chris Morel, through July 12. Nüart Gallery 670 Canyon Rd., 505-988-3888. Flow + Drift, new paintings by Nina Tichava, through July 6. Photo-eye Gallery 541 S. Guadalupe St., 505-988-5159. Hopper Meditations, photographs by Richard Tuschman, through July 19. 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. Than Povi Gallery 6 Banana Lane, Cuyumungue Exit 176 off US 84/285, 505-455-9988. Paintings, Prints, and Micaceous Jewelry, by Gerald “New Deer” Nailor, through Aug. 24.

MUSEUMS & ART SPACES SANTA FE

Center for Contemporary Arts 1050 Old Pecos Trail, 505-982-1338. The Curve, Center’s annual show of awardwinning photography • Dear Erin Hart, multimedia exhibit by Jessamyn Lovell • Air Force: Aesthetic Experiments in Aviation, works on paper created via remote-controlled airplane; exhibits through Aug. 10. Open Thursdays-Sundays; ccasantafe.org. Georgia O’Keeffe Museum 217 Johnson St., 505-946-1000. Georgia O’Keeffe and Ansel Adams: The Hawaii Pictures • Abiquiú Views; through Sept. 17. Open daily; okeeffemuseum.org. Museum of Contemporary Native Arts 108 Cathedral Place, 505-983-1777. We Hold These Truths, contemporary paper baskets by Shan Goshorn • Brandywine Workshop Collection, works by indigenous artists donated to the Philadelphia facility

PASATIEMPO I JUNE 27-JULY 3, 2014

Leaving the Forest, by Bobbe Besold, in the New Mexico History Museum exhibit Poetics of Light: Pinhole Photography.

• 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. 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. San Ysidro/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late-colonialperiod re-creation; spanishcolonial.org; open daily through Sept. 1. New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 505-476-5200. Painting the Divine: Images of Mary in the New World, Spanish-colonial paintings, opening reception 1-4 p.m. Sunday, June 29, through March 29, 2015 (See story, Page 44) • 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. New Mexico Museum of Art 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; both exhibits up through Aug. 17 • Photo Lab, interactive exhibit explaining the processes used to make color and platinumpalladium 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. Santa Fe Children’s Museum 1050 Old Pecos Trail, 505-989-8359. Interactive exhibits. Open daily from Monday, June 2, through August; santafechildrensmuseum.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. Santa Fe Botanical Garden 715 Camino Lejo, Museum Hill, 505-471-9103. Origami in the Garden, sculpture by Kevin Box, through Oct. 25. 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. Native American Bolo Ties: Vintage and Modern Artistry, traveling exhibit of works from the Heard Museum, opening reception 2-5 p.m. Saturday, June 28, including a talk and book signing by curator Diana Pardue and collector Norman L. Sandfield • 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 design distinctive to the charro; cabq.gov/culturalservices/albuquerquemuseum/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. Closed Sundays and Mondays; nmholocaustmuseum.org. 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; maxwellmuseum.unm.edu; closed Sundays and Mondays. 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.

ESPAÑOLA

Bond House Museum and Misión Museum y Convento 706 Bond St., 505-747-8535. Historic and cultural objects exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). Call for hours; plazadeespanola.com.

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. 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, Spanishcolonial “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.

EXHIBITIONISM

A peek at what’s showing around town

Ann Laser: Mellow, 2014, mixed media. In the Mood, an exhibit of art inspired by music, opens at Vivo Contemporary (725 Canyon Road) with a 5 p.m. reception on Friday, June 27. Visitors can listen to recorded compositions by local musicians paired with selected works by gallery artists George Duncan, Ann Laser, Ro Calhoun, and others. Free live musical performances are featured every Friday at 5 p.m. through August. Vocalist and guitarist Karen Marrolli starts off the performances during the opening reception. Call 505-982-1320.

James Surls: Rough God 4, 2010, steel. For the last few years, sculptor James Surls has hosted exhibition weekends at his studio outside Aspen. In lieu of this annual gathering, Surls comes to Santa Fe to present new work. The public is invited for morning coffee at the opening reception of Wade Wilson Art (217 W. Water St., 505-660-4393) on Saturday, June 28, at 9:30 a.m. The opening is followed by a 1:30 p.m. panel discussion with Surls, ARTNews founder Milton Esterow, SITE Santa Fe director Irene Hofmann, and others at the Center for Contemporary Arts (1050 Old Pecos Trail, 505-982-1338). The discussion includes a screening of the film James Surls: The Journey. The artist also gives a talk at Wade Wilson on Sunday, June 29, at 11:30 a.m. All events are free. Additional artwork is on view at the Santa Fe University of Art and Design (1600 St. Michael’s Drive) through Sept. 14.

Henry Jackson: Untitled (#106-14), 2014, oil and cold wax on canvas over panel. Henry Jackson: Halted in Transition is the first show of the artist’s works at LewAllen Galleries at the Railyard (1613 Paseo de Peralta). Jackson’s gestural abstractions contain allusions to the human figure. The show opens Friday, June 27, with a 5 p.m. reception. Call 505-988-3250.

Olga de Amaral: Aqua 11, 2014, linen, gesso, acrylic, and palladium leaf. Bellas Artes Gallery (653 Canyon Road) presents Black White Silver, a show of modern and contemporary works by a number of artists including Olga de Amaral, Jungjin Lee, and Robert Kushner. The exhibition contains pieces in a variety of media including ceramics, textiles, paintings, and sculpture. The show opens Friday, June 27. There is no reception. Call 505-983-2745.

Teresa Baker: Minyma Malilunya, 2013, synthetic polymer paint on canvas. Chiaroscuro Contemporary Art and the Vivien Anderson Gallery in Melbourne present Australian Contemporary Indigenous Art III. The biennial exhibition series features the work of prominent aboriginal artists. This year’s show includes pieces by Judy Watson Napangardi, Rerrkirrwanga Mununggurr, Keith Stevens, Roy Underwood, and others. Many of the works are abstract but reference narratives passed down through generations of aboriginal peoples. Some of the artists are present for the opening reception at 5 p.m. on Friday, June 27. Chiaroscuro is at 702 1/2 Canyon Road. Call 505-992-0711.

PASATIEMPOMAGAZINE.COM

In the wings MUSIC The Soulshine Tour Michael Franti and Spearhead, SOJA, Brett Dennen, and Trevor Hall, 6 p.m. Saturday, July 5, Downs of Santa Fe, 27475 W. Frontage Rd., $44 and $61, kids $12, ticketssantafe.org, 505-988-1234, and holdmyticket.com. Little Tybee Folk/rock band, 8 p.m. Monday, July 7, Gig Performance Space, 1808-H Second St., $20, gigsantafe.com. Ninth Annual New Mexico Jazz Festival July 11-27 in Albuquerque and Santa Fe; Terri Lyne Carrington’s Mosaic Project, Jack DeJohnette Trio, Claudia Villela Quartet, Henry Butler with Steven Bernstein & The Hot 9, visit newmexicojazzfestival.org for schedule. Krishna Das & The Kirtan Wallah Tour Singer/songwriter, 7 p.m. Thursday, July 10, Greer Garson Theatre, SFUA&D, $36.50, 505-988-1234, ticketssantafe.org. Poncho Sanchez Veteran conguero, salsa singer, and band leader, 7:30 p.m. Saturday, July 12, Santa Fe Sol Stage & Grill, $28, 505-988-1234, ticketssantafe.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. Patti Littlefield and the Arlen Asher Quintet Jazz set, 7 p.m., Thursday, July 24, Museum Hill Café, 710 Camino Lejo, $25, 505-983-6820, santafemusiccollective.org. Daniela Mack and Alex Shrader Santa Fe Opera mezzo-soprano and tenor, accompanied by pianist Joseph Illick, 4 p.m. Thursday, July 31, St. John’s United Methodist Church, 1200 Old Pecos Trail, $22.50-$75, 505-988-1234, ticketssantafe.org, visit performancesantafe.org for the 2014-2015 season schedule. Woody Shaw tribute 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, Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $15 at the door. Corinne Winters Santa Fe Opera soprano, acccompanied by pianist Steven Blier, 4 p.m. Sunday, Aug. 3, St. John’s United Methodist Church, 1200 Old Pecos Trail, $22.50-$75, 505-988-1234, ticketssantafe.org, visit performancesantafe.org for the 2014-2015 season schedule. Ray Lamontagne Singer/songwriter, 6:30 p.m. Tuesday, Aug. 5, with Belle Brigade, The Downs of Santa Fe, $40 and $62, 505-988-1234, ticketssantafe.org. The Hold Steady Rock band, 7:30 p.m. Wednesday, Aug. 6, Santa Fe Sol Stage & Grill, $25, 505-988-1234, ticketssantafe.org. Paul Groves Santa Fe Opera tenor, accompanied by pianist Joseph Illick, 4 p.m. Friday, Aug. 8, St. John’s United Methodist Church, 1200 Old Pecos Trail, $22.50-$75, ticketssantafe.org, 505-988-1234, visit performancesantafe.org for the 2014-2015 season schedule.

UPCOMING EVENTS HAPPENINGS

Hayes Carll and His Band Singer/songwriter, 7:30 p.m. Friday, August 15, Santa Fe Sol Stage & Grill, $17, ticketssantafe.org, 505-988-1234. Avett Brothers North Carolina-based folk-pop duo, 8 p.m. Wednesday, Aug. 27, Santa Fe Opera, 301 Opera Dr., $35-$55 in advance, ticketmaster.com, $40-$60 day of show.

THEATER/DANCE

Good People Ironweed Productions presents David LindsayAbaire’s drama, 7:30 p.m. Fridays and Saturdays, 4 p.m. Sundays, July 10-27, Santa Fe Playhouse, 142 E. De Vargas St., $15, discounts available, 505-988-4262. Santa Fe Desert Chorale Summer Festival Concert series including Mozart’s Requiem with mezzo-soprano Susan Graham and a program of pop and jazz favorites with Voasis, July 10-August 17, desertchorale.org. Flamenco’s Next Generation Youth flamenco group from the María Benítez Institute for Spanish Arts, 2 p.m. Sundays, July 13-Aug. 24, Lodge at Santa Fe, 750 N. St. Francis Dr., institutespanisharts.org. Aspen Santa Fe Ballet Raise the Barre benefit for the ballet, 6 p.m. Monday, July 14, Las Campanas Clubhouse, 132 Clubhouse Dr., $250, aspensantafeballet. com, 505-983-5591. Juan Siddi Flamenco Santa Fe Dance ensemble, 8 p.m. July 18, July 27, Aug. 3, and Aug. 9, the Lensic, ticketssantafe.org, 505-988-1234.

39th Annual Pancakes on the Plaza Car show, arts & crafts booths, silly-hat contest, and music, Friday, July 4, $7 in advance at most banks and credit unions, $8 day of event, pancakesontheplaza.com. Santa Fe Wine Festival 21st annual affair; tastings, food, music, and arts & crafts, noon-6 p.m. Saturday and Sunday, July 5-6, El Rancho de las Golondrinas, $13, discounts available, 505-471-2261. ART Santa Fe 2014 International contemporary art fair running Thursday-Sunday, July 10-13; opening-night gala vernissage July 10; fair hours 11 a.m.6 p.m. July 11-13, Santa Fe Community Convention Center, vernissage $100; VIP pass $125, daily tickets for the fair $10, 505-988-1234, ticketssantafe.org. Santa Fe International Folk Art Market More than 150 master folk artists from more than 50 countries, July 11-13, Museum Hill, 505-992-7600, folkartmarket.org. Young Natives Arts & Crafts Show Works by the children and grandchildren of the Palace of the Governors’ portal artists, 9 a.m.-3 p.m. Saturday and Sunday, July 12-13, Palace of the Governors Courtyard, enter through the blue gate on Lincoln Ave., no charge, 505-476-5200. Santa Fe Greek Festival Food, music, dancing, and beer and wine; 11 a.m.-9 p.m. Saturday and Sunday, July 12-13, Pavilion Room, Eldorado Hotel & Spa, $3, ages 12 and under no charge. Pull of the Moon Museum of Contemporary Native Arts offers a free public event 5-7 p.m. Wednesday, July 16, for the temporary site-specific installation in Arizona by Ai Weiwei and Bert Benally, including a live performance by German sound artist Robert Henke and Benally based on sounds captured during the installation, the opening of the documentary The Making of Pull of the Moon by Daniel Hyde and Blackhorse Lowe, and an immersive full-dome experience of a 3-D digital landscape model of the installation on July 18-19, nmarts.org.

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

PASATIEMPO I JUNE 27-JULY 3, 2014

SITElines.2014: Unsettled Landscapes 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 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, buses depart from Hotel Santa Fe, 1501 Paseo de Peralta, $75 per tour, $22 optional lunch, contact Westwind Travel, 505-984-0022. ¡Viva la Cultura! Hispanic cultural festival running 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, Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, call 505-982-2226, Ext. 109, for advance tickets. Fifth Annual Objects of Art Santa Fe Contemporary, ethnic, and antique objects, including sculpture, jewelry, furniture, and books, ticketed preview 6-9 p.m. Thursday, Aug. 14 ($50, benefits New Mexico PBS), show runs 11 a.m.-6 p.m. Friday-Sunday, Aug. 15-17, $10 run of show in advance, $13 at the door, El Museo Cultural de Santa Fe, 555 Camino de la Familia, objectsofartsantafe.com. Women’s International Study Center symposium Risk & Reinvention: How Women Are Changing the World, U.S. Supreme Court justice Ruth Bader Ginsburg begins the conversation on Friday, Aug. 15, symposium concludes Saturday, Aug. 16, Drury Plaza Hotel, 228 E. Palace Ave., $150, young adults $100, register online at wisc-amh.org. Antique American Indian Art Show Santa Fe 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, El Museo Cultural de Santa Fe, 555 Camino de la Familia, tickets available online at antiqueindianartshow.com. 39th Annual Wheelwright Museum of the American Indian Benefit Auction Silent auction and preview of live auction items 4-6 p.m. Thursday, Aug. 21, Collector’s Table 10 a.m. Friday, Aug. 22, live auction preview follows, live auction 1 p.m.; 704 Camino Lejo, Museum Hill, 505-982-4636, wheelwright.org. Indigenous Fine Art Market More than 400 Native artists are slated to participate in this inaugural market held at the Santa Fe Railyard 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 Thursday, Aug. 21; sneak preview Friday, Aug. 22; live auction dinner and gala Saturday, Aug. 23; market held on the Plaza Saturday and Sunday, Aug. 22-23; swaia.org, 505-983-5220.