The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
November 14, 2014
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Now Offering:
Tuesday, November 18, 6pm Armory for the Arts Theater, 1050 Old Pecos Trail
Patrick Nagatani with Lucy R. Lippard Patrick Nagatani combines documentary and theatrical modes of representation to explore landscapes within the U.S. that are fraught with history. His photographs from the series Nuclear Enchantment (1988–93), featured in SITE’s current exhibition, emphasizes the impact of uranium mining and radiation on the land. Lucy R. Lippard is the author of 23 books on contemporary art and cultural criticism, most recently Undermining: A Wild Ride Through Land Use, Politics, and Art in the Changing West. Tickets: $10/$5, please call 505.989.1199 or visit sitesantafe.org
Gabriel Roybal DDS
Trusted in Santa Fe for over 27 years 505-989-8749 gabrielroybal.com • 444 st. michaels dr. • santa fe, n.m.
Planning a Party!
Lunch Special Call us - Come by - Take out Santacafé Sherried Chicken Salad w/ Golden Raisins - 10.00 lb Mexican Braised Beef & Chorizo - 10.00 lb Lobster Salad - 20.00 lb
Co-sponsored by William Siegal Gallery and Molecule Design Store SITE’s Art & Culture programs are organized in series, including My Life in Art and SITEcenter, and are made possible by a grant from the Marlene Nathan Meyerson Family Foundation. This announcement is made possible by the City of Santa FeArts Commission and the 1% Lodgers Tax.
1606 Paseo de Peralta, Santa Fe, NM 87501 www.sitesantafe.org
C H RI S TM A S TRE E L I G H T I N G R EC EPT IO N
ANNUAL
Join us Friday, November 28 on the plaza for holiday cheer from 5pm to 7pm.
Dinner Special Serving a Special Thanksgiving Menu November 27th / 1 - 8 PM
lunch / dinner / brunch - open every day! Happy Hour: 4 - 6 p.m. Mon. thru Fri. Our ‘Classic’ appetizers - 50% off Selected Wines-by-the-glass, ‘Well’ cocktails & House Margarita - $5.00 each FULL BAR • FREE WI-FI • HDTV 505 • 984 • 1788 please visit our website www.santacafe.com
231 washington ave ● santa fe
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PASATIEMPO I November 14 - 20, 2014
60 E. San Francisco St. | SantaFeGoldworks.com
Artwork By: Shane Casias
Dia de Los Muertos 101 W. SAN FRANCISCO ST. SANTA Fe
505-988-1866 OPeN 7 DAYS
botwin eye group
Thanksgiving Dinner
&
e y e s
o p t i c s s a n t a
f e
Thursday November 27th, 2014
Open 11:30 AM M til 5:00 PM • 3 Courses, $29.95 for Adults, $14.95 for Children
Appetizers
B st of Be
Santa Fe 2014
• Chorizo-Stuffed Gulf Shrimp with Blue Crab Hushpuppies and Sweet Chili Glaze • Butternut Squas ash Soup with Toas asted s Pumpki kin i Seeds and Green Chili Sour Cream alad l with a Red Pear and Vermont White Wh h Cheddar, • Bibb Lettuce Sal Candied Wal alnuts, l Dried Cranberries and a Cranberry ryy Champagne Vinaigrette
™
1st Place WINNER!
Entrees
asted s Double Breas asted s Natural all Turkey with Cranberry ryy Relish, Green Beans A Allmondine, • Roas Sausage and Sage Stuffing, Mas ashed s Sweet Potatoes and Giblet Gravy vyy • Blue Cornmeal all Crusted Sal almon l with Manchego and Corn Polenta, Broccolini and Wild Mushroom Ragu • Veggie Turkey Day: Tucumcari Manchego & Corn Polenta, Broccolini, Green Beans Almondine, All Mas ashed s Sweet Potatoes, Cranberry ryy Relish and Mushroom Ragu
Desserts
kin i Pie with Spiced Chantilly Cream • Chocolate Chunk Pumpki • Deep Dish Pecan Pie with Jack Daniels Hard Sauce and Chocolate Chip Ice Cream
505-490-6550 • ThunderbirdSantaFe.com • Facebook.com/ThunderbirdBarGrill 50 Lincoln Ave, on the Santa Fe Plaza
505.954.4442
Representing two generations of Optometric Physicians serving the residents of Santa Fe and northern New Mexico. Providing state of the art eye care with the world’s most fashion forward and unique eyewear. Dr. Mark Botwin
| Dr. Jonathan Botwin | Dr. Jeremy Botwin
Mon-Fri 8:00-6:00, Sat 8:30-12:00 444 St Michaels Drive | BotwinEyeGroup.com
PASATIEMPOMAGAZINE.COM
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FRIDAY, NOVEMBER 14TH DJ CHILL
SATURDAY, NOVEMBER 15th DJ FLO FADER
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BUFFAlO THUNDER PRESENTS
WITH
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$20 tickets purchase at www.tickets.com or casino cashier
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PASATIEMPO I November 14 - 20, 2014
Red.
Green.
or Christm mas?
Come stuff ff you ur stocking with the all new w 20 015 nX or RC. BIG
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Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room
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50-75% off all kinds of things! jewelry * incense * clothing * cards candles * journals * cds * kids stuff plus....an additional
10% off all used and remainder books
133 RomeRo StReet, Santa Fe nm In the RaIlyaRd behInd ReI monday-SatuRday 10-6 & Sunday 11-5 • 505-988-3709 www.aRkbookS.com
Our Warehouse Showroom features over 8000 sq. ft. of handcrafted furniture. Please come in, you’ll be pleasantly surprised.
SANTA FE COUNTRY FURNITURE 525 Airport Road • 660-4003 • Corner of Airport Rd. & Center Dr. Monday - Saturday • 9 - 5 • Closed Sundays www.santafecountry.com
PASATIEMPOMAGAZINE.COM
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THE SANTA FE NEW MEXICAN
November 14 - 20, 2014
www.pasatiempomagazine.com
ON THE COVER 28 Middle-of-the-road Every day, along Mexico’s Federal Highway 85, carpoolers from the suburbs outside Monterrey pile into the beds of trucks, heading to job sites in the city. From an over-pass, photographer Alejandro Cartagena shoots them as they ride by on their travels, capturing surprisingly domestic scenes. These intimate images of illegal commuters, on view in the exhibit Carpoolers at Photo-eye Bookstore + Project Space, documents Mexico’s growing class divide and crumbling infrastructure that drives manual laborers to seek employment far from home. On the cover is Cartagena’s Carpoolers #19.
MOVING IMAGES
BOOKS 16
34 38 40 42
In Other Words Censors at Work
MUSIC AND PERFORMANCE 18 21 22 24
Listen Up National Theatre Live Random Acts Charlie Christian Project Good circulations California Guitar Trio They’ll take Manhattan Aspen Santa Fe Ballet
CALENDAR 48
ART 30
13 15 46
Rioja (detail), by James Koskinas
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Assistant Editor — Madeleine Nicklin 505-986-3096, mnicklin@sfnewmexican.com
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Associate Art Director — Lori Johnson 505-986-3046, ljohnson@sfnewmexican.com
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Calendar Editor — Pamela Beach 505-986-3019, pambeach@sfnewmexican.com
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Copy Editor — Susan Heard 505-986-3014, sheard@sfnewmexican.com
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STAFF WRITERS Michael Abatemarco 505-986-3048, mabatemarco@sfnewmexican.com James M. Keller 505-986-3079, jkeller@sfnewmexican.com Jennifer Levin 505-986-3039, jlevin@sfnewmexican.com Paul Weideman 505-986-3043, pweideman@sfnewmexican.com CONTRIBUTORS Loren Bienvenu, Taura Costidis, Ashley Gallegos-Sanchez, Laurel Gladden, Peg Goldstein, Robert Ker, Bill Kohlhaase, Iris McLister, James McGrath Morris, Robert Nott, Adele Oliveira, Jonathan Richards, Heather Roan Robbins, Casey Sanchez, Michael Wade Simpson, Steve Terrell, Khristaan D. Villela PRODUCTION Dan Gomez Pre-Press Manager
The Santa Fe New Mexican
© 2014 The Santa Fe New Mexican
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Robin Martin Owner
www.pasatiempomagazine.com
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Mixed Media Star Codes Restaurant Review: Agoyo Lounge
ADVERTISING: 505-995-3852 santafenewmexican.com Ad deadline 5 p.m. Monday
PASATIEMPO EDITOR — KRISTINA MELCHER 505-986-3044, kmelcher@sfnewmexican.com Art Director — Marcella Sandoval 505-986-3025, msandoval@sfnewmexican.com
Pasa Week
AND
Art Collision & Repair Shop and UNDRESS
Pasatiempo is an arts, entertainment & culture magazine published every Friday by The New Mexican. Our offices are at 202 E. Marcy St., Santa Fe, NM 87501. Editorial: 505-986-3019. E-mail: pasa@sfnewmexican.com
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The Twilight Angel Whiplash Force Majeure Chile Pages
Ginny Sohn Publisher
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ADVERTISING DIRECTOR Heidi Melendrez 505-986-3007
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MARKETING DIRECTOR Monica Taylor 505-995-3824
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RETAIL SALES MANAGER - PASATIEMPO Art Trujillo 505-995-3852
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ADVERTISING SALES - PASATIEMPO Chris Alexander 505-995-3825 Amy Fleeson 505-995-3844 Mike Flores 505-995-3840 Laura Harding 505-995-3841 Kelly Moon 505-995-3861 Wendy Ortega 505-995-3892 Vince Torres 505-995-3830
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GRAPHIC DESIGNERS Rick Artiaga, Jeana Francis, Elspeth Hilbert, Joan Scholl
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ADMINISTRATIVE ASSISTANT Claudia Freeman 505-995-3841
Ray Rivera Editor
Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet
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PASATIEMPOMAGAZINE.COM
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Independent Living
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| 500 Rodeo Rd, santa fe, nm 87505
2014 NEW CADILLAC CTS
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THANKSGIVING WEEKEND Saturday, Nov 29 9a–5p Sunday, Nov 30 10a–5p
FESTIVAL OF TREES Benefit Reception & Concert featuring IRONHORSE: A new collaboration from Robby Romero & Robert Mirabal Saturday 5-7pm, Tickets $15
SANTA FE COMMUNITY CONVENTION CENTER
$10,000 OFF MSRP
at the Auto Park
* All prices plus tax, lic. and fees rebates to dealer.
www.chevroletcadillacofsantafe.com | (505)471-3700 8
PASATIEMPO I November 14 - 20, 2014
Admission is $10 per day. $15 for a weekend pass. Members and children are free. Tickets are available at the door.
Thanksgiving at the Zia! Black Friday Botox day Roasted Butternut Squash Bisque or
Fall Organic Greens Salad with pears, shaved parmesan, toasted pumpkin seeds and pear vinaigrette Totally Thanksgiving Plate Herb-Roasted Turkey Breast, Mushroom and Sage Cornbread Stuffing, Green Bean-Mushroom Casserole, Creamy Mashed Potatoes, Green Scallion Cream Gravy and, of course, Cranberry Sauce or
Stuffed Poblano Chile Calabacitas, quinoa, pinenuts, mushrooms, green peas and asadero cheese, walnut cream sauce, pomegranate seeds or
Cinnamon-Maple Glazed Pork Tenderloin Harvest Apple Compote, Red Chile Scalloped Potatoes Oven Roasted Green Beans And for Dessert- well, pie, of course! Pumpkin, Pumpkin-Pecan, Apple Crumb, Wicked Cocoa, Strawberry-Rhubarb, Pecan Price per person $35.95 Child’s Turkey Plate with small piece of pie $13.95
.
i Units @ $11.00 Schedule your 505-428-0402 | www.sterlingaestheticssantafe.com appointment Soon 1651 Galisteo St. Suite 6 | Santa Fe, NM 87505 limited Space (25 Unit Min.)
Make your reser vation today! Open 12-7
326 S. Guadalupe •
988-7008 • www.ziadiner.com
Turkey. Burn.
Fresh, never frozen turkeys are available at Sprouts! Sprouts’ natural turkeys are raised with a commitment to care and quality. No preservatives. No artificial ingredients. No hormones added. Organic turkeys are also available. Order today at your DeVargas Center Sprouts - 988-1140.
Discover
Carl and Sandra’s Physical Conditioning Center Burn off those extra holiday calories or be fit for life. Try a custom training program designed to reach your goals plus a 2 month gym membership for $160 plus tax. Call us today at 982-6760 to set up a consultation with your personal trainer.
Over 50 unique stores, restaurants and theater North Guadalupe & Paseo de Peralta • Free Parking! • Walking Distance from Railyard & Plaza 505-982-2655 • devargascenter.com PASATIEMPOMAGAZINE.COM
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Lensic Presents
B ROA DC AST I N HD F ROM LON DO N
S KY L I G HT CAREY MULLIGAN | BILL NIGHY NOV. 18 | 7 PM | $22*
Thanksgiving Dinner 2014
BROAD C AST I N HD FROM B R OA DWAY
OF
MICE AND MEN
JAMES FRANCO | CHRIS O’DOWD NOV. 19 | 7 PM | $22*
All Natural Free Range Diestel Turkey Dry Rubbed with Sage Cornbread, Toasted Pine Nut and Green Chile Stuffing - or Classic Herb Bread Stuffing with Celery and Sautéed Onions Walter’s Home-style Pan Gravy Russet Potatoes Whipped with Parsnip Puree and Crème Fraiche French Green Beans, with Grilled Pancetta and Roasted Red Pepper Glazed Yams with Brown Sugar and Pecans Fresh Cranberry Orange Relish Herb Buttermilk Biscuits -or- Roasted Fennel Cornbread Desserts (Please choose one) Bourbon Pecan Pie Deep Dish Pumpkin Pie
Rustic Apple Tart Farmer’s Market Apples, Candied Green Chile and Caajeta Fresh Whipped Cream with all Desserts
SPONSORED BY
$39.00 per person / 6 person minimum Additions or changes available at an additional cost Delivery ($50) or Pickup at our Office on Wednesday the 26th or before noon on Thanksgiving Day *DISCOUNTS FOR LENSIC MEMBERS
Tickets: 505-988-1234 www.TicketsSantaFe.org w SSERVICE CHARGES APPLY AT ALL POINTS OF PURCHASE
t h e l e n s i c i s a n o n p r o f i t, m e m b e r- s u p p o rt e d o r ga n i z at i o n
phone: (505) 473-9600 fax: (505) 473-1080
www.walterburkecatering.com
Santa Fe Community Orchestra
Oliver Prezant, Music Director
SFCO 2014
Composition Competition Hear compositions by the two finalists presented in an open rehearsal format.
Friday, November 14, 6 – 7:30 pm New Mexico School for the Arts 275 East Alameda Street Admission free, donations welcome For more information: 505-466-4879 or visit www.sfco.org The SFCO Composition Competition is made possible through the generous support of the Mill Foundation The SFCO is funded in part by the City of Santa Fe Arts Commission and the 1% Lodgers Tax and this project is made possible in part by New Mexico Arts, a division of the Office of Cultural Affairs, and the National Endowment for the Arts.
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PASATIEMPO I November 14 - 20, 2014
Anonymous 4
tuesday, december 9, 2014 | 7:30 pm tickets: $17–65 location: cathedral basilica of st. francis
Don’t miss this world-famous a cappella group in their final Santa Fe performance. TicketssantaFe.org | 505 988 1234 PerformancesantaFe.org | 505 984 8759
Partially funded by the City of Santa This project is supported in part by New Mexico Arts, a division of the Department Fe Arts Commission of Cultural Affairs, and by the National and the 1% Lodgers’ Tax. Endowment for the Arts.
PASATIEMPOMAGAZINE.COM
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Frontiers in Science
Public Lecture Series Sponsored by the Fellows of Los Alamos National Laboratory
Does One Big
Earthquake
Lead to Another?
Paul Allan Johnson, Geophysics Group While large earthquakes have occurred throughout the Earth's history, their number has dramatically increased in the last ten to fifteen years. What is it that makes the earth move under our feet? How is it that earthquakes can cause other earthquakes? Can human activities, such as “fracking,” also trigger earthquakes? Join us for an educational and earthshaking presentation. Wednesday, November 12, 2014 at 7 p.m. New Mexico Museum of Natural History and Science, 1801 Mountain Road NW Albuquerque, NM Monday, November 17, 2014 at 7 p.m. Crossroads Bible Church 97 East Road, Los Alamos, NM (Note: location)
ee Admission is fr ! nd ie fr a Bring
Tuesday, November 18, 2014 at 7 p.m. James A. Little Theater New Mexico School for the Deaf 1060 Cerrillos Road, Santa Fe, NM
WAREHOUSE SALE FRIDAY November 14 & SATURDAY November 15 10 am to 4 pm
Furniture • Tables • Cabinets • Rugs • Home Accessories Art • Decorative Items • Seasonal Decorations This WEEKEND only! Everything at 50% OFF!
Warehouse located at 1587 Pacheco St. Information 505.992.6846 asianadobe.com
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PASATIEMPO I November 14 - 20, 2014
ENT OF E N TM
M
D
ER
ICA
GY ER
EVERYTHING!
TE
50% OFF
UNI
For more information, call (505) 665-9196 or (505) 667-7000 or go to http://frontiers.lanl.gov
DEP AR
Watch video
A ST AT E S OF
National Nuclear Security Administration
It’s Princess Aurora’s 16th Birthday and you’re invited! Nov. 14, 15, 16, 22, 23 Fri @ 7:00 pm Sat & Sun @ 2:00pm 1st 100 kids get in free, 1st Sat & Sun only
For Tickets & Info (505) 982-3327 Performances @ The James A. Little Theatre
MIXED MED DIA A
NEW MEXICO
Community Foundation TOGETHER WE THRIVE
Thank you To our sponsors who helped make The nmCF 2014 lumInarIa Gala a GreaT suCCess!
Photo © Don Usner
The fast and the curious: SFAI 140
In a town that never wants for lectures, panels, readings, and presentations, few “talk” events pack as much variety into a single evening as the SFAI 140. The quarterly series, instituted last year by the Santa Fe Art Institute’s director, Sanjit Sethi, is a selection of short — very short — presentations: each speaker shows seven slides for 20 seconds only. That’s a swift turnaround. “While the format for SFAI 140 may seem quick, one hundred and forty seconds can actually be a really long time, a profound amount of time in fact,” the institute writes on its website. “In 140 seconds one can create a tremendous impact and drive change.” SFAI invites innovative thinkers from the community, leaders of cultural organizations, and artists in their residency program to present their ideas and discuss their work and projects with the aim of sparking conversations and inspiring creativity. Each presentation is a breakneck glimpse into a subject of each speaker’s choosing rather than an in-depth talk. “The point is, you’re never going to understand the total depth of someone’s practice,” Sethi told Pasatiempo in Nov. 2013. “What you want here is a taste.” Among the local presenters this quarter are artist Sabra Moore, immigration attorney Allegra Love, author and interior designer Victoria Price, and Mary-Charlotte Domandi, producer and host of The Santa Fe Radio Café. Participating SFAI artists-in-residence include Polish American visual artist Wojciech Gilewicz, Toronto-based Lida Nosrati, a literary translator and a current SFAI Witter Bynner fellow, and Portland, Oregon, painter, photographer, experimental filmmaker, and installation artist Sal Strom. A total of 20 presenters participate in the evening’s program. The event is free of charge and takes place at 7 p.m. on Thursday, Nov. 20, at SFAI on the campus of the Santa Fe University of Art and Design (1600 St. Michael’s Drive, 505-424-5050). — Michael Abatemarco
Special thanks to Jenny Kimball and everyone at La Fonda on the Plaza
Hinkle SHanor llP Santa Fe, roSwell, arteSia
thanks to all our volunteers and staff at new mexico community foundation PASATIEMPOMAGAZINE.COM
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Lensic Presents
The
14.95
$
reTurn oF
CirCus Luminous
PER PERSON PLUS TAX
Wise Fool’s
november 28–30, 2014
Friday 7 pm saTurday 2 pm & 7 pm sunday 4 pm
TiCkeTs: $10–$30 Kids under 12 hALf priCe
THURSDAY, NOV 27TH 12PM TO 9PM
ART BY FREYR A. MARIE
Thanksgiving
GE n E R ou slY sp on so RE d B Y
Climb to the Moon with the 11th Annual Circus Luminous— Acrobats, Aerial Artists, Animation, and More!
wisefoolnewmexico.org
Tickets: 505-988-1234 www.TicketsSantaFe.org service charges apply at all points of purchase
Soups • Herb-Roasted Turkey Breast, Roast Beef Pit Ham • Salad Bar Delicious Sides & Desserts
1-800-GO-CAMEL camelrockcasino.com 10 Min. North of DOWNTOWN Santa Fe • Exit 175 on Hwy 84/285
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16-WEEK INTENSIVE TRAINING
Courses taught by NMSU professors and local experts. Evening classes start Monday, Feb. 2 at 6pm. Morning classes start Tuesday, Feb. 3 at 9am.
The Board of Directors of the
Old Santa Fe Association invites you to our
2014 Annual Meeting Introduction: Brian Nenninger, Project Manager, Drury Hotels
Keynote Speaker: James Moore, NM Office of Archaeological Studies Apply today at sfmga.org Class size is limited. Registration closes Dec. 31. More information at 505-471-4711.
If you are an individual with a disability who is in need of an auxiliary aid or service, please contact Jacqueline S. Baca at 505-471-4711 by Jan. 15. New Mexico State University is an affirmative action/equal opportunity employer and educator. NMSU and the U.S. Department of Agriculture cooperating.
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PASATIEMPO I November 14 - 20, 2014
“Beneath and Before the Drury Plaza Hotel”
Thursday, November 20, 2014 5:30 – 7:30 p.m. Lamy Room, Drury Plaza Hotel Open to the Public – Free Admission
Refreshments will be served
STAR CODES Heather Roan Robbins
Expert Auto
“Service & Repair at a price that’s fair”
Repair & Service
Santa Fe” Voted “Best of The mood is private, serious, scientific, and a bit squirrely. If we have any tendencies toward obsessive-compulsive patterns, this week’s sun, Mercury, Saturn, and Venus lineup in Scorpio can bring them out. Scorpio dives deep. This week’s Scorpio/Saturn conjunction encourages scientific objectivity if we reach for it. It’s a good time for any research or good critical reporting because we can go in depth, really get at the roots of the work, and get a good chunk done — that is, if we’re interested in the truth. If we’re not, the mood can be manipulative and suspicious, and this Scorpio lineup can lead us to sort incoming information to justify our position. Or it can have us stirring up our oldest, deepest, most primal emotions to activate old scar tissue, which can color the present moment. Notice the desire to feel intensely and be careful around events that instigate jealousy, envy, rage, revenge, or longing. We have to add that magic ingredient to make this intensity useful: a real interest in the truth, in a balanced perspective. Without that, we can get stuck looking under the rocks and believing our worst fears or some pushy person’s propaganda. Venus enters more upbeat, restless, and sociable Sagittarius late Sunday, and we come out of our shells. Notice a sudden interest in foreign cultures and faraway places. We have serious business to do midweek as the sun-Saturn conjunct heightens our sense of responsibilities. Relationships can get tricky if we’re pulled into our own worlds and project our feelings onto others. Let’s try to see past our projections and into who the other truly is. Friday, Nov. 14: We may need to stroke a few egos to get our work done, but let’s deal with mixed messages and avoid manipulative behavior as the Leo moon squares Venus. Cheerfully agree to disagree tonight, even if people taunt you: They’re not looking for dialogue but for emotional charge. Saturday, Nov. 15: The moon in industrious Virgo can help us list everything that needs fixing — but notice an equally strong urge to do sweet nothing, and consider finding a midpoint. Be gentle with one another. Tonight, digestion needs healthy food and great conversation. Sunday, Nov. 16: Watch a nervous critical edge. Ask yourself if that comment will truly further progress before offering helpful suggestions as the moon trines Mars this morning. Afternoon brings a desire to wander as Venus enters Sagittarius. Walk the talk; let actions and ideals connect. Monday, Nov. 17: Leave people to their own devices this cranky morning; engage with others this afternoon, when the moon enters friendlier Libra. Be ready to repair the damage caused by an earlier breach in communication.
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New Fall Menu Come join us for award-winning chef Cristian Pontiggia’s take on classic and contemporary Italian cuisine. Let us cook you a marvelous and memorable 4 course Thanksgiving feast, menu available on our website. Buon Appetito! 986-5858 • 58 S. Federal Place • Santa Fe, NM 87501 • www.osteriadassisi.com
Tuesday, Nov. 18: Obstacles are likely, but so is success in overcoming them as the sun conjuncts Saturn. Bones may creak, but it helps to be physically active and redirect stress. Taking on responsibilities can free us and put the reins in our hands. Wednesday, Nov. 19: Honor the individuality of others. Watch for and reel in emotional decisions based on strong spikes of primal emotion as the moon squares Mars and enters Scorpio tonight. Solitude furthers movement in the right direction. Thursday, Nov. 20: It’s hard to see clearly around matters of the heart as Venus squares Neptune. We can tap into intense creative inspiration, but remember that we create fiction in our minds. In other words, we cannot lose track of where the fiction ends and our real life begins. ◀ www.roanrobbins.com PASATIEMPOMAGAZINE.COM
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IN OTHER WORDS book reviews Censors at Work: How States Shaped Literature by Robert Darnton, W.W. Norton & Company, 304 pages Each year a group of American civic-minded organizations celebrates the freedom to read with Banned Books Week that publicizes the top 10 books whose presence in schools or in libraries is challenged by fretful citizens. In 2013, the books included Captain Underpants; Fifty Shades of Grey; and Bless Me, Ultima (by New Mexico’s Rudolfo Anaya). The fact that as part of the annual commemoration, governmentfunded public libraries display the books under assault is a sure enough indicator that censorship on a large scale is not much of a threat in the United States. But Robert Darnton, the Carl H. Pforzheimer University Professor and director of the University Library, Harvard, thinks we may be letting down our guard too soon. “In the early days of the Internet, cyberspace seemed to be free and open,” he writes in the introduction to Censors at Work: How States Shaped Literature. “Now it is being fought over, divided up, and closed off behind protective barriers. Free spirits might imagine that electronic communications could take place without running into obstacles, but that would be naïve.” To understand what is happening now, as well as what could happen, Darnton decided to study the history of censorship to see if there might be some useful guideposts. Specifically, he looks at three instances from the past. The first is in Bourbon France, when authors were imprisoned and books by writers such as Voltaire and Rousseau were regularly banned. Next he turns to British India, where a colonial power sought to restrict seditious texts but found itself in conflict with its own beliefs in free speech. The final case study that Darnton offers, the most fascinating in the book, is that of Communist East Germany. In each instance, Darnton uncovered histories far more complicated than one might expect. Beginning with France, he found that it was not merely a case of censors (evil and anti-democratic) repressing the rights of authors (daring and democratic). Rather, the system of censorship, which did work to keep certain ideas from gaining currency, also had a supportive side to it. Those works the government found meritorious gained a royal endorsement for their excellence. “Censorship was not simply a matter of purging heresies,” he explains. “It was positive — a royal endorsement of the book and official invitation to read it.” Darnton relates the case of James Long, an Anglo-Irish missionary working in Bengal who was tried and jailed for publishing an English translation of a play that sympathetically portrayed the horrible conditions faced by workers on indigo plantations and criticized the British overlords who kept workers in slavelike employment. It was, by Darnton’s admission, the most dramatic case of censorship in British rule over India. 16
PASATIEMPO I November 14 -20, 2014
The incident illustrates the central dilemma for the British Raj, as the English rule was called. To put away people for writing was contrary to the British-taught beliefs in freedom of speech, so the rulers turned to a system of surveillance and elaborate manipulation of courts to repress dangerous ideas. “Liberal imperialism was the greatest contradiction of them all,” Darnton notes. “So the agents of the Raj summoned up as much ceremony as they could, in order to prevent themselves from seeing it.” While Darnton’s tales of censorship in Bourbon France and British India make for good reading, it is the section on Communist Germany that is worth the price of the book. East Germany was notorious for the extent of its censorship of books and its attempt to control all aspects of literature and culture. The fall of the Berlin Wall not only opened the country to the West but brought an end to the totalitarianism under which its citizens lived. A mere seven months later, Darnton obtained an appointment to interview the two leading censors who, as the author writes, “sat at their desks with nothing to do, trying to make sense of it all and to explain their experience to a naïve outsider, when I showed up in their office at 90 Clara-Zetkin-Strasse.” Again, as the author discovered in Bourbon France, the German tale turned out to be complicated. The functionaries charged with censorship did not see their work as repressing writing but rather an attempt to subjugate the art form to the service of socialism. Darnton details at considerable length the negotiations and fights among authors, editors, and the gatekeepers not dissimilar to those between writers and their editors elsewhere. Without question, however, there were things those charged with censoring could not brook. The censors, out of power when Darnton interviewed them, told how they chased down words such as ecology, as pollution was only a problem in capitalist nations, and Stalinism, as mistakes are never made in communist systems. Yet at the same time they also permitted much in print that the rulers would have undoubtedly not wanted. However, the little literary cracks in the wall of repression were hardly a threat when the East German regime was at the height of its power. At the end of his work, Darnton draws an important conclusion from his research, one that is particularly relevant when one considers the extent of censorship in places like Iraq, North Korea, and China. It matters greatly to the future what the citizens of those nations can and cannot learn. Some believe that censors are by nature stupid, he says, because they seem incapable of ferreting out meaning between the lines. “The studies in this book prove the opposite. Not only did censors perceive nuances of hidden meaning, but they also understood the way published texts reverberated in the public. “To dismiss censorship as crude repression by ignorant bureaucrats is to get it wrong. Although it varies enormously, it usually was a complex process that required talent and training and that extended deep into the social order.” — James McGrath Morris
SUBTEXTS Poems in process If you look closely, you’ll see there are small groups of people working together all over the state to generate ideas for poems and ways to perfect the writing of them. Whether they’re called workshops, writing groups, critique groups, or safe creative spaces, their objective tends to be the same: to produce a single poem or a body of work that is meaningful to the poet and resonates with an audience. Five women — Lee Dunne, Cheryl Marita, Paula Miller, Judy Mosher, and Elizabeth O’Brien — met in a 2013 workshop called An Unedited Heart: Poetry Alchemy, which was held at Ghost Ranch, the home of Georgia O’Keeffe, and led by former Santa Fe poet laureate Joan Logghe. Their chemistry as a group was so fruitful, they continued to meet monthly. Then, in the winter of 2014, they went on a writing retreat together to the Bosque del Apache National Wildlife Refuge and eventually self-published a collection of the poems they wrote there, Bosque Rhythms, in honor of the sanctuary’s 75th anniversary. The authors read from and sign their book at Op. Cit Books at 2 p.m. on Sunday, Nov. 16 (500 Montezuma Ave., in Sanbusco Center). Call 505-428-0321 for more information. Sharon Oard Warner reads from her new novel, Sophie’s House of Cards (University of New Mexico Press), on Thursday, Nov. 20, at 6 p.m., at Collected Works Bookstore (202 Galisteo St., 505-988-4226). Warner, a longtime faculty member at UNM, is the founder and director of the Taos Summer Writers’ Conference, held each year at the Sagebrush Inn. Set in Taos, Warner’s novel follows sixteenyear-old Sophie, newly pregnant and left on her own with her mother’s old tarot cards — and an imminent crisis that could destroy her family. — Jennifer Levin
S E R E NATA
of Santa Fe
Christmas EvE ConCErt Performance santa Fe orchestra and pianist Emily Bear wednesday, december 24, 2014 | 5:00 pm
The Art of BACH
SERENATA OF SANTA FE presents
Sunday, November 16, 2014 | 3:00pm
First Presbyterian Church, 208 Grant Ave, Santa Fe
tickets: $27–100 location: lensic performing arts center
The Goldberg Variations, BWV 988 goes rogue,
Elena Sopoci for & Michael violin | Sitkovetsky Shanti Randall, viola arranged stringsShu, by Dmitry Dana Winograd, cello | James Shields, clarinet L.P. violinsoprano | Christof| Jeff Huebner, viola |percussion Felix Fan, cello GailHow, Springer, Sussmann, FOR TICKETS CALL: 505-989-7988 or e-mail serenataofsantafe@gmail.com For more information visit: SERENATAOFSANTAFE.ORG
One of today’s most celebrated young pianists. nEw YEar’s EvE ConCErt Performance santa Fe orchestra and violinist vadim Gluzman wednesday, december 31, 2014 | 5:00 pm tickets: $27–100 location: lensic performing arts center
“Pyrotechnic and passionate” — San Antonio Current ticketssantaFe.org | 505 988 1234 PerformancesantaFe.org | 505 984 8759
Partially funded by the City of Santa This project is supported in part by New Mexico Arts, a division of the Department Fe Arts Commission of Cultural Affairs, and by the National and the 1% Lodgers’ Tax. Endowment for the Arts.
PASATIEMPOMAGAZINE.COM
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LISTEN UP James M.Keller
A revolution five years on: NT Live
N
ational Theatre Live set the bar high when it initiated its highdefinition broadcasts in June 2009. The play on that occasion was a telescoped version (by the late poet Ted Hughes) of Racine’s Phèdre, beamed out from the Lyttleton Theatre in London. Nobody who saw it is likely to forget how riveting Helen Mirren was as the heroine furiously seeking to balance her queenly duty, her lust for her stepson, and her moral compass as the world shifted in directions she could not have anticipated. The performance was transmitted to 73 movie theaters in Great Britain and about 200 in the world beyond, and the critic Michael Billington, writing in The Guardian, conveyed the viewers’ sense that something important was happening. It was partly, he wrote, “that a cinema audience can be as moved as people sitting in the theatre: everyone applauded loudly at the curtain call just as if they were in the Lyttleton. But the main lesson is that a theatre production can be made democratically available to a mass audience without any loss of quality: indeed because the camera can mix close-up and long shot and because we can all hear easily, the aesthetic impact may actually be enhanced. … My hunch is that this is only the beginning of a revolution in making theatre available in ways of which we had never dreamed.” Five years later, NT Live’s website claims that its “broadcasts have now been experienced by over 3.5 million people in more than 1,100 venues around the world, including 550 in the UK alone.” As local theatergoers know, one of those venues is the Lensic Performing Arts Center. NT Live has offered about different 35 plays, and a handful of them have been rebroadcast in “encore performances,” including the commanding Phèdre. Quite a few ensuing broadcasts were also splendid, including Alan Bennett’s The Habit of Art, Dion Boucicault’s London Assurance (with Fiona Shaw’s unforgettable portrayal of Lady Gay Spanker), a killer Hamlet with Rory Kinnear, and The Curious Incident of the Dog in the Night-Time (adapted by Simon Stephens from Mark Haddon’s novel), a haunting visit to the autistic spectrum. The initial goal was to transmit plays from the three auditoriums of the National Theatre complex, which stands alongside the Thames in London’s South Bank district — the Olivier, the Lyttleton, and the Cottesloe (now named the Dorfman); but already in its second season the incentive also beamed out productions from the Theatre Royal, Plymouth, and the Donmar Warehouse in Covent Garden. NT Live was effectively staking its place (at least among international viewers) as a national theater in both name and deed, purveying not only the best of the work produced in the halls of the National Theatre but also some of the notable work of other British theaters. Whether this is a good thing is open to debate. One might wonder if it would be better for NT Live to keep its cameras close to home, if it might benefit from putting just a bit more polish on its in-house broadcast productions rather than constantly coping with new transmission challenges as it adapts to the acoustics and spatial limitations of other theaters.
P
robably the next step was inevitable. On Wednesday, Nov. 19, for the first time, NT Live beams out from Broadway, of all places. The play is Of Mice and Men, and the production, which ran at New York’s Longacre Theatre for an 18-week limited engagement this year, was heartily applauded by audiences and critics. Writing to his agents, John Steinbeck described his 1937 book as “a kind of playable novel. Written in novel form but so scened and set that it can be played as stands. It wouldn’t be like other plays since it does not follow the
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PASATIEMPO I November 14 -20, 2014
Chris O’Dowd and James Franco in Of Mice and Men; photo by Richard Phibbs Top, Bill Nighy and Carey Mulligan in Skylight; photo by John Haynes; photos courtesy the National Theatre
formal acts but uses chapters for curtains. Plays are hard to read so this will make both a novel and play as it stands.” In this Broadway production, the two leading migrant workers were portrayed by Chris O’Dowd (as Lennie, the lumpish fellow whose mental limitations prevent him from fitting into society as he’s supposed to) and Renaissance man James Franco (as George, who protects Lennie to a degree that others will not and helps him dream of a better future). This NT Live presentation is neither NT nor Live. The performance was taped this past July 29, when a specially invited audience trooped to the Longacre to see the play miraculously resurrected two days after it had officially closed.
T
he screening will actually be the second NT Live offering in as many days, at least in Santa Fe. By the time the producers plugged Of Mice and Men into the schedule, the Lensic (and many other theaters) had already released calendars announcing a broadcast for the evening before: Skylight, by David Hare. This is another presentation that is neither live nor from one of the South Bank theaters. It was instead taped during a run this past summer at Wyndham’s Theatre, in London’s West End, the British equivalent of Broadway. The play did, however, receive its initial production at the National Theatre, in 1995, before moving on to the West End and Broadway, and that initial run won it the prestigious Olivier Award for play of the year. It focuses on former lovers who, reunited for a short visit, explore whether they can reconnect in light of the deep social and political chasm that separates them, and it features the starry Carey Mulligan and Billy Nighy. More NT Live lies down the road. On Dec. 9, the Lensic will be airing John, a dance-theater piece conceived and directed by Lloyd Newson and performed by the DV8 Physical Theatre. The company, which will be in residence at the National Theatre just then, typically delves into topics of male sexuality, and this show, based on explicit material gleaned from actual interviews, is no exception. It is being advertised as containing “adult themes, strong language and nudity” and “suitable for 18 years+.” Although the Lensic has not yet announced any NT Live screenings beyond that, the National Theatre has signaled three productions it will be making available to presenters in 2015. Beginning in late January, it will offer a new stage adaptation from the Olivier Theatre of Robert Louis Stevenson’s Treasure Island (“suitable for 10 years+,” it’s apparently light on the strong language and nudity, although it’s hard to imagine pirates without the former). In April, from the Dorfman Theatre, comes a highly anticipated new play, The Hard Problem, by Tom Stoppard, who never fails to makes the mind whirl. The “hard problem” is the one that puzzles a researcher at a brain-science institute; if there is only matter, she wonders, then what is consciousness? The month of May will bring George Bernard Shaw’s Man and Superman, starring Ralph Fiennes. Part romantic comedy, part dream fantasy, part philosophical debate, it will emanate from the Lyttleton Theatre. With this Olivier-Dorfman-Lyttleton trifecta, NT Live will at least be rounding the season’s final lap on its home turf. ◀
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Explore Santa Fe’s Best Calendar on
National Theatre Live presents “Skylight,” by David Hare, at 7 p.m. on Tuesday, Nov. 18; “Of Mice and Men,” by John Steinbeck, on Wednesday, Nov. 19; and “John,” conceived and directed by Lloyd Newson, on Dec. 9. All performances take place at 7 p.m. at the Lensic Performing Arts Center (211 W. San Francisco St.). Tickets, $22, are available by calling 505-988-1234 or visiting www.ticketssantafe.org. PASATIEMPOMAGAZINE.COM
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optigenesis THE ART OF LIBBY CHADD
November 14-30, 2014
OPENINGTONIGHT ARTIST RECEPTION:
Friday, Nov. 14, 5:00-7:00PM
1512 Pacheco, St. #203 Santa Fe, NM 87505 (505) 490-2324
Messiah Haanndel n ’s
Devon Guthrie SOPRANO
Daryl FreeDman MEZZO-SOPRANO
SUNDAY, NOVEMBER 23—4 233—4:00 4 PM “Messiah rings out with Gary Thor Wedow at the helm...an evident master of the Messiah score...”
Joshua Dennis TENOR
Enjoy the power and inspiration of Handel’s masterpiece with the glorious voices of The Symphony Chorus, Choral Direction by Dr. Linda Raney. Santa Fe’s traditional start of the holdiays, from our family to yours. Join us for a free preview talk one hour before the the concert!
Tickets $22—$76 HALF PRICE TICKETS FOR CHILDREN 6 TO 14 WITH ADULT PURCHASE 20
SPONSORED IN PART BY: The 2014–2015 season is funded in part rtt by the Santa Fe Art rts t Commission and the 1% Lodgers’ Tax, New Mexico Art rts, t a division of the Office of Cultural Affairs, and the National Endowment for the Art rts. t
PASATIEMPO I November 14 - 20, 2014
Joseph Beutel BASS-BARITONE
For Tickets Call
505.983.1414
RANDOM ACTS Body electric: Charlie Christian Project
Charlie Christian, a pioneer of the electric guitar in jazz, is honored in a concert on Saturday, Nov. 15, at Gig Performance Space (1808 Second St.). ChristiangrewupinOklahomaCityandplayedcigarbox guitars in grade school. When Christian was in his early twenties, record producer John Hammond saw him play in a local club and recommended him to bandleader Benny Goodman. Christian was soon performing with Goodman’s sextet and became renowned for his inventive solos. But his career was short-lived, with tuberculosis claiming him in 1942 at age twenty-five. The Charlie Christian Project features guitarist Michael Anthony, trumpeter Bobby Shew, bassist Micky Patten, and drummer Cal Haines. Tickets are $15 at the door. The music starts at 7:30 p.m. Visit www.gigsantafe. com for more information. — Paul Weideman
THIS WEEK
Body and soul
The New Mexico Dance Coalition, with the Lensic Performing Arts Center and the Wheelhouse Art Gallery, presents an evening of sacred art, music, and dance to raise scholarship funds so emotionally and psychologically traumatized young adults in New Mexico can take movement classes for therapeutic purposes. The event, with almost 100 participants, includes performances by the sound-healing music group Sees The Day; 3HC (Harambe Hip Hop Crew), with guests Adam McKinney, Roger Montoya, and student dancers; the Saltanah Dancers and the Desert Darlings; Julie Brette Adams, of One Woman Dancing, with Spencer Toll; and Elise Gent’s African dance group, in collaboration with Moria West African Dance and Drum Ensemble. Sacred Body takes place at 7:30 p.m. on Friday, Nov. 14, at the Lensic Performing Arts Center (211 W. San Francisco St.). Admission is $25 to $60; for tickets, call 505-988-1234 or visit www. ticketssantafe.org. There is also a pre-show VIP dinner at Dinner for Two at 5:30 p.m. (tickets, $75, through the Lensic) and a reception for the art exhibition prior to the performance at 6:30 p.m. in the Lensic lobby, which is included in the ticket cost. The exhibit continues at the Wheelhouse through Nov. 26. — Jennifer Levin
Taking sides: Judy Collins
Judy Collins has been playing music in the public eye for more than 62 years. She started as a classical pianist but was swept up by the folk-music scene of the late 1950s and early ’60s, strumming her guitar on the streets of Greenwich Village as a busker. Now seventy-five years old, she’s still recording and performing: her last studio album, Bohemian, came out in 2011 and a live album, Live in Ireland, was released earlier this year. Her biggest hits — “Both Sides, Now,” written by Joni Mitchell, and Stephen Sondheim’s “Send in the Clowns” — earned her a Grammy Award and a Grammy nomination, respectively, and will undoubtedly evoke many tears of nostalgia from audience members when she plays them at the Lensic Performing Arts Center (211 W. San Francisco St.) on Sunday, Nov. 16, at 7 p.m. Tickets are $42 to $62; visit www.ticketssantafe.org or call 505-988-1234. — J.L.
Various variations
Bach’s Goldberg Variations must figure on the “desert island” list of many music lovers. It certainly became an object of adoration for the violinist and conductor Dmitry Sitkovetsky, who, having grown obsessed with Glenn Gould’s 1981 piano recording of the piece, set out in 1984-1985 to create an effective transcription for a trio of violin, viola, and cello. In 1992, he re-envisioned Bach’s variations again, this time in a setting for full string orchestra. In 2009, having played (and heard many others play) his string-trio version for over a quarter of a century, he revised it to “return to a simpler version” (as he explained) and to try “to inject some fresh, youthful energy to propel the piece from the beginning to end.” On Sunday, Nov. 16, at 3 p.m., violinist L.P. How, violist Christof Huebner, and cellist Felix Fan perform Sitkovetsky’s transcription, curiously choosing to play his early version from the mid-1980s rather than the updated one. The concert, presented by Serenata of Santa Fe, takes place at 3 p.m. on Sunday, Nov. 16, at the First Presbyterian Church (208 Grant Ave.). Tickets ($15 to $30, with discounts available) can be purchased through Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org). — James M. Keller PASATIEMPOMAGAZINE.COM
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Paul Weideman I The New Mexican
The Ca l i for n i a Gu i t ar Tr io g e ts aro und
T
he California Guitar Trio, which plays The Lodge at Santa Fe on Wednesday, Nov. 19, is coming up to its 1,500th show. “We’ve been keeping superbusy over the years,” said Paul Richards, one third of the trio, from his Los Angeles home. CGT is known for its energetic, often-polyrhythmic and sometimes-polymelodic music and for an eclectic presentation that mixes arrangements of tunes by Beethoven, Musorgsky, and Bach with covers of songs by Duke Ellington, the Beatles, and Queen. That variety is simply logical when the musicians’ biographies are known: the three guitarists came together from different camps. Richards worships at the altars of rock ’n’ roll and jazz. By contrast, the music of Johann Sebastian Bach is tops for Bert Lams, who is a graduate of the Royal Conservatory of Music in Brussels; and Hideyo Moriya of Tokyo started out emulating the surf-guitar style of 1960s group the Ventures. The three met after traveling to England to participate in King Crimson guitarist Robert Fripp’s Guitar Craft courses. Lams, Moriya, and Richards woodshedded and performed live for four years in Los Angeles to develop their techniques. Their debut album, Yamanashi Blues, was released in 1994. The last three CGT albums are the electrified Echoes (2008), its title song from Pink Floyd and its tracks including an ambitious take on “Tubular Bells,” with guests bassist Tony Levin (who has worked with Carly Simon, Herbie Mann, and King Crimson) and theremin innovator Pamelia Kurstin, among others; Andromeda (2010), featuring all-original compositions by the trio; and Masterworks (2012), on which the musicians focus on works by seven classical composers. “For people who know CGT, our influences are very diverse,” Richards said. “Musically, one of the things that we’ve been enjoying is focusing in on certain elements of our styles and repertoire for our recordings, but then with the live shows it seems like we’re expanding our repertoire, taking things even more eclectic. One of the newer arrangements is a jazz classic from Dave Brubeck, ‘Blue Rondo à la Turk,’ which has a little Turkish-music influence and also very serious jazz stylings and intricate time changes. That’s been fun. And we’re working on a new album. At the moment, it looks like there will be quite a few original pieces on that one.” The trio’s very bright sound, relatively rare in ensembles featuring three guitars, primarily comes from the fact that the players are using picks on steel 22
PASATIEMPO I November 14 -20, 2014
strings rather than fingers on nylon strings. Another contributor to the CGT’s signature sound is its use of a special round-robin technique called “circulation.” “That is something we learned in the Guitar Craft courses. Initially it was introduced to us while sitting in a circle of 20 or 30 or more guitar players and Robert [Fripp] would give the instruction to play one note and pass it to the person to your right. And, one by one, each player would play a melody as the notes went around the circle. It wasn’t about how fast a virtuoso player might play but about playing one note — the right note at the right time — and doing that really forced us to listen to each other. It’s such a powerful way of working together, and we’ve always included it. It’s very likely that we’ll include some pieces of music that showcase circulation in Santa Fe.” The local audience should expect a primarily acoustic set, although the band has been known to use sample loops onstage. “I have a small pedalboard that I do a little bit of looping with,” Richards admitted. “During the Echoes-Andromeda period, we were using quite a few electronic effects, but then on the classical album we only used microphones. Since then we’ve leaned more toward the clean, acoustic sound with just occasional electronic effects.” Richards is a big fan of guitarist Bill Frisell, but he listens to a wide range of music. “When I’m traveling, I listen to music to calm me down because I don’t like flying much and I have to do it a lot. On my iPod right now I have a pretty broad range. One of the things I
always enjoy listening to are the classical lute suites by Robert Barto, and I also like more contemporary stuff. Radiohead has always been one of my favorite groups.” Andromeda includes tracks titled “Improv IX,” “Improv VII,” and “Improv I.” Just how much emphasis does the band place on improvisation? “When we’re writing music together, there’s a lot of improvising happening,” Richards said. “There’s no one formula for this, but often it happens that one of us comes up with a melody or a series of chords and all three of us will learn it and play it, and we’ll improvise together and listen to each other. And when things get more exciting, we’ll try to remember the ideas to develop them into a piece. The improv pieces on that album were free improvisations that took place while we were working on new pieces, but in the end those just stayed as improvisations. During our live shows, the improvisation is a bit different. It’s not like a jazz trio. There might be some improvised solos here and there, but a lot of the music is composed — though it may have originally been based on improvisation.” At one time, the musicians all played guitars made by California luthier Ervin Somogyi. Today they hit the stages with instruments from the Breedlove Guitar Co., based in Bend, Oregon. “They’re very nice-sounding instruments and they’re great for taking on tour. Those custom-made Somogyi guitars, if you ordered one now, run about $30,000. It’s a bit scary checking them into baggage. I’ve actually had guitars damaged by baggage-handlers in the past.
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“Bert and I have similar Breedlove models, and Hideyo has one of the more modern-looking models that they make. They’re all custom-made, where we were able to go to the factory and choose the wood and have some say on how they were put together. These are steel-string guitars, as opposed to the classical nylon-string guitars that the Montréal Guitare Trio people play.” That Canadian trio and the California Guitar Trio have been collaborating for several years. The two gigs immediately following Santa Fe on the CGT schedule feature both groups, which take turns onstage and play together: Thursday, Nov. 20, at the Flickinger Center for the Performing Arts in Alamogordo (call 575-437-2202 for tickets) and Friday, Nov. 21, at the Macey Center in Socorro (call 575-835-5688). In Santa Fe, the trio will play music from Masterworks and Andromeda, along with several brand-new pieces that will probably be recorded for an album slated for a 2015 release. “We’re also including some of the older songs that we’re known for, like ‘Bohemian Rhapsody’ and ‘The Good, the Bad, and the Ugly.’ Our second CD [1995’s Invitation] was recorded in Santa Fe. Bert’s wife was working with Murray Gell-Mann at the Santa Fe Institute. He rented us his summer home above Tesuque, and we turned the living room into a recording studio. We recorded the ‘Train to Lamy Suite’ and also ‘The Good, the Bad, and the Ugly,’ so there are some definite influences from the time we were in the Santa Fe area, and it’s likely that we will include some of those at The Lodge.” ◀
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details ▼ California Guitar Trio ▼ 7:30 p.m. Wednesday, Nov. 19 ▼ María Benítez Cabaret Theatre, The Lodge at Santa Fe, 750 N. St. Francis Drive ▼ $25 in advance (800-838-3006, www.brownpapertickets.com), $29 at the door
PASATIEMPOMAGAZINE.COM
23
They’ll take
Manhattan Aspen Santa Fe Ballet in New York
Michael Wade Simpson I For The New Mexican
BY
mid-October, the art machine that is New York City was operating at full steam after a summer breather. On Lincoln Center’s main stages, New York City Ballet, the Metropolitan Opera, the New York Philharmonic, and American Ballet Theatre were all open for business while the Big Apple Circus performed at Damrosch Park. Later in the month, the Brooklyn Academy of Music presented the influential German dance group Tanztheater Wuppertal-Pina Bausch in Kontakthof, a piece set to 1930s ballroom-dance music, and a five-hour production of Tony Kushner’s play Angels in America in Dutch. Into this fray, Aspen Santa Fe Ballet arrived for its engagement at the Joyce Theater, from Oct. 22 to Oct. 26, its seventh invitation to perform at this Chelsea venue. Tom Mossbrucker and Jean-Philippe Malaty, ASFB’s directors, invited me to a rehearsal, to tag along as they scouted for new dancers at Juilliard, the prestigious school that has become something of farm team for the company, and to watch Malaty teach a master class at the Joffrey Ballet School. I also met with Nicolo Fonte, the Brooklyn-based choreographer who has created several works for the company and was on hand to supervise The Heart(s)pace, his most recent piece for ASFB.
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PASATIEMPO I November 14 -20, 2014
Seeing the company hit the stage for a dress rehearsal in what is arguably the dance capital of the world was a little like following one’s college team to a Bowl game at the end of a winning season. The Joyce is a relatively small house, perfectly intimate (if a little cramped onstage, according to the directors) and appropriate for the smaller audiences drawn to modern-dance companies and visiting regional ballet groups. This was not Akron, Pittsburgh, University Park, or Burlington, the stops on the company’s tour leading up to New York. This was New York. There were posters in the subway and ads on Yelp. Opening night was practically sold out days ahead of time. At the rehearsal, things were sometimes a little shaky — lifts were bungled and partners apologized to each other about missed connections — but these young artists were clearly hungry for an opportunity to let loose in a big, beautiful way. They were fine-tuning. Oct. 20 was the company’s day off after arriving in the city the night before. Apartments had been rented for them. This included the use of kitchens — so welcome, Mossbrucker said, after eating at Applebee’s and college cafeterias for too many meals. The senior class at Juilliard would be attending back-to-back dance classes — a ballet class taught by Alphonse Poulin at 10 a.m., and a modern-dance class led by Milton Myers at 11:30 a.m. Mossbrucker
and I were given chairs by the piano in the ballet studio. We were greeted by Lawrence Rhodes, director of the dance division, and associate director Risa Steinberg, and informed that many of the students had just come off a week of professional performances around the city — part of the school’s internship program. Mossbrucker had head shots on his phone of four dancers who had reached out to him regarding employment, but he was open to all the dancers. There was a spot for one female dancer and perhaps one male. The students, a blend of races and shapes, smiled at us and took their places at the barre. Several of the dancers who were clearly attempting to catch Mossbrucker’s eyes didn’t interest him in the least. For him, it was a matter of body type and energy. “We look for charisma, for individuals,” he said. He told Rhodes the name of one of the women who had contacted him. “When Eliot [choreographer Eliot Feld] walked into the studio for the first time, he said, ‘She’s a star.’ ” As the class proceeded from pliés to slightly untraditional barre exercises that showed Juilliard’s emphasis on fusing classical technique with modern ideas, and eventually to jumps and turns, the star seemed radiant and at ease with continued on Page 26
Coming in from the dark side: Nicolo Fonte
I
Top, Aspen Santa Fe Ballet members outside the Joyce Theater; photo Patrick Janelle
met with Nicolo Fonte in the lobby of New York’s Joyce Theater before he began a technical rehearsal with Aspen Santa Fe Ballet’s second-night cast of his piece The Heart(s)pace. The ballet had its first Santa Fe performance in March. Fonte, a former dancer with an amped-up New York energy, has choreographed several works for the company. He spoke about the origins of the latest. Originally, the plan was for the group to acquire a piece Fonte had created for the Royal Ballet of Flanders, but there was a complicated scenic element that would have become impossible for ASFB to employ on tour, and Fonte was unwilling to allow the piece on the road without it. Artistic director Tom Mossbrucker asked the choreographer to create a new piece for the company. “I’ve been around since the beginning of the company,” Fonte said. “I thought I had said all I could say with them. But Tom came up with the idea of focusing on the newest dancers in the company.” Another request was something Fonte had heard from several other dance groups he had worked with — lighten up. “Let’s face it. There is a certain trendy factor in contemporary ballet to making everything dark and edgy. I was getting tired of it and so were others. My father passed away during the creation of the piece, and I decided to use it as a way of honoring him. I wanted it to be a celebration. I wanted it to be about compassion, a thankyou to the Aspen/Santa Fe community for supporting me
for so many years. Tom pushed me. The challenge became getting the dancers to embrace this new style, this new way of performing.” Instead of just relying on movement, Fonte wanted to see how the dancers could relate to one another, how they could express the idea of community. “We did improvisational exercises in which I asked them to dance with facial expressions that showed love and compassion. It wasn’t easy for them. They were used to being dark, detached, fierce, and cool. I wanted this piece to touch the human element.” Using new dancers was a challenge for Fonte, though their individual characteristics did help to inspire him. “I thought Sadie [Brown] had a special quality. She seemed mystical in a way. I decided that in the opening of the piece, she should levitate. The men support her, and she almost doesn’t touch the floor. Seia [Rassenti] is a powerhouse — a real performer. She is womanly, voluptuous, and she has a temperament. I knew I wanted that to come out in a romantic pas de deux. She knows how to go there. Heart(s)pace was one of my best collaborations.” — M.W.S. PASATIEMPOMAGAZINE.COM
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Aspen Santa Fe Ballet, continued from Page 24
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PASATIEMPO I November 14 -20, 2014
every aspect of the exercises. Mossbrucker later invited her to join the company for a class at the Joyce on Thursday. There was one male dancer whom Mossbrucker began to focus on. He was neither of the men who had sent him résumés — a lyrical African American dancer coming back from an injury and a young man who was offering his services along with those of his girlfriend (the only woman who put on toe shoes during class). Couples may find it difficult to stay together during dancing careers, but, in fact, ASFB has a tradition of these offstage duets. It’s part of the family atmosphere and company culture the directors have fostered over the years. “It’s great until they break up,” Mossbrucker smiled. In any case, this couple was not doing it for him. The male dancer who did catch his eye was also invited to join company class. He had a lean, fluid, almost gender-neutral way of moving. In the modern class, taught by Myers (an Alvin Ailey Dance Theater veteran) to an accompaniment of drums and singing, the student seemed to ooze and slink and stretch in movements that led down to the floor and off again. He looked at home doing both modern and ballet — a strong selling point, given the kinds of work created for AFSB. At the Joffrey School on Tuesday, Malaty pointed out an old Joffrey Ballet poster featuring Mossbrucker’s photo, and another poster of the original Aspen Ballet presenting Romeo and Juliet. Mossbrucker had been a principal dancer with Joffrey for 20 years, while Malaty had performed with Joffrey II. What was immediately clear from the moment Malaty stepped into the studio as a guest instructor was that he was there to spread the gospel about how ASFB works and its emphasis on the fusion of classical and modern dance. This was not an easy fit for many of the ballet dancers. Malaty was not about to let them get away with neat, tidy, habitual movements. “There are two kinds of dancers,” he told them. “Employed and unemployed. If you can’t roll up through your spine [like a modern dancer], you’re not going to get a job. If this was an audition, I could have cut half of you just like that. “I’m looking for open minds. I’m looking for dancers who have an attention to detail.” He walked up to one young woman at the barre, who seemed uncomfortable with the attention. “What was the name of your first ballet teacher?” he asked her. “Robin,” she said. “Well, everything she taught you was wrong.” Malaty turned to address the class. “You all need to be deprogrammed. You have bad habits.” A barre exercise in which the dancers had to change their weight from one foot to the other came in for particular scrutiny. “For 20 years, you’ve only been working with half of your body. You have trouble shifting your weight. In fact, you have two legs. When you stand at the barre, both legs should participate.” The barrage continued, and Malaty, while sounding harsh, was clear that his desire was to help make them better dancers — not to humiliate them. “I’m here to help you make the right choices,” he said. A series of pliés was performed accurately if not passionately. “How many pliés are in that combination?” he asked a Japanese student who required a friend to translate for her. “Ten,” Malaty interrupted. “You have 10 chances to get better. I don’t want static. I don’t want stick figures. I want circles. I want nature. I want you to get naked onstage — to be involved with this art form. Hopefully, you will come to see our performance this week in order to see these ideas onstage.” At the end of the class, instead of the traditional bows to teacher and pianist, Malaty asked the students to form a line. Each one of them had to tell him one thing they had done in the class that made them think about ballet differently. “Some of them are hopeless. They’ll go back into their comfort zone. They already have,” he said afterward. “But if something I said today changes the way they talk to their students when they begin to teach, my work is done.” ◀
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Michael Abatemarco I The New Mexican
SUN
gets in your eyes
H
eading south on Mexico’s Federal Highway 85, manual laborers from the suburbs of Monterrey drive to work in the affluent city of San Pedro. Many pickup trucks drive this route — construction workers, plasterers, and landscapers piled in their beds, tucked down under blankets in the earlymorning hours and chatting while they drink coffee. Though catching a ride in the bed of a pickup is commonplace along this highway, it’s an illegal and dangerous way to commute. But it’s driven by circumstance: in the suburbs, members of the working class without vehicles of their own or access to reliable public transportation travel in groups to get to job sites. From the vantage point of a pedestrian overpass on the highway, photographer Alejandro Cartagena recorded their movements, shooting straight down at the passing trucks to capture bird’s-eye views into selfcontained, almost domestic scenes that reveal a vibrant subculture. Cartagena’s Carpoolers series is an outgrowth of his interest in urban development and its effects on surrounding communities and the environment. He explored these themes earlier in his Suburbia Mexicana project. Carpoolers is on view through Jan. 10, 2015, at Photo-eye Bookstore + Project Space. Since 2006, Cartagena has been documenting the shifting landscapes around Monterrey, marking changes driven by economic realities and politics and how they affect the way people
live. His inspiration for this ongoing interest comes from the work of 20thcentury photographer Eugenio Espino Barros (1883-1978). “Back in 2006, I was working in a photography center,” Cartagena told Pasatiempo. “One of my first jobs there was to digitize this whole collection of Barros, who worked here in Monterrey in the 20th century. It really struck me how he had photographed these open spaces and how they’ve changed. I went out and started to photograph these landscapes where he had photographed in the past, and patterns started to emerge. The patterns were these small, cookie-cutter ‘box’ houses interrupting the landscape all over the place. They had built almost 200,000 houses around the outskirts of Monterrey.” The homes are indeed small, rectangular boxes that seem little more than storage containers on minuscule plots of land — the result of a push by the Mexican government to spur housing growth. “They really advertised the idea of progress through home ownership,” Cartagena said. “It was the prime time of the building boom then. Of course, in 2008 and 2009, it slowed down when America’s economy slowed down. I was interested in how the landscape was being invaded by this new suburban development. Six, seven years later, I continued photographing those developments, but in the sense that I was questioning the consequences of overdevelopment. What’s happening with the ecosystem around the suburbs? What’s
Carpoolers
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PASATIEMPO I November 14 -20, 2014
happening with the city that’s being put aside because suburbia is much cheaper to live in right now? How are people getting to work from the suburbs into the city? Those questions were in my head right from the beginning of the project. Slowly, I’ve been filling in the gaps to answer all those questions.” Cartagena, who resisted the urge to photograph the interiors of the suburban homes, realized while shooting Carpoolers that the scenes unfolding below him on the highway weren’t so different from what he might have seen inside those homes. Many of the perfectly centered, tightly cropped images show workers amid the tools of
Though catching a ride in the bed of a pickup is commonplace on Mexico’s Federal Highway 85, it’s an illegal and dangerous way to commute.
their trade — hard hats, shovels, water jugs, tarps, electrical cords, paint buckets — but provisional-bedding and food items are also in the mix. The pickup beds, appearing more as living spaces than mere rides, take on the quality of an arranged tableau or diorama. “When I found these guys traveling this way, it was like I’m perfectly portraying the insides of their houses, but only when they’re traveling to work. They’re reading the newspaper, sporting with their work buddies. It’s like something that happens in any of these guys’ houses. What really attracted me is that it was an intimate space, but it was happening in a completely public area. One of the
things that are, I believe, eye-catching, are the little details. In a static image, you can actually scrutinize them.” The Carpoolers exhibit coincides with the publication of Cartagena’s same-titled monograph; its clever design allows readers to engage with the images in a unique way. In between the depictions of carpoolers, some of which fold out, halfpages show what the world looks like to a traveler gazing upward while lying down. Occasionally, a carpooler notices the photographer on the overpass, taking his picture as he races by. “It’s a play on who’s looking at who. When you look at the book, you get glimpses of abstract bridges, and you’re moving so fast in the
truck that everything is blurred sometimes. You see advertisements. You see helicopters. You see power cables. That is all entwined in the book, between the pages of my perspective looking at them. You look at them, and they look at you, and it makes the book more dynamic. I felt it worked better for the book format than for the exhibition format.” In the book’s essay, “Power Lines,” by Jessica S. McDonald, chief curator of photography at the Harry Ransom Center, University of Texas-Austin, the theme of an unequal balance of power is explored. The carpooling phenomenon is driven by an abandonment of infrastructure projects that would have afforded the working classes a better life. Instead, schools, parks, utilities, and other community entities have yet to catch up with the influx of people into suburban centers — which leaves the door open for criminal enterprises to take over. “Home ownership remains an aspiration, as young families struggle to pay back government loans once liberally extended to encourage development,” McDonald writes. “Hanging on to the dream of upward mobility, many laborers rely on this risky form of transport as a condition of regular employment.” Political, social, and economic realities have a presence in the series, but only by extension. On its surface, Carpoolers is a self-contained record that simply is what it is: a glimpse of travelers heading to work. What motivates them emerges in the context of Cartagena’s greater inquiry. “Who’s where in the city? Who gets to live in a house, and who gets to sleep in their truck and work all the hard jobs? They almost become invisible to the rest of us because nobody wants to see them. It’s definitely political in that sense. I’m really happy that people can actually read that from the images. It’s definitely something that’s very punctuated here in Monterrey, where you have people who are really rich and you have people who are just barely getting by. One of the things I was really excited about with the project is that it addresses that without being overly romantic about it. Stylistically and conceptually, it’s there — but it’s subtle.” ◀
details ▼ Alejandro Cartagena: Carpoolers
Alejandro Cartagena: left, Carpoolers #49; top, Carpoolers #40; bottom, Carpoolers #38; opposite page, Carpoolers #1 All images archival pigment prints
▼ Exhibit through Dec. 6 ▼ Photo-eye Bookstore + Project Space, 376-A Garcia St., 505-988-5152
PASATIEMPOMAGAZINE.COM
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Jennifer Levin I The New Mexican
THE ZEN OF ART-UPCYCLING MAINTENANCE A
S H O W
O F
Eve Andrée Laramée
Jerry Wellman
PASATIEMPO I November 14 -20, 2014
Joel Hobbie
“Stalled” works of art before they are repurposed by teams from Art Collision & Repair Shop
Susanna Carlisle and Bruce Hamilton n
30
T E A M W O R K
Judy Tuwaletstiwa
Geoffrey Gorman
Bunny Tobias
Matthew Chase-Daniel
magine you are a piece of unfinished art. Someone began you but then became stuck, unsure how to complete you. You exist in every artist’s studio as a canvas leaning against a wall, as pieces of sculpture shoved in a corner. You have no will of your own; you are at the mercy of an artist who may or may not return to you. Art Collision & Repair Shop, opening on Friday, Nov. 14, in the Muñoz Waxman Gallery at the Center for Contemporary Arts, asks what happens when artists relinquish their unfinished pieces and let others determine their fate. Curators Susan Begy and Kathryn M Davis, working with Erika Wanenmacher, put together teams of local artists — known, for the purposes of the exhibit, as art mechanics — and handed them “stalled” artwork from other local artists, all of whom officially remained unknown to the “mechanics” until days before the opening, and who have given up the rights to their original works. The show is a who’s who of the Santa Fe art scene. Originating artists include Matthew ChaseDaniel, Bob Haozous, Bunny Tobias, and Nora Naranjo Morse. Art mechanics include Paula Castillo, Jamie Hamilton, Christopher Jamie Johnson, Michael Lujan, Cyrus McCray, and Jerry Wellman. Medium is a free-for-all at the Art Collision & Repair Shop. Paintings have been turned into performances, while videos, poetry, and sound have been added to sculpture. Some teams retained and built off the original piece, while others used it only for inspiration. The riskiest part of the exhibition is that the curators have no idea what the show will look like in its finished form. “It’s artists at play,” Begy said. “You take away a lot of the concerns about the personal failure of their own body of work, yet they’re still bringing their own skills and their own mediums to the table, and they have to work together. It’s a simple concept, but it can open itself up to so many incarnations.” “We got four paintings, and some of them had barely been started but were definitely stalled,” said Willy Bo Richardson, a painter and art mechanic, along with Nina Mastrangelo and Don Kennell, on Team Reverse Waste Stream Renovators. “We wanted to build an altar to honor those paintings, but our concept fell apart. We discovered that holding to our original concept would hold back the work, because not only do you want to honor the original work, but the artists who are working on it now as well. We decided to trust each other and trust our instincts and the creative process.” Judy Tuwaletstiwa, a mixed-media artist who works with fiber and natural materials, donated a piece to the project that became part of Team Reverse Waste Stream Renovators’ failed altar. She doesn’t believe in the idea of a piece being stuck, preferring instead to view it as exploration that comes to a natural conclusion. “It is simply a question of waiting to see if the piece will resolve itself or not over time, or whether it will offer an idea that I might investigate further years later, when I have had other experiences both in and out of the studio. In other words, a connecting of the dots.” In the case of her piece, she said, “I was complete with it for myself, as one way to think about life, and I wondered where the art mechanics might take it.” continued on Page 32
Paula Wilson: Salty Fresh, 2014, video
THE BUREAU OF RECLAMATIONS opens in the Spector Ripps Project Space at Center Contemporary Arts on Friday, Nov. 14. the for exhibit, multimedia The a installation by Paula an in Wilson — artist based Carrizozo, New Mexico — is linked to Art Collision & Repair Shop through the theme of art as object, though it focuses more directly on objectification in art. “I’m interested in how art’s natural state is objectification,” Wilson told Pasatiempo. “It’s in its nature. We say, ‘Look at that art object.’ It’s something that is deep in its core. I asked myself where the power comes from in being looked at. It comes when the object can look back.” UNDRESS presents a gigantic woman wearing a long skirt, under which people can walk and watch a video. At the same time, video is projected on the viewers’ bodies, turning them into the surface upon which the art exists. In the room with the woman, Salty Fresh, a video by Wilson, is projected onto a scrim that gives the video a painterly effect. Salty Fresh is the origin story of a painting — played by Wilson as a 14-foot-tall woman emerging from the sea. She paints the backsides of humans as “caryatids,” which also stand in the water. They are nude — objectified — but have been transformed with paint into faces, which changes how they are perceived. When the camera is close in on them, it’s clear that they are parts of human bodies — but they are disconnected and nearly unidentifiable as specific body parts until the camera steps back, and we understand what we’ve been looking at. The camera pulls back even farther, revealing a family picnicking on the shore, watching the figures in the water and capturing the scene with their cellphones. “Asses are great subjects,” Wilson said. “They’re comical but sexual, and gender-neutral. It’s a good place to start with the canvas. If they are animated, they haven’t lost their identity through objectification.” The video was shot at Virginia Key Beach Park in Florida, a historic “colored-only” beach that was
segregated between 1945 — when black people gained the right to use the waterfront for recreation — and sometime in the 1960s. “It has fresh water and salt water, which is where the title comes from. Because it felt like I’m being birthed or coming to life in this video, and I’m biracial, and it’s now an integrated beach, it felt fitting to have that occur on those shores,” Wilson said. When we see the family watching from the beach, the story of what we are looking at doubles — even triples, given that they are recording the experience digitally. “I’m interested in how we are now viewing art through cellphones and media, and what that means in today’s world,” Wilson said. “I don’t take a negative stance on that. To me, people are capturing and taking ownership of images in a way that’s new and vital, [so] that contemporary art will move more and more toward embracing rather than trying to revert back to previous ways of experiencing art in person.” Like Susan Begy and Kathryn M Davis (see page 32), Wilson answered Proust Questionnaire-based questions from the point of view of an art object. Pasatiempo: What did you dream last night? Paula Wilson: I dreamed of rising from the ocean, 14 feet tall, with my children, who are also background singers with their asses painted, walking backward and forward before a loving audience. Pasa: What is your greatest fear? Wilson: That no one will see me. Pasa: What is your idea of the greatest happiness? Wilson: Going viral. Pasa: If you could be anything, what would it be? Wilson: A hawk, because it has such an amazing view of the world. Pasa: What were you in a past life? Wilson: I’m iron ore. I’m elements in the earth. Cadmium, cobalt. Mine me. Pasa: What is your motto? Wilson: Make art and play all day. — J.L.
PASATIEMPOMAGAZINE.COM
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But what about the art objects being “repaired?” What is at stake for them in the moment of transition? “I would say that the art object is transitory,” Davis told Pasatiempo. “Not to get into art talk, but it’s not this object that has meaning embedded in it that is immutable.” And yet, she and Begy agreed, to actually be an art object would change things dramatically. What, for instance, do the art mechanics want the piece to do? It would be nerve-racking. In an attempt to empathize with the art, Begy and Davis decided to respond as art objects to a series of questions loosely adapted from what is known as the Proust Questionnaire, a 19th-century European parlor game that was popularized by some of Marcel Proust’s contemporaries as a way of revealing participants’ true natures. (It’s used most famously in this country by James Lipton on TV’s Inside the Actors Studio.) Pasatiempo: What did you dream last night? Kathryn M Davis: I dreamed I was taken from my mommy, and I don’t know what’s going to happen to me. Susan Begy: I dreamed I was on vacation with all these members of my family, and the vacation lasted for years, and we went through all these different ages and phases. We were always on a boat. Pasa: What is your greatest fear? Davis: I’m afraid no one is going to look at me, and that I have no meaning or purpose. Begy: My greatest fear is that no one will take me home with them. Pasa: What is your idea of the greatest happiness? Davis: I see a light shining on me, and people are standing around, talking and pointing at me, and I feel so happy because they are excited about me. Begy: My greatest happiness is when a person is walking by, and they see me out of the corner of their eye, and they turn around and look at me and laugh, and then go home and tell their partner what they saw. Pasa: If you could be anything, what would it be? Davis: I would be a giant outdoor public installation that made people happy for years and years, or at least made them think. Begy: I would be an outdoor sculpture that could withstand all the elements for a long time. Pasa: What were you in a past life? Davis: I was a basket. I was a canvas with string. I was a clown. I’ve lived in hell and I’ve seen heaven. Begy: I was a child’s toy. I got to travel a lot in the back of a car. I was inside a dog’s mouth for a little while. Pasa: What is your motto? Davis: “Fail better,” to quote Samuel Beckett. Begy: Use what you have. ◀
details ▼ Art Collision & Repair Shop and UNDRESS ▼ Opening reception 6 p.m. Friday, Nov. 14; exhibits through Feb. 1, 2015; call for times ▼ Center for Contemporary Arts, 1050 Old Pecos Trail, 505-982-1338 ▼ $5; Fridays no charge
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PASATIEMPO I November 14 -20, 2014
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Painting is a death struggle. It wears you out. And at some point in the process, you go through some crisis. ... But when it comes together, there’s that satisfaction and joy. So it’s a razor’s edge — James Koskinas
gu i depos t s t h r ough t he g l oom JAMES KOSKINAS BATTLES
F
Michael Abatemarco I The New Mexican
rom the start, local artist James Koskinas’ movie, The Twilight Angel, establishes the crux of its dilemma. James Reddoor (Koskinas), a successful painter, is attempting to complete a series of portraits — 12 angels that represent people and events from his past — for the gallery that shows his work. Depression and post-traumatic stress stemming from Reddoor’s Vietnam War experiences derail the process, and his final painting, the angel in the film’s title, remains unfinished. Nearly all of the action takes place within a darkened room — the artist’s studio — where his creative process offers a way out of his inner darkness, allowing him to resume his work. The dark space around him mirrors his state of mind. The movie is a collaborative effort by three people: Koskinas, the film’s only cast member as well as its screenwriter and co-director; James Witham, Koskinas’ co-director, cinematographer, and editor; and Koskinas’ wife, artist and criminal defense attorney Julie Schumer, who served as the film’s producer and publicist. “We built a black box in here,” said Koskinas, who, along with Witham and Schumer, spoke to Pasatiempo at the studio where the film was shot. “We did it all in one contained space. We wanted to keep the pressure on.” The Twilight Angel won a Silver Remi Award at the WorldFest-Houston International Film Festival earlier this year, where it was screened only for the judges. Its premiere screening for the public is at the Jean Cocteau Cinema on Saturday, Nov. 15, at 3 p.m. After the screening, viewers are invited to a Q & A with the filmmakers at Zia Diner (326 S. Guadalupe St.), where ticket-stub holders receive a discount on food and drinks. The project, which began in earnest in 2012, is loosely adapted from Koskinas’ stage performance, Even if the 34
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PASATIEMPO I November 14 -20, 2014
Mountains Burn, a one-man play in which each scene (the film uses the same dramatic device) takes place in a single room. In Even if the Mountains Burn, Koskinas interacts in a pub with door gunners tasked during the Vietnam War with firing and maintaining arms from helicopters. “In the play, the door gunners are coming and going, but when they go, you never see them again,” he said. “They’re dead.” The film takes a less dramatic approach to Reddoor’s memory of his fallen comrades. As Reddoor, Koskinas speaks in his own distinctive drawl, surrounded by his painted portraits — the silent witnesses to his struggle. In that sense, the portraits become characters themselves, invested with all the painful and joyous memories of Reddoor’s life. “Painting is a death struggle,” Koskinas said. “It wears you out. And at some point in the process, you go through some crisis. Who’s going to like it? It’s terrible. What if I get really close to making something great, then make a couple of false moves and it’s gone? So there’s always that terror. But when it comes together, there’s that satisfaction and joy. So it’s a razor’s edge.” An exhibit of artwork created specifically for the film hangs in the cinema’s gallery through the weekend. The Twilight Angel began as an outgrowth of public interest in Koskinas’ stage production, though it didn’t come together until years later. “People would come up to James in Trader Joe’s and Whole Foods, and they would say, ‘I saw your play, and it was so great,’ ” Schumer said. “It still happens today. James wanted to do another play. I wasn’t game for that because it’s a whole lot of work and a lot of money for a limited audience. I said, ‘If we’re going to do something, let’s do a film that we can put out to the world.’ ” So Koskinas enlisted longtime friend Witham
to develop the project. “John made a movie of me for my website, like a 10-minute art-process movie,” Schumer said. The couple knows Witham through Selby Fleetwood Gallery, where Koskinas and Schumer show their work and where Witham’s wife, artist Linda Leslie, has shown hers. “We knew John had the chops to do this,” said Schumer. “We immediately launched in, none of us knowing about the business end of it — the practical details. Everybody went beyond their assigned roles. It’s a complete collaboration.” “We had delusions of grandeur in the beginning,” added Koskinas, “with me being in a helicopter and flying around. But it was like $3,500 an hour to rent the helicopter. We just couldn’t do it. So we just told the story inside here.” Reddoor’s narrative strikes chords of truth. Though not entirely autobiographical, it contains elements from Koskinas’ life. “There’s some scenes in there, like when he finds the letters in the suitcase — those are actual letters I wrote to my parents when I was in Vietnam. And the one where I’m reading about how they’re trying to kill me in the gun tower. That’s a true story.” On-screen, Reddoor reads from the letter: “To mother on her 57th birthday, love James. I was stuck in a gun tower for 13 hours, waiting for them to get me. But they didn’t. It’s a funny feeling, knowing that someone is trying to kill you.” “That letter, I didn’t even discover until we shot the movie,” Koskinas said. “The events are rearranged to make a dramatic script. But emotionally, it’s true: how I felt about the war and my friends who died and how I felt about my own survivor’s guilt around that. I had PTSD I just couldn’t shake. My wife said, ‘James, you’ve been trying to tell this Vietnam story ever since
I’ve known you. It’s become too big a story to hold inside yourself.’ ” Koskinas entered a writing workshop with actor Tanya Taylor Rubenstein, whose Project Life Stories program encourages participants to explore selfexpression through monologues and solo performances. “I spent a year on the script. It was a big catharsis where I just spit it out.” Koskinas’ PTSD increased after doing this writing, and he entered therapy. “I got stalled. I didn’t paint for a while. I was depressed. Once I started moving forward again, it led right into the collaboration with John and Julie on the movie. I kind of think of myself as a lone wolf. I have that heroic sense of myself as an artist where you’re against the wind. I love the solitude of the studio, and I always thought of that as my place. But, at some point, it didn’t work anymore, especially when that PTSD came in.” Reddoor’s process of working through his turmoil by way of a creative endeavor is a reflection of Koskinas’ own recent struggles with mental illness. “Any true artist would probably say you’re not separate from your art. So you’re going through problems in your life — relationship problems, money problems — everything you’re going through shows up on your canvas.” The shooting schedule lasted for three months, during which Koskinas’ task was to tone down the larger-than-life theatrical gestures and vocalizations he was accustomed to making as a live performer. “On-camera, in an intimate situation, big gestures and real exaggerated speech and body language seem contrived,” said Witham. “The challenge James rose to was how to be in a very intimate situation with the camera, as opposed to being onstage before an audience. We developed feedback mechanisms, where we did a lot of camera tests. Then we’d look at them and collaboratively decide if a different approach was necessary or if we had to completely lose a scene. Through that process, he developed a comfort with his on-camera role.” “The first time we shot a scene, we did like 39 takes,” Koskinas said. “It took seven hours for like 30 seconds of movie. It was a big deal for me to get myself out of the way and tell a story.” Meanwhile, it was Schumer’s job to make sure cast and crew stayed on-task. “I kept saying, ‘We have to be done by this date, or we’re going to run out of money.’ ” Witham added, “She was being a good producer.” Because they had no crew to review dailies and do the rough edits, Witham kept a list of edits in his head during filming, deciding on a day-to-day basis which material he could work with. He launched into post-production work as soon as filming was complete. “It was a leap of faith that I had what we needed to make the film.” As if the multiple roles he took on during production weren’t enough, Witham also worked as the film’s sound mixer and created its score, along with local composers John Oliver and Rusty Kirkland. “They took me over to the studio, and John started calling out scenes, and I would re-create the scene from the movie,” Koskinas said. “They would play over me, then take out my voice. It all happened just like that: quick, spontaneous, and everyday.” The filmmakers left room in their shooting script for the improvisational “authentic” moments, when Koskinas, as Reddoor, is deeply engaged in painting. “In those scenes, he was just on his own — in his world,” Witham said. “I think that comes through in the film, that’s he’s really painting. He’s in the zone.” “In the scene where I’m just painting and painting and painting, I was completely gone,” added Koskinas. “It was a total immersion. It’s pretty significant too — because, after that, I said to John, ‘A painter has no language except a visual language.’ You’re not thinking of words when you’re painting. I almost wish we shot a movie with no language at all because it’s so powerful to be painting. Time stops. You don’t need the outside world. That was definitely the most real scene of the whole movie. We were both transfixed.” ◀
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Transgender + Jewish = Kosher? Join Rabbi Neil Amswych for a series of talks at Temple Beth Shalom
November 14-15 Friday 6:30 pm during Shabbat Services Saturday 7:00 pm ($15 suggested donation)
Festive refreshments included Y All are welcome! Temple Beth Shalom 205 E Barcelona Rd Santa Fe NM 87505 joy.rosenberg@sftbs.org YYY 982.6161
details ▼ The Twilight Angel: premier screening and art exhibit ▼ 3 p.m. Saturday, Nov. 15; exhibit through Sunday, Nov. 16 ▼ Jean Cocteau Cinema, 418 Montezuma Ave., 505-466-5528 ▼ $7, discounts available; www.jeancocteaucinema.com Our Distillery Location is Available for Larger as well as Private Parties
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Comee join us for the Western only Mel Brooks could create. Voted No. 6 on AFI’s 100 Years ...100 Laughs, Blazing Saddles features a brrilliant cast that includes Brooks and an Oscar®-nominated Maadeline Kahn and Santa Fe’s own David Huddleston. This comedy is loaded with one-liners, gags and cameos. Its breakthrough parody still breaks the rules, breaks stereotypes and a breaks wind, all in one sitting. See it again and be offended o like it’s the first time! David Da Huddleston aka Mayor Olson Johnson will join uss to celebrate this classic event and reminisce with soome tall tales following the film fun.
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PASATIEMPO I November 14 - 20, 2014
The Lensic Performing Arts Center
of Cultu r
211 W. San Francisco Street, Santa Fe, NM 87501
Affairs •
De
nt
Friday, November 21, 7:30 p.m.
al
p a rt m e
A fundraising event sponsored by the Museum of Indian Arts & Culture Rainmakers
w Mexico
This event is made possible through a Lensic Community Sponsorship. Special thanks to Warner Bros. and The Lensic Performing Arts Center for their generous participation.
TICKETS
$50 to benefit the Santa Fe Animal Shelter (505) 988-1234, www.TicketsSantafe.org
Tickets will be available at the Lensic Box Office or online.
FILM
1974 • 93 mins • Rated R • Q&A to follow with Mr. David Huddleston
F O R Y O U R C O N S I D E R AT I O N
33rd Annual
BEST FOREIGN L ANGUAGE FILM OFFICIAL SELECTION - SWEDEN
PLACITAS TA HOLIDAY H Fine Arts & Crafts Sale
THE MOVIE TO SEE AND TALK ABOUT IF YOU WANT TO EXPERIENCE THE ABSOLUTE BEST OF CONTEMPORARY CINEMA.’’ ‘‘
- Kenneth Turan, Los Angeles Times
November 22–23 • Sat 10–5, Sun 10–4:30
“ THE MOST ACUTELY OBSERVED COMEDY
OF THE YEAR, IF NOT IN SEVERAL YEARS.
80 Artists Anasazi Fields Winery at 3 Sites The Big Tent (east of Presbyterian Church)
A breathless black diamond course.” - Richard Lawson, Vanity Fair
Placitas Elementary School
“‘FORCE MAJEURE‘ IS A JOLT. YOU WON‘T KNOW WHAT HIT YOU.
preview all 80 artists at www.PlacitasHolidaySale.com
Director Ostlund shifts gears from humor to psychological thriller with cunning skill.”
The Placitas Holiday Fine Arts and Crafts Sale is sponsored by the Placitas MountainCraft and Soiree Society, a 501-c3 nonprofit organization.
- Peter Travers, Rolling Stone
“ THE RARE KIND OF MOVIEGOING
EXPERIENCE THAT WILL HAUNT YOU LONG AFTER YOU LEAVE THE THEATER.’’ - Chris Nashawaty, Entertainment Weekly
‘‘POTENT. UNLIKE ANY FILM I’VE SEEN. A film that makes you murmur in amazement as you watch.” -David Edelstein, New York
“BRILLIANT. A prickly moral comedy for grown-ups, full of sharply observed moments, spectacular scenery and masterfully manipulated atmosphere.”
Providing food to those in homeless need forfor 2625 years. Providing food to the poor and years Please help. Send your contribution Please help. Send your contribution to: to: Bienvenidos Outreach 5873| Santa | Santa 87502 Bienvenidos Outreach| |PO PO Box BOX 5873 Fe,Fe, NMNM 87502
- Andrew O’Hehir, Salon
‘‘AN ICE-COLD KNOCKOUT. Brilliantly perceptive and frostily funny.” -Aaron Hillis, Village Voice
‘‘
RIVETING. BOTH WEIGHTY TYY AND WICKEDLY FUNNY. It hits the viewer like an emotional avalanche.” -Claudia Puig, USA Today
WRITTEN FOR THE SCREEN AND DIRECTED BY
JON STEWART
Jury Prize 2014
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film reviews
Survival of the fastest Whiplash, drama, rated R, Regal DeVargas, 3.5 chiles When it comes to a bandleader verbally abusing his musicians, Buddy Rich may have set the bar in the 1980s. The legendary drummer, then in his sixties, launched a series of tirades between and after his band’s sets, all of which were captured on a hidden tape recorder. It would be difficult to provide even an excised sampling of his verbal acrobatics here because nearly every other word is unprintable. The divide between the calm control and professional demeanor of a band performing onstage and the seething emotions that sometimes belie all the preparation leading up to the moment is a key source of tension in Damien Chazelle’s Whiplash. The drama stars Miles Teller (The Spectacular Now, 21 & Over) as aspiring teenage jazz drummer Andrew Neiman. Its opening blackout sets the percussive tone, with a long single-stroke drumroll crescendoing and accelerating in the darkness. The lights come up, offering the first glimpse of Neiman at his solitary practice behind the drums. He is in a dim rehearsal room at the fictional Schaffer Academy, a New York City conservatory presented as the best in the nation. At this point, Neiman is both innocent and earnest, ready to begin his studies and not knowing how quickly they will plunge him into a state of severe obsession — soon, even a car accident won’t keep him from his coveted spot on the drum throne for an important competition, even if that means stumbling out of the wreckage and running to the concert hall, his suit spattered in blood and his left hand hanging limply at his side. The scene is particularly moving because the veil between the months of preparatory sacrifice and the brief minutes of performance is briefly and painfully lifted. But the physical whiplash Teller receives from the accident pales in comparison with the tongue-
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PASATIEMPO I November 14 -20, 2014
What would Gene Krupa do? Miles Teller, left, and J.K. Simmons
lashing he and the rest of the band are constantly subjected to from the school’s top instructor, Terence Fletcher (played by a riveting J.K. Simmons). Fletcher is not the kind of instructor who says please when requesting a drumroll. The controlling, foul-mouthed Jekyll-Hyde composite frequently reduces his players to tears, employing curses that would make even Buddy Rich blush. Adopting the false role of kind mentor, Fletcher tells Neiman before his first rehearsal in the top band, “The key is just to relax — have fun.” Shortly after this confidence booster, he mercilessly tears Neiman down, first comparing him mockingly to Rich (who happens to be Neiman’s hero), then belittling his parents (Neiman’s father is a failed writer and his mother abandoned the family), and finally moving directly into the realms of physical abuse. Fletcher’s teaching strategy relies on pitting the players directly against one another, driving the top contenders like Neiman into pushing themselves to the point of bloodshed. In his quest to increase his hand speed, the young drummer develops seemingly never-healing blisters that leak dramatic quantities of liquid onto his instrument. Not since Michael Haneke’s 2001 thriller, The Piano Teacher, have blood and music been so forcefully intertwined. Whiplash flirts with but ultimately strays from the standard trajectory of the rising and brilliant young musician. The film hammers home the point that unending sacrifice is the key to becoming “one of the greats.” Such are the words that Neiman employs when trying to explain and defend his dreams to his slightly two-dimensional love interest, Nicole (Melissa Benoist). But the film also proposes — and declines answering — the follow-up question: When is the cost of greatness too high? For Fletcher and Neiman,
the answer seems to be never, and we are left to decide for ourselves whether this is something to admire or deplore. Less ambiguous, however, and perhaps more intriguingly explored, is how the power dynamics of a mentoring relationship can turn a teacher’s obsession into a student’s compulsion. Visually, the film captures today’s New York City with realism and subtle beauty. Both choreography and editing are highly effective, especially in moments of performance when the perspective jumps from player to player, or between Neiman and Fletcher, creating an intimacy that transports the viewer not just onto the stage, but somehow even into the rollicking measures of the music itself. The music is likewise well adapted to the storyline, featuring an original score by Justin Hurwitz, big-band compositions by Hurwitz and Tim Simonec, and a few jazz standards. These include the Duke Ellington classic “Caravan” (serving as the rousing encore piece of the film and delivering that craved-for epic drum solo), and the more-obscure Hank Levy composition “Whiplash,” a particularly hard composition defined by odd time signatures. All the elements cohere in Whiplash, which is perhaps one reason why it won both the audience and grand jury awards at this year’s Sundance Film Festival in the U.S. dramatic competition. Obviously a labor of love for Chazelle, who was himself a serious jazz drummer before transitioning his focus in college to filmmaking (this is the young filmmaker’s second feature, following his 2009 low-budget Guy and Madeline on a Park Bench), the film obliquely hints that the obsessive drive necessary for a musician to achieve enduring fame may be just as necessary for an actor or director. — Loren Bienvenu
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Oct 25 - Dec 9
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PALPABLY ELECTRIC...
THE ACTION IS PERILOUSLY REAL , AND THE CAMERA ISN’T ONLY CAPTURING A
HISTORICAL EVENT, IT’S PART OF THE MAKING OF IT.”
“EXHILARATING. A sharp, dyspeptic, sometimes gaspingly funny exploration of art and life.’’ – Manohla Dargis
“SCENES OF SUCH INTIMATE MOMENTOUSNESS THAT THE MOVIE’S .”
“A
A MUST-SEE PIECE OF WORK
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A HAUNTING, HISTORIC
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STUFF OF ORWELLIAN NIGHTMARES...
IT PLAYS LIKE THE GREATEST
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TRIUMPH.
THE TALE OF PRINCESS KAGUYA
A new masterpiece!! Santa Fe exclusive!!
Brilliantly conceived by indie auteur Perry and audaciously played by Schwartzman.’’ – Betsy Sharkey, Los Angeles Times
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11:00am Sat-Sun Nov 15-16 & 5:30p Mon Nov 17 (Recommended for ages 10 and up)
SANTA FE PREMIERE! FILMMAKERS IN PERSON!! 7:00p Thurs, Nov. 20 at The Lensic
FROM ACADEMY AWARD ® NOMINATED DIRECTOR
LAURA POITRAS AND EXECUTIVE PRODUCER
STEVEN SODERBERGH
Written and Directed by
ALEX ROSS PERRY WINNER
IN THEATERS NOW
FINAL SHOWS!!
WINNER
one of the yeAr’s very best docs .”
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“ At once A fAscinAting corporAte thriller , A heArtbreAking humAn drAmA And A peek inside the wAlls of the secretive oil industry.”
like A sprAwling novel , brimming with As mAny contrAdictions As chArActers .”
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Execu tiv Claire e Producer Small woo IN PER SON!!! d
$20/$15 via ticketssantafe.org and 988-1234 VIP tickets: $75 including reception Sales benefit Upaya, CCA Cinematheque and Drug Policy Alliance
8:00p S at, No SHOW S v 15 only! OLD OU T!
Friday November 14 11:30a - Citizenfour* 1:00p - Sagrada: Mystery of Creation 2:00p - The Tale of Princess Kaguya* 3:00p - Citizenfour 4:45p - The Tale of Princess Kaguya* 5:45p - Listen Up Philip 7:30p - The Great Invisible* 8:00p - Citizenfour
Saturday November 15 11:00a - Grave of the Fireflies 11:30a - Citizenfour* 1:00p - Citizenfour with ACLU presentation 2:00p - The Tale of Princess Kaguya* 3:45p - Sagrada: Mystery of Creation 4:45p - The Tale of Princess Kaguya* 5:45p - Listen Up Philip 7:30p - The Great Invisible* 8:00p - Pretty Faces
Sunday November 16 11:00a - Grave of the Fireflies 11:30a - Citizenfour* 1:00p - Sagrada: Mystery of Creation 2:00p - The Tale of Princess Kaguya* 3:00p - Citizenfour 4:45p - The Tale of Princess Kaguya* 5:45p - Listen Up Philip 7:30p - The Great Invisible* 8:00p - Citizenfour
Monday November 17
Tuesday November 18
2:30p - The Tale of Princess Kaguya* 3:00p - Citizenfour 5:30p - Grave of the Fireflies 6:00p - Cyber-Seniors* 7:30p - Citizenfour 8:00p - The Great Invisible*
1:00p - Cyber-Seniors* 2:15p - Citizenfour 4:45p - The Tale of Princess Kaguya 5:15p - Citizenfour* 7:30p - Citizenfour 8:00p - The Great Invisible*
Weds-Thurs Nov 19-20 2:15p - Citizenfour 3:00p - Sagrada* 4:45p - Princess Kaguya 5:15p - Citizenfour* 7:30p - Citizenfour 8:00p - The Great Invisible* *indicates show is in The Studio at CCA
COMING SOON to CCA: Keep On Keepin’ On Art & Craft My Neighbor Totoro The Homesman Point & Shoot...& more
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MOVING IMAGES
film reviews
Fools fooling with nature Force Majeure, drama, rated R, in Swedish, French, and English with subtitles, The Screen, 3 chiles Residents of the tinderbox-like Southwest, with its drought-ridden summers and constant threat of forest fires, are no strangers to that dare to Mother Nature, the controlled burn. These man-made conflagrations, like vaccinations with a live disease culture, are designed as a preemptive strike on nature to protect against a full-blown natural disaster. Most of the time they work as intended. But, as those whose memories here reach back to the devastating Cerro Grande fire of 2000 can attest, “the best-laid schemes o’ mice an’ men/gang aft agley” — to quote the famous line from Robert Burns. They practice a similar taunting of Mother Nature in the Alps. As writer-director Ruben Östlund’s movie opens with breathtaking vistas of snow-laden mountains, we see and hear explosions in the snow — flashes of light accompanied by ominous claps of percussion bursting from the majestic slopes. These explosions, we will come to find out, are detonated to trigger controlled avalanches, to relieve the burden of accumulated snow and minimize the risk of natural slides that might cause serious harm. But danger is the furthest thing from the minds of the well-heeled vacationers at this luxurious French ski resort. Among them are Tomas (Johannes Kuhnke), a prosperous Swedish businessman, his pretty, dark-haired wife, Ebba (Lisa Loven Kongsli), and their two young children, Vera and Harry (played by siblings Clara and Vincent Wettergren), who have come to the Alps for a week’s ski vacation. As Östlund shepherds us along with titles announcing their progress through the holiday (“Ski Day One,” “Ski Day Two”), they rise each morning, breakfast, and hit the slopes. They have their picture taken en famille by the resort photographer, and then slalom down through the magnificent scenery. At the end of the day, they ride a moving sidewalk through a great, womblike tube back into the hotel. For a while, nothing happens. There is something almost ominously peaceful about the routine. The ski-lift rides pass in silence. The Swedish family is beautiful, they ski beautifully, they relax beautifully after hours, sipping cocktails and meeting fellow vacationers in the beautiful lodge of the resort. And outside, on the slopes of the towering mountain, come the explosions, the bursts of light and thunder, and the massive tumbling walls of snow racing down through the darkness. And the evening and the morning are the second day. As Tomas and his family relax for lunch on the sun-warmed outside deck of the resort’s restaurant, they hear a distant boom, and far above, a wide swath of snow begins to move. “Don’t worry,” Tomas assures his kids, “it’s a controlled avalanche.” Vacationers 40
PASATIEMPO I November 14 -20, 2014
Screech of contact: Johannes Kuhnke and Lisa Loven Kongsli
grab their phones and start taking pictures. But the avalanche picks up speed and seems to be heading directly toward them. People begin to scream and panic. As the wall of snow bears down on them, Tomas grabs his gloves and phone and bolts. Meanwhile, Ebba dives for the floor with the children, and the deck becomes enveloped in a blinding fog of white. Moments later, the crisis has passed. The avalanche did not reach the deck, the white shroud was only the powdery mist it kicked up. Everyone is safe. Tomas returns, trying to act as if nothing has happened. But something has. In his split-second, gut reaction to mortal terror, he has abandoned his family, abandoned his role of male protector, and thought only of himself. It can’t be undone. And it won’t go away. As defined in the Collins English Dictionary, the law term force majeure alludes to an “irresistible force or compulsion such as will excuse a party from performing his or her part of a contract.” That’s the nub of this movie. The genie of male cowardice is out of the bottle, and it can’t be put back in or explained away. The kids grow sullen. Ebba, especially with a couple of drinks in her, can’t let it go. She recounts the tale to friends and strangers alike. Tomas claims to remember the events differently, but he knows — and we know — he’s lying. It’s not something that can be apologized
for, like infidelity. It’s not like Ewan McGregor and Naomi Watts in The Impossible, in which a family is blasted apart by a tsunami. Here, the force of nature that tears them apart is a force of human nature that reveals essential weakness and shame. There are four more days to go, and Force Majeure takes us through them. Another couple arrives, a redbearded old friend of Tomas’ with his young mistress in tow. He tries to put the best spin he can on the story, but only winds up later in bed getting put down by his little blonde. This isn’t a uniformly solid movie. There are scenes that don’t hold up, that don’t seem to make much sense. Ebba has their friends watch a video of the event on Tomas’ iPhone — what kind of footage could there possibly be? Tomas locks himself out of his room, and it doesn’t occur to him to go down to the desk and ask for a replacement key card — is the point that he’s worthless in any kind of a crisis? There’s an odd janitor who looks menacing. There’s an awkward stab at redemption toward the end, and a final scene of puzzling ambiguity. But the key event, the instinctive ignoble act of self-preservation, is all it takes to send you out of the theater with something uncomfortable to think and talk about in the days ahead. — Jonathan Richards
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STEVEN SODERBERGH
IN THEATERS NOW
EXCLUSIVE ENGAGEMENT STARTS TODAY SANTA FE The Center For Contemporary Arts (505) 982-1338 CHECK DIRECTORIES FOR SHOWTIMES • NO PASSES ACCEPTED
Annual
WRITING CONTEST Prose or poetry: fiction, nonfiction — satire, fantasy, memoir, etc. What you write about is up to you. Just send us your best work and keep it tight. Winning entries will be published in Pasatiempo on Friday, Dec. 26. Winners get prizes.
Guidelines: Flash prose: up to 500 words Poetry: up to 20 lines One submission per entrant only.
Please make sure to include the following information with your submission: Age group: Adult (19+), teen (13–18), or child (5–12). Author’s name, address, phone number, and email. Entries from schools should also include the school name, grade, and teacher’s name.
Email entries to: writingcontest@sfnewmexican.com. Email submissions are preferred. Mail entries to: 2014 Writing Contest c/oThe Santa Fe New Mexican 202 E. Marcy St. Santa Fe, N.M. 87501
Entries must be received by 4 p.m. on Monday, Dec. 1. No exceptions. Do not submit previously published material. We reserve the right to edit work for publication. Submissions cannot be returned.
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uniformly solid movie — some scenes don’t hold up — but it’s a provocative, powerful film, and the key event will send you home with something uncomfortable to think and talk about. Rated R. 118 minutes. In Swedish, French, and English with subtitles. The Screen, Santa Fe. ( Jonathan Richards) See review, Page 40. THE GREAT INVISIBLE This documentary looks at the Deepwater Horizon oil rig — which exploded in the Gulf of Mexico in 2010, killing 11 people and filling the water with oil — by interviewing many people in the industry and the local community. Presented by Citizens’ Climate Lobby. Rated PG-13. 92 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) NATIONAL THEATRE LIVE: OF MICE AND MEN James Franco and Chris O’Dowd star as the famous pair at the heart of John Steinbeck’s play in this recent Broadway production. 7 p.m. Wednesday, Nov. 19, only. Lensic Performing Arts Center, Santa Fe. (Not reviewed)
Which side by Godhead do you want? Richard Alpert (Ram Dass) and Timothy Leary in Dying to Know, at the Lensic Performing Arts Center in Santa Fe
opening this week BEYOND THE LIGHTS Gina Prince-Bythewood, writer and director of the adored Love & Basketball, turns her camera from hoop dreams to the stage. Gugu Mbatha-Raw plays a popular singer who feels trapped by celebrity. When a police officer (Nate Parker) thwarts her suicide attempt, an unlikely romance blossoms. Regal Stadium 14, Santa Fe. (Not reviewed) CITIZENFOUR While researching her film on the nanny state and excess use of government surveillance, director Laura Poitras began receiving emails from a whistleblower calling himself “citizen four.” She began meeting with him in 2013 with her cameras on. He turned out to be Edward Snowden, and this is the documentary that resulted from those meetings. Not rated. 114 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) DUMB AND DUMBER TO It’s been 20 years since Jim Carrey and Jeff Daniels first put on those wigs and talked in goofy voices for the Farrelly brothers (admit it: you laughed). The whole gang is back is for
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PASATIEMPO I November 14 -20, 2014
more antics and to help audiences forget Dumb and Dumberer: When Harry Met Lloyd ever happened. Rated PG-13. 110 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) DYING TO KNOW: RAM DASS & TIMOTHY LEARY This documentary, which screens as a benefit for the Center for Contemporary Arts, looks at the decades-long friendship between spiritual teacher Ram Dass and psychedelic-drugs advocate Timothy Leary. Filmmaker Gay Dillingham will attend. 7 p.m. Thursday, Nov. 20, only. Not rated. 99 minutes. Lensic Performing Arts Center, Santa Fe. (Not reviewed) FORCE MAJEURE A prosperous Swedish businessman and his wife and children vacation at a French Alps ski resort. On their second day, a controlled avalanche gone wrong threatens the terrace where they are having lunch. The man panics and saves himself, leaving his wife and kids to survive on their own. Moment later, the crisis has passed, and everyone is safe. From there on, director Ruben Östlund paints a tense, emotionally fraught, sometimes oddly comic observation of the consequences of the man’s split-second, instinctive reaction of self-preservation and the shame of his compromised role as male protector. This isn’t a
NATIONAL THEATRE LIVE: SKYLIGHT In this Stephen Daldry production of the David Hare play, Carey Mulligan and Bill Nighy portray former lovers who reunite for one evening and try to rekindle their romance despite their differences. 7 p.m. Tuesday, Nov. 18, only. Lensic Performing Arts Center, Santa Fe. (Not reviewed) ROSEWATER Jon Stewart of The Daily Show adapted for the screen and directed this story about journalist Maziar Bahari (Gael García Bernal), who was imprisoned in Iran for 118 days after the country’s 2009 election. The reason? Among other things, an interview he gave on The Daily Show that year, which led Iranian authorities to believe he was a spy. Rated R. 103 minutes. Regal DeVargas, Santa Fe. (Not reviewed) WHIPLASH Miles Teller plays teenage jazz drummer Andrew Neiman, whose dreams of becoming one of the greats hinge on surviving elite music instructor Terence Fletcher (a riveting J.K. Simmons), the sort of teacher who’s more likely to throw a chair at his student’s head than say “please” when requesting a drumroll. This indie-drama by Damien Chazelle won two major awards at Sundance and compellingly explores the ways in which the power dynamics of a mentoring relationship can turn a teacher’s obsession into a student’s compulsion. Rated R. 107 minutes. Regal DeVargas, Santa Fe. (Loren Bienvenu) See review, Page 38.
now in theaters ALEXANDER AND THE TERRIBLE, HORRIBLE, NO GOOD, VERY BAD DAY Steve Carell and Jennifer Garner are parents to Alexander (Ed Oxenbould) in this loose adaptation of the picture book of the same name. When the entire family has a bad day all at once, each member learns that the terrible, horrible, no good, very bad days make the excellent, incredible, not bad, very good ones that much sweeter. Rated PG. 81 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) AWAKE: THE LIFE OF YOGANANDA This documentary walks us through the life of Paramhansa Yogananda, the Indian guru who introduced millions of people in the Western world to meditation and yoga through his book Autobiography of a Yogi. The story follows him from his youth in India to his move to America in the 1920s. Not rated. 87 minutes. The Screen, Santa Fe. (Not reviewed) BIG HERO 6 This animated film from Disney (loosely based on a Marvel comic) emphasizes hard work, the pursuit of science, the strength of friends, and the ability to handle setbacks and loss — all while ripping off an exciting superhero tale that is full of heart and is funny without being rude or obnoxious. Hiro (Ryan Potter), a boy who lives in a city that’s a hybrid of Tokyo and San Francisco, adopts an inflatable “health care” robot named Baymax from his big brother. Tragedy strikes, which pushes boy and Baymax into a mystery so challenging that they enlist five friends to join them. Ingenuity abounds in the movie’s setting, animation, and plot, and the time breezes by. All this plus a gem of an animated short before the feature helps Big Hero 6 confirm what Frozen announced: Disney is back on top of the family-film heap. Rated PG. 108 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) BIRDMAN OR (THE UNEXPECTED VIRTUE OF IGNORANCE) In Alejandro González Iñárritu’s searing, hilarious, sometimes unsettling backstage satire, Michael Keaton tosses his hat into the Oscar ring with his brilliant dissection of a movie star, in artistic eclipse in the years since he sold his soul to play a masked comic-book superhero, looking for redemption on the Broadway stage. Packed with a terrific supporting cast headed by Edward Norton, Naomi Watts, and Emma Stone and shot in a simulated single take by the great Emmanuel Lubezki,
Birdman crackles with wit, self-referential allusions, fantasy, and penetrating insights about show business, relevance, and the modern world. Iñárritu, sloughing off the ponderous artiness of his recent movies, makes magic here, despite a forgivable tendency toward the end to run on. You won’t want it to end either. Rated R. 119 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) THE BOOK OF LIFE The Day of the Dead gets its own mainstream movie, produced by Guillermo del Toro. The story centers on a reluctant bullfighter named Manolo (voiced by Diego Luna), who competes with his friend and rival (Channing Tatum) over the woman they both admire (Zoe Saldana) until Manolo is killed. All is not lost, however: he can travel through fantastical worlds to return to her. The visuals, inspired by Mexican folk art, are colorful, imaginative, and atypical of current animated films. That and the swift pacing go a long way, but the corny jokes and lame use of modern pop songs get in the way of the filmmakers’ best intentions. Rated PG. 95 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) FURY War is hell, and writer-director David Ayer puts us through it in this dense, dark, claustrophobic, sometimes riveting, sometimes trashy adventure. Much of the action takes place in an American tank in the waning months of World War II, as the Allies are pushing toward Berlin. Brad Pitt is Wardaddy, a sergeant who is tough as nails, except when he’s showing his sensitive side. The audience surrogate is Norman (Logan Lerman), a clerk-typist thrust into combat. There’s some fine acting from the core group, filled out by Shia LaBeouf, Jon Bernthal, and Michael Peña, who mostly rise above the typical war-movie roles they’re given. Rated R. 134 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. ( Jonathan Richards) GONE GIRL This twisted noir from David Fincher is based on the bestseller by Gillian Flynn, who penned the screenplay, boiling her own work down to its deep, dark, gripping essentials. Amy Dunne (Rosamund Pike) mysteriously disappears, leaving her husband, Nick (Ben Affleck), as a possible murder suspect. The story unfolds forward and in flashback and is told from the viewpoint of two unreliable, unlikeable narrators. It’s strategically assembled and briskly paced and weaves in commentary on our gossip-fueled news cycle. Pike brings an icy perfection to Amy, while Affleck makes Nick simultaneously amiable and untrustworthy. Rated R. 149 minutes. Regal Stadium 14, Santa Fe. (Laurel Gladden)
INTERSTELLAR Christopher Nolan’s space epic is one of the most phenomenally silly movies ever made. But it has an odd majesty. It’s like 2001: A Space Odyssey as conceived by three college sophomore philosophy majors on acid and a junior from the physics department. It’s filled with earnest hokum and riddled with theoretical-physics chatter, most of which can’t be understood because Hans Zimmer’s raging score and the thundering sound effects are at perpetual death struggle with the (mostly mumbled) dialogue. On a theoretical-physics level, it’s all about relativity and the oddity that time proceeds more slowly when you’re hurtling through space than when you’re stuck back on the farm. On an emotional level, it’s about father-daughter bonds and the power of love. Rated PG-13. 168 minutes. Jean Cocteau Cinema, Santa Fe; Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Jonathan Richards) JOHN WICK If you abhor violence, don’t see this movie. The bodies pile up with abandon after the punk son (Alfie Allen) of a crime boss (a superb Michael Nyqvist) takes a fancy to a ’69 Mustang belonging to ex-hitman John Wick (Keanu Reeves). He steals the car and does something else so vile it brings Wick out of retirement with a stylish vengeance. This movie is the spectacular directorial debut of Chad Stahelski, who was Reeves’ stunt double in movies like The Matrix. He knows his action, and he knows when the movie should talk and when it should shut up. Derek Kolstad’s dialogue is spare, but it’s choice and often very funny. There’s fine work from John Leguizamo, Ian McShane, and Willem Dafoe. Reeves is at his best — taciturn, athletic, and cool. Rated R. 101 minutes. Regal Stadium 14, Santa Fe. ( Jonathan Richards) THE JUDGE Robert Downey Jr. climbs out of his Iron Man suit long enough to play a smooth-talking lawyer who returns home from the big city to defend his father, played by Robert Duvall, a grumpy judge who is suspected of murder. Will father and son put aside their differences? Vera Farmiga, Vincent D’Onofrio, and Billy Bob Thornton co-star. Rated R. 141 minutes. Regal DeVargas, Santa Fe. (Not reviewed) LISTEN UP PHILIP This is a great sendup of literary novels and writing culture. Awaiting publication of his second novel, Philip Lewis Friedman ( Jason Schwartzman) meets a luminary novelist named Ike Zimmerman ( Jonathan Pryce). Fame has made them both crazy. Philip keeps looking for the woman who can set him on the path to righteousness, except that continued on Page 44
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he hates women — and himself and really everyone else, too. The subversion here is that this brilliant movie refuses to give Philip what he desires. Not rated. 108 minutes. Center for Contemporary Arts, Santa Fe. ( Jennifer Levin) THE MAZE RUNNER In the latest film adaptation of a popular young-adult-novel series, Thomas (Dylan O’Brien) wakes up in a giant maze with some other boys, none of whom remember their previous lives. One day, a girl (Kaya Scodelario) appears. Thomas can read her thoughts, and there’s one they share: “Let’s get out of here!” Rated PG-13. 113 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) MY OLD LADY Veteran playwright Israel Horovitz makes his feature-length-film directorial debut with this comedy about a man (Kevin Kline) who inherits an apartment in Paris and intends to sell it but can’t until the current tenant dies. The immortal Maggie Smith plays that tenant, so he has a long wait. He’ll just have to pass the time falling in love with a character played by Kristin Scott Thomas. Rated PG-13. 107 minutes. Regal DeVargas, Santa Fe. (Not reviewed) NIGHTCRAWLER Jake Gyllenhaal’s terrifically creepy-crawly performance as Louis Bloom, a sociopathic newshound, the appeal is main of this scathing, violent send-up the news of local business, where gore rules the game. ratings Louis talks like a self-help manual (“I know that if you wanna win the lottery, you have to work hard to buy a ticket”) and wears a fixed, wide-eyed grin as he uses a police scanner to chase down horrific scenes of violence and murder with his video camera and deliver the goods to an increasingly grateful Nina (Rene Russo), the nightshift producer of a ratings-hungry local TV news overnight show. Some of the story, by writer-director Dan Gilroy, is pretty far-fetched, and many of the twists are predictable, but they exist to make a satiric point, not to be taken seriously. Nightcrawler may
spicy bland
medium
mild
heartburn
Read movie reviews online at www.santafenewmexican.com/pasatiempo
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PASATIEMPO I November 14 -20, 2014
not stick to your ribs, but it will hold your attention. Rated R. 117 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. ( Jonathan Richards) OUIJA A group of teenagers gets together to test out a Ouija board that supposedly had something to do with the death of a young woman. Sure enough, they summon a dark spirit that starts picking them off, particularly when they look in mirrors or through the hole on the board’s planchette. Rated PG-13. 89 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) PRIDE Based on real events, this pointed comedy is set in 1984, when British coal miners were on strike. group of A gay and lesbian activists in London, spearheaded by a young man named Mark Ashton (Ben Schnetzer), decides that downtrodden and persecuted peoples need to rally for one another’s causes, and they travel to Wales to support a small mining community that is not at all sure it wants the help. Smart writing and the steady hand of director Matthew Warchus keep the film from cloying, and a cast of unknowns mixes flawlessly with British greats Imelda Staunton, Paddy Considine, Andrew Scott, and Bill Nighy. Rated R. 120 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) SAGRADA: THE MYSTERY OF CREATION The church of La Sagrada Família in Barcelona is actually a construction site. Begun in 1882 by architect Antoni Gaudí, it remains a half-completed exercise in artistic astonishment. Stefan Haupt’s documentary serves as an intriguing biography of the building, its story made personal through interviews with spiritually invested architects and artisans. Not rated. 89 minutes. In French, Spanish, and Catalan with subtitles. Center for Contemporary Arts, Santa Fe. ( James M. Keller) ST. VINCENT Bill Murray plays Vincent, a surly, alcoholic old-timer who is tasked with taking care of the child (Jaeden Lieberher) of the single mother (Melissa McCarthy) who lives next door, so he teaches the kid how to fight and totes him along to the racetrack. Vincent has to satiate his gambling addiction, but no regular moviegoer would bet against the eventual reveal that this hermit has a heart of gold. The story plays out exactly as you’d expect, and Naomi Watts’ Russian prostitute seems to belong in another story entirely. The film’s saving grace is McCarthy’s affecting performance as a hardworking woman at the end of her rope. Rated PG-13. 102 minutes. Regal DeVargas, Santa Fe. (Robert Ker)
THE TALE OF THE PRINCESS KAGUYA When an old bamboo cutter discovers a miniature girl in a bamboo grove, he raises her as his own daughter. As Kaguya grows older and the man comes into unimaginable wealth through supernatural means, he is convinced she is of divine origin. He sets her up in a palatial home, where she spurns numerous suitors, longing only for her lost childhood love. She appeals to the moon for help, setting in motion a series of magical events as she races to free herself from the constraints of courtly life. Director Isao Takahata’s beautifully animated feature is an enchanting, poetic tale for the ages with a stellar cast that includes James Caan, Mary Steenburgen, Oliver Platt, and Chloë Grace Moretz, to name a few. Rated PG. 137 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco)
other screenings Center for Contemporary Arts, 505-982-1338 Cyber-Seniors; Ghibli Celebration presents Grave of the Fireflies (1988); Pretty Faces with executive producer Claire Smallwood in person. DreamCatcher, 505-753-0087 The Best of Me. 8 p.m. Thursday, Nov. 20: The Hunger Games: Mockingjay — Part 1. Jean Cocteau Cinema, 505-466-5528 3 p.m. Saturday, Nov. 15: The Twilight Angel. Museum of Indian Arts & Culture 710 Camino Lejo, 505-476-1250 10 a.m. and 2 p.m. Friday, Nov. 14: Huicholes: The Last Peyote Guardians, director Hernán Vilchez and two Huichol shamans in person. Regal Stadium 14, 505-988-2775 The Hunger Games: Mockingjay — Part 1 2:30 p.m. Thursday, Nov. 20: Hunger Games marathon. The Screen, 505-473-6494 That Man From Rio (1964), screens as part of the Films to See Before You Die series. Unity Santa Fe 1212 Unity Way, 505-466-4025 7 p.m. Tuesday, Nov. 18: My Life Is My Message: An Evening With Mahatma Gandhi. ◀
WHAT’S SHOWING
intersteller 2:15** 4:25 6:45 fury 1:45** 4:20 7:20 nightcrawler 1:50** 4:40 7:10 best of me 1:55** 4:25 6:55 dumb & dumber to 2:25** 4:50 7:25 big hero 6 2d 2:00** 4:30 7:00 big hero 6 3d 2:00** 4:30 book of life 2d 2:05** 4:35 7:05 ouija 2:30** 4:55 7:30 hunger games: mockingjay opens thursday 11/20/14 at 8:00 part 1 **saturday & sunday only *friday & saturday only times for friday, november 14 - thursday, november 20
Call theaters or check websites to confirm screening times. CCA CINEMATHEQUE AND SCREENING ROOM
1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org Citizenfour (R) Fri. 11:30 a.m., 3 p.m., 8 p.m. Sat. 11:30 a.m., 1 p.m. Sun. 11:30 a.m., 3 p.m., 8 p.m. Mon. 3 p.m., 7:30 p.m. Tue. to Thurs. 2:15 p.m., 5:15 p.m., 7:30 p.m. Cyber-Seniors (NR) Mon. 6 p.m. Tue. 1:30 p.m. Grave of the Fireflies (NR) Sat. and Sun. 11 a.m. Mon. 5:30 p.m. The Great Invisible (PG-13) Fri. to Sun. 7:30 p.m. Mon. to Thurs. 8 p.m. Listen Up Philip (NR) Fri. to Sun. 5:45 p.m. Pretty Faces (NR) Sat. 8 p.m. Sagrada:The Mystery of Creation (NR) Fri. 1 p.m. Sat. 3:45 p.m. Sun. 1 p.m. Wed. and Thurs. 3 p.m. The Tale of Princess Kaguya (PG) Fri. to Sun. 2 p.m., 4:45 p.m. Mon. 2:30 p.m. Tue. to Thurs. 4:45 p.m. JEAN COCTEAU CINEMA
418 Montezuma Avenue, 505-466-5528, www.jeancocteaucinema.com Interstellar (PG-13) Fri. 2:30 p.m., 6 p.m., 9:20 p.m. Sat. 6 p.m., 9:20 p.m. Sun. 12:30 p.m., 4 p.m., 7:30 p.m. Mon. to Thurs. 2:30 p.m., 6 p.m., 9:20 p.m. The Twilight Angel (NR) Sat. 3 p.m. REGAL DEVARGAS
562 N. Guadalupe St., 505-988-2775, www.fandango.com Birdman (R) Fri. and Sat. 12:15 p.m., 3:15 p.m., 6:15 p.m., 9 p.m. Sun. to Thurs. 12:15 p.m., 3:15 p.m., 6:15 p.m. The Judge (R) Fri. and Sat. 12 p.m., 3 p.m., 6 p.m., 8:55 p.m. Sun. to Thurs. 12 p.m., 3 p.m., 6 p.m. My Old Lady (PG-13) Fri. to Thurs. 12:10 p.m., 6:10 p.m. Pride (R) Fri. and Sat. 3:10 p.m., 8:50 p.m. Sun. to Thurs. 3:10 p.m. Rosewater (R) Fri. and Sat. 1 p.m., 3:50 p.m., 6:50 p.m., 9:20 p.m. Sun. to Thurs. 1 p.m., 3:50 p.m., 6:50 p.m. St.Vincent (PG-13) Fri. and Sat. 12:40 p.m., 3:40 p.m., 6:40 p.m., 9:15 p.m. Sun. to Thurs. 12:40 p.m., 3:40 p.m., 6:40 p.m. Whiplash (R) Fri. and Sat. 12:30 p.m., 3:30 p.m., 6:30 p.m., 9:05 p.m. Sun. to Thurs. 12:30 p.m., 3:30 p.m., 6:30 p.m. REGAL STADIUM 14
3474 Zafarano Drive, 505-424-6296, www.fandango.com Alexander and the Terrible, Horrible, No Good, Very Bad Day (PG) Fri. to Wed. 12:35 p.m., 3 p.m.,
John Wick (R) Fri. to Wed. 12 p.m., 2:25 p.m.,
4:55 p.m., 7:25 p.m., 10 p.m. The Maze Runner (PG-13) Fri. to Wed. 11:50 a.m., 2:30 p.m., 5:10 p.m., 7:45 p.m. Nightcrawler (R) Fri. to Wed. 7:45 p.m., 10:30 p.m. Ouija (PG-13) Fri. to Wed. 12:15 p.m., 2:35 p.m., 5 p.m., 7:35 p.m., 10:05 p.m.
9:25* 4:45/7:35* 9:45* 9:40* 9:55* 9:30* 9:35* 9:50*
THE SCREEN
Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com Awake: The Life of Yogananda (PG) Sun. 10:10 a.m. Mon. to Thurs. 12:30 p.m. Force Majeure (R) Fri. to Thurs. 2:30 p.m., 5 p.m., 7:30 p.m. That Man From Rio (NR) Sun. 12 p.m. MITCHELL DREAMCATCHER CINEMA (ESPAÑOLA)
15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com The Best of Me (PG-13) Fri. 4:25 p.m., 6:55 p.m., 9:40 p.m. Sat. 1:55 p.m., 4:25 p.m., 6:55 p.m., 9:40 p.m. Sun. 1:55 p.m., 4:25 p.m., 6:55 p.m. Mon. to Wed. 4:25 p.m., 6:55 p.m. Big Hero 6 (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Wed. 4:30 p.m., 7 p.m. Big Hero 6 3D (PG) Sat. and Sun. 2 p.m. Mon. to Wed. 4:30 p.m. The Book of Life (PG) Fri. 4:35 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m. Mon. to Wed. 4:35 p.m., 7:05 p.m. Dumb and Dumber To (PG-13) Fri. 4:50 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:25 p.m., 4:50 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:25 p.m., 4:50 p.m., 7:25 p.m. Mon. to Wed. 4:50 p.m., 7:25 p.m. Fury (R) Fri. 4:45 p.m., 7:35 p.m. Sat. and Sun. 1:45 p.m., 4:45 p.m., 7:35 p.m. Mon. to Wed. 4:20 p.m., 7:20 p.m. Interstellar (PG-13) Fri. 4:25 p.m., 6:45 p.m., 9:25 p.m. Sat. 2:15 p.m., 4:25 p.m., 6:45 p.m., 9:25 p.m. Sun. 2:15 p.m., 4:25 p.m., 6:45 p.m. Mon. to Wed. 4:25 p.m., 6:45 p.m. Nightcrawler (R) Fri. 4:40 p.m., 7:10 p.m., 9:45 p.m. Sat. 1:50 p.m., 4:40 p.m., 7:10 p.m., 9:45 p.m. Sun. 1:50 p.m., 4:40 p.m., 7:10 p.m. Mon. to Wed. 4:40 p.m., 7:10 p.m. Ouija (PG-13) Fri. 4:55 p.m., 7:30 p.m., 9:50 p.m. Sat. 2:30 p.m., 4:55 p.m., 7:30 p.m., 9:50 p.m. Sun. 2:30 p.m., 4:55 p.m., 7:30 p.m. Mon. to Wed. 4:55 p.m., 7:30 p.m.
WINNER “ASPELLBINDER.
G R A N D J U RY P R I Z E A U D I E N C E AWA R D
SUNDANCE 2014
MILES TELLER AND J.K. SIMMoNS wILL BLow you AwAy.” -Peter Travers, RoLLING SToNE
written and directed by DAMIENCHAZELLE
WWW.SONYCLASSICS.COM
EXCLuSIVE ENGAGEMENT
Santa Fe UA De VArgAs MAll 6 (800) FANDANGO #608 VIEW THE TRAILER AT WWW.WHIPLASHmoVIE.com
STARTS ToDAy
‘‘brilliant on so many levels.’’
eXClUsive enGaGement
noW PlayinG
5:20 p.m.
Beyond the Lights (PG-13) Fri. to Wed. 1:15 p.m.,
Santa Fe UA De Vargas Mall 6 (800) FANDANGO #608
4:10 p.m., 7:10 p.m., 10:40 p.m.
Big Hero 6 (PG) Fri. to Wed. 12:10 p.m., 2:30 p.m.,
2:45 p.m., 5:25 p.m., 7:50 p.m., 10:35 p.m. Big Hero 6 3D (PG) Fri. to Wed. 11:50 a.m., 5:10 p.m., 8 p.m., 10:30 p.m. The Book of Life (PG) Fri. to Wed. 10:25 p.m. Dumb and Dumber To (PG-13) Fri. to Wed. 12 p.m., 1 p.m., 2:35 p.m., 4 p.m., 5:15 p.m., 7:20 p.m., 7:55 p.m., 10 p.m., 10:35 p.m. Fury (R) Fri. to Wed. 12:50 p.m., 4:05 p.m., 7:10 p.m., 10:15 p.m. Gone Girl (R) Fri. to Wed. 12:20 p.m., 3:50 p.m., 7:10 p.m., 10:25 p.m. Hunger Games Marathon (PG-13) Thurs. 2:30 p.m. The Hunger Games: Mockingjay - Part 1 (PG-13) Thurs. 8 p.m., 8:30 p.m., 9 p.m., 9:30 p.m., 10 p.m., 10:30 p.m. Interstellar (PG-13) Fri. to Wed. 11:45 a.m., 12:30 p.m., 12:55 p.m., 3:25 p.m., 4:10 p.m., 4:45 p.m., 7:05 p.m., 7:50 p.m., 8:30 p.m., 9:55 p.m.
GREAT COMEDIES SEND US OUT LAUGHING;” ’
“
ST VINCENT MAKES US LEVITATE
‘
.
Awake: The Life of Yogananda, at The Screen
.
NOW PLAYING AT THEATERS EVERYWHERE! CHECK DIRECTORIES FOR SHOWTIMES • NO PASSES ACCEPTED
PASATIEMPOMAGAZINE.COM
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RESTAURANT REVIEW Alex Heard I For The New Mexican
The spot around the corner
Agoyo Lounge 303 E. Alameda St. (Inn on the Alameda), 505-984-2121, www.innonthealameda.com 5-10 p.m. daily Full bar Vegetarian options Handicapped accessible Patio dining in season Noise level: quiet Credit cards & local checks
]
The Short Order Tucked away inside the Inn on the Alameda, the Agoyo Lounge is easy to miss. But it’s worth seeking out. This place is on the upswing, and it could use an increase in local patronage. Working out of a small kitchen, chef Jen Doughty has put together a creative menu whose main strengths are appetizers and salads. Some of the entrees fall short, and the menu could benefit from a more extensive list of desserts. Recommended: empanadas (choice of three fillings), sweet-onion puff pastry with smoked salmon, duck confit & spinach salad, and the Alsatian tart of the day.
Ratings range from 1 to 5 chiles, including half chiles. This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value. 5 = flawless 4 1/2 = extraordinary 4 = excellent 3 1/2 = very good 3 = good 2 1/2 = average 2 = fair 1 1/2 = questionable 1 = poor
46
PASATIEMPO I November 14 -20, 2014
Until somebody suggested I check out the Agoyo Lounge, I had no idea there was a restaurant inside the Inn on the Alameda, the popular hotel at the corner of Alameda Street and Paseo de Peralta. I don’t think my ignorance is unique — after all, the location is slightly removed from the downtown dining cluster. A friend who met me there for dinner hadn’t heard of it either, and our waiter — a talkative, flamboyant guy who knew a lot about wine — agreed that the place doesn’t attract enough local attention, a situation that the chef and staff have been trying to remedy by creating a distinctive, ambitious menu. The Agoyo Lounge deserves some hometown love. It’s not consistently a first-rate restaurant yet, but it’s a pretty good one, especially given the site’s built-in limitations. (Walk by the tiny, partially open-air kitchen, and you’ll see what I mean.) It’s a cozy spot, too, featuring old-school Santa Fe touches — a brick floor, thick reddish-brown vigas, and sconce lighting — that feel warm and inviting, especially on a cold night. There’s a relaxed vibe to this small eatery, so much so that a stranger from another table felt comfortable enough to stroll over and tell me that I looked exactly like a friend of his from San Francisco — who, unfortunately, had died. Bon appétit! The restaurant has a talented chef at the helm: Jen Doughty, who trained at the Culinary Institute of America (at the campus in Hyde Park, New York) and has worked under chefs at the Coyote Café, La Fonda, and Citronelle in Washington, D.C. Doughty creates appealing appetizers and salads, and we tried three to get started: empanadas filled with chicken, goat cheese, and caramelized onion; a sweet-onion puff pastry containing smoked salmon, capers, and roasted red peppers; and a spinach salad with duck confit. The empanadas were delicious — baked and flaky rather than fried and oily, with a generous savory filling. They came with a little dish of “Oaxacan mole,” plummy-tasting stuff that was a perfect complement. The spinach and duck salad was also a hit. Confit means the duck has been preserved in its own rendered fat, and though I’m no expert on the technique, I can tell you this much: It worked for us. The shredded duck meat was rich, moist, and salty, and there was plenty of it, along with other ingredients — pine nuts, marinated and roasted portobello mushrooms, brie, braised red onion — that add up to a salad hearty enough to be your main event. The puff-pastry appetizer didn’t rise to the same standard, though, for a couple of reasons. It was served at room temperature — these ingredients ought to be chilled — and there was a bit too much lettuce piled on it. We followed up with the Alsatian tart of the day. I would order this again, but it also illustrated the kitchen’s limitations. A thin rectangular crust had been generously moistened with crème fraîche and then baked with toppings that included chicken, scallions, mild green chile, and leafy greens. Ideally, this crust would be made from scratch right on the premises, but the Agoyo Lounge is using a lavash flatbread sold at Trader Joe’s.
A second dinner visit started out strong, with another round of empanadas (chorizo-filled) and an unusual appetizer called “avocado roll stuffed with smoked salmon.” That description conjured up images of a California roll. But instead, the salmon we got was tented under half of a sliced avocado alongside scatterings of roasted corn, thin-sliced radishes, cherry tomatoes, and greens — all of it jazzed up by a jalapeño aioli. It mostly worked, though my dining companion thought there was too much corn and that it hadn’t been attached to a cob for quite a while. Our two entrees were more disappointing: buffalo tenderloin with fingerling potatoes (a special that night) and soft tacos made with portobello mushrooms and flour tortillas. The potatoes were great, but the buffalo, though it was cooked to a nice medium-rare, didn’t have much flavor. That’s a pricey cut of meat, and chefs often let the product speak for itself rather than drenching it in marinade. A suggestion? More garlic, pepper, and minced herbs. The tacos also need some work. The tortillas were dry and borderline stiff, and the filling was uninspired: too-chewy mushrooms and unremarkable shredded lettuce. One other suggestion: more and better dessert options would be an easy upgrade here. Currently there are only four, and the ancho chocolate crème brûlée we tried barely tasted like chocolate. So, yeah, the Agoyo could step up its game on a front or two, but it has a good foundation and a fun vibe. Locals should give it a try, even when they don’t have hungry outof-towners around. ◀
Dinner for two at the Agoyo Lounge: Empanada with chicken and goat cheese...... $ 8.00 Sweet-onion puff pastry with smoked salmon ................................ $ 9.00 Duck confit & spinach salad......................... $ 14.00 Alsatian tart ................................................... $ 15.00 Glass, Joel Gott chardonnay.......................... $ 12.00 Rio Grande lager ........................................... $ 4.00 TOTAL........................................................... $ 62.00 (before tax and tip) Dinner for two, another visit: Empanada with chorizo ................................ $ 8.00 Avocado roll with smoked salmon ................ $ 11.00 Buffalo tenderloin.......................................... $ 22.00 Soft tacos with mushrooms ........................... $ 9.00 Glenwood pinot noir..................................... $ 7.00 Hess chardonnay ........................................... $ 7.00 Ancho chocolate crème brûlée ...................... $ 6.00 TOTAL........................................................... $ 70.00 (before tax and tip)
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L I S T I N G
G U I D E L I N E S
• To list an event in Pasa Week, send an email or press release to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. • Send material no less than two weeks prior to the desired publication date. • For each event, provide the following information: time, day, date, venue, venue address, ticket prices, web address, phone number, brief description of event (15 to 20 words). • All submissions are welcome. However, events are included in Pasa Week as space allows. There is no charge for listings. • To add your event to The New Mexican online calendar, visit santafenewmexican. com and click on the Calendar tab. • Return of photos and other materials cannot be guaranteed. • Pasatiempo reserves the right to publish received information and photographs on The New Mexican website. • For further information contact Pamela Beach, pambeach@sfnewmexican.com, 202 E. Marcy St., Santa Fe, NM 87501, phone: 505-986-3019, fax: 505-820-0803.
ARTS AND ENTERTAINMENT CALENDAR
November 14-20, 2014
CALENDAR COMPILED BY PAMELA BEACH
FRIDAY 11/14
In Concert Curtis Lundy Quartet
Gallery & Museum Openings 221 Canyon Rd., 505-955-0550 Katsina Imagery on Pueblo Cultural Objects, reception 5-7 p.m., through January.
The Den, 132 W. Water St. New York City jazz ensemble; Lundy on bass, Steve Nelson on vibes, Jason Brown on drums, and Myron Walden on saxophone, 6 and 8 p.m. sets, $55-$250, 505-670-6482.
Center for Contemporary Arts
Theater/Dance
Adobe Gallery
1050 Old Pecos Trail, 505-982-1338 Art Collision & Repair Shop, interactive installation curated by Susan Begy and Kathryn M Davis, Muñoz Waxman Main Gallery; Undress, multimedia installation by Paula Wilson, Spector Ripps Project Space; reception 6-8 p.m.; through Feb. 1. (See story, Page 30)
The Brothers Grimm Spectaculathon
Armory for the Arts, 1050 Old Pecos Trail Comic adaptation presented by Santa Fe Performing Arts' City Different Players (ages 7-12), 7 p.m., $8, 505-984-1370, continues SaturdaysSundays through Nov. 23.
Flying Cow Gallery
Death and the Maiden
Hunter Kirkland Contemporary
Quilters
Teatro Paraguas Studio, 3205 Calle Marie Teatro Paraguas presents the 1991 play by Ariel Dorfman, 7:30 p.m., $15, discounts available, 505-424-1601, final weekend.
Warehouse 21, 1614 Paseo de Peralta, 505-989-4423 Story of Place, youth art show, reception 4-7 p.m., through Nov. 28.
Santa Fe Playhouse, 142 E. DeVargas St. Santa Fe Playhouse presents the 1982 musical by Molly Newman and Barbara Damashek, 7:30 p.m., $20, discounts available, brownpapertickets.com, final weekend.
200-B Canyon Rd., 505-984-2111 In Nature's Light, landscapes by Gregory Frank Harris, reception 5-7 p.m., through November.
Jean Cocteau Cinema Gallery
418 Montezuma Ave., 505-466-5528 Portraits by painter James Koskinas, through Sunday. (See story, Page 34)
Sacred Body
1512 Pacheco St., #203, 505-490-2324 Optigenesis, drawings by Libby Chadd, reception 5-7 p.m., through November.
The Lensic Presented by New Mexico Dance Coalition, 6:30 p.m. reception, curtain 7:30 p.m., performers include Julie Brette Adams, Saltanah Dancers, and Harambe Hip Hop Crew, $25-$60, VIP tickets $75, 505-988-1234, ticketssantafe.org.
Red Dot Gallery
Sleeping Beauty
Nedret Rugs + Textiles
826 Canyon Rd., 505-820-7338 Annual holiday group show of works by students, alumni, faculty, and staff from Santa Fe Community College, Santa Fe University of Art & Design, and UNM, reception 4:30-7 p.m., through Jan. 23.
James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. Based on the 1959 animated film by Walt Disney; presented by Pandemonium Productions, 7 p.m., $10, discounts available, pandemoniumprod.org, 505-982-3327,continues Saturdays and Sundays through Nov. 23.
Santa Fe Botanical Garden
715 Camino Lejo, Museum Hill, 505-471-9103 Morphing Nature, found-object sculpture by Institute of American Indian Arts and Santa Fe University of Art & Design students, reception 3-5 p.m., through mid-May.
Santa Fe Clay
545 Camino de la Familia, 505-984-1122 Get Set!, dinnerware sets by Paul Eshelman, Camila Friedman-Gerlicz, and Clay Leonard, reception 5-7 p.m., through Jan. 3.
William Siegal Gallery
540 S. Guadalupe St., 505-820-3300 20,000 Tones, mixed media by Carlos Estrada-Vega, through Jan. 6.
48
PASATIEMPO I November 14 -20, 2014
Books/Talks Museum of New Mexico Press holiday book sale
Dixon Family, by Lousie Crow, included in the New Mexico Museum of Art exhibit Hunting + Gathering, 107 W. Palace Ave.
Classical Music Santa Fe Community Orchestra competition finals
New Mexico School for the Arts, 275 E. Alameda St. Compositions by two finalists, 6 p.m., for information visit sfco.org or call 505-466-4879.
TGIF Schubert recital
First Presbyterian Church Santa Fe, 208 Grant Ave. Mezzo -soprano Alicia Solomon and pianist Juanita Madland, 5:30-6 p.m., donations welcome, 505-982-8544, Ext. 16.
Stewart Udall Building, second floor, 725 Camino Lejo, Museum Hill New and slightly damaged books, noon-3 p.m., continues Saturday.
Vista Grande Public Library book sale
14 Avenida Torreon, Eldorado, 505-466-7323 New and gently used books, DVDs, and CDs, noon-6 p.m., continues Saturday.
La Fiesta Lounge at La Fonda
Blues and R & B band The Pleasure Pilots, 8-11 p.m., no cover.
La Posada de Santa Fe Resort and Spa
Nacha Mendez Quartet, 6:30-9:30 p.m., no cover.
Mine Shaft Tavern
Duo Rasminko, Gypsy-jazz, on the deck, 5 p.m., no cover; Jackie Myers Band, jazz/blues/funk, 7 p.m.-close, call for cover.
Palace Restaurant and Saloon
Gidion’s Knot
Quilters
Warehouse 21 Johnna Adams’ 2012 drama about a student’s suicide, 7:30 p.m., $15, students $10, 505-428-9572, final weekend.
Santa Fe Playhouse, 142 E. DeVargas St. The 1982 musical by Molly Newman and Barbara Damashek, 7:30 p.m., $20, discounts available, brownpapertickets.com, final weekend.
Pajarito Spanish Dance Alliance
Sleeping Beauty
La Plancha, 7 Caliente Rd., Eldorado ¡Bailar, Amar, Cantar, Vivir!, 7 p.m., $15 in advance and at the door, ages 18 and under $8, brownpapertickets.com, Sunday encore.
Half Broke Horses, 4:40-7:30 p.m., no cover; fundraising party for Sacred Body, 10 p.m.-close, call for cover.
James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. Based on the 1959 animated film by Walt Disney; presented by Pandemonium Productions, 2 p.m., $10, discounts available, pandemoniumprod.org, 505-982-3327, continues Saturdays and Sundays through Nov. 23.
Pranzo Italian Grill BOOK SALES
Pianist Robin Holloway, 6-9 p.m., call for cover.
FRIDAY AND SATURDAY
Pollo Frito, New Orleans-style funk and soul, 6-9 p.m., no cover.
Museum of New Mexico Press, Stewart Udall Building, 725 Camino Lejo, Museum Hill, new and slightly used books, noon-3 p.m. Friday, 10 a.m.-2 p.m. Saturday. Vista Grande Public Library, 14 Avenida Torreon, Eldorado, includes DVDs and CDs, noon-6 p.m. Friday, 10 a.m.-4 p.m. Saturday, 505-466-7323.
SATURDAY AND SUNDAY Museum of Indian Arts and Culture Laboratory of Anthropology, 710 Camino Lejo, Museum Hill, includes rare and first-edition tomes, (10 a.m.-1 p.m. Saturday, admission $10), (1-4 p.m. Saturday, admission $1); noon-4 p.m. Sunday, no charge, 505-476-1264.
Events Fall Fiber Fiesta
Second Street Brewery
Second Street Brewery at the Railyard
Hot Club of Santa Fe, Gypsy-swing, 7-10 p.m., no cover.
Shadeh
Clear Channel Radio Rock ‘n’ Roll Night, 9 p.m.-4 a.m., no cover.
Skylight
Country-western band Boss Hog, 7-10 p.m., call for cover; The Alchemy Party, with DJs Dynamite Sol and Poetics, 10 p.m.-2 a.m., call for cover.
Swiss Bakery Pastries and Bistro
Irish multi-instrumentalist Gerry Carthy, on the patio, 7-10 p.m.
Tiny’s
Singer/songwriter Chris Abeyta, 5:30-8 p.m.; Sean Healen Band, folksy rock, 8:30 p.m.-close; no cover.
Vanessie
St. John's United Methodist Church, 1200 Old Pecos Trail Dyed fibers, yarns, and finished goods, 9 a.m.-5 p.m., no charge, presented by Española Valley Fiber Arts Center, 505-747-3577, continues Saturday.
Pianists Doug Montgomery, 6 p.m., and Kathy Morrow, 8 p.m.; call for cover.
Santa Fe Children’s Museum Fundraiser and Gingerbread House Display
Capitol Coffee Company
Santa Fe Children’s Museum, 1050 Old Pecos Trail The museum and Hutton Broadcasting host the event, featuring a live instant auction and ginger-bread houses crafted by local chefs; proceeds benefit the museum, 9 a.m.-5 p.m.; santafechildrensmuseum.org.
Nightlife
(See addresses at right)
Café Café
Trio Los Primos, 6 p.m., no cover.
¡Chispa! at El Mesón
Three Faces of Jazz, featuring guest saxophonist Brian Wingard, 7:30-10:30 p.m., no cover.
Cowgirl BBQ
Shiners Club Jazz Band, 5 p.m.; John Kurzweg Band, rock, 8:30 p.m.-close, call for cover.
Duel Brewing
Singer/songwriter Melanie Devaney, 7 p.m.-close, no cover.
El Farol
C.S. Rock Show, 9 p.m., call for cover.
El Paseo Bar & Grill
Weekly rotating DJs, 9:30 p.m.-close, no cover.
Evangelo’s
Jay Boy Adams & Zenobia, with Mister Sister, soul/rock/blues, 9 p.m., call for cover.
The Lodge at Santa Fe
Pachanga Club Fridays, Latin-dance night with DJ Aztech Sol, 9:30 p.m., call for cover.
Check with venues for updates and sp ecial events Agoyo Lounge
SATURDAY 11/15 Gallery & Museum Openings 507 Old Santa Fe Trail, 505-983-0646 From Cheyenne to Santa Fe: A Four-Year Retrospective, paintings and wood assemblages by Steven Snyder, reception 4-6 p.m., through Dec. 6.
In Concert The Charlie Christian Project
Gig Performance Space, 1808 Second St. Jazz quartet; trumpeter Bobby Shew, guitarist Michael Anthony, percussionist Cal Haines, and bassist Micky Patten, 7:30 p.m., $15 at the door.
High Mayhem Fall Series Night 3
High Mayhem Studio The Proxemics, Johnny Bell, Steven Paxton, Angelo Harmsworth, and Bull Seal, 7:30 p.m., $10 suggested donation, highmayhem.org.
Theater/Dance The Brothers Grimm Spectaculathon
Armory for the Arts, 1050 Old Pecos Trail Comic adaptation presented by Santa Fe Performing Arts' City Different Players (ages 7-12), 2 p.m., $8, 505-984-1370, continues SaturdaysSundays through Nov. 23.
Death and the Maiden
Teatro Paraguas Studio, 3205 Calle Marie Teatro Paraguas presents the 1991 play by Ariel Dorfman, 7:30 p.m., $15, discounts available, 505-424-1601, final weekend.
at the Inn on the Al Museum Hill Café ameda 303 E. Alameda St. 71 0 Camino Lejo, Milne , 505-984-2121 r Plaza, 505-984-8900 Anasazi Restauran t & Bar 113 Washington Av Music Room at Ga e., 505-988-3030 rrett’s Desert Inn 311 Old Santa Fe Tra Bishop’s Lodge Ra il, 505-982-1851 nch Resort & Spa 1297 Bishops Lodg e Rd., 505-983-6377 Odd Fellows Hall 1125 Cerrillos Rd., Blue Rooster 505-473-0955 101 W. Marcy St., 50 Omira Bar & Grill 5-206-2318 1005 St. Francis Dr Burro Alley Café ., 505-780-5483 207 W. San Francisc Palace Restaurant o St., 505-982-0601 & Saloon 142 W. Palace Ave., Café Café 505-428-0690 500 Sandoval St., 50 Pranzo Italian Grill 5-466-1391 540 Montezuma Av ¡Chispa! at El Mesó e., 505-984-2645 n 213 Washington Av Santa Fe Bar & Grill e., 505-983-6756 187 Paseo de Peral Cowgirl BBQ ta, DeVargas Cente r, 505-982-3033 319 S. Guadalupe St. , 505-982-2565 Santa Fe Commun Duel Brewing ity Convention Center 1228 Parkway Dr., 505-474-5301 20 1 W. Marcy St., 505-9 Eldorado Hotel & 55-6705 Spa Santa Fe Sol Stage 309 W. San Francisc & Grill o St., 505-988-4455 37 Fir e Place, solofsantaf El Farol e.com Second Street Brew 808 Canyon Rd., 50 er y 5-983-9912 1814 Second St., 50 El Paseo Bar & Grill 5-982-3030 Second Street Brew 208 Galisteo St., 50 er 5-992-2848 1607 Paseo de Peral y at the Railyard Evangelo’s ta, 505-989-3278 Shadeh at Buffalo 200 W. San Francisc Thunder o St., 505-982-9014 Reso rt & Casino High Mayhem Em erging Arts Pojoaque Pueblo, U.S 2811 Siler Lane, 50 . 84/285, 5-438-2047 505-455-5555 Hilton Santa Fe Sk ylight 100 Sandoval St., 50 5-988-2811 139 W. San Francisc o St., 505-982-0775 Hotel Santa Fe Sweetwater Harves 1501 Paseo de Peral t Kitchen ta, 505-982-1200 1512-B Pacheco St. , 505-795-7383 Jean Cocteau Cinem a Swiss Bakery Pastr 418 Montezuma Av ies e., 505-466-5528 401 S. Guadalupe St. and Bistro , 505-988-5500 Junction Taberna La Boca 530 S. Guadalupe St. , 505-988-7222 125 Lincoln Ave., 50 5-988-7102 La Boca Te rraCotta Wine Bis 72 W. Marcy St., 50 tro 5-982-3433 304 Johnson St., 50 5-989-1166 La Casa Sena Cant ina Tiny’s 125 E. Palace Ave., 505-988-9232 1005 St. Francis Dr ive, Suite 117, La Fiesta Lounge 505-983-9817 at La Fonda 100 E. San Francisc o St., 505-982-5511 The Undergro und at Evan La Posada de Sant a Fe Resort and Sp 200 W. San Francisco St. gelo’s a 330 E. Palace Ave., 505-986-0000 Upper Crust Pizza Lensic Performing 329 Old Santa Fe Tra Arts Center il, 505-982-0000 211 W. San Francisc o St., 505-988-1234 Vanessie The Lodge at Sant 434 W. San Francisc a Fe o St., 505-982-9966 750 N. St. Francis Dr ., 505-992-5800 Veterans of Foreign Wars Low ‘n’ Slow Lowr 370 Montezuma Av ider Bar e., 505-984-2691 at Hotel Chimayó de Santa Fe Warehouse 21 125 Washington Av e., 505-988-4900 1614 Paseo de Peral ta, 505-989-4423 The Matador Zia Dinner 116 W. San Francisc o St. 326 S. Guadalupe St. , 505-988-7008 Mine Shaft Tavern 2846 NM 14, Madr id, 505-473-0743
C L U B S, R O O M S, V E N UES
Nov. 14-16
PASATIEMPOMAGAZINE.COM
49
Cowgirl BBQ
Theater/Dance
Duel Brewing
Armory for the Arts, 1050 Old Pecos Trail Comic adaptation presented by Santa Fe Performing Arts' City Different Players (ages 7-12), 2 p.m., $8, 505-984-1370, continues Saturdays-Sundays through Nov. 23.
Santa Fe Chiles Dixie Jazz Band, 2 p.m.; juke-joint, honky-tonk, biker-bar band Broomdust Caravan, 8:30 p.m.-close; no cover. Indie-rock band 50 Watt Whale, 7-10 p.m., no cover.
El Paseo Bar & Grill
DJ Spaghetti, 9:30 p.m.-close, no cover.
El Farol
Tone & Company, blues, 9 p.m., call for cover.
The Underground at Evangelo's
DJ Dynamite Sol, 9 p.m.-close, call for cover.
La Fiesta Lounge at La Fonda
Pleasure Pilots, blues and R & B, 8-11 p.m., no cover.
La Posada de Santa Fe Resort and Spa
Pat Malone Jazz Trio, featuring vocalist Whitney Carroll Malone and bassist Jon Gagan, 6-9 p.m., no cover.
Low ‘n’ Slow Lowrider Bar at Hotel Chimayó de Santa Fe Irish multi-instrumentalist Gerry Carthy, 7:30 p.m.-close, no cover.
Mine Shaft Tavern
Wheelhouse Art shows paintings by Bill Sortino, 418 Montezuma Ave.
Zircus Erotique Burlesque Company
The Lodge at Santa Fe, 750 N. St. Francis Dr. Northern Exposures; featuring Tallulah St. James, 9 p.m., $15 in advance at zeburlesque.com, VIP seats $20, tickets at the door $20 and $25.
Books/Talks James McGrath Morris: How to Tell a True story
Santa Fe Public Library, Main Branch, 145 Washington Ave. The Santa Fe author leads a writing workshop, 1 to 5 p.m., call 505-955-6781 to register.
Museum of Indian Arts and Culture Laboratory of Anthropology book sale
710 Camino Lejo, Museum Hill The 21st annual sale includes works from the
estate of Samuel Larcombe and from the collection of Peter T. Furst and Patrick Culbert, 10 a.m.-1 p.m. admission $10, 1-4 p.m. admission $1, call for information, 505-476-1264, continues Sunday.
Museum of New Mexico Press holiday book sale
St. John's United Methodist Church, 1200 Old Pecos Trail Dyed fibers, yarns, and finished goods, 9 a.m.-5 p.m., no charge, presented by Española Valley Fiber Arts Center, 505-747-3577. New Mexico History Museum, 113 Lincoln Ave. All ages welcome to participate in this class held in conjunction with the exhibit Gustave Baumann and Friends: Artist Cards From Holidays Past, 1-3 p.m. today and Sunday (bring crayons, pencils, markers, etc.; paper, envelopes, and other supplies provided), contact Tom Leech for information, 505-476-5096, thomas.leech@state.nm.us, by museum admission.
Santa Fe Model Railroad Club open houses Private residences Two local hobbyists open their homes to the public to view their model train setups, visit santafemodelrailroadclub.org for maps and directions. 6:30-8:30p.m. Saturday, Nov. 15 Ben Cohen, social activist and cofounder of Ben & Jerry's, discusses his initiative to remove the influence of corporations in politics at the Santa Fe Community Convention Center, followed by an ice cream social. Tickets are are $12 and $20 and can be purchased through Santa Fe Green Chamber of Commerce. Contact Glenn Shiffbauer for information, 505-428-9132.
50
PASATIEMPO I November 14 -20, 2014
Nightlife
(See Page 49 for addresses)
Blue Rooster
Trash Disco, with DJ Oona, 8 p.m.-close, call for cover.
Burro Alley Café
Latin Night with DJ Aztech Sol, 9:30 p.m.-2 a.m., call for cover. Free salsa/bachata lessons 8-9 p.m.
¡Chispa! at El Mesón
Tierra Sonikete, with J.Q. Whitcomb on trumpet and Joaquin Gallegos on guitar, 7:30 p.m.-close, no cover.
Gidion’s Knot
Warehouse 21 Johnna Adams’2012 drama about a student’s suicide, 4 p.m., $15, $10 students, 505-428-9572, closing night.
Misadventures or I Don't Know What I'm Doing
Greer Garson Theatre, Santa Fe University of Art & Design, 1600 St. Michael's Dr. Written by Donald Marguiles and directed by Gail Springer, 2 and 4 p.m., $15, 505-988-1234, ticketssantafe.org, part of the university's Get a Room! Room Plays Series.
Sleeping Beauty
Müshi Trio, funky jazz, 7-10 p.m., no cover.
Shadeh
Books/Talks
Second Street Brewery
Greg Daigle Band, Americana, 6-9 p.m., no cover.
Hip-hop night, 9 p.m.-4 a.m., no cover.
Fall Fiber Fiesta
Teatro Paraguas Studio, 3205 Calle Marie Teatro Paraguas presents the 1991 play by Ariel Dorfman, 2 p.m., $15, discounts available, 505-424-1601, closing night.
James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. Based on the 1959 animated film by Walt Disney; presented by Pandemonium Productions, 2 p.m., $10, discounts available, pandemoniumprod.org, 505-982-3327,continues Saturdays and Sundays through Nov. 23.
Vista Grande Public Library book sale
Holiday card workshop
ICE CREAM & ACTIVISIM
Pranzo Italian Grill
Geist Cabaret with pianist David Geist, 6-9 p.m., call for cover.
Second Street Brewery at the Railyard
Events
Death and the Maiden
Dandelion Liberation Front, bluegrass, on the patio, 3 p.m.; bluegrass band The Porter Draw, 8 p.m.-close, Pajarito Spanish Dance Alliance call for cover. La Plancha, 7 Caliente Rd., Eldorado ¡Bailar, Amar, Cantar, Vivir!, 2 p.m., $15 in advance Palace Restaurant and Saloon and at the door, ages 18 and under $8, brownConnie Long & Fast Patsy, 4:30-7:30 p.m., papertickets.com. no cover.
Stewart Udall Building, second floor, 725 Camino Lejo, Museum Hill New and slightly damaged books, 10 a.m.-2 p.m. 14 Avenida Torreon, Eldorado New and gently used books, DVDs, and CDs, 10 a.m.-4 p.m.
The Brothers Grimm Spectaculathon
Sweetwater Harvest Kitchen
Saturdays with John Serkin on Hawaiian slack-key guitar, 6 p.m., no cover.
Tiny’s
Showcase karaoke with Nanci and Cyndy, 8:30 p.m.-close, no cover.
Vanessie
Pianist Kathy Morrow, 6:30 p.m.; call for cover.
SUNDAY 11/16 Classical Music Cantu Spiritus Chamber Choir
Immaculate Heart of Mary Chapel, 50 Mount Carmel Rd. Renaissance choral selections, 3 p.m., $20 at the door, students no charge.
Notes on Music: Strauss
Eldorado Hotel Joseph Illick’s illustrated-talk series continues at 4 p.m., champagne and waltzing follow, $35, students $17.50, 505-988-1234, ticketssantafe.org.
Serenata of Santa Fe
First Presbyterian Church of Santa Fe, 208 Grant Ave. The Art of Bach, with violinist L.P. How, violist Christof Huebner, and cellist Felix Fan, 3 p.m., $15-$30, discounts available, 505-988-1234, ticketssantafe.org.
In Concert Judy Collins
The Lensic Veteran singer/songwriter, 7 p.m., $42-$62, ticketssantafe.org, 505-988-1234.
Artist talk
Manitou Galleries, 225 Canyon Rd., 505-986-9833 Painter Jeff Cochran discusses his work, 1 p.m.
Let's Talk About Opera: A Salon
La Posada de Santa Fe Resort and Spa Hosted by Santa Fe Opera Guild, 3-5 p.m., no charge.
Muse Times 2 poetry readings
Collected Works Bookstore, 202 Galisteo St. 505-988-4226 Emily Kendal Frey and Kim Parko read from their works, 4 p.m.
Museum of Indian Arts and Culture Laboratory of Anthropology book sale
710 Camino Lejo, Museum Hill The 21st annual sale includes rare and first-edition tomes, noon-4 p.m., no charge, call for information, 505-476-1264.
The Situation in Palestine: Advocating for Peaceful Solutions
Collected Works Bookstore, 202 Galisteo St., 505-988-4226 KSFR Radio news director Zelie Pollon in conversation with Ken Mayers of Veterans for Peace, 11 a.m., presented by Journey Santa Fe.
We Be Muses book launch
Op. Cit. Books, Sanbusco Center, 500 Montezuma Ave. Readings from Bosque Rhythms, by local poets including Judy Mosher, Lee Dunne, and Elizabeth O'Brien, 2 p.m. (See Subtexts, Page 16)
Events Friends of Archaeology holiday party Hotel Santa Fe Silent auction, light buffet, and archaeology demon-strations, 3-6 p.m., $20 in advance and at the door, proceeds benefit Museum
of New Mexico Office of Archaeological Studies and Museum of New Mexico Foundation, nmarchaeology.org, 505-982-7799, Ext. 5.
Nightlife
(See Page 49 for addresses)
Cowgirl BBQ
Gospel/R & B artist Zenobia, noon-3 p.m.; Stanlie Kee and Step in Trio, blues, 8 p.m.-close; no cover.
El Farol
Nacha Mendez, 7:30 p.m., call for cover.
Evangelo’s
Cowgirl BBQ
Singer/songwriter Ben Ballinger, 8 p.m., no cover.
El Farol
Canyon Road Blues Jam, 8:30 p.m., no cover.
La Fiesta Lounge at La Fonda
Local country artist Bill Hearne, 7:30-11 p.m., no cover.
Mine Shaft Tavern
Timbo jam session, 7 p.m., no cover.
Skylight
Tone and Company jam band, 8:30 p.m., call for cover.
The World Beat Party, rotating DJs and bands, 9 p.m.; call for cover.
La Posada de Santa Fe Resort and Spa
TerraCotta Wine Bistro
Country singer Wiley Jim, 7 p.m., call for cover.
Mine Shaft Tavern
Nacha Mendez, 6-8 p.m., no cover.
Tiny’s
Connie Long & Willow Doug, folk/alternative country, on the patio, 3-7 p.m., no cover.
Open-mic night with John Cole, 7 p.m.-close, no cover.
Vanessie
Vanessie
MONDAY 11/17
WEDNESDAY 11/19
Pianist Doug Montgomery, 6:30 p.m., call for cover.
Books/Talks Southwest Seminars lecture
Hotel Santa Fe, 1501 Paseo de Peralta Amazing Geologic Story of Oz (Australia), by Kirt Kempter, 6 p.m., $12 at the door, southwest-seminars.org, 505-466-2775.
Nightlife
(See Page 49 for addresses)
Cowgirl BBQ
Cowgirl karaoke, with Michele Leidig, 9 p.m., no cover.
El Farol
Hillary Smith and company, blues/soul/funk, 8 p.m., no cover.
La Fiesta Lounge at La Fonda
Local country artist Bill Hearne, 7:30 p.m., no cover.
Tiny’s
Great Big Jazz Band, 7-9 p.m., no cover.
Vanessie
Pianists Doug Montgomery, 6 p.m., and Kathy Morrow, 8 p.m.; call for cover.
TUESDAY 11/18 Theater/Dance National Theatre Live in HD: Skylight
The Lensic A 1995 play by British dramatist David Hare, 7 p.m., $22, 505-988-1234, ticketssantafe.org. (See Listen Up, Page 18)
Pianist Kathy Morrow, 6:30 p.m.; call for cover.
In Concert California Guitar Trio
María Benítez Theater, The Lodge at Santa Fe Instrumental acoustic blues, Americana, and rock ensemble, 7:30 p.m., $25 in advance online at brownpapertickets.com, $29 at the door. (See story, Page 22)
Theater/Dance National Theatre Live in HD: Of Mice and Men
The Lensic John Steinbeck's 1937 drama, 7 p.m., $22, 505-988-1234, ticketssantafe.org. (See Listen Up, Page 18)
Books/Talks
Opera Breakfast Lecture Series
Collected Works Bookstore, 202 Galisteo St., 505-988-4226 Mary Kime discusses Rossini's Il Barbiere de Siviglia, 9:30 a.m., in conjunction with the Metropolitan Opera's Live in HD season, $5.
Nightlife
(See Page 49 for addresses)
¡Chispa! at El Mesón
Guitarist Chuscales, 7-9 p.m., no cover.
Cowgirl BBQ
Half Broke Horses, 8 p.m.-close, no cover.
El Farol
Midweek rock with the John Kurzweg Band, 8 p.m., no cover.
Junction
Karaoke Wednesdays with Michelle, 10 p.m., no cover.
La Fiesta Lounge at La Fonda
C.S. Rockshow, with Don Curry, Pete Springer, and Ron Crowder, 7:30-11 p.m., no cover.
La Posada de Santa Fe Resort and Spa
Country singer Wiley Jim, 7 p.m., call for cover.
Palace Restaurant and Saloon
Books/Talks Ehren Kee Natay: 2014 Rollin and Mary Ella King Native Artist Fellow
School for Advanced Research Board Room, 660 Garcia St. The Santo Domingo Pueblo artist-in-residence discusses his work, 5:30 p.m.; includes a reception and studio tour, no charge, call to register, 505-954-7205.
New Mexico Arts Commission meeting
Bataan Memorial Building, second floor, East Wing, 407 Galisteo St. Quarterly meeting, 8:30-11:30 a.m., a copy of the agenda will be available 72 hours prior, 800-879-4278.
SFAI 140: An Evening of Creativity and Conversation
Santa Fe Art Institute, Santa Fe University of Art & Design, 1600 St. Michael's Dr. Twenty short talks by members of the community and SFAI artists-in-residence, 7 p.m., speakers include Mira Burack of Edible Hut art collective, Todd Lopez of Siete Del Norte, and Witter Bynner fellow Lida Nosrati, no charge, 505-424-5050.
Sharon Warner
TerraCotta Wine Bistro
Collected Works Bookstore, 202 Galisteo St. 505-988-4226 The author reads from Sophie's House of Cards, 6 p.m.
Tiny's
(See Page 49 for addresses)
Shiners Club Jazz Band, 9 p.m.-close, no cover. Jazz guitarist Pat Malone, 6-9 p.m., no cover. Electric jam, with Nick Wymett, 8-11 p.m., no cover.
Vanessie
Pianist Kathy Morrow, 6:30 p.m., call for cover.
THURSDAY 11/20 Gallery & Museum Openings
2014 Brainpower & Brownbags Lecture Series Institute of American Indian Arts
Nightlife
¡Chispa! at El Mesón
Jazz pianist John Rangel, 7-9 p.m., no cover.
Cowgirl BBQ
Todd Tijerina Band, blues/rock, 8 p.m., no cover.
Duel Brewing
Pray for Brain, with Mustafa Stefan Dill, guitar; Jefferson Voorhees, drums; Christine Nelson, bass, 7-10 p.m., no cover.
Meem Community Room, Fray Angélico Chavez History Library, 120 Washington Ave. New Mexico Beer — Now and Then, with author Jon C. Stott, noon, no charge, 505-476-5200.
83 Avan Nu Po Rd., 505-424-2300 2014 Senior Thesis Exhibit, reception 5 p.m.
Friends of the Wheelwright discussion
Theater/Dance
Guitarras con Sabor, Gypsy Kings-style rhythms, 8 p.m., no cover.
Playwrights Forum
Evangelo’s
Wheelwright Museum of the American Indian library 704 Camino Lejo, Museum Hill, 505-982-4636 Archaeologist Adolf F. Bandelier's 1890 book The Delight Makers, 1:30 p.m., no charge.
Michael Scofield and Barbara Rockman
Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The poets read from and sign copies of their works, 6 p.m.
Santa Fe Playhouse, 142 E. DeVargas St. Staged readings of four plays; tonight: Sworn to Water, a one-act biographical work by Dale Dunn, 6 p.m.; The Hat, a drama in two acts by Dianna A. Lewis, 8 p.m., $10 at the door; students $5; pass $20; 505-988-4262, continues Saturday and Sunday, Nov. 22-23.
El Farol
Thursdays with Little Leroy & His Pack of Lies, rock cover band, 9 p.m.-close, call for cover.
La Boca
Nacha Mendez, 7-9 p.m., no cover.
La Fiesta Lounge at La Fonda
Dual Language, 7:30-11 p.m., no cover.
Books/Talks Don Usner
Collected Works Bookstore, 202 Galisteo St. 505-988-4226 The New Mexico author discusses Chasing Dischos Through Chimayó, 6 p.m.
Georgia O'Keeffe Museum Readers' Club
Museum Education Annex, 123 Grant Ave. The discussion series continues with essays taken from The Covarrubias Circle: Nickolas Muray's Collection of Twentieth-Century Mexican Art, 6 p.m., no charge.
Patrick Nagatani and Lucy Lippard
Armory for the Arts, 1050 Old Pecos Trail The artist and the author in conversation, 6 p.m., $10, discounts available, call SITE Santa Fe for tickets, 505-989-1199.
Nightlife
(See Page 49 for addresses)
¡Chispa! at El Mesón
Argentine Tango Milonga, 7:30 p.m., call for cover.
Evoke Contemporary shows paintings by Francis Gregory Di Franzo, 550 S. Guadalupe St.
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Many Mothers
Help new mothers and families, raise funds, plan events, become a board member, and more; requirements and details available online at manymothers.org.
Filmmakers TRIBEC4H4CKS: NDN Country
Tribeca Film Institute, Vision Maker Media, and Institute of American Indian Arts invite designers, technologists, filmmakers, and visual artists to collaborate on producing interactive stories about indigenous culture during a free Hackathon held in Santa Fe Friday-Sunday, Nov. 21-23; for details visit tribecafilminstitute.org.
Librettists/Performers Santa Fe Bandstand 2015
Outside In Productions is accepting submissions through midnight Wednesday, Dec. 31; apply online at santafebandstand.org; for information email info@santafebandstand.org.
Teatro Paraguas auditions
Roles for women ages 30-70, men ages 40-60, and one male age 10-12 for Mariela in the Desert, a play by Karen Zacaris; 10 a.m.-4 p.m. Saturday, Dec. 6, 5-8 p.m. Sunday, Dec. 7, at 3205 Calle Marie, 505-424-1601, teatroparaguas.org.
Wagner Society of Santa Fe: Write Your Own Prize Song contest
Submit an original English version of Walther’s Prize Song as it appears in Act III of Wagner’s Die Meistersinger von Nürnberg; winner’s work to be performed publicly on Saturday, Dec. 6; submit compositions to and request details from Yoko Arthur at wagnersocietyofsantafe@gmail.com.
PASA KIDS
Garden Sprouts New Mexico Highlands University hosts its Bach Fest with performances by New Mexico Bach Society Chorale and university choirs, 2 p.m. Sunday, Nov. 16.
La Posada de Santa Fe Resort and Spa
Pat Malone Jazz Trio, with Kanoa Kaluhiwa on saxophone, Jon Gagan on bass, and Malone on guitar, 6-9 p.m., call for cover.
Lodge Lounge at The Lodge at Santa Fe
Irish multi-instrumentalist Gerry Carthy, 7-9:30 p.m., call for cover.
The Matador
DJ Inky Ink spinning soul/punk/ska, 8:30 p.m., no cover.
Palace Restaurant and Saloon
Limelight Karoake, 10 p.m.-close, no cover.
Skylight
The Earful, 8 p.m.; call for cover.
Swiss Bakery Pastries and Bistro
Guitar duo Wes & Mito, Gypsy Kings-style rhythms, 7:30 p.m.-close, no cover.
Tiny’s
Americana band Santa Fe Revue, 9 p.m.-midnight, no cover.
Vanessie
Pianist Kathy Morrow, 6:30 p.m., call for cover.
Zia Diner
Trio Bijou, jazz, with Gemma DeRagon on violin and vocals, Andy Gabrys on guitar, and Andy Zadrozny on bass, 6:30 p.m., no cover.
OUT OF TOWN Albuquerque Chatter Sunday
The Kosmos, 1715 Fifth St. N.W. Pianist Judith Gordon plays music of Mozart
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PASATIEMPO I November 14 -20, 2014
and new work by James Shields; followed by poet Marlon Footracer, 10:30 a.m. Sunday, Nov. 16, $15, discounts available, chatterabq.org.
Time for Three
KiMo Theatre, 421 Central Ave. N.W. Violinists Zach De Pue and Nick Kendall and bassist Ranaan Meyer perform a mash-up of Bach to bluegrass, 3 p.m. Sunday, Nov. 16, tickets start at $28, kimotickets.com, 505-768-3522.
Michael Anthony Quartet
Outpost Performance Space, 210 Yale Blvd. S.E. New Mexico jazz guitarist, 7:30 p.m. Thursday, Nov. 20, $15-$20, holdmyticket.com.
Las Vegas Bach Fest at Highlands University
Ilfeld Auditorium, 905 University Ave. New Mexico Bach Society Chorale, led by Franz Vote, and university choirs directed by Andre García-Nuthmann and Joe Cooney, 2 p.m. Sunday, Nov. 16, $8 at the door, discounts available, nmhu.edu.
Placitas Placitas Artists Series
PEOPLE WHO NEED PEOPLE Artists Art on the Edge 2015
New Mexico Museum of Art and Friends of Contemporary Art + Photography seek portfolio submissions; Arizona, Colorado, New Mexico, Oklahoma, and Utah artists eligible; submissions accepted until Sunday, Dec. 7; visit callforentry.org.
Contemporary Hispanic Market
Visit contemporarhispanicmarketinc.com for prospectus; jury held on Feb. 14 at the Santa Fe Community Convention Center from 8 a.m.-noon. Market dates, July 25-26.
Currents 2015: International New Media Festival
Accepting work in the areas of video mapping, new-media installation, animation, single-channel production, and multimedia performance (full list of categories available online at currentsnewmedia.org); submission guidelines and forms available online; deadline Monday, Dec. 1.
Community Fight Illiteracy
Las Placitas Presbyterian Church Violist Willy Sucre, violinists Krzysztof Zimowski and Carol Swift-Matton, and cellist James Holland; music of Brahms and Erwin Schulhoff, 3 p.m. Sunday, Nov. 16, $20, students $15.
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.
Socorro
The nonprofit needs help packing and distributing groceries at 6 and 8 a.m. Wednesdays and Thursdays, 505-471-1187 or 505-603-6600.
2014 Festival of the Cranes
Bosque del Apache National Wildlife Refuge The annual event, including workshops, lectures, and tours, takes flight Tuesday-Sunday, Nov. 18-23; register online at festivalofthecranes.com.
Food for Santa Fe
Santa Fe Botanical Garden, 725 Camino Lejo, Museum Hill Storytelling and hands-on activities for children ages 3-5 accompanied by an adult, 9-10 a.m. weekly on Fridays as weather allows, $5 suggested donation.
Preschooler story times
Santa Fe Public Library, Main Branch, 145 Washington Ave., 505-955-6783, and Vista Grande Public Library, 7 Avenida Vista Grande, Eldorado, 505-466-7323 Stories, rhymes, and crafts, 10:30-11:15 a.m. Friday, Nov. 14, Main Branch; songs and crafts, 11 a.m. Friday, Nov. 14, Eldorado; children must be accompanied by an adult.
Wildlife rescue program: Santa Fe Public Libraries
Children's presentation by Birds of Prey Rescue Society, 4-5 p.m. Friday, Nov. 14, La Farge Branch Library, 1730 Llano St., 505-955-4860; 10:3011:30 a.m. Saturday, Nov. 15, Main Branch Library, 145 Washington Ave., 505-955-6783; 2:30-3:30 p.m. Saturday, Nov. 15, Southside Branch Library, 6599 Jaguar Dr., 505-955-4863.
Georgia O'Keeffe family program
217 Johnson St., 505-946-1039 Lines, Shapes, and Colors, art class, led by Amy Paloranta, 9:30-11:30 a.m. Saturday, Nov. 15, no charge for children ages 4-12 accompanied by an adult.
Bee Hive Books writing workshop
328 Montezuma Ave., 505-780-8051 Geared toward second-graders and up, 2 p.m., call to reserve space, $10.
Mindfulness for kids
Bee Hive Books, 328 Montezuma Ave., 505-780-8051 A series for ages 4 and up, based on the teaching of Thich Nhat Hanh, including activities and stories, 10:30-11:30 a.m. on Sundays through Nov. 23, $12 per session; $50 for the series. ◀
Sangre de Cristo Chorale
UPCOMING EVENTS MUSIC
La Santa Cecilia
La Fonda Los Angeles-based band, 8 p.m. Friday, Nov. 21, $20 in advance at holdmyticket.com, proceeds benefit Duel Language Education of New Mexico Endowment Fund and Janet Montoya Schoeppner Memorial Scholarship Fund.
Evarusnik Orchestra
Iconik Coffee Roasters, 1600 Lena St., 505-428-0996 Alternative folk ensemble with vocals, Brian Haas opens, 7:30 p.m. Saturday, Nov. 22, $10 in advance, brownpapertickets.com, ages 11 and under no charge.
San Miquel Chapel Music Series
San Miguel Chapel, 401 Old Santa Fe Trail 8 p.m. Saturday, Nov. 22: VEM Quartet, graduate string quartet-in-residence at UCLA, violinist Stephanie Nagler, and Santa Fe University of Art & Design Percussion Ensemble, music of Mendelssohn, Komitas, and Lou Harrison, $15, ages 11 and under no charge. 8 p.m. Saturday, Nov. 29 : Baroque music performed by violinist Elizabeth Blumenstock, violist Mary Springfels, and harpsichordist Kathleen McIntosh, $20, discounts available.
Alexz Johnson
Skylight Canadian singer/songwriter, 7:30 p.m. Monday, Nov. 24, Jared & The Mill opens, $10 in advance at holdmyticket.com.
Jamestown Revival
Skylight Southern-rock duo, 7:30 p.m. Wednesday, Dec. 3, $15 in advance at holdmyticket.com.
Leo Kottke
The Lensic Acoustic guitarist, 7:30 p.m. Saturday, Dec. 6, $29-$52, 505-988-1234, ticketssantafe.org.
Santa Fe Music Collective jazz concerts
Museum Hill Café, 710 Camino Lejo Friday, Nov. 21, vocalist Barbara Bentree; Friday, Dec. 12, saxophonist Doug Lawrence; concerts begin at 7 p.m., $25, santafemusiccollective.org, 505-983-6820.
Tony Furtado Band
Gig Performance Space, 1808 Second St. Bluegrass/roots fusion, 7:30 p.m. Wednesday, Jan. 14, $25 in advance at brownpapertickets.com, $28 at the door.
THEATER/DANCE
26 Miles
Teatro Paraguas Studio, 3205 Calle Marie Camino Real Productions presents a coming-ofage tale by playwright Quiara Alegría Hudes, 7:30 p.m. Fridays and Saturdays, 2 p.m. Sundays, Dec. 5-14, $15-$18, 505-424-1601, teatroparaguas.org.
National Theatre Live in HD
The Lensic DV8 Physical Theatre’s production John (contains adult themes), 7 p.m. Tuesday, Dec. 9; $22, 505-988-1234, ticketssantafe.org.
The Metropolitan Opera: Live in HD
The Lensic Rossini’s Il Barbiere de Siviglia, 11 a.m. and 6 p.m. Saturday, Nov. 22; Wagner’s Die Meistersinger von Nürnberg, 10 a.m. Saturday, Dec. 13; $22-$28, 505-988-1234, ticketssantafe.org.
HAPPENINGS
Breakfast at Tiffany’s: Aid & Comfort Gala
Hilton Santa Fe Silent auction of memorabilia from the film; checkin for preview reception 6:30 p.m. Saturday, Dec. 6, doors open at 8 p.m., reception and gala $100, gala only $50, advance tickets available online at southwestcare.org.
HOLIDAY FARE
Santa Fe Symphony Orchestra and Chorus
The Lensic Orchestra and chorus: Handel’s Messiah, 4 p.m. Sunday, Nov. 23; guest conductor Jason Altieri leads the orchestra in its annual concert of Christmas favorites, 4 p.m. Sunday, Dec. 14, ticketssantafe.org, 505-988-1234.
Winter Spanish Market
Hotel Albuquerque at Old Town The 26th annual market features more than 125 artists, craft demonstrations, music, and a champagne brunch at 11:30 a.m. Friday, Nov. 28, $40; market, 12:30-7 p.m. Friday, 9 a.m.-5 p.m. Saturday, Nov. 28-29, general admission $7, pair of tickets $11, 505-982-2226, Ext. 109, spanishcolonial.org.
First Presbyterian Church of Santa Fe, 208 Grant Ave. Darkness Brings Light, 3 p.m. Sunday, Dec. 7, $20, students $10, sdcchorale.org.
Santa Fe Desert Chorale: Christmas & Cabaret
Inn & Spa at Loretto, 211 Old Santa Fe Trail A benefit performance, dinner, and auction to kick off the winter festival concert series; sung by Jay Hill and Sarah Weiler, 6 p.m. Tuesday, Dec. 9, $90 in advance online at desertchoral.tix.com.
Anonymous 4
Cathedral Basilica of St. Frances of Assisi, 131 Cathedral Place Vocal quartet; medieval carols and motets, 7:30 p.m. Tuesday, Dec. 9, $10-$65, 505-988-1234, ticketssantafe.org.
Christmas at the Palace
Palace of the Governors The museum celebrates its 30th anniversary of providing refreshments, live music, a chance to operate an antique printing press, and other activities, 5:30-8 p.m. Friday, Dec. 12, no charge, donations of nonperishable food welcome.
Young Native Artists Holiday Show
Meem Community Room and New Mexico History Museum classroom, Washington Ave. entrance, 505-476-5200 Annual opportunity for the children and grandchildren of the Palace portal artists to sell their work, 10 a.m.-4 p.m. Saturday and Sunday, Dec. 13-14, no charge.
Las Posadas
The Plaza and Palace of the Governors courtyard Annual candlelit procession and a re-creation of Mary and Joseph’s search for shelter, 5:30-7 p.m. Sunday, Dec. 14, no charge, 505-476-5200.
Fourth Annual Flamenco Holiday Concert
El Museo Cultural de Santa Fe, 555 Camino de la Familia Featuring guitarist Chuscales, with guest performances by dancers Valeria Montes, Dec. 18; Juan Siddi, Dec. 18-19; and Domino Martinez, Dec. 20; performances begin at 7:30 p.m., $30, brownpapertickets.com.
Santa Fe Pro Musica Baroque Ensemble
Loretto Chapel, 207 Old Santa Fe Trail With mezzo-sopranos Deborah Domanski and Drea Pressley, music of Telemann, Handel, and traditional carols, Dec. 19-24, $20-$65 in advance at santafepromusica.com or ticketssantafe.org, 505-988-1234.
Aspen Santa Fe Ballet: The Nutcracker The Lensic A holiday favorite, 2 and 7:30 p.m. Saturday, 1 and 5 p.m. Sunday, Dec. 20-21, $25-$72, 505-988-1234, ticketssantafe.org.
New Mexico Museum of Art: Annual holiday open house
107 W. Palace Ave. Starring the Gustave Baumann Marionettes in two short plays for children of all ages; also, a photo op with Baumann’s Santa Claus marionette, an arts & crafts project, and refreshments, 1-4 p.m. Sunday, Dec. 21, no charge.
Wise Fool New Mexico
The Lensic Eleventh Annual Circus Luminous, local acrobats, aerialists, and clowns, 7 p.m. Friday, 2 and 7 p.m. Saturday, 4 p.m. Sunday, Nov. 28-30, $10-$30, 505-988-1234, ticketssantafe.org.
Santa Fe Winter Indian Market
Santa Fe Community Convention Center, 201 W. Marcy St. The ninth annual market runs Thanksgiving weekend, Saturday and Sunday, Nov. 29-30, general admission $10; weekend pass $15; ages 12 and under no charge, tickets available at the door, swaia.org.
New Mexico Performing Arts Society
Immaculate Heart of Mary Chapel, 50 Mount Carmel Rd. Annual Winter Solstice Concerts, featuring New Mexico Bach Chorale, pianist Nancy Brzezinski, and flutist Linda Marianiello, 5:30 p.m. Sunday, Nov. 30, $15-$25, holdmyticket.com.
Glow
Santa Fe Botanical Garden, 715 Camino Lejo, Museum Hill A winter-lights event held 5-8 p.m. on selected evenings, 5-9 p.m. Saturdays, Dec. 4-Jan. 3, $5-$8 online and on-site, santafebotanicalgarden.org, 505-471-9103.
Recycle Santa Fe Art Festival
Santa Fe Community Convention Center, 201 W. Marcy St. The 16th annual market arrives in time for holiday shopping of the green kind, Friday-Sunday, Dec. 5-7, recyclesantafe.org.
Museum holiday celebrations
Museum of International Folk Art, 505-476-1200, and Museum of Indian Arts and Culture, 505-476-1269 MIFA: Winter Celebration, numerous activities held in conjunction with the exhibit Wooden Menagerie: Made in New Mexico, 1-4 p.m. Sunday, Dec. 7; by museum admission; MIAC: Winter Traditions, Native American storytelling, dances, and hands-on activities, 1-4 p.m. Sunday, Dec. 7, by museum admission.
Wise Fool New Mexico performs at the Lensic on Friday though Sunday, Nov. 28-30.
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installation by Paula Wilson, Spector Ripps Project Space; reception 6-8 p.m. Friday, Nov. 14, through Feb. 1 (See story, Page 30) • Mountain, Desert, Mirror, diptychs sourced from the Instagram accounts of Erin Azouz and Ja Soon Kim, closing Sunday, Nov. 16; ccasantafe.org; open ThursdaysSundays.
Georgia O’Keeffe Museum
217 Johnson St., 505-946-1000 Miguel Covarrubias: Drawing a Cosmopolitan Line, mixed media, through Jan. 18 • Georgia O'Keeffe: Ghost Ranch Views, paintings from the 1930s and 1940s, through March 22; okeeffemuseum.org; open daily.
Museum of Contemporary Native Arts
108 Cathedral Place, 505-983-1777 Rattlebone, paintings and prints by Ric Gendron; The Desert Never Left the City, work by painter Mario Martinez; Saligaaw (it is loud-voiced), mixed media by Da-ka-xeen Mehner; Breach: Log 14, video installation by Courtney M. Leonard; exhibits run through December. Closed Tuesdays; iaia.edu/ museum.
Museum of Indian Arts & Culture
710 Camino Lejo, Museum Hill, 505-476-1250 Courage and Compassion: Native Women Sculpting Women, group show, through Oct. 19, 2015 • Footprints: The Inspiration and Influence of Allan Houser, five monumental works by the late Chiricahua Apache sculptor displayed outdoors; accompanied by works of other sculptors, including Houser’s sons Bob Haozous and Philip Mangas Haozous, plus works by Doug Hyde, Estella Loretto, and Robert Shorty; through May • Turquoise, Water, Sky: The Stone and Its Meaning, highlights from the museum’s collection of jewelry, long term • Native American Portraits: Points of Inquiry, vintage and contemporary photographs, through January • The Buchsbaum Gallery of Southwestern Pottery, traditional and contemporary works • Here, Now, and Always, artifacts from the museum collection; indianartsandculture.org; open daily.
Museum of International Folk Art
Vivo Contemporary shows work by sculptor Ruth Weston, 725 Canyon Rd.
706 Camino Lejo, Museum Hill, 505-476-1200 Pottery of the U.S. South: A Living Tradition, stoneware from North Carolina and northern Georgia • Between Two Worlds: Folk Artists Reflect on the Immigrant Experience • Wooden Menagerie: Made in New Mexico, early-20th-century carvings, through Feb. 15 • Brasil and Arte popular, items from the museum’s collection, through Jan. 4 • Multiple Visions: A Common Bond, international collection of toys and folk art. Open daily; internationalfolkart.org.
Museum of Spanish Colonial Art
750 Camino Lejo, Museum Hill, 505-982-2226 Secrets of the Symbols: The Hidden Language of Spanish Colonial Art • San Ysidro/St. Isidore the FarmEllsworth Gallery er, bultos, retablos, straw appliqué, and paintings on 215 E. Palace Ave., 505-989-7900 tin • Recent Acquisitions, colonial and 19th-century Beyond Reason, sculptural assemblages by William Mexican art, sculpture, and furniture; also, work by Dubby Fuqua and drawings by Lisa Rainbird, through young Spanish Market artists • The Delgado Room, Saturday, Nov. 15. late-colonial-period re-creation; spanishcolonial.org; closed Mondays. Photo-eye Bookstore + Project Space 376-A Garcia St., 505-988-5152 New Mexico History Museum/ Carpoolers, photographs by Alejandro Cartagena, Palace of the Governors through Dec. 6. (See story, Page 28) 113 Lincoln Ave., 505-476-5200 Maintaining the Standard: The Fred Harvey Company Patina Gallery and Its Legacy, Gustave Baumann and Friends: Artist 131 W. Palace Ave., 505-986-3432 Cards From Holidays Past, holiday cards by Baumann Measure of Days, paintings by Daniel Kosharek, and other artists spanning the years 1918-1970 • closing Sunday, Nov. 16. Painting the Divine: Images of Mary in the New World, rare Spanish colonial paintings • Poetics of Light: Pinhole Photography; exhibits up through March 29 • Water Over Mountain, Channing Huser’s Santa Fe photographic installation • Telling New Mexico: Center for Contemporary Arts Stories From Then and Now, core exhibit • Santa Fe 1050 Old Pecos Trail, 505-982-1338 Found: Fragments of Time, the archaeological and Art Collision & Repair Shop, interactive installation historical roots of Santa Fe; nmhistorymuseum.org; curated by Susan Begy and Kathryn M Davis, Muñoz closed Mondays. Waxman Main Gallery; Undress, multimedia
AT THE GALLERIES
MUSEUMS & ART SPACES
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PASATIEMPO I November 14 -20, 2014
New Mexico Museum of Art
107 W. Palace Ave., 505-476-5072 Hunting + Gathering: New Additions to the Museum Collection, recently acquired works by Ansel Adams, Gustave Baumann, and others, through March 29 • Syncretism, photographs by Delilah Montoya; Cameraless, group show of photograms • The Photo Lab, mixed-media photographs from the museum collection; Alcove Shows 1917-1927, works from the museum collection; through Dec. 7 • Focus on Photography, rotating exhibits: Cameraless, photograms by Leigh Anne Langwell, in conjunction with the Focus on Photography exhibit • 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 • New Mexico Art Tells New Mexico History, including works by E. Irving Couse, T.C. Cannon, and Agnes Martin • Spotlight on Gustave Baumann, works from the museum’s collection; exhibits through 2015. Closed Mondays; nmartmuseum.org.
UNM Art Museum
1 University of New Mexico, 505-277-4001 David Maisel/Black Maps: American Landscape and the Apocalyptic Sublime, photographs by Maisel; Beautiful Disintegrating Obstinate Horror Drawing and Other Recent Acquisitions and Selections From the UNM Art Museum’s Permanent Collection; The Gift, woodcut prints by John Tatschl (1906-1982). Open Tuesday-Saturday; unmartmuseum.org.
Española Bond House Museum and Misión Museum y Convento
706 Bond St., 505-747-8535 Historic and cultural objects exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). plazadeespanola.com.
Los Alamos Bradbury Science Museum
213 Cathedral Place, 505-988-8900 Harvesting Traditions, work by ceramicist Kathleen Wall, through Jan. 4. Closed Mondays; pvmiwa.org.
1350 Central Ave., 505-667-4444 Environmental Research and Monitoring, an interactive exhibit on how to preserve archaeological sites, local wildlife, and fragile ecosystems. Core exhibits on the history of Los Alamos and the Manhattan Project as well as over 40 interactive exhibits. Open daily; lanl.gov/museum.
Poeh Cultural Center and Museum
Los Alamos Historical Museum
Pablita Velarde Museum of Indian Women in the Arts
78 Cities of Gold Rd., 505-455-3334 The P’osuwäegeh Ówingeh Story: Scarcity & Abundance, contemporary pottery, sculpture, and jewelry • The Kee …, 2-D and 3-D video installation by Ehren Kee Natay; exhibits close Friday, Nov. 14 • Nah Poeh Meng, 1,600-square-foot installation highlighting the works of Pueblo artists and Pueblo history; poehcenter.org; Also, ongoing sculpture exhibits in the Tower Gallery, 505-455-3037; closed weekends; roxanneswentzell.net.
SITE Santa Fe
1606 Paseo de Peralta, 505-989-1199 SITElines 2014: Unsettled Landscapes, biennial exhibit of contemporary works, through December. Open Thursdays-Sundays; sitesantafe.org.
Wheelwright Museum of the American Indian
704 Camino Lejo, Museum Hill, 505-982-4636 Works by Diné photographer Will Wilson, through April 19. Core exhibits include contemporary and historic Native American art. Open daily; wheelwright.org.
Albuquerque Albuquerque Museum of Art & History
2000 Mountain Rd. N.W., 505-243-7255 Miniatures & More, group show of mixed media, through Dec. 7 • Gods and Heroes: Masterpieces From the École des Beaux-Arts, Paris, through Jan. 4 • Everybody’s Neighbor: Vivian Vance, family memorabilia and the museum’s photo archives of the former Albuquerque resident, through January • Arte en la Charrería: The Artisanship of Mexican Equestrian Culture, examples of craftsmanship and design distinctive to the charro. Closed Mondays; cabq.gov/culturalservices/albuquerque-museum.
Indian Pueblo Cultural Center
2401 12th St. N.W., 866-855-7902 Our Land, Our Culture, Our Story, historical overview of the Pueblo world, and contemporary artwork and craftsmanship of each of the 19 pueblos. Weekend Native dance performances; indianpueblo.org.
Maxwell Museum of Anthropology
UNM campus, 1 University Blvd. N.E., 505-277-4405 Archaeology on Ice, exhibit exploring climate change in the Arctic, including tribal artifacts emerging as the ice melts. The museum’s collection includes individual archaeological, ethnological, archival, photographic, and skeletal items. Closed Sundays and Mondays; maxwellmuseum.unm.edu.
1050 Bathtub Row, 505-662-4493 Tradition and Change in Córdova, New Mexico: The 1939 Photographs of Berlyn Brixner & the López Family of Wood Carvers. 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; also, butterfly and xeric gardens. Closed Sundays and Mondays; pajaritoeec.org.
Pecos Pecos National Historic Park
NM 63, 505-757-7241 Exhibits portraying the history of the Pecos Valley, including ruins, traces of the Santa Fe Trail, and artifacts from the Civil War Battle of Glorieta Pass. Open daily; nps.gov/pecos.
Taos Harwood Museum of Art
238 Ledoux St., 575-758-9826 ¡Orale! Kings and Queens of Cool, a four-part exhibit focusing on Post-Pop and lowbrow art movements, including works by Robert Williams, Gary Baseman, Ron English, and R. Crumb, through Jan. 25. Open daily through November; harwoodmuseum.org.
La Hacienda de los Martinez
708 Hacienda Way, 575-758-1000 A Northern New Mexico-style Spanish colonial “great house” built in 1804 by Severino Martinez; taoshistoricmuseums.org; closed Mondays.
Millicent Rogers Museum
1504 Millicent Rogers Rd., 575-758-2462 Looking at Taos Pueblo: Albert Martinez, Juan Mirabal, and Albert Lujan, paintings, through January • Fred Harvey and the Making of the American West, objects drawn from the Harvey family, through January. Historical collections of Native American jewelry and paintings; Hispanic textiles, metalwork, and sculpture; and contemporary jewelry. Closed Mondays; millicentrogers.org.
Taos Art Museum at Fechin House
227 Paseo del Pueblo Norte, 575-758-2690 Housed in the studio and home that artist Nicolai Fechin built for his family between 1927 and 1933; taosartmuseum.org; closed Mondays.
Paul Eshelman: Double Tray With Ripple 2014, stoneware Santa Fe Clay, 545 Camino de la Familia, 505-984-1122 Ceramists Paul Eshelman, Camila Friedman-Gerlicz, and Clay Leonard create functional dinnerware with clean contemporary designs meant to engage the user, making meals an aesthetic experience. Eshelman is intrigued by architectural designs, while Leonard is inspired by the lost art of dinner-table conversation. The works of Friedman-Gerlicz represent a fusion of her interests in ceramics and mathematics. The exhibition Get Set! opens with a 5 p.m. reception on Friday, Nov. 14.
Nicholas Coleman: Winter Camp 2014, oil on canvas Manitou Galleries, 123 W. Palace Ave. 505-986-0440 The Western Scene, an exhibit of new works by JD Challenger and Nicholas Coleman, continues through Nov. 21. Challenger’s Native American portraits capture the spirit of traditional peoples in ceremonial dress. Coleman’s moody, realist landscapes evoke the bygone days of life on the American prairie.
Julie Blackmon: New Chair 2014, archival pigment print Photo-eye Gallery, 541 S. Guadalupe St., 505-988-5152 Photographer Julie Blackmon depicts the humor and chaos of life with children in the exhibit Homegrown. Her compositions are inspired by 17th-century Dutch and Flemish paintings but are given a context of contemporary American family life. The show is on view through Saturday, Nov. 15.
A P E E K AT W H AT’S S H OW I N G A R O U N D TOW N
Will Karp: Elizabeth 2014, altered book Red Dot Gallery, 826 Canyon Road, 505-820-7338 Red Dot’s 2014 Holiday Exhibition features works in a variety of mediums by students, faculty, alumni, and staff from the Santa Fe Community College, Santa Fe University of Art and Design, and the University of New Mexico. The show includes pieces by Noel Aronov, Taz Bramlette, Will Karp, Donald Lanzer, Cate Yoder, and others. There is a 4:30 p.m. opening reception on Friday, Nov. 14. The gallery is open 11 a.m. to 5 p.m. Fridays through Sundays only.
Katsina carvings from Hopi Pueblo circa 1930s-1960s, cottonwood root and pigments Adobe Gallery, 221 Canyon Roadd, 505-955-0550 Katsina Imagery on Pueblo Cultural Objects is an exhibition of Hopi and Zunni Pueblo katsina dolls dating from the 1930s to the 1990s. Included in the show are Lowell Talashoma’s bronze katsina sculptures, early-20th-century Hopi paintings, paintings by later Pueblo artists, and Pueblo pottery. The show opens with a 5 p.m. reception on Friday, Nov. 14.
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PASATIEMPO I November 14 - 20, 2014
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