The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
June 6, 2014
Navajo Rug & Jewelry Show & Sale
Saturday & Sunday June 7 & 8 9AM–5PM Pecos National Historical Park Store 25 miles east of Santa Fe, NM, off I-25 Pecos, NM Free and open to the public The Pecos National Historical Park Store is operated by Western National Parks Association, a nonprofit partner of the National Park Service. Your tax-free purchases help support national parks across the West For more information, call 505-757-7241 or go to wnpa.org
Exquisite handwoven Navajo rugs and fine American Indian jewelry, direct from Hubbell Trading Post National Historic Site. Learn about historic Indian trading and the living artistic legacy of the oldest continuously operated trading post in the Southwest. Special trader talks at 11 AM and 2 PM daily.
New Linen Cotton Tencel Larger Sizes Too 223 Galisteo between Water & Alameda • 505.983.6331 Monday-Saturday 10-6 • Sunday 11-5
Gruet Wine Dinner
Friday, June 13th, 2014 From 5:30 – $95.00 per person
Open seating – served all evening – ‘regular’ menu available
1st Course Shiitake Mushroom & Asadero Cheese Croquettes 25 year Commemorative Blanc de Blanc NV Soup Course Heirloom Tomato Gazpacho Sparkling Grand Rose 2007 Salad Course Baby Iceberg “Wedge” w/ Maine Lobster Salad Sparkling Grand Reserve 2007 Fish Course Butter – Poached Jumbo Prawns w/ Sweet Pea Risotto Syrah 2010 Meat Course Braised Beef Short Ribs w/ Truffled Polenta Pinot Noir 2010 Dessert Brioche Tart w/ Ricotta & Apricots Sparkling Demi Sec NV Executive Chef: Fernando Ruiz
Reservations: 505 984 1788 Father’s Day ‘Instant’ Gift Certificates on: www.santacafe.com 231 washington ave. santa fe, nm
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PASATIEMPO I June 6 - 12, 2014
Advance Your Career with Digital Arts
We offer Digital Arts training in a variety of areas. Instructors are industry experts and provide the latest tools and techniques for immediate application. Classes are available in: Graphic Design InDesign Illustrator Photoshop Photography
Videography Final Cut Pro Music Production Logic Pro Web Design
HTML and CSS CMSs Dreamweaver Mac and iPad Social Media
Classes start soon! digitalarts.unm.edu 505-277-6037
japanese
reservations
spa & resort
introducing our
izanami new izakaya
izanami 505.428.6390
www.tenthousandwaves.com
spa & lodging 505.982.9304
ten thousand waves
the most beautiful patio in santa fe now open! join us for our “lunch set”––$17 every day
b o t w i n e y e s
e y e
&
g r o u p
o p t i c s s a n t a
f e
505.954.4442
representing two generations of optometric physicians serving the residents of Santa Fe and northern new Mexico. providing state of the art eye care with the world’s most fashion forward and unique eyewear.
Artwork By: Jennifer Jesse Smith 101 W. SAN FRANCISCO ST. SANTA Fe
Dr. Mark botwin
505-988-1866 OPeN 7 DAYS
| Dr. Jonathan botwin | Dr. Jeremy botwin
Mon-Fri 8:00-6:00, Sat 8:30-12:00 444 St Michaels Drive | botwineyegroup.com
PASATIEMPOMAGAZINE.COM
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Irene Kung New Photographs
Desert Montessori School Benefit artist-donated kiln-fired glass from Bullseye Santa Fe
June 6-14 Opening June 6, 5-7
c h i a r o s c u r o 702 1/2
&
708 CANYON RD
AT
GYPSY ALLEY, SANTA FE, NM
505-992-0711
w w w .chi a rosc urosa n ta fe . c om Caption: Irene Kung, Ginkgo, 2013, Pigment print on rag paper, 48 x 48
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PASATIEMPO I June 6 - 12, 2014
n ’ l l chi rill’n g
DRAWINGS EVERY SUNDAY 2, 4, 6 & 8 PM
e D1A5Y n u J – ay 12 Y S U N
M
R
Grills, Coolers, Patio Sets & More!
Must be 21 years of age to attend.
WIN
EVE
FATHER’S DAY RIB EYE SPECIAL $12.95
Includes 1lb baked potato & salad • 11am-9pm • Tax & gratuity not included.
10 Min. North of DOWNTOWN Santa Fe Exit 175 on Hwy 84/285
1-800-GO-CAMEL camelrockcasino.com
Furnishing New Mexico’s Beautiful Homes Since 1987
FABULOUS FOOD. SPECTACULAR VIEW.
Dining Room
•
Bedroom
•
Entertainment
•
Lighting
•
Accessories
The Bell Tower at La Fonda is now open for lunch!
STOREWIDE Additional 20% off already discounted prices June 6 - June 30
Our Warehouse Showroom features over 8000 sq. ft. of handcrafted furniture. Please come in, you’ll be pleasantly surprised.
SANTA FE COUNTRY FURNITURE Open Daily 11am to Sunset
525 Airport Road • 660-4003 • Corner of Airport Rd. & Center Dr. Monday - Saturday • 9 - 5 • Closed Sundays www.santafecountry.com
PASATIEMPOMAGAZINE.COM
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THE SANTA FE NEW MEXICAN
June 6 - 12, 2014
www.pasatiempomagazine.com
ON THE COVER 34 Places, everyone A Richard Tuschman photograph is more than it seems. The Ohioan likes playing with reality and with appearances, and indulging an old love of making things with his hands. The models in his Edward Hopper-referencing works impossibly, and almost naturally, inhabit miniature sets. An exhibit of his works opens on Friday, June 6, at Photo-eye Gallery in the Railyard — in its new space. On the cover is the artist’s Green Bedroom #2 (4 am), a pigment ink print from 2013.
MOVING IMAGES
BOOKS 12
In Other Words A Guide to the North American Obeast
14
Animal rights & wrongs We Animals
42 For No Good Reason 44 Manakamana 46 Pasa Pics
CALENDAR
MUSIC AND PERFORMANCE 18 21 22
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Pasa Tempos CD reviews Onstage Roots Revival Listen Up Art & music in Baroque Venice
AND 9 11 50
ART 26 36 38
Feminism plus Judy Chicago Art in Review Cy DeCosse & Van Chu Ephemerist Gail Rieke
PASATIEMPO EDITOR — KRISTINA MELCHER 505-986-3044, kmelcher@sfnewmexican.com Art Director — Marcella Sandoval 505-986-3025, msandoval@sfnewmexican.com
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Assistant Editor — Madeleine Nicklin 505-986-3096, mnicklin@sfnewmexican.com
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Chief Copy Editor/Website Editor — Jeff Acker 505-986-3014, jcacker@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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Photo of Gail Rieke’s studio taken by the artist
STAFF WRITERS Michael Abatemarco 505-986-3048, mabatemarco@sfnewmexican.com James M. Keller 505-986-3079, jkeller@sfnewmexican.com Bill Kohlhaase 505-986-3039, billk@sfnewmexican.com Paul Weideman 505-986-3043, pweideman@sfnewmexican.com CONTRIBUTORS Loren Bienvenu, Taura Costidis, Ashley Gallegos-Sanchez, Laurel Gladden, Peg Goldstein, Robert Ker, Jennifer Levin, 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
© 2014 The Santa Fe New Mexican
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Robin Martin Owner
www.pasatiempomagazine.com
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Mixed Media Star Codes Restaurant Review: The Real Butcher Shop
ADVERTISING: 505-995-3852 santafenewmexican.com Ad deadline 5 p.m. Monday
Pasatiempo is an arts, entertainment & culture magazine published every Friday by The New Mexican. Our offices are at 202 E. Marcy St. Santa Fe, NM 87501. Editorial: 505-986-3019. E-mail: pasa@sfnewmexican.com
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Pasa Week
Ginny Sohn Publisher
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ADVERTISING DIRECTOR Heidi Melendrez 505-986-3007
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MARKETING DIRECTOR Monica Taylor 505-995-3824
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RETAIL SALES MANAGER - PASATIEMPO Art Trujillo 505-995-3852
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ADVERTISING SALES - PASATIEMPO Chris Alexander 505-995-3825 Amy Fleeson 505-995-3844 Mike Flores 505-995-3840 Laura Harding 505-995-3841 Wendy Ortega 505-995-3892 Vince Torres 505-995-3830
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GRAPHIC DESIGNERS Rick Artiaga, Jeana Francis, Elspeth Hilbert, JoanScholl
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ADMINISTRATIVE ASSISTANT Claudia Freeman 505-995-3841
Ray Rivera Editor
Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet
museum of indian arts and culture presents
2014 SUMMER PROGRAMS
Heather Roan Robbins Astrologer, Intuitive, and Ceremonialist Author of Pasatiempo’s “Starcodes.” Readings by phone and Skype. 30-plus years experience in NM, MN, NYC.
© Jennifer Esperanza
Your chart is a map, a brilliant navigational tool. It’s an honor for me to walk with you into your inner workings, offer you a perspective to help understand the past, open up the future, and make dynamic choices.
www.roanrobbins.com
“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 Expert Personalized | Service & Instruction Home or Office | Onsite Repairs Same Day Service • • No “Geek Speak” PC ororMac | iPhones & Repairs iPads Home Office | Onsite
• Same Day Service
PC or Mac | iPhones & iPads
saturday, june 7th,
12:00 and 3:00 pm
native american film series
“A Weave of Time,” In 1938, noted anthropologist John Adair travelled to the Navajo reservation in Pine Springs, Arizona with a 16mm handwound motion picture camera. There he met and filmed the Burnside family, creating a visual record of Navajo life in the 1930s.
NO STRiP MiNE ON THE MESA Our Last Chance
sunday, june 8th,
1:00–3:00 pm
VERNON HASKIE LECTURE
One of the most renowned contemporary jewelry artists creates multidimensional designs of silver and gold, set with the best-quality turquoise, coral, and precious gems. Though his work is unique and contemporary, it is inspired by and imbued with his Navajo culture and the land where he grew up and still lives.
SPEciAl HEARiNg JUNE 11 TO DEciDE THE FATE OF lA bAJADA MESA STAND UP FOR THE MESA! Come out for the Board
monday, june 9th,
9:00 am–12:00 pm
FAMILY HEIRLOOM PHOTOGRAPHS Join archivists Diane Bird and Kate Ruiznavarro for a hands-on workshop on identifying your family photos, negatives, and digital images; selecting appropriate archival enclosures; and preserving photos in home-storage conditions. Fee of $25 for materials. Unless noted, all are free with paid admission, 16 and under always free. New Mexico residents with ID always free on Sundays.
Museum of Indian Arts and Culture
on Museum Hill 710 Camino Lejo 505-476-1269 indianartsandculture.org
of County Commissioners special hearing. Show your opposition to a strip mine on the Mesa.
Santa Fe Community Convention Center, 201 W. Marcy St.
June 11, starting at 4:00 PM
PUblic iNPUT MATTERS. The hundreds who turned out for the preliminary March hearing were key to the recommendation for denial. But the deciding vote comes June 11. Your presence matters now more than ever – stand up for the Mesa! More information and updates on Facebook/Savelabajada or www.SaveLaBajada.org PASATIEMPOMAGAZINE.COM
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Tonight, Friday, June 6, 5:00-7:30
FIRST FRIDAY 2014
Downtown Museum District
ART WALK
ENJOY AN EVENING IN THE HEART OF DOWNTOWN SANTA FE Discover the heart, and Art, of Santa Fe’s distinguished Downtown Museum District, a diverse group of galleries and renowned museums including New Mexico Museum of Art, Palace of the Governors, New Mexico History Museum, and Georgia O’Keeffe Museum. Participating galleries are open until 7:30, museums until 7:00.
ART WALK
There’s always something new to experience where contemporary culture meets 400 years of history.
VERVE GALLERY
MANITOU GALLERIES
Van Chu
New Mexico Vision
ELLSWORTH GALLERY
PATINA GALLERY
Fanny Sanin
Gail Rieke
PASATIEMPO I June 6 - 12, 2014
LITTLE BIRD at LORETTO David McElroy
CASWECK GALLERY
Explore museums, galleries, restaurants, bars, boutiques and hotels within a 4-block radius, and plenty of parking. COME JOIN US!
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Photo: Ivan Barnett
BLUE RAIN GALLERY Bob Richardson
SORREL SKY GALLERY
SF ARTS COMMISSION
Ben Nighthorse
Engage Exhibit
MIXED MEDIA Jessica Angel: Hemispherical Immersion, 2013, offset prints and adhesive vinyl; sound design by Gilberto Castillo Below, Javier Villegas: Herbaceous, 2012, interactive video
Pan Am in pixels Albuquerque’s 516 Arts (516 Central Ave. S.W., 505-242-1445) presents Digital Latin America, a symposium and multisite exhibition of digital art from Argentina, Brazil, Mexico, the United States, and other nations of the Americas. Exhibits include a group show at the gallery featuring works by Colombia-born artist Jessica Angel, Navajo photographer Will Wilson, Argentine new media artist Paula Gaetano Adi, and others. A free block party in downtown Albuquerque (on Central Avenue between Fifth and Sixth streets), beginning at 5 p.m. on Saturday, June 7, includes visual arts, musical performances, and food of Latin American cultures; it opens concurrently with the reception for the Digital Latin America exhibit at 516. Shows at satellite venues include Oscar Muñoz: Biografías at the University of New Mexico Art Museum (1 University of New Mexico, 505-277-4001), opening Friday, June 6, with a 6 p.m. reception ($5 suggested donation), and an exhibit of digital abstract films by San Francisco-based artist Elizabeth Cunningham at the Albuquerque Museum of Art & History (2000 Mountain Road N.W.; 505-243-7255), opening on June 7 (entry is by museum admission). Other programs include David Cudney: The Indices of Refraction, a kinetic installation at 5G Gallery (1715 Fifth St. N.W., 505-977-9643), opening on June 6 with a 6 p.m. reception, and Old Media, New Methods, a free interactive family event in which participants learn to make zoetropes, flip books, and other objects to take home. Old Media, New Methods is at 516 Arts beginning at 2 p.m. on Saturday, July 19. The symposium starts at 9 a.m on June 7 at the Albuquerque Museum of Art & History and continues through Sunday, June 8. Events include the presentations “Indigenous Pop” by UNM professors Miguel Gandert and Enrique Lamadrid; “Exploring Language and Communication Through New Media” with Matt Garcia, Gabriel Vanegas, and other artists; “Three Chairs for Society by keynote speaker Pablo Helguera, director of adult and academic programs at the Museum of Modern Art; and “Globalization of Information and Communities” by keynote speaker Alex Rivera. A free screening of Rivera’s film Sleep Dealer is at the National Hispanic Cultural Center (1701 Fourth St. S.W.; 505-246-2261) at 7 p.m. on Thursday, June 26. The symposium costs $55, with discounts available. For a complete schedule of events visit www.516arts.org. To register for the symposium visit www.regonline.com/DLA or register at the door on June 7 and 8. — Michael Abatemarco
&
preSenT
L o n d o n m u Lt i m e d i a p i o n e e r s
the Light surgeons
supereverything* A live-cinema multimedia performance exploring the relationship between identity, ritual, and place
Friday, June 20 8 pm $15–$25
Tickets: 505-988-1234 www.TicketsSantaFe.org
discounts for Lensic members and students
S E R V I C E C H A R G E S A P P LY AT A L L P O I N T S O F P U R C H A S E
th e lensic is a non profit, member-supported organ ization
appraisals
presents
La Jara Ranch, Galisteo A sale of the old Southwest
Saturday and Sunday, June 7th and 8th 10 a.m. - 3 p.m. From Galisteo village, take a right at the church onto Camino Los Abuelos (CR 42), go 1.8 miles to La Jara Rd. Left on La Jara Road, bear right at both forks From Route 14: Take Camino Los Abuelos (CR 42) 6.9 miles to La Jara Rd. Right on La Jara Road, bear right at both forks Spanish Colonial, Mexican, Indian, Equipale, 1920‘s Sheepherder Wagon, Blacksmith tools, furniture, rugs, paintings, photographs, prints, wrought iron, tin, pottery, Spanish Colonial doors, sconces, lamps, mirrors, hat stands, vintage flower frogs, Naughty Nellies, camping/fishing/hunting/ archery gear, hides, Hobie kayaks, tools, books, LPs, lateral file cabinets, clothing, outdoor furniture, large flower pots, and much more.... selected pictures posted on www.facebook.com/movingthrough
PASATIEMPOMAGAZINE.COM
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St. John’s College begins a year-long celebration of its 50th anniversary beginning in June 2014 through June 2015. Please visit www.sjc.edu for more information.
Santa
Fe
BEST’s
Join St. John’s College for our 9th Annual Season Wednesday, June 11
Bert Dalton’s Brazil Project
Wednesday, June 18
Wednesday, July 9
Jazz Vocalist, Annie Sellick
Wednesday, July 16
Jazz Saxophonist, Brian Wingard
SuperSax New Mexico
Wednesday June 25
Wednesday, July 23
Jazz Vocalist, Clairdee with Fugelhornist, Dmitri Matheny
Outdo o Music r Series .
Nuevo Flamenco, Manzanares
All concerts are free, family friendly, and hosted on the beautiful campus of St. John’s College. Music begins promptly at 6 p.m. and continues until 8 p.m. For complete information on this year’s artists and general information about Music on the Hill and St. John’s College, please visit www.sjc.edu.
LANB
Creating a better way.
now
June Lectures
Junior Common Room, Peterson Student Center, St. John’s College All lectures are free and open to the public
What Hegel’s Reading of Newton Teaches us about Newton, Nature, and Spirit John Anders, doctoral candidate in economics, Texas A&M University
June 18, 3:15 p.m.
Nagarjuna’s Imperishable Promissory Note April Olsen, doctoral candidate, Tulane University
June 25, 3:15 p.m.
Luci Tapahonso, Navajo Poet Laureate In conjunction with the Bread Loaf School of English
June 24, 7 p.m.
St. John’s College | 1160 Camino Cruz Blanca | Santa Fe, New Mexico | 87505 | 505-984-6000 | www.sjc.edu
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PASATIEMPO I June 6 - 12, 2014
STAR CODES
Heather Roan Robbins
Mercury, the planet that symbolizes movement, bunny hops
against the zodiac as it retrogrades from Saturday, June 7, to July 1. Anything we do that allows us to hold still will go smoothly. However, it can be too easy for us to get lost in our memories and doubts. But anything we do to hurry up or get our point across can take extra attention. Mercury retrogrades for three weeks — three times a year — and offers us time to finish, contemplate, and retreat. Our modern world doesn’t often give us room to do this without guilt. Psyches can wear thin. Life can feel like an old farce or tragedy based on improbable misunderstandings, but this can help us become more conscious communicators. Listen for the meaning behind the words, check when words and actions don’t seem to match or when people respond inappropriately, and create a better understanding. After an industrious Friday under a nervy busy Virgo moon, the weekend’s mood is sociable and interactive, if laced with emotional expectations and quirky situations. Keep the schedule loose. Early next week, a Scorpio moon sharpens our edges. Forgive small snafus, let go of the packed agenda, and focus on essentials. Midweek, as the moon waxes full in upbeat, restless Sagittarius, be kindly honest. Play it extra safe and enjoy the journey. Friday, June 6: The morning is nervy, quirky, and critical. It may feel like we’re spinning our wheels as Mercury stations. Encouragement helps. We need to feel supported as the moon enters sociable Libra tonight. Saturday, June 7: The mood is generally helpful and friendly. We rely on the kindness of strangers under the Libra moon. Watch a cranky, accident-prone spell tonight as the moon conjuncts Mars and squares Pluto. Sunday, June 8: This friendly, generally sunny day may be haunted with mists of the past as Venus trines Pluto. It helps to immerse ourselves in beauty and the natural world. Honor what’s missing, but encourage appreciation for what’s here. Monday, June 9: We get serious as the Scorpio moon trines Mercury. Researching the past produces surprising material. Take charge of the mood. Superficial banter covers a multitude of personal sins.
Tuesday, June 10: We’re not feeling lighthearted but can move into our zone if we have worthy work. Make it a meditation and be rewarded by the results. The evening calls for creative appreciation as the moon trines Jupiter.
edible summer series featuring patrÓn tequila!
Food, Drink and Live Music while you enjoy the intoxicating views from our exclusive 5th floor Presidential Patio. • Specialty Cocktails Created by an Official Patrón Mixologist • Taste the NEW Gran Patrón “Piedra,” Extra Añejo Tequila • Patrón SWAG for Brag! • LIVE Music by the Savor Trio • Patrón Tequilas Paired with Incredible Hors d'oeuvre! June 12 • 6:00pm • $30 per person (must be over 21)
Reservations • 505.995.4530
View Our Online Calendar for Other Events
join the after party in agave lounge
we will have a variety of scrumptious patrÓn inspired cocktails to choose from!
Alternative Wellness Therapy
at Nidah Spa Craniosacral, Polarity, Pranic Healing, Tuina, Reflexology, Reiki, Body Awareness Massage. Keep Calm and Pamper Yourself! Appointments: 505.995.4535
Upcoming Events
Join us in the award winning Old House restaurant for a 5-course dinner perfectly paired with wines from the Pacific Northwest. It’s a food lover’s dream come true! June 19, 6:30pm Reservations: 505.995.4530
Visit EldoradoHotel.com
Wednesday, June 11: Relax and wander as the moon in peripatetic Sagittarius widens our horizons. Our minds and souls want to roam far and be free of some burden we’ve been carrying. Make sure signals are clear tonight as the moon squares Neptune — people can feel rejected when they’re just feeling restless. Thursday, June 12: The full Sagittarius moon makes us want to be footloose and fancy free, just as our ongoing commitments feel unusually burdensome as Venus opposes Saturn. Explore how commitments with healthy boundaries actually bring freedom. Stay present and enjoy the full moon’s buzz. Travel with care and dance the night away. ◀ www.roanrobbins.com
Eldorado Hotel & Spa 309 W. San Francisco St. Santa Fe, NM 87501 505.988.4455
#EldoradoSummer
PASATIEMPOMAGAZINE.COM
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IN OTHER WORDS book reviews
SUBTEXTS
A Guide to the North American Obeast by Rachel Herrick, Publication Studio, 166 pages Fat has become a four-letter word, a behind-closeddoors pejorative that has quickly beat a retreat from the language of magazines and newscasts. Hence the rise of “fat activists” like Rachel Herrick, an accomplished performance artist and deadpan provocateur, who has taken our national unease and fascination with obesity and looked it squarely in the eye. With her traveling art exhibit The Museum for Obeast Conservation Studies and now her two-volume companion reader and critical compendium A Guide to the North American Obeast, she has crafted some of the most offensively comedic and courageous satire to come out of the art world and enter the larger public. The premise of both the show and the book will be familiar to any reader of The Onion. She takes elaborately staged photos of the “obeast” — all of them images of Herrick wearing a variety of muumuus, essentially casting herself and by extension other obese Americans as an endangered species of North American mammal. It’s caustic work and, no pun intended, not for the thin-skinned. Herrick spares no corner of the museum her staged mockery. She reworks herself into nature videos, wildlife dioramas, legacy black-and-white safari photography, and even a push-button interactive exhibit. The result is a painful hall of mirrors, where every snicker lingered over a fat joke, every unspoken assumption about acceptable body weights and figure contours is air-horned and refracted back into its origin as an acceptable, everyday form of hate. Herrick is unafraid of transgressions and can sometimes come across as a sort of Sarah Silverman with an MFA. Among her oeuvre is a pseudo-taxidermic replica of Herrick’s head as hunting trophy, wood carvings of Herrick as an indigenous fat fertility fetish, and staged daguerreotypes of what appear to be 19th-century leather tanners working the kinks out of her muumuu as if it were an antelope hide in need of finishing. 12
PASATIEMPO I June 6-12, 2014
It is difficult not to see the spirit of Jonathan Swift’s dif “A Modest Proposal” looming over this work, which is self-lacerating to the extreme. But like all practitioners of satire, Herrick throws curveballs that go wildly astray, like her gruesome safari shot, in which her prostrate body is digitally spliced into a vintage black-and-white photo of a hunter exhibiting his kill. For my taste, the scene goes too far and the resulting image looks less like biting satire and more like naked demagoguery. This two-volume work does much more than scrapbook the gallery installation experience, a task relegated to the first book in the series, Obeast: The Natural and Unnatural History. In the second, Obeast: A Broader View, Herrick collects and commissions a series of essays that respond to and interpret her art. She includes a reflection of her own, laying out her political and artistic intents and surveying the uneven and visceral reactions her work provokes. Academics, art critics, and fat activists pile it on in these pieces. But none nail their subjects quite like “I Am an Obeast,” a revealing personal vignette by fat-acceptance activist Marilyn Wann. “The Museum of Obeast Conservation Studies rearranges this vexing landscape to make the villainy of fat hate visible,” writes Wann. “As an obeast, Rachel’s self-portrait is instantly recognizable to everyone who’s ever felt or witnessed the sting of weight-related alienation. (Which could be any one of us, fat or thin.)” — Casey Sanchez
Our nature We’re well into the outdoor season, the months for running rivers, exploring canyons, bagging peaks, and biking over impossible trails. These activities in our mountains and deserts are often described with the words adventure and extreme. Activities once seen as a time for exploration, contemplation, and individual physical challenge are now held out as competitions against the landscape. We don’t visit the natural world to be part of it; we go with our kayaks, climbing gear, bicycles, skis, and snowboards to overcome it. The landscapes we pass through pursuing these sports become secondary to the actual pursuit. We’re there to conquer the natural world rather than embrace it. Andrew Gulliford, a professor of history and environmental studies at Fort Lewis College in Durango, Colorado, wants us to reconsider the reasons we go into nature. His new collection, Outdoors in the Southwest: An Adventure Anthology (University of Oklahoma Press), brings together works by a handful of well-known eco-minded writers — Edward Abbey, Terry Tempest Williams, and Barbara Kingsolver among them — as well as a larger number of journalists, environmentalists, and adventurers, to argue for a perspective on the natural world that includes aesthetic as well as recreational values. “These remote places provide rare opportunities to experience what has been lost to us in the business of the twenty-first century: to find silence, solitude, and darkness with plenty of stars. To walk for miles without seeing a single town,” Gulliford writes. He offers a chapter on “Why We Need Wilderness,” which focuses on New Mexico’s Gila Wilderness, the nation’s first designated wilderness area, set aside in 1924. Other sections discuss the historical significance of wilderness lands, their mountains, deserts, and canyons — their rivers and wildlife. Some of the best writing here is the anthologist’s. There’s a reason they call it the great outdoors. Gulliford understands that greatness. — Bill Kohlhaase
Spirited Vegetable Eating
The Kitchen
Plants of The Southwest 3095 Aqua Fria | Santa Fe 87507
505/465.9535 Prix Fixe Luncheon Tues thru Sat 11:30 – 2:30
TUESDAY, JULY 22 • 6:00PM BE A PART OF SANTA FE’S ONLY EVENT WHERE YOU CAN: • Hear the world’s most celebrated chamber musicians • Taste fine wines in the company of renowned vintners • Enjoy an exquisite 4-course dinner under the stars with wine pairings from Arietta Wines and Grgich Hills Estate • Bid on extraordinary experiences and rare wines donated by private collectors and high-end wineries • Help bring music to the children of Santa Fe
INFORMATION AND RESERVATIONS: Allison Hooper: 983-2075 x111 or ahooper@sfcmf.org Online: SantaFeChamberMusic.com/music-and-wine
SPACE IS LIMITED—ACT NOW!
Proceeds to benefit the Santa Fe Chamber Music Festival’s year-round musical education programs for children in our community. GRGICH HILLS E S TAT E
N APA VALLEY
PASATIEMPOMAGAZINE.COM
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ANIMAL
Bill Kohlhaase I The New Mexican
RIGHTS AND WRONGS
Jo-Anne McArthur captures the nonhuman gaze
RON THE CHIMPANZEE, like many of the creatures pictured in photographer-essayist Jo-Anne McArthur’s new book We Animals, looks straight into the camera. His expression is calm, showing neither fear, nor recognition, nor anything else that humans might interpret as emotion. His eyes are at once knowing and empty, mirroring the abuse he has suffered as well as the compassion he has come to enjoy. If indeed the eyes are a window into the soul, then McArthur has found the soul in many of her subjects. “What I’m trying to do with the eyes by having the animals make eye contact with the camera,” she told Pasatiempo, “is to have them make contact with the viewer. That eye contact will make a direct connection to the animal. That’s what we don’t have in this world: a connection to the animals. What we mostly have is separation.” Ron’s picture is on the cover of McArthur’s disturbing but rewarding book. Elsewhere we see the troubled eyes of a “food puppy” in a Vietnamese market, the resigned eye of a penguin looking away from the bathtub-sized pool that defines its existence, the pleading eyes of a starving macaque kept in a Laotian monkey farm, and the bemused eyes of Foggy, a hippopotamus looking through the plastic walls of his tank at the zoo-goers who are looking at him from the other side. Ron, to whom the book is dedicated, lived out some of his 37 years at the Coulston Foundation, an infamous animal research facility in Alamogordo, New Mexico. At one point the facility held as many as 650 chimps as well as rats, beagles, and other primates. Founded in 1993, Coulston was frequently accused of animal abuse and violations of the Animal Welfare 14
PASATIEMPO I June 6-12, 2014
Act. It began to lose government contracts. In 2001, with the foundation facing bankruptcy, an arson fire destroyed one of the facility’s buildings. (No animals, human or otherwise, were injured.) The Animal Liberation Front claimed responsibility, but rumors circulated that the fire was intentionally set by the foundation for the insurance money. The facility was purchased in 2002 by Save the Chimps, a Florida-based rescue organization, and over time the remaining 266 chimps, including Ron, were transferred to a sanctuary in Florida. Ron died there in 2011. In her dedication, McArthur addresses Ron as “dearest teacher,” and says he was “a chimpanzee who carried the burden of ‘progress’ on his broad shoulders and in his brave heart.” “Ron was one of the most gentle animals I’ve met over the years,” McArthur explained. “He showed real dignity and forgiveness. We tortured him and kept him in a cage for 30 years, but he still preferred being with humans. Our time together was very short, but what I learned from him was how smart, how forgiving [animals] can be to us. They deserve all the work that we can do on their behalf.” Born and raised in Canada, McArthur has always had a love and a concern for animals. But her commitment to them developed over time. In the book’s
Top, Humboldt penguin, Pata Mall, Bangkok, Thailand, 2009 Left, Ron at Save the Chimps sanctuary, Fort Pierce, Florida, 2008 Opposite page: Top left, photographer Jo-Anne McArthur and Orlando Top right, Foggy the hippopotamus, Calgary Zoo, Canada, 2008 Bottom right, calf at an organic dairy farm near Madrid, Spain, 2010 Images courtesy Jo-Anne McArthur
introduction, she tells of keeping budgerigars (parakeets) as a child and taking them into the family bathroom and turning them loose. (She also lets the budgies she’s rescued fly around her office.) She began walking the neighbors’ dogs, and at the age of 18 became a volunteer dog walker at the Ottawa Humane Society. “But there was a change when I got to know the 10 chickens at my mother’s country home,” she said. “They became the same as pets. I’d play with continued on Page 16
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We Animals
continued from Page 15
those chickens like I did with dogs, running around and picking them up. At that point I realized there was no difference between what we call pets and what we call food.” She also became interested in photography as a teen, often capturing photos of animals that she came across in her travels. Challenged by a mentor to focus on what she knew and loved, she started the We Animals project, an effort to collect images of animals that break down the metaphorical walls humans erect between themselves and other sentient creatures. Over its 10 years, the project has collected some 1,000 of McArthur’s photos, 100 of which were chosen for inclusion in the book. More can be viewed at www.weanimals.org. McArthur’s photos are unique for their perspective and their aesthetic qualities. Her camera is at ground level when shooting a freshly born veal calf about to be dragged away from its mother. She sees what a white rat sees as it’s about to be tossed into a small, covered pool of alligators. One of the most beautiful and horrific pictures is of a cooling room where slaughtered rabbits are hung to bleed out. Symmetrical ribbons of blood on a tile floor are cut by a diagonal blood line leading to a door. In the background, dozens of rabbit corpses hung from a conveyor line the walls. “The attractiveness or artistry of the images has to be there,” McArthur said. “People are inclined to look away from graphic images of violence, so the visuals have to be such that the audience is drawn back and compelled to look. It messes with the mind, for sure, to artistically map out animals being slaughtered, but at this point it’s almost automatic and mechanical. I remember one of the great war photographers who talked about documenting the bones of people who’d been recently killed in genocide, how he’d position himself so that a skull looked artistically arranged, and how that felt at once necessary and totally messed up. Those war photographers make life-changing photographs, and their work records important history. These sorts of photos are successful when you can get people to look at things they don’t want to look at. Not just to look but to really see.” In her notes, McArthur refers to our relationship with animals as a war. She doesn’t shy away from strong descriptions in the essays, and sometimes the words can be more stomach-churning than the photos. A former English major, McArthur said there was never 16
PASATIEMPO I June 6-12, 2014
a question about including text with the pictures. “I think the photos are enriched by the storytelling. I had a fantastic editor who said that the photos are hot and strong and speak for themselves. You don’t have to tell people how to feel about them. But you can describe the smell and the noise and the cries and the sound of slaughter.” Often the photos create their own metaphors. Many of the pictures depict the walls and bars and tanks and cages that separate the animals from the humans. “That’s all conscious,” she said. “There are walls everywhere between us, and I’m always trying to highlight those divisions.” Some of the most haunting photos hold no animals at all. McArthur visited what was left of the Coulston Foundation in 2008 and again in 2011 and found chimpanzee restraining jackets, complete with holes for tubes and catheters and still stained with blood. A well-composed shot of a small cubicle seems innocuous until you read that three chimps died there in 1996 when a space heater malfunctioned. Not all the pages are so depressing. The last chapter, entitled “Mercy,” contains stories of rescue and promise as well as pictures of animals and humans relating in caring, nonthreatening ways. The last portrait in the book (a final section, “Notes From the Field,” contains snapshots of animals and animal activists in action) is again Ron, this time a full, uncropped shot of him inside a nest of blankets that he had a habit of arranging for himself. Despite the fact that Ron, after decades of confinement, had several acres to roam at the Save the Chimps sanctuary space, he often chose to stay indoors. McArthur uses the photo, this time with the chimp sitting, hands neatly folded in a meditative position, to make her plea: “At the very least, we owe Ron and all the others the respect of meeting their eyes and not turning away.” ◀ “We Animals,” with photographs and text by Jo-Anne McArthur, is published by Lantern Books/Booklight.
Above, restraining jackets, Coulston Foundation, Alamogodo, New Mexico, 2008 Top left, activist with a rescued chimpanzee, Ngamba Island, Uganda, 2009 Top right, polar bear in captivity, Toronto Zoo, 2005
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PASA TEMPOS
album reviews
WOODEN WAND Farmer’s Corner (Fire Records) James Jackson Toth isn’t shy or subtle about his affection for Neil Young. Like Young, the songwriter, who performs as Wooden Wand, sings roughly hewn, crunchy music in a high, scratchy voice. In 2013 he released a pensive acoustic album and an ampsset-to-11 rock record. In between those releases, he took the time to rank and write essays on all of Young’s records for Stereogum.com. Toth’s music never sounded as much like Young’s as on Farmer’s Corner, which rounds out the weird corners of Wooden Wand’s excursions and presents a straightforward country-rock album not unlike Harvest or Old Ways. The banjo and lilting melody in “Alpha Dawn” and the uptempo strum of “Sinking Feelings” seem ready for a front porch on a summer’s afternoon, while other songs use muted percussion and bass to evoke a sense of mystery. “Dambuilding” details the construction of a dam in a streambed atop a web of stringed instruments, while “Uneasy Peace” addresses insomnia, plaintively asking, “When will I see you again, sleep?” With “Gone to Stay,” Toth closes the album by assuring us that judgmental strangers and bad dreams quickly pass through your life for good, so there’s no need to worry about them. That’s fitting advice; if there’s one lesson to learn from Young’s career, it’s not to care what anyone thinks about you. — Robert Ker ANONYMOUS 4 Marie et Marion (Harmonia Mundi) Since its founding 28 years ago, the women’s vocal quartet Anonymous 4 has staked its place as the “Fab Four”of medieval music. The latest addition to its extensive discography presents 20 selections from the Montpellier Codex, a compendium of motets and liturgical polyphony composed in France during the second half of the 13th century. The performances are characteristically clear-voiced, sweet-timbred, elegantly restrained, and delicately balanced. Medieval French motets may strike modern listeners as curious pieces, mash-ups of worldly song and plainchant, their individual parts delivering completely disparate texts (some in French, others in Latin), with imagery interlacing in a confluence of the sacred and the secular, as in the duple character of the sacred Marie and the secular Marion. The motets range from relatively austere two-voiced pieces to more glamorous settings for four voices, and in these interpretations they cover considerable expressive range, from amorous languor to skipping jollity. Interspersed among them are four solo songs of the period (not from the Montpellier Codex) that spotlight each of the singers. All are beautiful and seductive, but the most unforgettable is Susan Hellauer’s rendition of the spring-song “Volez vous que je vous chant,” the seductive contours of which oddly prefigure Anna Sosenko’s 1935 hit “Darling, je vous aime beaucoup” (also a macaronic piece), which became famous as the theme song of the chanteuse Hildegarde. — James M. Keller
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Sunday June 8, 12:30 pm at Santa Fe Memorial Gardens Cemetery, 417 Rodeo Road. A gathering at Congregation Beit Tikva, 2230 Old Pecos Trail, will follow. Share your memories and favorite stories, and enjoy a light meal together as we honor his life of service.
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PASATIEMPO I June 6 - 12, 2014
ON STAGE A dream fulfilled: Santa Fe Women’s Ensemble
After the Santa Fe Women’s Ensemble was honored with a 2012 Chorus America/ASCAP Award for Adventurous Programming, Pasatiempo asked Linda Raney, the group’s director, if there was a composer to whom she was itching to extend a commission. She replied, “There is a composer I would dream of commissioning: Emma Lou Diemer. We’ve performed a number of her pieces but have never commissioned one.” Well, guess what? The wide-ranging final program of the ensemble’s 33rd season includes the world premiere of Diemer’s Do You Know the Land?, the group’s latest commission, based on a text by Goethe. Raney said that it “recalls what is past, with one who is loved.” Diemer spent 20 years on the faculty of the University of California, Santa Barbara, where she instigated that school’s electronic-music program, helped develop its doctoral programs in composition, and has been professor emerita since her retirement in 1991. Performances take place Saturday, June 7, at 3 p.m. at First Presbyterian Church (208 Grant Ave.) and Sunday, June 8, at 3 p.m. at the Immaculate Heart of Mary Chapel (50 Mount Carmel Road). Tickets for both concerts ($25; discounts available) can be purchased through Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org). — J.M.K.
THIS WEEK
Vibes of Brazil: Bert Dalton and co.
Pianist Bert Dalton describes his music in the Brazil Project as “a blend of traditional and contemporary Brazilian jazz, combining samba and bossa nova rhythms, fiery percussion, and Latin improvisations.” The combo — with bassist Rob “Milo” Jaramillo, singer Patty Stephens, drummer John Bartlit, and percussionist Frank Leto — plays in the Music on the Hill series at St. John’s College (1160 Camino de Cruz Blanca) at 6 p.m. on Wednesday, June 11. The six-year-old Brazil Project is one of Dalton’s several bands over the years. Many Santa Feans remember his long run at La Fonda, first with his Yoboso group in the late 1990s and then with his trio — which returns to the hotel on June 25 and 26. For details on the June 11 gig, call 505-984-6000 or see www.sjc.edu/events-and-programs. — P.W.
History sings: Roots Revival
“If you can walk, you can dance. If you can talk, you can sing” is the lesson passed on to young attendees of the fictional Roots Summer Academy in the history-meetscabaret musical Roots Revival. Directed by Cathryn McGill and Kristen Loree, this Rainbow Studio of Albuquerque production embraces the entirety of the AfricanAmerican experience, from the slave passage from West Africa to the first African-American president, in a series of vignettes, all enlivened with song. Roots Revival takes to the Lensic Performing Arts Center stage (211 W. San Francisco St.) at 8 p.m. on Saturday, June 7. Tickets, $22.50, are available by calling 505-988-1234 or visiting www.ticketssantafe.org. — B.K.
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LISTEN UP James M. Keller
Baroque glory: Art and music in Venice
AS
the 18th century reached its end, the party was over in the Most Serene Republic of Venice. Proudest of cities, Venice had been ruled by elected doges for more than a millennium when it fell to Napoleon in 1797. By the time the Romantic authors arrived, its brilliance had yielded to gloom. Its voice grew muted and its beauty persisted as a shadow of past glory. Wrote Lord Byron, in Childe Harold’s Pilgrimage (1812-1818): In Venice Tasso’s echoes are no more, And silent rows the songless gondolier; Her palaces are crumbling to the shore, And music meets not always now the ear: Those days are gone — but Beauty still is here; States fall, arts fade — but Nature doth not die, Nor yet forget how Venice once was dear, The pleasant place of all festivity, The revel of the earth, the masque of Italy!
For years, Venice had been one of Europe’s most exalted musical centers, a Petri dish for avant-garde composers of the 16th, 17th, and 18th centuries. Musicians from other nations constantly trod its cobblestones, arriving to study with renowned Venetian masters, to present their own works before sophisticated audiences, or simply to take in the musical abundance the city had to offer. They still arrived after the 18th century, but without the joy of their predecessors. Wagner paid six visits to the city beginning in 1858, and he died there, suddenly, in 1883. The author Gabriele d’Annunzio penned the mournful sentiment that adorns a plaque on the palazzo on the Grand Canal where he passed away: In questo palagio/l’ultimo spiro di Riccardo Wagner/odono le anime perpetuarsi come la marea/che lambe i marmi (In this palace/the souls hear/the last breath of Richard Wagner/perpetuating
itself like the tide/which washes the marble beneath). Wagner’s father-in-law, Franz Liszt, also spent time in Venice. His musical mirror of the city included relatively carefree piano works based on gondoliers’ songs, but by far the most enduring of his Venetian compositions is a funereal one: La lugubre gondola (The Gloomy Gondola). It is not incidental that when, in 1912, Thomas Mann published his doleful novel Death in Venice (its principal character modeled in part on Gustav Mahler), he chose to set it in a city bathed in melancholy.
T
he voice of Venice may have been stilled, at least temporarily, but its days of musical glory had been vividly documented by the painters who worked side by side with the city’s musicians. The relationship of those two arts is the subject of an exhibition called Venice: The Golden Age of Art and Music that was mounted at the Montreal Museum of Fine Arts last October and then moved to the Portland Art Museum in Oregon, where it closed in May. The show was curated by Hilliard T. Goldfarb of the Montréal Museum, who also served as editor for the accompanying catalog, published by Yale University Press. Art and Music in Venice: From the Renaissance to the Baroque, a lavishly produced, 240page book of oversized but not uncomfortably large dimensions, brings together essays by an international roster of 13 scholars on various topics pertaining to Venetian music during the golden age and its depiction in the art of its time. Music lovers, art aficionados, and admirers of Venice — so that would cover pretty much everybody — should all treasure this volume,
even if they may end up squinting when confronted with a font that is at least as tiny as that of a CD booklet. The musical life documented in these artworks was indeed extraordinary. When music lovers speak of the splendor of the Baroque, Venice looms in their minds, and particularly the musical establishment of the Basilica of San Marco. During the mid-16th century, it was overseen by Adrian Willaert, a Netherlandish immigrant to Italy who was a pioneer in developing the arts of chromatic expression and wordpainting that ensuing generations of madrigalists would hold dear. It was he who established the polychoral style that became a hallmark of Venice’s musical luxury, with multiple choirs and instrumental ensembles positioned around the balconies of San Marco or sited spatially in other locales. This was the city of Giovanni Gabrieli, renowned for his instrumental music, and of Claudio Monteverdi, who unveiled the two surviving operas of his maturity there. It was in Venice that the first public opera house opened, in 1637. The city’s plazas were filled with the sounds of religious processions and carnival celebrations. Prosperous merchants
Above, left to right, Gabriel Bella (1730-1799): View of the Magnificent Scenery and Lighting of the Teatro San Samuele, 1780s; Tintoretto (1518-1594): The Contest Between Apollo and Marsyas, circa 1545
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PASATIEMPO I June 6-12, 2014
and aristocrats hosted private musicales in their palazzos, and the ospedali, charitable religious institutions that cared for orphans and other wards of the state, developed their charges into impressive musical performers. The most renowned were Antonio Vivaldi’s young ladies at the Ospedale della Pietà, whose concerts were a must-see for every visitor on the grand tour. “Each ospedale might give as many as twenty concerts a day to express their gratitude to their benefactors,” writes Nathalie Bondil, Montréal Museum’s director, in a foreword; and the extended essay on these establishments, by Caroline Giron-Panel (of the Bibliothèque Nationale in Paris), lays out with admirable clarity how these organizations operated within the complicated familial and civic structures of the time. Women played an active role in the city’s musical life outside the ospedali, too, as we learn from an insightful essay — “The Most Serene Republic’s Better Half: The World of Women” — by Tiziana Bottecchia, of Venice’s own Fondazione Querini Stampalia.
T
he artistic side of this volume draws from a roster of greatest distinction. “Nearly all of the leading artists of the period had connections to music,” Bondil writes. “Titian exchanged a portrait for a harpsichord from the instrument-maker Alessandro da gli Organi (Alessandro Trasontino) in 1540. … In his Marriage at Cana, Veronese depicted Titian playing the bass. Conceivably alluded to by a probably putative tradition by Marco Boschini in 1660, his fellow
continued on Page 24
When music lovers speak of the splendor of the Baroque, Venice looms in their minds.
•• Left to right, Cariani (circa 1485-circa 1547): The Lute Player, circa 1515; Pietro Longhi (1701-1785): The Concert, 1741
PASATIEMPOMAGAZINE.COM
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Listen Up, continued from Page 23
Top to bottom, Titian (circa 1488-1576): The Concert (The Interrupted Concert), circa 1511-1512; a polygonal-shaped virginal made by Venetian instrument maker Joseph Salodiensis in 1574; Giovanni Battista Piazzetta (1683-1754): The Singer, circa 1730 Images courtesy the Montréal Museum of Fine Arts
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PASATIEMPO I June 6-12, 2014
musicians include Tintoretto and Veronese himself playing various musical instruments.” Among the other well-known artists represented by works relevant to Venetian music are Giorgione, Gianni Battista Tiepolo, Annibale Carracci, Bernardo Strozzi, Francesco Guardi, Pietro Longhi, and Canaletto. Dawson W. Carr, of the Portland Art Museum, offers a careful consideration of Canaletto’s painting The Feast Day of Saint Roch, and Goldfarb looks deeply (with X-rays, even) into Titian’s The Interrupted Concert. Such a roster of “illustrators” is self-recommending, and focusing on their artworks that are of a musical persuasion lends an unusual perspective that invites glimpses into many aspects of Venetian life private and public, sacred and profane. Goldfarb’s captions are both informative and entertaining. For example, he writes of Bernardo Strozzi’s Street Musicians, “The street musicians, playing bagpipes, a shawm and a recorder (all of which carry sexual connotations), would have produced quite a cacophony!” The painting makes clear that this is the case — the bell of the shawm is practically leaping off the canvas toward the viewer as if in a 3-D movie — but it’s refreshing to find a scholar actually sounding excited. By the way, if you imagine for a second that the Venetian painters were prudish about sexual allusions, you should check out Titian’s The Three Ages of Man. There, a fully clothed woman holds two flutes (recorders) against a fully unclothed man, one of them in a position that is, as the accompanying essay describes it, “blatantly erotic.” Perhaps sometimes a flute is only a flute, but not this time. While poring over this delicious book, readers will surely want to hear the sounds that are so vibrantly suggested by the paintings. Recordings of pieces by the leading Venetian musical masters are anything but scarce. The website ArkivMusic, widely favored by classical music listeners, is currently listing 2,315 recordings of Vivaldi, 628 of Monteverdi, and 443 of Albinoni. I have long cherished one particular series of recordings, though, and they would serve as apt musical enrichments for this enterprise. The British conductor Paul McCreesh, along with his Gabrieli Consort and Players, has made a specialty of producing musical “re-creations” of largescale Baroque spectacles in which the music is presented not in a standalone concert format (as we nearly always hear it) but rather as a part of a larger event that includes parades, processions, church services, public festivities, and so on. Venice figures large in his repertoire. Among these recordings is Venetian Coronation, a sonic reconstruction of the installation of Mario Grimani as doge in 1595; it was originally issued by Virgin Classics in 1990 and later subsumed into EMI’s catalogue, but in 2012 McCreesh led a revised version (A New Venetian Coronation 1595), which he issued on his own label, Winged Lion, the winged lion being the symbol of Venice. Other Venetian events he has reconstructed include Gabrieli: Music for San Rocco (for a festival in 1608 that included a huge, 33-voice Magnificat, on Deutsche Grammophon/Archiv), Venetian Vespers (at San Marco’s, originally on DG/Archiv, now available on Brilliant Classics), A Venetian Christmas (as it might have sounded at San Marco’s circa 1600, on DG/Archiv), and Venetian Easter Mass (from San Marco’s around 1600, on DG/Archiv). Each of these productions magnificently evokes the extravagant splendor that was musical Venice when the going was good. ◀ “Art and Music in Venice: From the Renaissance to the Baroque,” is published by Yale University Press.
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25
Michael Abatemarco I The New Mexican
FEMINISM PLUS
IT
Judy Chicago, above: Into the Darkness from Retrospective in a Box, 2008, lithograph Above right, In the Shadow of the Handgun from PowerPlay, 1983, sprayed acrylic and oil on Belgian linen All works by Judy Chicago, unless otherwise noted; images courtesy New Mexico Museum of Art
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has been 40 years since Judy Chicago began constructing The Dinner Party, her most well-known piece. The monumental feminist artwork, which commemorates the contributions to society of significant women throughout history, had its first outing at the San Francisco Museum of Modern Art in 1979. The Dinner Party is now permanently housed in the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum. Chicago had generated a significant body of work before The Dinner Party, while living in Los Angeles, and has continued to work steadily since, living in New Mexico with photographer husband Donald Woodman. The years leading up to The Dinner Party are the subject of a survey exhibition at the Brooklyn Museum called Chicago in L.A.: Judy Chicago’s Early Work 1963-74, up through September 28. A companion retrospective covering the decades since her move to New Mexico is on view at the New Mexico Museum of Art. Local Color: Judy Chicago in New Mexico 1984-2014 includes intimate personal projects, collaborative works, and major pieces, many from the museum’s collection. The show is one of several major exhibitions of Chicago’s work mounted this year at venues across the country in honor of her 75th birthday. Over the past 30 years, Chicago has worked on a number of series in mediums such as printmaking, textiles, ceramics, and glass. Her work goes beyond feminist issues to consider the human condition in broader contexts. The PowerPlay series, on view in the retrospective, contains imagery of male figures, exploring gender constructs of masculinity. The series coincided with Chicago’s move from California to New Mexico in the early 1980s. Through the Flower, the nonprofit organization she founded to support her own projects and other women in the arts, relocated to New Mexico in 1990 and is now based in Belen. “I was living in Northern California, and I wanted to start working on a new series on the subject of men,” Chicago told Pasatiempo. “This is before gender studies and before queer theory, so there wasn’t a lot of context, nor was there a lot of information when I started doing research. If you looked up gender at that time the only thing that came up was work on women, as if only women have gender. The woman who was running Through the Flower, Mary Ross Taylor, had a house on Canyon Road that she bought from Fritz and Romona Scholder many years before. It was empty and I needed a place to work. It’s such a typical New Mexico story. First I came for three weeks. Then I came for three months. Then I was living here but my stuff was still in California.” It was in New Mexico that Chicago met Woodman. They shared an interest in learning about their Jewish heritage, an interest that led to
PASATIEMPO I June 6-12, 2014
JUDY CHICAGO AT 75 the Holocaust Project: From Darkness to Light, an eight-year collaboration. “While I was finishing PowerPlay, I got interested in the subject of the Holocaust. I met Donald, and I fell head over heels in love, like a teenager, and completely freaked out. I was like, ‘Things like this don’t happen in real life, at least not to me.’ We had this whirlwind romance and got married three months after we started going out. I told him of my interest in the subject of the Holocaust. Donald and I came from secular Jewish families and neither of us knew very much about Jewish
history or the Holocaust.” (An exhibition of Woodman’s photography, Transformed by New Mexico, is up at the New Mexico History Museum through Oct. 12.) Among the pieces from the Holocaust Project included in the retrospective are mixed-media works combining painting, photography, and textiles, and two works in stained glass, including Logo from the Holocaust Project, composed of a series of concentric triangles in vibrant colors surrounded by flames. “It was the first time I ever worked in glass.” The show “premiered in 1993. It traveled for 10 years to both Jewish institutions and art museums because, at the time, you could walk into most contemporary art museums and not even know the Holocaust ever happened. It was like a complete absence of images. I had a read a book [The Nazi Doctors: Medical Killing and the Psychology of Genocide] by Robert Lifton, a psychologist who studied how SS doctors could put in a hard day at the crematorium, kiss their kids, and play with their dog. He took his insights and applied them to nuclear scientists who, of course, were responsible for the deaths of hundreds of thousands of people with the invention of the atom bomb, which was developed here in New Mexico. New Mexico is, after all, the center of the nuclear industry. Donald and I felt there was no way we could deal with the subject of the Holocaust and not look at the possibility of a nuclear holocaust and New Mexico’s part in that. We did an offshoot series, again combining painting and photography, titled Nuclear Waste(d). The Holocaust Project has never been shown in New Mexico. I did my last major collaborative project here in New Mexico, also. It was called Resolutions: A Stitch in Time. That was from 1994 to 2000.” Local Color includes selections from A Stitch in Time, a needlework project combining traditional adages and proverbs with imagery relating to contemporary social issues, as well as selections from Nuclear Waste(d), which looks at the effects of nuclear waste on the environment and the controversy over New Mexico’s Waste Isolation Pilot Plant, in the news again this year because of contamination found in areas of the plant. Chicago continued merging art with her interest in Jewish history and customs. “We have a Seder group in Santa Fe we’ve practiced Seder with for almost 25 years. We’ve developed our own practice, and I’ve made various ritual objects. We developed our own continued on Page 28
Top, Judy Chicago and Donald Woodman: Grants, NM from Nuclear Waste(d), 1989, sprayed acrylic, oil, and photography on photo linen Left, Logo from the Holocaust Project, 1992, stained glass; fabricated by Michael Caudie, Bob Gomez, Flo Perkins, and Donald Woodman Below, Judy Chicago and Donald Woodman: Four Questions from the Holocaust Project, 1993, sprayed acrylic, oil, and Marshall’s, photo oils on photo linen
PASATIEMPOMAGAZINE.COM
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Judy Chicago, continued from Page 27
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Haggadah, and I’ve done Seder plates and Passover objects.” Chicago is descended from a long line of rabbis, but her father rejected the path of scholarly service to Jewish congregations. “There’s a famous story about when my mother and father were courting. His father was a rabbi. My mother and father used to go to my grandmother’s house every Friday night for Shabbat dinner. One night, my mother said to my father, ‘Do you want me to learn how to cook kosher?’ and my father said, ‘Absolutely not. Jewish food makes me sick to my stomach’ — which is a perfect metaphor for how he felt about religion. He was a Marxist and he thought religion was the opiate of the people. I was brought up in the social justice values of Jewish culture and so was Donald.” The ritual objects in Local Color include ceramic Seder plates, a woven matzoh cover called Women of Valor/The Female Face of Pesach, and her updated take on the Haggadah, the text traditionally read at the Passover Seder. “The rest of the show deals with subjects that relate to our life here. I spent five years on a project called Kitty City. In 1999, I was invited to be in a self-portrait show in New York and I did a series of watercolors in which I did myself as our six cats. Then I did this whole inquiry into our relationship with cats, and it’s also an investigation of our relationship with other species. That’s a big series. There are 29 drawings for 36 watercolors collected in a book called Kitty City: A Feline Book of Hours, which is a devotional book based on a medieval book of hours, but instead of being devoted to God, it’s devoted to cats.” The book, along with a series of painted ceramic cats, will also be in the show, along with images from the series Thinking About Trees, which deals with the ecological consequences of human behavior on trees. On Saturday, June 14, Chicago opens Heads Up, an exhibit of watercolors, paintings, and sculptures in glass, bronze, and ceramic at David Richard Gallery, where she has been showing for the past several years. A free gallery discussion with Chicago and Kathy Battista, director of contemporary art at Sotheby’s Institute of Art in New York, takes place at the gallery at 3:30 p.m. that Saturday. Heads Up covers her most recent body of work, picking up where Local Color leaves off. Heads Up explores a range of human emotions as captured in a series of portraits. “Since 2003, I’ve been working in glass,” she said. “People will be able to see where I’ve gone since my last show of glass in 2010.” ◀
details ▼ Local Color: Judy Chicago in New Mexico 1984-2014 ▼ Opening reception 5:30 p.m. Friday, June 6; exhibit through Oct. 12 ▼ New Mexico Museum of Art, 107 W. Palace Ave., 505-476-5072 ▼ By museum admission (no charge 5 to 8 p.m. Fridays)
SATURDAYJULY19TH2014 guesswhoinsantafe.org Turn Over a New Leaf from Conservation, 2000, painting, appliqué, and embroidery on linen and charmeuse; needlework by Jane Thompson
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PASATIEMPO I June 6-12, 2014
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PASATIEMPOMAGAZINE.COM
33
Paul Weideman I The New Mexican
RICHARD TUSCHMAN
T
he people who inhabit Richard Tuschman’s beautiful photographs appear noncommittal, transitional — not necessarily depressed but not happy either. Their bedroom settings may not exactly be ambiguous, but the contexts have a puzzling aspect. The fascinating solution to the puzzle is that these are real people artistically transposed into handmade miniature sets or dioramas. The other powerful element in these works is their tribute to printmaker and painter Edward Hopper. Richard Tuschman — Hopper Meditations, the inaugural exhibition of the new Photo-eye Gallery space at 541 S. Guadalupe St., takes place on Friday, June 6. (The gallery’s previous location on Garcia Street is now the home of Photo-eye Bookstore + Project Space; a grand-opening exhibition, Devil’s Promendade, with photographers Lara Shipley and Antone Dolezal, happens there on June 29.) The Tuschman show has 17 images, most from his Pink Bedroom and Green Bedroom series. Some, including two or three works in which a woman, sitting or standing, gazes out a window, are based on specific Hopper paintings. Others relate more generally to the Hopper milieu. “What I like about his paintings is their quietness, but they also seem very psychologically charged and they’re very humble in a way. That all resonates for me,” Tuschman told Pasatiempo. “And even though there’s a lot of sunlight in them, there’s definitely a sense of melancholy from the spareness of the settings and the gaze of the figures that depicts a sense of yearning.” 34
PASATIEMPO I June 6-12, 2014
In Pink Bedroom (Odalisque), Tuschman shows a naked woman on a bed smoking and regarding a man in the adjacent room, also naked, sitting at a table reading. Just where they’re at in their relations is totally up to our conjecture. “I kind of like a little bit of ambiguity, letting people bring their own stories to the pictures. I have my own ideas but I don’t want to impose those on the viewers.” Tuschman, an Ohio native, earned his bachelor of fine arts degree at the University of Michigan. Over the years he has been influenced by photo-illustrators Matt Mahurin and Amy Guip, photographers Duane Michals and Arthur Tress, and assemblage-art pioneer Joseph Cornell. The successes of his commercial art career show in magazine work, catalogs, corporate reports, and book covers. His clients have included The New York Times, Newsweek, and Adobe Systems. His interest in commercial design is apparent in his biographical statement, which mentions book covers, magazines, and advertising before gallery exhibitions. “I sort of went full circle. When I went to art school and also after school, I was really focused completely on fine art, but I was forced by economic pressures to get into graphic design. I found I really enjoyed it, but not enough to want to do it instead of fine art. When Photoshop came along in 1990, I sort of synthesized what I was doing in the two realms and my commercial photo-illustration career was launched.” Tuschman has also made a series of photographic still lifes revolving around antique objects he’s collected. He designed the book cover for The Necromancer’s House by Christopher Buehlman, which shows a
spooky house in the distance, framed by a raven and the rickety branches of a tree. That scene, for what the artist calls “a pretty quirky book about a necromancer who’s also an alcoholic,” came from one of his dioramas. “I used to do dioramas as sort of my main expression about 30 years ago, when I first moved to New York. I was inspired by my first job there, working in an architectural supply store. I also like the idea of doing almost like theater sets. I don’t go to the theater very much, unfortunately, but whenever I do I love looking at the sets and the light.” He built the sets for the Hopperish pieces and outfitted them using dollhouse furniture, which he enhanced with painting and distressing. He photographs his models with a particular setting in mind.
If a woman in an image is sitting on rumpled sheets on a bed, he might shoot the model sitting on them. That way, when he places the photograph onto the bedsheets of his miniature, the materials in both images blend more easily. Photoshop is obviously central to this work, but he said he doesn’t overuse the technology. Except for scaling and placing the models, he uses it only for subtle color enhancement and to fix elements within the dioramas. “Another thing about working with miniatures is that I have terrific control over lighting. It’s all artificial light. For instance, in Pink Bedroom (Odalisque), the woman is lit by light from a window, but the man is lit from a warmer source in another room. If I’m going to try to emulate incandescent light, I’ll use a filter to warm it up.”
Tuschman wants to do a few more Hopper-oriented pieces. He has also started a similar series of photographic-diorama works, but this time based on Eastern Europe, where his wife has family, in the period between the two world wars. He remains devoted to photography but mostly as source material. “I used film up until the early 2000s. But even when I was shooting with film, I would have it developed and scan the images and manipulate them on the computer.” He took one darkroom course in high school, and that was enough of that. “There was too much chemistry, too much science for me. I like more immediate gratification,” he said, laughing, “like painting. I actually sort of consider myself a failed painter. I just like the
idea of playing with the paint; there’s something very therapeutic about it. But I could never stop working on a painting. “I used to do a lot of collage and photo printmaking, but I never wanted to just work in a darkroom. I wanted to make things with my hands.” ◀
details ▼ Richard Tuschman — Hopper Meditations ▼ Opening reception 5 p.m. Friday, June 6, exhibition through July 19 ▼ Photo-eye Gallery, 541 S. Guadalupe St., 505-988-5159
Richard Tuschman: Pink Bedroom (Odalisque), 2013; opposite page, Pink Bedroom (Daydream), 2013; both images pigment ink prints
PASATIEMPOMAGAZINE.COM
35
ART IN
REVIEW
Cy DeCosse: Midnight Garden and Van Chu: Photographic Brushstroke, Verve Gallery of Photography, 219 E. Marcy St., 505-982-5009; through June 21
T
wo bodies of work on view at Verve Gallery of Photography deal with the natural world using different photographic techniques and resulting in contrasting imagery. Cy DeCosse’s Midnight Garden is a series of portraits of night-blooming flowers in toned
36
PASATIEMPO I June 6-12, 2014
black and white. Images in Van Chu’s Photographic Brushstroke were made using pigments diluted in water, which he shoots as they dissolve and spread. Some of Chu’s photographs are composites, blending imagery of the pigment with landscape elements. Midnight Garden’s subjects are rare and seldom seen blooms — such as Queen of the Night, an informal name for Selenicereus grandiflorus, a flowering cactus common to Central America. DeCosse captures fine details in his platinum palladium prints. The flowers, shot in close-up, emerge in dazzling white from darkened gray-toned backgrounds that suggest night. Platinum prints are suited to the pristine beauty of the night blooms because of platinum’s ability to provide a greater tonal range than other methods of printing. The results are large-scale, otherworldly images. Leaves nearly vanish in the surrounding darkness. Their veins, touched by the light, lend the images some linear qualities, as though they are faintly etched in moonlight. In all, 18 night blossoms appear in the exhibit. These include DeCosse’s Rosa De La Noche, a photo of a tropical water lily known as the rose of the night; Jasmine; Evening Primrose; and Angel’s Trumpet — another name for datura, a toxic plant known as witches weed because of its history as an ingredient in potions. Night-blooming flowers are generally pale and lend themselves easily to black-and-white photography. Some, such as the Argentine giant cactus, bloom only once a year. The cactus appears in an image in the exhibit. Chu’s Photographic Brushstroke is a painterly exploration of ephemeral forms. Unlike DeCosse’s work, Chu’s is not straightforward photography. There’s an element of spontaneity in shooting pigment in water, and he titles pieces in accord with what the mutable, dissolving forms look like. Two Dragons, for
Van Chu: Mushrooms and Trees 4, archival pigment ink print Bottom left, Cy DeCosse: Jasmine, 2012, platinum palladium print
instance, depicts two spreading ink tendrils that resemble the serpentine bodies of dragons in Vietnamese art from the Lý Dynasty. Other photographs are montages of pigments in water and trees, formed by layering multiple exposures. One such image, Departure 4, shows a tree beneath a bloom of pigment that resembles smoke rising from the tree’s branches. Chu adds color in digital processing to enhance some works and to highlight certain features of the imagery. Verve’s exhibition makes no explicit thematic connection between these bodies of work, but one is suggested by the subject matter — the primary subjects for each photographer are temporary forms that limit the makers to a time frame for shooting. DeCosse, for instance, is limited to when flowers are in bloom, and Chu is limited to the length of time it takes for pigments to dissolve. Looking at the images together, their distinctions emerge. DeCosse’s photos have a meditative, still quality, while Chu’s are alive with energy and movement and, although some resemble landscapes, are mainly abstracted, dreamlike images. Chu’s use of color is minimal but is still a contrast to the black-and-white prints of DeCosse. DeCosse’s work, like Chu’s, has some painterly qualities. His use of painted backdrops and old photographic processes often lends his images a feeling of traditional still-life painting, but that is less prevalent in the black-and-white photographs. Chu’s prints have a more contemporary feel. It is best to view the shows as solo exhibitions. — Michael Abatemarco
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Michael Abatemarco I The New Mexican
38
PASATIEMPO I ????????? ??-??, 2014
G A I L
W
hen you enter the home and studio of Gail Rieke you enter a space that evokes a sense of far-off places. Rieke, a collage and assemblage installation artist, teacher, and world traveler, has amassed a collection of oddities that in many cases would not be out of place in a natural history museum. They include cactus spines, bamboo paper clips, a stingray tail, shells, decorative gourds, and weathered stones. There are found papers, handmade papers, Black Cat firecrackers, fragments of mirrored glass, woven baskets, antique suitcases filled with travel journals, and other objects too numerous to list. One look at the collages, assemblages, and photographs in Ephemerist, an exhibit of Rieke’s work on view at Patina Gallery, transports the viewer to a world of delicate and fleeting beauty. Ephemerist is the first of three in a series of exhibitions at Patina called Drawn to the Wall. Rieke’s show is followed in July by Shape Shifter, an exhibit of abstract paintings by David Solomon, and in October by Measure of Days, paintings by Daniel Kosharek. What the three local artists have in common is that none have current gallery representation, though all are established artists. Rieke, who with her husband, painter Zachariah Rieke, transformed their home studio into a site-specific installation, prefers it this way. “I’m not a production artist,” she told Pasatiempo. “With teaching and traveling and the work developing over a long period of time, I really like the luxury of having the work appear when it’s ready to appear. Zach and I showed for many years at various galleries. Most significantly here, we showed with Linda Durham for 13 years.” Every summer on the first weekend in August, the Riekes host a three-day open studio. “It allows a lot of people to come that haven’t seen the work in a while. It’s a long time, so we can really talk to people. This time it’s Zach’s turn. We alternate years. He gets to take over the whole house. We’ve been showing in this environment for 21 years now. A lot of artists are not at all interested in interacting with people. They just want to go into the studio and be left alone. But a lot of what I do has so much involvement with whole groups of people that I
R I E K E
encounter. The work is very much about these interactions, both with place and with people.” The objects Rieke collects are arranged in drawers in the studio. They remain there until she is inspired to find a use for them. A piece might sit incomplete, waiting for that final item to come into I would like to her possession and present things that fall into place within a composition. “The are in the process collages can be about a particular experiof change but also ence or they can be to have as many formal configurations of materials wedded considerations of together by considerations of color, texture, archivability as composition, formal possible. If I wanted dynamics. Some things are engendered by a something to last particular vision. It’s not a concept necesfor ever and ever, sarily, and it’s not I’d carve it in stone. necessarily an idea. It’s more a little slide projector in my head, just imagery coming through. The work is not conceptually driven, but there are some fairly obvious underlying themes that are continuous through the work.” One such theme accounts for the exhibition title, which can be understood in a number of ways. “The name of the show is Ephemerist,” Rieke said. “A lot of the work is about time and the cognizance of time being precious and fleeting. It’s also about processes that happen to objects over time.” The word ephemera also suggests collectible items and memorabilia, particularly printed materials. Printed papers and raw fabrics form the core of works such as Happenstance and Summer Letter, both included in the show. One aspect of working with materials that are biodegradable, such as plant fibers, leaves, and seed pods — the kinds of organic substances Rieke often integrates into her compositions — is their limited life spans. The materials can discolor and degrade and are subject to infestations. Some measures are taken to protect pieces behind glass that filters ultraviolet light. But continued on Page 40
Gail Rieke, above: Happenstance, 2011, found papers, handmade papers, silk, typewriter ribbon, Black Cat firecrackers; left, photo of Rieke’s studio door taken by the artist, 2014
PASATIEMPOMAGAZINE.COM
39
Implant Dentistry of the Southwest
Gail Rieke, continued from Page 39
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PASATIEMPO I June 6-12, 2014
the transitory nature of the works is part of Rieke’s intention in creating them. “It’s kind of a delicate balance because on one hand I would like to present things that are in the process of change but also to have as many considerations of archivability as possible. If I wanted something to last forever and ever, I’d carve in stone.” Rieke’s photographs, printed on aluminum, deal with abstraction and reflection. Images cast off the rippling surfaces of bodies of water are distorted and fragmented. An affinity exists between the image and the aluminum substrate on which it is printed, because they both catch the light. The aluminum surface adds a vibrant, shimmering quality to the photographs. Rieke’s Patina exhibit includes a digital slide show of her meticulously crafted travel journals and photographs made abroad. It is on these excursions that Rieke finds some of the materials for her collages and assemblage pieces. “A lot of things are from garage sales in Santa Fe. A lot of things are from gifts from people. They come to the studio and say, ‘I have something that I’ve had for 20 years and I don’t know what to do with it and you will. I’ll leave it on your doorstep tomorrow.’ All kinds of things like that happen. “I’m getting ready to teach a workshop in Mexico City, and one of them is called The Artist as Traveler. The first thing I talk about is the Age of Exploration and people going to far-flung places, bringing things back. When Zach and I started making these environments — we started in 1968 I would say — I really didn’t know about cabinets of curiosity or anything of that nature. I just started doing what felt endemic to my brain and fingers. Then I found that there was actually this historical precedent, which was the foundation of our museum system: natural history, fine art, ethnographic art.” ◀
details ▼ Gail Rieke: Ephemerist ▼ Reception 5 p.m. Friday, June 6; exhibit through June 29 ▼ Patina Gallery, 131 W. Palace Ave., 505-986-3432
Serena Rieke
Gail Rieke in her studio
Blue Rain Gallery’s 2nd Annual Invitational Show
opening tonight
June 6 – 21, 2014 Artists’ Reception: Friday, June 6th, 5 – 7 pm Featuring the works of Bob Richardson, Loren Haynes, Thomas Hucker, White Buffalo, Lorenzo Chavez, Leigh Gusterson, Andrea Peterson, and Armelle Bouchet O’Neill
130 Lincoln Avenue, Suite C Santa Fe, New Mexico 87501 505.954.9902 www.blueraingallery.com Leigh Gusterson, Heart of Rodarte II (detail), acrylic on canvas, 32" h x 18" w
Judy Chicago, The Return of the Butterfly, from A Retrospective in a Box, 2012. Lithograph. Collection of the New Mexico Museum of Art, museum purchase, 2013.
Traveler’s Market
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O N E X H I B I T J U N E 6 T H R O U G H O C TO B E R 1 2
Large-scaleprojectsandsmall-scalepersonalworks inanimpressivearrayofmediabyartist,authorand educator Judy Chicago. This exhibition focuses on works produced in the last three decades while the artist has been living and working in New Mexico. Opening Reception Friday, June 6, 5:50–7:30pm HOSTED BY THE WOMENS BOARD OF THE MUSEUM OF NE W ME XICO
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MOVING IMAGES film reviews The illustrated man Jonathan Richards I For The New Mexican For No Good Reason, documentary, rated R, Center for Contemporary Arts, 3.5 chiles In the spring of 1970, a young British cartoonist named Ralph Steadman was in New York recording the “misery and deprivation” he found in America’s greatest city when he got a call from Scanlan’s Monthly. Would he go to Louisville, Kentucky, to pair up with journalist Hunter S. Thompson, who was writing a piece on the Kentucky Derby (“The Kentucky Derby Is Decadent and Depraved”), and contribute some drawings? “Bull’s-eye!” the artist, now 78, exults as he remembers that meeting. “I met up with the one man in the whole of America that I needed to work with.” Their collaboration continued for many years, with many of the artist’s most memorable works adorning Thompson’s gonzo articles for Rolling Stone and his books Fear and Loathing in Las Vegas and Fear and Loathing on the Campaign Trail ’72. Together, writer and artist traipsed around the world, to Honolulu for a marathon, to Zaire for the Ali-Foreman “Rumble in the Jungle,” getting into drink and trouble and compiling a wild and crazy canon of work. Why? When the question arose, Thompson’s standard answer was “For no good reason.” In his new documentary, 15 years in the making, filmmaker Charlie Paul visits the artist in his studio on his estate near Kent, England, bringing along actor Johnny Depp as guide, occasional commentator, and friend of court. Depp, who played Thompson’s alter ego Raoul Duke on film, became a pal of the gonzo pair in the ’90s. He adds star power to the movie and looks on with mutterings of admiration as Steadman flings ink and paint at large sheets of paper
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Son of gonzo: Johnny Depp and Ralph Steadman
and then proceeds to coax amazing drawings from the Rorschach-like splatters. “I really thought that what I would like to do, if I ever learned to draw properly,” Steadman reveals at the film’s outset, “was to try to change the world.” That bug was planted at the boarding school young Steadman attended, where he learned to resent heavyhanded authority. “Authority is the mask of violence,” he reflects. His drawings over the years have eviscerated politicians and poseurs. His style is intensely physical, wildly scatological, grossly visceral, gleefully blasphemous, and weirdly, maniacally funny. Paul and Depp don’t take us very deep under the skin of Steadman the man, but what this film does to brilliant effect is take us through the Steadman creative process. It is an education and a source of wonderment to watch him at work, splattering, drawing, smearing, spraying, masking, rubbing, taking things too far and then going even farther and showing us that it was all right after all. “If I knew how it was going to end up before I started,” Steadman observes, “what would be the point?” Steadman explains some of his major influences, starting with a fascinating visual journey from youth
to age through the self-portraits of Rembrandt, “the most enigmatic and inquiring artist who ever lived,” and including the work and ideas of Francis Bacon. He describes Picasso as the biggest influence of all, both aesthetically and in terms of his indomitable attitude, greeting each day as a chance to create. Though he’s probably best known for his work with Thompson, Steadman has done a number of books on his own, both as illustrator (his awardwinning 1973 take on Lewis Carroll’s Alice in Wonderland) and as author. The movie doesn’t go into it, but perhaps the most sublime pairing of personalities (outside of Steadman-Thompson) comes with Steadman’s 2006 analysis of Sigmund Freud. Had Freud been around to return the favor, the two would have had a field day. Paul brings in archival footage and interviews with friends and associates like Terry Gilliam, Rolling Stone’s Jann Wenner, and Richard E. Grant and even spends some time on the shooting range with William S. Burroughs. Hal Willner, a music producer and longtime pal, observes that Steadman is as sweet and nice as he can be, and that is borne out by the Steadman we see on screen. His art, of course, suggests a different dimension, and we are left thinking it’s a damn good thing he has that outlet. There is some great old footage of Steadman and Thompson, including one querulous bit of drunken bickering in which the artist accuses the writer of basking in the reflected glory of his illustrations. Hunter Thompson committed suicide in 2005. The movie suffers from a sometimes overbearing soundtrack of songs that occasionally drown out what is being said, but the most serious failing is the decision, for no good reason, to bring animation to some of Steadman’s work. The drawings themselves are bursting with life, and the animation serves as an unwelcome intrusion. The documentary portrait feels darker and darker as it rolls along. By the end, Steadman is seen wondering why he ever bothered to try to change the world. “It was something to do,” he muses. More poignantly, he wonders if he’s been able to rise above the tag of cartoonist. “I still haven’t proved that I’m an artist,” he sighs. This film should erase that doubt. ◀
Grace Community Church Annual Picnic Saturday, June 14, 2014 • 10 AM to 4 PM
Herb Martinez Park • 914 Camino Carlos Rey, Santa Fe
Hermanos Gutierrez Concert
Kenny Skywolf Band • Afternoon Concert Bring: basketball • frisbees • football blankets • lawn chairs Provided will be: grilled chicken hamburgers • hotdogs • drinks chips • paper goods Bring additional sides & desserts
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Pilgrims’ progress Michael Abatemarco I The New Mexican Manakamana, documentary, not rated, in Nepali and English with subtitles, The Screen, 3.5 chiles A good 20 minutes of screen time goes by before a single line of dialogue is spoken in Stephanie Spray and Pacho Velez’s leisurely paced documentary about pilgrims en route to Nepal’s Manakamana Temple. By that time, you’ll either be squirming in your seat or intently focused on the simple scene before you: riders in a cable car, making their ascent to the temple. Every shot is from a vantage point opposite pilgrims seated in the car. The film takes us back and forth as the tram rises to the temple, dispenses its cargo, and retreats with another group for the journey back down. Most of the temple-goers sit in silence or speak only briefly, but over the course of the documentary, a story emerges. They are on their way to petition the Hindu goddess Bhagwati at her sacred temple Manakamana, so that she might grant their wishes. Manakamana is an meditative experience. Each round trip to and from the temple — which we never see except from a distance on the approach — takes about 17 minutes. As passengers sit in silence, we can only wonder at their private purpose for making the pilgrimage. Like them, we are alone with our thoughts. There is an element of voyeurism at work. For long stretches all we see are people sitting in front of us, gazing out at the passing landscape. Soon we lose track of whether we are coming or going. Some older travelers comment on the changing environment: houses have been built in the mountains and roads can be seen in the distance; thatched roofs are disappearing, replaced with roofs of concrete and slate; the cable car offers a modern alternative to the many hours and miles it takes to make the journey on foot. In one sequence, a young Nepalese man taking the trip with friends jokes that a small kitten he has with him is a sacrifice to Bhagwati. In fact, bird sacrifices to the goddess have been common since the 17th century, and while the practice at Manakamana has recently been banned, an older couple makes the ascent with a rooster and returns with only its remains. Manakamana has moments of unexpected humor, such as when a women makes a mess attempting to eat a quickly melting ice cream bar. But it’s the variety of people we meet and the dignity they possess that linger by the end of this meditative and affecting character study. ◀
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1:00p - For No Good Reason* 2:15p - Ida 3:00p - For No Good Reason* 4:15p - Ida 5:00p - Llyn Foulkes: One Man Band* 6:00p - For No Good Reason 7:00p - Ida* 8:00p - Ida
Mon-Thurs June 9-12
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MOVING IMAGES pasa pics
— compiled by Robert Ker
MANAKAMANA The cable car journey to Nepal’s Manakamana Temple takes about 17 minutes round trip. Stephanie Spray and Pacho Velez’s documentary, filmed from inside the cable car opposite the passengers, is a slow-moving, meditative experience offering a glimpse into the lives of pilgrims en route to the temple to beseech the Hindu goddess Bhagwati to grant their wishes. Young and old alike make the journey, giving us glimpses into the lifeways and beliefs of Nepalese people. Most travelers sit in silence, and viewers may feel alternately like voyeurs trying to gauge their private thoughts or like fellow passengers. It’s an introspective, quietly moving film. Not rated. 118 minutes. In Nepali and English with subtitles. The Screen, Santa Fe. (Michael Abatemarco) See review Page 44.
Going buggy: Oscar Dietz in Antboy at the Jean Cocteau Cinema
opening this week ANTBOY X-Men and Spider-Man are using their superpowers to kick box-office butt right now, but is the world ready for Antboy? This Danish film stars Oscar Dietz as Pelle, a 12-year-old boy who is bitten by an ant and develops powers. He has a dandy time doing super deeds as Antboy, until a villain named Flea (Nicolas Bro) starts bugging him. Rated PG. 77 minutes. Dubbed in English. Jean Cocteau Cinema, Santa Fe. (Not reviewed) EDGE OF TOMORROW The Groundhog Day template comes to the sci-fi genre with this alieninvasion action flick, in which Tom Cruise plays a soldier who relives the same day — a day in which the Earth lost a major battle against its otherworldly foes — again and again until he develops the skills necessary to change the outcome. Emily Blunt and Brendan Gleeson play his comrades-in-arms. Doug Liman (The Bourne Identity) directs. Rated PG-13. 113 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE FAULT IN OUR STARS Teenage romance films often come with the girl wearing a prom dress and the boy wearing a sweet pair of shades. This one is much 46
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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 nearly as depressing as it sounds. Rated PG-13. 125 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) FOR NO GOOD REASON British artist Ralph Steadman is best known for his brilliant, warped, splatter-strewn cartoon illustrations for the writings of gonzo journalist Hunter S. Thompson. In this uneven but fascinating documentary on Steadman, now in his mid-70s, filmmaker Charlie Paul visits that territory and digs deeper into Steadman’s breathtaking output, spending a lot of time, along with Steadman’s old friend Johnny Depp, at his studio in England, taking us through his creative process and looking at what makes him tick. Rated R. 89 minutes. Center for Contemporary Arts, Santa Fe. (Jonathan Richards) See review, Page 42. LLYN FOULKES: ONE MAN BAND Los Angeles painter and musician Llyn Foulkes is the subject of this documentary, which explores his eccentric career. This includes decades of sabotaging his own work in the name of perfectionism and playing the large, strange instrument he invented to produce the sounds of his one-man band. Not rated. 88 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed)
TOSCA’S KISS Apart from Giuseppe Verdi’s 27 operas, his legacy included the retirement home for musicians he founded in Milan. Daniel Schmid’s 1984 documentary wanders the halls of the Casa Verdi, spending time with aged opera singers who are eccentric, temperamental, and utterly endearing. “Here you never live in the present,” explains a staffer. These retired divas and divos are still onstage by their reckoning, lapsing easily into their roles of yore. The scene in which soprano Sara Scuderi admires one of her ancient recordings has by now caused tears to well up in three decades of viewers. Not rated. 87 minutes. In Italian with subtitles. Jean Cocteau Cinema, Santa Fe. (James M. Keller) YOUNG & BEAUTIFUL Director François Ozon (Swimming Pool) returns with another sexy psychological thriller. This one centers on Isabelle (Marine Vacth), a well-off woman who leads a double life as a call girl. What’s in it for her? And what happens when her family and friends find out? Not rated. 95 minutes. In French with subtitles. The Screen, Santa Fe. (Not reviewed)
now in theaters THE AMAZING SPIDER-MAN 2 The machine that pumps out Spider-Man movies must be about to blow a gasket, as this is the second one in less than two years. Andrew Garfield returns as Peter Parker, the unassuming wisecracker whose wall-crawling alter ego is tangled in a web of intrigue between the Green Goblin (Dane DeHaan) and Electro (Jamie Foxx). It’s a rushed sequel to a remake, it’s well over two hours, and it has seven credited writers — what could go wrong? Rated PG. 142 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Not reviewed)
BELLE A double portrait painted in 1779 shows two aristocratic young Englishwomen, one dark- and one fair-skinned, in a companionable pose that suggests equality and affection. From that source, and the few discoverable facts about its subjects, writer Misan Sagay and director Amma Assante have built an intriguing story about Dido Elizabeth Belle Lindsay (Gugu Mbatha-Raw). She was the illegitimate daughter of British naval officer Sir John Lindsay (Matthew Goode) and a slave, raised by Lindsay’s aristocratic great-uncle, Lord Mansfield (Tom Wilkinson). The historical Lord Mansfield ruled on several important cases involving slavery, one of which figures centrally in the plot. The smartness and intricacy of this movie are unfortunately undercut by an occasional reliance on convention. The cast is excellent, and the luminous Mbatha-Raw is a real discovery. Rated PG. 104 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) BLENDED Adam Sandler has spent much of the last decade making dumb, offensive comedies and laughing all the way to the bank. This film reunites him with Drew Barrymore, who helped him charm audiences with The Wedding Singer. Do they recreate that magic? They play single parents who, despite loathing each other, take their kids on a vacation to Africa. Gross-out humor, rude behavior, and dubious portrayals of African people commence. Rated PG-13. 117 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) CHEF This light, sweet, funny cream puff of a movie is the latest offering from 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 selfdiscovery, part father-son bonding story, part road-trip movie, and part social-media tutorial — 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. 115 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) COLD IN JULY Small-town father, husband, and business owner Richard Dale (Michael C. Hall) shoots an intruder in his darkened home one night. He thinks all is well, until the dead man’s convict daddy (played with sad menace by Sam Shepard) comes a-calling, perhaps to exact vengeance. And there’s much more to this
stylish little noir story — a faithful adaptation of Joseph Lansdale’s 1989 novel. Not rated. 110 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Nott) DRIVING MISS DAISY (PERFORMANCE) Angela Lansbury and James Earl Jones star in a recent production of Alfred Uhry’s Pulitzer Prize-winning 1987 play Driving Miss Daisy, which was filmed at a 2013 performance in Australia and is broadcast to theaters in high-definition video. 11 a.m. Saturday and Sunday, June 7 and 8, only. The Screen, Santa Fe. (Not reviewed) FADING GIGOLO With John Turturro writing, directing, and starring and Woody Allen in a featured role and hovering in the background as éminence grise, this is several movies wrapped up in one, and most of them are pretty good. Turturro and Allen developed the script together, and it shows. Allen plays a Brooklyn bookstore owner facing hard times; when his dermatologist (Sharon Stone) confides a desire to hire a stud to have a threesome with her and her best friend (Sofía Vergara), he persuades his friend Fioravante (Turturro) to take the job. Nice work if you can get it. But there’s more going on here, including a subplot involving a Hasidic community and a lonely widow (Vanessa Paradis). Turturro holds it all together with an uncaricatured, moving performance and a director’s hand that mostly avoids the obvious. Rated R. 90 minutes. Regal DeVargas, Santa Fe. (Jonathan Richards) 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, but it sadly slips into rah-rah militarism after a promising start referencing Close Encounters of the Third Kind and grounding the action with a superb Bryan Cranston. Director Gareth Edwards shows a knack for suspense, scale, and cool-as-heck imagery, all of which are important traits in a Godzilla filmmaker. He is let down by a bloated and wobbly script and a color palette that looks like vomit. (Couldn’t this have just been black-and-white?) Rated PG-13. 123 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Robert Ker) THE 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),
Edge of Tomorrow
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 in this caper, which plays out like a children’s book or a board game. Rated R. 100 minutes. Regal DeVargas, Santa Fe. (Robert Ker) HEAVEN IS FOR REAL This movie, based on the book Heaven Is for Real: A Little Boy’s Astounding Story of His Trip to Heaven and Back, recalls the account of a Nebraska pastor’s (Greg Kinnear) young son (Connor Corum) who dies on an operating table, goes to heaven, and comes back to tell the tale. Rated PG. 100 minutes. DreamCatcher, Española. (Not reviewed) 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, setting up a contrast between the worldly-wise Wanda and continued on Page 48
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the idealistic Anna. Pawlikowski (My Summer of Love and The Woman in the Fifth) takes a heavy-handed approach in this beautifully shot film. It offers no new insights into the horrors of war, and the shocking revelations Anna uncovers come almost as expected. Rated PG-13. 80 minutes. In Polish with subtitles. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) THE IMMIGRANT This sepia-toned drama takes place in 1920s New York City, where two Polish women, Ewa and Magda (Marion Cotillard and Angela Sarafyan), arrive at Ellis Island. They are separated, and the desperate Ewa is forced to become a prostitute. But a mysterious magician (Jeremy Renner) may be able to help her. Rated R. 120 minutes. Regal DeVargas, Santa Fe. (Not reviewed) JUST A SIGH Jérôme Bonnell (The Queen of Clubs) offers a wispy Gallic romance that would like to leave us with a lump in our throats à la Brief Encounter. The encounter is brief, but the chemistry just isn’t there. Alix (Emmanuelle Devos) is an actress in her 40s doing Ibsen with a regional company. She makes eye contact on the train with a brooding older man (Gabriel Byrne), and before long they’re in his hotel room, enjoying the sport the human body was designed for. It’s all terribly passionate but not very sensual. Devos carries the load and carries it well. The lovers don’t set off a spark, just a sigh, but they give us a pleasant time in Paris, a little sex, a little wine, and a little conversation, and how bad can that be? Not rated. 104 minutes. In French and English with subtitles. The Screen, Santa Fe. (Jonathan Richards) LOCKE Ivan Locke (Tom Hardy) is driving from Birmingham to London on a matter of honor and responsibility. He’s 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 on screen. It’s Locke alone, in
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PASATIEMPO I June 6-12, 2014
real time. 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 is off the phone or talking to the imagined presence of his father, a man whose irresponsibility shaped the man Locke has become. Written and directed by Steven Knight and shot in eight nights on a budget under $2 million, the film is a testament to imagination and talent. Rated R. 85 minutes. The Screen, Santa Fe. (Jonathan Richards) MALEFICENT Modern takes on fairy tales have made a bit of a comeback, with filmed versions of “Snow White” and “Hansel and Gretel” making recent appearances in the multiplex. Disney, however, has been making modern fairy tales for a long time, and here’s its 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. Maybe she was just misunderstood all these years. Rated PG. 97 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Not reviewed) MILLION DOLLAR ARM In this feel-good sports pic from Disney, Jon Hamm (that’s Don Draper on Mad Men to you) uses his charm to make people believe in themselves. He plays a sports agent who brings two Indian cricket players to America to pitch in the big leagues. Based on a true story. Alan Arkin co-stars. Rated PG. 120 minutes. Regal DeVargas, Santa Fe. (Not reviewed) A MILLION WAYS TO DIE IN THE WEST Imagine taking the farting-around-thecampfire scene from Blazing Saddles and expanding it into a feature film, and you get some idea of what this swampy comedy Western is all about. Co-producer/director/co-writer/lead actor Seth MacFarlane is the simple sheep farmer trying to win back his girlfriend (Amanda Seyfried) and best a notorious gunman (Liam Neeson) in a film full of toilet humor and sexist and homophobic jokes. The critics hate it, but some people did laugh — sometimes — during a recent screening in Santa Fe. Shot in New Mexico, but the state will survive this indignity. Rated R. 116 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Nott) NEIGHBORS Seth Rogen and Rose Byrne play a married couple with a new baby and a new house. Everything is idyllic until a fraternity moves in next door. When the couple calls the police, the frat boys, led by one unruly chap (Zac Efron), wage a war of pranks on them. Schlubby manchild Rogen and handsome youngster Efron have more chemistry than Rogen and Byrne do, and the
clumsy series of penis-and-pot gags leads to an ending that doesn’t feel earned. But the movie has laughs, is slightly deeper than you may expect, and passes so effortlessly that it’s over before you can chant, “Toga! Toga!” Rated R. 96 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) THE RAILWAY MAN Colin Firth plays a World War II veteran who has found love but not peace. He remains traumatized by the torment he suffered at a Japanese labor camp. His wife (Nicole Kidman) and a friend (Stellan Skarsgård) locate one of the men who tortured him (played by Hiroyuki Sanada), and a confrontation ensues. Rated R. 116 minutes. Regal DeVargas, Santa Fe. (Not reviewed) RIO 2 In this sequel to the 2011 animated hit, a macaw from Minnesota (voiced by Jesse Eisenberg) and his family are relocated to the Amazon rainforest. Rated G. 96 minutes. Screens in 2-D only at Regal Stadium 14, 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, as Wolverine (Hugh Jackman) travels from a nightmare future back to the 1970s to prevent the destruction of mutantkind. It sounds like a headache, but 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, including Jennifer Lawrence, Peter Dinklage, Ellen Page, James McAvoy, Michael Fassbender, Ian McKellen, and Patrick Stewart. Rated PG-13. 131 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Robert Ker)
other screenings Jean Cocteau Cinema 11 p.m. Friday and Saturday, June 6 & 7; 9 p.m. Monday, June 9: Bubba Ho-Tep. Regal Stadium 14 7 p.m. Thursday, June 12: 22 Jump Street. 8 p.m. Thursday, June 12: How To Train Your Dragon 2. Screens in 3-D and 2-D. 2 p.m. Sunday, June 8; 2 & 7 p.m. Wednesday, June 11: Saturday Night Fever. ◀
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WHAT’S SHOWING Call theaters or check websites to confirm screening times. CCA CINEMATHEQUE AND SCREENING ROOM
1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org For No Good Reason (R) Fri. to Sun. 1 p.m., 3 p.m., 6 p.m. Mon. to Thurs. 3 p.m., 6 p.m. Ida (PG-13) Fri. to Thurs. 2:15 p.m., 4:15 p.m., 7 p.m., 8 p.m. Llyn Foulkes One Man Band (NR) Fri. to Thurs. 5 p.m. JEAN COCTEAU CINEMA
418 Montezuma Avenue, 505-466-5528 Antboy (PG) Fri. and Sat. 4:20 p.m. Wed. and Thurs. 4:20 p.m. Bubba Ho-Tep (R) Fri. and Sat. 11 p.m. Mon. 9 p.m. Cold in July (NR) Fri. and Sat. 2 p.m., 8 p.m. Sun. 2 p.m., 6 p.m. Tue. 8 p.m. Wed. and Thurs. 2 p.m., 8 p.m. Tosca’s Kiss (NR) Fri. and Sat. 6 p.m. Wed. and Thurs. 6 p.m. REGAL DEVARGAS
562 N. Guadalupe St., 505-988-2775, www.fandango.com Belle (PG) Fri. and Sat. 1:40 p.m., 4:05 p.m., 7:20 p.m., 9:50 p.m. Sun. to Thurs. 1:40 p.m., 4:05 p.m., 7:20 p.m. Chef (R) Fri. and Sat. 1:20 p.m., 4:10 p.m., 7:10 p.m., 9:45 p.m. Sun. to Thurs. 1:20 p.m., 4:10 p.m., 7:10 p.m. Fading Gigolo (R) Fri. to Thurs. 4:20 p.m., 7:05 p.m. The Grand Budapest Hotel (R) Fri. and Sat. 1:45 p.m., 4:30 p.m., 7:30 p.m., 9:55 p.m. Sun. to Thurs. 1:45 p.m., 4:30 p.m., 7:30 p.m. The Immigrant (R) Fri. and Sat. 1:10 p.m., 4 p.m., 7 p.m., 9:40 p.m. Sun. to Thurs. 1:10 p.m., 4 p.m., 7 p.m. Million Dollar Arm (PG) Fri. and Sat. 1 p.m., 3:50 p.m., 6:50 p.m., 9:35 p.m. Sun. to Thurs. 1 p.m., 3:50 p.m., 6:50 p.m. The Railway Man (R) Fri. and Sat. 1:30 p.m., 9:20 p.m. Sun. to Thurs. 1:30 p.m. REGAL STADIUM 14
3474 Zafarano Drive, 505-424-6296, www.fandango.com 22 Jump Street (R) Thurs. 7 p.m., 7:30 p.m., 9:40 p.m., 10:10 p.m. The Amazing Spider-Man 2 (PG-13) Fri. to Mon. 12:20 p.m., 4:10 p.m., 7:15 p.m., 10:30 p.m. Tue. and Wed. 12:35 p.m., 4:10 p.m., 7:15 p.m., 10:30 p.m. Blended (PG-13) Fri. to Wed. 1:15 p.m., 4:15 p.m., 7:20 p.m., 10:15 p.m. Edge ofTomorrow (PG-13) Fri. to Wed. 11:30 a.m., 2:15 p.m., 5 p.m., 7:45 p.m., 10:30 p.m. Edge ofTomorrow 3D (PG-13) Fri. to Wed. 11 a.m., 1:45 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. The Fault in Our Stars (PG-13) Fri. to Wed. 11:05 a.m., 1 p.m., 2 p.m., 4 p.m., 4:55 p.m., 7 p.m., 7:50 p.m., 10 p.m., 10:45 p.m. Godzilla (PG-13) Fri. to Wed. 11:15 a.m., 2:05 p.m., 4:55 p.m., 7:50 p.m. Godzilla 3D (PG-13) Fri. to Wed. 10:40 p.m. How toTrain Your Dragon 2 (PG) Thurs. 8:15 p.m., 10:45 p.m. How toTrain Your Dragon 2 3D (PG) Thurs. 8 p.m., 10:25 p.m. Maleficent (PG) Fri. to Sun. 11:35 a.m., 12 p.m., 2:30 p.m., 4:35 p.m., 5:05 p.m., 7:30 p.m., 9:40 p.m., 10:10 p.m. Mon. to Wed. 11:35 a.m., 12 p.m., 2:30 p.m., 4:35 p.m., 5:05 p.m., 7:30 p.m., 9:40 p.m., 10:10 p.m.
Maleficent 3D (PG) Fri. to Wed. 2:05 p.m.,
7:10 p.m.
A Million Ways to Die in the West (R) Fri. to Wed.
11 a.m., 11:20 a.m., 1:45 p.m., 2:25 p.m., 4:40 p.m., 5:10 p.m., 7:40 p.m., 8 p.m., 10:25 p.m., 10:45 p.m. Neighbors (R) Fri. to Mon. 12:25 p.m., 2:50 p.m., 5:15 p.m., 8 p.m., 10:25 p.m. Tue. and Wed. 12:30 p.m., 2:50 p.m., 5:15 p.m., 8 p.m., 10:25 p.m. Rio 2 (G) Fri. and Sat. 11:45 a.m., 2:20 p.m., 5 p.m. Sun. 11:10 a.m., 5 p.m. Mon. and Tue. 11:45 a.m., 2:20 p.m., 5 p.m. Wed. 11:10 a.m. Saturday Night Fever (R) Sun. 2 p.m. Wed. 2 p.m., 7 p.m. X-Men: Days of Future Past (PG-13) Fri. to Wed. 1:35 p.m., 4:35 p.m., 7:30 p.m., 10:35 p.m. X-Men: Days of Future Past in 3D (PG-13) Fri. to Tue. 7:40 p.m., 10:40 p.m. Wed. 10 p.m. THE SCREEN
Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com Driving Miss Daisy (PG) Sat. and Sun. 11 a.m. Just a Sigh (NR) Fri. 12:15 p.m. Mon. to Thurs. 12:15 p.m. Locke (R) Fri. to Thurs. 5 p.m. Manakamana (NR) Fri. 6:50 p.m. Sat. and Sun. 12:45 p.m., 6:50 p.m. Mon. to Thurs. 6:50 p.m. Young & Beautiful (NR) Fri. to Thurs. 3 p.m., 9:10 p.m.
A film by Stephanie Spray And pacho Velez
From the producers oF Leviathan
“ONE OF THE TEN BEST FILMS OF THE YEAR” - Manohla Dargis, New York Times Fri at 6:50; Sat and Sun at 12:45 and 6:50; Mon through Thurs at 6:50
Young and Beautiful
A Film by Francois Ozon
MITCHELL DREAMCATCHER CINEMA (ESPAÑOLA)
15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.storytellertheatres.com Blended (PG-13) Fri. 4:45 p.m., 7:20 p.m., 10 p.m. Sat. 2:10 p.m., 4:45 p.m., 7:20 p.m., 10 p.m. Sun. 2:10 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs. 4:45 p.m., 7:20 p.m. Edge of Tomorrow (PG-13) Fri. 4:50 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:15 p.m., 4:50 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:15 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 p.m., 7:25 p.m. Edge of Tomorrow 3D (PG-13) Fri. 4:50 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:15 p.m., 4:50 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:15 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 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. to Thurs. 4:30 p.m., 7:10 p.m. Godzilla (PG-13) Fri. 4:40 p.m., 7:15 p.m., 9:50 p.m. Sat. 1:55 p.m., 4:40 p.m., 7:15 p.m., 9:50 p.m. Sun. 1:55 p.m., 4:40 p.m., 7:15 p.m. Mon. to Thurs. 4:40 p.m., 7:15 p.m. Heaven Is for Real (PG) Fri. 4:40 p.m., 7 p.m., 9:30 p.m. Sat. 2:05 p.m., 4:40 p.m., 7 p.m., 9:30 p.m. Sun. 2:05 p.m., 4:40 p.m., 7 p.m. Mon. to Thurs. 4:40 p.m., 7 p.m. Maleficent (PG) Fri. 4:35 p.m., 7 p.m., 9:35 p.m. Sat. 2 p.m., 4:35 p.m., 7 p.m., 9:35 p.m. Sun. 2 p.m., 4:35 p.m., 7 p.m. Mon. to Thurs. 4:35 p.m., 7 p.m. A Million Ways to Die in the West (R) Fri. 4:25 p.m., 6:55 p.m., 9:40 p.m. Sat. 1:55 p.m., 4:25 p.m., 6:55 p.m., 9:40 p.m. Sun. 1:55 p.m., 4:25 p.m., 6:55 p.m. Mon. to Thurs. 4:25 p.m., 6:55 p.m. Neighbors (R) Fri. 4:55 p.m., 7:30 p.m., 9:45 p.m. Sat. 2:20 p.m., 4:55 p.m., 7:30 p.m., 9:45 p.m. Sun. 2:20 p.m., 4:55 p.m., 7:30 p.m. Mon. to Thurs. 4:55 p.m., 7:30 p.m. X-Men: Days of Future Past (PG-13) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:45 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs. 4:30 p.m., 7:15 p.m.
Fri through Thurs at 3:00 and 9:10 Broadway Classics
DRIVING MISS DAISY
with James Earl Jones and Angela Lansbury. Fri through Thurs at 5:00 Santa Fe’s #1 Movie theater, showcasing the best DOLBY in World Cinema. ®
D I G I T A L
S U R R O U N D •E X
Sat and Sun Mon through Thurs at 11:00 am at 12:15 SANTA FE University of Art and Design 1600 St. Michael’s Dr. information: 473-6494 www.thescreensf.com
Bargain Matinees Monday through Friday (First Show ONLY) All Seats $8.00 PASATIEMPOMAGAZINE.COM
49
RESTAURANT REVIEW Laurel Gladden I For The New Mexican
Cuts with a conscience The Real Butcher Shop
907 W. Alameda St., 505-780-8067, www.realbutchershop.com 11:00 a.m.-4:00 p.m. Mondays-Thursdays, 10:00 a.m.-4:00 p.m. Fridays, 9:00 a.m.-4:00 p.m. Saturdays; closed Sundays (kitchen closes at 4 p.m.; shop closes at 6 p.m.) Counter service Vegetarian options Takeout available Handicapped accessible Noise level: quiet No alcohol (or any beverages other than water) Credit cards, no checks
•
The Short Order The Real Butcher Shop, which opened earlier this year in the Solana Center, is the pet project of Pollo Real’s Tom Delehanty and is primarily a butcher shop. But the crew also serves meals using products the shop sells — organic meats, local lamb and buffalo, Pollo Real’s pastureraised poultry and eggs, heritage pork, and grass-fed and -finished beef as well as charcuterie. Wild Leaven Bakery bakes the bread, and vegetarian options are often available. There’s nothing fancy about the ambience, and it isn’t a place to go if you’re in a hurry, but the food is often very good, and this is the sort of place it feels good to support. Recommended: breakfast sandwich, green-chile cheeseburger, and chicken green-chile stew.
Ratings range from 0 to 4 chiles, including half chiles. This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value.
50
PASATIEMPO I June 6-12, 2014
You might think reviewing The Real Butcher Shop as a restaurant is a mistake. The store, which opened earlier this year in the Solana Center, is the pet project of Pollo Real’s Tom Delehanty, whom many Santa Feans will recognize from the Farmers Market. It is, of course, primarily a butcher shop. But the crew has upped the ante by cooking and serving meals — mostly burgers and sandwiches — using products the shop sells. Those products include organic meats, local lamb and buffalo, Pollo Real’s pasture-raised poultry and eggs, heritage pork, and grass-fed and -finished beef as well as charcuterie. Wild Leaven Bakery bakes the bread, and condiments are made in-house. A few menu items are standard but others vary, which means your choices could range from a pulled-pork or pastrami sandwich to a turkey club, a BLT (made using house-smoked bacon), yak meatloaf, a chicken-salad wrap, or even a turkey-liver mousse smorrebrod, or open sandwich. One weekend morning we were wowed by the breakfast sausage sandwich, despite the bizarre “it tastes a lot like McDonald’s” sales pitch. The fresh, luscious, slightly runny eggs had beautifully golden yolks, and the generous sausage patty had a lovely mild flavor. Adding the few slices of garnet-red tomato offered on the side only improved matters. McDonald’s wishes its food tasted half as good. Most items are meat-oriented, but if you’re a vegetarian, don’t fret. A grilled cheese makes it to the menu often, and on one recent visit, a Caesar salad was a special — though the kitchen encouraged topping it with a New York strip steak. The romaine was fresh and crisp, the dressing evenly and sparingly applied, but the salad was simply too sparse for the price. For $12, the kitchen could throw in another handful or two of lettuce. An egg-salad sandwich appears often, too. Ours looked good, with chunks of boiled egg served on a gorgeous roll with ciabatta’s toothy crust and a tender, easily chewable crumb. However, it was remarkably bland, despite the farm-fresh eggs and the unusual (not in a good way) chopped raw onion. Though I spotted several mustard seeds in the dressing, I tasted no tangy goodness, and the whole mixture was too mayonnaisey for my liking. Frankly, I preferred the side of toasty house-made sweetpotato chips. The broth of the chicken green-chile stew had the telltale opacity of homemade stock. The chile was powerfully hot, the potato chunks tender, the abundant pieces of pulled chicken juicy and healingly gamy. This stuff will cure what ails you, whether it’s the flu or general ennui. TRBS’s burger — you can choose grass-fed beef, buffalo, or turkey (we opted for classic beef) — is like the ur-burger. Its earthy, salty, and juicy qualities touch and satisfy something deeply primal. It’s one of those multiple-
napkin affairs, nicely griddled and slightly charred on the outside but immensely, drippingly juicy — especially if you add mellow Jack cheese, fiery-hot roasted green chile, or caramelized onion. There’s nothing fancy about the ambience. Whether you’re alone or with a group, you’ll sit at one of the large wooden picnic-style tables. Plastic utensils and paper napkins are offered in a cute red-gingham-lined basket. The only beverage available is water. TRBS isn’t a place to go if you’re in a hurry, either. Even on a mellow morning, with nothing else noticeable happening in the kitchen, our breakfast order took upward of 20 minutes to prepare. We waited the same amount of time for one lunch. I’ll wait as long as necessary for an excellent burger, but I get impatient when it takes that long to deliver soup (presumably made ahead of time in a large quantity) and a salad. Years ago, elsewhere in The New Mexican, I wrote at length and ad nauseum about the need for places like The Real Butcher Shop — and how imperative it is that we support them. In The River Cottage Meat Book, Hugh Fearnley-Whittingstall says, “The vast majority of our food animals are now raised under methods that are systematically abusive. … Ultimately, the only person who is going to make any significant difference in the way meat is produced, sold, and cooked is you.” The folks in the kitchen at TRBS definitely have some hiccups to cure, but what the shop is doing matters so much that I can’t help but give them an A for effort. ◀
Lunch for three at The Real Butcher Shop: Chicken green-chile stew........................... $ 8.00 Burger with green chile and cheese........... $13.00 Egg-salad sandwich................................... $ 9.00 Caesar salad with a New York strip steak............................................... $12.00 TOTAL...................................................... $42.00 (before tax and tip)
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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 6 GALLERY/MUSEUM OPENINGS
Adobe Gallery 221 Canyon Rd., 505-955-0550. Pottery of the Western Pueblos: Acoma, Laguna, and Zuni, through July 12; paintings by Santa Fe Indian School artists Gerald Nailor, Allan Houser, Quincy Tahoma, Pablita Velarde, and others; reception 5-7 p.m. Art Exchange Gallery 60 E. San Francisco St., 505-603-4485. Richard Tashjian Paintings, Old and New, reception 4-6 p.m., through June. Axle Contemporary Mobile gallery, 505-670-7612 or 505-670-5854. Santa Fe Railyard outside the Farmers Market Pavilion, Tarot de St. Croix, paintings by Lisa de St. Croix, reception 5-7 p.m., visit axleart.com for van locations through Sunday. Bindle Stick Studio 616½-B Canyon Rd., 917-679-8080. Into the Moonlight, mixed media by Jeffrey Schweitzer, reception 5-8 p.m., through July. Blue Rain Gallery 130 Lincoln Ave., 505-954-9902. Second Annual Invitational Show, including paintings by Bob Richardson, photography by Loren Haynes, and glass sculpture by Armelle Bouchet O’Neill, reception 5-7 p.m., through June 21. Casa Navarro & Marc Navarro Gallery 812 Canyon Rd., 505-820-9266. Work by photographer Luis González Palma, reception 6-8 p.m., through June 20.
Pasa’s Little Black Book......... 53 Elsewhere............................ 55 People Who Need People..... 56 Pasa Kids............................ 56
52
PASATIEMPO I June 6-12, 2014
Nüart Gallery shows mixed-media works by Randall Reid, 670 Canyon Rd.
Chiaroscuro Contemporary Art 702½ Canyon Rd., 505-992-0711. Photographs by Irene Kung; benefit for Santa Fe Desert Montessori School featuring works from Bullseye Glass Santa Fe Resource Center; reception 5-7 p.m., through June 14. Collected Works Bookstore 202 Galisteo St., 505-988-4226. Do Not Go Gently, paintings by Brooke Dulaney, reception 5-7 p.m., through June. David Rothermel Contemporary 142 Lincoln Ave., Suite 102, 575-642-4981. Calais Series, paintings by Rothermel, reception 5-8 p.m., through June 18.
In the Wings....................... 57 At the Galleries.................... 58 Museums & Art Spaces........ 58 Exhibitionism...................... 59
Downtown Subscription 376 Garcia St., 505-983-3085. Paintings by Dion Cherot, reception 3:30-5:30 p.m., through June. Eggman & Walrus 130 W. Palace Ave., second floor, 505-660-0048. Down the Rabbit Hole, installation by Sandra Butler, Jeff Madeen, and Joan Levine Russell, reception 5:30-9 p.m., through July 1. Gerald Peters Gallery 1011 Paseo de Peralta, 505-954-5700. Glenorchy, paintings and drawings by Mike Glier, reception 6:30-7:30 p.m., through July 5.
calendar guidelines
compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com
Liquid Outpost 211 Old Santa Fe Trail, Inn of Loretto, 505-983-6503. Aspens, Ravens, Frida Kahlo, and Georgia O’Keeffe, paintings by Michael Andryc, reception 5-7 p.m., through June 16. Little Bird at Loretto 211 Old Santa Fe Trail, 505-820-7413. Repoussé jewelry by David McElroy, reception 5-7:30 p.m. Manitou Galleries 123 W. Palace Ave., 505-986-0440. New Mexico Vision, works by Alvin Gill-Tapia, Miguel Martinez, and Arthur Lopez, reception 5-7:30 p.m., through June 20. Marigold Arts 424 Canyon Rd., 505-982-4142. Birds, paintings by Ruth Tatter and Janice Jada Griffin, reception 5-7 p.m., through July 10. Mark White Fine Art 414 Canyon Rd., 505-982-2073. A Pond Reflection, oil paintings by White, reception 5-8 p.m., through June. Meyer East Gallery 225 Canyon Rd., 505-983-1657. Tesoro Mio, figurative paintings by Fatima Ronquillo, reception 5-7 p.m., through June 20. New Mexico Museum of Art 107 W. Palace Ave., 505-476-5072. Local Color: Judy Chicago in New Mexico 1984-2014, public and personal projects, reception 5:30-7:30 p.m., through Oct. 12. (See story, Page 26) Nüart Gallery 670 Canyon Rd., 505-988-3888. Past Meets Present, mixed-media works by Randall Reid, reception 5-7 p.m., through June 22. Patina Gallery 131 W. Palace Ave., 505-986-3432. Ephemerist, mixed media by Gail Rieke, reception 5-7:30 p.m., through June 29. (See story, Page 38) Photo-eye Gallery 541 S. Guadalupe St., 505-988-5159. Hopper Meditations, photographs by Richard Tuschman, reception 5-7 p.m., through July 19. (See story, Page 34) Sorrel Sky Gallery 125 W. Palace Ave., 886-878-3555. Grand opening reception 5-8 p.m. Sugerman-Peterson Gallery 130 W. Palace Ave., 505-982-0340. Three-dimensional photographs by Howard Harris, reception 5-7:30 p.m., through June. Waxlander Gallery 622 Canyon Rd., 505-984-2202. A Journey Through Pastel, work by Marshall Noice and Sangita Phadke, reception 5-8 p.m., through June 16.
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.
Winterowd Fine Art 701 Canyon Rd., 505-992-8878. Sculptural Forms in Glass, group show, reception 5-7 p.m., through June 19.
CLASSICAL MUSIC
TGIF piano recital Kevin Ayesh performs music of Brahms, Chopin, and Mozart, 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 of Art Local musicians perform on the patio and in the galleries weekly on Fridays through June 27; this week: klezmer band Ot Azoy, 5:30 p.m., New Mexico Museum of Art, 107 W. Palace Ave., no charge, 505-476-5072. Timothy Hill Harmonic singer/songwriter, 8 p.m., $15 at the door, Gig Performance Space, 1808 Second St., gigsantafe.com.
THEATER/DANCE
Frankie & Johnny in the Clair de Lune Terrence McNally’s play about an intimate encounter between two people, 7:30 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20, discounts available, 505-988-4262, final weekend, contains nudity. The Sound of Music opening night Musical Theatre Works Santa Fe presents the musical, 7 p.m., Greer Garson Theatre, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $17 in advance, students $12, musicaltheatreworks.net, $20 at the door, Fridays-Sundays through June 15.
317 Aztec 20-0150 317 Aztec St., 505-8 the Inn at ge un Agoyo Lo a ed am Al e th on 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 ¡Chispa! at El 505-983-6756 e., Av ton ing ash W 213 Cowgirl BBQ , 505-982-2565 319 S. Guadalupe St. te Café The Den at Coyo 5-983-1615 50 , St. r 132 W. Wate 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
EVENTS
Backyard Astronomy A public program of the Santa Fe Community College, 7-8 p.m., SFCC Planetarium, 1401 Richards Ave., $5, discounts available, 505-428-1744. Randall Davey house tours Docent-led tours, weekly on Fridays, 2 p.m., Randall Davey Audubon Center, 1800 Upper Canyon Rd., $5, 505-983-4609.
NIGHTLIFE
(See addresses below) Bishop’s Lodge Ranch Resort & Spa Jazz guitarist Pat Malone, 6-9 p.m., no cover. Café Café Trio Los Primos, dance to Latin favorites, 6 p.m., no cover. Cowgirl BBQ Cowboy crooner Jobuk Jonson, 5-7:30 p.m.; Mark’s Midnight Carnival Show, indie rock, 8:30 p.m.-close; no cover. The Den Ladies night with DJ Luna, 9 p.m., call for cover. Duel Brewing Santa Fe Revue, psychedelic rock, 7-10 p.m., no cover. El Farol Girls’ night out, rock ’n’ roll, 9 p.m.-close, no cover. La Fiesta Lounge at La Fonda Syd Masters & the Swing Riders, Western swing, 8-11 p.m., no cover. Mine Shaft Tavern Todd Tijerina Band, blues, 8 p.m., call for cover. Omira Bar & Grill Guitarist Marquito Cavalcante, Brazilian jazz, 6:30-8:30 p.m., no cover. Palace Restaurant & Saloon DJ Master Puppet, 10 p.m.-close, call for cover.
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 1600 Le 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 La Casa Sena Ca 5-988-9232 50 e., Av e lac Pa 125 E. at La Fonda La Fiesta Lounge , 505-982-5511 St. o isc nc Fra n 100 E. Sa a Fe Resort nt Sa de da La Posa e Ave., 505-986-0000 lac Pa E. and Spa 330 g Arts Center Lensic Performin St., 505-988-1234 o isc 211 W. San Franc
Pranzo Italian Grill Pianist Ron Newman, 6-9 p.m., call for cover. Second Street Brewery MVIII Jazz Project, 6-9 p.m., no cover. Second Street Brewery at the Railyard Singer/songwriter Jono Manson, 7-10 p.m., no cover. Shadeh DJ 12 Tribe, 9 p.m.-4 a.m., no cover. Swiss Bakery Pastries and Bistro Troubadour Gerry Carthy, 7-10 p.m., no cover. Tiny’s Classic-rock band The Jakes, 8:30 p.m.-close, no cover. Vanessie Pianist/vocalist Kathy Morrow, 6:30 p.m.-close, call for cover.
7 Saturday GALLERY/MUSEUM OPENINGS
Chuck Jones Gallery 135 W. Palace Ave., 505-983-5999. Funny Pictures: The Art of Cartooning, works by cartoonists Eric Teitelbaum and Bill Teitelbaum, featuring comic panels from The New Yorker magazine and syndicated comic panels Bottomliners and Pink Panther, reception 6-9 p.m.
OPERA
Operatic trilogy for families Santa Fe Opera presents fully staged, short operas composed for youth; today: Written in the Stars, 6 p.m.; True North, 7 p.m.; Gaddes Hall, Santa Fe Opera, 301 Opera Dr., $10 at the box office, 505-986-5900.
Lodge Lounge at The Lodge at Santa Fe 750 N. St. Francis Dr., 505-992-5800 Low ’n’ Slow Lowrider Bar at Hotel Chimayó de Santa Fe 125 Washington Ave., 505-988-4900 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 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
CLASSICAL MUSIC
Santa Fe Women’s Ensemble The choral group’s 33rd season continues with works by Emma Lou Diemer, Linda Rice Beck, and Joshua Shank; directed by Linda Raney, 3 p.m., reception follows, First Presbyterian Church of Santa Fe, 208 Grant Ave., $25, students $10, 505-988-1234, ticketssantafe.org, Sunday encore.
IN CONCERT
Jono Manson The local singer/songwriter celebrates the release of his album Angels on the Other Side, 6:30 p.m., Indigo Baby, 185 Paseo de Peralta, DeVargas Center, $15 includes a CD, tickets available in advance and at the door, brownpapertickets.com. Roots Revival Cabaret chronicling the history of African Americans, 8 p.m., the Lensic, $22.50, 505-988-1234, ticketssantafe.org.
THEATER/DANCE
Frankie & Johnny in the Clair de Lune Terrence McNally’s play about an intimate encounter between two people, 7:30 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20, discounts available, 505-988-4262, final weekend, contains nudity. The Sound of Music Musical Theatre Works Santa Fe presents the musical, 7 p.m., Greer Garson Theatre, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $17 in advance, students $12, musicaltheatreworks.net, $20 at the door, Fridays-Sundays through June 15. ▶▶▶▶▶▶▶▶
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
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NIGHTLIFE
(See Page 53 for addresses) Cowgirl BBQ Cowgirl brunch with gospel and R & B artist Zenobia, noon-3 p.m.; singer/ songwriter Chris Chickering, 8 p.m.; no cover. Duel Brewing Andy Ferrell & Oncoming Train, Americana/folk, 6-8 p.m., no cover. El Farol Chanteuse Nacha Mendez, 7:30 p.m., call for cover. Evangelo’s Jam band Tone and Company, 8:30-11:30 p.m., call for cover. Second Street Brewery at the Railyard Santa Fe Revue, Americana, 1-4 p.m., no cover. Vanessie Pianist/vocalist Kathy Morrow, 6:30 p.m.-close, call for cover.
Paintings by Tom Ross, at Tom Ross Gallery, 409 Canyon Rd.
BOOKS/TALKS
Chaco Turquoise Miner Todd Brown offers insights about the Cerrillos turquoise found at Chaco Canyon, 2 p.m., Cerrillos Hills State Park Visitor Center, 37 Main St., 16 miles south of Santa Fe off NM 14, 505-474-0196. How I Survived Timothy Leary and Everything Else A talk by writer Joanna Harcourt Smith, 6:30 p.m., Iconik Coffee Roasters, 1600 Lena St., Suite A-2, 505-428-0996.
EVENTS
El Rancho de las Golondrinas: Spring Festival and Children’s Fair Demonstrations by weavers and blacksmiths, children’s activities, music, and dancing, 10 a.m.-4 p.m. today and Sunday, 334 Los Pinos Rd., $8 at the entrance, discounts available, 505-471-2261.
Talking Heads
Maximilian and Carlota: Europe’s Last Empire in Mexico M.M. McAllen discusses her book detailing the brief and tragic reign of Mexico’s emperor and empress during the political turbulence of the 1860s, 6 p.m. Wednesday, June 11, Collected Works Bookstore, 202 Galisteo St., 505-988-4226.
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PASATIEMPO I June 6-12, 2014
Santa Fe Opera Insider Day Saturdays through Aug. 23, refreshments 8:30 a.m., staff-member-led backstage tours and talks 9 a.m., 301 Opera Dr., no charge, meet at the box office, 505-986-5900.
NIGHTLIFE
(See Page 53 for addresses) Burro Alley Café Troubadour Gerry Carthy, 5:30-8:30 p.m., no cover. Café Café Guitarist Ramon Bermudez, 6:30-8:30 p.m., no cover. Cowgirl BBQ Rene Reyes, alternative country, 2-5 p.m.; Nashville band The Harmaleights, 8:30 p.m.; no cover. Duel Brewing Balkan-folk ensemble Rumelia, 7-10 p.m., no cover. El Farol Rock band Controlled Burn, 9 p.m.-close, call for cover. La Fiesta Lounge at La Fonda Syd Masters & the Swing Riders, Western swing, 8 p.m.-close, no cover. La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio, 6-9 p.m., no cover. Mine Shaft Tavern Blues duo Jim and Tim, on the deck, 3 p.m., no cover; Iyah, Jamaican groove, 8 p.m.-close, call for cover. Pranzo Italian Grill Pianist David Geist, 6-9 p.m., call for cover. Second Street Brewery Gypsy-jazz ensemble Swing Soleil, 6-9 p.m., no cover. Second Street Brewery at the Railyard Blues/rock guitarist Alex Maryol, 7-10 p.m., no cover. Tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m., no cover. Vanessie Pianist/vocalist Kathy Morrow, 6:30 p.m.-close, call for cover.
8 Sunday OPERA
Operatic trilogy for families Santa Fe Opera presents fully staged, short operas composed for youth; Avastar, 2 p.m.; True North, 3 p.m.; Santa Fe Opera, 301 Opera Dr., $10 at the box office, 505-986-5900.
CLASSICAL MUSIC
New Mexico Women’s Chorus Celebrating 20 years; guest performers include the Q-Tones of the New Mexico Gay Men’s Chorus and the Band of Enchantment, 4 p.m., Santa Fe Center for Spiritual Living, 500 Camino de los Marquez, $15 in advance; $20 at the door; discounts available; tickets available online at nmwomenschorus.org. Santa Fe Community Orchestra season finale Music of Enescu, Hindemith, and Milhaud, 2:30 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., donations appreciated, sfco.org. Santa Fe Women’s Ensemble The choral group’s 33rd season continues with works by Emma Lou Diemer and Linda Rice Beck; directed by Linda Raney, 3 p.m., Immaculate Heart of Mary Chapel, 50 Mount Carmel Rd., $25, students $10, ticketssantafe.org, 505-988-1234.
THEATER/DANCE
Frankie & Johnny in the Clair de Lune Terrence McNally’s play about an intimate encounter between two people, 4 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20, discounts available, 505-988-4262, contains nudity. The Sound of Music Musical Theatre Works Santa Fe presents the musical, 2 p.m., Greer Garson Theatre, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $17 in advance, students $12, musicaltheatreworks.net, $20 at the door, Fridays-Sundays through June 15.
BOOKS/TALKS
Vernon Haskie The Navajo jeweler discusses his work, 1 p.m., Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, by museum admission, indianartsandculture.org, 505-476-1269.
EVENTS
Sixth Annual Cocktails for Critters Rescue operation Felines & Friends’ benefit; food, wine, and music by guitarist Marc Yaxley, 2-5 p.m., $40, couples $75, tickets available online at fandfnm.org, call 505-316-2281 for details and directions. El Rancho de las Golondrinas: Spring Festival and Children’s Fair Demonstrations by weavers and blacksmiths, children’s activities, music, and dancing, 10 a.m.-4 p.m., 334 Los Pinos Rd., $8 at the entrance, discounts available, 505-471-2261.
9 Monday BOOKS/TALKS
Southwest Seminars lecture The series continues with The New Mexican political columnist William Stewart in a discussion titled The Great War: Centennial of World War I and Its Meaning in Today’s World, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, southwestseminars.org, 505-466-2775.
OUTDOORS
Los Alamos hikes Four-week program hosted by Los Alamos’ Pajarito Environmental Education Center, 6-8 p.m. every Monday in June (9, 16, 23, 30), 3540 Orange St., $8 per session, $20 for all four, call 505-662-0460 to register, pajaritoeec.org.
EVENTS
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. Swing dance Weekly all-ages informal swing dance, lessons 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., dance $3, lesson and dance $8, 505-473-0955.
NIGHTLIFE
(See Page 53 for addresses) Cowgirl BBQ Karaoke night with Michele Leidig, 8 p.m., no cover. Duel Brewing Brennen Leigh and Noel McKay, 7-10 p.m., no cover. Jean Cocteau Cinema Singer/guitarist Kasey Lansdale, 7 p.m., call for cover. La Fiesta Lounge at La Fonda Buffalo Nickel, dance band, 7:30 p.m.-close, no cover. Upper Crust Pizza Troubadour Gerry Carthy, 6-9 p.m., no cover. Vanessie Pianist Doug Montgomery returns for the season, 6:30 p.m.-close, call for cover.
10 Tuesday
THEATER/DANCE
National Theatre Live in HD The broadcast series continues with A Small Family Business, Alan Ayckbourn’s comedic exposé of entrepreneurial greed, 7 p.m., the Lensic, $22, ticketssantafe.org, 505-988-1234.
EVENTS
Arts Alive! Hands-on art activities series for all ages; today’s program: pottery, 10 a.m.-2 p.m., Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, 505-476-1269, by museum admission, call Joyce Begay-Foss to schedule groups, 505-476-1272. 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.
OUTDOORS
Nature hike Robert Martin of The Nature Conservancy leads an easy hike; 1-2:30 p.m., meet at the Santa Fe Canyon Preserve parking lot, no charge, nature.org/newmexico, 505-946-2029.
EVENTS
BOOKS/TALKS
Arts Alive! Hands-on art activities series for all ages; today’s program: Native music, 10 a.m.-2 p.m., Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, 505-476-1269, by museum admission, call Joyce Begay-Foss to schedule groups, 505-476-1272.
Victor de Suvero and Consuelo Luz The poet and the guitarist team up, 6 p.m., Collected Works Bookstore, 202 Galisteo St., no charge, 505-988-4226.
EVENTS
City of Santa Fe Arts Commission training workshops Free series for Santa Fe artists; this evening’s class: Artist as Entrepeneur: The Top Legal and Business Mistakes to Avoid as an Artist, with Talia Kosh, 6-7 p.m., Santa Fe Arts Commission Community Gallery, 201 W. Marcy St., contact Rod Lambert, 505-955-6705, rdlambert@santafenm.gov.
NIGHTLIFE
NIGHTLIFE
(See Page 53 for addresses) Cowgirl BBQ After Jack, bluegrass/gospel/folk, 8 p.m., no cover. El Farol Canyon Road Blues Jam, 8:30 p.m., call for cover. La Fiesta Lounge at La Fonda Buffalo Nickel, dance band, 7:30 p.m.-close, no cover. Tiny’s Song Circle with Percolator John, 7 p.m., no cover. Vanessie Tuesday nights with pianists Doug Montgomery (6-8 p.m.) and Bob Finnie (8-10 p.m.); call for cover. Zia Diner Weekly Santa Fe bluegrass jam, 6 p.m., no cover.
11 Wednesday IN CONCERT
Music on the Hill 2014 St. John’s College’s annual free outdoor concert series opens with Bert Dalton’s Brazil Project, 6-8 p.m., 1160 Camino de Cruz Blanca, continues Wednesdays through July 23, 505-984-6000. Xavier Rudd Australian singer/songwriter, 7:30 p.m., Santa Fe Sol Stage & Grill, $20, ticketssantafe.org, 505-989-1234.
BOOKS/TALKS
M.M. McAllen The author discusses Maximilian and Carlota: Europe’s Last Empire in Mexico, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.
Blue Rain Gallery shows paintings by Leigh Gusterson, 130-C Lincoln Ave.
NIGHTLIFE
(See Page 53 for addresses) Cowgirl BBQ Jme Russel Band, rock, 8 p.m., no cover. Duel Brewing Anthony Leon & The Chain, rock, 7-10 p.m., no cover. El Farol Guitarist/singer John Kurzweg, 8:30 p.m.-close, no cover. Iconik Coffee Roasters Monthly singer/songwriter showcase RavenSong; including Jim Shinas, Melissa Crabtree, and Busy McCarroll, 7 p.m., call for cover.
La Fiesta Lounge at La Fonda Country-music veteran Bill Hearne and his trio, 7:30 p.m.-close, no cover. Vanessie Pianist Bob Finnie, 6:30-9:30 p.m., call for cover.
12 Thursday IN CONCERT
Rosie & Richie Americana duo, 8 p.m., Gig Performance Space, 1808 Second St., $20 at the door, gigsantafe.com.
(See Page 53 for addresses) Cowgirl BBQ Dave Duncan Trio, upbeat blues, 8 p.m., no cover. Duel Brewing Folk singer/songwriter Eryn Bent, 7-10 p.m., no cover. El Farol Guitarras con Sabor, Gypsy Kings-style rhythms, 8 p.m.-close, no cover. La Fiesta Lounge at La Fonda Country-music veteran Bill Hearne and his trio, 7:30 p.m.-close, no cover. La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio, 6-9 p.m., no cover. Palace Restaurant & Saloon Thursday limelight karaoke, 10 p.m., no cover. The Matador DJ Inky Inc. spinning soul/punk/ska, 8:30 p.m., no cover. Second Street Brewery Alternative-country band Boris & The Saltlicks, 6-9 p.m., no cover. Second Street Brewery at the Railyard Free Range Ramblers’ reunion show, five-piece string band, 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. Mixed media by Julie Wagner, reception 4-6 p.m., through June 29.
ALBUQUERQUE Galleries/Museums
516 Arts 516 Central Ave. S.W., 505-242-1445. Digital Latin America, group show, opening reception and block party 5-9 p.m. Saturday, June 7, through Aug. 30. ▶▶▶▶▶▶▶▶
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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; reception 6-8 p.m. Saturday, June 7, through July 26.
Hospice Center Assist in the office entering data for the volunteer program for a limited number of hours either weekly or biweekly; basic computer skills required; call Mary Ann at 505-988-2211. Plant a Row for the Hungry A Food Depot program encouraging home gardeners to plant extra produce for donation to the organization; 505-471-1633. St. Elizabeth Shelter Help with meal preparation at residential facilities and emergency shelters; other duties also available; contact Rosario, 505-982-6611, Ext. 108, volunteer@steshelter.org. Santa Fe Humane Society and Animal Shelter Dogs need individuals to take them on daily walks; all shifts available, call Katherine at 505-983-4309, Ext. 128.
Events/Performances
Albuquerque Folk Festival Running from 10 a.m. to 11 p.m. Saturday, June 7, at the Anderson Abruzzo Albuquerque International Balloon Museum, 9201 Balloon Museum Dr. N.E.; four performance stages, dances, and children’s tent, $20, discounts available, abqfolkfest.org. Chatter Sunday The ensemble performs work of Prokofiev, Peter Gilbert, and Patricia Ann Repar, 10:30 a.m. Sunday, June 8, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, chatterabq.org.
CORRALES
Dogtoberfest in June Fundraising event for Kindred Spirits Animal Sanctuary; silent auction, raffles, and entertainment, 1-5 p.m. Saturday, June 7, call 505-471-5366 for directions and more information.
JEMEZ SPRINGS
Jemez Historic Site Elder in Residence Program Jemez tribal elders provide tours and share stories on-site Wednesdays-Sundays to July 13. Tours held 10 a.m. and 2 p.m., 18160 NM 4, by site admission, 575-829-3530.
LOS ALAMOS Galleries
Mesa Public Library (Art Gallery) 2400 Central Ave., 505-662-8254. Art by Tiffany Rose, works on paper by Tiffany Hinojosa, through June 29.
Events/Performances
Pajarito Mountain Summerfest Scenic chairlift rides and lift-served hiking and biking 9 a.m.-3 p.m. Saturday, June 7, New Mexico Brewer’s Fest 1-6 p.m., Latin-jazz ensemble Nosotros 2-6 p.m., and Pajarito Punishment Downhill Bike Race 1 p.m., 505-662-5725, skipajarito.com. Homesteading on the Pajarito Plateau A docent and tour guide talk series hosted by the Los Alamos Historical Society, 11 a.m. Thursday, June 12, Nambé Room, Fuller Lodge, 2132 Central Ave., 505-662-4493, losalamoshistory.org.
MADRID
Johnsons of Madrid 2843 NM 14, 505-471-1054. Group show of gallery artists, reception 3-5 p.m. Saturday, June 7, through June.
RIBERA
Ribera Farmers Market Including members of the Rural Women Global Marketplace, 10 a.m.-3 p.m. Sunday, June 8, take Interstate 25 north about 45 miles north of Santa Fe to Exit 323 and turn right on NM 3, market is on the left just past the railroad tracks, call Wesst Enterprise Center for more information, 505-474-6556.
TAOS
Greg Moon Art 109-A Kit Carson Rd., 575-770-4463. After Dark III, photographic group show, reception 5-8 p.m. Saturday, June 7, through June 28.
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PASATIEMPO I June 6-12, 2014
Albuquerque’s 516 Arts shows works by Rafael Lozano-Hemmer in the group show Digital Latin America, 516 Central Ave. S.W.
▶ People who need people
SITE Santa Fe Spread 5.0 Grant applications sought by New Mexico studio artists to participate 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. Zozobra poster and T-shirt design contest The Kiwanis Club of Santa Fe welcomes submissions in all mediums; 1920s depictions of Zozobra preferred; visit burnzozobra.com/artist for entry forms and details; entries must be received by Monday, June 16; email Raymond Sandoval for more information, burnhim@burnzozobra.com.
Artists
Filmmakers/Performers/Writers
Grand Bohemian Gallery at El Monte Sagrado Living Resort and Spa 317 Kit Carson Rd., 575-737-9840. Collages and Bones, work by actor Robert Dean Stockwell, through July 14. Taos Artist Collective 106 Paseo del Pueblo Norte, 575-751-7122. Group photography show, reception 4-7 p.m. Saturday, June 7, through June.
TUCUMCARI
Rockabilly on the Route Classic-car show and music festival FridaySunday, June 6-8; free and ticketed events include a beer garden and live music, Tucumcari Convention Center, 1500 E. Route 66, Odeon Theatre, 123 S. Second St., and other venues, visit rockabillyontheroute.com for tickets and schedule of events.
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. 2015 Cathedral Park arts & crafts shows The City of Santa Fe Arts Commission is accepting applications from nonprofit arts organizations interested in presenting up to three shows next year; deadline 5 p.m. Monday, June 16; limits: 30 booths per show, held on Saturdays and Sundays; only juried shows considered; visit santafeartscommission.org for details; 505-955-6707. 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; Monday, Aug. 4, application deadline; award details and applications available online at juriedartservices.com. Indigenous Fine Art Market/IFAM Booths available for the inaugural market held at the Railyard Aug. 21-23; booth fees due by June 20; application forms available online at indigefam.org/artist.
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. Teatro Paraguas auditions Seeking men and women in their 20s-40s for Santa Fe playwright Alexandra Hudson’s production of Our Lady of Mariposas; cold readings held 6:30-8 p.m. Friday and 4:30-5:30 p.m. Saturday, June 13 and 14; 3205 Calle Marie, call 505-424-1601 for an appointment.
Volunteers
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 6 and 8 a.m. Wednesdays and Thursdays, 505-471-1187 or 505-603-6600. Many Mothers Assist new mothers and families, raise funds, plan events, become a board member, and more; requirements and details available online at manymothers.org; call 505-466-3715 for information or to schedule an interview.
▶ Pasa Kids Santa Fe Public Library summer program Diane the Magicienne: 2:30-3:30 p.m. Friday, June 6, La Farge Branch, 1730 Llano St.; 10:30-11:30 a.m. Saturday, June 7, Main Branch, 145 Washington Ave.; 2:30-3:30 p.m. Saturday, June 7, Southside Branch, 6599 Jaguar Dr., no charge. Backyard Astronomy A public program of the Santa Fe Community College, 7-8 p.m. Friday, June 6, SFCC Planetarium, 1401 Richards Ave., $5, discounts available, 505-428-1744. Opera Makes Sense Program series for ages 3-5 introducing opera through poetry, song, music, and dance, along with costumes and art activities; 9:30-11:30 a.m. Saturday, June 7, Georgia O’Keeffe Museum, 217 Johnson St., call 505-946-1039 to register, no charge. El Rancho de las Golondrinas: Spring Festival and Children’s Fair Demonstrations by weavers and blacksmiths, children’s activities, music, and dancing, 10 a.m.-4 p.m. Saturday and Sunday, June 7-8, 334 Los Pinos Rd., $8 at the entrance, discounts available, 505-471-2261. Bee Hive Kids Books programs Mindfulness classes for kids, a five-week series for families with children ages 4 and up; 10:30-11:30 a.m. every Sunday in June (8, 15, 22, 29), drop-in fee $12, series $50; music, stories, and crafts workshops, for ages 3-6, every Wednesday through June 25, drop-in fee $15, series $55; 28 Montezuma Ave., 505-780-8051. Arts Alive! Hands-on art activities series for all ages; Tuesday, June 10, pottery; Thursday, June 12, Native music; 10 a.m.-2 p.m., Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, 505-476-1269, by museum admission, call Joyce Begay-Foss to schedule groups, 505-476-1272. Canyons, Mesas, Mountains, and Skies Melissa Mackey leads children ages 6-10 in outdoor games to explore one theme each Wednesday in June (11, 18, 25); hosted by Los Alamos’ Pajarito Environmental Education Center, 3540 Orange St., $8 registration fee, 505-662-0460, pajaritoeec.org. 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. ◀
In the wings
HAPPENINGS
Jack DeJohnette Trio, Claudia Villela Quartet, Henry Butler with Steven Bernstein & The Hot 9, visit newmexicojazzfestival.org for schedule. 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.
THEATER/DANCE
The Yes Men Andy Bichlbaum and Mike Bonanno offer their satirical look at federal and corporate corruption, 6 p.m. Friday, June 13, the Lensic, $15, 505-988-1234, ticketssantafe.org, proceeds benefit the Thematic Residency Program at Santa Fe Art Institute. The Light Surgeons: Super Everything The London-based media-production company presents its live cinema performance, 8 p.m. Friday, June 20, the Lensic, $15-$25, 505-988-1234, ticketssantafe.org. Follies: The Concert Version Santa Fe REP presents Stephen Sondheim’s musical, 7:30 p.m. Thursdays and Saturdays, 4 p.m. Sundays, June 21-29, Warehouse 21, $25, discounts available, 505-629-6517, sfrep.org. Antonio Granjero and EntreFlamenco Flamenco dance troupe, with Estefania Ramirez, 8 p.m. nightly from July 2 through August, María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr., $25-$45, 505-988-1234, ticketssantafe.org. Good People Ironweed Productions presents David Lindsay-Abaire’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.
Currents: Santa Fe International New Media Festival 2014 Featuring works by international and local artists; exhibits, outdoor video projections, and digital dome screenings beginning Friday, June 13, with events scheduled through Sunday, June 29, at various venues including El Museo Cultural de Santa Fe, Railyard Plaza, Jean Cocteau Cinema, and Warehouse 21, for details visit currentsnewmedia.org. CCA’s 35th anniversary party: Shebang! Free films, dance performances, local bands, food trucks, and family activities, 11 a.m.-7 p.m. Saturday, June 14, Center for Contemporary Arts, 1050 Old Pecos Trail, no charge, 505-982-1338. Buckaroo Ball Fundraiser in support of charities serving at-risk youth; three-course dinner and dancing to veteran country band Asleep at the Wheel, 6 p.m. Saturday, June 14, Buffalo Thunder Resort & Casino, call 505-603-0833 or visit buckarooball.com for advance tickets. 65th Annual Rodeo de Santa Fe Kick-off parade begins downtown at 11 a.m. Saturday, June 14; rodeo runs from Wednesday, June 18, through Saturday, June 21, 3237 Rodeo Rd., $10-$148, 505-988-1234, ticketssantafe.org, for more information visit rodeodesantafe.org or call 505-471-4300. Pink Boot Breast Cancer Fundraiser Rodeo de Santa Fe hosts the event; meet-andgreet with rodeo performers, behind-the-chutes tour, and silent and live auctions, 3:30 p.m. Friday, June 20, under the VIP tent, 3237 Rodeo Rd., $30, 505-920-8444. New Mexico Book Association fundraiser Author George R.R. Martin reads from his works and discusses his views on the rapidly changing publishing industry with KSFR Radio personality Mary-Charlotte Domandi, 6:20 p.m. Wednesday, June 18, Jean Cocteau Cinema, $12, 505-466-5528. KSFR Radio benefit Sneak preview of the documentary Citizen Koch, Tia Lessin and Carl Deal’s film about Charles G. Koch and David H. Koch; introduction and post-film Q & A with Craig Barnes; 7:30 p.m. Thursday, June 19, Center for Contemporary Arts, 1050 Old Pecos Trail, $20, 505-982-1338.
Matthew Mendenhall
MUSIC Carrie Rodriguez Fiddler/songwriter, 7 p.m. Saturday, June 14, Gig Performance Space, 1808-H Second St., $25 in advance at brownpapertickets.com,$29 at the door. New Mexico Gay Men’s Chorus: We’re Married! Now What? 3-5 p.m. Sunday, June 15, James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $20 in advance online at nmgmc.org and at the door, discounts available. Rodney Crowell Country singer/songwriter, 7:30 p.m. Tuesday, June 17, the Lensic, $35-$45, 505-988-1234, ticketssantafe.org. Santa Fe Music Collective Featuring jazz-fusion percussionist Mike Clark, with pianist Brian Bennett and bassist Michael Olivola, 7 p.m. Thursday, June 19, Museum Hill Café, 710 Camino Lejo, $25, 505-983-6820, santafemusiccollective.org. Make Music Santa Fe 20 Performers include Santa Fe Saxophone Quartet, Max Manzanares & The Max Pack, Anthony Leon, and Busy & The Crazy 88, 4-9 p.m. Saturday, June 21, Railyard Plaza, 1607 Paseo de Peralta, all ages, no charge. Taos School of Music The 52nd season opens with the Borromeo String Quartet Sunday, June 22; Taos Community Auditorium, 133 Paseo del Pueblo Norte, concerts continue into August at various venues, $20, discounts available, season tickets $80, taosschoolofmusic.com. Santa Fe Bandstand 2014 The annual free music series featuring local and national acts returns with an expanded 10-week run beginning Monday, June 23, and continuing weekly through August on the Plaza; The lineup includes local favorites Bill Hearne, Nacha Mendez, and Bert Dalton; plus Candace Bellamy, Lipbone Redding and his two-man orchestra, and Joy Harjo, santafebandstand.org. Playing for Change Band Peace Through Music tour, 7:30 p.m. Tuesday, June 24, Santa Fe Sol Stage & Grill, $29 in advance, ticketssantafe.org, 505-988-1234. Chris Robinson Brotherhood Blues-rock band, 7 p.m. Wednesday, June 25, Santa Fe Sol Stage & Grill, $25 in advance, 505-988-1234, ticketssantafe.org. Santa Fe Opera 2014 Festival Season The season opens with a new production of Bizet’s Carmen and includes the American premiere of Dr. Sun Yat-sen by Huang Ruo, as well as Beethoven’s Fidelio and Stravinsky’s Le Rossignol, June 27-Aug. 23, schedule of community events available online, Santa Fe Opera, 301 Opera Dr., 505-986-5900, santafeopera.org. The Old 97s Alternative-country band, 7 p.m. Sunday, June 29, Santa Fe Sol Stage & Grill, $20 in advance, 505-988-1234, ticketssantafe.org. 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. Ninth Annual New Mexico Jazz Festival July 11-27 in Albuquerque and Santa Fe; Terri Lyne Carrington’s Mosaic Project,
UPCOMING EVENTS Santa Fe Pride 2014 Ladies’ Pride Dance at the Lodge at Santa Fe, 8 p.m. Saturday, June 21; Pride on the Plaza kick-off parade runs along Old Santa Fe Trail from the state capitol to the Plaza at 11 a.m. Saturday, June 28, entertainment follows, for more information visit santafehra.org. 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. Saturday, June 28, 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. Saturday, June 28, Muñoz Waxman main gallery, 1050 Old Pecos Trail, $45, 505-982-1338. 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 expo 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 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, 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. ¡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. 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.
Chris Robinson Brotherhood performs at Santa Fe Sol Stage & Grill, June 25.
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AT THE GALLERIES 333 Montezuma Arts 333 Montezuma Ave., 505-988-9564. Panorama: Gus Foster, Carlos Silva, and Roberto Vignoli, photography, through June 13. Andrew Smith Gallery 122 Grant Ave., 505-984-1234. Love and Other Reasons …To Love, tableau photographs by Joel-Peter Witkin, through June 21. Café Pasqual’s Gallery 121 Don Gaspar Ave., second floor, 505-983-9340. The Black Place: Earth Paintings, works on canvas, paper, and wood byphotographer Walter W. Nelson, through June. David Richard Gallery 544 S. Guadalupe St., 505-983-9555. Found, paintings by Michael Scott, through Saturday, June 7. A Mind to Obey Nature, mixed media by John Connell (1940-2009), through July 12. Evoke Contemporary 550 S. Guadalupe St., 505-995-9902. Solitude, plein-air paintings by Lynn Boggess, through June 25. Fogelson Library — Santa Fe University of Art & Design 1600 St. Michael’s Dr., 505-473-6500. Someone’s Family, work by photographer Pamela A. Houser, through June 20. Karan Ruhlen Gallery 225 Canyon Rd., 505-820-0807. In the Abstract, works by Martha Rea Baker, Bret Price, and Kevin Tolman, through Saturday, June 7. LewAllen Galleries at the Railyard 1613 Paseo de Peralta, 505-988-3250. Transference, new paintings by Joe Ramiro Garcia, through June 29. Nüart Gallery 670 Canyon Rd., 505-988-3888. Go Back to Earth and Tell the Animals I Am Still Here, paintings by Santiago Pérez, through Sunday, June 8. Santa Fe Clay 545 Camino de la Familia, 505-984-1122. ABC of Dinnerware, group show; 2014 Summer Preview Exhibit, works by artists conducting summer workshops; through Saturday, June 7. Verve Gallery of Photography 219 E. Marcy St., 505-982-5009. Photographic Brushstroke, digital photography by Van Chu (see review, Page 36); Midnight Garden, Cy DeCosse’s cactus flower series; through June 21. William Siegal Gallery 540 S. Guadalupe St., 505-820-3300. Continuum, mixed-media paintings by Signe Stuart, through June 24.
MUSEUMS & ART SPACES SANTA FE
Center for Contemporary Arts 1050 Old Pecos Trail, 505-982-1338. 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. 14. 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
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PASATIEMPO I June 6-12, 2014
Georgia O’Keeffe: Pink Ornamental Banana, in the exhibit The Hawaii Pictures, Georgia O’Keeffe Museum, 217 Johnson St.
Workshop Collection, works by indigenous artists donated to the Philadelphia facility, through July • 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. Closed Mondays through Memorial Day; 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-colonial-period re-creation; spanishcolonial.org; open daily through Sept. 1. New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 505-476-5200. Poetics of Light: Pinhole Photography, through March 29, 2015 • Transformed by New Mexico, work by photographer Donald Woodman, through Oct. 12 • Water Over Mountain, Channing Huser’s photographic installation • Telling New Mexico: Stories From Then and Now,
core exhibit • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe; nmhistorymuseum.org; open daily through Oct. 7. 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, reception 5:30-7:30 p.m., Friday, June 6, through Oct. 12 (see story, Page 26) • Southwestern Allure: The Art of the Santa Fe Art Colony, including early 20th-century paintings by George Bellows, Andrew Dasburg, Marsden Hartley, and Cady Wells, through July 27 • Focus on Photography, rotating exhibits • Beneath Our Feet, photographs by Joan Myers • Grounded, landscapes from the museum collection • Photo Lab, interactive exhibit explaining the processes used to make color and platinum-palladium prints from the collection, through March 2015 • New Mexico Art Tells New Mexico History, including works by E. Irving Couse, T.C. Cannon, and Agnes Martin, through 2015 • Spotlight on Gustave Baumann, works from the museum’s collection, through 2015. Open daily through Oct. 7; nmartmuseum.org. Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Place, 505-988-8900. For the Love of It, group show of pottery, including works by Maria Martinez, Joy Navasie, and Margaret Tafoya, through June 29. Closed Mondays; pvmiwa.org. Poeh Cultural Center and Museum 78 Cities of Gold Rd., 505-455-3334. Nah Poeh Meng, 1,600-square-foot installation highlighting the works of Pueblo artists and Pueblo history. Closed Saturdays and Sundays; poehcenter.org. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 505-982-4636. Works by Diné photographer Will Wilson, through April 19, 2015. Core exhibits include contemporary and historic Native American art. Open daily; wheelwright.org.
ALBUQUERQUE
Albuquerque Museum of Art & History 2000 Mountain Rd. N.W., 505-243-7255. Everybody’s Neighbor: Vivian Vance, family memorabilia and the museum’s photo archives of the former Albuquerque resident, through January 2015 • Arte en la Charrería: The Artisanship of Mexican Equestrian Culture, more than 150 examples of craftsmanship and design distinctive to the charro; cabq. gov/culturalservices/albuquerque-museum/ general-museum-information; closed Mondays. Holocaust and Intolerance Museum of New Mexico 616 Central Ave. S.W., 505-247-0606. Exhibits on overcoming intolerance and prejudice. 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. En la Cocina With San Pascual, works by New Mexico
artists. Hispanic visual arts, drama, traditional and contemporary music, dance, literary arts, film, and culinary arts. 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, reception 6-8 p.m. Saturday, June 7, 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
Harwood Museum of Art 238 Ledoux St., 575-758-9826. Highlights From the Gus Foster Collection, contemporary works, through Sept. 7 • Mabel Dodge Luhan & Company: American Moderns and the West, including works by Marsden Hartley, Ansel Adams, and Awa Tsireh, plus traditional Hispanic devotional art, through Sept. 11 • Highlights From the Harwood Museum of Art’s Collection of Contemporary Art • Death Shrine I, work by Ken Price • works of the Taos Society of Artists and Taos Pueblo Artists. Open daily through October; harwoodmuseum.org. Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson displaying artifacts, antique firearms, pioneer belongings, and Carson memorabilia; kitcarsonhomeandmuseum.com; open daily. 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 Martin. 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
Ruth Tatter: Great Blue Heron, 2014, watercolor. Marigold Arts (424 Canyon Road) presents Birds, an exhibit of paintings by Ruth Tatter and Janice Jada Griffin. Tatter’s recent wildlife paintings are intimate portraits, primarily of birds, in natural environments. Griffin includes pieces from Animal Angels, a playful, colorful series of works on paper. The reception is Friday, June 6, at 5 p.m. Call 505-982-4142.
A peek at what’s showing around town
Howard Harris: Hawk Eye Grid, 2014, mixed media. Howard Harris creates photographic images on acrylic, paper, or aluminum bases layered over one another to give dimensionality to his pieces, which appear to change depending on the vantage point of the viewer. On his website (www.hharrisphoto.com) he writes, “Since one’s visual reality only exists in a moment and from one point of view, I set out to create images that mimic life, constantly changing; affected by everything that is part of its space.” The show opens with a 5 p.m. reception on Friday, June 6, at Sugarman Peterson Gallery (130 W. Palace Ave.). Call 505-982-0340.
Jeffrey Schweitzer: Into the Moonlight: Page 3, 2014, mixed media. Into the Moonlight is an exhibit of shadowbox pieces by Jeffrey Schweitzer. The show explores the relationship between a young man and the moon in works linked by a narrative of rhymed couplets. He combines writing, pen and ink drawing, cut paper, and photography into his storybook scenes. The exhibit opens with a 5 p.m. reception on Friday, June 6, at Bindle Stick Studio (616 ½-B Canyon Road). The images will be completed as a book for display at the studio through July. Call 917-679-8080.
Fatima Ronquillo: Lady With Pearl and Golden Langur, 2014, oil on panel. Tesoro Mio is an exhibit of new paintings by Fatima Ronquillo at Meyer East Gallery (225 Canyon Road). Her pieces are rich in symbolism and merge portraiture with aspects of still-life and landscape painting. Her posed figures, inspired by elements of neoclassical and Renaissance art, have a sense of childlike innocence. There is an opening reception on Friday, June 6, at 5 p.m. Call 505-983-1657.
Sandra Butler, Jeff Madeen, and Joan Levine Russell: Mirror Man (Down the Rabbit Hole installation, detail), 2014, mixed media. Down the Rabbit Hole is a sense-altering installation by Sandra Butler, Jeff Madeen, and Joan Levine Russell on view at Eggman and Walrus (130 W. Palace Ave., second floor). The work comprises four themed rooms, accessed through a revolving door, and a hall of mirrors with installations by other artists. The show explores themes of the nature of perception, truth, and reality. The reception is at 5:30 p.m. on Friday, June 6. Call 505-660-0048.
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471-8642