Pasatiempo March 11, 2022 by The New Mexican

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

Ballet, Bach,

& BOWIE PAGE 20

March 11, 2022

PRINTS + WORKS ON PAPER

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ON THE COVER

Complexions, photo Rachel Neville; courtesy Aspen Santa Fe Ballet

March 11, 2022

pasatiempomagazine.com

Bach meets Bowie at the ballet After a two-year hiatus, the Aspen Santa Fe Ballet is back on its feet, albeit as a presenter of dance locally, not as a professional performing company. Tip-toeing out of the pandemic, ASFB is going back to its roots as a teaching program with Jean-Philippe Malaty and Tom Mossbrucker returning to the classroom as regular ballet instructors. Recognizing the hunger for a return to the theater, Malaty, Mossbrucker, and the ASFB board are cautiously moving forward by presenting other companies. Complexions Contemporary Ballet will be the first, bringing a cast of 18 dancers to stage STARDUST: From Bach to David Bowie at the Lensic on Monday, March 14. On the cover: Complexions dancers in a production of STARDUST; photo Sharen Bradford, courtesy Aspen Santa Fe Ballet

BOOKS & LITERATURE 08 Burning Questions Margaret Atwood

MOVING IMAGES

08 Glory NoViolet Bulawayo

30 Review Turning Red

10 Ocean State Stewart O’Nan

32 Chile Pages In theaters and streaming

MUSIC & PERFORMANCE 12 Random Acts The Waymores, Danύ, The Charlie Christian Project 14 Unconventional violinists Ray Chen with Julio Elizalde, Black Violin’s Impossible Tour 24 Soap du soleil B – The Underwater Bubble Show

ART & CULTURE 16 Kate Joyce: Metaphysics

26 Ansel Adams: Pure Photography

CALENDAR 35 Pasa Week 39 Exhibitionism

ET CETERA 06 Star Codes

07 Mixed Media The Effect

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ACTION FOLLOWS OUR HEARTS and our intentions as Venus, the symbolic arbiter of our emotions, conjuncts action-oriented Mars in communal Aquarius this week. Battle lines and love affairs can pivot on our philosophies. This Aquarian conjunction encourages collective action in community, family, country, or bloc of countries. Community pressure can really make a difference at home and abroad, for better or for worse. Let’s stay engaged and see how we can help. With this Venus-Mars conjunction it’s easy to be theoretically compassionate towards people far away but harder to be concretely sympathetic to tender hearts nearby. Let’s inventory the people close to us and consciously check in and see what people need. Choose to keep hearts open while staying aware of global events. The weekend begins under an introspective Cancer moon which helps us appreciate our own home and sympathize with those far away being forced away from theirs. Perception of vulnerability and magic increases on Sunday as the sun conjuncts intuitive, creative Neptune. Early next week it furthers to stay in the present moment as we can’t see very far ahead while Venus and Mars both semi-square Neptune. Our focus sharpens towards the end of the week as Mercury semi-squares Pluto, though we can see what’s wrong with the world more easily than what’s right. But if we dig deeper, we can uncover new key insights. FRIDAY, MARCH 11: Emotions can feel overwhelming and an influx of news can leave us world-weary. Work may be efficient, but many people need to process feelings and know they’re safe before proceeding. It furthers to make practical changes that simplify and streamline our efforts. SATURDAY, MARCH 12: We can idealize home, long for homelands, or feel existentially homesick so we can also empathize deeply with refugees. Put empathy into action and feel less overwhelmed as the Cancer moon trines Neptune. Let poignancy help drop past resentment and truly hold one another’s hands. SUNDAY, MARCH 13: Morning resonates with spirit, compassion, and vulnerability as the Sun conjuncts Neptune under the sensitive Cancer moon. The pain of the world can bring existential discontent. Midafternoon the Moon enters expressive Leo and brings in an operatic edge. MONDAY, MARCH 14: Tension can form between our personal needs and our global awareness as the Leo moon opposes Venus and Mars in Aquarius. Expect some drama around relocation of people, places, and goods. Take turns; sharing can be a radical victory.

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PASATIEMPO I March 11-17, 2022

TUESDAY, MARCH 15: As the Leo moon forms a frustrating opposition to Saturn, what we want can run up against our responsibilities and logistics. Momentum drifts midday; we need to navigate tangential moments and flashes of self-centeredness. Honor underlying needs and keep the heart open. WEDNESDAY, MARCH 16: If uncertainty makes us irritable, it furthers to pause and do one small thing right, then another. Rather than get cranky, celebrate every item you tick off the to-do list. Disagreements over dinner can turn into productive problem-solving later. THURSDAY, MARCH 17: Let this St Patrick’s Day be a day out of time, a day different as Mercury sextiles Uranus. Intuition and magic can be strong, but our critical mind interferes as the Virgo moon opposes Neptune. Curtail dangerous escapist habits, limit the green beer, and help logic and magic combine to support one another. ◀ Contact astrologer Heather Roan Robbins at roanrobbins.com.

MIXED MEDIA

The cast of The Effect, from left, Juan-Andres Apodaca as Tristan, Geoffrey Pomeroy as Dr. Sealey, Danielle Reddick as Dr. James, and Alexandra Renzo as Connie; photo Colin Hovde

LOVE GOGGLES? Testosterone, estrogen, dopamine, serotonin, and oxytocin — these are a few of the chemicals associated with lust, attraction, and attachment, respectively. They’re also chemicals that can be introduced into the system through pills. So when under the influence of antidepressants, Connie and Tristan, characters in British playwright Lucy Prebble’s 2012 play The Effect, are up against a quandary: Is their love real or is it a byproduct of medication? The Effect, a dark comedy, is the inaugural production of the Santa Fe Playhouse’s centennial season. The chemistry between Connie (Alexandra Renzo) and Tristan (Juan-Andres Apodaca), who meet at a clinical drug trial, raises serious questions for the supervising physicians, not to mention themselves. Would the lovers share a mutual attraction were it not for the effects of dopamine? “The Effect looks at mental health from two different points of view,” says director Robyn Rikoon, artistic director at the Playhouse. “One doctor has never experienced depression and wants to treat it with the power of Big Pharma, and one doctor has experienced depression and advocates for a more holistic approach to healing. The scenario that Lucy Prebble creates inside the medical testing facility feels especially relevant today because of the isolation we’ve all been through during the pandemic and the mental health crises that it’s brought up for many of us. And because, ultimately, reality is a little bit subjective.” While it may offer no definitive answers to its nature versus nurture scenario, The Effect triggers dialogue about brain chemistry, depression, and love in an era of proliferating chemically induced states. The cast includes Geoffrey Pomeroy as Dr. Sealey and Danielle Reddick as Dr. James. The Effect opens with a 7:30 p.m. performance on Thursday, March 17, and continues through April 3. Production times are 7:30 p.m. Thursdays through Saturdays and 2 p.m. on Saturdays and Sundays. General admission is $30 with discounts available, $50 for reserved seating, and $75 for premium reserved seating. Season subscriptions are available. Tickets can be purchased at santafeplayhouse.org or by calling 505-988-4262. Upcoming productions include Edward Albee’s A Delicate Balance (April 23 through May 15), Brandon Jacobs-Jenkins’ Everybody (June 8 through July 10), and the anonymously, but locally, scripted Centennial Santa Fe Fiesta Melodrama (Aug. 27 through Sept. 18). Santa Fe Playhouse, 142 E. DeVargas St., 505-988-4262, santafeplayhouse .org — Michael Abatemarco

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IN OTHER WORDS BURNING QUESTIONS: ESSAYS AND OCCASIONAL PIECES, 2004 TO 2021 by Margaret Atwood, Doubleday, 496 pages, $30

popular seer figure; despite the sci-fi trappings of some of her books, she seems to discern the world as it really is. About many things, she’s been right. Readers’ enjoyment of Burning Questions may be Charles Arrowsmith I Special to The Washington Post proportional to the pleasure they take in Atwood’s Burning Questions is a canny title for Margaret Atwood’s cozy, twinkling tone. She can’t resist an amusing new book of essays and occasional pieces. It reflects simile; she’s fond of appearing absent-minded; she’s both the urgency of the issues dear to her — literature, self-effacing. This can become grating. Anyone feminism, the environment, human rights — and their who’s won as many prizes and sold as many books combustibility, the risk that in writing about them she as Atwood runs the risk of false modesty calling might get burned. themselves “a mere scribbler ... a ferreter into matters Though she wryly self-defines as a “supposedly about which I don’t know very much.” There’s somerevered elderly icon or scar y times condescension in it; in one witchy granny figure,” Atwood, essay, she adopts an alien persona now in the seventh decade of to show “earthlings” how to avoid her colossally successful literary totalitarianism — not cute. career, can still rile and inspire. Nevertheless, the book’s scope She trends not infrequently on a nd t he per spic acit y of her Twitter, where she has over 2 writing evince the reading and million followers. Hulu’s adaptathinking of a long life well lived. tion of her novel The Handmaid’s There are some good axioms Tale is a touchstone in the fight worth repeating: “It is one of the for women’s reproductive rights functions of ‘horror’ writing to as well as the object of criticism question the reality of unreality regarding its intersectional failand the unreality of reality.” “Each ings. And a recent interview with of our technologies is a two-edged Hadley Freeman in the Guardian sword. One edge slices the way has reignited the firestorm over we want it to, the other edge cuts where Atwood stands in the culour fingers.” She writes about an ture-war scrap over trans rights astonishing array of things: trees, — a painful divide in contempozombies, nursing, censorship, rary feminism. #MeToo. She appraises writers There aren’t always clear answers as varied as Rachel Carson, W.G. Atwood has become a in Burning Questions; indeed, Sebald, Alice Munro, and Stephen Atwood points out that essays are popular seer figure; despite the King. She enjoyed Kung Fu Panda. really just “attempts” at answers sci-fi trappings of some of her Range isn’t a problem. and that they aren’t necessarily all But some pieces feel dashed books, she seems to discern that anyway. “Fiction writers are off. She pads and digresses; what particularly suspect because they the world as it really is. About could be a sentence becomes a write about human beings, and many things, she’s been right. paragraph. Clumsy coinages feel people are morally ambiguous,” like placeholder words — calling she notes. “The aim of ideology is the death of Tiny Tim “weepto eliminate ambiguity.” Although making,” for instance. And some this volume is squarely on the nonfiction shelf, it pieces smell like early drafts — a few pages apart, shares her novels’ aversion to absolutes. These 65 short both Shakespeare and his plays are described as being pieces are liberally punctuated with question marks. slippery as eels. Read them and you will probably be struck by how This may be forgivable, or inevitable, given the sensible and moderate Atwood is. To criticize our demands on Atwood’s time. In a humorous short “fantasies of endlessness” as climate change becomes essay titled “A Writing Life,” she lists things that have ever more visible is scarcely controversial. To argue recently made it difficult for her to write, by the end of that “the hard-won rights for women and girls that which one realizes that the whole article is a smokemany of us now take for granted could be snatched screen for its own execution. By her testimony, she’s away at any moment” seems incontestable after the averaged 40 pieces a year for the past two decades, passage of the “Texas Heartbeat Act.” Many readers which means the 65 selected here were chosen from nowadays will agree that The Handmaid’s Tale is not more than 700 candidates. In that time, she’s also specifically “a ‘feminist dystopia,’ except insofar as published half a dozen novels, a couple of short story giving a woman a voice and an inner life will always collections, and two books of poetry. be considered ‘feminist’ by those who think women What’s lost in polish is perhaps compensated by ought not to have these things.” As the world has the impression of direct access to her thinking and caught up with her work, Atwood has become a feeling. “Wonderful Doris Lessing has died” is a

PASATIEMPO I March 11-17, 2022

striking example of an opener that captures both the spontaneity of the commission and authentic emotion. Atwood lamented, in an earlier collection, that “the book review leans a little toward Consumer Reports,” and indeed this word limit permits only an outline of what makes Burning Questions both stimulating and frustrating. It’s certainly a dipper rather than a straight-through read. But it’s a foolish reader who fails to seek the flashes of brilliance and insight that glint amid the more workaday pieces. ◀

GLORY by NoViolet Bulawayo, Viking, 400 pages, $27 Jake Cline I Special to The Washington Post In NoViolet Bulawayo’s new novel, Glory, a nation riven by decades of autocratic rule finds itself dividing once again. Seeking “to forget the screaming in their heads,” the citizens of Jidada flock to the Internet. Safe inside this “Other Country,” they rage against their government in ways that would be unthinkable in the physical “Country Country,” where cancellation is truly final. The gulf between the world as it is and the world as it could be is as wide in Bulawayo’s novel as it is outside it. The actions depicted in the book are so familiar, the events so recognizable, the pain so acute, it’s easy to see how Glory began as a work of nonfiction. That the characters are animals — furred, feathered, scaled, and all — is almost incidental. In a note to readers accompanying pre-publication copies of her book, Bulawayo reports that before writing Glory, she had been at work on a nonfiction account of the 2017 coup that ended Zimbabwean President Robert Mugabe’s oppressive 37-year reign. The 93-year-old strongman’s replacement was Emmerson Mnangagwa, the 75-year-old vice president whom Mugabe fired in one of his last acts as head of state. Mnangagwa, a former military leader with an allegedly brutal history and a vicious nickname, the Crocodile, won the presidency by a narrow margin in 2018. Mugabe died the following year. Glory repeats this story almost as it happened. In Bulawayo’s telling, however, Jidada’s deposed autocrat is an elderly stallion long known as Father of the Nation but now derided as Old Horse. Following a bloodless coup staged by the nation’s canine military, the Father’s vice president and fellow old horse, Tuvius Delight Shasha, returns from a brief exile with promises of “a new dawn, a new season, a New Dispensation.” Tuvy, as he’s called, vows to make Jidada “great again.” In no time, he acquires a cultlike following, a new nickname (the Savior), and a reputation for megalomania, misogyny, and corruption that surpasses that of his predecessor. An expected chain of absurdities follows. That is not a knock on Bulawayo’s storytelling gifts, which

book reviews

are prodigious. Her 2013 debut novel, We Need New Names, was shortlisted for the Booker Prize for its indelible tale of a Zimbabwean girl who immigrates to the United States. Among her new book’s many strengths is Bulawayo’s portrayal of the Jidadans’ experience as at once distinct and universal. A host of real-life tyrants can be seen in the novel’s four-legged bad guys. This is not a humorless book. The animals are gleeful insulters (“You have a demon of idiocy!”) and inventive cussers. Tuvy and the Father are as foolish as they are evil. The latter’s reaction to finding himself in hell, to which he’s been led by a lipstick-wearing monkey, is wickedly funny. Bulawayo even delights in satirizing a certain U.S. president, represented here as a tweeting primate prone to subliterate warnings of electoral malfeasance. His handle: @bigbaboonoftheUS. The citizens of Jidada often speak with one voice. They recite long lists, grim tautologies (“killed dead,” “died death”), and anecdotes that circle back on themselves like tail-chasing dogs. Traumatized by violence at home and abroad, they repeat phrases that fill ent ire page s of t he book: “and talks to the dead,” “and considered the maths of the Among her new book’s many revolution,” “I can’t breathe.” Glory reads longer than its strengths is Bulawayo’s 400 pages. Bulawayo shifts portrayal of the Jidadans’ among omniscient narration, experience as at once distinct first-person plural, oral history, and universal. A host of real-life and even chapters written as Twitter threads. The effect tyrants can be seen in the can be disorienting, but indinovel’s four-legged bad guys. vidual voices stand out. None resonates as strongly as that of Destiny Lozikeyi Khumalo, a goat who returns to Jidada after a decade away. Hoping to exorcise the trauma that prompted her departure, Destiny becomes a chronicler of her nation’s history and an advocate for its future. Her writing provides a “way of rising above the past, of putting together that which was broken.” In her author’s note, Bulawayo shares how her book’s most obvious literary inspiration, George Orwell’s anti-Stalinism allegory Animal Farm, became a trending topic on social media in the wake of Mugabe’s ouster. The parallels between post-revolution Manor Farm and postcoup Zimbabwe were too painful to ignore. “Pivoting from nonfiction to create Glory became an extension of my fellow citizens’ impulse to articulate the absurd and the surreal,” she writes. Any satire worth its weight in talking animals is really a warning — to the powers that be, the complicit, and anyone who thinks nothing so terrible could ever happen to them. When Destiny diagnoses Jidada’s condition as “the willingness of citizens to get used to that which should have otherwise been the source of outrage,” she could be describing a great number of places. By almost any measure, Glory weighs a ton. ◀

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IN OTHER WORDS book reviews

OCEAN STATE by Stewart O’Nan, Atlantic, 226 pages, $27 Ron Charles l The Washington Post In 2007, Stewart O’Nan accomplished something impossible: In a novel called Last Night at the Lobster, he made the closing of a Red Lobster restaurant as compelling as a murder mystery. He has now done the opposite: His new novel, Ocean State, makes a murder mystery as compelling as the closing of a Red Lobster restaurant. It’s a curious but apparently intentional achievement in a book that feels allergic to its own suspense. Ocean State opens with this shocking line: “When I was in eighth grade my sister helped kill another girl.” Even with the killer’s identity revealed, much remains tantalizingly hidden but only for a few pages. The full horror of the crime is soon revealed: The victim was a popular high school student. The two girls were fighting over a boy. In disclosing these material details before the crime is reenacted in the novel, before the police investigation uncovers the truth and before the trial produces a verdict, O’Nan has purposefully drained the tension from this tragedy. What’s left for us in Ocean State are doleful reflections on various characters’ motives and reactions. It’s a gamble. The novel’s first narrator, Marie, introduces us to her poor family in Rhode Island. Her pretty sister, the teenage murderer, goes by the exceedingly ironic name “Angel.” Their mother is a nurse’s aide with one talent: “finding new boyfriends.” That ensures a precarious life for the family. “My mother’s boyfriends tried to be sweet, but they were strangers,” Marie says in her poignant, retrospective voice. “Sometimes they paid our rent and sometimes we split it. When they broke up with my mother — suddenly, drunkenly, their shouting jerking us from sleep — we would have to move again. Like her, we were always rooting for things to work out, far beyond where we should have.” As usual, O’Nan writes about financially stressed people with a clear and empathetic sense of the constant pressures they endure. Their plight is

well represented by Marie and Angel’s 42-year-old mother. When she discovers that the latest man she’s dating lives in “an active adult community” — that is, a retirement home — she feels humiliated but also excited by the chance for stability. “Is it wrong to want something better than where they are?” she wonders. “It’s not like she could ever afford it herself. How many chances like this will she get?” Perhaps if she hadn’t been so focused on manufacturing a romance with her geriatric beau, she might have noticed what her daughter Angel was up to. But maybe not. As Marie notes, “My sister seemed to move through an underworld of secrets, the hidden currents of desire.” Indeed, that underworld of clandestine teenage desire is the ostensible subject of Ocean State. O’Nan spends much of the novel shuttling between Angel and her nemesis, Birdy Alves. They’re both sleeping with Myles, a good-looking senior from a wealthy family. He’s savvy enough to try to keep his relationship with Birdy on the down-low, but when photos of them sneaking around slip out on social media, their classmates turn sharply against her. And then Angel lashes out. High school girls fighting over and even killing for the affections of a boy make this an inherently gripping plot. But O’Nan’s approach is — pardon the word — deadly. Two-thirds of the novel are spent chronicling teenage angst and school-hall drama without the verve necessary to make this story pump with authentic adolescent energy. O’Nan’s careful, sepia-toned observations offer no satirical wit on the machinations of horny teenagers nor any chilling insight on the horrors that sexual desire can activate. Instead, we get a lot of passages like this: “Myles hangs out front between the pillars with Ryan and his crew. Birdy knows his schedule by heart, smiles to herself each time she passes his locker. All morning, sitting in class, watching the rain fall on the

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High school girls fighting over and even killing for the affections of a boy make this an inherently gripping plot. But O’Nan’s approach is — pardon the word — deadly.

tennis courts and the soccer field, she pictures their room at the beach, but then, after lunch, he texts to let her know he has to cancel. No explanation, just sry.” Such generalized prose relies on us already knowing how Ryan and his cocky crew pose with studied nonchalance, how pandemonium breaks out in the hall of lockers between classes, and especially how a savvy girl suspends the knowledge that the object of her devotion is a cad. At this late date, after so many comedies, dramas, mysteries, and thrillers about high school romances, double-dealing jocks, vicious mean girls, and toxic social media platforms, we’re deeply familiar with the tropes of the genre. But for that very reason, we don’t particularly need a novel that feels so unwilling to tell us something we haven’t already heard. Even the act of murder itself is politely obscured in these pages, and the trial that takes place late in the story does so largely offstage. More than a decade ago, O’Nan published Songs for the Missing, a devastating story about parents crushed by the endless search for their 18-year-old daughter. No one who read that relentlessly static tragedy will ever forget it. But this new novel, about the loss of another teenage girl under circumstances that are so much more dramatic, leaves little impact at all. Sry. ◀

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RANDOM ACTS

Kira Annalise and Willie Heath Neal are The Waymores; photo Lindsay Garrett

More is more

A guitar pioneer’s legacy lives on

A musical journey through the Emerald Isle

Combining elements of folk, blues, and honkytonk, The Waymores (Willie Heath Neal and Kira Annalise) make a complementary pair. Neal’s husky baritone and Annalise’s alto create harmonies that draw comparisons to Johnny Cash and June Carter Cash and Conway Twitty and Loretta Lynn. After meeting 14 years ago at a bar in their home state of Georgia, the singing, songwriting, and guitar-playing duo began playing locally when not touring with other bands. Their partnership is more than professional; it’s a love story that parallels their professional career, growing deeper as they wrote and played together. Their debut recording, Weeds (2019), was cut live in the studio, and their sophomore release, The Stone Sessions (coming in April), was produced and recorded in 2020 during the coronavirus pandemic. The forthcoming release is a country album with an Americana flourish. The Waymores play Friday, March 11, at 7 p.m. at the Mineshaft Tavern (no cover charge). Mineshaft Tavern, 2846 Hwy. 14, Madrid, 505-473-0743, themineshafttavern .com — Michael Abatemarco

Born in Bonham, Texas, in 1916, early electric guitar pioneer Charlie Christian learned to play music from his father, Clarence Henry Christian, and worked as a busker in his youth. His family moved to Oklahoma City and, before long, Christian was playing jam sessions in the historic Deep Deuce neighborhood to encore performances and soon began performing regionally. In 1939, after auditioning for record producer John Hammond, he was signed to Benny Goodman’s Sextet and Orchestra and remained w ith Goodman until 1941. Declining health, brought on by tuberculosis, resulted in his untimely death the following year. The Charlie Christian Project, founded in 2012, celebrates the music of Christian at 6 p.m. on Friday, March 11. Featuring guitarist Michael Anthony, accompanied by clarinetist Dave Anderson, bassist Micky Patten, and John Trentacosta on drums, The Charlie Christian Project ushers in the Santa Fe Music Collective’s concert season with the first of its Jazz Club Series. Tickets are $30 ($25 for SFMC members), and the doors open at 5:30 p.m. Tickets are available through noon on March 11 at tickets.holdmyticket.com/tickets/390108. Masks and proof of vaccination required. Club Legato, 125 E. Palace Ave., 505-988-9232, lacasasena .com/clublegato — M.A

The members of the leading Irish ensemble Danú hail from the Counties Waterford, Cork, Dublin, and Donegal and formed as part of the Emerald Isle’s delegation to the annual Lorient Inter-Celtic Festival in Brittany, France. They released their debut, self-titled album in 1997 to critical acclaim and were signed to a multi-album record deal with the U.S.-based recording label Shanachie Entertainment in 1999. The powerhouse ensemble play fast-paced traditional Irish music and original compositions on flute, tin whistle, button accordion, fiddle, guitar, and bouzouki in high-energy performances. Joined in 2016 by vocalist Nell Ni Chróinín, Danú performs a mix of vocal and instrumental music. Celebrate St. Patrick’s Day with Danú at 7:30 p.m. on Thursday, March 17. Tickets ($25-$59) are available at popejoypresents.com, at the University of New Mexico Ticket Offices at the UNM Bookstore (2301 Central Ave. NE, Albuquerque), or by calling 505-277-4569. Masks and proof of vaccination or a negative COVID test are required. Popejoy Hall, 203 Cornell Dr., Albuquerque, 505-277-8010, popejoypresents.com — M.A

12 PASATIEMPO I March 11-17, 2022

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Ray Chen has redefined what it means to be a classical musician today. Photo Uwe Arens

Mark Tiarks I For The New Mexican

UNCONVENTIONAL VIOLINISTS convene here

THE

week of March 13 sees Santa Fe performances by two highprofile, violin-based duos, both of which have taken unusual paths to building younger and more diverse audiences. Ray Chen and pianist Julio Elizalde are up first, with a Tuesday, March 15, concert at St. Francis Auditorium under the Performance Santa Fe banner. Black Violin’s Impossible Tour follows with performances at the Lensic Performing Arts Center on Thursday and Friday, March 17 and 18. Chen’s background reflects the internationalism increasingly frequent in today’s classical music world. He was born in Taiwan, raised in Australia, enrolled in Philadelphia’s Curtis Institute of Music at age 15, won first prize in Great Britain’s 2008 International Yehudi Menuhin Violin Competition and Belgium’s 2009 Queen Elisabeth Competition, and now concertizes around the world as an orchestral soloist and chamber music performer. Chen turned 33 on March 6, but before he hit the big 3-0, Forbes magazine cited him as one of the 30 most influential Asians under age 30. An exceptionally social media-savvy classical performer, Chen has embraced technology on several fronts, from an online store featuring t-shirts, hoodies, and other items to building a professional-grade recording studio at home from scratch to founding a tech company whose first venture is an online platform that brings together performers

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and audience members. He’s also performed on Mozart in the Jungle and has marketing partnerships with designer Giorgio Armani and e-sports company Riot Games. Chen regularly receives critical acclaim such as “Ray Chen can do pretty much anything he wants on the violin” (Anne Midgette, The Washington Post) and “A fiery, impossibly seductive performance by Chen had the audience bursting into applause between movements” (Hedy Weiss, WTTW, Chicago). He’s recorded for Decca Classics and Sony and has performed at major media events including France’s Bastille Day Concert and Stockholm’s Nobel Prize Concert. While Chen’s upcoming Santa Fe premiere may be the ultimate test of his ability to attract younger patrons, the program is certainly appealing, with two piano-forward works by composer-pianists on the first half, highlighting Elizalde’s “compelling artistry and power” (Seattle Times). It opens with Beethoven’s Violin Sonata No. 8 in G major, which Chen describes as “full of brilliance, determination, and extremes within the classical form that he’s trying to break through.” A suite from Igor Stravinsky’s ballet The Fairy’s Kiss follows, a piece “full of emotional extremes,” Chen says, for this particular fairy has some quite sinister qualities.

“The fairy marks a baby with a kiss on its forehead, separates it from its mother, and then reappears throughout the young boy’s life, casting a different spell on him each time,” Chen says. “When I first learned the piece, I wasn’t as aware of the story as I wish I had been. Now Julio and I, who have been playing and touring together for more than a decade, really focus on the narrative aspects of it.” The second half highlights violin virtuosity, starting with Giuseppe Tartini’s “Devil’s Trill” Sonata for Violin and Piano. It’s arguably the most famous violin showpiece from the baroque era; Tartini named it after a particularly vivid dream in which he claimed to have heard Lucifer himself playing fiendishly difficult music. Two romantic-era favorites wrap things up: Johannes Brahms’ Hungarian Dances and Pablo de Sarasate’s “Zigeunerweisen” (Gypsy Airs) Op. 20. Black Violin is a bit of a misnomer — it’s actually a violin and viola duo — but is accurate in other respects. Violinist Kevin Sylvester and violist Wilner Baptiste are classically trained African American artists who both attended Dillard High School’s Center for the Arts in Fort Lauderdale, Florida, where they had the same music teacher. Like Chen, they’ve developed a much larger, younger, and more diverse audience by connecting to a major aspect of contemporary life. For Black Violin, it was hip-hop music, which they blend with classical playing techniques (and sometimes repertory) to create a one-of-a-kind sound and a dynamic performance environment. Their stage names are Kev Marcus and Wil B, and for their Impossible Tour performances in Santa Fe they’ll be joined by DJ SPS and drummer Nat Stokes. “Overcoming stereotypes while encouraging people of all ages, races, and economic backgrounds to join together to break down cultural barriers” has been Black Violin’s mission since it was founded in 2004. Fittingly, the cover for its third album, 2015’s Stereotypes, featured a shattered violin, viola, and bow. The group has just released its fifth CD, but don’t expect to hear much of it in Santa Fe — it’s a holiday-themed album called Give Thanks. Definitely on the playlist are tracks from album four, Grammy Awardnominated Take the Stairs, with its hit singles “Impossible is Possible,” “One Step,” and “Showoff.” Take the Stairs was all over Billboard’s rankings on its release, reaching the top spot on the classical and classical crossover charts, number seven on top new artists, and number nine on the hip hop and R&B chart. Black Violin’s mantra for Take the Stairs as they were recording it was “Hope,” and they couldn’t have hoped for

Wil B and Kev Marcus are Black Violin, a violin-viola duo that blend hip-hop with classical playing techniques. Photo Colin Brennan

more impressive results after its release. Sylvester and Baptiste are also actively involved in youth activities through their Black Violin Foundation. Founded in 2019, it currently operates a scholarship program for young students to continue their musical educations, an instrument access program for aspiring classical musicians who identify as Black, Indigenous, or Persons of Color, and an equity and inclusion grant program to increase BIPOC representation in classical music organizations. Public Enemy bassist Brian Hardgroove leads a pre-performance discussion at 6:30 p.m. both evenings about how musicians such as Black Violin demonstrate how dynamic American culture can be, provide a unique connection between seemingly disparate genres, and leave patrons wondering why we don’t see such models more often. ◀

details ▼ Ray Chen and Julio Elizalde St. Francis Auditorium, 107 W. Palace Ave. 7:30 p.m., Tuesday, March 15 $45-$95; performancesantafe.org, 505-984-8759 Mask wearing and proof of full vaccination or recent negative COVID test required

“Overcoming stereotypes while encouraging people of all ages, races, and economic backgrounds to join together to break down cultural barriers” has been Black Violin’s mission since it was founded in 2004.

▼ Black Violin: Impossible Tour Lensic Performing Arts Center, 211 W. San Francisco St. 7:30 p.m., Thursday and Friday, March 17 and 18 $42-$59; lensic.org, 505-988-1234 Mask wearing and, for patrons ages 12 and over, proof of either full vaccination or recent negative COVID test required

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Michael Abatemarco l The New Mexican

A WINDOW ON AN INTERIOR WORLD KATE JOYCE’S METAPHYSICS A fine line exists between documentary photography and fine art photography. To elevate straight photography, with little manipulation, to a form that reverberates with a consistent, ethereal aesthetic can have a lot to do with the angle one is shooting from, the available light, and the context, or space, where one is photographing. As abstract and ephemeral as local photographer Kate Joyce’s images in the series Metaphysics appear, they’re not obscure or deceptive. They are, essentially, straight shots taken from a singular perspective. For this body of work, the confined space of an airplane’s window seat was a constraint on her movements, and the surrounding seats a constraint on her line of sight, narrowing her focus to the space between the window and curvilinear structure of an airplane’s interior and the rows of seats in front of her. Metaphysics, which is on view at SITE Santa Fe through April 22, is the culmination of seven years of photographing airplane interiors from what became, in essence, an in-flight studio, however limited. “I was very determined about getting the window seat,” says Joyce, who created the body of work on routine commercial flights between 2012 and 2019. “If I didn’t get it assigned, I would ask somebody if they would switch with me.” You might catch a glimpse of a human element in some of these photographs: a woman’s platinum hair falling in curls across her shoulder, the purple fabric draped across an arm bent at the elbow. But you can’t see faces. Oddly, perhaps, it’s an experience that’s as isolating as it is intimate. To be so close to others for hours on end yet remain a stranger. “That’s where this existential title, it being Metaphysics, comes from,” says Joyce, who’s in her early 40s. “It’s the intimacy in a space where we are not supposed to pay attention to how close our proximity is, and it’s this cheating of our nature, just by virtue of these aerodynamics and mechanics of flying in the first place. For me, it touches on the material and the spiritual.” There’s a quietude in these images, a hushed silence suggested by their enveloping darkness, which is broken only by the sliver, like the pupil of a cat’s eye or the reflection on a narrow knife blade, of light-filled space. That sliver is a consistent motif, because it’s what Joyce could see with her camera from the confines of her seat. “The light has this particular quality,” she says. “As we know, the interior of an airplane cabin is kind of unsavory.

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The lighting for the most part is pretty terrible. And it’s sterile. I found that in that space between the seat and the window, there’s such a high contrast between the sunlight from outside to inside. But it erases, through exposure, the rest of the cabin. That’s where we get these really dark shadows because I’m just exposing from the sun.” Joyce, who’s from Santa Fe, spent more than 25 years as a photographer. She studied photojournalism at San Francisco State University and documentary photography at the Center for Documentary Studies at Duke University in Durham, North Carolina. Her photography appears in several books, including Through the Lens: Creating Santa Fe (Museum of New Mexico Press, 268 pages, 2009), which was co-edited by Mary Anne Redding and Krista Elrick, and author Michael Petry’s Nature Morte: Contemporary Artists Reinvigorate the Still-Life Tradition continued on Page 18

“That’s where this existential title, it being Metaphysics, comes from. It’s the intimacy in a space where we are not supposed to pay attention to how close our proximity is, and it’s this cheating of our nature, just by virtue of these aerodynamics and mechanics of flying in the first place. For me, it touches on the material and the spiritual.” — Photographer Kate Joyce

Kate Joyce, Metaphysics, pln03 (2019), UV 7-color pigment print on acrylic Opposite page, Metaphysics, pln08 (2019), UV 7-color pigment print on acrylic; images courtesy SITE Santa Fe

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Kate Joyce, continued from Page 16

Metaphysics, pln01 (2019), UV 7-color pigment print on acrylic

details ▼ Kate Joyce: Metaphysics SITE Santa Fe, 1606 Paseo de Peralta, 505-989-1199, sitesantafe.org Through April 22 Free admission ▼ Metamorphoses multimedia performance and book signing with Kate Joyce, Andrew Berns, and Justin Ray 6 p.m. Friday, March 11 Tickets $5, available at sitesantafe.org/event/metamorphoses Masks and proof of vaccination or a negative COVID test required

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(Thames & Hudson, 288 pages, 2016). Most recently, she created Metamorphoses (Special Problems Press, 672 pages, 2021, $20), a collection of photographs made in Chile while Joyce was traveling alone as a teenager. After 20 years, she found an affinity between the photographs and the work of the Roman poet Ovid, who lived during the reign of emperor Augustus and whose most famous work is Metamorphoses, a continuous mythological narrative written in the meter of classical epic poetry. Accompanying the photographs are lines from Ovid, translated from Latin by Andrew Berns. On Friday, March 11, Joyce signs copies of the book at SITE Santa Fe, where she’ll be joined by Berns and local DJ and co-owner of REMIX Audio Bar Justin Ray for a multimedia presentation of Metamorphoses. The event includes a presentation of Joyce’s photographs, a soundscape created by Ray, and stories from the book. Unlike the varied black-and-white photographs in Metamorphoses, much of which is akin to street photography, the images in Metaphysics are more like a typology. That is to say, it’s a body of work developed on a consistent subject — the view from the airplane seat — and all variations consist in the differences between the qualities of light, the colors, contrasts, and textures. “Regardless of whether I was flying from Chicago or São Paulo, there was something extremely engaging on the flight itself that was such a surprise. I was thinking about two types of photographers. From this period, from 2012 to 2019, I was sort of in between being more of a documentarian street photographer and then working for a photography studio in Chicago, where everything was much more controlled. The window seat, for me, became a combination of both.” Initially, Joyce was interested in the views from the airplanes’ windows before turning her camera to their interiors. To shoot in a sterile environment, where not much of anything exciting happens until the pilot announces a descent or an attendant comes by with refreshments, meant capturing small moments gleaned through that narrow gap to the rows ahead. And they are subtle, calling our attention to contrasts of light and shadow, glimpses of colored, cloth-wrapped arms and shoulders, the curvilinear sweep of a window’s plastic frame and the airplane’s curved hull. Without introducing any post-shot distortion, she finds an abstract, impressionistic quality that’s almost dreamlike in its beauty. “Prior to this, I had been chartering airplanes. I was interested in the Midwest in particular and this landscape as the snowmelt is becoming water on the surface of the Earth and the sunlight reflecting in that water. It was a failed project. But I feel like the essence of it arrived in these photographs.” Her early idea, she says, was to look at the ground in order to see the sky or the sun by way of reflections. Turning the camera inward, the idea was about capturing the light bouncing off of people and interiors. “I feel like it saves me from an otherwise bleak experience,” she says. “They remind me of Caravaggio. I’m using that window light and high contrast more like in a painting than a photograph.” Yet, the light, as the camera sees it, is manipulative. We don’t see an airplane’s interior with the same degree of high contrast for instance, as though we were in a darkened room looking through veils of translucent fabric, softening all but a single unobstructed shard. That touches on a limitation of the medium of photography, which Joyce exploits. “I’m working with a digital camera but exposing as though it was film. I don’t have as much leeway with my exposure. It’s as real as it gets, but it’s also unrealistic.” ◀

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Ballet, Bach, & Bowie Michael Wade Simpson I For The New Mexican

Complexions Contemporary Ballet; photos both pages Rachel Neville All images courtesy Aspen Santa Fe Ballet

Icons of baroque and glam rock intersect in Complexions Contemporary Ballet program

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dwight

Rhoden choreographed the first premiere commissioned by the newly formed Aspen Santa Fe Ballet in 1996. It was called Ear Candy. “I remember it was a sensual ballet,” he said. “It was about the dancers themselves. I look at who is in front of me and create dance that works with their strengths. We had a wonderful time.” Rhoden founded Complexions Contemporary Ballet in 1994 with his partner and fellow former Alvin Ailey dancer Desmond Richardson. They were already friends with Jean-Philippe Malaty and Tom Mossbrucker, formerly of the Joffrey Ballet, who were in the process of starting their own dance company in Aspen. “It was an exciting time in dance,” Rhoden said. “We were both starting something new. We were all in an excited, elevated, vibrant place. Plus, it was early in my choreographic career, and they gave me a chance to make a ballet.” “Dwight was a good luck charm for us,” Malaty said. “Hopefully he can be a good luck charm again.”

After nearly 25 years, Aspen Santa Fe Ballet the performing company officially disbanded in 2021. As Aspen Santa Fe Ballet the school and organization emerges from the pandemic, Mossbrucker, Malaty, and their board are cautiously taking a step back into theaters by presenting other companies. Complexions, at the Lensic on Monday, March 14, will be the first. Since founding Complexions, Rhoden has made a name for himself as a choreographer, creating more than 80 ballets for his own company and creating dances for groups like San Francisco Ballet, Dance Theater of Harlem, New York City Ballet/Diamond Project, and Philadanco. Richardson, whom the New York Times once called “One of the great dancers of his time,” spent seven years as a principal dancer with Alvin Ailey, worked for William Forsythe at Frankfurt Ballet, was the first Black male principal dancer with American Ballet Theater, and received a 1999 Tony nomination for his role in Fosse on Broadway. The company’s website stresses the philosophy that “dance should be about removing boundaries, not

reinforcing them” and “creating an open, continually evolving form of dance that reflects the movement of our world—and all its constituent cultures — as an interrelated whole.” “Complexions was presenting diversity 30 years ago, before diversity was a thing,” Malaty said. “To us, diversity means hybrid modes, whether it’s music, dance, race, gender, body types, backgrounds,” Rhoden added. “Our goal is for any person in the audience to be able to see themself represented on stage. The beauty of Ailey and the spirit of what he did for dance is in our bodies, but that’s not how I dance.” In Santa Fe, Complexions will be bringing a cast of 18 dancers and presenting STARDUST: From Bach to David Bowie. “The first act is Bach, and the second act is Bowie,” Rhoden said. “The Bach piece was created for the company’s 25th anniversary. Bach is one of my favorite composers. The ballet is very physical and dynamic. It’s got lots of groups, pas de deux, pas de trois ... it’s a big, bright, open piece.” “I didn’t know Bowie before he passed [of liver cancer in 2016], but at the time he died, we were already negotiating to get the rights to his music. He was so edgy and interesting,” he said. “In four decades, he wrote songs in every genre – rock, punk, R&B. I love that. His music spoke to me, always.” “The David Bowie section is almost like a Broadway show — it’s a big piece, very theatrical,” Rhoden said. “We had to make it tour-ready, so the scenic elements were all done with lighting. It’s a colorful, vibrant piece. It begins with the song “Lazarus” from his last album, but all the hits are in there: “Changes,” “Space Oddity,” “1984,” “Heroes.” The ballet debuted in 2016, and Rhoden said it is the most requested thing they do. “Presenters want it on every program. It’s like our ‘Revelations’ [the perennial Alvin Ailey curtain-closer set to African American spirituals].” Meanwhile, Mossbrucker and Malaty are hanging tight, staying in touch with the Joyce Theater in New York and Jacob’s Pillow Dance Festival, major dance organizations who are seeing what’s out there in terms of dance worldwide while experimenting, thanks to hopeful Omicron numbers, with live, indoor theater again. “We’re totally out of our comfort zone,” said Malaty. “There is no plan yet. We’ve learned not to plan.” After groups like Complexions had to cancel performances in the fall due to dancers testing positive, they saw a window opening as the Omicron wave began to peak. “People are scrambling,” he said. “Never in 25 years would I have believed I would be announcing a show in Aspen and Santa Fe with only five weeks to sell tickets. Fortunately, Complexions has been to Aspen several times before, and we are almost sold out there. Even in Santa Fe, I was shocked that we sold 200 tickets the same day we announced the show.” Aspen Santa Fe Ballet is going back to its roots. Bebe Schweppe, a Joffrey Ballet student who had continued on Page 22

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From a performance of STARDUST: From Bach to David Bowie; photo Sharen Bradford

The Official Guide to the 2022 Santa Fe Home Show and Remodelers Showcase COMING SUNDAY, MARCH 13

Ballet, Bach, & Bowie, continued from Page 21 settled in Aspen, started a dance school there in 1991 and later recruited Mossbrucker and Malaty to move to Colorado to start the performing company. The Santa Fe expansion occurred in 2000. With several locations in New Mexico and Colorado along with a folkloric program in the public schools in both areas, Aspen Santa Fe Ballet serves over 500 children a week. Classes were held remotely and, later, live throughout the pandemic. “We feel proud that we were able to provide normalcy and community to so many students.” In this full-circle moment, Mossbrucker and Malaty, now based in Santa Fe, have both stepped back into the classroom as regular ballet teachers. “It gives us a lot of nourishment to be with kids, to see the next generation and how much they still want to dance.” The rite of passage for every ballet student in Santa Fe and Aspen has always been the chance to dance in The Nutcracker on stage with the adult dancers of the company. “We own the production, the set, the costumes; it’s still ours,” Malaty said. “We would have to hire 22 guest performers this year, but it’s feasible. Santa Fe needs a holiday tradition.” Although Malaty, the master planner, said he no longer felt comfortable making plans, he did say that in order to pull off a Nutcracker next December they would need to begin planning by June or July. “I’m going to give it a strong ‘probably,’” he said. ◀

details ▼ Aspen Santa Fe Ballet presents Complexions Contemporary Ballet ▼ 7:30 p.m. Monday, March 14 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $54-$94, check ticket availability at tickets.lensic.org or call 505-988-1234

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NIZHONNIYA

Opening reception: Friday, March 18, 5-8pm Performance: 7pm FaraHNHeight Fiine • 54 1/2 E. San Franciisco St. Ste. C • Upstairs

h 11th h - Apriil 10th h March Friday - Monday 11am - 6pm and or by appointment. For info & acquisitions please email farahnheight@gmail.com & or call 575-751-4278. Selected works for purchase http://farahnheight.com

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Mark Tiarks l For The New Mexican

Cirque du Soleil, with soap

“See an incredibly inventive production by a celebrated Latvian theater troupe” is on your bucket list (and you know it is), get ready to cross it off. You won’t even have to leave the state to do so, either, since B – The Underwater Bubble Show is coming to Albuquerque’s Kiva Auditorium on Wednesday, March 16. Think of it as Cirque du Soleil with soap bubbles. Also fog machines, snow blowers, video projections, lasers, smoke rings, flying foam, LED screens, sand painting, original music, puppets of various sizes, mimes, dancers, acrobats, a juggler, a contortionist, and, above all, what seems like billions of bubbles. In fact, B – The Underwater Bubble Show includes just about every performance element there is except one. “Our main goal was to produce a show that could tour the world without the barrier of language,“

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director and co-creator Enrico Pezzoli says. “Even in parts of the world where the culture may be different from our own, the result is always the same, with everyone cheering and applauding.” The plot centers on the nearly anonymous character B, an office worker whose life is always too busy, filled with stress induced by the need to connect faster and faster via cell phones, tablets, PCs, and other gadgetry. One day when B finally relaxes a bit, a small fishbowl aquarium appears in his or her briefcase, as if by magic. Soon B is transported into the wondrous underwater world of Bubblelandia, which is full of seahorses, dragon fish, starfish, and mermaids, gradually transforming the title character from stressed-out modernity to blissed-out wonder. While the show is of the genre usually called children’s theater, family entertainment is a more accurate description. (It has a running time of

about 100 minutes, including an intermission.) Like the best examples of its type, B – The Underwater Bubble Show works on multiple levels simultaneously, enchanting younger generations while offering an important message for adults. The story line references classic fairy tales including Pinocchio, The Little Mermaid, Beauty and the Beast, and Peter Pan, but with a twist, according to Pezzoli. “Each of those tales represents the journey of a kid who grows up and learns something,” he says. “We wanted a story about an adult character who discovers that he can still go back and enjoy life. We don’t always need to grow up. Sometimes we need to step backwards for a bit.” The show comes to Albuquerque as part of the troupe’s fourth American tour, a 26-performance journey that stretches from Minnesota to Texas and Connecticut to California. The show premiered in Riga, Latvia, in 2011 and has since been seen in Italy, Switzerland, Russia, England, Turkey, China, Indonesia, Qatar, Kuwait, Bali, Thailand, and Lebanon. The Italian-born Pezzoli and his performing partner/spouse Dace Pecolli moved to Latvia in 1997. While he was trained in commedia dell’arte, street theater, and clowning, Pezzoli was particularly fascinated by magic,

which he started studying at age 8. Eventually he realized there was too much competition in the magician field and, when searching for something unique to add to his act, he saw a clown create a giant bubble. That led Pezzoli and Pecolli to create a two-person specialty act called Bubble Opera, which was geared toward adult audiences and blended their new interest in bubbles with rock opera, classic opera, and contemporary opera. Its success spawned many European imitators, so the duo challenged themselves to think of something no one else would do with a bubble show. After two years of development, B – The Underwater Bubble Show was born. ◀

details ▼ B – The Underwater Bubble Show ▼ Kiva Auditorium, 401 Second St. NW, Albuquerque, 505-886-1251, ampconcerts.org ▼ 7:00 p.m., Wednesday, March 16 ▼ $17-$38, mask wearing encouraged ▼ Trailer: youtu.be/kBew_ooKKOc

Images courtesy Underwater Bubble Show

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Left, Ansel Adams, Leaves, Stump, Frost, Yosemite National Park, California, circa 1931, gelatin silver print. Collection of the New Mexico Museum of Art. Gift of Mrs. Margaret McKittrick, 1968 (2229.23PH). © The Ansel Adams Publishing Rights Trust Below, Church at Ranchos de Taos, circa 1929-30, gelatin silver print. Collection of the New Mexico Museum of Art. Museum acquisition, 1981 (1981.27). © The Ansel Adams Publishing Rights Trust

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Left, Factory Building, San Francisco, 1932, gelatin silver print. Collection of the New Mexico Museum of Art. Gift of Mrs. Margaret McKittrick, 1968 (2226/23PH). © The Ansel Adams Publishing Rights Trust Below, Pine Cone and Eucalyptus Leaves, San Francisco, California,1932, gelatin silver print. Collection of the New Mexico Museum of Art. Gift of Mrs. Margaret McKittrick, 1968 (2228.23PH). © The Ansel Adams Publishing Rights Trust

ajestic views of Yosemite Valley, the shimmering lake before Yosemite’s Cat hed ral Pe ak, t he luminous leaves of a young aspen in a stand leading to a dark New Mexico mountain forest — these are among the iconic images of the Western United States set down in rich and contrasting tones by photographer Ansel Adams (1902-1984). Lesser known are his close-up studies of nature. But in Ansel Adams: Pure Photography, works narrow in vision and small in scale offer another view of a photographer associated for much of his career with stately landscapes. On exhibit in the New Mexico Museum of Art’s Beauregard Gallery (through May 22), Pure Photography takes its name from the manifesto of an influential group of modernist photographers called Group f/64. A Bay Area movement founded by Adams and filmmaker and photographer Willard Van Dyke, the group included such luminaries in photography as Imogen Cunningham, Sonya Noskowiak, and Edward Weston. Their aim was to move photography out of the pictorialist style, which involved a hands-on approach to manipulating an image to achieve an effect, to something more along the lines of straight photography, which emphasized detail and sharp focus. They derived their name from the f-stop 64 aperture setting on a large-format camera.

Michael Abatemarco I The New Mexican

Straight shooter THE EARLY WORK OF ANSEL ADAMS

“That setting allows you to get depth of field and an even sharpness,” says New Mexico Museum of Art Curator of Photography Kate Ware. “That’s what they were aiming for. And that’s a real component of what we think of as modernist photography.” The exhibition includes 16 prints from the museum’s collection, as well as two promised gifts. “We have, altogether, about 50 prints of his,” Ware says. “I’m just deeply partial to Adams’ work from the 1930s, especially the nature studies. This exhibition was really meant to show that period of his work and the museum’s holdings as well.” These photographs, most of which date to the 1930s, were made at a time when Adams had yet to achieve an international reputation as a leading U.S. photographer. “This time was important to the development of his artistic vision,” Ware says. “That changed over time, but these prints, I feel, provide an opportunity to see him finding his voice. They’re no less completed works of art. They certainly are. They were exhibited at the time and stand up over time. But they’re less familiar.” The exhibition includes nature studies, such as Pine Cone and Eucalyptus Leaves, San Francisco, California (1932), images of architecture, such as his Church at Ranchos de Taos (circa 1929-1930), and portraits, including two photographs of the poet Witter Bynner, who Adams met on one of his visits to New continued on Page 28

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Ansel Adams, continued from Page 27 Mexico, which began in the late 1920s. Accompanied by arts patron Albert Bender, Adams visited Taos, where he befriended photographer Paul Strand, poet Robinson Jeffers, and painters John Marin and Georgia O’Keeffe. But perhaps it was meeting Strand that compelled the young photographer to devote himself fully to his craft. “It was really catalytic for him,” Ware says. “He tells a story that that’s when he decided to become a photographer. Deeper research shows that it wasn’t quite that cut and dried. But if you think of him as guy in his late 20s with all these heavy hitters — his idols — of course it was a very influential moment. He did come back over the years. Pretty early on, he was working on the book with Mary Austin, Taos Pueblo. New Mexico became a really important place for him, and he did some of his masterworks here.”

“He was very serious about a career as a pianist as a young man. I might borrow from that and say that his 1930s work is more like chamber music, while his 1940s work is more symphonic.”

H ME

— Kate Ware, New Mexico Museum of Art Curator of Photography

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Two of those masterworks, Moonrise Hernandez, New Mexico (1941) and Aspens, New Mexico (1958) are also on view, in part to show how his aesthetics changed in his transition from his f/64 days. “It’s partly for that contrast, just to show the difference in style from the 30s to the 40s,” Ware says of her decision to include later works. “But also because they’re such favorites, and we didn’t want to disappoint his fans.” Adams’ photography changed from the 1930s to the 1940s in several ways. “He was very serious about a career as a pianist as a young man,” Ware says. “I might borrow from that and say that his 1930s work is more like chamber music, while his 1940s work is more symphonic. The early work sprang from that purist impulse to work within the parameters of the view camera, without a lot of darkroom manipulation. He did talk later about the photographic negative as a musical score and the final print as the performance of that score, which would be interpreted differently each time.” To make this point explicit to the viewer, the museum is showing two prints that Adams made of Moonrise, Hernandez, New Mexico. “Those people who have seen a number of prints of Moonrise can often see very clearly that he printed it differently.” But there is also a difference in the scale of the subject matter. His photographs of buildings, such as 1932’s Factory Building, San Francisco, show a focus on architectural details. So, too, Leaves, Stump, Frost, Yosemite National Park, California (circa 1931) is a landscape on a smaller scale than those for which he would become known. It emphasizes the varied textures and patterns of the disparate natural elements it depicts, which are arranged, perhaps haphazardly or by design, in a compelling relationship. The leaves rest on top of a clear-cut stump, ringed by a light frost and viewed from above. “The later work is quite a bit larger,” Ware says. “It tends to be more dramatic. He tends to pull back and show a broader view. Those are all differences that I hope people will notice in a small-focus show like this.” ◀

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REVIEW

MOVING IMAGES Latest Pixar offering much more than just a puberty PSA TURNING RED

Michael O’Sullivan l The Washington Post Trailer youtu.be/XdKzUbAiswE The themes that filmmaker Domee Shi touched on (in only seven minutes) in her brilliant, Oscar-winning animated 2018 short, Bao — about a young man struggling to cut apron strings in the face of powerful, maybe even suffocating maternal expectations — get a full-blown workout in Turning Red, her richly layered, thematically bold feature-length animated follow-up. Here, those themes have become even more personal. The son is now a daughter — 13-year old protagonist Meilin “Mei Mei” Lee (voice of Rosalie Chiang), the child of Chinese immigrants, growing up in 2002 Toronto and just discovering the wonders of the opposite sex. Shi, who was born in China in 1989, moved to Canada at an early age, and was raised, like the character Mei Mei, in the shadow of the city’s iconic CN Tower. Among other things, the film is a semi-autobiographical love letter to the director’s adopted city: home to Canada’s largest immigrant community, and here populated by a tapestry of characters who are not just from Asia, but the Caribbean, Eastern Europe, and the Indian subcontinent. In short, the hyper-specificity of the film’s temporal, geographic, and cultural setting — vividly rendered, as we have come to expect from a Pixar film — makes Turning Red seem like a version of Shi’s own coming-of-age story. Except for one thing. Mei Mei wakes up one day to discover that she has turned into a giant red panda. In Bao, the son was represented, less literally, as an anthropomorphic bao, or Chinese steamed bun, but only in his mother’s dream. Here, the transformation is quite literal. When Mei Mei changes back to human form — her temporary, werewolf-like metamorphosis is triggered by strong

Turning Red’s message is this: It’s OK to let your freak flag fly.

emotion and can be undone by calming down — her once-black hair remains a bright, flame red. The metaphorical implications are fascinating and, considering this is a Disney film, rather audacious. When Mei Mei confesses to her mother Ming (Sandra Oh) — haltingly, and without specifics — that a change has come over her body, Mom’s first reaction is understandable. “Did the red peony bloom?” Ming asks her daughter, euphemistically referring to the onset of puberty and offering an armful of feminine hygiene products. “You’re now a beautiful, strong flower, who must protect your delicate petals and clean them regularly,” she adds, in one of the film’s more hilarious examples of motherly misunderstanding and circumlocution. But despite the biological implications suggested by its title, Turning Red is much more than a menstrual

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PSA. It turns out that all the Lee women share Mei Mei’s predicament: a magical inheritance from an ancestor who possessed the ability to become a red panda to protect her people. Today, all of Mei Mei’s female relatives — her aunts and grandmother (Wai Ching Ho) — have managed to contain the beast, as it were, via an ancient ritual. On one overly simplistic level, Turning Red evokes and gives new meaning to the once-widespread sexist sobriquet for menstruation: the Curse. But Shi has a lot more to say. In a broad sense, Turning Red is, like Bao, about growing up, growing apart and growing into whoever you choose to become. For Mei Mei, that person is not the same tightly contained woman as her mother or whom her mother wishes her to be. (Ming is Shi’s answer to the perfectionist Tiger Mother: a Panda Mom, as it were.) On one level, Mei-Mei is simply becoming a teenager: “I like boys,” she defiantly declares at one point, “I like loud music, I like gyrating. I’m 13 —- deal with it.” The film’s main plot concerns the efforts of Mei-Mei and her friends to attend a concert by 4*Town, a fictional boy band whose spot-on PG love songs were written by Finneas O’Connell and his sister Billie Eilish, and include the amusing lyric: “I’ve never met nobody like you. “Had friends and I’ve had buddies, it’s true. “But they don’t turn my tummy the way you do.” Zooming out even further, Turning Red delivers a bigger, and in some ways more universal message: It’s OK to not always be in control, to let your freak flag fly. To paraphrase Sigmund Freud, sometimes a red panda is just a red panda. And sometimes it’s a metaphor for that inner spark of creativity, the flame of originality that is to be cherished, not extinguished. With Turning Red, Shi demonstrates that she’s got it, in spades ◀. Comedy/family, rated PG, 100 minutes, Disney Plus, 4 chiles

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MOVING IMAGES chile pages — compiled by Holly Weber

Hotel Transylvania: Transformania is the fourth installment in the Hotel Transylvania franchise.

OPENING HOTEL TRANSYLVANIA: TRANSFORMANIA Trailer youtu.be/aVm4Groct7E Van Helsing’s mysterious new invention transforms Drac and his pals into humans and Johnny into a monster. With their new mismatched bodies, Drac and the pack must find a way to switch themselves back before their transformations become permanent. Comedy/adventure, rated PG, 87 minutes, Violet Crown

REOPENING BELFAST Trailer youtu.be/Ja3PPOnJQ2k This semi-autobiographical film directed by Kenneth Branagh chronicles the life of a working-class family and their young son’s childhood during the tumult of the late 1960s in the Northern Ireland capital. For its frequently painful contours, there’s an abundance of pleasures to be had in Belfast, Kenneth Branagh’s irresistible memoir about growing up amid the Troubles in Northern Ireland. (Ann Hornaday/The Washington Post) Drama, rated PG-13, 97 minutes, Violet Crown

KING RICHARD Trailer youtu.be/yniEzTfcjo8 Will Smith delivers a winning performance in King Richard, a thoroughly entertaining portrait of Richard Williams

32 PASATIEMPO I March 11-17, 2022

— better known as Venus and Serena’s father. In this inspiring movie, the focus is not on the prodigies who would become legends on the tennis circuit but on the man whose ambition helped make his children champions. The film isn’t perfect, and there’s no doubt that Richard Williams has a darker side. Smith refuses to conceal that darkness, instead keeping his character in the light by embodying parental devotion at its most loving and lionhearted. (Ann Hornaday/The Washington Post) Biopic/drama, rated PG-13, 144 minutes, Violet Crown

CONTINUING 2022 OSCAR NOMINATED SHORTS Trailer youtu.be/ckTmBX5qUOI For the 17th consecutive year, ShortsTV and Magnolia Pictures present the 2022 Oscar-nominated short films in all three categories offered: animated, live action and documentary. Not rated, 140 minutes, Center for Contemporary Arts Cinema, Violet Crown

THE BATMAN Trailer youtu.be/mqqft2x_Aa4 The Batman director Matt Reeves has fully bought into the darker-equals-deeper myth, delivering a film that’s as ponderous as it is convoluted and, ultimately, devoid of meaningful stakes. Robert Pattinson gets back to his vampire roots in The Batman, in which he plays the title character with the same moody, broody intensity he brought to his breakout role in Twilight. Ostensibly, The Batman is about

Pattinson’s character solving a string of sadistic murders, but thematically it’s about his personal transformation. In Reeves’ murky, dystopian vision, Batman’s evolution from pariah to messiah isn’t a triumph so much as a grunge-worthy shrug. He may be fueled by newfound righteousness, but The Batman is still kind of a drag. (Ann Hornaday/The Washington Post) Action/adventure, rated PG-13, 176 minutes, Regal Santa Fe Place, Violet Crown

CYRANO Trailer youtu.be/5e8apSFDXsQ Joe Wright gives Cyrano de Bergerac a timely, smartly conceived refresh with Cyrano, his adaptation of an adaptation of Edmond Rostand’s 1897 play. Cyrano (Peter Dinklage) dazzles everyone with his brilliant wordplay and swordplay, but he’s convinced his appearance renders him unworthy of the affections of the luminous Roxanne (Haley Bennett), a devoted friend in love with someone else. What ensues is one of the great tragedies of romantic literature, a heartbreaking exercise in classic irony that serves as a commentary on appearance and reality, facade and authenticity, and human beings’ enduring inability to get out of our own way. Cyrano is unmistakably a period piece, but it’s

SPICY

MEDIUM

MILD

BLAND

HEARTBURN

Read movie reviews online at pasatiempomagazine.com

also infused with anachronistic touches that give it a jolt of offhand humor and fierce urgency. It also joins a crop of recent movies that have sought to revivify the musical form; here, the effort is uneven, if ultimately deeply moving. (Ann Hornaday/The Washington Post) Musical/romance, rated PG-13, 123 minutes, Violet Crown

events unfolding in late 1970s Britain. As the frontwoman of X-Ray Spex, the Anglo-Somali punk musician was also a key inspiration for the riot grrrl and Afropunk movements. Documentary/biography/music, not rated, 134 minutes, CCAC

SPIDER-MAN: NO WAY HOME

Trailer youtu.be/dZRqB0JLizw Death on the Nile is an undeniably handsome, old-fashioned affair — a classic “locked room” murder mystery set on a photogenic river boat in Egypt where a cluster of well-dressed guests have gathered to celebrate the marriage of two pretty people (Gal Gadot and Armie Hammer), until someone gets killed. Make that several someones. Director Kenneth Branagh does double duty as the eccentric Belgian detective Hercule Poirot. It’s a surprisingly intimate portrayal, in a tale that has two mysteries at its center: one involving a killing and the other having to do with a human enigma. The crime’s solution is fine and dandy, but it’s Poirot himself who most fascinates. (Michael O’Sullivan/ The Washington Post) Mystery/crime, rated PG-13, 127 minutes,

Trailer youtu.be/JfVOs4VSpmA No Way Home is a Spider-Man sundae with extra cherries. The concept of a multiverse is the engine that drives narrative, but the high-test rocket fuel that powers it are its performances. Guided by director Jon Watts, whose credits include both of Tom Holland’s previous headlining performances as the wall-crawler, Spider-Man: No Way Home‘s supporting cast has so much fun here that it’s infectious. With Spider-Man’s identity now revealed, our friendly neighborhood web-slinger is unmasked and no longer able to separate his normal life as Peter Parker from the high stakes of being a superhero. When Peter asks for help from Doctor Strange, the stakes become even more dangerous, forcing him to discover what it truly means to be Spider-Man. As much fun as this movie is, it is, at heart, a story of loss and letting go. (Michael O’Sullivan/The Washington Post) Action/adventure,

Violet Crown

rated PG-13, 148 minutes, Regal Santa Fe Place, Violet Crown

DEATH ON THE NILE

DOG Trailer youtu.be/V4tAtp-TyzQ With a dog named Lulu by his side, Army Ranger Briggs (Channing Tatum) races down the Pacific Coast to make it to a soldier’s funeral on time. Along the way, Briggs and Lulu drive each other completely crazy, break a handful of laws, narrowly evade death, and learn to let down their guards to have a fighting chance of finding happiness. While Dog is often funny, it’s not a comedy. Though it’s often sad, it’s not a tragedy either. Instead, it’s a sensitive, engaging, realistic look at what happens when a soldier’s toughest battle starts when they come home. (Kristen Page-Kirby/ The Washington Post) Comedy, rated PG-13, 90 minutes, Regal Santa Fe Place, Violet Crown

DRIVE MY CAR Trailer youtu.be/6BPKPb_RTwI Yusuke, an aging, widowed actor, seeks a chauffeur and turns to his go-to mechanic, who recommends 20-year-old Misaki. Despite their initial misgivings, a special relationship develops between them. Both are broken; Yusuke’s wife has died, having betrayed him before that. We don’t learn about Misaki’s wounds until much later, as the driver and her passenger discover what they share. In its quiet way, Drive My Car is a story about listening, or, in a larger sense, paying attention, and it invites you to do the same. It isn’t just about listening, but healing, and the transformative, terrifying, awesome power of art. (Michael O’Sullivan/ The Washington Post) Drama, not rated, 179 minutes, CCAC, Violet Crown

UNCHARTED Trailer youtu.be/4wCH1K-ckZw Nathan Drake and his wisecracking partner Victor “Sully” Sullivan embark on a dangerous quest to find the greatest treasure never found while also tracking clues that may lead to Nate’s long-lost brother. What transpires is part heist flick, part Mission: Impossible-lite, with a dollop of Dan Brown (for the puzzles), the DNA of Nicolas Cage in National Treasure, and mildly zingy buddy-banter dressed up with a bit of The Treasure of the Sierra Madre‘s existential darkness. (Michael O’Sullivan/The Washington Post) Action/adventure, rated PG-13, 116 minutes, Regal Santa Fe Place, Violet Crown

THE WORST PERSON IN THE WORLD Trailer youtu.be/TDLptdrP-74 A young woman battles indecisiveness as she traverses the troubled waters of her love life and struggles to find her career path. “The Worst Person in the World, Norwegian director Joachim Trier’s latest film, hits on a universal truth: None of us know what the hell we’re doing.” (Observer) Romance/drama, rated R, 128 minutes, Violet Crown

Center for Contemporary Arts Cinema (1050 Old Pecos Trail, 505-982-1338, ext.105, ccasantafe.org), Regal Santa Fe Place (4250 Cerrillos Road, 505-484-6109, showtimes.com/ movie-theaters/regal-santa-fe-13482), and Violet Crown (106 Alcaldesa St., 505-216-5678, santafe.violetcrown.com) SOURCE: Google, YouTube.com

STREAMING

POLY STYRENE: I AM A CLICHÉ

THE ADAM PROJECT

Trailer youtu.be/stXSFuUOdeU Featuring unseen archive material and rare diary entries narrated by Oscar-nominee Ruth Negga, this documentary on Poly Styrene from her daughter, Celeste Bell, and co-director Paul Sng follows Celeste as she examines her mother’s unopened artistic archive and traverses three continents to better understand Styrene the icon and Styrene the mother. Styrene was the first woman of color in the UK to front a successful rock band and used her unconventional voice to sing about identity, consumerism, postmodernism, and

Trailer youtu.be/IE8HIsIrq4o Adam (Ryan Reynolds) is a time-traveling pilot who teams up with his younger self and his late father in order to come to terms with his past while simultaneously saving the future. Science fiction/comedy/adventure, rated PG-13, 106 minutes, Netflix

disappeared on one of the Himalayas’ most deadly mountains, Nanga Parbat. A quarter-century before, his mother, mountaineer Alison Hargreaves, perished on K2, the second highest mountain on Earth. Ballard’s sister, Kate, takes an emotional journey to Nanga Parbat to say goodbye to her brother. Combining years of intimate, unseen family archives with footage of the family that director Chris Terrill shot in the years since Hargreaves died, the documentary tells the unforgettable story of a family who lived — and were prepared to die — for the love of scaling the icy heights of the world’s highest peaks. “This is a story that is compelling, not only because of the vertiginous experience but also the filmmaker’s sincere respect for two courageous people who were determined to face danger to fulfill their desires.” (A Film Life) Available on Monday, March 14. Documentary, rated R, 107 minutes

MOON MANOR Trailer youtu.be/xd6DpM5ex-g On his last day alive, Jimmy (James Carrozo) will show his estranged brother, salt-of-the earth caretaker, sharp-witted death doula, a novice obituary writer, a cosmic being, and the guests at his FUNeral that sometimes the art of living just may be the art of dying. An exploration of what it means to have a “good death” and inspired by the life stories of Carrozo, its 84-year-old lead actor, Moon Manor is the debut feature from female filmmaking duo KnifeRock and features the first original score by Coldplay producers The Dream Team. “An extremely entertaining movie about life, death, and going out on your own terms. It is a beautifully done, heartfelt film.” (Mama’s Geeky) Comedy/drama, not rated, 103 minutes

OFFSEASON Trailer youtu.be/nUINMPV0GGM After receiving a mysterious letter stating that her mother’s grave site has been vandalized, Marie (Jocelyn Donahue) quickly returns to the isolated offshore island where her late mother is buried. When she arrives, she discovers that the island is closing for the offseason with the bridges raised until spring, leaving her stranded. Marie soon realizes that something is not quite right in this small town. She must unveil the mystery behind her mother’s troubled past in order to make it out alive. “Writer-director Mickey Keating conjures the spirits of Lucio Fulci, John Carpenter and H.P. Lovecraft for a retro-layered reimagining of the myth of Persephone.” (Sight & Sound) Horror/mystery/thriller, not rated, 83 minutes

TURNING RED Trailer youtu.be/XdKzUbAiswE Mei Lee (voiced by Rosalie Chiang) is a confident, dorky 13-year-old girl who’s torn between remaining a dutiful daughter and the chaos of adolescence. Her protective, if not slightly overbearing mother, Ming (voiced by Sandra Oh), is never far from her daughter — an unfortunate reality for the teenager. If changes to her interests, relationships, and body weren’t enough, whenever she gets too excited (which is practically always), she “poofs” into a giant red panda. “The hyper-specificity of the film’s temporal, geographic, and cultural setting — vividly rendered, as we have come to expect from a Pixar film — makes Turning Red seem like a version of filmmaker Domee Shi’s own coming-of-age story.” (The Washington Post)

THE LAST MOUNTAIN

Animation/comedy/family, rated PG, 100 minutes, Disney Plus.

Trailer youtu.be/DSqN1MUo9LI In 2019, record-breaking British climber Tom Ballard

Review Page 30 — Streaming items compiled by Michael Abatemarco

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CALE N DAR LI ST I NG GUIDELINES • Submit Pasa Week calendar events via email to pambeach@sfnewmexican.com at least two weeks prior to the event date. • Provide the following: event title, date, time, venue, brief description, ticket prices, contact phone number, and web address. • Inclusion of free listings is dependent on space availability.

ARTS AND ENTERTAINMENT CALENDAR March 11- 17, 2022

CALENDAR COMPILED BY PAMELA BEACH

FRIDAY 3/11

Opera

Gallery and Museum Openings

Lensic Performing Arts Center, 211 W. San Francisco St., 505-988-1234 Strauss’ Ariadne Aufnaxos, with soprano Lise Davidsen, 11 a.m., encore 6 p.m.; $22-$28; tickets.lensic.org/events.

The Met Live in HD

Aurelia Gallery

414 Canyon Rd., 505-501-2915 Of Masters and Myths, paintings by Kenneth Susynski; through April 10; reception 5-7 p.m.

In Concert

Foto Forum Santa Fe

1714 Paseo de Peralta, 505-470-2582 Skate Night, work by photographer Alejandro Sanchez; through May 25; reception 5-7 p.m.

DeVotchKa

Meow Wolf, 1352 Rufina Circle, 505-395-6369 American multi-instrumental, vocal ensemble; 10 p.m.; $24.95; tickets.meowwolf.com/events/ santa-fe.

Kouri + Corrao Gallery

3213 Calle Marie, 505-820-1888 Earth & Sky: Oaxaca to Santa Fe, textiles by photographer Gary Goldberg; through April 16; reception 5-7 p.m.

Masters of Hawaiian Music

St. Francis Auditorium, 107 W. Palace Ave. Slack-key guitarists George Kahumoku Jr., Jeff Peterson, and Sonny Lim; 7:30 p.m.; $22 and $32; 505-886-1251, holdmyticket.com/ tickets/385877.

Smoke the Moon

616 ½ Canyon Rd., smokethemoon77@gmail.com Flower Shop, group show of paintings and sculpture; through April 11; reception 6-8 p.m.

Events

Susan Eddings Pérez Gallery and Studio

Santa Fe Artists Market

717 Canyon Rd., 505-477-4278 Subliminal Release, paintings by Rodney Hatfield; through March; reception 4-7 p.m.

Near the Railyard Water Tower, South Guadalupe Street Outdoor booths, with handmade items by local artisans; 9 a.m.-2 p.m. Saturdays; 505-310-8766, santafeartistsmarket.com.

Turner Carroll Gallery

725 Canyon Rd., 505-986-9800 Together/Apart, photographs by Natalie Christensen and Jim Eyre; through April 17; reception 5-7 p.m.

Santa Fe Botanical Garden tours

Santa Fe Botanical Garden, 715 Camino Lejo, Museum Hill, 505-471-9103 Guided by education manager Jeff Muse; 1-1:45 p.m. Saturdays; $5-$7; kids 12 and under no charge.

Classical Music Beatrice Rana

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Piano recital; music of Scriabin and Ravel; 7:30 p.m.; $45-$95; secure.performancesantafe .org/7457/7458.

Eternal Summer String Orchestra

First Presbyterian Church, 208 Grant Ave., 505-982-8544 Mendelssohn’s String Symphony 9 in C major; 5:30 p.m., doors 5:15 p.m.; donations accepted; fpcsantafe.org/music-and-art/concerts.

In Concert

The Charlie Christian Project

Sweetheart Auction Susan Eddings Pérez Gallery and Studio (717 Canyon Rd.) shows paintings by Rodney Hatfield through March.

Theater/Dance

Nightlife

Santa Fe Woman’s Club, 1616 Old Pecos Trail Tri-M theater company presents the musical; 7 p.m. tonight, 2 and 7 p.m. Saturday, 2 p.m. Sunday; $12-$50; trimsantafe.org.

The Mine Shaft Tavern, 2846 NM 14, 505-473-0743 Folk/blues/honky-tonk duo Willie Heath Neal and Kira Annalise; 7 p.m.; no cover.

Cabaret

Books/Talks

Club Legato, 125 E. Palace Ave., 505-988-9232 Guitarist Michael Anthony, clarinetist Dave Anderson, bassist Micky Patten, and percussionist John Trentacosta; 6 p.m.; $25 and $30; tickets.holdmyticket.com/ tickets/390108.

Metamorphoses

Gregory Allison

Banff Mountain Film Festival

San Miguel Chapel, 401 Old Santa Fe Trail The Los Angeles-based violinist performs selections from his album Portal; 7 p.m.; $10; brownpapertickets.com/event/5361968.

SITE Santa Fe, 1606 Paseo de Peralta, 505-316-3596 Multimedia performance and book signing with photographer Kate Joyce; 6 p.m.; $5; sitesantafe.org/ event/metamorphoses. (See story, Page 16)

Events

Lensic Performing Arts Center, 211 W. San Francisco St., 505-988-1234 Mountain-sports and environmentally themed films; 7 p.m.; $20; tickets.lensic.org/events.

The Waymores

SATURDAY 3/12 Gallery and Museum Openings New Mexico Museum of Art

107 W. Palace Ave., 505-476-5072 Western Eyes: 20th-Century Art Here and Now, regional developments in modernist works; through Jan. 8, 2023.

Pie Projects

924-B Shoofly St., 505-372-7681 Sam Scott: New and Timeless Paintings, through April 16; reception 3-5 p.m.

Santa Fe Community Convention Center, 201 W. Marcy St. Cancer Foundation for New Mexico fundraiser; dinner and dessert; silent and live auctions; vacation raffle; doors 5 p.m.; $100, couples $200; 505-955-7931, cffnm.org.

Nightlife

Gustavo Pimentel

Rosewood Inn of the Anasazi, 113 Washington Ave., 505-988-3030 Guitarist; classical/jazz/pop; 5:30-8:30 p.m. Saturdays; no cover.

Mark Yaxle & Nelson Denman

La Plancha Latin Grill, 3470-C Zefarano Dr. Guitar and cello duo; 5:30-8 p.m. Saturdays; no cover.

Robert Fox Trio

Club Legato, 125 E. Palace Ave., 505-988-9232 Jazz pianist, with John Trentacosta on drums and Cyrus Campbell on bass; 6-9 p.m.; no cover.

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MONDAY 3/14

In Concert

PEOPLE WHO NEED PEOPLE

Theater/Dance

Lensic Performing Arts Center, 211 W. San Francisco St., 505-988-1234 Classically trained crossover string players Wil B and Kev Marcus; 7:30 p.m., encore March 18; $42-$59; tickets.lensic.org/events. (See story, Page 14)

Artists

Black Violin: Impossible Tour

Complexions Contemporary Ballet

Lensic Performing Arts Center, 211 W. San Francisco St., 505-988-1234 Stardust: From Bach to David Bowie; 7:30 p.m.; $54-$94; tickets.lensic.org/events. (See story, Page 20)

Outdoors

Randall Davey Audubon Center & Sanctuary 1800 Upper Canyon Rd., 505-983-4609 Trails through habitats and plant zones ranging from meadows to Ponderosa Pine forests; open 8 a.m.-4 p.m. Mondays-Saturdays.

Nightlife

La Fiesta Lounge at La Fonda, 100 E. San Francisco St., 505-982-5511 Classic country; 7-9 p.m.; no cover.

SUNDAY 3/13 In Concert

Joseph — The Requests Only Tour

Tumbleroot Brewery and Distillery, 2791 Agua Fría St. American folk band; 7:30 p.m.; $31-$36; 505-886-1251, holdmyticket.com/tickets/383682.

TUESDAY 3/15 St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Violin and piano recital; music of Beethoven, Stravinsky, and Tartini; 7:30 p.m.; $35-$115; secure.performancesantafe.org/7472/7473. (See story, Page 14)

OUT OF TOWN

In Concert

Nightlife

Pete White’s Crossroads Jam

Tiny’s Restaurant & Lounge, 1005 St. Francis Dr., 505-983-9817 Musicians and dancers welcome; 4-7 p.m. Sundays; no cover.

Theo Kutsko

Vanessie Santa Fe, 427 W. Water St., 505-984-1193 Cabaret pianist; ‘70s rock and Broadway tunes; 6:30-9:30 p.m. Sundays and Mondays; $10 cover.

Tom Williams Band

La Fiesta Lounge at La Fonda, 100 E. San Francisco St., 505-982-5511 Classic country; 7-9 p.m.; no cover.

The Cabaret Upstairs at Osteria D’Assisi, 58 S. Federal Pl., 505-986-5858 Pianist/vocalist; 7-10 p.m.; 1st and 3rd Thursdays; $5 cover; phone reservations only.

Robert Fox

Ray Chen & Julio Elizalde

Currents 826, 826 Canyon Rd., 505-772-0953 Photographer Emily Margarit Mason describes her work on exhibit in Vibrant Pool; 4 p.m.; no charge. Meetup.com/freethinkersforum Troy Foos of Xcel Energy describes the Sagamore Wind Project in eastern New Mexico; noon; no charge; 505-417-8018.

David Geist

Club Legato, 125 E. Palace Ave., 505-988-9232 Jazz pianist; 6-8 p.m. Thursdays; no cover.

WEDNESDAY 3/16

Secular Alliance of Santa Fe

Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 Opening night of Lucy Prebble’s dark comedy presented by the Santa Fe Playhouse; 7:30 p.m. Thursdays-Saturdays, 2 p.m. Saturdays, 2 p.m. Sundays through April 3; $15-$75; santafeplayhouse/ ticket-sales. (See story, Page 7)

In Concert

Books/Talks Gallery talk

The Effect

Nightlife

Tom Williams Band

Gregory Allison: solo performance on Friday at San Miguel Chapel.

Theater/Dance

Viva MOMIX

Popejoy Hall, 203 Cornell Dr. SE, 505-925-5858 Acrobatic dance troupe; 7 p.m. Sunday, March 13; $25-$69; popejoypresents.com/events/detail/ viva-momix.

Richard Levy Gallery

Tumbleroot Brewery and Distillery, 2791 Agua Fría St., 505-393-5135 Singer-songwriter and indie, folk-pop band; 7:30 p.m.; $25 in advance, $27 day of show; holdmyticket.com/tickets/384215.

Books/Talks John Herbst

Tinyurl.com/johnherbst The author of The Magical Forest: A Fantasy Tale discusses what inspires him to write adventure novels; 4 p.m., via Zoom; no charge.

514 Central Ave. SW, 505-766-9888 Setting a Pulse, multimedia works by Shoshannah White; through April 23; opening Wednesday, March 16, by appointment.

B — The Underwater Bubble Show

Kiva Auditorium, 401 Second St. NW All-ages variety show, led by Italian director and bubble artist Enrico Pezzoli; 7 p.m. Wednesday, March 16; $17-$38; 505-886-1251, holdmyticket .com/tickets/378296. (See story, Page 24)

Danú

THURSDAY 3/17

Popejoy Hall, 203 Cornell Dr. SE, 505-925-5858 Traditional music of Ireland; 7:30 p.m. Thursday, March 17; $25-$59; popejoypresents.com/events/ detail/danu.

Classical Music

Taos

Loretto Chapel, 207 Old Santa Fe Trail Celebrating St. Patrick’s Day with Irish monastic chants, choral music, and ballads; 6:30 p.m.; $24-$29; schola-sf.org.

133 Paseo del Pueblo Norte, 575-758-2052 The Dance of Life: New Works, paintings by Pierre Delattre; opening reception 4-6 p.m. Sunday, March 13; through May 30.

Encore Gallery — Taos Center for the Arts

Schola Cantorum of Santa Fe

Call for New Mexico artists; enter up to 10 illustrations for a multicultural, multilingual, New Mexico-themed alphabet coloring book; artist.callforentry.org/festivals_unique_info .php?ID=9571; Monday, March 14 deadline; meredith.doborski@state.nm.us.

Santa Fe Art Institute 2023 Changing Climate Residency

A program centering on artistic exploration, creative activism, and community-art action related to global warming; deadline 11:59 p.m. April 10; sfai.org/residency/thematic-residencies/ changing-climate. Email residency@sfai.org with questions.

Santa Fe Public Library call for artists

Accepting applications to show works in the Satin/Reichman Memorial Art Gallery (main branch) for one-month shows; paintings and photographs considered; submit photos, slides or digital images; exhibit plan required; santafelibrary.org/artworks-exhibits.

Filmmakers

Kids First! Daddying Film Festival

Albuquerque

Lido Pimienta & Y La Bamba

New Mexico Arts — Art in Public Places

Entries of short films or videos centering on students’ relationships with their dads or father figures sought for a virtual June 15-20 event (open to first graders through college undergraduates). Visit filmfreeway.com/kidsfirstdaddyingfilmfestival for awards/prize details and to upload MP4 or MOV formats; April 15 deadline.

Writers

New Mexico-Arizona Book Awards

Open call for authors/publishers of books about or set in either state; ; April 29 deadline; nmbookcoop.com/BookAwards/entry-info/ entry-info.html.

PASA KIDS Santa Fe Children’s Museum

1050 Old Pecos Trail, 505-989-8359 Fine-Art Fridays 2-4 p.m. weekly; Saturdays: Meet Cornelius the resident reptile 1 p.m.; Science Saturday 1-2 p.m. weekly; Wee Wednesdays: storytime for toddlers 10 a.m.-6 p.m.; by museum admission.

Family Mornings at Folk Art

Museum of International Folk Art, 706 Camino Lejo, Museum Hill, 505-476-1210 Free, monthly storytimes, with hands-on art activities, and explorations in the galleries; 11 a.m.-noon. Saturday, March 12. This session’s focus is the exhibit Dressing with Purpose: Belonging and Resistance in Scandinavia. ◀

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S T R E E T

All The Buzz NONE OF THE FUZZ rootsandleaveskava.com

IN THE WINGS Music

Sweet Honey in the Rock

Popejoy Hall, 203 Cornell Dr. SE, 505-925-5858, Albuquerque A capella ensemble; 7:30 p.m. March 18; $25-$69; 505-277-4569, popejoypresents.com.

Bruce Dunlap & Brahim Fribgane

Gig Performance Space, 1808 Second St., gigsantafe.com Guitarist and percussionist; 7:30 p.m. March 19; $22 in advance only; gigsantafe.tickit.ca.

Rahim AlHaj & Friends

Outpost Performance Space, 210 Yale Blvd. SE, 505-268-0044, Albuquerque The oud artist celebrates 22 years of performing in Albuquerque, with David Felberg, Kim Fredenburgh, James Holland, and other local musicians; 7:30 p.m. March 19; $25 and $30; tickets.holdmyticket.com/ tickets/388801.

Santa Fe Symphony

Lensic Performing Arts Center, 211 W. San Francisco St., 505-988-1234 Florence Beatrice Price (Symphony No. 1), Giuseppe Verdi (Overture to La forza del destino), and Antonin Dvořák (Cello Concerto in B Minor, Op. 104, with cellist Mark Kosower); 4 p.m. March 20; $22-$80; tickets.lensic.org/events.

Eliza Gilkyson

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Celebrating the release of her CD, Songs from the River Wind; 7:30 p.m. March 20; $32-$46; ampconcerts.org/event/385123/eliza-gilkyson.

José González

Lensic Performing Arts Center, 211 W. San Francisco St., 505-988-1234 Swedish singer-songwriter; 7:30 p.m. March 21; $39-$59; ampconcerts.org/event/384213/ jos-gonzalez.

John Funkhouser Quartet

Outpost Performance Space, 210 Yale Blvd. SE, 505-268-0044, Albuquerque Jazz pianist and composer, with Alex Murzyn on saxophone and John Trentacosta on drums; 7:30 p.m. March 24; $15 and $20; tickets.holdmyticket .com/tickets/389523.

Chevel Shepherd

Lensic Performing Arts Center, 211 W. San Francisco St., 505-988-1234 New Mexico country singer; 7:30 p.m. April 8; $29-$75; tickets.lensic.org/events.

Sarah Jarosz

Lensic Performing Arts Center, 211 W. San Francisco St., 505-988-1234 Singer-songwriter; 7:30 p.m. April 14; $34-$49; tickets.lensic.org/events.

The Concert for Lydia Clark

Hillary Smith

Dmitri Matheny

Dave Grusin and Lee Ritenour

Tumbleroot Brewery and Distillery, 2791 Agua Fría St., 505-393-5135 Hillary Smith & Chill House, Joe West & Friends, Alto Street Band, and others perform in a fundraiser to cover the musician’s medical costs; 6 p.m. March 25; $10 suggested donation. Club Legato, 125 E. Palace Ave., 505-988-9232 Flugelhorn player, with pianist Robert Fox, bassist Terry Burns, and percussionist John Trentacosta; Santa Fe Music Collective’s Jazz Club Series; 6 p.m. March 25; $25 and $30; holdmyticket.com/ tickets/389896.

The Met Live in HD

Lensic Performing Arts Center, 211 W. San Francisco St., 505-988-1234 Premiere of the original five-act French version of Verdi’s Don Carlos, 11 a.m. March 26, encore 6 p.m., $15-$28; lensic.org/events/ariadne_auf_naxos.

SITE Santa Fe, 1606 Paseo de Peralta Singing jazz standards, with pianist Robert Fox, saxophonist Alex Murzyn, bassist Terry Burns, and percussionist John Trentacosta; 7 p.m. April 15; $25 and $30; tickets.holdmyticket.com/ tickets/389997. Lensic Performing Arts Center, 211 W. San Francisco St., 505-988-1234 A New Mexico Jazz Festival performance; 7:30 p.m. April 23; $39-$65; tickets.lensic.org/events.

Santa Fe Chamber Music Festival

St. Francis Auditorium and Lensic Performing Arts Center Featuring conductors James Gaffigan and John Storgårds, the Chien-Kim-Watkins Trio, pianist Kirill Gerstein, and festival debuts and premieres; July 17-Aug. 22; individual tickets, flex passes, and subscriptions available; 505-982-1890, 208 Griffin St., santafechambermusic.com.

St. Lawrence String Quartet

Theater/Dance

Kaki King

El Flamenco de Santa Fe, 135 W. Palace Ave., 505-209-1302 Featuring Antonio Granjero and Estefania Ramirez; doors 6:15 p.m. Fridays and Saturdays March 18June 25; show from $25, dinner and show from $43; entreflamenco.com/tickets.

Lensic Performing Arts Center, 211 W. San Francisco St. Music of Haydn, Korngold, and Franck; 3 p.m.; March 27; $25-$85; tickets.sfpromusica.org/events. SITE Santa Fe, 1606 Paseo de Peralta On tour in support of her album Modern Yesterdays; 7 and 8:30 p.m. March 28; $30 in advance, $35 day of show; 505-886-1251, tickets.holdmyticket.com/tickets/387023.

Lala Lala

Meow Wolf, 1352 Rufina Circle, 505-395-6369 Pop singer Lillie West performs in support of her album I Want the Door to Open; 7 p.m. March 28; $16.50; tickets.meowwolf.com/events.

New Mexico Gay Men’s Chorus

Lensic Performing Arts Center, 211 W. San Francisco St., 505-988-1234 You Are Enough, self-affirming musical selections; 7:30 p.m. April 1; $20-$45; tickets.lensic.org/ events.

Lone Piñon

Gig Performance Space, 1808 Second St., gigsantafe.com New Mexico string band; 7:30 p.m. April 2; $22 in advance; gigsantafe.tickit.ca.

El Museo Cultural Sat & Sun only 10:00-3:00 1607 Paseo de Peralta

AMP Concerts presents Eliza Gilkyson March 20 at St. Francis Auditorium.

Events, Etc.

Curative Powers: New Mexico’s Hot Springs New Mexico History Museum, 105 W. Palace Ave., 505-476-5100 Photographic exhibit showcasing thermal baths; opening March 18; on view through Sept. 4.

Debbie Long: Night Ships

EntreFlamenco Spring Season

11 Short Plays by Joey Chavez

Teatro Paraguas, 3205 Calle Marie, 505-424-1601 Directed by Peggy Long, Argos MacCallum, and JoJo Sena de Tarnoff; March 25-April 10; $10 and $20; teatroparaguas.org.

Harwood Museum of Art, 238 Ledoux St., 575-758-9826 Immersive, light-based installations; opening March 19; through Oct. 23.

Teen Improv

Santa Fe Improv, 1202 Parkway Dr., santafeimprov.com Open to ages 11 and up; 1-3 p.m. Sundays, March 20-April 10; $100; no experience necessary.

Recognizing the Alien in Us

Lucy Negro Redux

Lensic Performing Arts Center, 211 W. San Francisco St. A Nashville Ballet production; choreography by Paul Vasterling; music by Rhiannon Giddens; 7:30 p.m. April 3; $35-$115; 505-984-8759, performancesantafe.org.

Lensic Performing Arts Center, 211 W. San Francisco St., 505-988-1234 Astrobiologist Sara Walker explains a new theory of life; 7:30 p.m. March 22; part of Santa Fe Institute’s free talks; tickets.lensic.org/events.

Southwest Chocolate & Coffee Fest

SWAIA Performances

Manuel Lujan Jr. Exhibit Complex, Expo New Mexico, 300 San Pedro Blvd. NE, 505-222-9700, Albuquerque Cooking demonstrations, food pairings, culinary classes, and competitions; 10 a.m.-6 p.m. April 2 and 3; $15-$20; holdmyticket.com/ tickets/388785.

Ballet Folklórico de México

Rossini Sticks Neck Out with “The Barber of Seville”, Nearly Gets Nicked

Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 Fancy dancer Larry Yazzie; 6 and 8 p.m. April 4; $20; call or visit santafeplayhouse.org for tickets. Lensic Performing Arts Center, 211 W. San Francisco St., 505-988-1234 Traditional folk-dance company; 7:30 p.m. April 7; $39-$79; tickets.lensic.org/events.

Guildsofsfo.org/SantaFe/Events.html A Zoom-based presentation with speaker Mark Tiarks; 3-4:30 p.m. April 6; $10.

A Shop like no other

Origins

The Plaza Galeria Daily 1:00-5:00 Closed Tues 66 E. San Francisco

New New Questions, orders: 505.310.9825 Shipments, Coats, Ralli Coats, Clearance Sale Tablecloths, India & Napkins at El Museo Free Trade, at the Sat & Sun Fun Necklaces Plaza Galeria Origins® is a registered trademark used under license. ©2022 Margolis, Inc.

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Albuquerque

Tamarind Institute

2500 Central Ave., SE, 505-277-3901 Maja Ruznic: Migration of Spirits, monotypes; through April 15; tamarind.unm.edu/news-events.

Las Vegas

Kennedy Hall

New Mexico Highlands University, 905 University Ave., 505-425-7511 Las Vegas, New Mexico: A Portrait, photographs by Alex Traube; on view through March; alumni@nmhu.edu; galleries.nmhu.edu/ currently-at-the-kennedy-gallery.

MUSEUMS & ART SPACES Santa Fe Art Vault

El Zaguán (545 Canyon Rd., Suite 2) shows paintings by Anita West through March 25.

AT THE GALLERIES Santa Fe

Artes de Cuba

1700 Lena St., 505-303-3138 Ocho Cubanos Ahora, group show of contemporary works; through May 15.

Axle Contemporary

505-670-5854 or 505-670-7612 Together We Make History, prints by members of Herstory Print Collective. Visit axleart.com for van locations through May 15.

Blue Rain Gallery

544 S. Guadalupe St., 505-954-9902 Crossroads, group show; through Saturday, March 12.

Currents 826

826 Canyon Rd., 505-772-0953 Vibrant Pool, new-media works by Kirsten Angerbauer, Emily Margaret Mason, and Zuyva Sevilla; through May 1.

El Zaguán

545 Canyon Rd., Suite 2, 505-983-2567 Chairs, Telephones, Mailboxes and the Covid Mutation Series, watercolors by Anita West; through March 25.

Evoke Contemporary

550 S. Guadalupe St., 505-995-9902 Medium Rare: Art Created from the Unexpected, group show; through April 23.

Form & Concept

435 S. Guadalupe St., 505-780-8312 Arrivals 2022, group show; through March 26.

LewAllen Galleries

1613 Paseo de Peralta, 505-988-3250 Sixties Abstractions, works on paper, collage, and paintings by Warren Davis; Works from the Estate, paintings by Jack Roth; through April 2.

Obscura Gallery

1405 Paseo de Peralta, 505-577-6708 Invisible World, photographs by Nevada Wier; through March 26.

Webster Collection

54 ½ Lincoln Ave., 505-780-9500 Orderly Chaos, paintings by Charles Gurd; through April 24.

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540 S. Guadalupe St., 505-428-0681 From the Carl & Marilynn Thoma collection: Networked Nature, digital and media works; Saint Somebody: Technologies of the Divine, digital and media art, contemporary Southwestern, and art of the Spanish Americas; through April. Open Tuesdays-Saturdays.

Coe Center for the Arts

1590-B Pacheco St., 505-983-6372 The Virtual Coe: online collection of African, Asian, European, Native American, and Oceanic objects; coeartscenter.org.

Georgia O’Keeffe Museum

217 Johnson St., 505-946-1000 Contemporary Voices: Josephine Halvorson, paintings; through March 28 • Spotlight on Spring, an installation focusing on the newly-conserved painting; through Oct. 10. Core exhibits: Becoming Georgia O’Keeffe, Georgia O’Keeffe at Lake George, 1918-2928, O’Keeffe’s New Mexico, My New Yorks, Ritz Tower, Seeing Beyond/Ver más allá, The Natural World, and Travels; okeeffemuseum.org. Open Thursdays-Mondays.

IAIA Museum of Contemporary Native Arts 108 Cathedral Place, 888-922-4242 John Well-Off-Man: Rhythm and Lines, linocuts; through May 29 • Exposure: Native Art and Political Ecology, international exhibit; through July 10 • Alexander Lee: The Dream of Haere-pō, mural; through July • Continuance: O’Ga P’Ogeh Owingeh, a mural by members of Three Sisters Collective; through Aug. 1; iaia.edu/mocna. Closed Tuesdays.

Meow Wolf

1352 Rufina Circle, 505-395-6369 The House of Eternal Return, interactive installation; meowwolf.com/visit/santa-fe. The Adulti-Verse at Meow Wolf, admission discounts for ages 21+ first Thursdays of the month. Monday Funday, half-price admission for New Mexico residents after 3 p.m. Closed Tuesdays.

Museum of Encaustic Art

18 County Road 55A, 505-424-6487 10th Anniversary of Encaustic Arts Magazine, group show; through May 1.

Museum of Indian Arts and Culture

710 Camino Lejo, Museum Hill, 505-476-1269 A Place in Clay, work by Jemez Pueblo potter Kathleen Wall; through May 16 • Clearly Indigenous: Native Visions Reimagined in Glass, group show; through June 16 • Birds: Spiritual Messengers of the Skies, paintings and pottery depicting the roles birds play in Native culture and history; through July • Painted Reflections: Isomeric Design in Ancestral Pueblo Pottery, historical and contemporary designs; through March 12, 2023; indianartsandculture.org. Closed Mondays.

Museum of International Folk Art

706 Camino Lejo, Museum Hill, 505-476-1200 Yōkai: Ghosts & Demons of Japan, Muromachi Period scroll paintings, Edo Period woodblock prints, and contemporary folk art; through August • Música Buena: Hispano Folk Music of New Mexico, exploring the genre’s roots, through December • Dressing with Purpose: Belonging and Resistance in Scandinavia, traditional folk dress traditions; through Feb. 22, 2023. Core exhibits: Multiple Visions: A Common Bond, works in the Alexander Girard Wing • Lloyd’s Treasure Chest: Folk Art in Focus, thematic displays from the permanent collection; moifa.org. Closed Mondays.

Museum of Spanish Colonial Art

750 Camino Lejo, Museum Hill, 505-982-2226 Trails, Rails, and Highways: How Trade Transformed the Art of Spanish New Mexico, works from the collection; through August • Pueblo-Spanish Revival Style: The Director’s Residence and the Architecture of John Gaw Meem, highlighting aspects of the museum’s architectural features; through Oct. 1 • Youth Gallery, Youth Market artists’ works; spanishcolonial.org.

New Mexico History Museum/ Palace of the Governors

105 W. Palace Ave., 505-476-5100 In Search of Domínguez and Escalante: Photographing the 1776 Expedition through the Southwest, works by Siegfried Halus and Greg MacGregor; through June 19. Core exhibits: Palace Seen and Unseen: A Convergence of History and Archaeology, documents, photographs, and artifacts • The Massacre of Don Pedro Villasur, graphic art by Turner Avery Mark-Jacobs • The First World War, ephemera relating to New Mexicans’ contributions • Setting the Standard: The Fred Harvey Company and Its Legacy, objects from the collection and photographs from Palace of the Governors archives • Telling New Mexico: Stories From Then and Now, artifacts, photographs, films, and oral histories; nmhistorymuseum.org. Closed Mondays.

New Mexico Military Museum

1050 Old Pecos Trail, 505-476-1479 Art! of War, group show of works by and about veterans; New Mexico’s Civil War, display on the history of the Battle of Glorieta Pass; ongoing; free admission.

New Mexico Museum of Art

107 W. Palace Ave., 505-476-5072 Ansel Adams: Pure Photography, nature studies, portraits, and architecture; through May 22 (see story, Page 26) • Poetic Justice: Judith F. Baca, Mildred Howard, and Jaune Quick-to-See-Smith, works by the muralist, the installation artist, and the painter; through June 19 • Selections from the 20th Century Collection, Southwestern art; through December • Western Eyes” 20th-Century Art Here and Now, regional developments in modernist works; through Jan. 8, 2023; nmartmuseum.org. Closed Mondays.

Poeh Cultural Center and Museum

78 Cities of Gold Rd., Pueblo of Pojoaque, 505-455-5041 Di Wae Powa: They Came Back, Historical Tewa Pueblo pottery • The Why, group show of works by Native artists • Nah Poeh Meng, 1,600-square-foot core installation highlighting the works of Pueblo artists and Pueblo history. Closed Sundays.

SITE Santa Fe

1606 Paseo de Peralta, 505-989-1199 Helen Pashgian: Presences, sculpture; through March 27 • Kate Joyce: Metaphysics, photographs; through April 22; sitesantafe.org. Open ThursdaysSundays.

Wheelwright Museum of the American Indian

704 Camino Lejo, Museum Hill, 505-982-4636 Activation/Transformation, installation by Nathan Young of objects from the collection; through April 3 • Indigenous Women: Border Matters, group exhibit; through April 23 • Abeyta/ To’Hajiilee Ké, paintings, sculpture, and jewelry by Narciso Abeyta (1918-1998), Elizabeth Abeyta (1955-2006), Pablita Abeyta (1953-2017), and Tony Abeyta; through Oct. 2. Long term: Center for the Study of Southwestern Jewelry, devoted to Diné and Pueblo traditions • Portraits: Peoples, Places, and Perspectives, paintings • Medicinal Healer, An Artist to Remember: Charlie Willeto; folk-art carvings; wheelwright.org. Open Tuesdays-Saturdays.

Albuquerque

Albuquerque Museum

2000 Mountain Rd., NW, 505-243-7255 Indelible Blue: Indigo Across the Globe, reflecting on the complex history of the dye and its cultural and geographical significance; through April 24 • The Printer’s Proof: Artist and Printer Collaborations, retrospective group show; through May 15 • Cannupa Hanska Luger, multidisciplinary works; through June; cabq.gov/culturalservices/ albuquerque-museum/plan-your-visit/admissionticketing. Closed Mondays.

Holocaust and Intolerance Museum of New Mexico

616 Central Ave. SW, 505-247-0606 Overturned: A Life Etched in Stone • Hate in America. Permanent exhibits, With Evil Intent • African American Experience, Phase 2: Slavery 1866-1945 • Czech Torah • Armenian Genocide • Hidden Treasures • Colonization: Racism and Resilience; nmholocaustmuseum.org; Open Wednesdays-Saturdays.

UNM Art Museum

203 Cornell Dr. NE, 505-277-4001 Mysterious Inner Worlds, Mix-media drawings, sculpture, and installation by Anila Quayyum Agha; through July 2; artmuseum.unm.edu/exhibition.

Taos

E.L. Blumenschein Home and Museum 222 Ledoux St., 575-758-0505 Hacienda art from the Blumenschein family collection and European and Spanish colonial antiques; taoshistoricmuseums.org. Closed Wednesdays and Thursdays.

Harwood Museum of Art

238 Ledoux St., 575-758-9826 Gus Foster: Panoramic Photographs of Northern New Mexico; through April 17; harwoodmuseum .org. Open Wednesdays-Sundays.

Kit Carson Home & Museum

113 Kit Carson Rd., 575-758-4082 Built circa 1825 and purchased by Kit Carson for his wife, Maria Josefa Jaramillo; kitcarsonmuseum.org. Open daily.

La Hacienda de los Martinez

708 Hacienda Way, 575-758-1000 A Northern New Mexico-style Spanish colonial “great house” built in 1804 by Severino Martinez; taoshistoricmuseums.org. Open daily.

Millicent Rogers Museum

1504 Millicent Rogers Rd., 575-758-2462 Ongoing exhibits: Tuah-Tah/Taos Pueblo: Home, highlighting the Pueblo’s culture and artistic achievements • Pop Chalee! Yippee Ki Yay!, paintings; millicentrogers.org. Closed Wednesdays.

EXHIBITIONISM Michael Abatemarco I The New Mexican

CHARLES GURD

Homage Matisse #1 (2021), oil on canvas The abstract paintings of artist Charles Gurd reflect the seemingly random nature of the physical world, but within a field that takes on a sense of a unifying principle. Poised somewhere between the chaos of fragmentation and order of homogeneity, his canvases reflect a sense of universal balance, reflecting the fractal allusions present in abstract expressionist Jackson Pollock’s drip paintings and the abstract qualities of paint application in the work of the impressionists. His works envelop the viewer, inviting concordance between their inherent sense of a unified field and the viewer’s natural inclination to seek patterns. The Webster Collection’s exhibition Charles Gurd: Orderly Chaos continues through April 24 in conjunction with an exhibit of Gurd’s works at the Santa Fe Institute (1399 Hyde Park Road, 505-984-8800, santafe.edu). Webster Collection, 54 1/2 Lincoln Ave., 505-954-9500, webstercollection.com

KENNETH SUSYNSKI

Hymn of Demeter (2022), oil on linen

TALI WEINBERG

Drainage Study 6: Entwined (2021), temperature data for each of the 18 major river basins in the continental U.S., petrochemical-derived medical tubing, organic cotton dyed with plant- and insect-derived dyes and mineral mordants Emerging and established artists working in the mediums of ceramics, textiles, paintings, holograms, works on paper, and artist books are featured in Arrivals 2022. The group exhibition features artists, many of whom are from historically marginalized communities, whose works are at the forefront of contemporary craft, art, and design. The show is a prelude of artists participating in Form & Concept’s 2022 exhibition schedule and includes Tali Weinberg, Edie Tsong, Natalie Rae Good, and Jami Porter Lara. The exhibition can be viewed through March 26. Masks and social distancing are required.

Raised in Germany, Turkey, and Korea, artist Kenneth Susynski was influenced by diverse cultures and customs that, combined with visits to many of the museums in the regions in which he lived, shaped his appreciation for art. His interest in the figure was influenced by a lifelong love of historic and contemporary black-and-white photography. His figurative paintings combine elements of abstraction and representational imagery, which reflect the timelessness of myths through a contemporary lens. Inspired by the works of the old masters, who reinterpreted Biblical and mythological motifs in their own time, his works reflect the enduring subject matter but with a wry twist and in a contemporary expressionist style. Of Masters and Myths, a solo exhibition of his work, continues through April 10. A reception for the artist takes place at 5 p.m. on Friday, March 11. Aurelia Gallery, 414 Canyon Road, 505-501-2915, aureliagallery.com

Form & Concept, 435 S. Guadalupe St., 505-780-8312, formandconcept.center

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True Story by Danielle J. Lindemann