The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
May 23, 2014
John Torres Nez, Paula Rivera, and Tailinh Agoyo breathe new life into the Santa Fe art scene with the first annual
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PASATIEMPO I May 23 - 29, 2014
INCLUDING:
JULY 22-26
Historic art, a family day, great rhythms, short films, lectures, flamenco, and sumptuous food and celebration! FEATURING : Cipriano Vigil, Nasario Garcia, Nicolasa Chavez, La Sociedad Folklórica, the Nacha Mendez Quartet, La Sociedad Colonial Española de Santa Fe, AnnaMaria Cardinalli, Dolores Valdez de Pong and Nosotros, among others!
The Museum of Spanish Colonial Art
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THE SANTA FE NEW MEXICAN May 23, 2014 www.pasatiempomagazine.com
ON THE COVER 28 Native resolution Indian Market has some stiff competition this summer — the Indigenous Fine Art Market makes its debut at the Railyard in August. The result of a grassroots campaign to start a new market for Native artists, IFAM was developed by former Southwestern Association for Indian Arts staffers John Torres Nez, Tailinh Agoyo, and Paula Rivera. Their resignations from SWAIA in March and April surprised many, and the plans for the new market were soon underway, with Torres Nez serving as president, Agoyo as director of marketing and creative services, and Rivera as director of program operations. On our cover, from left, Rivera, Torres Nez, and Agoyo; photo Jane Phillips/The New Mexican.
BOOKS
MOVING IMAGES
8 In Other Words Hannah, Delivered 10 Severin Fowles Grand unified theory 12 Picturing a novel Peter Heller
36 38 40 42
MUSIC AND PERFORMANCE 14 16 18 22 24
Locke Belle Tasting Menu Pasa Pics
CALENDAR
Onstage High Mayhem at CCA Pasa Tempos CD reviews Herbie Mann The magic flutist If you wanna sing out Greg Grissom Listen Up Shakespeare on screen
49 Pasa Week
AND
ART 32 Running wild Contemporary Naturalism
6 Star Codes 48 Restaurant Review: Del Charro Saloon
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Pasatiempo is an arts, entertainment & culture magazine published every Friday by The New Mexican. Our offices are at 202 E. Marcy St. Santa Fe, NM 87501. Editorial: 505-986-3019. E-mail: pasa@sfnewmexican.BOOKS PASATIEMPO EDITOR — KRISTINA MELCHER 505-986-3044, kmelcher@sfnewmexican.com
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Contributors Loren Bienvenu, Taura Costidis, Laurel Gladden, Peg Goldstein, Robert Ker, Jennifer Levin, Robert Nott, Adele Oliveira, Jonathan Richards, Heather Roan Robbins, Casey Sanchez, Michael Wade Simpson, Steve Terrell, Khristaan D. Villela
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mateo romero New Paintings May 23 – 31, 2014 Artist Reception: Friday, May 23rd, 5 – 7 pm
STAR CODES Heather Roan Robbins
This Memorial Day weekend is great for getting out of a rut and having an adventure. Early next week we resonate with memories until an adaptable new moon in verbal Gemini helps us finish one conversation and start a new one. Right now Venus in feisty, direct Aries and Mercury in alert, verbal Gemini keep us active, reactive, engaged, curious, and wandering with an easily lit fuse — but we are just as easily able to forgive and let live afterward. Minor crises can bring major cooperation, because generous Jupiter and conservative Saturn — the planets we most associate with the social-political realm — form a supportive trine this week. We have an opportunity for an unusual cross-party collaboration. Sparks strike as the weekend begins and a rebellious, revolutionary Aries moon tap dances on Mars, Jupiter, Uranus, and Pluto. This can just give us enough energy to take us out of our usual orbit for a holiday weekend, but where the sparks hit dry tinder, we may see conflagration. Venus in Aries encourages us to react quickly but forgive easily. Mercury in its own sign of Gemini can leave us a little edgy. Venus in bold Aries and Mercury in glib Gemini can now help even a shy person make new acquaintances. Let’s get our summer travel plans made now. Mercury is retrograde from June 7 to July 2 and anything to do with communication or transportation begins to glitch up toward the end of the week. Venus and Mercury leave these outgoing signs and enter more domesticated and introverted Taurus and Cancer by the end of the week and bring our attention inwards. Friday, May 23: Our attention wanders and so do our feet as the sensitive moon in Pisces squares Mercury. Let’s watch what feelings we trip, because the moon enters Aries midday and provokes a strong desire to tell people off or walk into adventure. Defer long-term decisions while everyone’s in a reactive-escapist mind-set. Saturday, May 24: A difficult morning can segue into a positive afternoon after the Aries moon opposes Mars and conjuncts Uranus. We resist structure, order, or other people’s ideas. But given freedom this morning, we can creatively collaborate this afternoon as Jupiter trines Saturn. Tonight, we need freedom and excitement on our own terms. Sunday, May 25: Talk it out, walk it out as the Mercury sextiles the nodes and the Moon conjuncts Venus. Take a break from ordinary ways and the come back to the familiar issues with a fresh perspective. The mood shifts to a more comfortable, relaxed vibe as the Moon enters Taurus tonight, our heels dig in and our thoughts turn to comfort foods and friendly people. Monday, May 26: Tiredness may catch up with us. Memories resonate and need respect midafternoon as the Moon trines Pluto. Tuesday, May 27: Even sober types may feel hung over. Stay pragmatic, pick up lost threads, and encourage a positive mood midday as the moon sextiles Jupiter. Tonight check what needs to be said or noted before sleep arrives as the moon enters nervy Gemini.
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PASATIEMPO I May 23-29, 2014
Wednesday, May 28: Follow up on loose threads and complete a chapter this morning. A noontime new moon in Gemini begins a fresh conversation and brings quirky irreverent humor. We’re unusually open to poetry as the sun squares Neptune — fiction writing flows, but concrete facts need confirmation. Conversation continues deep into the night. Thursday, May 29: The mood is diffuse and a bit scattered — we may second guess yesterday’s decisions as Venus enters cuddly and securityconscious Taurus while Mercury turns our thoughts homeward as it enters Cancer. Return to a fond memory and build on it. ◀ www.roanrobbins.com
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IN OTHER WORDS book reviews Hannah, Delivered by Elizabeth Jarrett Andrew, Köehler Books, 316 pages Hannah, Delivered is an imperfect book with loads of potential, if only an editor had coaxed it into the wonderful novel it could have been. As is, it’s a novel that reads too much like a memoir — the kind that struggles with pacing, with erratic decisions about when to show the action and when to summarize what happened. The conceit set out in the first chapter — of an experienced midwife telling a young midwife about her early days in the profession — doesn’t ultimately serve any purpose, since neither the teller nor the phantom listener has anything at stake in the conversation. The prose quality is uneven, and there is an edge of didacticism that subverts the book’s more literary charms. All that said, Hannah, Delivered is a page-turner. The subject matter — pregnancy and childbirth — is inherently dramatic. Elizabeth Jarrett Andrew has found a topic with built-in interest: regardless of whether or not you have children, want children, or are averse to the whole idea of parenthood, no one escapes being born. Hannah Larson works in reception at a hospital in St. Paul, Minnesota. The daughter of a Lutheran minister, she is in her early 30s and engaged to a handsome but bland man. On a busy night at the hospital, she is pulled in to assist with a birth. Andrew gives Hannah’s life prior to getting the baby-catching bug short shrift; very soon, we are with Hannah in Sangre de Cristo, New Mexico — a thinly fictionalized version of Taos — at Birth House, embarking on a two-year midwifery apprenticeship, which she sees as her calling. The story takes place in the not-too-distant past, before midwifery and home births were legal in Minnesota, to which Hannah returns after her training. One of the major plot twists hinges on that illegality, as well as the potential complications of a breech birth. The story is also about Hannah growing as a person — opening her heart and mind to people of different backgrounds and temperaments. Hannah is quite provincial in her worldview at first, and while Andrew’s attempts at showing how Hannah changes into someone much more accepting reflect the truth of the character, the first-person point of view renders them clumsy and a little self-congratulatory. A third-person point of view would have allowed the reader to get to know Hannah more honestly, while still being able to view the people she meets through her eyes. Stuart, a gay man training to be a midwife at Birth House, lends conflict to the story by virtue of his 8
PASATIEMPO I May 23-29, 2014
gender. Some people take offense at the idea of a man becoming a midwife, because home birth is seen as the province of women. It’s a provocative story line, but we only experience it filtered through Hannah and her retelling of what Stuart has to say about it. Hannah and Stuart become good friends, but he embodies some silly stereotypes that, although loving in their application, might have been avoided or rounded out if we were given a peek into his mind. Several other characters also beg for fleshing out in this manner, among them Hannah’s father, the widowed minister; Dr. Jorgenson, the elderly obstetrician who presided over Hannah’s birth; and Melinda, the strong-willed woman for whom Hannah risks arrest to oversee her labor. There is much more going on here than midwifery, though it’s an interesting and important topic that Andrews knows how to write about with medical accuracy and resonant detail. But the potential for a truly fantastic literary novel is readily apparent, and its lack of development is deflating throughout the reading experience. The novel’s subplot revolves around Hannah learning family secrets about her own birth and coming to terms with how she was raised. The secrets are big and the lifelong ramifications huge, and though this is interesting, it rings of self-help or therapy fiction — another pitfall that might have been avoided with a third-person narration. Taking the narrative outside of one speaker with one point of view means an authorial voice can make pronouncements about the world or human nature. In this case, Hannah is left to reveal her own epiphanies to the reader, which sometimes feels inelegant. Additionally, knowing how her father felt about these secrets, not filtered through Hannah, would have deepened the meaning of those epiphanies for the reader. Though there is more than a whiff of advocacy in the pages of Hannah, Delivered, the information about the benefits of home birth and the “medicalization” of pregnancy as a health problem, rather than a natural state of being, isn’t preachy. Pregnancy and childbirth are as much a reproductive-rights issue as abortion and birth control, themes that Andrews embraces with zeal. While the book could benefit from a few more rounds of revision, it could also be said that such a process might have stripped Hannah, Delivered of its energy and joy, qualities it has in abundance. — Jennifer Levin Elizabeth Jarrett Andrew gives a reading at 4 p.m. on Saturday, May 24, at Collected Works Bookstore (202 Galisteo St., 505-988-4226).
SUBTEXTS High on hemp Doug Fine, a self-described journalist and solarpowered goat herder, tells us right up front in Hemp Bound: Dispatches From the Front Lines of the Next Agricultural Revolution (Chelsea Green Publishing) that he has an interest in hemp cultivation. His “Sweetheart” imports hemp fiber from China to make clothing, and Fine wears a shirt she’s made to interviews he gives on the economic value of the plant. He claims to spoon $800 worth of imported hemp oil into his family’s breakfast shakes each year. The author, who reads from his book at 6 p.m. on Friday, May 23, at Collected Works Bookstore (202 Galisteo St., 505-988-4226), plans to plant 10 acres of the crop as soon as it’s legal. And that day, he suggests, is coming soon. Several states have already legalized the production of industrial hemp, and the recent farm bill signed into law by President Obama in February carried a provision to allow universities and state agricultural departments to do research on industrial hemp. Why hemp is illegal seems a mystery and is barely addressed by Fine. The old argument — if it looks like marijuana, then it must be marijuana — never held water, as anyone who ever tried to get high on ditch weed picked along a Nebraska roadside can attest. But the economic value of the plant is undeniable (hemp planted ahead of World War II for rope making literally went wild). Today, hemp is a profitable and growing business in Canada, where it’s grown for its oil; in China, where it’s grown for its fiber, which is converted into textiles; and in Europe, where it’s harvested for its industrial uses. Demand? That Canadian oil market is growing 20 percent a year. Fine examines the uses that already exist as well as the potential for hemp to be used as a building material and a fuel source. He profiles biologists, geneticists, and entrepreneurs involved in the growing hemp revolution. And he makes a case for hemp as a sustainable food and industrial crop — it requires few or no pesticides, is droughtresistant, and aids in soil improvement — a crop that might contribute greatly to normalizing climate change. His book is researched and just skeptical enough — his conclusions often include the word “promise” — that you don’t have to be high to believe that indeed, hemp might save the world. — Bill Kohlhaase
JUST A FEW OF OUR MUSEUM-QUALITY ARTISTS Victoria Adams • Marla Allison • Keri Ataumbi • Ernest & Veronica Benally • Mike Bird-Romero • Sally Black Black Eagle • Nocona Burgess • Joe & Althea Cajero • Caroline Carpio • Richard & Jared Chavez • Randy Chitto Upton Ethelbah • Jason Garcia • Gaussoin family • Goldenrod • Benjamin Harjo, Jr. • Tony Jojola • Michael Kirk Mona Laughing • Estella Loretto • Anthony Lovato • Samuel Manymules • Les Namingha • Chris Pruitt • Maria Samora Penny Singer • Roxanne Swentzell • Dominique Toya • Lonnie Vigil • Kathleen Wall • Robin Waynee See website for complete list
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Paul Weideman I The New Mexican
GRAND UNIFIEDTHEORY
Ron Weathers/Mountain Mist Photography
Severin Fowles on the intersection of Pueblo and Catholic beliefs
Severin Fowles Right, photo from a Severin Fowles survey in the Río Grande Gorge demonstrating what he calls a “marriage of Catholic and Native American rock-art traditions”; top, a cross and morada in the Pilar area
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PASATIEMPO I May 23-29, 2014
atholic religion is a matter of choice, while Pueblo religion is a matter of being Pueblo.” Does this statement, from Severin Fowles’ book An Archaeology of Doings: Secularism and the Study of Pueblo Religion (SAR Press), help us understand how both belief systems can coexist on the pueblos? Ever since the 1950s, most anthropologists have neutralized the conflict between the two via the concept of compartmentalization: keeping the Christian practice “cordoned off from traditional kiva doings, to which the Pueblos are clearly still committed,” as Fowles writes. “That’s one way out of the paradox, to say that perhaps they are not both religions,” he told Pasatiempo. “Perhaps it’s apples and oranges.” There are many ways in which the Native and imported systems may differ significantly. “The language of religion implies something quite specific within the Western tradition, and I began to worry that we [anthropologists] were imposing a great deal upon other people,” said Fowles, explaining his motivation for writing An Archaeology of Doings. The School for Advanced Research presents Fowles, an assistant professor of archaeology at Barnard College, in a Thursday, May 29, lecture at the New Mexico History Museum. The rather vague word in the book’s title — “doings” — is a term used in Native communities, and one that points to a way of life that can fully integrate a spiritual dimension. “Where we might talk about rituals and secret ceremonies that will be closed to the public, this is a term that frequently arises when you’re in dialogue with Native people: ‘We’re having our doings.’ “Religion stands apart from other spheres of modernist life, and you simply can’t make that claim about Native American doings. [It’s like] ‘This is our religion. This is the term anthropologists told us we could use to protect places that are deeply vital to our existence.’ That works fairly well in some cases, but there are plenty of moments when the discourse of religion just doesn’t cut it, so now you have Native communities saying, No no no, this is more important than just saying that [such places] are sacred; this is life itself. “To say that Native American doings may be something different from religion is to try to create space for their practices, places, and convictions as having the same kind of bedrock significance that in a secular society science does.” Fowles, asserting the need for “a humble stance” as an investigator from the outside, said he is not an authority on Pueblo religion, although he has read virtually everything available on the subject. A favorite volume is God Is Red: A Native View of Religion by Native writer and activist Vine Deloria Jr. Fowles calls the book, first published in 1972, “one of the most profound anthropological and philosophical texts of the 20th century.” But Deloria’s revelations have been widely ignored, even by anthropologists who seek to understand Native cultures. “It’s shocking. Vine Deloria was the first of the indigenous scholars to really push back against the objectification of his communities, and that was a source of deep embarrassment within the anthropological tradition. God Is Red is this profound text where he did a reverse anthropology — studying the West, studying Anglos, studying the Judeo-Christian tradition — and he did an exceptional version of anthropology in which ‘the other’ happens to be white guys. It’s a radical text, and I want to emphasize it in my talk.” “Deloria opens up an analysis that can allow us to better understand how provincial our traditions in the West are, so it gives us key perspective
on, as Deloria would put it, how remarkably obsessed with history we are in the West, and how we so willingly overlook the sovereignty of place.” This contrast in prioritizing time versus place is one of the gulfs that have existed between Natives and Catholic Hispanics. There are instances, however, when they have come together. One is brought out in a recent essay, “Staging the Passion in a Pagan Land” by Fowles and archaeological anthropologist Darryl Wilkinson. The scholars recall the fact that Christians routinely transform pieces of ground into “biblical landscapes” by planting crosses — in effect, transporting the power of Jesus’ Crucifixion and Resurrection to each new spot. Fowles and Wilkinson write that this is a bizarre act to Native Americans, for whom events “are non-exportable, and performances are necessarily site-specific.” The essay gives a detailed history of the sect known as the Penitente brotherhood (Los Hermanos de la Fraternidad Piadosa de Nuestro Padre Jesús Nazareno), which became prominent on the New Mexico frontier in the early 1800s and “made the crucifixion sensuously present in the Southwest” via its members’ “bloody Lenten rituals.” The writers present detailed accounts of self-flagellation going all the way back to Juan de Oñate during his party’s 1598 colonization journey north from Mexico. The authors paint a detailed picture of a historic Penitente landscape at Pilar (formerly Cieneguilla) at which are extant Native American rock-art panels made by hunter-gatherers thousands of years ago and Catholic-made petroglyphs. Strangely enough, by juxtaposing their iconography with that pre-existing on the rocks, the Penitentes appear to have symbolically interacted with those who preceded them on the site, rather than manifesting the perhaps expected gesture of obliteration, or at least superimposition. “In the work we’ve done at the morada site, you can see the intersection of two very different forms of religiosity,” Fowles said. “On one hand you see the classic Abrahamic tradition of taking the event of the Passion and Resurrection and exporting it everywhere. On the other hand, here you can see a religious tradition that privileges history start to unravel as it confronts the sway of place. “But the Penitentes were folks who were strongly intermarried with Native people — they were genizaros — and a lot of the Penitente traditions have long been described as having a great deal of Native influence. So I think what we see there is a reorientation of Hispano Catholicism toward something that is place-based.” If this sounds like an improbable concession, Fowles reminds us that Hispano communities today “assert such a strong sense of place. It’s quite a controversial statement, but indeed there’s a kind of assertion of indigeneity on the part of many Hispano communities. This was a big part of Chicano activism, of course.” Indigeneity in a people only on this land for four centuries? “Yes. I think the most enlightened moment in Deloria’s text is that he had a way of talking about being indigenous that isn’t just a possession of Native Ameican people, but it’s a particular relationship to land. It really doesn’t have to do with how long you’ve been there. It’s a particular set of relationships, and one needs to learn how to become indigenous. From Deloria’s perspective it’s vital that Europeans, especially, learn how to become indigenous, because in the meantime they’re screwing up everything for everybody. “My analysis of the archaeological record in Northern New Mexico, which is the bread and butter of An Archaeology of Doings, is looking at a lot of the practices that we might call religion as evidence of communities that are struggling over time to relate to the land in a way that is mutually beneficial, which is to say they’re expending effort to try to learn how to become indigenous to a particular place. I see that in things like shrine features built on mountaintops that are oriented in particular ways, which for me is like turning dials to receive the broadcast of the land itself.” ◀
details ▼ “God Is Red, Still!” lecture by Severin Fowles, presented by the School for Advanced Research ▼ 6:30 p.m. Thursday, May 29 ▼ New Mexico History Museum, 113 Lincoln Ave. ▼ $10 at the door; call 505-954-7200 or see www.lectures.sarweb.org
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here’s plenty that’s familiar in Peter Heller’s new novel, The Painter: Canyon Road art galleries, the Tesuque Village Market, a certain hotel on Don Gaspar, Pasqual’s, thunderstorms in the Sangre de Cristos. Heller’s character Jim Stegner travels — you might say flees — from Colorado to Santa Fe to paint a commission, a portrait of twin girls. The settings he moves through during his time in Santa Fe are as recognizable as if they were pulled from a postcard. “I never actually lived in Santa Fe,” Heller said from his home in Denver. “But I was in and out a lot after Outside magazine moved there [Heller is a contributing editor]. My dad lived there for 25 years, still does.” Heller’s novel also paints a recognizable picture of the local art scene and the art world in general. Heller dedicates The Painter to “all the artists in my family.” “My dad’s wife, my stepmom, is a serious painter. My dad also paints. My mother is a brilliant sculptor, and her husband is a sculptor. Mom painted in Paris in her 20s. My cousin, Eric Aho, is a well-known artist. So I’ve been around a lot of artists. Me? I can’t even draw.” Jim Stegner, the painter of the novel, also seems familiar. He’s modeled after artist and former Taos resident Jim Wagner. Like Wagner, Stegner loves fishing, has a history of drinking and carousing, sports a white beard, and has a unique, much-copied style of painting that sometimes places people and animals in imaginative juxtapositions. Also like Wagner, Stegner has shot a man, spent time in prison, and lost a daughter in a drug deal gone bad. “That’s where the biography turns fictional,” said Heller. “Wagner hasn’t killed a man like Stegner does.” Haunted by memories of his dead daughter, Stegner wrestles with his own sense of control as he moves through life. Like Wagner, Stegner’s shooting involves a suspected pedophile. In the novel, a theater owner makes suggestive remarks to Stegner about his daughter, who’s then still alive. The painter reacts violently, almost without thinking. Luckily, his aim is off. The act gives him time behind bars to think about his lack of control. Years later, when he sees an outfitter beating a horse with a club, his anger on behalf of the innocent again comes into play. Both of Heller’s novels — his first is The Dog Stars — share a common theme. The Dog Stars is set in a world that has literally been stripped of its humanity. Two epidemics and a combination of ecological disasters have swept most of mankind away. Hig, flying what might be the only airplane left on earth, seeks moments of quiet in which he can forget himself, while struggling against other survivors who want his food, his fuel, and his life. In both books, the central characters are looking for peace in circumstances that make finding it difficult. “I think [both stories] are about men trying to redeem their lives after terrible loss,” the author said, “ to stay connected to the things they love after they’ve lost them.” Has Heller himself suffered the sort of terrible personal loss that marks his characters’ lives? “Anyone who gets to be my age [Heller is 55] has suffered some kind of loss — maybe not something that would make headlines, but a sense of it. Loss is universal. I’ve lost grandparents that I dearly adored,
Tsangpo River. He has also written books on efforts to defend whales in the Antarctic, travels in remote China, and the aesthetics of surfing. Starting a fiction career was like coming home, he said. He started his first novel with the first sentence and, he explained, just let it rip. “I called a buddy who knew about fiction and structure and asked him if there was anyone who just started writing the book from the opening sentence. He surprised me when he said Stephen King and, even more surprising, Elmore Leonard, whose work seems so structured and thought out. It gave me permission to do it my way.” While Heller’s characters share his interests and experience with fishing, hunting, wilderness travel and the like, writing about a painter proved a challenge. Despite his experience with painters and the art scene, creating paintings with the written word was something new. Sections of the book are identified with the titles of Stegner’s work — the chapter on his arrival in Santa Fe is called “In Hostile Country, Oil on Canvas, 20 x 24 inches.” The paintings themselves, with strangely colored birds sitting on subjects’ heads and unlikely pairings of men and beasts, offer clues to 23 Stegner’ IFAMsQ personality. and A How does one create a painting as a writer, especially paintings so laden with imagery and symbolism, without touching brush to canvas? “I just imagined the essence of them,” Heller said, “imagined what was in [Stegner’s] head. I wanted to portray an exuberant, joyful sense of the art, that kind of feeling of gladness you get looking at a Matisse. The paintings just came to me as they came to the character. As they unfolded to him, they unfolded to me.” The imagery of the paintings, the unexpected juxtapositions and coloring, developed in much the same way that the imagery of poetry develops. “The way Stegner describes the art coming to him, letting go and letting the images roll out of his mind, letting them speak to him — to me that’s analogous to writing poetry.” (Heller, who has written poetry since his Iowa days, has just finished a new collection of poems.) You might recognize the men in Heller’s fiction and how they relate to one another. Hig survives with an older buddy named (not so cryptically) Bangley, an expert in guns and larger firepower. Stegner spends time fishing with the man who wants to kill him. That’s what’s unfamiliar in Heller’s fiction, the unusual situations, the sense of being shadowed and stalked, and the gunplay that’s common to both novels. In this sense, the stories are of a classic type: unusual men, the kind we can identify with even if we’re not painters or pilots, thrust into unusual, even tragic situations. Yet at heart, these men are not so different than those we know. “I’ve wondered what Jim Wagner must think if he’s been reading the book,” Stegner said. There’s a chance we might find out. ◀
PICTURING A NOVEL PETER HELLER’S THE PAINTER
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PASATIEMPO I May 23-29, 2014
Bill Kohlhaase I The New Mexican
lost animals that were like brothers to me. Many of us have gone through terrible breakups.” Heller’s men are manly — they’re fisherman, they’re comfortable with firearms, they lust after women — but they aren’t the clichéd macho types you might expect. Hig loves to hunt but doesn’t enjoy killing. These sensitivities extend to characters that are only memories. Hig recalls hunting with his Uncle Pete, “an unreconstructed man of letters and of action in the mode of Ernest Hemingway and Jack London, except that he taught ballroom dancing.” Heller said he isn’t deliberately conscious of creating his character in this manner, “but I do get excited and amused when guys come out in a way that works against type. Those are the most interesting people — not just men — who are more catholic in their interests, who operate out of the box. I think of this friend I have in Vermont, a feminist who’s very arty and a conceptualist painter. But he’s also the toughest pond-hockey player you’ll ever meet.” Heller, a graduate of the University of Iowa Writers’ Workshop,saidhewantedtobeanovelistsincehewas11. “The one thing they didn’t tell you at Iowa is how hard it is to make a living writing fiction and poetry.” A friend suggested that he combine his two interests — writing and outdoor adventuring — and make a living that way. He cold-called an editor at Outside, urging her to include him as a writer for a story on a kayaking expedition to Tibet’s Tsangpo Gorge. That article led to his 2004 book Hell or Highwater: Surviving Tibet’s
details ▼ Peter Heller reads from The Painter ▼ 6 p.m. Wednesday, May 28 ▼ Collected Works Bookstore, 202 Galisteo St., 505-988-4226
Contemporary n at u r a l i s m
wat e r a n d S t o n e Julia loken and les Perhacs
m ay 2 3 , 2 014 – j u l y 5 , 2 014 opening reception: tonight from 5:00 - 7:00pm © 2 014 e w o u d d e g r o o t, c o u r t e s y g e r a l d p e t e r s g a l l e r y
f o r i n f o r m at i o n c o n ta c t m a r i a h a j i c , d i r e c t o r ( 5 0 5 ) 9 5 4 - 5 719 , o r m h a j i c @ g p g a l l e r y. c o m gerald peters gallery
1011 pa s e o d e p e r a l ta , s a n ta f e , n m
a rt w o r k by: pa t r i c i a b e g g i n s susan brearey john felsing ewoud de groot steve kestrel ron kingswood les perhacs mary roberson
M ay 2 3 , 2 014 – J u l y 5 , 2 014 opening reception: tonight from 5:00 - 7:00pm
f o r i n f o r m at i o n c o n ta c t m a r i a h a j i c , d i r e c t o r ( 5 0 5 ) 9 5 4 - 5 7 1 9 , o r m h a j i c @ g p g a l l e r y. c o m gerald peters gallery
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1 0 1 1 pa s e o d e p e r a l t a , s a n t a f e , n m
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ON STAGE Big wheels: Music, bikes, and swag
THIS WEEK
Dwight Loop’s Rampant Egos Big Band, iNK oN pAPER, and Angelo Harmsworth add electricity to the air on Saturday, May 24, when High Mayhem presents Three Generations of Creative Music at the Center for Contemporary Arts (1050 Old Pecos Trail). Loop’s latest ensemble features the percussive and synthetic instrumentation of Arnold Bodmer and Justin Parker, who are joined by musicians Doug Wooldridge, Al Faaet, Jeff Sussmann, and Lee Howard for a night of potent space-age jazz. Harmsworth brings an experimental edge to lush, complex melodies and sustained notes. iNK oN pAPER, the long-time duo of Carlos Santistevan and Milton Villarrubia III, explores soundscapes through drums, bass, and electronics embellished with sampling and looping. The show begins at 7:30 p.m. at CCA’s Muñoz Waxman Gallery. Tickets are sold at the door on a sliding scale of $5 to $20. Visit www.highmayhem.org or call CCA at 505-982-1338. The performances are held in conjunction with MIX Santa Fe and the AHA Festival of Progressive Arts’ Bike to the Bar event, a monthlong celebration of National Bike to Work Month. Participants can ride to local bars and event venues that have partnered with MIX and AHA to offer discounts on drinks, swag, and more. If you ride your bike to the CCA on the 24th you receive a free LED bike light. Check out www.biketobarsf.com/2014. — M.A.
Neither snow, nor rain, nor heat: Pianist Haochen Zhang
Pianist Haochen Zhang, who was awarded one of the two gold medals handed out at the Van Cliburn International Piano Competition in 2009, was scheduled to play a recital for the Los Alamos Concert Association two Januarys ago, but inclement weather stranded him on the East Coast, and another pianist went on in his stead. No snow is forecast for Friday, May 23, when his promised visit is finally to take place. Piano classics dominate his program: four Chopin mazurkas, Beethoven’s “Waldstein” Sonata, Brahms’ Three Intermezzi (op. 117), and Bartók’s hard-hitting Piano Sonata (Sz. 80). The pianist (right) also works in a less-familiar piece: Eight Memories in Watercolor (op. 1), by his fellow Chinese musician Tan Dun, whose work is well known to audiences hereabouts thanks to his opera Tea: A Mirror of Soul (mounted by Santa Fe Opera in 2007), not to mention his widely heard film scores for films, including Hero, The Banquet, and especially Crouching Tiger, Hidden Dragon. The recital begins at 7 p.m. at Duane Smith Auditorium in Los Alamos High School (1300 Diamond Drive). Tickets ($30) can be acquired through Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org). — J.M.K.
Flying fingers: TGIF concert
This week’s TGIF concert at First Presbyterian Church (208 Grant Ave.) features a pleasing program of works for piano four-hands. Two of the hands will be supplied by Linda Mack, a former music director of the Santa Fe Desert Chorale who is now artistic director and conductor of the Durango Choral Society. The other two are attached to C. Scott Hagler, who is the Durango Choral Society’s associate conductor as well as director of the Durango Bach Festival and Durango Chamber Music Festival. On the docket are two of Dvoˇrák’s Slavonic Dances (op. 46), Mozart’s G-Minor Fugue (K.401/375e, an unfinished work completed by Mozart’s friend Maximilian Stadler), Poulenc’s Sonata for Piano Four-Hands (a brief and snappy work from 1918, when he was sowing his wildest oats), Brahms’ Hungarian Dance No. 1, and some Gershwin selections. This half-hour recital begins at 5:30 p.m. on Friday, May 23. Entry is free, although discretionary offerings are appreciated. For information, call 505-982-8544, Ext. 16. — J.M.K. 14
PASATIEMPO I May 23-29, 2014
THE SANTA FE GIRLS’ SCHOOL thanks all our donors & sponsors for making “RIVER VOICES” at the Loretto, a sold-out success! Abigail Ryan Agua Fria Nursery AIBF Amani Andrea Schafer Angela Kirkman Array Beehive Bob Kraus/Louise Hanna Bob Ross Bodhi Bazaar Body Buddha Fitness Cafe Pasqual’s Carol Anthony Carrie Rowland Cello Girl Music Instruction C.G. Higgins Confections Charles Iarrobino Chris Spanovich Chuck Grosvenor Cia Thorne Claire Breitinger Cocopelli Chocolatier Corkins Lodge Cowgirl BBQ Cupcake Clothing Cynthia Hanna Dr. Anne Foster Duel Brewing Darolyn Thomas Diane M. Peterson Dunkin Donuts Earthfire Gems Gallery Ellen Andolsek El Paseo Bar & Grill
Santa Fe
Espanola Valley Fiber Arts Center Feathered Friends Fitsense Nonsense Ford Ruthling Forrest Fenn Four Seasons Resort Frank Adelo Fred Palmer Frederick’s Salon Gabriela Baumeister Genoveva Chavez Community Center Google Labs Grow Y’Own Hotel Santa Fe Iconik Coffee Il Piatto Inger Jirby Gallery Inn and Spa at Loretto Inn of the Governors Irene Jones Isabella Kirkman Jambo Cafe James Kallas Jewelers Jane Smith Home Janet Jenkins Java Joe’s Jean Cocteau Jeff Smith Joan Brooks Baker John Andolsek Juniper Hunter Kat Sawyer La Boca Taberna La Montanita Coop La Posada De Santa Fe Liquid Light Glass Lisa Wilson
Girls’ School
Loretto Chapel Gift Shop Lynn & Mark Komer Madeleine Durham Mara Leader & Mark Spradling Margeaux Klein Marguerite Wilson Maria Jackson Marisco’s Megan McFarlane Melissa Zriny Nancy Fordyce Native Bloom Landscaping O’Brien Graphics Ohori’s Old Wood Olive Garden On Your Feet Pandora’s Patricia Wyatt Fine Art Peas N’ Pod Pecos Trail Cafe Peter Hagen Pharmaca Plants of the Southwest Pollo Real Butcher Shop Pranzo Italian Grill Rainbow Gate Pottery REI Roger Montoya Rosemary Romero San Isidro Permaculture Santa Cafe Santa Fe Culinary Institute Santa Fe Dry Goods
Santa Fe Farmers’ Market Institute Santa Fe Opera Santa Fe Rain Barrels Santa Fe Tails Scott Carlson Pottery Shihan Seeds of Change Sheila Vaughn Sierra Aviation Starbucks Stash Karczewski Stephanie Blythe Sue Nichols Susan Cornish Restaurant Martin Rock Paper Scissor Salon Taos Ski Valley Teca Tu Ten Thousand Waves The Ark Book Store The Firth Firm The Lensic The Screen The Studio The Water Man Thomas Family To The Core Pilates Trace Rabens Trent Edwards Valerie Sobel Vivocito Cycling Whole Body Integrated Fitness Whole Foods Zoe Asher Zoe Old Zoe’s & Guido’s
Now accepting applications for our 6th grade class for fall 2014. Santa Fe Girls’ School is a 501 © 3 tax exempt 85-0450769
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William “Wink” Bacon PA-C Offering a wide range of allery testing and treatment to help those suffering from both seasonal and cronic allergies.
Appointment Line 505-395-3003 1650 Hospital Drive, Suite 800 Santa Fe, NM 87505 www.internalmedicinesf.com Building Health Together PASATIEMPOMAGAZINE.COM
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PASA TEMPOS
album reviews
THE PAINS OF BEING PURE AT HEART Days of Abandon (Yebo Music) In 2011, New York City band The Pains of Being Pure at Heart had its album Belong produced by storied knob-twiddler Flood, who gave it a dense, almost-shoegazey layer of sound. It was a departure from the airy jangle-pop that the group first made its name on. Days of Abandon finds the musicians returning to their sprightly, hook-heavy roots, and it’s a mustlisten for anyone who loves the peppy side of 1980s college rock or who knows what Sarah Records is. The band has wisely front-loaded the album with “hits.” “Simple and Sure” whips about with a swinging beat, chirping backing vocals, and a chorus that aims skyward. “Kelly” follows that with an infectious bit of hand claps and giddiness that has sadly arrived too late to appear in a John Hughes film. Kip Berman and Peggy Wang provide a nice relay race between male and female vocals, which keeps things from getting stale, even as the pop songs give way to slow burners and exercises in emotional drama as outsized as the band’s name. The CD concludes with “The Asp at My Chest,” a song that boasts a glorious, horn-laden ending that Beatles producer George Martin would have approved of. This is the group’s most mature effort yet; for a modest-sized band on a tiny label, these people are punching well above their weight. — Robert Ker
santafenewmexican.com
PasatiemPo CoPy editor The Santa Fe New Mexican has an immediate opening for a full-time, expert copy editor to join the staff of Pasatiempo, the weekly arts and culture magazine. The selected candidate must possess: a background in the arts; an eye for detail; the ability to work well as a team member with designers, writers & other editors; grace under pressure; five years editing experience with newspapers or magazines; and a Bachelor’s degree in journalism, English, or writing-intensive discipline. Facility on Mac, Adobe InDesign, and NewsEditPro is preferred. Duties include: Fact checking; editing copy for style, tone, accuracy, punctuation, and grammar; editing stories for content, structure, and overall interest; creating appropriate headlines & imaginative cutlines, and proofreading pages in pre-press stage, among other duties. The Santa Fe New Mexican offers competitive compensation; medical, dental and vision insurances with option to cover your family; paid sick and vacation; retirement and flexible spending accounts; paid life insurance, free downtown parking and passes to local gyms. Send cover letter and résumé by 5 p.m. on Friday, June 6th to: Kristina Melcher, Editor/Pasatiempo, 202 East Marcy St., Santa Fe, NM 87501 kmelcher@sfnewmexican.com Or access an online job application at http://sfnm.co/1eUKCcd No phone calls, please. An ADA/Equal Opportunity Employer 202 East Marcy St | P.O. Box 2048 | Santa Fe, NM 87504-2048 | 505-983-3303
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PASATIEMPO I May 23-29, 2014
BRIAN BLADE AND THE FELLOWSHIP BAND Landmarks (Blue Note) If the name Brian Blade makes you think of the incandescent abstractions of the Wayne Shorter Quartet, of which he is a longtime member, this is not that. The music Blade creates with his Fellowship Band — a functioning unit for more than 15 years — is ambitious, but it’s usually peacefully low-key. Joining drummer Blade, pianist Jon Cowherd, reedmen Myron Walden and Melvin Butler, and bassist Chris Thomas for Landmarks are Marvin Sewell and Jeff Parker on guitars. After the short, slurry “Down River,” courtesy of Cowherd on Mellotron, comes “Landmarks,” another in this series that revolves around references to places. (Most of the album was recorded in Shreveport, Blade’s home town.) A piano/bass intro establishes an easy mood before Walden and Butler join on alto and tenor, respectively. The music has loose, brilliant moments but is generally softly plodding. Blade had Nelson Mandela, Martin Luther King Jr., and his grandfather, Levi Gardner, in mind with “He Died Fighting,” which has Walden’s alto singing heroically against the leader’s quasi-military beat. “Friends Call Her Dot,” written for Blade’s mother, is a ponderous beauty of a song featuring Walden’s bass clarinet. The episodic “Farewell Bluebird,” recalling a defunct New Orleans café, boasts sections of gently heraldic horns, swinging piano, and Sewell’s bluesy electric guitar. This album is good, but while promotional materials invoke the Shorter quartet in mentioning a “spirit of risk,” Landmarks never approaches that level of adventure. — Paul Weideman
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Desert Academy
Engaging the mind. Engaging the world. Artwork: Margeaux Abeyta
Congratulations to Our 2013-14 Award Winners! Athletics
NMAA Annual Sportsmanship Award
OverAll NOrth AmericAN Big mOuNtAiN skiiNg 2014 stANdiNgs Eliza Donahue: Ranked # 12, and: #7-Jr. Freeskiing North American Championship, Snowbird #2-Jr. Freeskiing National Competition, Taos #4-Jr. Freeskiiing National, Crested Butte
BOys’ sOccer
Sudi Torres – 1st Team All District Noah Gibson & Ian Stumbo – 2nd Team All District Jasper Grossman– Honorable Mention Sudi Torres – 2nd Team All State Noah Gibson & Jasper Grossman – State Team Honorable Mention
girls’ sOccer
Daisy Ottaviano, Katie Wheeler & Sophie Stroud – 2nd Team All District Vanessa Swensrud – Honorable Mention
girls’ BAsketBAll
Frannie O’Byrne – 2nd Team All District Amelia Linett, Vanessa Swensrud, Danielle Zimber – Honorable Mention
BOys’ BAsketBAll
no StriP Mine on tHe MeSa Our Last Chance
Mack Snyder, Josh Bohlman – 1st Team All District Sudi Torres, Tomas Rodriguez – 2nd Team
girls’ vOlleyBAll
Tori Heath, Cassidy Hart, Amelia Linett, Diamar Beltran-Taylor – 1st Team All District Abby Tiarks – 2nd Team
girls’ crOss cOuNtry 3rd place overall in 1-A State
Team Members: Taylor Bacon, Eliza Donahue, Lia Kane, Nikki Laudicina, Sophie LeBron, Marisa Tedori, Lileigh Thomas
SPecial Hearing June 11 to decide tHe fate of la baJada MeSa Stand and be counted! Come out for the Board of County Commissioners special hearing. Show your opposition to a strip mine on the Mesa. Santa Fe Convention Center, 201 Marcy Street
June 11, starting at 4:00 PM
Public inPut MatterS. The hundreds who turned out for the preliminary March hearing were key to the recommendation for denial. But the deciding vote comes June 11. Your presence matters now more than ever – stand up for the Mesa! More information and updates on Facebook/Savelabajada or www.SaveLaBajada.org
Taylor Bacon – 1-A Cross Country state champion
girls’ trAck ANd Field 3rd place overall in 1-A State
Team Members: Taylor Bacon, Natasha Browne, Zoe Castro, Chloe Clemens, Cassidy Hart, Sophie LeBron, Mikaela McCray, Isabel PearsonKramer, Rebecca Soifer, Lileigh Thomas
Taylor Bacon: state champion – 800m state champion– 1600m (new state record) state champion – 3200m Isabel Pearson-Kramer: state champion – 100m state champion – 200m Zoe Castro: 3rd Place – 800m 3rd Place – 400m Kramer, Chloe Clemens, Cassidy Hart, & Castro: 2nd place – 1600m medley
middle schOOl trAck
Boys’ District Team Champion Girls’ District Team Runner-Up
Arts
Cora Cliburn – Melissa Engestrom Youth Artist Award Alyssa Hill, Frannie’s Feet – 1st Place Humorous Award Taso Warsa & John Rigatti, Don’t Leave Home– 3rd Place Narrative at 2014 Future Voices of New Mexico film & photography competition Jakob Kaare-Rasmussen: Mozart Award, First place; Piano Performance Evaluation Program of the SF Music Teacher’s Assn., First Prize; SF Youth Symphony Assn., Spotlight on Young Musicians
AcAdemics
Anish Kumar–NM State Spelling Bee Champion & National Qualifier Jy Prishkulnik & Riley Kelehan– National Qualifiers in Speech & Debate Damian Browne– 2nd Place, Computer Sciences Rowan Cahill – 2nd Place, Engineering Theo Goujon – Honorable Mention, Environmental Sciences at the Regional Science Fair Damian Browne – 2nd place, Computer Science for Middle School at the State Engineering Fair Rowan Cahill – Special Award at State Science Fair Cora Cliburn, Hayley Manges & Xoco Sanchez – Century Bank Super Scholars
cOmmuNity
Theo Goujon – Whole Foods Hero of Santa Fe, 2014 Earth Day Celebration (Just Add Water) Noah Gabor & Natalie Longmire Kulis– 8th Grade Civitan Awards, May 2014 Brigid Baker, Natasha Browne, Riley Kelehan, Danielle & Hailey Zimber– Healthcare Exploration Program Internship Tyler Kelehan– Brothers Together Annual Mentoring Scholarship
cluBs
Outdoor/Sustainability Club – Sustainable Santa Fe Community Outreach Award
FAculty
Christopher Zappe, Complementary – NM Zia Award – Best NM Film; Entrant in Taos Shortz International Film Fest; Best Animation, 2013 SFCC Winter Showcase; Official Selection, Santa Fe Film Festival, SFUAD Outdoor Vision Fest & High Desert International Film Festival Kim Kurian has had work accepted in the National Juried Photography Exhibition, “Best of Botannicals.”
International Baccalaureate World School
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7300 Old Santa Fe Trail Santa Fe, New Mexico 87505 (505) 992-8284, ext. 14 www.desertacademy.org
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SINGING THE PRAISES OF
jazzman herbie mannn AP Photo
W
e know from the subtitle of The Evolution of Mann: Herbie Mann and the Flute in Jazz that the book has a specific focus. “That’s because of all the things that Herbie did in bringing world music to jazz, I think the most important was to establish a language for the flute,” said Cary Ginell, the book’s author. “I’ve done a study of performances of jazz on the flute before Herbie came along, and they were always non-challenging roles. You hear a guy like Wayman Carver play, and it was a lighthearted, tootling sort of solo. It wasn’t anything that really had its own voice. Herbie was searching for this. Then he was asked by Art Blakey to accompany him on the album Orgy in Rhythm, which was just percussion instruments and native flutes. That’s when he started to recognize that there is a purpose for the flute. It’s the same that’s used in Latin bands. The flute is the major instrument that is working as a surfer works on waves. The waves are the percussion, and he rides on top.” Ginell is a veteran radio broadcaster and author. He has written books about jazzmen Cannonball Adderley and Billy Eckstine and western-swing pioneer Milton Brown. He is at work on a volume of essays about musical theater. The writer had the benefit of two days of interviews in 1999 with Mann, who lived in Santa Fe for nearly 15 years. Mann died in 2003. “I know quite 18
PASATIEMPO I May 23-29, 2014
Paul Weideman I The New Mexican a bit about jazz, but I can’t do it,” said Ginell, who is a flutist with a background in classical music. “It’s hard to learn to improvise when you’ve been reading [music] all your life.” Mann was the first jazz musician to specialize in flute, and while his virtuosity on the instrument may have been modest, “when it was showtime, few could generate as much excitement in a live performance as he did,” Ginell writes. Mann was born Herbert Jay Solomon in Brooklyn in 1930. Two weeks after he saw Benny Goodman perform at the Paramount Theatre in New York in 1939, he had his own clarinet. In his teens, he played tenor saxophone; among his other early jazz idols were saxophonists Coleman Hawkins, Illinois Jacquet, and Lester Young. A huge formative step came through Mann’s obsession with a song called “Jungle Fantasy,” featuring Puerto Rican flutist Esy Morales. One reason for the attraction was that Morales played with “a virile, exotic style that dispelled any notions of the flute being a lightweight, feminine-sounding instrument.” Mann served in the U.S. Army at Trieste, where he made music
with Army buddies and locals. This “was a tremendously transforming time, I think, that opened his eyes in a way that really helped him see larger horizons than he could ever have imagined before,” said Mann’s third wife, Janeal Arison of Santa Fe. “He would always talk about Trieste as being a turning point in his life.” Ginell credits Mann’s sister, Judi Solomon Kennedy, and his daughter, Claudia, for help with the book, but Arison is at the top of that list. In The Evolution of Mann (Hal Leonard Books), she speaks candidly — not only about her former husband’s music but also about his first two wives and his battle with prostate cancer, which ultimately claimed him. After his discharge from the Army, he studied at the Manhattan School of Music, graduating in 1954. In 1952 he had an opportunity to play flute instead of sax in a band led by Mat Mathews — with Kenny Clarke on drums and Percy Heath on bass. He had to innovate a style, since there were virtually no jazz flutists before him, and he decided to base his playing on trumpet players such as Clifford Brown and Miles Davis. The Mathews band recorded several sessions (sometimes with singer Carmen McRae) in 1953. Critic Nat Hentoff stated that
he’s not African-American; he’s not Brazilian; he’s not Cuban — he’s an Eastern European Jew, so he decided to go to his roots. And then for Beyond Brooklyn he went full-circle back to bebop with Phil Woods, who was one of the people he started his career with.” Ginell is a longtime Mann fan. He said he had at least 40 of his albums when he started the book project and picked up virtually all of the rest while he was writing about him. “You have to hear everything he’s done to understand how he tries to fit in. It’s amazing listening to him on the Tony Bennett album, where he’s heading up a quartet of flutists. You can pick Herbie out instantly.” ◀
Herbie . . . would take all of these ethnic styles, and he’d adapt them — not to jazz songs; by this time he was playing pop songs. . . . He wasn’t doing Charlie Parker songs anymore; he was doing The Beatles. His‘Norwegian Wood’. . . I think is the most amazing Beatles cover ever. — author Cary Ginnell
details ▼ Cary Ginell signs The Evolution of Mann ▼ 4 p.m. Saturday, May 24 ▼ Op.Cit. Books, 500 Montezuma St., 505-428-0321
Courtesy Janeal Arison
the flute, in Mann’s hands, “could be a standard jazz instrument.” The year 1957 was a good one for the flutist, who was then heavily into bebop. All Music Guide lists 11 Mann-led albums that year. The strongest include Yardbird Suite with Phil Woods and Eddie Costa, the solo-flute album Mann Alone, and Great Ideas of Western Mann, on which he played bass clarinet exclusively. Also that year, he backed Tony Bennett on The Beat of My Heart. In the 1960s and 1970s, the flutist became known for his peripatetic musical taste, which included excursions into what is known today as world music, and into disco. This musical restlessness was a source of excitement to his fans and caused frustration among music critics, who for their evaluations depend to some extent on musicians sticking to a particular genre. He had the courage to fly in the face of expectations from jazz traditionalists. “That was because he wanted to open the door of his music to other people,” Ginell told Pasatiempo. “He didn’t want it to be confined to the beboppers. Opening the doors is what he was talking about, and one of the albums was even titled Windows Opened.” Asked about Mann’s famously pioneering immersion in Brazilian music, Ginell said the flutist “had a very impatient personality, which was combined with an innate curiosity. By 1961 the Afro-Cuban thing he had been doing was wearing thin for him. He felt like a sideman in his own group. Everyone was paying more attention to the flash of the percussionists.” Then Mann happened to see the movie Black Orpheus, featuring music by Antonio Carlos Jobim and Luiz Bonfá. “He told his manager he had to go to Brazil to hear that music. It had the rhythm but also the glorious melodies that he could explore.” Mann first went to Brazil in 1961. In the next two years, he recorded Brazil Blues and Do the Bossa Nova With Herbie Mann, as well as the highly regarded live album At the Village Gate. His genre-wandering is again obvious in 1967’s The Wailing Dervishes, which features players on oud and doumbek. “Herbie in this period would take all of these ethnic styles, and he’d adapt them — not to jazz songs; by this time he was playing pop songs. He thought that he could cross over into the mainstream on the song level as opposed to the instrument level. He wasn’t doing Charlie Parker songs anymore; he was doing The Beatles. His ‘Norwegian Wood’ on that album I think is the most amazing Beatles cover ever.” The cover of the 1971 album Push Push features a photo of Mann naked from the waist up and holding his flute on his shoulder. The R & B-oriented disc (which includes covers of songs by Aretha Franklin and Ray Charles) was very successful — and that cover caused what Mann later said was “a calculated scandal.” “It was deliberately provocative,” Ginell said. “He wanted to call attention to himself and break barriers. He understood that the art of the album cover attracted people, but he also knew that if the record wasn’t happening, the cover wouldn’t matter. And this is a great album, with Duane Allman in his last performance. He’s definitely going for the rock audience.” Mann’s last two albums were Eastern European Roots and Beyond Brooklyn. “He knew by the time he went to Eastern Europe that he was terminal. He decided
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W
hen Greg Grissom took the stage at La Casa Sena Cantina to sing “The Music of the Night” from The Phantom of the Opera, he was unhurried, sidling up beside the piano, at once comfortable in the spotlight. Grissom’s voice was a rich baritone, and as he sang, the song was expressive and dignified, never descending into melodrama — which would be easy, given the hyperemotionality of the tune. Grissom’s easy confidence was mesmerizing. He understood how to tease tension and narrative from the song, using gesture, expression, and his clear, soaring voice. A resident of Santa Fe for nearly 30 years, Grissom died on March 30, at 56. He was born in Waco, Texas, and educated at the University of Texas and Baylor University. When he arrived in Santa Fe in the 1980s, Grissom quickly became a fixture at the Cantina. In 2003, with Linda and Neal Krull, he founded Stars Never Fade Productions, which produced musical variety shows at the Cantina, the Santa Fe Playhouse, Vanessie, and other venues around Santa Fe. On Saturday, May 24, Stars Never Fade presents a tribute performance at the Scottish Rite Center called Greg Grissom’s Guys and Dolls in honor of his life and work. It features more than two dozen vocalists and musicians with whom he collaborated. “Greg’ eg’s passion
was music; it was inside of him all the time,” Linda Krull said. “My husband and I started taking vacations to Santa Fe in 1988, and no matter how many sights we saw, we always ended up at the bar at the Cantina, overwhelmed by Greg’s incredible talent.” Stars Never Fade is known in particular for what Grissom called “nostalgia songbooks” in which a performer takes on the persona of an iconic singer, like Janis Joplin, Lena Horne, or Dinah Shore. Krull researched biographies and musicologies to give performances context (and landed the occasional local big-shot singer like Chris Calloway, Horne’s goddaughter and Cab Calloway’s daughter) while Grissom conceived of, arranged, produced, and directed the shows. Of the tribute performance, Krull explained, “When Greg passed away, I invited all the kids who were in these shows for 11 years to come back and do a song. There’s been such an outpouring of love. He was an institution in this city.” Grissom is described by his friends and colleagues as relentlessly positive and infectiously funny. He was voracious in his musical appetites, and owned more than 10,000 vinyl records. He loved to cook and entertain, often devising elaborate menus for expertly orchestrated dinner parties. He was a prolific performer. In addition to his work at the Cantina, he sang in a Santa Fe Concert Association opera producpr
exican e New M h T r o F vera I Adele Oli
R OF A O R E TH
GRE
T N I A ASEP
a tribute to
GREG M O S S I R G
at the Scottish Rite Center
tion and performed for the Santa Fe Opera’s winter educational program. He was a generous director, inspiring spirit and self-possession in his singers, and he enjoyed seeing others perform at their best. “I first met Greg when I was 14; I was playing Dorothy in The Wizard of Oz at a benefit,” said Julie Trujillo, who portrayed Judy Garland in the Stars Never Fade show Judy Garland — Headlines and Heartaches. “Greg was super sweet to me. As a teenager, I went to La Casa Sena a lot and listened to him sing. In my early 20s, he hired me when he was the manager there.” Trujillo described working at the Cantina as fun but punishing. “You’re basically doing two jobs at once, waiting on 10 tables, and then you have to sing show tunes to the customers.” Trujillo said that before she played Garland, she had never done a one-woman show. “It was really scary. But Greg made me believe I could actually do it.” Pianist David Geist, who met Grissom when he was an accompanist at the Cantina, said, “Greg’s speciality was finding talent and making it shine.” He was the pianist for Trujillo’s Judy Garland show and collaborated with Grissom on several others, including An Oscar Levant Tribute: Remembering George Gershwin and Friends, in which Geist portrayed Levant, the mid-20th century pianist, performer, and wit. “Greg was a wonderful singer, but he was also a visionary producer. producer He knew how to conceive of projects that would bring people together. He had the vision to cast just the right person as just the right subject. When he cast me as Oscar Levant, it was one of the most challenging and satisfying musical experiences I’ve ever had.” Grissom also taught pupils at NDI New Mexico and had private vocal students. “Greg was genuine,” said Gabriella Ottersberg, a student at the New Mexico School for the Arts and NDI. “He was honest with me, because he knew I could take it, but he was also very sweet and comforting. He saw more potential in me than I ever saw, and he wanted me to succeed.” More Mor than 100 people are expected to attend Greg Grissom’s Guys and Dolls, Dolls and the tribute is as much for those who loved him as it is to honor his memory. The show is directed by Beth Kennedy Jones (with musical direction by Bert Dalton), who met Grissom when she moved to Santa Fe in 2010 and began acting in Stars Never Fade Productions — most recently as Horne. The two became fast friends, and they even ran a catering business together for a while. “He cried at the drop dr of a hat, usually from enthusiasm,” she said. “We’re looking at the performance as a celebration; “W I haven’t haven’ written it as a memorial. I’ve tried to represent the affection af and care that people had for Greg.” The performance is confined to Grissom’s work with Stars Never Fade Productions, for the sake of practicality. ity “How do you cover it all? You can’t, there’s too much. He was an artist.” ◀
details deta ▼ Greg Grissom’s Guys and Dolls ▼ 2 p.m. Saturday, May 24 ▼ Scottish Rite Center, 463 Paseo de Peralta ▼ No charge
22
PASATIEMPO I May 23-29, 2014
Stars Never Fade Productions Remembers and Celebrates
The Life and Music of
Sept 6, 1957- March 30, 2014
Greg Grissom
GREG GRISSOM’S
GUYS & DOLLS A decade of shows created and directed by Greg Grissom, Santa Fe’s beloved and greatest showman who delighted our souls for 30 years.
Saturday, May 24, 2014 at 2PM Scottish Rite Temple 463 Paseo de Peralta, Santa Fe New Mexico 87501
Beth Kennedy Jones - Director Bert Dalton - Musical Director featuring David Geist, Richard Peters, Pat Briggs, Stephanie Duran, Anne Ruth Bransford, Julie Trujillo, Beth Kennedy Jones, Kim Taylor, Amanda Morris, Kelly Khun, Matt Gonzalez, Catherine Donovan, Paula Eastwood, Campbell Martin, John Trentacosta, Gabriella Ottersberg, Dune Alford, Giovanni Echave, Nicole Wells, Tad Jones and the Bert Dalton Trio
‘
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23
LISTEN UP James M.Keller
from the nature of kingship that Shakespeare is writing about: they feel decorative to us, whereas Shakespeare’s kings and queens wield their power more sharply. Richard II relates less to actual royalty and more to a wide variety of power struggles, including political successions, business squabbles, and any area of life in which there is necessarily a leader. Why do people want to lead? What happens to those who are right for leadership but don’t want to do it and are nevertheless pushed into it?” Kinnear grappled with this play when he portrayed Bolingbroke in the acclaimed BBC television series The Hollow Crown, which condenses four of Shakespeare’s history plays (beginning with this one) into a rapidly flowing epic of political scheming and regal succession. In Shakespeare, the tetralogical saga continues through Henry IV, Part I; Henry IV, Part II; and Henry V. You could fill in some back story via Shakespeare’s King John and Edward III (which is increasingly accepted into the authentic Shakespeare canon), and if you wanted to move along into the ensuing phases of English history, you could do so through his Henry VI, Part I; Henry VI, Part II; Henry VI, Part III; Richard III; and the collaborative Henry VIII.
This sceptered isle: David Tennant in the Royal Shakespeare Company’s production of Richard II
“Not of an age, but for all time”: Shakespeare on screen
I
n his Sonnet No. 98, William Shakespeare wrote: “From you have I been absent in the spring,/When proud-pied April dress’d in all his trim/Hath put a spirit of youth in every thing,/That heavy Saturn laugh’d and leap’d with him.” If he had been around to celebrate the 450th anniversary of his birth in April, he would have seen that history had turned him into a liar. He was not absent this spring any more than he has been in any spring of recent memory. Why, right here in Santa Fe, the Jean Cocteau Cinema hosted a Sonnet-a-thon just a couple of weeks ago, in which each of his sonnets was given voice through the efforts of the Santa Fe Shakespeare Society. The Cocteau Cinema is turning into a veritable hive of Shakespearean activity. Last December it filled its screen with the inaugural installment of a newly established broadcast series, Royal Shakespeare Company Live From Stratford-upon-Avon, which is to beam performances of the Bard’s plays from the stage in his hometown to movie theaters around the world. The Royal Shakespeare Company incentive began with Richard II, in a production directed by Gregory Doran, with David Tennant in the title role and Nigel 24
PASATIEMPO I May 23-29, 2014
Lindsay as his nemesis, Henry Bolingbroke. At the screening I attended, the audience was rapt. The intimacy of the Cocteau’s space doubtless enhanced the sense that the viewers were present at the live event. This was especially striking given that Richard II cannot be said to be one of Shakespeare’s crowd pleasers. Most of the histories are a hard sell, certainly in the United States. Still, one had the feeling that many of the attendees had at least prepared themselves by reading through the plot on Wikipedia a few times to refresh their memories about the complicated politics of 14th-century Britain and to help them keep oriented in this play that sports 32 characters, not counting sundry heralds, ladies, attendants, guards, soldiers, and less specialized servants. The action basically traces how Bolingbroke deposes his cousin, Richard II, who is murdered by one of Bolingbroke’s henchman, apparently on instructions from the same — which enables Bolingbroke to ascend to the British throne as Henry IV. In the recently published essay collection Living With Shakespeare (Vintage/Random House, 2013), the distinguished actor Rory Kinnear muses on why this play can come across as so insistently contemporary: “Because it is so intricate and balanced, Richard II is the ultimate meditation on kingship. Try as they may, the Royal Family today seem fairly distant
I
f you missed the RSC’s Richard II last December, you will get a second chance on Saturday, May 24, when the Cocteau Cinema presents an encore screening. Even viewers who saw it in December might consider revisiting it now, since follow-up RSC productions of Henry IV, Part I and Henry IV, Part II are scheduled for broadcast in June and July, respectively. This pair of plays chronicles the reign and decline of Henry IV (now portrayed by Jasper Britton), who knows firsthand how easily a crown can be made to slip, and the rise of his reckless son, Prince Hal (Alex Hassell), who ultimately gives up carousing with his friend Falstaff (Anthony Sher) as he prepares himself to succeed his father on the throne. This is therefore a fine opportunity for Shakespeare aficionados to experience three of the four plays of this cycle in close succession, one per month. Sadly, the finale will be lacking; next season’s RSC offerings will include the comedies Two Gentleman of Verona and Love’s Labour’s Lost, but not Henry V. Perhaps the Cocteau will fill in the blank by screening the films that have been made of Henry V: the 1944 Technicolor adaptation directed by (and starring) Laurence Olivier (with a magnificent score by William Walton), made as a wartime morale booster at the urging of Winston Churchill; and the spectacular 1989 version directed by and featuring Kenneth Branagh, with a breathtaking cast of such eminences as Paul Scofield, Derek Jacobi, Ian Holm, Emma Thompson, Alec McCowen, Judi Dench, and Christian Bale — not so shabby. Speaking of Shakespeare, you will not want to miss a captivating volume just out from the Library of America titled Shakespeare in America: An Anthology
Michael Pennington and Oliver Ford Davies; photos by Kwame Lestrade, courtesy Royal Shakespeare Company
Emma Hamilton
From the Revolution to Now, skillfully edited by James Shapiro. The Library of America is an interesting not-for-profit publisher devoted to keeping important American writings in print. Their titles are not always predictable. Among their approximately 250 volumes are obvious classics by Emerson, Melville, Twain, and their ilk, but their list also includes some more oddball books, of which this qualifies as one. Reading a Library of America book is a pleasure. The venture was modeled on the French Bibliothèque de la Pléiade, a series of books that makes every reader feel like royalty. But where the Pléiade uses slightly pliable covers and pages that approach the thickness of onion skin, Library of America takes a somewhat heartier approach, its pages not quite so delicate (but blessedly acid-free), its print in legible but classy Garamond font, and its covers firm and sturdy but covered in fine-grained cloth that makes the book a pleasure to hold. Every volume is cut to the proportions of the golden section, which is supposed to convey a subliminal sense of order and well-being. Shakespeare in America assembles 71 writings by American authors into a collection custom-made for incessant browsing. The earliest is from 1776: a poem of Tory persuasion that weighs the pluses and minuses of signing on to the First Continental Congress’s socalled “associations” that proposed the boycotting of British goods. It has a familiar ring to it: To sign, or not to sign? That is the question, Whether ’twere better for an honest Man To sign, and so be safe; or to resolve, Beside what will, against Associations, And, by retreating, shun them. …
A
t the other end of the anthology stand such recent items as a poem by BJ Ward, first published in 2005, that considers a man who “awakes every morning/and instead of reading the newspaper/reads Act V of Othello.” (Of course, we do not recommend doing this, but it’s a terrific poem all the same — well worth a detour.) The very last item
in the book is another poem, the 64th entry from the 2004 collection NETS by Jen Bervin, which assembles words from Shakespeare’s sonnets into new contexts of sentences and visual presentation, in this case causing Shakespeare’s original to appear as a prophecy of the 9/11 tragedies. Not everything in this volume bespeaks literary greatness, but nothing is less than interesting. We encounter a number of well-known authors wearing unaccustomed hats as critics (Willa Cather turns out to be a brilliant one), travel guides, or memoirists. Washington Irving reports in 1820 on his visit to Stratford-upon-Avon five years earlier. Edgar Allan Poe offers an 1845 essay on “Hazlitt’s Characters of Shakespeare.” Nathaniel Hawthorne, in his 1863 “Recollections of a Gifted Woman,” presents an extended profile of Delia Bacon, who was an adamant believer that Shakespeare was not the author of Shakespeare’s plays; although he considered her a “monomaniac” (his word) and basically a nut case, he treated her with patience and respect and let his readers decide whether to follow her beliefs or not. Less famous authors find a place here, too. For example, meet Maungwudaus. One of four members of the Chippewa tribe who entered their names on the visitor’s book at the Bard’s birth house in Stratfordupon-Avon in 1848, he was moved to produce a three-quatrain poem that begins: Indians of North America Heard the name that shall not decay, They came and saw where he was born, How great is the sound of his horn This being an American historical anthology, race surfaces repeatedly. Othello is a predictable flashpoint, and you are probably not quite prepared for an excerpt from the Studies on Shakespeare published in 1869 by Mary Preston of Hartford County, Maryland. She viewed Macbeth, Richard II, and Julius Caesar from the Southern perspective, and, in the essay presented here, finds so many things to admire about Othello
that she is forced to accept what is, for her, the only logical conclusion: “We may regard, then, the daub of black upon Othello’s portrait as an ebullition of fancy, a freak of imagination, — the visionary conception of an ideal figure, — one of the few erroneous strokes of the great master’s brush, the single blemish on a faultless work. Othello was a white man!” The book’s foreword is by a certain William Jefferson Clinton, one of a handful of presidents who commented, sometimes at length, on the subject of Shakespeare. John Adams, John Quincy Adams, and Abraham Lincoln share their thoughts in this volume. So does the actor John Wilkes Booth, who also intersected with presidential history. In a deeply disturbed letter addressed to the National Intelligencer, written just before he set off for Ford’s Theatre to assassinate President Lincoln, he rationalizes what he is about to do by turning to Shakespeare: When Caesar has conquered the enemies of Rome and the power that was his menaced the liberties of the people, Brutus arose and slew him. The stroke of his dagger was guided by his love for Rome. … “O then that we could come by Caesar’s spirit, And not dismember Caesar! But alas! Caesar must bleed for it!” I answer with Brutus. He who loves his country better than gold or life, JOHN W. BOOTH. ◀
“Richard II” screens at the Jean Cocteau Cinema (418 Montezuma Ave., 505-466-5528) at 1 p.m. on Saturday, May 24, as part of the Royal Shakespeare Company’s Live From Stratford-upon-Avon series. Screenings of “Henry IV, Part I” take place in June and of “Henry IV, Part II” in July. For more information visit www.jeancocteaucinema.com.
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PASATIEMPO I May 23 - 29, 2014
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27
J
ohn Torres Nez shook up the local art world on March 31, when he announced in an open letter
IFAM ORGANIZERS
posted to Facebook that he had resigned as chief
on the founding of a
operating officer of the Southwestern Association
NEW ART MARKET
for Indian Arts, producers of the annual Santa Fe
Indian Market, New Mexico’s largest cultural event. In the letter, Torres Nez, a former curator at the Museum of Indian Arts and Culture and former project director at the Navajo Nation Archaeology Department, stated it was his “fiduciary duty” to resign. The move came as a shock to SWAIA, which
declared in an April 4 posting on its own Facebook
page that Torres Nez “was not forced or coerced into resignation by anyone.” On May 6, SWAIA
announced that artist and lawyer Dallin Maybee would serve as Interim COO. Torres Nez’s depar-
ture was followed by the resignations of SWAIA’s artist services
associate Paula Rivera and director of public relations Tailinh Agoyo. Torres Nez received an outpouring of support from friends and
artists on social media and responded with a note of gratitude: “Despite the speculation of what the future holds for me, I will remain
Jane Phillips/The New Mexican
in my community and continue my work toward a world-renowned celebration of Native arts and culture owned by the People for the
People,” hinting at something new on the horizon. Together, the three former members of SWAIA’s staff began implementing plans for a new indigenous art market. Artists began contacting Torres Nez, urging him to follow through with the plans. In early April, Navajo artist Nanibaa Beck began a Change.org petition, which has been signed by nearly 500 people, in support of a new market led by Torres Nez. Soon after, dates for the first Indigenous Fine Art Market (www.indigefam.org) were announced:
Michael Abatemarco I The New Mexican
Aug. 21 through 23 at the Railyard — placing it in direct competition with Indian Market, which takes place Aug. 18 through 24. With no
by
POPULAR demand
Above, Paula Rivera, John Torres Nez, and Tailinh Agoyo
28
PASATIEMPO I May 23-29, 2014
office to work out of, the organizers have so far managed to get more than 150 exhibitors to sign on. “We have met several times now to discuss what can be implemented into the show, what changes we wish we could have made throughout the years,” said Navajo jeweler and IFAM exhibitor Darryl Dean Begay. “This change is not new. People have been talking about it for years. Now is the time to do it. To be a part of history, to be a part of something we have a voice in, that’s most important. What IFAM is trying to do is create a new market that’s on a par with Indian Market. It’s not a knock-off show.”
Pasatiempo invited John Torres Nez, Tailinh Agoyo, and Paula Rivera, organizers of the Indigenous Fine Art Market, to sit down with us to discuss their plans for the new market and what exhibiting artists, locals, and visitors can expect in August. Pasatiempo: How and when were you motivated to start the Indigenous Fine Art Market? Was it before you made the move from SWAIA? John Torres Nez: It all developed on Facebook afterwards, really. I posted a thank-you note on Facebook letting the artists know I wasn’t going to be there anymore, and one after another, artists responded, saying “No. We want you to do something for us.” After it got to several hundred I realized I had to look into something. Pasa: You’ve stated that you wanted to have a market in which exhibitors had a voice in how it is organized and managed. What is the extent of the artists’ participation in IFAM? Torres Nez: As staff, we’re always open to listening to the artists. We do really make the decisions and make the calls, but we are absolutely listening, and they know we’re listening. There’s a big difference. There are various online-discussion groups I participate in. This year, one of the first topics of discussion was the fact that everyone’s kids go to school on Monday. I said, well, can we push it up? That seems like an easy thing to accommodate. It’s a simple thing that made a lot of difference to them. So we’re doing Thursday, Friday, and Saturday [Aug. 21-23]. Sunday is travel. That was a simple fix, but no one ever thought to ask if that was a concern for the artists. Paula Rivera: There are quite a few of them that do want to be a part of this, and I think, ultimately, the three of us are the ones that decide what’s going to work. Torres Nez: They know us and trust us, and they absolutely know we’re going to do the best for them. Right now, new applications are coming in. I’m keeping a stack, and I’ll put together a jury at some point and jury them in. Pasa: So those artists who have signed up to participate — whose names are listed on IFAM’s website — are they already juried in to the market? Torres Nez: It’s going to be a juried show for everybody, eventually, but for this year to expedite things we’ve said, if you’ve been juried in to the other show [Santa Fe Indian Market], show us your letter and you can participate without having to jump through that hoop again. But a lot of new people want to come in. For instance, for the first time we’re allowing Native Hawaiians in. We thought that was an easy way to include even more people. Pasa: In terms of the jurying process, what kind of work are you looking for? Is it a combination of contemporary and traditional Native arts? Torres Nez: Yeah, and everything in between. We’re trying to jury in artists as artists, so it’s not, “I’m just a
potter” or “I’m just a jeweler” or “I’m just a weaver.” You give us a range of your work, whether you’re a literary artist, you’re a poet, a writer, whatever, as you would for any other portfolio you’d put together for a gallery. I’m an artist. I just happen to be Native. It’s still going to be kind of a niche, but it fits much better to that big-A art world as Native fine artists. Everyone who’s applying is pretty much a fine artist — whether it’s a potter or not. It’s still fine Pueblo ceramic art. No one cooks in those pots anymore. It’s meant to be put on the shelf and admired as a sculptural piece, really. We’re not the other IFAM in town [the International Folk Art Market]. Pasa: Will the dates be the same every year going forward? Torres Nez: We want to get through August first. But on the horizon, of course, are winter shows and other regional shows — IFAM Seattle, IFAM Tokyo, IFAM Berlin. That’s the model we want to work under. We’ll be present at biennales. We’ll be present at Basel and all these other big shows. Pasa: In upcoming years, then, will artists be admitted to both markets here in Santa Fe, or have you clarified that yet? Tailinh Agoyo: You’re asking if we’ll permit artists to do Indian Market? That’s not our choice to make. We want them to do whatever’s best for them and their families. Pasa: And the artists have to adhere to the standards set forth in the Indian Arts and Crafts Act of 1990. Torres Nez: Actually it was a 1938 law but revised in ’90, I think. It’s a consumer-protection law, basically. If you’re going to sell as a Native artist, you have to meet all these criteria, and that’s a federal law. If it’s mass produced in China and brought over, then of course, it’s not handmade. It’s all about who makes it. Pasa: It’s planned that this market will be held in the Railyard. Will that be the official venue each year? Torres Nez: We don’t know. Until we outgrow it, I suppose. I mean, next year, when we have 2,000 artists, we’ll have to think of something else. Right now we can almost fit between Tomasita’s and La Choza, all the way up from where the station is, underneath all those shades by the water tower and into the park.
We’ll probably do readings either at the Cocteau or Warehouse 21 for poets and screenwriters who want to do public readings, but all the music and dance will be outside on the two stages. Rivera: And as the train goes by, they’re going to see it. They’ll have a quarter-mile view until they get off the train. Agoyo: We’re very excited about this because it’s a community space, but also because of the architecture and energy that’s there — we think it really aligns with what our vision is for the market and how we want to present Native people. Pasa: Looking at the list of artists on your website so far, it looks like there are a lot of New Mexico and Arizona artists. Do you think this will have more of a regional context? Agoyo: It’s only been three weeks, and we’ve been getting emails from people across the country — once the jurying process is through it will be much more diverse. Pasa: Will awards be given for artwork? Agoyo: We won’t be having that formal competition. Torres Nez: We’re looking more at resorts and other tribal communities for a purchase award. We’re working with them to get them to buy art for their collections, but the ribbon thing is not for us right now. ◀ continued on Page 30
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OPEN LETTER
n March 31, the following open letter appeared on the Facebook page of John Torres Nez, announcing that he had resigned as chief operating officer of the Southwestern Association for Indian Arts. Dear Community of Santa Fe, Indian Market fans, and Indian People everywhere, This open letter is to inform you that I have chosen to leave an organization that I love and to which I have given so much. Due to the position, despite my objections, in which this organization has been placed, it is my fiduciary duty to resign my position as Chief Operating Officer. I will miss the artists and my staff and I will forever be grateful for your support. The Santa Fe Indian Market is in its 93rd year and is an essential event, not only for this community, but for the 1,100 Native families who rely on it as a major means of financial support. It’s the knowledge that these families depend on Market that kept me getting up day after day to help build it. As a member of both the Santa Fe and Native communities, I have strived to be a good steward. I have grown great relationships with the city at all levels and Indian Market has run better because of that. Santa Fe Indian Market has set the standard for all other festivals in Santa Fe because it draws the largest crowds to see the 1,100 adult and 300 youth artists from over 250 tribes and cultures. Market has always been about the People. We are not a museum show or gallery, we are real Indian People coming together to share our stories, our culture, our heritage, our legacies, and of course our art, with you. I am very proud of my work here and I am very saddened that my tenure must come to an end. Ahe’ee John Torres Nez
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PASATIEMPO I May 23-29, 2014
The New Mexico Performing Arts Society Presents Music of Johann Sebastian Bach: Arias and Sonata Movements Featuring Members of the New Mexico Bach Society Franz Vote, Music Director and Conductor Sunday, June 1, 2014 at 6:30 pm Immaculate Heart of Mary Chapel 50 Mount Carmel Road in Santa Fe
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We’re turning five and we want a party.
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Tickets: $25/senior & student discounts available Reservations & information at: info.nmpas@comcast.net or call 505-474-4513
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Sunday, May 25 1–4 pm
Celebrate the History Museum’s fifth birthday with an afternoon of old-time fun and games —hoops hoops racing, hopscotch, a children’s tea party and more. Make an miniature adobe brick and a keepsake handprint. See a new exhibit of antique toys.
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where the wild things are
CONTEMPORARY
Michael Abatemarco I The New Mexican
32
PASATIEMPO I May 23-29, 2014
F
aithful depictions of everyday subjects define 19th-century realism and the related naturalist movement — born, in part, of new insights into science and biology and an interest in a Darwinian view of nature. Realism in the 19th century is distinct from naturalism in that it often had a political or social component, whereas naturalism was chiefly concerned with accurately reproducing the world of nature. Contemporary Naturalism, an exhibit on view at Gerald Peters Gallery, shows how artists working within the genre have transformed naturalism by embracing contemporary techniques, mediums, and styles. Eight artists are featured in the show. Some are landscape artists. Some are abstractionists. Others, such as Vermont-based artist Susan Brearey, focus on animal imagery. Brearey’s work is distinct from most wildlife art for its ambiguous settings and its lack of photorealistic details. Her work is gestural, minimalist, and impressionistic but always naturalistic. There is an intimate feeling in her paintings and drawings, often depicting solitary beasts in monochrome. “What I’m trying to evoke is a sense of the animal in the wild,” she told Pasatiempo. “It’s more about its presence rather than the details of its eyelashes. I’m interested in the presence as the strongest component within a natural space, one that’s disappearing as much as it’s appearing.” Contemporary Naturalism also includes work by Patricia Beggins, Ewoud de Groot, John Felsing, Steve Kestrel, Ron Kingswood, Les Perhacs, and Mary Roberson. Among the figures in Brearey’s paintings and drawings are deer, birds, and polar bears. She sketches animals when she encounters them in the wild. “I have limited experience with actual polar-bear habitat,” she said, “but one of my big plans is to get up into those northern places. I’d like to go to Svalbard, the island north of Norway, where you can actually get real close to the bears there. It’s to be in that environment rather than at a zoo, which is always a kind of sad experience, I find.” Brearey’s imagery, such as in Arctic White (Ghost Bear), is subtle, with spectral figures often placed in atmospheric but abstracted landscapes. Another polarbear image, Arctic Ice, depicts a bear moving steadily across the ice. A halo painted around the figure of the bear suggests a spiritual presence. “My experience in the wild is coming upon an animal that is alone, and I’m struck by the visual impact it has on me. I remember shapes. I remember exactly the way the light falls.” Bird imagery can be seen in works by Roberson, Kestrel, de Groot, and Kingswood, although the artists employ different approaches and mediums to realize their visions. Beggins, de Groot, Kingswood, and
NATURALISM
Robeson are painters, but Beggins also works in mixed media, using beeswax and collage, rendering landscapes out of paper. Her Patagonia Pool II was made using cut and torn pages from Patagonia catalogs. In addition to collages by Beggins, the gallery has a selection of her paintings — atmospheric, abstracted landscapes in oils. Kestrel and Perhacs are sculptors. Kestrel works in bronze and stone, crafting rams, owls, fish, serpents, and amphibians in their natural state. His works in the exhibit are small-scale. The bases of his stone sculptures have minimal carving to suggest natural environments. Perhacs sculpts realist works in bronze and marble and abstract pieces in fabricated steel and bronze. Selections from his abstract Chaos Series are included. There is no representationalism in these sculptures, making them distinct from the rest of the show, but they are inspired by an aspect of the natural world. Perhacs’ Chaos Series draws on the basic geometric forms that underlie all of nature. He cuts and arranges geometric forms into dynamic sculptures that suggest movement and refracted shapes. De Groot was trained as an illustrator before he turned to painting. His paintings incorporate patterns that add an element of abstraction to his otherwise naturalist depictions of waterfowl. Striated lines in his Eider Reflections, for instance, suggest the rippling surface of a lake. Kingswood also paints fowl, placing them, too, in natural habitats. In Summer — Ringnecked Pheasant, the subject nearly vanishes in a thick field of brush, conveying a sense of an encounter in the wild. Felsing takes an unusual approach to mark making, combining common household substances such as coffee grounds and dust with more traditional mediums such as oils and graphite. His work has muted colors and soft tonal qualities. There is a sense of intimacy and a feeling of quietude in Felsing’s art, making it similar in some respects to Brearey’s, although Brearey’s work captures something of the awe of human and animal encounters. “As a viewer, my hope is there’s a sense of the human spirit there,” she said, “but there’s also the awareness of the animals. In the paintings I try to have that sense that they know we’re looking at them.” ◀
details ▼ Contemporary Naturalism ▼ Opening reception 5 p.m. Friday, May 23; exhibit through July 5 ▼ Gerald Peters Gallery, 1011 Paseo de Peralta, 505-954-5700
Left, Steve Kestrel: Seed Pod, 2005, fabricated steel; opposite page, clockwise from upper left, Patricia Beggins: Drive to Abiquiú, 2014, oil on panel; Ron Kingswood: Summer — Ring-necked Pheasant (detail), 2013, oil and graphite on canvas; Susan Brearey: Mountain Bluebird, 2012, oil on wood
My experience in the wild is coming upon an animal that is alone, and I’m struck by the visual impact it has on me. — Susan Brearey
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SAR School for Advanced Research
God is Red, Still! A lecture by Severin Fowles (Barnard College)
Thursday, May 29, 6:30 pm NM History Museum Auditorium (Washington Ave. entrance)
FREE for SAR members • $10 for nonmembers 954-7203 • www.sarweb.org (no reservations or advanced tickets)
Sponsored by Walter Burke Catering Lecture series sponsored by SAR President’s Council Betty and Luke Vortman Thornburg Investment Management Image: Picuris mural courtesy of Severin Fowles
PASATIEMPOMAGAZINE.COM
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MOVING IMAGES film reviews One for the road Jonathan Richards I For The New Mexican Locke, road movie, rated R, The Screen, 4 chiles The opening image is a city skyline at night. The camera sweeps down to a huge excavation at a construction site. The heights to the depths. A man takes off his work boots and climbs into a BMW. He pulls out of the construction site, navigates through the sleeping city, and takes to the highway. “I’ll be there,” Ivan Locke (Tom Hardy) says into the car phone, “in about an hour and a half.” He’s driving from Birmingham to London on a matter of honor and responsibility. It’s one that will cost him his job and his family. For the rest of the movie we are with him inside the car. No other character appears on screen. It’s Locke, alone, in real time for, as he promises, about an hour and a half. Does that get tedious? Not for a moment. The other characters in the film are accessed by phone from the car. One of the first calls Locke makes is to his boss (the voice of Ben Daniels). He tells him that he won’t be there in the morning to supervise the concrete pour, the laying of the foundation of a massive commercial building. A couple of hundred trucks will be converging on the site at 5:45 a.m., bringing 350 tons of concrete for the biggest single pour in the history of Europe. Locke is the man in charge. His boss is incredulous, and then apoplectic. Locke is soothing. Everything will be fine, he says. It’s a personal matter. His decision has been made. There
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PASATIEMPO I May 23-29, 2014
Concrete poet: Tom Hardy
is no turning back. For the rest of the drive, he makes and fields calls to and from his family, his co-workers, and the person at his destination. As his world comes crashing down about him, Locke is the calm at the eye of the storm. He is a man of almost eerie self-possession. He has always taken responsibility — on the job and at home. He’s the kind of guy you’d turn to in a crisis in your own life. He’s the consummate professional, the best in the business, which is why the boss on the other end of the line is having the screaming meemies at the prospect of Locke not being there to do a hands-on supervision of this multimillion-dollar job. It’s taken care of, Locke says in a reassuring tone. His assistant Donal (Andrew Scott, the evil Moriarty in TV’s Sherlock) has all the instructions and all the expertise needed, and Locke will be on the phone with him throughout the process. The calls to Donal are not so reassuring. The young man is a bit hysterical, and he’s had a drink or two. Calmly, Locke talks him through what has to be done: street closures (how could this not have been arranged already, you wonder), the necessity of inspecting each batch of concrete to make sure it’s the top grade, numbers to call, and emergencies to anticipate and solve. And why? In one of his rare lapses into poetry, which shows us a glimpse of his passionate commitment and a sliver of his soul, Locke tells Donal, “You do it for the piece of sky we are stealing with our building. You do it for the air that will be displaced. And most of all, you do it for the [expletive] concrete, because it is delicate as blood.” The other front he must deal with as he drives is personal. A one-night out-of-character lapse almost a
year earlier with a female colleague on a job that took him away from home for a few weeks has come back to haunt him, and his wife (Ruth Wilson) does not take it well. When he reveals that he won’t be home as planned to watch a big football match with the family, and why, she is unforgiving. “The difference between never and once is the difference between good and bad,” she tells him. How can a movie that keeps us locked in a car for its duration, alone with a single character and a supporting cast of disembodied voices, work so brilliantly? Shot in eight nights, on a budget of under $2 million, Steven Knight’s film is a testament to imagination and talent. His script is hypnotic and the direction flows smoothly as he moves occasionally to overhead shots of the car moving through traffic but mostly stays in tight on Locke. The claustrophobia is mitigated by the imaginative lensing of cinematographer Haris Zambarloukos, who does wonders with the play of external light over the windshield and the blue glow of the dashboard instruments on Hardy’s face. But it is Hardy himself who keeps us riveted. This may be the film that makes him a star, after fine work in movies including The Dark Knight Rises, Tinker Tailor Soldier Spy, and Inception. Hardy speaks in a sure, soft Welsh-accented voice he says he learned by listening to Richard Burton’s recording of Under Milk Wood. Half hidden behind a beard and dealing with a nasty cold (because, it turns out, he had one when they were filming), Locke keeps his cool on the phone and only erupts with emotion when he is off the phone or talking to the imagined presence of his father, a man whose irresponsibility shaped the man Locke has made himself. ◀
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Enjoy Native American Pueblo weaving demonstrations & presentations by Louie Garcia (Tiwa/Piro) on Saturday
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37
MOVING IMAGES film reviews
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PASATIEMPO I May 23-29, 2014
Gugu Mbatha-Raw and Sarah Gadon
Manor manners Jonathan Richards I The New Mexican Belle, historical fiction, rated PG, Regal DeVargas, 3 chiles A double portrait painted in 1779 and attributed to the German artist Johann Zoffany shows two aristocratic young women, one dark- and one fairskinned, in a companionable pose that suggests equality and affection. The painting, which hangs in Scone Palace in Scotland, caught the eye of a young writer, Misan Sagay. The plaque read: “Portrait of Lady Elizabeth Murray, circa 1778.” Sagay found herself wondering about the other girl. Belle, written by Sagay and directed by Amma Assante, takes generous liberties with the few known facts about the dark-skinned woman in the painting, who turns out to be Dido Elizabeth Belle Lindsay, the illegitimate daughter of British naval officer Sir John Lindsay, played here by Matthew Goode. Dido’s mother was a slave from the West Indies, and the movie begins, murkily, with Lindsay’s claiming the girl (Lauren Julien-Box, Gugu Mbatha-Raw as an adult) after her mother’s death and delivering her to his great-uncle and great-aunt to raise while he is at sea. The reluctant foster parents are Lord and Lady Mansfield (Tom Wilkinson and Emily Watson), who are about as aristocratic as it gets. Overcoming initial reluctance, the family accepts Dido into the household, and she is raised as befits the acknowledged daughter of Sir John. The Mansfields are also raising another great-niece, the aforementioned Lady Elizabeth (played as a child by Cara Jenkins and then by Sarah Gadon). The girls are of an age, and they grow up like sisters. But one is black and one is white, and this does not escape notice. Sagay and Assante do a powerful job of weaving together the intricacies of British law and custom among the aristocracy, where matters of race, gender, position, and wealth tangle like brambles in a garden, and it’s sometimes a revelation to see which prejudices and restrictions are strongest. The historical Lord Mansfield ruled on several important cases involving slavery, then a pillar of the British economy, and one of those cases is central to the plot of Belle. The captain of the slave ship Zong threw overboard 142 sick slaves en route to England, figuring the insurance money would bring more than the cargo. Mansfield’s ruling rested on a matter of insurance fraud, not of human rights, but it is the rights issue that becomes the centerpiece of the plot here, and it draws Dido into an awareness of her race and the injustices perpetrated on it in 18th-century England. The smartness and intricacy of this movie, its elegance and its historic interest, are sometimes undercut by a reliance on movie convention. Just when the story has you enthralled, it slips in an obvious scene to jar the mood. But he cast is excellent, the story is fascinating, and the luminous Mbatha-Raw as Dido is a real discovery. And the painting is beautiful. ◀
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“EYE-OPENING. PULLS NO PUNCHES IN ITS INFORMED OUTRAGE.” LOS ANGELES TIMES
FROM LAURIE DAVID PRODUCER OF AN INCONVENIENT TRUTH AND KATIE COURIC
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A MUST-SEE.
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Tasting Menu, dramedy, rated PG-13, in Catalan, Spanish, and English with subtitles, Jean Cocteau Cinema, 1.5 chiles
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Part 1: 7:00p Sun, May 25 & 11:00am Sun, June 1 Part 2: 7:00p Mon, May 26 & 11:00am Mon, June 2 Friday May 23
Saturday May 24
1:30p - Vivian Maier 2:15p - Ernest and Celestine* 3:30p - Ai Weiwei 4:15p - Ernest and Celestine* 5:30p - Vivian Maier 6:15p - Ai Weiwei* 7:30p - The German Doctor 8:15p - The German Doctor*
12:15p - The German Doctor* 1:30p - Vivian Maier 2:15p - Ernest and Celestine* 3:30p - Ai Weiwei 4:15p - Ernest and Celestine* 5:30p - Vivian Maier 6:30p - Ai Weiwei, w/ Panel Discussion 7:30p - The German Doctor
Sun May 25 12:15p - The German Doctor* 1:30p - Vivian Maier 2:15p - Ernest and Celestine* 3:30p - Ai Weiwei 4:15p - Ernest and Celestine* 5:30p - Vivian Maier 7:00p - The New Rijksmuseum Part 1* 7:30p - The German Doctor
Mon May 26 12:15p - The German Doctor* 1:30p - Vivian Maier 2:15p - Ernest and Celestine* 3:30p - Ai Weiwei 4:15p - Ernest and Celestine* 5:30p - Vivian Maier 7:00p - The New Rijksmuseum Part 2* 7:30p - The German Doctor
Tues-Thurs May 27-29 2:15p - The German Doctor* 3:30p - Ai Weiwei 4:15p - Vivian Maier* 5:30p - Ernest and Celestine 6:15p - Ai Weiwei* 7:30p - Vivian Maier 8:15p - The German Doctor*
*indicates show is in The Studio
Concessions Provided by WHOLE FOODS MARKET 40
PASATIEMPO I May 23-29, 2014
MOVING IMAGES
If you’re the sort who chooses movies based on their “food porn” quotient, here’s a word to the wise: the best part of this film might be the closing credits. A few cooking sequences or culinary close-ups now and then can make up for many a shortcoming in character or plot development. Sadly, by the time director Roger Gual delivers his colorful parade of artful plates, his film has revealed itself to be a broken hollandaise that just can’t be fixed. The premise is clearly inspired by the 2011 closing of Ferran Adrià’s famed El Bulli. Eager to do something different, chef Mar Vidal (Vicenta N’Dongo) has decided to shut down her celebrated Costa Brava restaurant; she’ll prepare one final dinner for 30 patrons lucky enough to get a reservation. The eye-catching molecular gastronomy you’d expect is kept to a minimum, though, and mostly in the background. The film’s real focus is its cast of not-very-interesting characters — in particular, estranged spouses Marc ( Jan Cornet) and Rachel (Claudia Bassols), who have decided to keep their reservation despite the potential awkwardness. They reminisce, they make nice, they bicker, they laugh, and they fume. And then the chef stops by to remind them that “emulsions only work when they are together.” Yep, this is that kind of movie. Other characters in the dining room include a widowed countess (Fionnula Flanagan) who brings her dead husband’s ashes to the table; Rachel’s boorish editor and suitor (Timothy Gibbs); a mysterious mopey diner (Stephen Rea) who may or may not be a food critic (why an acclaimed restaurant would care about a critic’s opinion on its closing night is beyond me); two stereotypically stoic Japanese businessmen (Togo Igawa and Akihiko Serikawa); and their companion (Marta Torné), who inexplicably gets a coveted seat for this dinner despite the fact that she doesn’t speak Japanese and spends most of the meal texting. Once dinner starts, the pot-stirring begins, and you wonder if this could turn out be a pleasantly sweet and fluffy comedy of errors and mistaken identities. But each plot device feels contrived, and the climax is inexplicably bizarre. In case life lessons about emulsions are too subtle for you, characters deliver such zingers as “Make the most of it, dear. Life is short” and “Just follow your heart.” Like a failed soufflé, it all falls horribly flat. The performers do their best to make the material engaging and believable, but Javier Calvo and Gual’s script doesn’t offer anything insightful or complex about their characters. It’s nice to see the portrayal of a female Claudia Bassols and Jan Cornet chef, but N’Dongo’s performance is so understated that you may find yourself longing for the antics of Gordon Ramsay. Stephen McKeon’s perky, leading score assures you within the first few minutes that nothing too serious or dire will happen — it’s pleasant at first but then annoyingly intrusive. During the cocktail hour, one diner tells the maître d’, “If I get bored, I’ll let you know.” While I was watching this film, I wish someone had given me the option of complaining to the management. Tasting Menu is a little like an ill-prepared fancy French pastry. Once you figure out that it tastes like cardboard, you’ve eaten too much to send it back. ◀
X-Men: Days of future 2D/3D 1:45** 4:30 7:15 X-Men: Days of future 2D 1:45** 4:30 7:15 spiDerMan 2D 1:45** 4:20 7:20 rio 2 2D 1:55** 4:25 MoM’s niGHt out 6:55 HeaVen is for reaL 2:05** 4:40 7:00 LeGenD of oZ 2D 2:00** 4:55 tHe otHer WoMan 7:05 neiGHBors 2:15** 4:50 7:25 MiLLion DoLLar arM 1:50** 4:30 7:10 GoDZiLLa 2D 1:55** 4:35 7:15 BLenDeD 2:10** 4:45 7:20 **saturday & sunday only *friday & saturday only times for friday, May 23 - thursday, May 29
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MOVING IMAGES pasa pics
— compiled by Robert B. Ker
BLENDED Adam Sandler has spent much of the last decade making dumb, offensive comedies and laughing all the way to the bank. This film reunites him Drew Barrymore, who helped him charm audiences with The Wedding Singer. Do they recreate that magic? They play a pair of single parents who, despite loathing each other, wind up taking their kids on the same vacation trip to Africa. Gross-out humor, rude behavior, and dubious portrayals of African people commence. Rated PG-13. 117 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)
Damn you, Kool-Aid Man! Michael Fassbender in X-Men: Days of Future Past, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española
opening this week AI WEIWEI: THE FAKE CASE This absorbing documentary chronicles the aftermath of Chinese artist and activist Ai Weiwei’s arrest at a Beijing airport in 2011. Ai was placed under house arrest by the Chinese government for 81 days, presumably because of his investigations into human-rights abuses and government corruption, but he was never charged. Danish filmmaker Andreas Johnsen’s film covers the physical and emotional effects of the Chinese state’s intrusion into Ai’s life, monitoring his every move with cameras mounted in his home and bringing lawsuits against him. Despite these challenges, Ai remains an outspoken critic of the Chinese government. This is a good companion film to 2012’s Ai Weiwei: Never Sorry. Not rated. 86 minutes. In Mandarin and English with subtitles. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) BELLE A double portrait painted in 1779 shows two aristocratic young Englishwomen, one dark- and one fair-skinned, in a companionable pose that suggests equality and affection. From that source, and the few discoverable facts about its mulatto subject, writer 42
PASATIEMPO I May 23-29, 2014
Misan Sagay and director Amma Assante have built an intriguing story about Dido Elizabeth Belle Lindsay (Gugu Mbatha-Raw). She was the illegitimate daughter of British naval officer Sir John Lindsay (Matthew Goode) and a slave, raised by Lindsay’s aristocratic great-uncle, Lord Mansfield (Tom Wilkinson) with most (but decidedly not all) of the privileges due her father’s rank. The historical Lord Mansfield ruled on several important cases involving slavery, one of which figures centrally in the plot. The smartness and intricacy of this movie are unfortunately undercut by an occasional reliance on convention. The cast is excellent, and the luminous Mbatha-Raw is a real discovery. Rated PG. 104 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) See review, Page 38. BENEATH THE HARVEST SKY This warm coming-of-age drama from the far northern corner of Maine was one of the gems of the Santa Fe Film Festival. Two teenage boys just want to get out of their tiny town. One is a promising young man (Callan McAuliffe); the other is a troublemaker with a home life that never gave him a chance (Emory Cohen). Will they sink together, or swim? The plot is hopelessly clichéd, but the filmmaking strongly evokes a sense of place through photography, music, solid acting, and a script that covers a wide breadth of experiences. Not rated. 116 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Ker)
CHEF This light, sweet, funny cream puff of a movie is the latest offering from Jon Favreau (Elf, Cowboys & Aliens). Favreau plays Carl Casper, an L.A. chef with a successful restaurant and a failed marriage. Carl gets into a war of words with a critic (Oliver Platt), loses his job, and with the help of his ex-wife (Sofia Vergara), her ex (Robert Downey Jr.), and an amiable line cook (John Leguizamo), heads to Miami with his son (Emjay Anthony), hoping to start over. Chef is part “food porn,” part tale of self-discovery, part father-son bonding story, part road-trip movie, and part social-media tutorial — with nary a conflict or villain in sight. It will remind you to appreciate the simple things in life, and you may never make a grilled cheese sandwich the same way again. Rated R. 115 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) THE GERMAN DOCTOR In 1960 Argentina, a German man (Àlex Brendemühl) moves into a hotel run by a family. The people learn he is a doctor and grow to trust him. What they don’t learn — at least not right away — is that this man is Nazi war criminal Josef Mengele, infamous for his human experiments in Auschwitz. Rated PG-13. 93 minutes. In Spanish, Hebrew, and German with subtitles. Center for Contemporary Arts, Santa Fe. (Not reviewed) THE IMMIGRANT This sepia-toned drama takes place in 1920s New York City, where two Polish women, Ewa and Magda (Marion Cotillard and Angela Sarafyan), arrive at Ellis Island. They are separated, and the desperate Ewa is forced to become a prostitute. But a mysterious magician ( Jeremy Renner) may be able to help her. Rated R. 120 minutes. Regal DeVargas, Santa Fe. (Not reviewed) LOCKE Ivan Locke (Tom Hardy) is driving from Birmingham to London on a matter of honor and responsibility. He’s left the site of a massive concrete pour on a construction site where he is the supervisor. He must deal over the phone with his superiors, his underlings, and his family as his life falls apart.
For virtually the entire movie we are with him inside his BMW. No other character appears on screen. It’s Locke alone, in real time. Does that get tedious? Not for a moment. Hardy holds us riveted as he keeps his cool on the phone and erupts with emotion when he is off the phone or talking to the imagined presence of his father, a man whose irresponsibility shaped the man Locke has become. Written and directed by Steven Knight and shot in eight nights on a budget under $2 million, the film is a testament to imagination and talent. Rated R. 85 minutes. The Screen, Santa Fe. ( Jonathan Richards) See review, Page 36. MARTIN SCORSESE PRESENTS: MASTERPIECES OF POLISH CINEMA This series of Polish classics, most of which have seldom been seen in the U.S., covers three decades, from the mid-’50s to the mid-’80s. The 21 films include work by Krzysztof Kieslowski, Andrzej Wajda, and Andrzej Munk. Kieslowski’s Blind Chance (1981, 123 minutes) is shown on Saturday, May 24, at The Screen, Santa Fe. Not rated. In Polish with subtitles. (Jonathan Richards) TASTING MENU The premise of this film is clearly inspired by the 2011 closing of Ferran Adrià’s famed El Bulli. Chef Mar Vidal (Vicenta N’Dongo) has decided to shut down her celebrated Costa Brava restaurant at the height of its success. For just 30 patrons lucky enough to get a reservation, she will prepare one final dinner. The eye-catching molecular gastronomy you’d expect here is minimal — which is too bad, because a couple of good sequences involving shots of mouthwatering food can atone for a world of moviemaking sins, of which this film has plenty. Not rated. In Catalan, Spanish, and English with subtitles. Jean Cocteau Cinema, Santa Fe. (Laurel Gladden) See review, Page 40. X-MEN: DAYS OF FUTURE PAST The cast of the original X-Men trilogy meets the cast of X-Men: First Class, thanks to the wonders of time travel. This includes older versions of Charles Xavier (Patrick Stewart) and Magneto (Ian McKellen) meeting their younger selves (James McAvoy and Michael Fassbender). What brings the reunion about? Sentinels! These nasty robots are killing off mutants in the near future, and so Wolverine (Hugh Jackman) and the gang head back to the 1970s to prevent it from happening. Directed by Bryan Singer, who helmed the first two X-films more than a decade ago. Rated PG-13. 131 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)
now in theaters THE AMAZING SPIDER-MAN 2 The machine that pumps out Spider-Man movies must be about to blow a gasket, as this is the second one in less than two years. Andrew Garfield returns as Peter Parker, the unassuming wisecracker whose wall-crawling alter ego is tangled in a web of intrigue between the Green Goblin (Dane DeHaan) and Electro (Jamie Foxx). It’s a rushed sequel to a remake, it’s well over two hours, and it has seven credited writers — what could go wrong? Rated PG. 142 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) BEARS The Disneynature documentary series adds narratives to the lives of animals and presents the natural world in a kid-friendly way. Here, John C. Reilly tells the story of a bear and her two cubs in the Alaskan wilderness. Rated G. 77 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) CAPTAIN AMERICA: THE WINTER SOLDIER Following the events in The Avengers, the star-spangled superhero (Chris Evans) returns to fight an evil plan that is ridiculous even by funnybook standards. There are some neato action effects. Robert Redford, as a world securitycouncil leader, proves he still looks better than you do in a vest, while Scarlett Johansson once more makes the case for a Black Widow solo film. Otherwise, the humor is missing, the film is too violent for a theater full of kids, and there’s too much story — by the time it’s over, you’ll feel like you’ve been frozen in ice since the 1940s. Rated PG-13. 135 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) ERNEST & CELESTINE In a world where mice inhabit a subterranean world while bears roam the land above, an unlikely partnership develops between Celestine (voiced by Mackenzie Foy), a young mouse, and Ernest (voiced by Forest Whitaker), a grumpy bear. Celestine is pressured by mouse society to become a dentist, but she wants to be an artist. Ernest, a downand-out street performer, wants to be a musician. Their slapstick misadventures land them in hot water with the law, and their friendship blossoms while they are on the lam. Frenetic energy and witty dialogue make this hand-drawn animated feature a delight for all ages. Its message about overcoming societal prejudices is couched in hilarity and is touching without being sappy. Rated PG. 80 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco)
FADING GIGOLO With John Turturro writing, directing, and starring and Woody Allen in a featured role and hovering in the background as éminence grise, this is several movies wrapped up in one, and most of them are pretty good. Turturro and Allen developed the script together, and it shows. Allen plays a Brooklyn bookstore owner facing hard times; when his dermatologist (Sharon Stone) confides a desire to hire a stud to have a threesome with her and her best friend (Sofía Vergara), he persuades his friend Fioravante (Turturro) to take the job. Nice work if you can get it. But there’s more going on here, including a subplot involving a Hasidic community and a lonely widow (Vanessa Paradis). Turturro holds it all together with an uncaricatured, moving performance and a director’s hand that mostly avoids the obvious. Rated R. 90 minutes. Regal DeVargas, Santa Fe. (Jonathan Richards) FED UP This new call-to-action documentary from director Stephanie Soechtig won’t make you want to visit the concession stand. According to the film, overeating and lack of exercise aren’t causing the current epidemics of obesity and type 2 diabetes. Rather, the culprits are the added sugar (more addictive than cocaine) hidden in most processed foods and the fact that corporate profit continues to trump public health. While in some respects the movie is preaching to the choir, clearly, plenty of people still need a little eye-opening: it’s believed that, if nothing changes, 95 percent of the U.S. population will be obese in 20 years. Rated PG. 92 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) FINDING VIVIAN MAIER Photography fans were astounded when the previously unknown work of Vivian Maier was discovered in the late 2000s. Here, director John Maloof interviews dozens of acquaintances of the late nanny-photographer, filling out the story of a most peculiar woman. Not rated. 83 minutes. Center for Contemporary Arts, Santa Fe. (Paul Weideman) GOD’S POCKET The debut feature film from Mad Men star John Slattery features one of the last screen performances by the late, lamented Philip Seymour Hoffman. There’s plenty to like about this movie — an excellent cast, a gritty sense of place, a handful of memorable scenes — but it muddles along trying this and that, and it’s not until deep into the movie that it decides it really wants to be a dark comedy. There are laugh-out-loud moments along with some scenes that jolt you with surprise and breathtaking, bloody violence. Slattery continued on Page 44
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doesn’t quite get a grip on what’s required to make it all mesh together, but getting there, in the hands of pros like Richard Jenkins, John Turturro, Christina Hendricks, and the great Hoffman can still be diverting. Rated R. 88 minutes. The Screen, Santa Fe. (Jonathan Richards) GODZILLA (1954) While the latest Americanized version of Godzilla stomps around the local multiplexes, you can check out the original Japanese film, in which the giant lizard destroys Tokyo for the first time. The effects remain brilliant, and the tone is much darker and more sorrowful than those who grew up with the goofy “Godzilla as giant wrestler” movies might expect. Not rated. 96 minutes. In Japanese with subtitles. Jean Cocteau Cinema, Santa Fe. (Robert Ker) GODZILLA (2014) The original 1954 Godzilla film is harrowing in part because it sprung from the horrors of Hiroshima and Nagasaki. This slick update nods to the recent Fukushima disaster, which should be fertile ground for both allegory and terror, but it slips sadly into rah-rah militarism after a promising start references Close Encounters of the Third Kind and grounds the action with a superb Bryan Cranston. Director Gareth Edwards shows a knack for suspense, scale, and coolas-heck imagery, all of which are important traits in a Godzilla filmmaker. He is let down by a bloated and wobbly script and a color palette that looks like vomit (couldn’t this have just been black-and-white?). It’s close to the Godzilla flick that fans crave but still so far away. Rated PG-13. 123 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Robert Ker) THE GRAND BUDAPEST HOTEL It is truly a joy to witness the work of Wes Anderson, who devotes such attention to his creative vision that he crafts his own singular world. Here, he tells a tale of an Eastern European hotel manager (Ralph Fiennes) who is willed a priceless painting by a former lover (Tilda Swinton). This angers a relative (Adrien Brody),
spicy
medium
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PASATIEMPO I May 23-29, 2014
who feels he should be the true heir. Anderson adds suspense worthy of Hitchcock or Carol Reed to his impeccably designed “dollhouse” aesthetic. Willem Dafoe, Jeff Goldblum, Edward Norton, Jude Law, and Harvey Keitel co-star in this caper, which plays out like a children’s book or a board game. Rated R. 100 minutes. Regal DeVargas, Santa Fe. (Robert Ker) HEAVEN IS FOR REAL This movie, based on the book Heaven Is for Real: A Little Boy’s Astounding Story of His Trip to Heaven and Back, recalls the account of a Nebraska pastor’s (Greg Kinnear) young son (Connor Corum), who dies on an operating table, goes to heaven, and comes back to tell the tale. Rated PG. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) LEGENDS OF OZ: DOROTHY’S RETURN L. Frank Baum’s Oz books are in the public domain, so anybody who has the desire can make a cheap, lousy movie based on them — and it looks like somebody has. In this animated film, Dorothy (voiced by Lea Michele) returns to Oz to save the realm from the evil Jester (Martin Short). Her new companions include a giant owl that gets tree bark stuck up its butt, which is not even the worst part of the trailer. Rated PG. 88 minutes. Screens in 2-D only at DreamCatcher, Española. (Not reviewed) MILLION DOLLAR ARM In this feel-good sports pic from Disney, Jon Hamm (that’s Don Draper on Mad Men to you) uses his charm to make people believe in themselves. He plays a sports agent who brings two Indian cricket players to America to pitch in the big leagues. Based on a true story. Alan Arkin co-stars. Rated PG. 120 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) MOMS’ NIGHT OUT You may have noticed that there are suddenly a lot of Christian movies in the multiplex. The latest, Moms’ Night Out, looks like a regular Hollywood production, with a zany poster and a high-concept plot: overworked moms go out and leave the kids with their dads. Sarah Drew and Sean Astin star. Rated PG. 98 minutes. DreamCatcher, Española. (Not reviewed) NEIGHBORS Seth Rogen and Rose Byrne play a married couple with a new baby and a new house. Everything is idyllic until a fraternity moves in next door. When the couple calls the police, the frat boys, led by one unruly chap (Zac Efron), wage a war of pranks on the couple. Schlubby man-child Rogen and handsome youngster Efron have more chemistry than Rogen and Byrne do, and the clumsy series of penis-and-pot gags leads to an ending that doesn’t feel earned, but it has laughs, is
slightly deeper than you may expect, and passes so effortlessly that it’s over before you can chant, “Toga! Toga!” Rated R. 96 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) THE OTHER WOMAN Mark (Nikolaj CosterWaldau) is such a ladies’ man — and such a big jerk. Not only does he have a wife (Leslie Mann), but he has another woman (Cameron Diaz) and another other woman (Kate Upton). What happens when the women in this comedy find out about each other? Rated PG-13. 109 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE RAILWAY MAN Colin Firth plays a World War II veteran who has found love but not peace. He remains traumatized by the torment he suffered at a Japanese labor camp. His wife (Nicole Kidman) and a friend (Stellan Skarsgård) locate one of the men who tortured him (played by Hiroyuki Sanada), and a confrontation ensues. Rated R. 116 minutes. Regal DeVargas, Santa Fe. (Not reviewed) RIO 2 In this sequel to the 2011 animated hit, a macaw from Minnesota (voiced by Jesse Eisenberg) and his family are relocated to the Amazon rainforest. Rated G. 96 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)
other screenings Center for Contemporary Arts 7 p.m. Saturday, May 24: The New Rijksmuseum Part 1. Presented by Friends of Architecture Santa Fe. 7 p.m. Sunday, May 25: The New Rijksmuseum Part 2. Presented by Friends of Architecture Santa Fe. Jean Cocteau Cinema 4 & 8:30 p.m. Friday, May 23: The Sixth Gun. 11 p.m. Friday & Saturday, May 23 & 24: RoboCop (1987). 1 p.m. Saturday, May 24: Royal Shakespeare Company: Richard II. Regal Stadium 14 7:15 & 9:40 p.m. Thursday, May 29: Malificent (2-D). 7 & 9:25 p.m. Thursday, May 29: Malificent (3-D). 8 p.m. Thursday, May 29: A Million Ways to Die in the West. 2 p.m. Sunday, May 25; 2 & 7 p.m. Wednesday, May 28: Back to the Future (1985). The Screen 7 p.m. Thursday, May 29: The American Nurse. Benefit for the New Mexico Nurses Foundation. ◀
WHAT’S SHOWING
A MUST SEE
Call theaters or check websites to confirm screening times. CCA CINEMATHEQUE AND SCREENING ROOM
1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org Ai Weiwei: The Fake Case (NR) Fri. 3:30 p.m., 6:15 p.m. Sat. 3:30 p.m., 6:30 p.m. Sun. and Mon. 3:30 p.m. Tue. to Thurs. 3:30 p.m., 6:15 p.m. Ernest & Celestine (PG) Fri. to Mon. 2:15 p.m., 4:15 p.m. Tue. to Thurs. 5:30 p.m. Finding Vivian Maier (NR) Fri. to Mon. 1:30 p.m., 5:30 p.m. Tue. to Thurs. 4:15 p.m., 7:30 p.m. The German Doctor (PG-13) Fri. to Mon. 7:30 p.m., 8:15 p.m. Tue. to Thurs. 2:15 p.m., 8:15 p.m. The New Rijksmuseum - Part 1 (NR) Sun. 7 p.m. The New Rijksmuseum - Part 2 (NR) Mon. 7 p.m. JEAN COCTEAU CINEMA
418 Montezuma Avenue, 505-466-5528 www.jeancocteaucinema.com Beneath the Harvest Sky (NR) Sat. and Sun. 6:15 p.m. Wed. and Thurs. 4 p.m. Godzilla:The Japanese Original (NR) Sun. 8:30 p.m. Wed. and Thurs. 8:30 p.m. RoboCop (R) Fri. and Sat. 11 p.m. Royal Shakespeare Company: Richard II (NR) Sat. 1 p.m. The Sixth Gun (NR) Fri. 4 p.m., 8:30 p.m. Tasting Menu (PG-13) Sat. 4 p.m., 8:30 p.m. Sun.
1:45 p.m. Wed. and Thurs. 1:45 p.m., 6:15 p.m. REGAL DEVARGAS
562 N. Guadalupe St., 505-988-2775, www.fandango.com Belle (PG) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 9:25 p.m. Sun. to Thurs. 1 p.m., 4 p.m., 7 p.m. Chef (R) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 10:05 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m. Fading Gigolo (R) Fri. and Sat. 4:05 p.m., 7:10 p.m., 9:35 p.m. Sun. to Thurs. 4:05 p.m., 7:10 p.m. Fed Up (PG) Fri. to Thurs. 1:35 p.m. The Grand Budapest Hotel (R) Fri. and Sat. 1:40 p.m., 4:40 p.m., 7:40 p.m., 10 p.m. Sun. to Thurs. 1:40 p.m., 4:40 p.m., 7:40 p.m. The Immigrant (R) Fri. and Sat. 1:15 p.m., 4:15 p.m., 7:15 p.m., 9:55 p.m. Sun. to Thurs. 1:15 p.m., 4:15 p.m., 7:15 p.m. The Railway Man (R) Fri. and Sat. 1:10 p.m., 3:50 p.m., 6:50 p.m., 9:30 p.m. Sun. to Thurs. 1:10 p.m., 3:50 p.m., 6:50 p.m. REGAL STADIUM 14
3474 Zafarano Drive, 505-424-6296, www.fandango.com The Amazing Spider-Man 2 (PG-13) Fri. to Mon. 12:20 p.m., 4:10 p.m., 7:15 p.m., 10:30 p.m. Wed. 12:20 p.m., 4:10 p.m., 7:15 p.m., 10:30 p.m. Back to the Future (PG) Sun. 2 p.m. Wed. 2 p.m., 7 p.m. Bears (G) Fri. and Sat. 11 a.m., 1 p.m., 3 p.m., 5 p.m. Sun. 11 a.m., 5 p.m. Mon. 11 a.m., 1 p.m., 3 p.m., 5 p.m. Wed. 11 a.m., 4:50 p.m. Blended (PG-13) Fri. to Sun. 10:15 a.m., 1:15 p.m., 4:15 p.m., 7:15 p.m., 10:15 p.m. Mon. 1:15 p.m., 4:15 p.m., 7:15 p.m., 10:15 p.m. Wed. 1:15 p.m., 4:15 p.m., 7:15 p.m., 10:15 p.m. Captain America:The Winter Soldier (PG-13) Fri. to Mon. 7:05 p.m., 10:10 p.m. Wed. 10:10 p.m. Godzilla (PG-13) Fri. to Sun. 10:40 a.m., 11 a.m., 1:30 p.m., 2 p.m., 4:30 p.m., 5 p.m., 7:30 p.m., 7:50 p.m., 10:20 p.m., 10:40 p.m. Mon. 11 a.m., 1:30 p.m., 2 p.m., 4:30 p.m., 5 p.m., 7:30 p.m., 7:50 p.m., 10:20 p.m., 10:40 p.m. Wed. 11 a.m., 1:30 p.m., 2 p.m., 4:30 p.m., 5 p.m., 7:30 p.m., 7:50 p.m., 10:20 p.m., 10:40 p.m. Godzilla 3D (PG-13) Fri. to Sun. 10:10 a.m., 1 p.m., 4 p.m., 7 p.m., 10 p.m. Mon. 1 p.m., 4 p.m., 7 p.m., 10 p.m. Wed. 1 p.m., 4 p.m., 7 p.m., 10 p.m. Heaven Is for Real (PG) Fri. to Mon. 11:15 a.m., 1:50 p.m., 4:30 p.m. Wed. 11:15 a.m., 1:50 p.m., 4:30 p.m. Maleficent (PG) Thurs. 7:15 p.m., 9:40 p.m. Maleficent 3D (PG) Thurs. 7 p.m., 9:25 p.m.
Million Dollar Arm (PG) Fri. to Sun. 10:10 a.m., 1 p.m., 4:20 p.m., 7:10 p.m., 10:05 p.m. Mon. 1 p.m., 4:20 p.m., 7:10 p.m., 10:05 p.m. Wed. 1 p.m., 4:20 p.m., 7:10 p.m., 10:05 p.m. A Million Ways to Die in the West (R) Thurs. 8 p.m., 10:40 p.m. Neighbors (R) Fri. to Sun. 10 a.m., 12:25 p.m., 2:50 p.m., 5:15 p.m., 8 p.m., 10:25 p.m. Mon. 12:25 p.m., 2:50 p.m., 5:15 p.m., 8 p.m., 10:25 p.m. Wed. 12:25 p.m., 2:50 p.m., 5:15 p.m., 8 p.m., 10:25 p.m. The Other Woman (PG-13) Fri. to Mon. 11:45 a.m., 2:25 p.m., 5:05 p.m., 7:45 p.m., 10:25 p.m. Wed. 11:45 a.m., 2:25 p.m., 5:05 p.m., 7:45 p.m., 10:25 p.m. Rio 2 (G) Fri. to Mon. 11:20 a.m., 1:55 p.m., 4:40 p.m., 7:10 p.m., 9:50 p.m. Wed. 11:20 a.m., 1:55 p.m., 4:40 p.m., 7:10 p.m., 9:50 p.m. X-Men: Days of Future Past (PG-13) Fri. to Sun. 10:30 a.m., 1:20 p.m., 1:35 p.m., 4:35 p.m., 7:20 p.m., 7:35 p.m., 7:45 p.m., 10:35 p.m., 10:45 p.m. Mon. 1:20 p.m., 1:35 p.m., 4:35 p.m., 7:20 p.m., 7:35 p.m., 7:45 p.m., 10:35 p.m., 10:45 p.m. Wed. 1:20 p.m., 1:35 p.m., 4:35 p.m., 7:20 p.m., 7:35 p.m., 10:35 p.m. X-Men: Days of Future Past 3D (PG-13) Fri. to Sun. 10 a.m., 10:20 a.m., 1:05 p.m., 4:05 p.m., 4:20 p.m., 7:05 p.m., 10:05 p.m., 10:20 p.m. Mon. 1:05 p.m., 4:05 p.m., 4:20 p.m., 7:05 p.m., 10:05 p.m., 10:20 p.m. Wed. 1:05 p.m., 4:05 p.m., 4:20 p.m., 7:05 p.m., 10:05 p.m., 10:20 p.m.
LockeTheMovie
ExclUSivE EngAgEMEnT
STARTS TODAY
Santa Fe The Screen (505) 473-6494
DAILY: 1:30, 3:30, 5:30 & 7:30 PM NO PASSES ACCEPTED
“GRAND ISN’T GOOD ENOUGH A WORD FOR THIS ‘BUDAPEST HOTEL.’
GREAT IS MORE LIKE IT.” TIME Richard Corliss
THE SCREEN
Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com The American Nurse (NR) Thurs. 7 p.m. Blind Chance (NR) Sat. 9:15 a.m. God’s Pocket (R) Fri. to Wed. 11:30 a.m. Locke (R) Fri. to Wed. 1:30 p.m., 3:30 p.m., 5:30 p.m., 7:30 p.m. Thurs. 1 p.m., 3 p.m., 5 p.m. MITCHELL DREAMCATCHER CINEMA (ESPAÑOLA)
15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com The Amazing Spider-Man 2 (PG-13) Fri. 4:40 p.m., 7:35 p.m. Sat. 1:45 p.m., 4:40 p.m., 7:35 p.m. Sun. to Thurs. 4:20 p.m., 7:20 p.m. Blended (PG-13) Fri. 4:45 p.m., 7:20 p.m., 9:55 p.m. Sat. 2:10 p.m., 4:45 p.m., 7:20 p.m., 9:55 p.m. Sun. 2:10 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs. 4:45 p.m., 7:20 p.m. Godzilla (PG-13) Fri. 4:35 p.m., 7:15 p.m., 9:55 p.m. Sat. 1:55 p.m., 4:35 p.m., 7:15 p.m., 9:55 p.m. Sun. 1:55 p.m., 4:35 p.m., 7:15 p.m. Mon. to Thurs. 4:35 p.m., 7:15 p.m. Heaven Is for Real (PG) Fri. 4:40 p.m., 7 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:40 p.m., 7 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:40 p.m., 7 p.m. Mon. to Thurs. 4:40 p.m., 7 p.m. Legends of Oz: Dorothy’s Return (PG) Fri. 4:55 p.m. Sat. and Sun. 2 p.m., 4:55 p.m. Mon. to Thurs. 4:55 p.m. Million Dollar Arm (PG) Fri. 4:30 p.m., 7:10 p.m., 9:50 p.m. Sat. 1:50 p.m., 4:30 p.m., 7:10 p.m., 9:50 p.m. Sun. 1:50 p.m., 4:30 p.m., 7:10 p.m. Mon. to Thurs. 4:30 p.m., 7:10 p.m. Moms’ Night Out (PG) Fri. and Sat. 6:55 p.m., 9:25 p.m. Sun. to Thurs. 6:55 p.m. Neighbors (R) Fri. 4:50 p.m., 7:25 p.m., 9:45 p.m. Sat. 2:15 p.m., 4:50 p.m., 7:25 p.m., 9:45 p.m. Sun. 2:15 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 p.m., 7:25 p.m. The Other Woman (PG-13) Fri. and Sat. 7:05 p.m., 9:30 p.m. Sun. to Thurs. 7:05 p.m. Rio 2 (G) Fri. 4:25 p.m. Sat. and Sun. 1:55 p.m., 4:25 p.m. Mon. to Thurs. 4:25 p.m. X-Men: Days of Future Past (PG-13) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:45 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs. 4:30 p.m., 7:15 p.m. X-Men: Days of Future Past 3D (PG-13) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:45 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs. 4:30 p.m., 7:15 p.m.
EXCLUSIVE ENGAGEMENT
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SANTA FE UA De Vargas Mall 6 (800) FANDANGO #608
“AS IRRESISTIBLE AS IT IS MOVING.” Manohla Dargis, THE NEW YORK TIMES
EXCLUSIVE ENGAGEMENT
STARTS TODAY
SANTA FE UA De Vargas Mall 6 (800) FANDANGO #608
The SanTa Fe IrIS SocIeTy PreSenTS:
Thirty-Third annual Iris Show May 24, 2014 11:00 am - 4:00 pm
aDMISSIon: Free 7:30-9:30am IrIS enTrIeS accePTeD n. Guadalupe and Paseo de Peralta Santa Fe, new Mexico PASATIEMPOMAGAZINE.COM
45
For you or a loved one:
“Let’s Talk About Living With Relapsing MS” Join us for an MS LIVING EVENT.
Hear from MS experts and others who are living with MS. Plus, get some answers about dealing with MS and information on an oral treatment.
Steve Elmore Indian Art
Warm Weather Sale
Thru June 8th (excluding books!)
WhEN: Thursday, May 29, 2014 6:00 pm Mountain WhERE: Old Pecos Trail 2239 Old Pecos Trail Santa Fe, NM 87505 ExpERT SpEAkERS: Douglas Barrett, MD Southwest Medical Associates Albuquerque, NM
A MEAL WILL BE pROVIDED. FREE pARkING. Call 1-866-703-6293 to reserve your space or register at mslivingevents.com
839 Paseo De Peralta • Santa Fe NM 87501 • (505) 995-9677
sfhumanesociety.org 100 Caja del Rio Road, Santa Fe, N.M. 87507 • 983-4309 x204 46
PASATIEMPO I May 23 - 29, 2014
Santa Fe
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Congratulate your graduate
GRADGram!✮
with a
in
The New Mexican’s special keepsake publication for local grads!
2014 SALUTE TO LOCAL GRADS
Show your grad just how important and special they are to you!
On June 8 the Santa Fe New Mexican will publish a keepsake special section devoted to the local high school classes of 2014. Including:
• Memorable Moments • School Accomplishments • Student Comments • List of Graduates • Ceremony Photos • Personalized GRADGram!✮ Featured High Schools: Academy at Larragoite Academy forTechnology and the Classics Capital High School Desert Academy Monte del Sol Charter School NM School for the Arts NM School for the Deaf Santa Fe High
Santa Fe Indian School Santa Fe Prep Secondary Learning Center St. Michael’s High School Tierra Encantada Charter School at Alvord Santa Fe Waldorf High School Pojoaque Valley High School MASTERS Program-SFCC
Alejandro Mendez SANTA FE HIGH
Congratulations Ale! We are so proud of you! We love you! Mom, Kat, Nina, Tito and Jasmine Visit santafenewmexican.com/gradgrams or fill out a form at The Santa Fe New Mexican, 202 E. Marcy St., to create your custom GRADGram! !
Deadline: May 28, 5pm
✮
25
$
includes one color photo of your grad plus your personal message (75 characters max).
You turn to us. PASATIEMPOMAGAZINE.COM
47
RESTAURANT REVIEW Laurel Gladden I For The New Mexican
Hotel fair
Del Charro Saloon 101 W. Alameda St. (at the Inn of the Governors), 505-954-0320, www.delcharro.com 11:30 a.m.-midnight daily (food served till 11 p.m. on Sundays) Vegetarian options Takeout available Handicapped accessible Noise level: quiet to rowdy, depending on time of day (or night) Full bar Credit cards, no checks
•
The Short Order For out-of-towners, Del Charro, the self-described saloon at the Inn of the Governors, is the hotel restaurant you hope for — warm, friendly, and popular. For locals, it’s an easy, no-frills spot to grab a drink or some acceptable food at lunch or after work. The roomy captain’s chairs and breezes blowing in through the wide street-side windows encourage you to linger, and in the winter, you won’t want to leave if you nab a seat in one of the tall leather wingbacks by the fireplace. Service is friendly in a familial way, and the menu offers pretty typical bar fare — wings, nachos, and burgers, with a few compulsory glances toward the lighter side — and some house specialties. Recommended: nachos, stuffed green chile cheeseburger, and chipotle wings.
Ratings range from 0 to 4 chiles, including half chiles. This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value.
48
PASATIEMPO I May 23-29, 2014
Not many places in Santa Fe are crowded at 4 in the afternoon, but Del Charro, the self-described saloon at the Inn of the Governors, is often one of them. Hotel restaurants, when they’re not stuffy or swanky, can be dismal, deserted places where only the desperate eat. Del Charro, though, is the sort of spot you hope for when you roll into a new town — a place that’s warm and friendly and popular with locals. If you’re one of those locals, it’s an easy, no-frills spot to grab a drink or some acceptable food at lunch or after work. You might, as I did recently, see a long-lost old friend sitting in one of the red leather-upholstered chairs at the handsome wood-and-brick-backed bar. The roomy captain’s chairs and breezes blowing in through the wide street-side windows encourage you to linger, and in the winter, you won’t want to leave if you nab a seat in one of the tall leather wingbacks by the fireplace. Service is friendly in a familial way — you feel like your aunt just brought you the margarita your uncle made at his rec-room bar — but also no-nonsense when the room is packed. Sometimes staffing is a problem. On one crowded afternoon, a single server was handling every table in the room. It took a little while for a manager to step in and back her up, but she mostly kept her cool. Delivered to your table in its trademark beehive-shaped cocktail shaker, the house margarita is a touch on the sweet side, and if you like your margaritas with salt, you will probably get something akin to a salt lick around the rim of your glass (Del Charro serves its margaritas in wine goblets). Still, it’s a generous serving for just over six bucks. Several New Mexico beers are on draft. I’m already a fan of the IPA from La Cumbre Brewing in Albuquerque, but the amber ale was a revelation, balancing the earthy spice of Kent Golding hops, the caramel sweetness of malt, and a mildly bitter finish. The menu offers pretty typical bar fare — wings, nachos, burgers, and a few compulsory glances toward the lighter side — including some house specialties. If you’re in the mood for a classic burger, don’t order the trademark “stuffed” green-chile cheeseburger. Rather than a patty with a pocket of apple-wood smoked bacon, autumn-roast green chile, and Gorgonzola in the center, these goodies, along with chipotle barbecue sauce, are mixed into the beef before the burger is formed. Sure, it’s a bit of a misnomer, but who cares? It’s delicious, smoky, tangy, herby, and mouth-tinglingly spicy. The side of green-chile relish is akin to jam. It rounds everything out by adding a delightful spicy sweetness. Plenty of places in town serve wings, especially the popular Buffalo variety. Del Charro’s chipotle wings are something else, though — heavily coated in a smoky, spicy sauce but somehow retaining the crispy crust beneath it all. You’ll want the chilly celery and carrots to help cool things off, and maybe a dunk or two of ranch dressing. If you prefer blue cheese dressing, more traditionally served with wings, you’ll have to pay $1.25 extra.
Another mildly annoying upcharge sneaks in with the nachos. If you want to add any protein at all, including beans, you’ll have to pay extra, and sour cream, a given on most nachos, will cost you an additional 75 cents. All the same, Del Charro’s nachos are a generous, heaping mound of chips thoroughly plastered with cheese, pico de gallo and a plethora of pickled jalapeños tumbled over the top. If you need a snack but don’t want anything too complicated, go for the lovely house-made chips, hefty thick slices of potato evenly fried and amazingly not at all greasy. A scalloped tortilla cup of ranch is offered alongside in case you feel the need to dip. The menu offers a few meat-free options but not many. A poblano stuffed with a toothy black bean and corn relish could’ve been a creative, colorful, and even moderately healthy dish were it not swimming in a neon-orange cheese sauce that overpowered the flavors of the elements beneath. Even the salads aren’t on the light side. My Caesar was drowning in dressing (though the salmon filet added for a little extra protein was well cooked, moist, and well seasoned), and the only other salad on the menu is a tostada, which means by definition it involves a fried-tortilla product. Yes, Del Charro is a bar and not a health-food restaurant. But just because you’re on vacation and staying in a hotel or you decide to go out for drink with friends after work, that doesn’t mean you have to throw the nutritional baby out with the bath water. ◀
Lunch for three at Del Charro Saloon: Nachos with beans .............................................$ 6.50 Chef’s Caesar salad with salmon ........................$ 8.00 Stuffed burger .....................................................$10.00 Two La Cumbre amber ales ................................$11.00 House margarita .................................................$ 6.50 TOTAL ................................................................$42.00 (before tax and tip) Dinner for three, another visit: La Cumbre amber ale .........................................$ 5.50 Two Santa Fe Brewing Company Happy Camper IPAs .....................................$10.00 Potato chips ........................................................$ 4.00 Chipotle wings ...................................................$ 7.00 Pork sliders .........................................................$ 7.00 Stuffed poblano ..................................................$ 6.00 TOTAL ................................................................$39.50 (before tax and tip)
pasa week Friday, May 23
BOOKS/TALKS
Doug Fine The author discusses Hemp Bound: Dispatches From the Front Lines of the Next Agricultural Revolution, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. (See Subtexts, Page 8) Gallery talk Photographer Gustavo Castilla demonstrates the wet plate collodion process in conjunction with the group show Six Shooters Unbounded, 10 a.m., noon, and 2 p.m., panel discussion follows at 3 p.m., Eggman & Walrus, 130 W. Palace Ave., second floor, no charge, 505-660-0048.
GALLERY/MUSEUM OPENINGS
Art of Russia Gallery 225 Canyon Rd., Suite 5, 505-466-1718. Russian Degas, paintings by Valery Kosorukov, reception 5-7 p.m., through June. Barbara Meikle Fine Art 236 Delgado St., 505-992-0400. In the Company of Color, paintings and bronzes by Meikle, reception 5-8 p.m., through June 23. Blue Rain Gallery 130-C Lincoln Ave., 505-954-9902. Paintings by Mateo Romero, reception 5-7 p.m., through May. Ellsworth Gallery 215 E. Palace Ave., 505-989-7900. Group show, reception 5-7 p.m., through July 16. Gerald Peters Gallery 1011 Paseo de Peralta, 505-954-5700. Contemporary Naturalism, group show, reception 5-7 p.m., through July 5. (See story, Page 32) GF Contemporary 707 Canyon Rd., 505-983-3707. Wings: A Context, group show, reception 5-7 p.m., through June 8. Giacobbe-Fritz Fine Art 702 Canyon Rd., 505-986-1156. Flock, group show featuring Camille Engel and Mary Alayne Thomas, reception 5-7 p.m., through June 8. Heidi Loewen Porcelain Gallery 315 Johnson St., 505-988-2225. Works by Loewen and Alexandre Haulet, reception 5-8 p.m. Hunter Kirkland Contemporary 200-B Canyon Rd., 505-984-2111. Invisible Thread, paintings by Jennifer J.L. Jones, reception 5-7 p.m., through June 8. Intrigue Gallery 238 Delgado St., 505-8209265. Oils and pastels by Pamela Frankel Fiedler, reception 5-7 p.m., through June 16. Karan Ruhlen Gallery 225 Canyon Rd., 505-820-0807. In the Abstract, works by Martha Rea Baker, Bret Price, and Kevin Tolman, reception 5-7 p.m., through June 7. Meyer East Gallery 225 Canyon Rd., 505-983-1657. Paintings by Fred Calleri, reception 5-7 p.m., through June 5. Meyer Gallery 225 Canyon Rd., 505-983-1434. Paintings by Suchitra Bhosle and Jhenna Quinn Lewis, reception 5-7 p.m., through June 26. Nüart Gallery 670 Canyon Rd., 505-988-3888. Go Back to Earth and Tell the Animals I Am Still Here, paintings by Santiago Pérez, reception 5-7 p.m., through June 8. Pippin Contemporary 200 Canyon Rd., 505-795-7476. Warming Trend, paintings by abstract artist Robert Langford, reception 5-7 p.m., through June 10. Selby Fleetwood Gallery 600 Canyon Rd., 505-992-8877. Oil paintings by Sandra Pratt, reception 5-7:30 p.m., through June 5.
Pasa’s Little Black Book......... 50 Elsewhere............................ 52 People Who Need People..... 52 Pasa Kids............................ 52
compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com
OUTDOORS
Enchanted Hikes The City of Santa Fe Recreation Division offers monthly easy to moderate treks along the following trails: Dale Ball, Dorothy Stewart, Tesuque Creek, and Galisteo Basin Preserve; Session I, 9-11 a.m. Fridays through May 30, Genoveva Chavez Community Center, 3221 Rodeo Rd., $6.50 per hike or $20 for full session, contact Michelle Rogers for registration information, 505-955-4047, chavezcenter.com.
EVENTS
Randall Davey’s 127th Birthday Party & Open House Refreshments served 2-4:30 p.m., Randall Davey Audubon Center, 1800 Upper Canyon Rd., no charge, 505-983-4609. Tenth Annual Native Treasures Indian Arts Festival benefit preview party Reception for 2014 Living Treasures artists Joe Cajero and Althea Cajero; 5:30-7:30 p.m., hors d’oeuvres, champagne, and jazz, Santa Fe Community Gallery, Santa Fe Community Convention Center, 201 W. Marcy St., $100 in advance online at nativetreasures.org, ticket price includes early-bird tickets for admission to the market running Saturday and Sunday. Blue Rain Gallery shows paintings by Mateo Romero, 130-C Lincoln Ave.
Sage Creek Gallery 421 Canyon Rd., 505-988-3444. Imagine, paintings by Tammy Callens, reception 5-7 p.m., through June 8. Tansey Contemporary 652 Canyon Rd., 505-995-8513. Biodiversity and Human Impact on the Environment, group show, reception 5-7 p.m., through June 17. Ventana Fine Art 400 Canyon Rd., 505-983-8815. Botanica Vivida, works by painters Frank Balaam and Angus, reception 5-7 p.m., through June 11. Waxlander Gallery 622 Canyon Rd., 505-984-2202. Elevated Elements, reverse paintings on Plexiglass by Josiane Childers and Justin West, reception 5 p.m., through June 2.
In the Wings....................... 53 At the Galleries.................... 54 Museums & Art Spaces........ 54 Exhibitionism...................... 55
CLASSICAL MUSIC
Music on Barcelona The ensemble performs piano chamber music of Martin˚u and Mahler, 5:30 p.m., Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd. TGIF piano recital C. Scott Hegler and Linda Mack; music of Mozart, Poulenc, and Gershwin, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., 505-982-8544, Ext. 16.
THEATER/DANCE
The Sad Room Playwright Patricia Crespín’s drama, 7:30 p.m., Teatro Paraguas, 3205 Calle Marie, $12, discounts available, 505-424-1601, teatroparaguas.org, runs through Sunday.
NIGHTLIFE
(See Page 50 for addresses) Café Café Trio Los Primos, dance to Latin favorites, 6 p.m., no cover. ¡Chispa! at El Mesón Brian Lewis and Three Faces of Jazz, featuring Tony Cesarano on guitar, 7:30-10:30 p.m., no cover. Cowgirl BBQ Benyaro, acoustic soul, 5-7:30 p.m.; Busy & The Crazy 88s, hipster pop, 8:30 p.m.-close, no cover. Duel Brewing Santa Fe Revue, psychedelic rock, 7-10 p.m., no cover. El Farol The Gruve, rock and R & B, 9 p.m.-close, call for cover. La Fiesta Lounge at La Fonda Jimmy Stadler, country, 8 p.m.-close, no cover. Omira Bar & Grill Guitarist Marquito Cavalcante, Brazilian jazz, 6:30-8:30 p.m., no cover. ▶▶▶▶▶▶▶▶
calendar guidelines
Please submit information and listings for Pasa Week no later than 5 p.m. Friday, two weeks prior to the desired publication date. Resubmit recurring listings every three weeks. Send submissions by mail to Pasatiempo Calendar, 202 E. Marcy St., Santa Fe, NM, 87501, by email to pasa@sfnewmexican.com, or by fax to 505-820-0803. Pasatiempo does not charge for listings, but inclusion in the calendar and the return of photos cannot be guaranteed. Questions or comments about this calendar? Call Pamela Beach, Pasatiempo calendar editor, at 505-986-3019; or send an email to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. See our calendar at www.pasatiempomagazine.com, and follow Pasatiempo on Facebook and Twitter. PASATIEMPOMAGAZINE.COM
49
Tenth Annual Native Treasures Indian Arts Festival May 23-May 25
Pranzo Italian Grill Pianist David Geist, 6-9 p.m., call for cover. Second Street Brewery Alto Street Band, irreverent bluegrass, 6-9 p.m., no cover. Second Street Brewery at the Railyard Hot Club of Santa Fe, Gypsy-jazz, 7-10 p.m., no cover.
24 Saturday GALLERY/MUSEUM OPENINGS
Bracelet by Chris Pruitt
Benefit Preview Party Honoring artists Joe Cajero and Althea Cajero 5:30-7:30 p.m. Friday, Santa Fe Community Convention Center. Native Treasures Indian Arts Festival Handcrafted works by more than 200 Native artists; early-bird show 9 a.m. Saturday, market 10 a.m.-4 p.m., Santa Fe Community Convention Center. Native Treasures Indian Arts Festival 10 a.m.-4 p.m. Sunday, Santa Fe Community Convention Center
317 Aztec 20-0150 317 Aztec St., 505-8 the Inn at ge Agoyo Loun a ed am Al e th on 505-984-2121 303 E. Alameda St., nt & Bar Anasazi Restaura Anasazi, the of Rosewood Inn e., 505-988-3030 113 Washington Av Betterday Coffee 5-555-1234 , 50 905 W. Alameda St. nch Resort & Spa Ra e dg Lo ’s op sh Bi Rd., 505-983-6377 1297 Bishops Lodge Café Café 5-466-1391 500 Sandoval St., 50 ó ay Casa Chim 5-428-0391 409 W. Water St., 50 ón es M ¡Chispa! at El 505-983-6756 e., Av ton ing ash W 213 Cowgirl BBQ , 505-982-2565 319 S. Guadalupe St. te Café The Den at Coyo 5-983-1615 50 , St. r 132 W. Wate Duel Brewing 5-474-5301 1228 Parkway Dr., 50 lton Hi e th El Cañon at 88-2811 5-9 50 , St. al ov nd Sa 100 a Sp & Eldorado Hotel , 505-988-4455 St. o isc nc Fra n Sa 309 W.
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PASATIEMPO I May 23-29, 2014
Manitou Galleries 225 Canyon Rd., 505-986-9833. Group show of northern New Mexico landscapes, featuring work by Don Brackett, reception 5-7:30 p.m. Pop Gallery 125 Lincoln Ave., Suite 111, 505-820-0788. Decadence: The Art of Bob Doucette & Geoffrey Gersten, reception 6 p.m., through June. Santa Fe Gallery 223 E. Palace Ave., 505-983-6429. Grand opening 10 a.m.-5 p.m.
IN CONCERT
Austin Piazzolla Quintet Tango ensemble, 7:30 p.m., Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com. Electronic-music performances Dwight Loop’s Rampant Egos Big Band, iNK oN pAPER (Milton Villarrubia III and Charlos Santistevan), and sound artist Angelo Harmsworth, 7:30-10:30 p.m., Muñoz Waxman Gallery, Center for Contemporary Arts, 1050 Old Pecos Trail, $5-$20 sliding scale at the door, presented by High Mayhem, highmayhem.org.
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Greg Grissom’s Guys & Dolls Musical tribute honoring the late showman; includes David Geist, Beth Kennedy Jones, John Trentacosta, Tad Jones, and the Bert Dalton Trio, 2 p.m., Scottish Rite Center, 463 Paseo de Peralta, no charge, starsneverfade.com. (See story, Page 22)
THEATER/DANCE
The Jewel Box Cabaret The second season continues with special guest gender illusionist Bella Gigante, 8:30 p.m., María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr., $10, VIP seating $20, 505-428-7781. Richard II Encore broadcast of the Royal Shakespeare Company’s production, 1 p.m., Jean Cocteau Cinema, $25, jeancocteaucinema.com, 505-466-5528. (See Listen Up, Page 24) The Sad Room Playwright Patricia Crespín’s drama, 7:30 p.m., Teatro Paraguas, 3205 Calle Marie, $12, discounts available, 505-424-1601, teatroparaguas.org, continues Sunday.
BOOKS/TALKS
Cary Ginell The author reads from and signs copies of The Evolution of Mann: Herbie Mann and the Evolution of Flute in Jazz, 4-5 p.m., Op. Cit. Books, 500 Montezuma Ave., Suite 101, Sanbusco Center, 505-428-0321. (See story, Page 18) Doug Bootes The poet reads from and signs copies of his book Maelstrom, 4-6 p.m., Back Road Pizza, 1807 Second St., Suite 1, 505-955-9055. Elizabeth Jarrett Andrew The author reads from her novel Hannah, Delivered, 4 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. (See review, Page 8)
Low ’n’ Slow Lowrider Bar at Hotel Chimayó de Santa Fe 125 Washington Ave., 505-988-4900 The Matador 116 W. San Francisco St. Mine Shaft Tavern 2846 NM 14, Madrid, 505-473-0743 Molly’s Kitchen & Lounge 1611 Calle Lorca, 505-983-7577 Museum Hill Café 710 Camino Lejo, Milner Plaza, 505-984-8900 Music Room at Garrett’s Desert Inn 311 Old Santa Fe Trail, 505-982-1851 Omira Bar & Grill 1005 S. St. Francis Dr., 505-7805483 Palace Restaurant & Saloon 142 W. Palace Ave., 505-428-0690 The Pantry Restaurant 1820 Cerrillos Rd., 505-986-0022 Pranzo Italian Grill 540 Montezuma Ave., 505-984-2645 Santa Fe Community Convention Center 201 W. Marcy St., 505-955-6705 Santa Fe Sol Stage & Grill 37 Fire Place, solofsantafe.com Second Street Brewer y
OUTDOORS
Enchanted Hikes The City of Santa Fe Recreation Division offers monthly easy to moderate treks along the following trails: Dale Ball, Dorothy Stewart, Tesuque Creek, and Galisteo Basin Preserve; Session I, 9:30-11:30 a.m. Saturdays through May, Genoveva Chavez Community Center, 3221 Rodeo Rd., $6.50 per hike or $20 for full session, contact Michelle Rogers for registration information, 505-955-4047, chavezcenter.com.
EVENTS
Northern New Mexico Fine Arts & Crafts Guild Fair 10 a.m.-5 p.m. today through Memorial Day, 10 a.m.-5 p.m., Cathedral Park, E. Palace Avenue and Cathedral Place. Santa Fe Fiber Arts Festival Fiber arts and supplies vendors and weaving demonstrations, 10 a.m.-4 p.m. today and Sunday, El Rancho de las Golondrinas, 334 Los Pinos Rd., $8 at the gate, discounts available, 505-471-2261, golondrinas.org. Tenth Annual Native Treasures Indian Arts Festival More than 200 Native artists selling handcrafted works; early-bird show 9 a.m., market 10 a.m.-4 p.m. today and Sunday, Santa Fe Community Gallery, Santa Fe Community Convention Center, 201 W. Marcy St., early-bird admission $20, market $10, tickets available at the door.
NIGHTLIFE
(See addresses below) Cowgirl BBQ Pollo Frito, New Orleans-style funk and soul, 2-5 p.m.; Electro-marimba-trance band Jaka, 8:30 p.m.-close, no cover.
1814 Second St., 505-982-3030 Second Street Brewer y at the Railyard 1607 Paseo de Peralta, 505-989-3278 Shadeh Buffalo Thunder Resort & Casino, Pojoaque Pueblo, U.S. 84/285, 505-455-5555 Sweetwater Harvest Kitchen 1512-B Pacheco St., 505-795-7383 Swiss Bakery Pastries and Bistro 401 S. Guadalupe St., 505-988-5500 Taberna La Boca 125 Lincoln Ave., 505-988-7102 Tiny’s 1005 St. Francis Drive, Suite 117, 505-983-9817 The Underground at Evangelo’s 200 W. San Francisco St. Upper Crust Pizza 329 Old Santa Fe Trail, 505-982-0000 Vanessie 434 W. San Francisco St., 505-982-9966 Warehouse 21 1614 Paseo de Peralta, 505-989-4423 Zia Dinner 326 S. Guadalupe St., 505-988-7008
EVENTS
Duel Brewing Pray For Brain, Mustafa Stefan Dill on guitar and oud, Jefferson Voorhees on drums, and Chris Nelson on bass, indo-funk/sufi-surf fusion, 7-10 p.m., no cover. El Farol Sister Mary Band, rock, 9 p.m.-close, call for cover. La Fiesta Lounge at La Fonda Jimmy Stadler, country, 8 p.m.-close, no cover. La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio, 6-9 p.m., no cover. Mine Shaft Tavern Chanteuse Nacha Mendez, Latin-inspired rhythms, 7 p.m.- close, no cover. Pranzo Italian Grill David Geist and Julie Trujillo, piano and vocals, 6-9 p.m., call for cover. Second Street Brewery Americana band E. Christina Herr & Wild Frontier, 6 p.m., no cover. Second Street Brewery at the Railyard Banjo-driven roots-rock duo Todd & The Fox, 7-10 p.m., no cover. Sweetwater Harvest Kitchen John Serkin, Hawaiian slack-key guitar, 6 p.m., no cover. Tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m., no cover. Vanessie Jazz guitarist Marc Yaxley, 6:30-9:30 p.m., call for cover.
City of Santa Fe Arts Commission training workshops Free series for Santa Fe artists; this evening’s class: Harnessing Social Media: Facebook, Twitter, Pinterest, and Google Plus, with Chris Nierman, 6-7 p.m., Santa Fe Arts Commission Community Gallery, 201 W. Marcy St., RSVP to 505-955-6705 or email Rod Lambert, rdlambert@santafenm.gov. International folk dances Weekly on Tuesdays, lessons 7 p.m., dance 8 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5 donation at the door, 505-501-5081 or 505-466-2920.
NIGHTLIFE
(See Page 50 for addresses) ¡Chispa! at El Mesón Argentine Tango Milonga, 7:30 p.m., no cover. Cowgirl BBQ Sean Ashby, Americana/roots, 8 p.m.-close; no cover. El Farol Canyon Road Blues Jam, 8:30 p.m., call for cover. La Fiesta Lounge at La Fonda Cathy Faber’s Swinging Country Band, 7:30 p.m.-close, no cover. Second Street Brewery at the Railyard Open-mic song night with Ben Wright, 8 p.m., no cover. Vanessie Pianist/vocalist Kathy Morrow, 6:30 p.m., call for cover. Zia Diner Weekly Santa Fe bluegrass jam, 6-8 p.m., no cover.
25 Sunday GALLERY/MUSEUM OPENINGS
New Mexico History Museum Fifth Birthday Bash Opening of Toys and Games: A New Mexico Childhood, an exhibit highlighting objects from the permanent collection; games held in the museum lobby and the Palace of the Governors Courtyard 1-4 p.m., 113 Lincoln Ave., no charge, 505-476-5200.
CLASSICAL MUSIC
Young Voices at the Santa Fe Opera Singers in SFO’s Young Voices Program; accompanied by pianist Kirt Pavitt, 3 p.m., Santa Fe Opera, 301 Opera Dr., no charge, call 505-986-5996 to reserve tickets.
THEATER/DANCE
The Sad Room Playwright Patricia Crespín’s drama, 2 p.m., Teatro Paraguas, 3205 Calle Marie, $12, discounts available, 505-424-1601, teatroparaguas.org.
BOOKS/TALKS
Deborah Madison and Joseph Shuldiner The cookbook authors discuss their respective books, The New Vegetarian Cooking for Everyone and Pure Vegan: 70 Recipes for Beautiful Meals and Clean Living, 5 p.m., The Real Butcher Shop, 907 W. Alameda, Solana Center, 505-780-8067.
OUTDOORS
Sensitive Plants Guided hike exploring the science of plants’ sensory perception, 5 p.m., Cerrillos Hills State Park, 16 miles south of Santa Fe off NM 14, $5 per vehicle, 505-474-0196.
EVENTS
Northern New Mexico Fine Arts & Crafts Guild Fair 10 a.m.-5 p.m. today through Monday Cathedral Park, E. Palace Avenue and Cathedral Place.
28 Wednesday BOOKS/TALKS Verve Gallery of Photography shows works by Cy DeCosse, 219 E. Marcy St.
Santa Fe Fiber Arts Festival Fiber arts and supplies vendors and weaving demonstrations, 10 a.m.-4 p.m., El Rancho de las Golondrinas, 334 Los Pinos Rd., $8 at the gate, discounts available, 505-471-2261, golondrinas.org. Tenth Annual Native Treasures Indian Arts Festival More than 200 Native artists selling handcrafted works, 10 a.m.-4 p.m., Santa Fe Community Gallery, Santa Fe Community Convention Center, 201 W. Marcy St., no charge.
NIGHTLIFE
(See Page 50 for addresses) Cowgirl BBQ The Santa Fe Revue, noon-3 p.m.; 0, 8 p.m.-close; no cover. Duel Brewing Album-release party for Eryn Bent & Troupe Red, 4-7 p.m., no cover. El Farol Chanteuse Nacha Mendez, 7:30 p.m., call for cover. Evangelo’s Tone and Company, rock and R & B band, 8:30 p.m.-close, call for cover. La Posada de Santa Fe Resort and Spa Guitarist Wily Jim, Western swingabilly, 7-10 p.m., no cover. Vanessie Pianist David Geist, 6:30-9:30 p.m., call for cover.
26 Memorial Day BOOKS/TALKS
Southwest Seminars lecture The series continues with a talk by David Carrasco titled From Axis Mundi to Mappa Mundi:
Deciphering the Great Aztec Temple and the Cuauhtinchan Map of the World, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 505-466-2775, southwestseminars.org.
EVENTS
Northern New Mexico Fine Arts & Crafts Guild Fair 10 a.m.-5 p.m., Cathedral Park, E. Palace Avenue and Cathedral Place. Santa Fe National Cemetery Memorial Day Program 10 a.m. ceremony with keynote speaker Mayor Javier Gonzales; national moment of remembrance 3 p.m.; 501 N. Guadalupe St. Swing dance Weekly all-ages informal swing dance, lessons 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., dance $3, lesson and dance $8, 505-473-0955.
NIGHTLIFE
(See Page 50 for addresses) El Farol Tiho Dimitrov, R & B, 8:30 p.m.-close, no cover. La Fiesta Lounge at La Fonda Cathy Faber’s Swinging Country Band, 7:30 p.m., no cover.
27 Tuesday THEATER/DANCE
Julesworks Follies A monthly variety show with sketches, skits, and music, 7 p.m., Jean Cocteau Cinema, $7, visit jeancocteaucinema.com for details and advance tickets.
David Scheinbaum The docent-led Artist of the Week series continues with a discussion on the local photographer, 12:15 p.m., New Mexico Museum of Art, 107 W. Palace Ave., by museum admission, 505-476-5075. Peter Heller The novelist discusses and signs copies of The Painter, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. (See story, Page 12)
NIGHTLIFE
(See Page 50 for addresses) ¡Chispa! at El Mesón Flamenco guitarist Joaquin Gallegos, 7-9 p.m., no cover. Cowgirl BBQ Americana/roots duo Ian McFeron & Alisa Milner, 8 p.m.-close, no cover. Duel Brewing Sydney Westan, country/blues/Americana, 6-8 p.m., no cover. El Farol Guitarist/singer John Kurzweg, 8:30 p.m., no cover. Evangelo’s Gary Farmer & The Troublemakers, Texas roadhouse blues, 8 p.m.-close, call for cover. La Fiesta Lounge at La Fonda Syd Masters & the Swing Riders, Western swing, 7:30-11 p.m., no cover. La Posada de Santa Fe Resort and Spa Guitarist Wily Jim, Western swingabilly, 7-10 p.m., no cover. Palace Restaurant & Saloon Trash disco spun by DJ Oona Bender, 9:30 p.m.-close, call for cover. ▶▶▶▶▶▶▶▶
PASATIEMPOMAGAZINE.COM
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29 Thursday
Filmmakers/Performers/Writers
New Mexico Dance Coalition Student Scholarships 2014 Two scholarship awards distributed in time for fall tuition; available to residents ages 8 and up; application forms and guidelines available online at nmdancecoalition. org; apply by Friday, Aug. 15.
IN CONCERT
Ingrid Laubrock and Tom Rainey Saxophone and percussion, 8 p.m., Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com. San Miguel Chapel Bell Tower Restoration Concert Series Guitarist AnnaMaria Cardinalli performs Legado y Leyenda, 7:30 p.m., San Miguel Chapel, 401 Old Santa Fe Trail, $20 at the door.
Volunteers
BOOKS/TALKS
School for Advanced Research lecture God is Red, Still!, an illustrated talk by anthropologist Severin Fowles on author Vine Deloria’s analysis of Native American place-based theologies, 6:30-7:30 p.m., New Mexico History Museum Auditorium, 113 Lincoln Ave., $10, sarweb.org. (See story, Page 10)
NIGHTLIFE
(See Page 50 for addresses) Cowgirl BBQ Pop duo Victor & Penny, 8 p.m.-close, no cover. Duel Brewing Jazz au Trois, 7-10 p.m., no cover. El Farol Guitarras con Sabor, Gypsy Kings-style rhythms, 8 p.m., no cover. La Fiesta Lounge at La Fonda Syd Masters & the Swing Riders, Western swing, 7:30-11 p.m., no cover. La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio, 6-9 p.m., no cover. The Matador DJ Inky Inc. spinning soul/punk/ska, 8:30 p.m., no cover. Palace Restaurant & Saloon Thursday limelight karaoke, 10 p.m., no cover. Tiny’s Mike Montiel Trio, classic rock, 8 p.m.-close, 8 p.m.-midnight, call for cover. Vanessie Pianist/vocalist Kathy Morrow, 6:30 p.m., call for cover. Zia Diner Trio Bijou vintage string jazz, with Gemma DeRagon on violin and vocals, Andy Gabrys on guitar, and Andy Zadrozny on bass, 6:30-8:30 p.m., no cover.
▶ Elsewhere ALBUQUERQUE
Outpost Performance Space gala fundraiser Funk and jazz saxophonist Maceo Parker, dinner 6:30 p.m., concert 8:30 p.m. Friday, May 23, Albuquerque Museum, 2000 Mountain Rd. N.W., gala $150, concert only $30 and $50, advance tickets available online at holdmyticket.com. Chatter Sunday String quartet recital: music of Beethoven and Glass, 10:30 a.m. Sunday, May 25, the spoken-word portion of the program features poet Carlos Contreras, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, chatterabq.org. Water Crisis in the West: Thinking Like a Watershed series A panel discussion led by Santa Fe author and radio producer Jack Loeffler; Water Law in the Southwest,
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PASATIEMPO I May 23-29, 2014
Maceo Parker performs at Albuquerque Museum on Friday, 2000 Mountain Rd. N.W.
with John Echohawk, Bruce Frederick, and Em Hall, 7 p.m. Thursday, May 29, no charge, visit kimotickets.com for information.
LOS ALAMOS
Haochen Zhang: piano recital Music of Beethoven, Brahms, and Chopin, 7 p.m. Friday, May 23, $30, 505-988-1234, ticketssantafe.org, presented by Los Alamos Concert Association, losalamosconcert.org. Observations From Mars: ChemCam’s Visit to Gale Crater A brown-bag lecture by Agnes Cousin-Pilleri of LANL’s Space and Remote Sensing group, noon-1 p.m. Wednesday, May 28, no charge, lanl.gov/museum.
PEÑASCO
Gaucho Blue Fine Art 14138 NM 75, 575-587-1076. Creation/ Migration: Honoring Our Ancestors, group show, through May 26.
TAOS
203 Fine Art 203 Ledoux St., 575-751-1262. Screens 9= of Memories & Flowers Imagined, paintings by Santa Fe artist Charles C. Gurd, through June 9. Act I Gallery 218 Paseo del Pueblo Norte, 575-758-7831. Landscapes by Dinah Worman, reception 5-7 p.m. Saturday, May 24. Acuarelas Studio Gallery 125 Taos Dr., 575-751-7263. Frederick Aragón’s Strong Woman painting series, reception 5-7 p.m. Friday, May 23.
▶ People who need people Artists
23rd Annual National Pastel Paintings Exhibition Prospectus and details for the Nov. 1-30 show held at Albuquerque’s Expo New Mexico are available online at pastelsnm.org. 2015 Cathedral Park arts & crafts shows The City of Santa Fe Arts Commission is accepting applications from nonprofit arts organizations interested in presenting up to three shows next year; deadline 5 p.m. Monday, June 16; limits: 30 booths per show, held on
Saturdays and Sundays; only juried shows considered; visit santafeartscommission.org for details; 505-955-6707. Fourth Annual National Juried Encaustic/Wax Exhibit Artists 18 years and older may enter up to three images for the Oct. 4-Nov. 2 exhibit held at the Encaustic Art Institute in Cerrillos; Aug. 4 application deadline; award details and applications available online at juriedartservices.com. Indigenous Fine Art Market/IFAM Booths available for the inaugural market held at the Railyard Aug. 21-23; booth fees due by May 30 for artists accepted to Santa Fe Indian Market; by June 20 for new applicants; application forms available online at indigefam.org/artist. Santa Fe Arts Commission Art on Loan Call for privately owned artworks to be placed at the Santa Fe Community Convention Center; artists, galleries, and collectors may submit a proposal for consideration by 5 p.m. Friday, May 30; santafeartscommission.org, 505-955-6707. SITE Santa Fe Spread 5.0 Grant applications sought by New Mexico studio artists to participate in SITE’s recurring public dinners designed to generate financial support for artistic innovation; all disciplines considered; application period opens Monday, June 2, through Sunday, July 6; details available online at spreadsantafe.com/apply; no phone calls, please. Taos Art Glass Invitational Glass artists may submit sculptural, functional, or wearable works for international biennial exhibit held Oct. 11-Nov. 9; entries and artists’ statements must be received by June 1; details and forms available online at tiganm.org. Tear Mirror art project Santa Fe Art Institute, SFUA&D campus. Santa Fe Art Institute artist-in-residence Tomoko Hayashi invites individuals to share written personal stories behind their tears, as well as their actual tears to be made into jewelry; call 505-424-5050 for more information, tomokohayashi.com. Zozobra poster and tee-shirt design contest The Kiwanis Club of Santa Fe welcomes submissions in all mediums; 1920s depictions of Zozobra preferred; visit burnzozobra.com/artist for entry forms and details; entries must be received by June 16; email Raymond Sandoval for more information, burnhim@burnzozobra.com.
Fight Illiteracy Literacy Volunteers of Santa Fe will train individuals willing to help adults learn to read, write, and speak English; details available online at lvsf.org, or call 505-428-1353. Food for Santa Fe The nonprofit needs help packing and distributing groceries 6 and 8 a.m. Wednesdays and Thursdays, 505-471-1187 or 505-603-6600. Hospice Center Assist in the office entering data for the volunteer program for a limited number of hours either weekly or biweekly; basic computer skills required; call Mary Ann at 505-988-2211. Many Mothers Assist new mothers and families, raise funds, plan events, become a board member, and more; requirements and details available online at manymothers.org; call 505-466-3715 for information or to schedule an interview. Plant a Row for the Hungry A Food Depot program encouraging home gardeners to plant extra produce for donation to the organization; 505-471-1633. Santa Fe Humane Society and Animal Shelter Dogs need individuals to take them on daily walks; all shifts available, call Katherine at 505-983-4309, Ext. 128.
▶ Pasa Kids Flying Cow Gallery Warehouse 21, 1614 Paseo de Peralta, 505-989-4423. Dragonfly Art Studio student exhibit (ages 5-14), through Monday, May 26. Santa Fe Children’s Museum Weekly events including open art studio, drama club, jewelry-making club, and preschool programs. Santa Fe Children’s Museum, 1050 Old Pecos Trail, by museum admission, 505-989-8359, for ongoing programs and special events visit santafechildrensmuseum.org. Santa Fe Public Library 2014 Summer Reading Program Registration begins Tuesday, May 27, for the Fizz, Boom, Read program held at all three branches from June 1 through July 26; call La Farge Branch, 505-955-4863; Main Branch, 505-955-6783; Southside Branch, 505-955-2828, or visit santafelibrary.org. Story time Geared toward all ages, 11 a.m. Saturday, May 24, Bee Hive Kids Books, 328 Montezuma Ave., no charge, 505-780-8051. New Mexico History Museum Fifth Birthday Bash Opening of Toys and Games: A New Mexico Childhood, an exhibit highlighting objects from the permanent collection; games held in the museum lobby and the Palace of the Governors Courtyard, 1-4 p.m. Sunday, May 25, 113 Lincoln Ave., no charge, 505-476-5200. Children’s Story Hour Readings from picture books for children up to age 5; 10:45-11:30 a.m. Wednesdays and Thursdays. Collected Works Bookstore, 202 Galisteo St. no charge, 505-988-4226. ◀
In the wings MUSIC Operatic trilogies for families Santa Fe Opera presents three fully staged, short operas composed for youth; performances begin Saturday, May 31, and run June 1, 7, and 8, Gaddes Hall, Santa Fe Opera, 301 Opera Dr., $10 at the box office, 505-986-5900. Cantu Spiritus Chamber Choir Readings and choral selections, 4 p.m. Saturday, May 31, San Miguel Chapel, 401 Old Santa Fe Trail, $15 suggested donation. pl Buddy Rich alumni tribute concert Under the direction of trumpeter Bobby Shew; featuring percussionist Steve Smith, 4 p.m. Sunday, June 1; panel discussion 2 p.m., video presentation following the performance, KiMo Theatre, 423 Central Ave. N.W., Albuquerque, $20-$40 in advance at kimotickets.com. New Mexico Bach Society Arias and sonatas, 6:30 p.m. Sunday, June 1, performers include soprano Jennifer Perez, tenor Andre Garcia-Nuthmann, and pianist Franz Vote, Immaculate Heart of Mary Chapel, 50 Mount Carmel Rd., $25, discounts available, 505-474-4513. Santa Fe Women’s Ensemble The choral group’s 33rd season continues; 3 p.m. Saturday and Sunday, June 7-8, First Presbyterian Church of Santa Fe (Saturday) and Immaculate Heart of Mary Chapel (Sunday), $25, students $10, 505-988-1234, ticketssantafe.org, visit sfwe.org for details. Music on the Hill 2014 St. John’s College’s annual free outdoor concert series opens 6-8 p.m. Wednesday, June 11, with Bert Dalton’s Brazil Project; performers include jazz saxophonist Brian Wingard, jazz vocalist Annie Sellick, and six-piece dance band Manzanares; continues Wednesdays through July 23 (no concert July 2), 505-984-6000. Xavier Rudd Australian singer/songwriter, 7:30 p.m. Wednesday, June 11, Santa Fe Sol Stage & Grill, $20, ticketssantafe.org, 505-989-1234. Carrie Rodriguez Fiddler/songwriter, 7 p.m. Saturday, June 14, Gig Performance Space, 1808-H Second St., $25 in advance at brownpapertickets.com, $29 at the door. Rodney Crowell Country singer/songwriter, 7:30 p.m. Tuesday, June 17, the Lensic, $35-$45, 505-988-1234, ticketssantafe.org. Taos School of Music The 52nd season opens with the Borromeo String Quartet Sunday, June 22; Taos Community Auditorium, 133 Paseo del Pueblo Norte, concerts continue into August at various venues, $20, discounts available, season tickets $80, taosschoolofmusic.com. Santa Fe Bandstand 2014 The annual free music series featuring local and national acts returns with an expanded 10-week run beginning Monday, June 23, and continuing weekly through August on the Plaza; The lineup includes local favorites Bill Hearne, Nacha Mendez, and Bert Dalton; plus Candace Bellamy, Lipbone Redding and his two-man orchestra, and Joy Harjo, santafebandstand.org. Playing for Change Band Peace Through Music tour, 7:30 p.m. Tuesday, June 24, Santa Fe Sol Stage & Grill, $29 in advance, 505-988-1234, ticketssantafe.org.
UPCOMING EVENTS the Orion String Quartet, pianist Inon Barnatan, and violinist William Preucil, schedule available online at santafechambermusic.com.
THEATER/DANCE
Chris Robinson Brotherhood Blues-rock band, 7 p.m. Wednesday, June 25, Santa Fe Sol Stage & Grill, $25 in advance, 505-988-1234, ticketssantafe.org. Santa Fe Opera 2014 Festival Season The season opens with a new production of Bizet’s Carmen and includes the American premiere of Dr. Sun Yat-sen by Huang Ruo, as well as Beethoven’s Fidelio and Stravinsky’s Le Rossignol, June 27-Aug. 23, schedule of community events available online, Santa Fe Opera, 301 Opera Dr., 505-986-5900, santafeopera.org. The Old 97s Alternative-country band, 7 p.m. Sunday, June 29, Santa Fe Sol Stage & Grill, $20 in advance, 505-988-1234, ticketssantafe.org. The Soulshine Tour Michael Franti and Spearhead, SOJA, Brett Dennen, and Trevor Hall, 6 p.m. Saturday, July 5, Downs of Santa Fe, 27475 W. Frontage Rd., $44 and $61, kids $12, 505-988-1234, ticketssantafe.org and holdmyticket.com. Ninth Annual New Mexico Jazz Festival July 11-27 in Albuquerque and Santa Fe; Terri Lyne Carrington’s Mosaic Project, Jack DeJohnette Trio, Claudia Villela Quartet, Henry Butler with Steven Bernstein & The Hot 9, visit newmexicojazzfestival.org for schedule. Santa Fe Chamber Music Festival July 20 marks the beginning of the 42nd season; performers include the Dover Quartet,
Frankie & Johnny in the Clair de Lune A play by Terrence McNally, 7:30 p.m. Thursdays-Saturdays, 4 p.m. Sundays, May 30-June 8, Santa Fe Playhouse, 142 E. De Vargas St., gala opening $30; general admission $20; discounts available; 505-988-4262, contains nudity. John Hodgman Comedian, 9 p.m. Monday, June 2, Jean Cocteau Cinema, 418 Montezuma Ave., $20 at the box office and online at jeancocteaucinema.com. The Sound of Music Musical Theatre Works Santa Fe presents the musical, 7 p.m. Fridays and Saturdays, 2 p.m. Sundays, June 6-15, Greer Garson Theatre, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $17 in advance, students $12, musicaltheatreworks.net, $20 at the door. Roots Revival Cabaret chronicling the history of African Americans, 8 p.m. Saturday, June 7, the Lensic, $22.50, 505-988-1234, ticketssantafe.org. The Yes Men Andy Bichlbaum and Mike Bonanno offer their satirical look at federal and corporate corruption, 6 p.m. Friday, June 13, the Lensic, $15, 505-988-1234, ticketssantafe.org, proceeds benefit the Thematic Residency Program at Santa Fe Art Institute. Follies: The Concert Version Santa Fe REP presents Stephen Sondheim’s musical, 7:30 p.m. Thursdays and Saturdays, 4 p.m. Sundays, June 21-29, Warehouse 21, $25, discounts available, 505-629-6517, sfrep.org. Antonio Granjero and EntreFlamenco Flamenco dance troupe, with Estefania Ramirez, 8 p.m. nightly from July 2 through August, María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr., $25-$45, 505-988-1234, ticketssantafe.org.
HAPPENINGS
Santa Fe Opera Insider Day Saturdays from June 7 through Aug. 23, refreshments 8:30 a.m., staff-member-led backstage tours and talks 9 a.m., Santa Fe Opera, 301 Opera Dr., no charge, 505-986-5900. 65th Annual Rodeo de Santa Fe Kick-off parade begins downtown at 11 a.m. Saturday, June 14; rodeo runs from Wednesday, June 18, through Saturday, June 21, 3237 Rodeo Rd., $10-$148, 505-988-1234, ticketssantafe.org, for more information visit rodeodesantafe.org or call 505-471-4300. Pink Boot Breast Cancer Fundraiser Rodeo de Santa Fe hosts the event; meet-andgreet with rodeo performers, behind-the-chutes tour, and silent and live auctions, 3:30 p.m. Friday, June 20, under the VIP tent, 3237 Rodeo Rd., $30, 505-920-8444. Santa Fe Opera Ranch Tours Offered at 10 a.m. Fridays, June 27, July 25, and August 22, Santa Fe Opera, 301 Opera Dr., $12, combined backstage tour $20, tickets available at the box office, 505-986-5900. ¡Viva la Cultura! Hispanic cultural festival running Tuesday, July 22, through Saturday, July 26; including performances by Cipriano Vigil y la Familia Vigil and Nosotros, a Spanish Market preview, lunch and dinner events, and film screenings; hosted by the Spanish Colonial Arts Society, Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, call 505-9822226, Ext. 109 for advance tickets. Indigenous Fine Art Market More than 400 Native artists are slated to participate in this inaugural market held at the Santa Fe Railyard Thursday-Saturday, Aug. 21-23; events include a kickoff Glow Dance Party, youth programming, and film screenings, indigefam.org. 93rd Annual Santa Fe Indian Market Launch party Thursday, Aug. 21; sneak preview Friday, Aug. 22; live auction dinner and gala Saturday, Aug 23; market held on the Plaza Saturday and Sunday, Aug. 22-23; swaia.org, 505-983-5220.
The Old 97s onstage June 29 at Santa Fe Sol Stage & Grill
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AT THE GALLERIES Addison Rowe Gallery 229 E. Marcy St., 505-982-1533. Redefining Modernism, works from the 1940s to the 1970s including those by Louis Ribak, Josef Albers, and Ilya Bolotowsky, through June 27. Adobe Gallery 221 Canyon Rd., 505-955-0550. Paintings by former Santa Fe Indian School student artists Gerald Nailor, Allan Houser, Quincy Tahoma, Pablita Velarde, and others, through June 4. Allan Houser Gallery 125 Lincoln Ave., 505-982-4705. Crossing Four Rivers, paintings and works on paper by Linda Lomahaftewa and America Meredith, through June 9. Andrew Smith Gallery 122 Grant Ave., 505-984-1234. Love and Other Reasons …To Love, tableau photographs by Joel-Peter Witkin, through June 21. Art Exchange Gallery 60 E. San Francisco St., 505-603-4485. No Exaggeration, paintings by Richard Tashjian, , through June. Café Pasqual’s Gallery 103 E. Water St., second floor, 505-983-9340. The Black Place: Earth Paintings, works on canvas, paper, and wood by photographer Walter W. Nelson, through June. Charlotte Jackson Fine Art 554 S. Guadalupe St., 505-989-8688. Boundless, paintings by Joan Watts, through June 21. Matthews Gallery 669 Canyon Rd., 505-992-2882. Familiar Strangers: Vernacular Photography, anonymous images, through Friday, May 23. New Concept Gallery 610-A Canyon Rd., 505-795-7570. Wilderness Untamed, mixed media by Bill Heckel, through June 6. Phil Space 1410 Second St., 505-983-7945. Feathers and Fur, drawings by Clare Dunne, through June 13. Tai Modern 1601-B Paseo de Peralta, 505-984-1387. Ramona Sakiestewa: Tangram Butterfly and Other Shapes, exhibit of prints, through June 15. Verve Gallery of Photography 219 E. Marcy St., 505-982-5009. Midnight Garden, Cy DeCosse’s cactus flower series; Photographic Brushstroke, digital photography by Van Chu, through June 21.
MUSEUMS & ART SPACES SANTA FE
Center for Contemporary Arts 1050 Old Pecos Trail, 505-982-1338. The Armory Show, multimedia group exhibit and program series in celebration of CCA’s 35th anniversary, Muñoz-Waxman Gallery, through May • Enveloping Space: Walk, Trace, Think, Jane Lackey’s immersive site-specific installation, Spector-Ripps Project Space, through May. Open Thursdays-Sundays; ccasantafe.org. Georgia O’Keeffe Museum 217 Johnson St., 505-946-1000. Georgia O’Keeffe and Ansel Adams: The Hawaii Pictures • Abiquiú Views; through Sept. 14. Paintings, drawings, sculptures, sketches, and photographs by O’Keeffe in the permanent collection. Open daily; okeeffemuseum.org.
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PASATIEMPO I May 23-29, 2014
ALBUQUERQUE
Santuario de Chimayó, by George Bellows (1882-1925), in the exhibit Southwestern Allure: The Art of the Santa Fe Art Colony, at the New Mexico Museum of Art, 107 W. Palace Ave.
Museum of Contemporary Native Arts 108 Cathedral Place, 505-983-1777. BFA Student Exhibit, traditional and contemporary showcase of works, through Sunday, May 18 • Articulations in Print, group show, through July • Bon à Tirer, prints from the permanent collection, through July • Native American Short Films, continuous loop of five films from Sundance Institute’s Native American and Indigenous Program. Closed Tuesdays; iaia.edu/museum. Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 505-476-1269. Turquoise, Water, Sky: The Stone and Its Meaning, highlights from the museum’s collection of jewelry • Native American Portraits: Points of Inquiry, vintage and contemporary photographs, through January 2015 • The Buchsbaum Gallery of Southwestern Pottery, traditional and contemporary works • Here, Now, and Always, artifacts from the museum collection. Closed Mondays through Memorial Day; indianartsandculture.org. Museum of International Folk Art 706 Camino Lejo, Museum Hill, 505-476-1200. Wooden Menagerie: Made in New Mexico, early 20th-century carvings, through Feb. 15, 2015 • Tako Kichi: Kite Crazy in Japan, exhibition of Japanese kites, through July 27 • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, international collection of toys and folk art • Brasil and Arte Popular, pieces from the museum’s collection, through Aug. 10. Closed Mondays; internationalfolkart.org. Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 505-982-2226. Filigree & Finery: The Art of Adornment in New Mexico, through May • Window on Lima: Beltrán-Kropp Peruvian Art Collection, through Tuesday, May 27 • San Ysidro/ St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also,
work by young Spanish Market artists • The Delgado Room, late-colonial-period re-creation. Closed Mondays; spanishcolonialblog.org. New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 505-476-5200. Poetics of Light: Pinhole Photography, through March 29, 2015 • Transformed by New Mexico, work by photographer Donald Woodman, through Oct. 12 • Water Over Mountain, Channing Huser’s photographic installation • Telling New Mexico: Stories From Then and Now, core exhibit • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe. Closed Mondays; nmhistorymuseum.org. New Mexico Museum of Art 107 W. Palace Ave., 505-476-5072. Southwestern Allure: The Art of the Santa Fe Art Colony, including early 20th-century paintings by George Bellows, Andrew Dasburg, Marsden Hartley, and Cady Wells, through July 27 • Focus on Photography, rotating exhibits • Beneath Our Feet, photographs by Joan Myers • Grounded, landscapes from the museum collection • Photo Lab, interactive exhibit explaining the processes used to make color and platinum-palladium prints from the collection, through March 2015 • 50 Works for 50 States: New Mexico. Closed Mondays; nmartmuseum.org. Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Place, 505-988-8900. For the Love of It, group show of pottery, including works by Maria Martinez, Joy Navasie, and Margaret Tafoya, through June 29. Closed Mondays; pvmiwa.org. Poeh Cultural Center and Museum 78 Cities of Gold Rd., 505-455-3334. Nah Poeh Meng, 1,600-square-foot installation highlighting the works of Pueblo artists and Pueblo history. Closed Saturdays and Sundays; poehcenter.org. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 505-982-4636. Works by Diné photographer Will Wilson, through April 19, 2015. Core exhibits include contemporary and historic Native American art. Open daily; wheelwright.org.
Albuquerque Museum of Art & History 2000 Mountain Rd. N.W., 505-243-7255. Everybody’s Neighbor: Vivian Vance, family memorabilia and the museum’s photo archives of the former Albuquerque resident, through January 2015 • Behind Closed Doors: Art in the Spanish American Home, 1492-1898, works from the Brooklyn Museum, through Sunday, May 18 • Arte en la Charrería: The Artisanship of Mexican Equestrian Culture, more than 150 examples of craftsmanship and design distinctive to the charro; cabq. gov/culturalservices/albuquerque-museum/ general-museum-information; closed Mondays. Indian Pueblo Cultural Center 2401 12th St. N.W., 866-855-7902. Our Land, Our Culture, Our Story, a brief historical overview of the Pueblo world, and contemporary artwork and craftsmanship of each of the 19 pueblos. Weekend Native dance performances; indianpueblo.org. Maxwell Museum of Anthropology UNM campus, 1 University Blvd. N.E., 505-277-4405. The museum’s collection includes individual archaeological, ethnological, archival, photographic, and skeletal items; maxwellmuseum.unm.edu; closed Sundays and Mondays. National Hispanic Cultural Center 1701 Fourth St. S.W., 505-604-6896. En la Cocina With San Pascual, works by New Mexico artists. Hispanic visual arts, drama, traditional and contemporary music, dance, literary arts, film, and culinary arts. Closed Mondays; nationalhispaniccenter.org.
LOS ALAMOS
Bradbury Science Museum 1350 Central Ave., 505-667-4444. Information on the history of Los Alamos and the Manhattan Project as well as over 40 interactive exhibits. Open daily; lanl.gov/museum. Los Alamos Historical Museum 1050 Bathtub Row, 505-662-4493. Edith and Tilano: Bridges Between Two Worlds, photographs and artifacts of the early homesteaders, through May. Core exhibits on area geology, homesteaders, and the Manhattan Project. Housed in the Guest Cottage of the Los Alamos Ranch School. Open daily; losalamoshistory.org. Pajarito Environmental Education Center 3540 Orange St., 505-662-0460. Exhibits of flora and fauna of the Pajarito Plateau; herbarium, live amphibians, and butterfly and xeric gardens. Closed Sundays; pajaritoeec.org.
TAOS
Harwood Museum of Art 238 Ledoux St., 575-758-9826. Highlights From the Gus Foster Collection, contemporary works, through Sept. 7 • Mabel Dodge Luhan & Company: American Moderns and the West, including works by Marsden Hartley, Ansel Adams, and Awa Tsireh, plus traditional Hispanic devotional art, opening Wednesday, May 21, through Sept. 11 • Highlights From the Harwood Museum of Art’s Collection of Contemporary Art • Death Shrine I, work by Ken Price • works of the Taos Society of Artists and Taos Pueblo Artists. Open daily through October; harwoodmuseum.org. Taos Art Museum at Fechin House 227 Paseo del Pueblo Norte, 575-758-2690. Intimate and International: The Art of Nicolai Fechin, paintings and drawings, through Sept. 21. Housed in the studio and home that artist Nicolai Fechin built for his family between 1927 and 1933. Closed Mondays; taosartmuseum.org.
EXHIBITIONISM
A peek at what’s showing around town Fred Calleri: The Style Council, 2014, oil on panel. Meyer East Gallery (225 Canyon Road) presents an exhibition of paintings by Fred Calleri. His work has a retro feel, conveying a sense of mid-20th-century domesticity and leisure in figurative imagery often rendered with slight distortions. The show opens with a 5 p.m. reception on Friday, May 23. Call 505-983-1657.
Camille Engel: Touch and Go, 2014, oil on panel. Giacobbe-Fritz Fine Art presents Flock, a group show depicting birds in a variety of media, including realist works by Camille Engel and encaustic watercolors by Mary Alayne Thomas. Additional works by Craig Kosak, Mark Gould, Connie Dillman, and Deb Kaylor are featured. The show opens Friday, May 23, with a 5 p.m. reception. The gallery is at 702 Canyon Road. Call 505-986-1156.
Bret Price: Side Bar, 2014, painted steel. Karan Ruhlen Gallery (225 Canyon Road, 505-820-0807) presents a group show of diverse abstract works. In the Abstract includes sculptures by Bret Price, who applies intense heat to manipulate and shape his steel creations; Martha Rea Baker, whose paintings are inspired by concepts of time; and Kevin Tolman, whose linear and geometric compositions contain elements of seemingly organic forms. There is a 5 p.m. opening reception on Friday, May 23.
Noel Hart: William’s Fig Parrot, 2012, handblown glass. Biodiversity and Human Impact on the Environment is a group show that includes pieces by Geoffrey Gorman and Lewis Knauss, who work with recycled materials; glass artist Noel Hart, whose colorful vessels are inspired by birds of the rainforest; and fiber artist Carol Shinn, whose machine-stitched compositions capture landscapes in realistic detail. The exhibit opens with a reception at 5 p.m. Friday, May 23, at Tansey Contemporary (652 Canyon Road). Call 505-995-8513.
Robert Langford: Making Room, 2014, acrylic on canvas. Warming Trend is an exhibition of new works by Robert Langford at Pippin Contemporary. He uses abstraction to convey a sense of winter weather fluctuations in his home state of North Carolina. He paints luminous compositions with warm and cool color combinations in vibrant hues. The gallery is at 200 Canyon Road. There is a 5 p.m. opening reception on Friday, May 23. Call 505-795-7476.
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PASATIEMPO I May 23 - 29, 2014
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