Pasatiempo, Oct. 5, 2012

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

October 5, 2012

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“A close resemblance of the subject is only a minor virtue. I may try to get an effect of light or an arrangement of color, or a certain relationship of form and line, but what I always strive for is an intensification of nature”

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THE SANTA FE NEW MEXICAN

October 5 - 11, 2012

On the cOver 32 Winged victories — debbie stevens Texas-based artist Debbie Stevens observes birds in the wild and translates what she sees into canvases that combine realistic depictions of avian creatures with more stylized representations of their environments. “I find the abstract shapes, patterns, and colors exciting and love to balance it with the softness and volume of the bird, giving the final work a contemporary look,” she told Pasatiempo. Winged Artistry, a show of Steven’s work alongside that of Steven DaLuz, opens at Mill Fine Art on Friday, Oct. 5.

On our cover is Stevens’ Red Crown 3, a 2010 oil on panel; image courtesy the artist.

bOOks

mOving images

14 in Other Words John Saturnall’s Feast 16 amy goodman Informing the electorate

44 Pasa Pics 48 Portrait of Wally 50 Unforgivable

mUsic and PerfOrmance 18 20 22 25 26 28 30 40 42 63

calendar

James david christie Lofty thoughts mann about town Aimee Mann terrell’s tune-Up Dylan strikes back Onstage this Week El Ten Eleven Pasa reviews Dancing Earth Pasa tempos CD Reviews ear, here Sound artist Steve Peters robert Wood Contemporary dance Scapin Molière en bref sound Waves Billy Joe Shaver

55 Pasa Week

and 11 mixed media 13 star codes 52 restaurant review

art and PhOtOgraPhy

CORRECTION: Our Sept. 28 preview of Santa Fe Symphony’s new season carried no byline. The author was James M. Keller.

34 art in review Nora Naranjo Morse 36 impressions of silence Karl P. Koenig

advertising: 505-995-3819 santafenewmexican.com ad deadline 5 p.m. monday

Pasatiempo is an arts, entertainment & culture magazine published every friday

by The New Mexican. Our offices are at 202 e. marcy st. santa fe, nm 87501. editorial: 505-986-3019. fax: 505-820-0803. e-mail: pasa@sfnewmexican.com PasatiemPO editOr — kristina melcher 986-3044, kmelcher@sfnewmexican.com

scene from siLenCe, a collaboration between robert Wood dance and the florence dance company; photo alessandro botticelli

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art director — marcella sandoval 986-3025, msandoval@sfnewmexican.com

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assistant editor — madeleine nicklin 986-3096, mnicklin@sfnewmexican.com

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chief copy editor — Jeff acker 986-3014, jcacker@sfnewmexican.com

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associate art director — lori Johnson 986-3046, ljohnson@sfnewmexican.com

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calendar editor — Pamela beach 986-3019, pambeach@sfnewmexican.com

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staff Writers michael abatemarco 986-3048, mabatemarco@sfnewmexican.com rob deWalt 986-3039, rdewalt@sfnewmexican.com James m. keller 986-3079, jkeller@sfnewmexican.com Paul Weideman 986-3043, pweideman@sfnewmexican.com

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cOntribUtOrs John bowman, douglas fairfield, laurel gladden, robert ker, bill kohlhaase, Wayne lee, Jennifer levin, susan meadows, robert nott, adele Oliveira, Jonathan richards, heather roan robbins, steve terrell

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PrOdUctiOn dan gomez Pre-Press Manager

The Santa Fe New Mexican

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Robin Martin Owner

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Ginny Sohn Publisher

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advertising directOr Tamara Hand 986-3007

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marketing directOr Monica Taylor 995-3824

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art dePartment directOr Scott Fowler 995-3836

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graPhic designers Rick Artiaga, Dale Deforest, Elspeth Hilbert

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advertising sales kaycee canter 995-3844 mike flores 995-3840 stephanie green 995-3820 margaret henkels 995-3820 cristina iverson 995-3830 rob newlin 995-3841 Wendy Ortega 995-3892 art trujillo 995-3852

Rob Dean editor

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A Rare Opportunity for Lovers of Jazz and Classical Music Clarinetist EDDIE DANIELS & Pianist ROGER KELLAWAY in a Live Encore Performace of their acclaimed 2011 Library of Congress Concert Sunday, October 14th ~ 4 PM

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Saturday, October 6th and Sunday, October 7th 11 - 5 # 2 Via la Puente - La Tienda (across from the Church) Galisteo, NM 87540 505-490-2653 Refreshments will be served.

Members of the League of Women Voters; top, scene from Littleglobe’s Garden project; both organizations are among this year’s Piñon Award recipients

Bark beetles notwithstanding ...

The piñon — the state tree for New Mexico — is a sturdy entity. So are the five groups and individuals being honored with the Piñon Award by the Santa Fe Community Foundation this year. The awards, founded in the early 1980s, recognize the work of exemplary nonprofits and philanthropists who make a difference in Santa Fe. The annual public awards ceremony and dinner takes place at 5:30 p.m. Tuesday, Oct. 9, at La Fonda (100 E. San Francisco St.). This year’s recipients are the Friendship Club (the Quiet Inspiration Award); the League of Women Voters of Santa Fe County (the Tried and True Award); Littleglobe, Inc. (the Courageous Innovation Award); Santa Fe for Students (the Visionary Award); and Michael and Pat French and Elizabeth Rice (the Philanthropic Leadership Awards). Admission to the event is $35.

This year, the community foundation is adding a new program — the Piñon Community Forum, in which local journalists moderate panel discussions about philanthropy, immigration, and veterans’ affairs. The forum runs from 9 a.m. to noon on Tuesday at the community foundation’s HUB site (501 Halona St.). Tickets are $25.

Call 988-9715, Ext. 7020, or visit www.santafecf.org. for information and reservations. ◀

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STAR CODES Heather Roan Robbins

This week, as night creeps in earlier and autumn really digs in, the

astrological mood shifts as several planets change signs. Both thoughtful Mercury and serious Saturn join Mars in Scorpio, sharpening our attention and bringing a more serious cast to our minds. We are more willing to go deep and less willing to waste time. Scorpio plays hardball. It encourages us to delve into the core of matters but can lead us to obsess on one subject and attack it like we’re drilling for oil.

With Mercury and Saturn in Scorpio, our communication style is intensified. Scorpio’s gift of getting to the point becomes just that — pointed.

It may be time to make a clear decision. If we do so now, the decisions will stick, so let’s be sure we mean them.

This weekend begins sociably under an erudite and witty Gemini moon, but let’s keep compassion connected to wit. Over the weekend, the energy turns inward under a domestic Cancer moon. Tender spots are well-guarded.

Feelings bounce off one another and are amplified — send out love and optimism, and take care of home base.

Early next week, our public self grows more public and our private side more private as a Leo moon provides counterpoint to the Scorpio planets.

Respect people’s privacy. Romantic escapades can develop a smoky, sparky flavor; love needs attention, reassurance, and room to breathe.

Midweek we need to travel in mind or body as Mars enters internationally oriented, restless Sagittarius. Mars in Sagittarius brings a new honesty and encourages us to walk, run, drive, or dance for the good of our soul.

Friday, Oct. 5: Make calls early; just don’t interrupt people on a mission.

Conflicting feelings of confidence and suspicion arise this afternoon as the Gemini moon conjuncts Jupiter. Words flow but take on an edge; say nothing unforgivable. Consider taking on a long-term project. The evening lifts moods and brings a desire for magic as Mercury trines Neptune.

Saturday, Oct. 6: Share dreams this morning. Wander and putter; although nothing finishes easily, we can find our way to solutions by following clues.

Be wary of oversimplifying matters or underestimating situations midday.

Tonight, ditch plans and take care of inner worlds as the moon enters Cancer.

Sunday, Oct. 7: There are fresh challenges as Mars enters Sagittarius. Let nature be a teacher — a spiritual guide — this morning. We are ready to let go of something that no longer works and try a new approach, but we need to be sure it is the right time and not just a means of escape.

Monday, Oct. 8: Energy is low this morning; deal with the most important issues first. Balance a desire to play hooky with a pressing workload. Stay creatively present.

Tuesday, Oct. 9: Quick and easy answers will not satisfy us today. Later in the day, our emotions overflow and help us remember what matters as Venus trines Pluto. Follow up on positive changes later in the afternoon, and coast through nervous static around dinnertime.

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Destiny Allison Fine Art presents: Vulnerabilities

Wednesday, Oct. 10: On this outwardly sociable and inwardly private day we may have a mystery to solve that engages our deepest beliefs as Saturn trines Neptune. Let the mystery do its work. Make sure all sides are heard.

Francisco Benitez

Thursday, Oct. 11: On this sweet, friendly morning with curious undertones, in-depth conversation can reach the roots of a problem. Later, pace energies. Stem irritation at someone who has not produced. Find a safe place to vent, let it go, and trust the timing as the moon squares Mars. Stay on track.

Emila Faro

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In Other wOrds John Saturnall’s Feast by Lawrence Norfolk, Grove Press, 416 pages In the village of Buckland in the West Country of England, a boy and his mother are accused of witchcraft. They take refuge in Buccla’s Wood, the surrounding forest. It is there, among the groves and wild animals, that the mother spends most of her days foraging for medicinal and food-bearing flora. In the tiny shack the mother and son call home, she pores over a time-worn book filled with recipes for tinctures, tonics, salves, savory and sweet dishes, and other fixatives. Many of the local churchgoers are eager to torch her and her son out of the woods.

Some, though, come to Buccla’s Wood in secret for her concoctions and advice.

After the boy, John Saturnall, reaches a certain age, the mother invites him to look at the pages of her gorgeously illustrated book and tells him of an ancient feast that has survived through the ages. The recipes, which John has never tasted, are contained in the book.

He and his mother are no strangers to hunger, and one winter John’s mother succumbs to cold and starvation.

John, orphaned, is taken to Buckland Manor, where he charms his way into a position in the kitchen beneath the main house, in part because the scullery needs some workers and in part because he has an inherited gift for detecting and identifying particular scents. John’s talent and quiet cunning bring him to the head of the kitchen and into the main house, where he creates a complex dish for King Charles I of England.

John is soon charged with persuading Lady Lucretia Fremantle, the manor head’s beautiful, strong-willed daughter, to end her ridiculous fasting, brought on by her impetuousness and desire to leave the manor. As this occurs, the English Civil War begins, and John and Lucretia, now exploring the possibility of romance, find themselves struggling for survival in an increasingly perilous environment, one in which Cromwell’s Puritans, armed with flintlocks and Bibles, scour the countryside with fiery zeal, hunting down witches and political nonconformists. John, spurred by a vision his mother had, believes he must serve the ancient feast — Saturnall’s Feast — to protect all that he now holds dear. (Note that Norfolk has named John for Saturnalia, the ancient Roman festival to honor Saturn, the god of agriculture and libation.)

Twelve years in the making and inspired by the history of English cooking and 17th-century culinary manuals such as The Closet of the Eminently Learned Sir Kenelme Digbie Kt. Opened (1669) and A New Booke of

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October 5 -11, 2012

book reviews Cookerie (1615), John Saturnall’s Feast is British writer Lawrence Norfolk’s most lush, and most accessible, work of historical fiction to date. His last novel, 2000’s In the Shape of a Boar, tells a tale that spans from Hellenic Greece to the 20th century, weaving a dense, ambitious narrative that hops confusingly through time. With John Saturnall’s Feast, the author’s writing is just as impassioned, although, thankfully, he sees fit to keep readers engaged in a single century.

Each chapter begins with a period-relevant, woodengraved, culinary-themed illustration by English designer Andrew Davidson. Recipes crafted by Norfolk himself, pulled from a fictional recipe collection titled The Book of John Saturnall, follow the illustrations.

Should readers want to create “A Broth of Lampreys and all the Fishes that swam in the Days before Eden,” they are instructed to: Heat water in a Kettle so that you may endure to dip your Hand in it but not to let it stay. Put in your Lampreys fresh from the River for the Time it takes to say an Ave Maria. … For the Broth take Mace, crushed Cumin, Coriander seeds, Marjoram and Rue, and at last (if you may find it) add that Root, famous in Antiquity for its healing Properties and its Peculiar scent, being at once bituminous and having the sweetness of flowers.

Norfolk, who reveals through the story his painstaking research about the food, history, and language of the period, never lowers himself to presenting overly purple prose. And that’s impressive considering that this is, to some extent, a story of love and war in 17th-century England. But if you’re hoping for translations of the ingredient lists, you’ll be disappointed, and will perhaps be inspired to scour the digital realm for clarity.

The novel’s biggest surprise, especially to me — having spent nearly half my life in cook’s whites, scraping up the ranks from scullery hand to commis to chef — was the advanced organizational nature of the kitchen staff toiling away beneath Buckland Manor.

While there was certainly disease, pestilence, and all manner of safety and sanitation issues at every turn, Norfolk describes a type of advanced culinary rank system that most learned cooks and food historians attribute to Georges Auguste Escoffier (1846-1935), a French chef and writer who, besides being a pioneer in the development of French cuisine, created the brigade de cuisine system in his restaurants.

If Norfolk did take license with history to liven up his fictitious kitchen, then he did a magnificent job. And honorably, he reminds cooks and chefs everywhere, as Escoffier did, of their humble duty to serve and not to shine as lone beacons in the kitchen.

As Saturnall tells us: “Kings raise their Statues and Churchmen build Cathedrals. A Cook leaves no Monument save Crumbs. His rarest Creations are destined for the Dung-heap.”

— Rob DeWalt

SubtextS ˘ Cutting-edge verses: Toma˘z Salamun ˘ Toma˘z Salamun is one of those writers you feel you should have heard of, but haven’t. You ˘ can fill in this literary gap when Salamun reads at the Santa Fe University of Art and Design.

Considered Slovenia’s greatest living poet and a leader of the Eastern European poetry avant˘ garde, Salamun has more than 30 poetry books to his credit since his first collection, Poker, was published when he was 25. ˘ Born in Zagreb in 1941, Salamun grew up in what former U.S. poet laureate Robert Hass describes as “pinched material circumstances of economic recovery and the pervasive intellectual dishonesty of Stalinism.” His poetry exhibits sparseness and offers an unflinching look at what Hass calls “the unglamorous, undefended rituals of common life.” ˘ Salamun is not an easy study. His poems are often dense and surrealistic, requiring repeated readings to piece together the seemingly disparate images. Consider this passage from “Drums”: I am the people’s point of view, a cow, the tropical wind, I sleep under the surface.

I am the aristocratic carnivore, I eat form.

I drum on the cooks’ white caps ...

His ironic self-aggrandizement often earns ˘ him comparisons to Whitman, but Salamun takes it to darker places. In “Folk Song,” he writes that “Every true poet is a monster./He destroys people and their speech.” These lines reflect what he has called “this incredible creak in my lining.” ˘ Salamun reads at 7 p.m. on Tuesday, Oct. 9, in the O’Shaughnessy Performance Space in SFUAD’s Benildus Hall. For information, call the school’s creative-writing department at 473-6200.

— Wayne Lee

˘alamun Toma˘z S

“The Mortgage Experts” Some Girls, Some Hats, and Hitler: A True Love Story Rediscovered

by Trudi Kanter, Scribner, 258 pages In 1984, Trudi Kanter’s memoir about escaping the Nazis was published in the U.K., but few people read it, and it fell out of print.

An editor rediscovered it in 2011, and Trudi Kanter was reborn.

A red-headed beauty, Kanter was a milliner — a hat designer for the most fashionable women in Vienna — with a shop and staff of her own. She was separated from her first husband, with whom she remained close friends, when she began dating the handsome businessman Walter Ehrlich in 1938. Together, they fled to London and made a new life. Her memoir is of the time they spent fearing for their lives, working on visas to get out, settling into a new country as refugees, and all the people she knew along the way.

Hitler claimed Austria as part of Germany in the spring of 1938.

Kanter describes the March 12 invasion as “a disaster marching toward us. Marching, marching, marching. Droning planes. One hundred thousand soldiers.

Armored cars. Tanks. A deadly silence covered the land.” Her light prose is sometimes diarylike and sometimes more involved and even literary. This is an effective combination, especially when, inserted into an evocative reminiscence about a friend, co-worker, or customer, is the news that this person died in a concentration camp, or escaped to America, or lost her entire family to the gas chambers.

Prior to the war, Kanter was leading a very happy and successful life. Her romance with Walter was dramatic and passionate; Kanter was prone to jealousy and mistrustful of other women. She often describes what people are wearing, which shows her dedication to her career and her fashionable lifestyle. Sometimes she is shallow or frivolous. We are reminded that some Jews who didn’t go to the camps were able to maintain a semblance of their normal lives — even in the face of forced labor, restrictions on their movements, random searches of their homes, and public violence against them — until it was flee or die. In order to flee, they had to ask for favors from every sympathetic non-Jew they knew.

“Nobody tells anybody anything. People vanish without saying good-bye. Everyone is afraid. We try to be as inconspicuous as possible. Drawing attention to oneself is dangerous,” Kanter writes.

Dangerous men are looking for Walter, and she is terrified. She trusts in Steffi, a member of her staff, to cover for them after they’ve managed to leave the country. Kanter’s parents are able to join them after a time in England, but then Walter and Kanter’s father are sent to a detention camp for German refugees, a camp that was ostensibly set up to protect the country from spies. In the end, everything works out for Trudi and Walter. They survive and even thrive, but a sense of lost time, of a future that never got to happen, hovers over the end of memoir. Stronger, however, is the unfailing devotion between Kanter and her husband, who shared a love that spanned international borders and survived the cruel whims of a dictator.

— Jennifer Levin

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15

INFORMING THE ELECTORATE DEMOCRACY NOW! JOURNALIST AMY GOODMAN

Amy Goodman and Denis Moynihan

Julie Ann Grimm I The New Mexican he independent weekday news program Democracy Now! streams daily from more than 1,100 television and radio stations, giving host Amy Goodman’s voice and face worldwide recognition. This fall, the acclaimed journalist is on a tour of 100 cities to promote a new book she wrote with Denis Moynihan. The Silenced Majority: Stories of Uprisings, Occupations, Resistance and Hope (published by Haymarket Books) aims to showcase how the work of ordinary people is “pulling back the veil of corporate media and changing the world.”

Goodman and Moynihan speak at the Lensic Performing Arts Center on Wednesday, Oct. 10, in a Lannan Foundation In Pursuit of Cultural Freedom event. They are slated to attend a fundraiser for Santa Fe public-radio station KSFR-FM 101.1 beforehand.

Goodman spoke with Pasatiempo from a train between New York and Washington, D.C. Pasatiempo: There’s been lots of chatter lately about voter suppression, but in New Mexico, one of the big obstacles to effective democracy is voter apathy. In the last presidential general election, for example, an estimated 56 percent of those old enough to vote in our state actually cast ballots. Why don’t people seize their American right to go to the polls?

Amy Goodman: I’ve watched, in places like East Timor and Haiti, people being gunned down when they went to vote; and yet the vast majority of people went to vote, because so much was at stake. And I’ve wondered about that question. Are people apathetic in the United States? When they have the right and they don’t face that kind of risk, they don’t go out. Or they think that there isn’t a real choice or that their vote doesn’t really matter. I don’t think people are apathetic. As we traveled this country, people are very involved. ... I am concerned now in this first post-“Citizens United” presidential election that people will feel their vote doesn’t count, because how can they compete with the billions of dollars being spent on this election? It is hard to believe how much of it there is, and of course we don’t know where it is from. But still, I think people do care.

Pasa: What are you hearing on your tour about voter fraud and voter suppression?

Goodman: It is a very serious issue, and even if legislation isn’t introduced in the state to suppress votes, nationally people hear about it from state to state and are concerned. They don’t want to be targeted at the polls. Is it even worth going to the polls? That is what voter-suppression legislation is supposed to do. It not 16

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only targets the actual people who lose their right to vote, but I think people get discouraged well beyond those who are targeted.

Pasa: What are your readers and listeners asking you to investigate regarding the presidential race?

Goodman: The reason we call our new book The Silenced Majority is that those are people who are concerned about issues of war and immigration and racial and economic and social justice. People are concerned about privacy and corporate control. They are not a fringe majority and not a silent majority. They are a silenced majority. They have been silenced by the corporate media, which is why we have to take it back. There are a number of people that are organizing around ... environmental issues, whether it is fossil fuel dependence, fracking, mountaintop removal, or climate change.

Pasa: What is broken with the mainstream media and how do we fix it?

Goodman: These labels like liberal and conservative are breaking down across the political spectrum. People are concerned about war, about climate change, about the state of the Earth, and there aren’t easy solutions. So people are really expanding what they listen to and looking for authentic real voices instead of the know-nothing pundits. ... There is a real crackdown on dissent, and the media has to stand up to that, and I also think that that will help save the media. We are not supposed to be a party to the party. We are supposed to be apart from them.

There is a reason why our profession, journalists, is the only one that is specifically protected by the U.S. Constitution. We are supposed to be the check and balance on power. We have to be able to do our job. The media must be a sanctuary of dissent, because dissent is what is going to save this country. ◀

details ▼ Amy Goodman and Denis Moynihan discuss The Silenced Majority: Stories of Uprisings, Occupations, Resistance and Hope, a Lannan Foundation In Pursuit of Cultural Freedom event 7 p.m. Wednesday, Oct. 10 Lensic Performing Arts Center, 211 W. San Francisco St. $6, $3 students & seniors; 988-1234, www.ticketssantafe.org ▼ Reception and benefit for 101.1 KSFR-FM 5 p.m. Wednesday, Oct. 10 Chuck Jones Gallery, 135 W. Palace Ave. $50 (includes refreshments and a signed copy of the book); 428-1527

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PASATIEMPO

17

Lofty thoughts

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October 5 -11, 2012

2007, Bruce Zake

James David Christie

James M. Keller I The New Mexican

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dependable reward awaits Santa Fe’s music lovers at the end of the workweek every Friday, in the guise of the TGIF recital series at First Presbyterian Church. The concerts feature a revolving array of talent, and very often they turn the spotlight on the remarkable C.B. Fisk pipe organ that has been treasured as a jewel among Santa Fe’s musical assets since its installation four years ago.

On Friday, Oct. 5, the weekly recital slot is filled by an artist of world-class standing: organist James David Christie. He has served since 1978 as the organist of the Boston Symphony Orchestra, and the following year he was launched to organ stardom by becoming the first American to win first prize at the prestigious Bruges (Belgium) International Organ Competition. He went on to a recital career that has included more than 50 European tours, in addition to which he has appeared regularly as a recitalist or concerto soloist in Asia, in Australia, and throughout North America.

Spirited, voluble Christie graduated from Oberlin College Conservatory of Music and in 2002 returned there to become chair of the school’s organ department. He accordingly divides his time between Massachusetts, Ohio, and wherever else his path leads in a given week, which is likely to be somewhere interesting. This past summer, for example, he squeezed in a two-month concert tour of Europe, taught a 10-day course on historic organs in Spain plus a sevenday curriculum on Bach in the Netherlands; recorded three CDs on historic 17th- and 18th-century organs in Germany; and served on the Buxtehude International Organ Competition jury in Lübeck. Last week we pinned him down at his home outside Boston to talk by phone about his recital in Santa Fe. Pasatiempo: This will be your third recital on the C.B. Fisk organ at Santa Fe’s First Presbyterian Church. You must find this instrument appealing, since it has lured you back for repeat visits.

James David Christie: I love it. It is one of the best Fisk organs I have ever played — a real gem. It’s one where I sit down at it and it immediately responds.

We get along like an old husband and wife. And it sounds good in its space.

The room doesn’t have a lot of reverberation, but it has a good acoustic for that organ.

Pasa: C.B. Fisk builds its instruments in Gloucester, Massachusetts, a short drive northeast of Boston. Do you sometimes visit the factory?

Christie: Oh, yes, I go there a lot, and I have a ton of friends there. Unlike a lot of builders, Fisk produces instruments in a wide variety of styles: Classical French organs, French Romantic instruments, Flemish Renaissance instruments — they’re really eclectic. The organ in Santa Fe is very versatile. I’m amazed by the choices it offers. Usually you encounter an organ and you figure out the thing it can do. But this is a truly eclectic instrument, a sort of hybrid organ that can do pretty much what the organist wants.

Pasa: For more than three decades you have been the organist of the Boston Symphony. How does an organist fit into the mix of a symphony orchestra?

Christie: We’re not fully vested members, but rather are hired on a per-service contract, since the organ is used only occasionally in symphony concerts.

This year, curiously, the organ figures in only two weeks of Boston Symphony concerts. I did once have a season where I played 30 weeks but that was highly unusual. There are some orchestral pieces I especially love playing in. Mahler’s Eighth: I love the vocal writing in that, and I know the part so well I don’t even have to count. I’ve recorded it twice. The Alpine Symphony of Richard Strauss is great to play; also the Glagolitic Mass by Janáˇcek.

Pasa: You’ve put together a firmly constructed program in Santa Fe that includes two of our old friends, Buxtehude and Bach.

Christie: Great pieces by both. Buxtehude’s Praeludium in G Minor is a stunning piece that works up to a joyous chaconne at its end.

Pasa: And Bach’s Partite diverse sopra Sei gegrüsset, Jesu gütig — a chorale with variations, so I imagine it will provide an opportunity to show off the instrument’s diversity of sound.

Christie: Yes, and it’s an absolute masterpiece. Less familiar is Johann Heinrich Buttstett, who was very close to J.S. Bach when he lived in Erfurt. I’m playing a fun, light, short fugue he wrote, only three-and-a-half minutes long. Audiences love it. He was a very inventive composer who was attracted to repeated notes; he must have had good, loose wrists. The action on that Fisk organ doesn’t repeat quite as well as some trackers [mechanical-action instruments] do, so I may play it more deliberately than I sometimes do. That’s the joy of playing a piece on different organs; when you move from one to another, the instrument will tell you how to interpret a piece.

Pasa: Another obscure work on your program is a five-movement organ Symphonie by Augustin Barié, a French organist at the turn of the 20th century.

What can you tell us about this piece?

Christie: I just played it for the first time this summer, in Iceland, and I immediately thought it would sound wonderful on the instrument in Santa Fe. He was a fine, fine composer — blind, and he died young, at the age of 31, of a cerebral hemorrhage. He had huge hands. He could reach an octave and a fifth.

I can reach an octave and a fourth, and there are a lot of tenths in the piece; so, a big spread.

Pasa: When you were in school, Oberlin was a hub of the organ universe, where teachers as well as students vehemently advocated mechanical-action organs based on historical models. Did you find that aesthetic still in place when you returned to head the department there?

Christie: Oberlin approaches the organ as a historical instrument, which is good. I think the Oberlin students play so intelligently, they can go play anything anywhere with success. Since I’ve been there, five major international organ competitions have been won by Oberlin students.

Pasa: Fewer young musicians are studying the organ nowadays. How would you characterize the organ scene so far as concerns the next generation?

Christie: What I’ve noticed is that there are fewer bad students playing the organ, and the good ones are about the same as ever. There’s an incredible number of people who are highly gifted. It comes down to the survival of the fittest at a time when we are experiencing an overall decline of the church organ. Still, the organ departments are doing very well at Oberlin, Eastman, Yale, Indiana — no problems with the quality of the students!

Pasa: I understand that a couple of years ago, you traded jobs for a semester with the renowned organist Olivier Latry. He took your place at Oberlin, and you took his place at the Paris Conservatoire. How did that come about?

Christie: Oh, we are great friends. I’ve known him since he was 13, maybe 14.

I was studying with Marie-Claire Alain in Paris and was at Saint-Eustache to meet with [legendary organist-composer André] Marchal. And when I arrived, Marchal said, “Oh, I’m sorry, but you have to wait a minute so you can hear this young man play.” It was Olivier Latry. When he finished, I said, “You are going to become the greatest organist of France.” And I think he did, and he never forgot I said that.

Pasa: Your résumé drips with richness, as if a primary goal has been to seize unusual possibilities. Is that a conscious effort?

Christie: I have had the most fortunate life, and it has included luck in being at the right place at the right time. A lot has resulted from hard work, of course, but I’ve never had to struggle, not even at the beginning of my career. I don’t promote myself. I have never in my life asked to play a recital. Everything has really come to me. ◀

details ▼ Organist James David Christie in recital ▼ First Presbyterian Church, 208 Grant St. ▼ 5:30 p.m. Friday, Oct. 5 ▼ Donations appreciated; 982-8544

PASATIEMPO

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Jennifer Levin I For The New Mexican your only exposure to Aimee Mann is her songs on the soundtrack for the Paul Thomas Anderson film Magnolia, which showcased her ability to write precise, cutting lyrics about the most painful sorts of psychological alienation, you might be surprised to learn about her comedy connections.

For several years, the Academy Award-nominated singer-songwriter has been doing an annual Christmas concert in Los Angeles with comedians. She also makes internet videos about the concerts, in which comedians appear as themselves, refusing to participate or tearfully confessing how much her music means to them. In one video, Mann and some actor friends loosely recreate A Christmas Carol. Mann plays a version of Ebenezer Scrooge, Paul F. Tompkins plays the Ghost of Christmas Present, John Krasinksi plays the Ghost of Christmas Past, and John C. Reilly plays the Ghost of Christmas Future. Mann appeared on the popular IFC series Portlandia, playing herself (as a cleaning lady). In the episode, stars Fred Armisen and Carrie Brownstein alternately order her around and make her watch while they tear up pictures of other famous female singers in some twisted form of adulation.

Through it all, Mann is the consummate straight man, able to deliver her lines in an appealingly droll manner, without laughing, while the comics riff around her.

“I think it’s particularly funny when someone very accurately describes a certain painful state of mind, but in such a way that you know they can relate to it or they have experienced it themselves,” Mann told Pasatiempo. “I think there’s

20

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something very helpful about that. To me, the best comedians are the ones who have insight and empathy. Patton Oswalt is a good example because he’s a smart person and very understanding. I also think that comedians are more damaged than most musicians. Comedians edge out musicians in damage per square inch.”

Mann’s eighth album, Charmer, came out in September, and she plays at the Lensic Performing Arts Center on Thursday, Oct. 11. Narrative ambient crooners Field Report open for the wailer of the lyrics “Shut up! Shut up! Shut up!” from the 1985 anti-bad-boyfriend anthem “Voices Carry,” recorded with her band ’Til Tuesday, which Mann left in the early 1990s to start a solo career. Charmer, in much the same vein as her other albums, takes on human foibles and pathologies, charming people who secretly hate themselves, addicts, hoarders, and people who can’t or won’t take responsibility for the emotional wreckage they cause.

The songs have more pop hooks than those on her earlier albums, including the critically underappreciated concept album The Forgotten Arm (2005), about a heroin-addicted former boxer and Vietnam vet and his long-suffering girlfriend.

The poppy feeling of Charmer reflects the idea of surface-level appeal and contrasts sharply and beautifully with lyrics that are as insightful and articulate as ever.

“When you’re a charmer/You hate yourself/A victim of sideshow hypnosis/Like everyone else/And then your thinking goes black and white/And you’re all hunger and appetite/This is a battle you cannot fight/No, you only can surrender,” she sings in the title track.

“That song started out about a friend of mine who’s charming, in a nice way.

But then I started to think about the idea of a charmer, and as the song developed

I realized there is a dark side to them. Even my friend, who is delightful, often worries that he comes off as insincere. So even he has fears about not wanting to be a person who’s manipulative or narcissistic. The song didn’t really resemble him in the end.” In the video for “Charmer,” Mann obtains a robot version of herself, played by Laura Linney, so that she doesn’t have to exhaust herself on tour. She teaches the robot to sing and play guitar, but as the robot becomes more lifelike, Mann grows resentful, so she presses the off switch on the back of its neck and packs it away in a box. The video for “Labrador” is an almost shot-for-shot remake of the video for “Voices Carry,” with some minor adjustments that put new focus on the abusive aspects of the relationship she’s singing about. Jon Hamm of Mad Men has a cameo.

In the divorce duet “Living a Lie,” Mann and James Mercer of the Shins verbally eviscerate each other, calling out each other’s worst relationship crimes and personal affectations. In “Crazytown,” Mann sings about someone who has no insight into her own behavior. “And that’s what divides Crazytown from human beings who are damaged and trying to heal,” she said. “Crazytown is people who just act out. They don’t see the effect their behavior has on other people, they don’t see the connection between their interior lives and their own behavior, and they make other people responsible. The subtext is: You have to take care of me. You figure it out. I get drunk, you gotta get me home. It’s your problem.”

The song “Gumby” was inspired by the A&E reality show Hoarders, in which professionals help compulsive hoarders clean their homes and deal with their problems. The homes featured are profoundly filthy — people smell them from down the street, hardwood floors have putrefied from years of piled-on garbage, and homeowners sleep in chairs surrounded by animal feces and rotting food. When talking about Hoarders, Mann’s voice rose in excitement. “It’s kind of hard to watch those shows! People are not asking for help, and they never acknowledge that they need help, and the denial is crazy. They’re very angry. Hoarding is such a specific disorder.

When you have a drug problem, at least there’s a consensus that there is a problem. But the hoarders can just say that it’s their business — ‘So what if I like to collect old newspapers?’ It’s hard to argue with it or get the person to see that it’s a difficulty.

“I’m also kind of fascinated by the fact that most people aren’t interested in the concept of thriving. It’s like, as long as it’s not killing me right this minute, everything is OK. No one thinks about the goal of becoming a person who’s happy and healthy and thriving and kind of upwardly growing.

It’s like, as long as you’re technically alive, you’re just fine.”

Mann said that lately, as more and more people spill their guts on the internet, it seems like people are starting to feel safe talking about their experiences with depression and other issues that should be talked about rather than hidden. “Like on Marc Maron’s podcast [WTF With Marc Maron, www.wtfpod.com]. I think it’s inspiring and helpful for people to hear about other people’s experiences. I think for a long time depression was considered a ladies’ problem, anxiety was a ladies’ problem — Oh no, I left the stove on, or whatever. But I think it’s starting to be taken more seriously, and there’s not so much of a stigma.”

Anderson has said that the screenplay for Magnolia was written around a single line from Mann’s song “Deathly”: “Now that I’ve met you, would you object to never seeing each other again?” It is used as a pivotal line of dialogue in the film. The rest of the song describes a woman who is so lost and broken that she’d rather be killed than have someone be nice to her and not mean it. Not everyone can relate to that kind of darkness. But with her music, Mann delivers emotional honesty like a life-saving kick in the gut to those who are waiting for something or someone to save them, whether she is speaking from personal experience or putting herself in the shoes of others in pain. ◀

details ▼ Aimee Mann ▼ 7:30 p.m. Thursday, Oct. 11 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $25-$42; 988-1234, www.ticketssantafe.org

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21

TERRELL’S TUNE-UP Steve Terrell

Dylan’s new storm Every few years Bob Dylan comes out with a new album like a medicine-show huckster returning to fleece a sleepy town. Maybe the snake oil he sold you the last few times didn’t really cure what was ailing you. Maybe the euphoric effects didn’t last very long. But the show is usually fun, and the music is nearly always great. And the joy juice the sly old crook is peddling does have a weird kick — whatever it is.

And such is the case with Tempest, the latest Dylan album, released last month. Some critics immediately declared that it’s one of the old master’s best, ranking it up there with Highway 61 Revisited, Blonde on Blonde, Blood on the Tracks, and Empire Burlesque. ( Just checking if you’re paying attention there with that last one.) I wouldn’t go that far, but I’m inclined to agree with one review that proclaimed Tempest to be Dylan’s best album since the turn of the century. Of course, there’s not much competition for that distinction. Not counting his 2009 Christmas album, it’s only his fourth record since the end of the ’90s.

For the past 10 or 15 years, Dylan’s voice has evolved into a wizened rasp, a world-weary hobo growl. But somehow he makes his ravaged vocal cords work in his favor. The gravel in his gut and the phlegm in his throat give his voice a fascinating aura. Call it the croak of authority.

We don’t even hear Dylan’s voice for almost a minute into the album, but that’s OK. The guitar and steel-guitar instrumental intro to

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“Duquesne Whistle” can’t help but make a listener grin. It sounds like some strange old 78, evoking images of both Jimmie Rodgers and Laurel and Hardy before settling into a railroad shuffle. “Listen to that Dusquesne whistle blowin’, blowin’ like it’s gonna sweep my world away,” Dylan sings. The words — written by Grateful Dead lyricist Robert Hunter — may sound foreboding. Later Dylan sings that the whistle is “blowin’ like the sky’s gonna blow apart.” But any apprehension is overshadowed by the joyfulness of the melody.

The next tune, “Soon After Midnight,” is a slow love song, one of the prettiest Dylan has done in a long time. The melody and the arrangement are reminiscent of sweet, melancholic instrumentals from about 50 years ago like Floyd Cramer’s “Last Date” and “Sleep Walk” by Santo & Johnny. This leads into “Narrow Way,” a rocking blues like many of the better tunes on Dylan’s previous two albums, Together Through Life and Modern Times. In the song, Dylan warns, “I’m armed to the hilt, and I’m struggling hard/You won’t get out of here unscarred.” He’s darn tootin’. This one contains an unusual historical lesson: “Ever since the British burned the White House down/There’s been a bleeding wound in the heart of town.” I can’t help but think this is a disguised reference to the 2001 attack on American soil and the effect it’s had on the American psyche during the past 11 years.

Speaking of bleeding wounds, the body count on Tempest is much higher than on your usual Dylan album.”Pay in Blood” is the title of one song. “I pay in blood, but not my own,” goes the refrain. In one verse he snarls, “I got something in my pocket make your eyeballs swim I got dogs could tear you limb from limb.”

Yikes! And by the final verse he’s threatening, “Come here I’ll break your lousy head.”

The record is full of epic story songs, lengthy tracks that deal with violence and/or death. “Roll On John” is a seven-minute ode to his friend John Lennon. He was murdered more than 30 years ago, but Dylan makes the pain of his death seem fresh. The title song is a near-14-minute sea chantey about the sinking of the Titanic. Dylan turns this oft-told tale into an apocalyptic metaphor set to an upbeat melody with echoes of “When Irish Eyes Are Smiling.”

The most impressive of these songs is “Tin Angel,” a violent minor-key dirge that probably has roots in a dozen or so folk and gunfighter

ballads. I hear a lot of “Black Jack Davy” in it, though it also has elements of “Matty Groves.”

It’s an age-old story of a cuckold, his unfaithful wife, and her lover. In this story there are no sympathetic characters, which probably is good. No one survives the final encounter.

In a dirge called “Long and Wasted Years” — one in which the only tragic victim may be the soul of the singer — Dylan croaks, “I wear dark glasses to cover my eyes/There are secrets in them I can’t disguise.” Dylan fans might recall cool Bob raising some eyebrows this year by wearing his shades at the White House when accepting his Medal of Freedom from the president. With Tempest, once again, he’s lifted those glasses a little and let a few more secrets out. Dylan’s never-ending medicine show rolls on.

Also recommended: ▼ Greenwood by Stevie Tombstone. No, I’m not declaring Tombstone “the new Dylan.” But I bet a lot of Dylan fans would appreciate his music. You might say he’s like a reverse Dylan.

The sainted Bob started out as a folkie and then went electric. The Georgia-born Tombstone started out electric, with a powerful if unsung “swamp rockabilly” (as he calls it) band called The Tombstones, and then went acoustic.

I’ve heard several Tombstone solo albums, and this one’s my favorite. It may be his most personal as far as lyrics go, but he never sounds self indulgent. He grabs you from the very first line in the opening track, “Lucky”: “I’m lucky that I’m still alive/Well, I thought I’d used nine, but I must have been high/ Forgotten and shot at, delivered denied, I’m lucky that I’m still alive.”

The title song is not about the awful singer who wrote and recorded “God Bless the U.S.A.” It’s the story of a young Tombstone who in 1991 bought a tombstone for blues god Robert Johnson. Accompanied by Johnson contemporary Johnny Shines, Tombstone went to the purported Johnson grave in Greenwood, Mississippi, to place the headstone. Apparently that evoked criticism from some blues fans who blasted Tombstone for what the singer thought was an act of respect. “I won’t go back to Greenwood, I’m not welcome there,” he sings.

While these are strong tunes, my favorite is the jaunty country song “I Wish I Was Back in Las Vegas.” Maybe it’s just because it’s the only song I know of that starts out talking about huevos rancheros. Check out www.stevietombstone.com. ◀

Familia, Hogar, Fe: Día de los Santos + Día de los Muertos October 5 through November 2, 2012 Public Reception: Friday, October 5, 5-8 p.m.

Artists’ Talk:Wednesday, October 17, 10-noon

Tom Borrego, Chris López, Cruz López, Joseph López, Krissa López, Adrian Martínez, Robert Martínez and Toby Morfin School of Arts and Design | Visual Arts Gallery Monday through Friday, 8 a.m. to 5 p.m.

6401 Richards Ave., Santa Fe • (505) 428-1501 www.sfcc.edu

Cruz López, Prometheus (detail)

© MAT HENNEK

PASATIEMPO

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26th Annual Arts Festival

October 13 & 14 10 am - 5 pm

Visit over 50 artists at 21 locations in a small traditional village. www.elritostudiotour.org (575) 581-0155 Blacksmith Shop Fiber Arts Jewelry Musical Instruments Painting Photography Pottery Retablos & Santos Sculpture Spanish Colonial Wood Carving Tin Work Local Food Vendors Mercado Live Music

11-1-2012

orld • Please visit us at the Design Crawl • Antiques a n

d vintage furniture • Custom furniture • Custom lighting

Our store is briamming with treasures from around the W

The El Rito Studio Tour is funded in part by the County of Rio Arriba Lodger’s Tax & is fiscally sponsored by Luciente, Inc., a 501c3

All at

Casa Rosina & Ferro Antico Plaza Rosina • 1925 Rosina St. A, Santa Fe, 87505 • 505.989.8007 casarosina@msn.com •casarosina.com 24

October 5-11, 2012

Galisteo Village Open House Drive out & visit us

Saturday & Sunday • Noon to 4:00 pm

House of Ancestors Annex #2 Via la Puente - La Tienda Antiques and Interiors

Priscilla Hoback Studio #10 Via la Puente Clay Murals & Mixed Media

Explore regional art & antique furniture.

Local hospitality.

20 miles South of Santa Fe adjacent to Old Church on Hwy 41 For Info: Theresa 490-2653 Priscilla 466-2255

Open weekends through October

ON STAGE The truth behind the songs: Gig’s new series

At 7:30 p.m. on the first Saturday of every month, Gig Performance Space (1808-H Second St., www.gigsantafe.com) presents “Songwriters Picking on Each Other,” an all-ages event. Singer-songwriter and producer Jono Manson (left) hosts the first edition. Joining him on Saturday, Oct. 6, are country-blues mainstay Catfish Hodge and local altcountry/folk singer-songwriter Joe West. Together the three trade songs and share the stories behind them, and Manson allows the audience to ask questions of all the songwriters. There is a suggested $15 donation at the door, and baked goods and refreshments are available.

THIS WEEK

Traveling on his toes: dancer Ruben Rascon

Dancing has taken Ruben Rascon (below) from his hometown of Velarde to Santa Fe and most recently to Moscow, where he was a student at the Bolshoi Ballet Academy, the school that feeds the august dance company. Last year, Rascon was the recipient of the first Look to the Horizon scholarship, which enabled him to pursue his Russian adventure. Learn about the initiative (the next scholarships for dancers 13 to 21 will be awarded in 2013) and catch three performers at the beginning of their careers when flamenco dancer Emmy Grimm, ballet dancer Cora Cliburn, and Rascon (in an excerpt from Le Corsaire) take the stage of the James A. Little Theater (New Mexico School for the Deaf, 1060 Cerrillos Road) at 2 p.m. on Sunday, Oct. 7; admission is by donation. Call 927-0108. Next stop for Rascon — the New Jersey Ballet.

Quotidian concerns: Música Antigua de Albuquerque

The early-music ensemble Música Antigua de Albuquerque offers a program of medieval and Renaissance music describing activities of daily life.

Among the best-known composers on the program are the German Erasmus Widmann (a piece about washday travails), the Austrian Oswald von Wolkenstein, pictured (a song on the servant problem), and the English Orlando Gibbons (whose “Cries of London” imitates merchants trying to drum up business). The concert is at 4:30 p.m. on Sunday, Oct. 7, at Christ Lutheran Church, 1701 Arroyo Chamiso. Tickets, $16 (discounts available), may be purchased at the door; call 505-842-9613 for reservations.

Fake upcoming concert: El Ten Eleven

What guitarist/bassist Kristian Dunn and drummer/keyboardist Tim Fogarty, better known as L.A. post-rock duo El Ten Eleven, can do with just a doubleneck electric bass/guitar combo, drums, and foot pedals is astounding. They weave together their technically superb playing skills to create a live-looped playground of mindblowing instrumental rock. The band members are embarking on a 31-city U.S. tour in anticipation of the early-November release of their fifth studio album, Transitions, on their own imprint, Fake Record Label. The duo lands at Santa Fe Sol Stage & Grill (37 Fire Place, www.solofsantafe.com) for an all-ages show at 7:30 p.m. Thursday, Oct. 11. Tickets, $10, are available from Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org). Explosive Austin trio Boyfrndz and super-tight Santa Fe prog/math rockers As in We open.

PASATIEMPO

25

“Holding your hand through the entire process”

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October 5 -11, 2012

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ust after the curtain call for the world premiere of Dancing Earth’s Walking at the Edge of Water, cast member Nakotah Larance walked downstage and performed a hoop dance. Accompanied only by a traditional Native singer with a hand drum, Larance’s hoop manipulations drew wild cheers from the half-full house.

The contrast between Larance’s solo and the rest of the full-length dance production at the Lensic Performing Arts Center was startling.

Where Larance’s tour de force displayed vitality, spontaneity, and sheer dazzle, much of Dancing Earth founding director/choreographer Rulan Tangen’s ambitious work was somber and deliberate.

Tangen and Dancing Earth are doing daring, groundbreaking work in exploring the intersections of ancient and contemporary indigenous dance. Tangen and co-choreographer Jack Gray show boldness and originality in their approach, and Walking at the Edge of Water tackles a crucial environmental issue confronting the planet in terms of its physical, spiritual, and emotional repercussions.

High points included riveting Sina-Aurelia Soul-Bowe’s AfroCaribbean-spiced movement and singing, Deollo Johnson’s arresting aerial ballet, Tangen’s sinuous sensuality in her two duets, and the muscular, dramatic men’s ensemble. The production team featured work by a wealth of composers, musicians, painters, photographers, and costume designers. A poem by Sherwin Bitsui was recited and danced to. The visual effects were striking, although the full-screen projections occasionally upstaged the dancers.

Tangen and Gray were sometimes successful in their noble intention of “healing the Waters of our bodies, minds, emotions and spirits” with evocative ensemble work, intimate partnering, and great lyrical beauty.

But their movement and staging sometimes came across as heavyhanded, over-literally depicting dancers dying of thirst, fighting over water, and cleansing themselves. In addition, the fluidity of much of the movement captured the natural qualities of flowing water but did not lend itself to strong dynamics. The overall gentle pace of the show was broken occasionally by highly animated sections employing hip-hop, capoeira, and powwow influences, during which the energy onstage — and in the audience — increased palpably.

Musical director Soul-Bowe’s score, pieced together from the work of some two dozen different composers and performed on a wide range of instruments including didgeridoo, strings, and electronic devices, was lovely, but lacked cohesiveness and often had an amorphous, hypnotic effect. Native American music is rhythm-based; by taking away that underlying beat for much of the show, the movement was deprived of much of its driving force.

Walking at the Edge of Water would have benefited from more mystery, more pure aesthetics, and more trust in the viewers to draw their own conclusions, rather than blatantly telling them how to think and feel about the show’s subject. By laying it on so thick, the production was ultimately an emotional downer, despite the uplift of the final purification section. If Tangen and Gray could have imparted more of the celebratory dynamism of Larance’s hoop dance into their choreography, the entire production might have risen from the lull of a placid lake to the thrill of a rushing river.

— Wayne Lee

Pasatiempo is now on Twitter.

@pasatweet

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PASA TEMPOS

album reviews

tIA FullEr Angelic AS IN WE As It Warrior (Mack Avenue) Should Be (self released) Saxophonist Tia Fuller has Written between 2007 and 2011 changed her sound since 2010’s and recorded between 2011 and 2012 Decisive Steps, now often sharing at the studio of Santa Fe producer/guitar the frontline with John Patitucci wunderkind Jacy Oliver, As It Should Be on electric/piccolo bass instead is the debut LP from local math rockers of with trumpeter Sean Jones.

As in We, who began as a three piece That sounds like a step toward with guitarist Haven Willis, drummer the mellow, but that word does not describe this new album.

Ben Durfee, and bassist Gunnar Lyon before adding guitarist This is high-energy music from Fuller, who spent five years in Eliza Lutz. The album comprises six songs written before Lutz Beyoncé’s band and has now released three jazz records on Mack joined the group in 2011, but she contributed extra guitar parts Avenue. The leader’s sister, Shamie Royston, is back on keyboards; to two tracks here (“To Be Able to Be OK,” “For Malon”). Before the core band is rounded out with Rudy Royston on drums, Mimi As in We, Lutz sang and played guitar for folk-punk/prog-rock outfit Jones on bass, and Shirazette Tinnin on percussion. The action starts Prolly, with Lyon and Willis rounding out her ensemble. As It Should with “Royston Rumble.” Rudy Royston plays a nasty drum set, and here Be is an instrumental masterpiece by a group of Santa Fe musicians we first hear Patitucci, amazingly fluent on the guitar-like piccolo bass. that pours every ounce of its collective talent into its studio and liveFuller’s alto is throaty and feral — she explains the album title by saying performance work, understanding the nobility in technical proficiency that she’s “trying to pull from the ‘warrior’ energy, while remaining while still keeping the music fresh, diverse, and organic. A bulk graceful in my spirit.” On the soulful “Ralphie’s Groove,” Fuller’s of the album, especially “Not Fun Time,” is a fierce hunk of lengthy solo is athletic and brightly inventive, although she’s crystallized ear candy, exploring everything from metal to sometimes perhaps a bit “fluid” with her intonation. The soul and nu jazz. Lutz’s dizzying fingertap guitar work ‘Ocean Roar’ is title song is a cool bit of writing. Guest drummer Terri and Durfee’s long-standing percussion prowess shine (he Lyne Carrington is a thrill, mixed nice and up front, and also plays for local metal outfit CassoVita), and Willis’ an epic poem of an Fuller just cuts up the air with her soprano. Dianne and Lyon’s shared musical history is evident in how album that bottles personal Reeves is a stellar guest on “Body and Soul,” one of they play off one another so well. Expect an album of only three covers on the album. The other 10 pieces new songs by the foursome and a vinyl version of As It experience with big sounds, are Fuller originals. Impressive. — Paul Weideman Should Be come spring or summer 2013. — Rob DeWalt

masterfully evoking the

MouNt EErIE Ocean Roar (P.W. Elverum and Sun) MoNtEvErdI ChoIr/JohN ElIot gArdINEr Bach In May, Mount Eerie released Clear Moon, an album Motets (Soli deo gloria) In May we ran a column on feeling of being a small that was as idyllic as slow ripples in a lake. The group Bach’s choral motets, which were getting a workout in follows that with Ocean Roar, a CD that rolls and crashes town, and we alluded to an imminent new recording of person in a giant, like a storm at sea, with foghorns blaring helplessly in these works (seven of the eight, anyway) with John Eliot the distance. Even when the waves subside and give way Gardiner directing his Monteverdi Choir. Now available in wild world. to singer and songwriter Phil Elverum’s typically subdued America, the CD was captured at live performances in St. John’s, delivery — here sounding like Björk at her most gossamer-esque Smith Square, London, last October. Its cover sports a photograph — you can always hear the cacophony in the background, ready of Philippe Petit in a moment of perilous but balletic balance on a high to rear up again. Although Elverum’s strengths lie in the imagery of his wire. The image fairly suggests what’s inside: a chorus that’s practically in lyrics and his indifference to traditional song structure, several of Ocean a class of its own navigating the treacherous technical minefields of these Roar’s cuts are instrumental dirges that plow ahead in a relatively straight magnificent scores without letting on that everything could fall apart through line. (Two of them are even titled “Instrumental.”) These passages are the slightest inattention. Gardiner founded the acclaimed Monteverdi powerfully performed, and they lend even more weight to the lyrical Choir 48 years ago, but he knew Bach’s motets intimately before then sections that surface periodically. The title track is a lovely composithanks to his upbringing as a boy treble. These are personal, opiniontion in which Elverum’s voice swims with and against the tides ated interpretations, their detailed musical and verbal articulation of sirenlike female vocals. “I Walked Home Beholding” arrives meticulously calibrated to communicate the heart of the texts, their after a long stretch of heavy-metal cacophony and describes imaginative gradations of tonal shading dispelling the notion that the almost-religious epiphany of a cappella choirs are inherently limited by walking through an empty coastal overall uniformity of timbre. “Jesu meine town after a storm. Ocean Roar Freude,” the most dramatic of the motets, is an epic poem of an album that takes the listener on a thrilling musical bottles personal experience with journey, but in each of the seven pieces, the big sounds, masterfully evoking performers often disappear entirely into the feeling of being a small the scores, swept up in the transcenperson in a giant, wild world. dence they convey to listeners.

— Robert Ker — James M. Keller

28

October 5 -11, 2012

Harvest Festival!

Saturday and Sunday, October 6 and 7, 2012 10 am – 4 pm

Fun for the whole family at an old Spanish ranch and living history museum!

Bring in the harvest with the villagers of El Rancho de las Golondrinas, crushing grapes for wine by foot, grinding sorghum with burros, stringing colorful chile ristras and much more.

Just south of Santa Fe at 334 Los Pinos Road. I-25 Exit 276, follow “Las Golondrinas” signs.

Admission: Adults, $8 Seniors (62+) and teens (13–18), $5 Children 12 & Under: FREE! Food available! No pets please.

505-471-2261 / golondrinas.org for more information and a schedule of events.

• Eat chile fresh from the horno and tortillas hot off the comal • Tour the ranch on a horse-drawn wagon and buy traditional crafts directly from New Mexico artists • Pick up a hammer and stamp tin with hojalatero Jason Younis • Enjoy Matachines dances and create a retablo with master santero Frankie Nazario Lucero on Saturday • Meet La Llorona and hear her tale of sorrow, and lose yourself in the stories of local legend Joe Hayes, on Sunday • Participate in a San Isidro Mass and outdoor procession with Archbishop Michael Sheehan on Sunday ... ¡ y mucho mas! Adventures in history!

Program support provided by the Santa Fe Arts Commission and 1% Lodgers Tax, New Mexico Arts, the Santa Fe County Lodgers Tax Advisory Board and the New Mexico Tourism Department

PASATIEMPO

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Rob DeWalt I The New Mexican

EAR, HERE Steve Peters explores the underlying resonance of place

omposer, producer, curator, and sound artist Steve Peters has spent the better part of the last 12 years invested in the exploration of the subtleties of silence — not the infinite quietude, not the dark nothingness, but the sounds we miss each moment as we go about our daily lives.

Peters, who now lives in Seattle, Washington, arrived in Santa Fe on Sept. 27, and remains here through most of October as part of the Santa Fe Art Institute’s artist in residence program, in conjunction with the institute’s ongoing series Half Life: Patterns of Change. In the days and weeks ahead, Peters engages the local community with two sound installations, a two-day workshop, a lecture, and a reception presented by SFAI and the Santa Fe University of Art and Design’s Contemporary Music Program.

A California native, Peters graduated from Evergreen State College in Olympia, Washington, where he studied music composition and worked as a musical director for Olytown radio station KAOS-FM 89.3. There he produced Snapshot Radio — a monthly show that celebrated the sounds of everyday life collected from friends and fellow sound junkies around the globe. He also wielded a guitar for a variety of rock bands, but stage fright, among other things, led him down a less front-and-center path of audible creation.

“I eventually ended up in New York in the ’80s,” Peters told Pasatiempo, “and an immersion in improvisational music confirmed that I wanted to do something other than straight performance. I worked at the American Foundation for the Blind, recording studio tapes for the Library of Congress as an engineer.” It 30

October 5 -11, 2012

was at the foundation that Peters met Marghreta Cordero, known in Santa Fe these days as songstress Nacha Mendez. In 1988, Peters found his way to New Mexico and wound up living down the street from Cordero in Santa Fe. In January 2003, Cordero and Peters released a six-song demo of Spanish-language songs: Dueto de Momo, recorded at home and at Santa Fe’s Stepbridge Studios.

The songs never materialized as an album, but Peters went on to collaborate with Cordero as a producer.

Sound work for film came knocking as early as 1992, and Peters has collaborated on both regionally focused projects, such as Agnes Martin: With My Back to the World (2002), for which he composed the score, and national blockbusters, including the Best Picture Oscar nominee Winter’s Bone (2010), on which he did production work. But it was Peters’ 2000 installation project Here-ings: A Sonic Geohistory at THE LAND, an environmental-art site in Mountainair, New Mexico, that helped set his course as a large-scale, site-specific sound artist. For Here-ings, Peters listened to sounds at THE LAND over the course of one year. “I made a 24-hour cycle of recordings over a single year and edited each hour down to about five minutes,” he said. Short, poetry-based excerpts tied to each hour of recording were then sandblasted onto stone listening benches at specific recording sites at THE LAND. “By 2002, I had stopped performing and pretty much devoted my time to sounds tied to a specific place,” Peters explained. For the installation Chamber Music 2: Atrium, originally created for the College of Santa Fe Atrium Soundspace at Benildus Hall in 2007, Peters recorded an hour of ambient noise in the

atrium when it was closed to the public. “It was a four-channel recording of empty space, pulling out resonant frequencies and tones in the room and translating them into something different. I was recording the sounds of silence, in a way. I plan to play the piece at a barely audible tone in 5.1 DVD video projection surround sound. It may be heard; it may not. That’s part of its beauty.

“I don’t do the whole interactive sound-installation thing. It feels like a video game for me, where people aren’t listening anymore. They’re trying to play with gadgetry and get lost, pulled away from a particular place. The interactive technology makes the experience seem duplicitous, as if you’re led to participating with things instead of space.”

Peters’ eight-channel installation The Very Rich Hours, originally presented inside the Old San Ysidro Church in Corrales, and offered through Oct. 26 at the SFAI Gallery, gathers field recordings from the artist’s 15 years in New Mexico. Peters layers the piece with text read by 10 friends, who reminisce about their personal sacred places in New Mexico. Among their voices, others sing out the Latin names of the state’s endangered species — “a sad reminder of a threatened place,” the artist said.

On Monday, Oct. 8, Peters presents a lecture during an opening for a companion exhibit at SFAI’s Tipton Hall. Tentatively titled “Making a Place to Listen,” the lecture covers Peters’ career as a sound artist since around 2000 and touches on a central theme of SFAI’s Half Life series: lending new meaning and understanding to landscapes that, to some extent, are being ignored by the larger community. The exhibit opens in SFAI’s main gallery, and Peters said it’s a daunting yet encouraging affair. “I’m not taking any of my own big gear to Santa Fe,” he said, “just a laptop and a field recorder. None of my speakers or other equipment is being shipped there, so I’m going in a bit blind. It’s slightly terrifying for me, but I think rather than trying to repurpose something, I’ll let the place take me wherever it does.”

On day one of Peters’ “Listening, Finding, Giving, Receiving” workshop, attendees will listen to their surroundings, walking silently in a group throughout the SFUAD campus, with no recording equipment or external sound-making implements. “It’s an exercise in basic acoustic ecology,” Peters said. “The task is to not approach what you hear judgmentally and to be aware of how sounds change as you move through space. On the second day, we’ll explore how we add sound to the world and how we key into the place we’re in.”

Peters, always the improvisationalist, said he may record the workshop sessions and may not. “Remember, I’m coming there bare-bones, with little equipment. But if it comes up in a group discussion and there’s some consensus, then we can definitely entertain the possibility.” ◀

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Stop, look, and listen: Steve Peters Chamber Music 2: Atrium, sound installation 8 a.m.-10 p.m. daily, through October Benildus Hall, Santa Fe University of Art and Design, 1600 St. Michael’s Drive No charge “Making a Place to Listen,” lecture 6 p.m. Monday, Oct. 8 Tipton Hall, SFUAD $10, $5 students & seniors The Very Rich Hours, sound installation Opens after Oct. 8 lecture; afterward 9 a.m.-5 p.m. weekdays through Oct. 26 Main gallery, Santa Fe Art Institute, 1600 St. Michael’s Drive No charge “Listening, Finding, Giving, Receiving,” workshop 10 a.m.-2 p.m. Saturday & Sunday, Oct. 13 & 14 O’Shaughnessy Performance Space, Benildus Hall, SFUAD $100, sliding scale fees available Events presented by Santa Fe Art Institute and the Santa Fe University of Art and Design Contemporary Music Program. For information, call SFAI at 424-5050.

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PASATIEMPO

31

Winged victories Michael Abatemarco I The New Mexican

The paintings of Debbie Stevens & Steven DaLuz

32

October 5 -11, 2012

If

you want to glimpse a particular bird in the wild — a crane or an oystercatcher, for instance — it helps to know something of its habitat and habits.

Texas-based wildlife artist Debbie Stevens scouts out her subjects in their natural environment and, working from her own photographs and drawings, constructs realist portraits of them. “I have always had a passion for birds,” Stevens told Pasatiempo. “I enjoy watching birds interact with each other as well as their own behavior. My main interest has been wading birds and waterfowl. Whenever I come across an interesting photo in a magazine or on the internet I find out where and when it was taken. I then research the location and time that a particular bird would usually be at that spot and then travel there during that season. Along the way I will get

off the beaten path and discover new locations and subjects.

Wind direction and speed will tell me what direction the bird will be standing and taking flight from.”

Stevens’ paintings, as well as work by Steven DaLuz, are on view at Mill Fine Art in a two-person show, Winged Artistry.

Opening concurrently with Winged Artistry is a solo exhibition of abstractions by John Chang.

Stevens and DaLuz work within a figurative tradition.

Stevens’ paintings are candid images of birds engaged in fishing, scavenging, taking flight, rearing their young, and other activities. If the compositions are any indication, she is a skilled photographer, making use of techniques learned in workshops on bird photography. “I am not a professional photographer, but in order to obtain my own reference material I found it necessary to learn photography. I feel it is critical that an artist uses their own reference photos. If I used someone else’s I would not own the story or experience the adventure that went with the painting.”

Stevens’ paintings are rendered with a near photorealistic precision but certain features, such as the rippling water in her canvas Red Crown 3, provide opportunities to explore abstraction. “This is typical of my work. I find the abstract shapes, patterns, and colors exciting and love to balance it with the softness and volume of the bird, giving the final work a contemporary look.”

It would be difficult for any artist to devote so much attention to a single subject without becoming vested in its continued existence. Among the species that Stevens paints, some are endangered and others are threatened with loss of habitat. “Besides monetary contributions to various organizations such as the Audubon Society, International Crane Foundation, Rowe Sanctuary, and Ducks Unlimited, my husband and I have also volunteered along with wildlife photographers Gary Rouleau of Albuquerque and Steve Garner of Casper, Wyoming, to help the Bosque del Apache Wildlife Refuge in New Mexico. Our duties consisted of the manual clearing of overgrown salt cedar. This created a safe and enjoyable wildlife-viewing opportunity for refuge visitors.

Eleven of the 15 crane species are endangered, including the North American whooping crane and the Asian red-crowned crane, which are two of my favorite subjects.”

On the surface, there is little that connects the work of Stevens and DaLuz other than the presence of wings or, in the case of DaLuz, the suggestion of wings. But on a personal level, DaLuz and Stevens are both cancer survivors and longtime friends. The impact of illness is more evident in the paintings of DaLuz, whose subjects take the idea of angelic presences in human affairs as inspiration. “Are they this metaphysical description, some work of a higher power? Are they actual physical entities? I’m kind of toying with these ideas,” DaLuz told Pasatiempo. “Some of them have more of

an everyday look to them. They’ve been described as beings of light or as winged creatures who work behind the scenes, unnoticed. Are they here to deliver some kind of message or just observers of humankind?”

In some of his paintings, DaLuz paints cloudlike formations behind the (mostly) female figures that suggest the faint presence of wings. DaLuz’s work in Winged Artistry is a continuation of a series of angelic forms he calls Watchers.

The figures are not intended to represent angels in a religious context or from a particular religious tradition. “I present them as kind of imperfect beings, perhaps adorned with wings but somehow close to you, a little more relatable. Some can appear intensely passionate, others scarred because of something they’ve been through.”

A case in point is a painting called Remission: an image of a female figure, with arms spread out before her, and great wings framing her from behind. It is the most straightforward of the paintings in the show in terms of how the wings are rendered. Rather than wings being a mere suggestion, in Remission they are undeniable. The figure has no hair, a reference to the model’s experience with cancer treatment.

“I used as a model an artist friend of mine who happens to be a single mother of twins. They found a grapefruit-sized tumor in her brain. She went through massive surgery, then had to undergo a lot of chemo. But she’s a tough, very resolved, and great-natured person. I sort of extracted that notion of a literal human being who goes through the trials that we go through and bestowed upon her this idea, because of what she’s been through.”

DaLuz incorporates amorphous, light-filled backgrounds into his work; the central figures are bathed in an airy, celestial brilliance, augmented by gleaming metal leaf and patinas.

“The majority of my work is more landscape, referential abstraction. I’m very interested in the sublime. That’s what I normally do. But I love to do the figure as well. I’m so very interested in elements of mystery and ethereal light. That kind of thing is almost always present in my work.

I wanted to toy with that connection between the divine and the human.” ◀

Above, Debbie Stevens: Double Splendor, 2010, oil on canvas, 24 x 48 inches; opposite page, Red Crown 7, 2012, oil on panel, 36 x 36 inches Right, Steven DaLuz: Remission, oil and metal leaf on panel, 60 x 48 inches; below, Arise, oil and metal leaf on panel, 36 x 36 inches

details ▼ Winged Artistry: Steven DaLuz & Debbie Stevens ▼ Opening reception 5 p.m. Friday, Oct. 5; exhibit through Nov. 17 ▼ Mill Fine Art, 530 Canyon Road, 982-9212

PASATIEMPO

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ART IN

REVIEW

Above, Nora Naranjo Morse: Swimming (detail), 2012, mixed media and clay, 16 x 137 x 13 inches Left, Gatherings, 2012, mixed media, 67 x 90 x 25 inches Below, County Road 581 (b), 2012, mixed media and clay, 21 x 9 x 9 inches

Nora Naranjo Morse: Cause & Effect, Chiaroscuro Contemporary Art, 702 ½ Canyon Road, 992-0711; exhibit through Oct. 13

N

ora Naranjo Morse is one of the nation’s most creative and innovative artists. Pay no mind that she is a woman, and pay no mind that she’s Native American. Naranjo Morse is simply an artist of great ideas and is capable of executing those concepts into works that are thought provoking and beautiful. That’s high praise, and one look at Cause & Effect, her current show at Chiaroscuro Contemporary Art, is enough to warrant such regard.

With 16 recently conceived pieces of mixed media and clay, Cause & Effect is Naranjo Morse’s first one-person exhibit since her representation in Lucky Number Seven, SITE Santa Fe’s International Biennial in 2008, and it marks her second solo show at Chiaroscuro. The inspiration for these new works came from her realization that a sacred clay pit on Pueblo land was extremely close to a trash dump, which sparked concerns about global, human, and environmental issues and the way in which we, Indian and non-Indian, live in the contemporary world. Taking up two gallery spaces and the main entryway, Cause & Effect consists of both large and small works that stand freely, are suspended from the ceiling, and are placed on plinths and pedestals.

For immediate effect — and not just because it is the largest piece in the show — consider Gatherings, a magnificent work of whimsy and drama that greets you in the gallery’s entryway. Hanging from above by thin wires, but appearing as though it’s hovering in front of the wall, Gatherings is a biomorphic, ovoid-shaped construct that, despite its scale at 67 x 90 x 25 inches, feels lightweight and fragile, as though one could easily manipulate its shape by simply bending its wrapped wire construction. Its outer contoured, endoskeletal-like framework resembles not only a discarded snakeskin but also an armature for a yet-to-be finished sculpture. But the multicolored wrappings around the wires, along with that colorful juncture points that bind the wires together, clearly indicate a completed concept.

Dispersed within the interior of the self-contained piece are polychrome rings of various sizes, assembled to perhaps imply a gathering of objects; 34

October 5 -11, 2012

The Met: Live in HD a gathering of people, tribes, or nations; or a multitude of swirling ideas.

Or are we in fact looking at a section of brain replete with its network of nerves cells? Taking it further, if one envisions Gatherings set flat on a low platform, it could be an outsized basket or bowl containing imaginary foodstuffs.

Standing erect in the innermost gallery are four totemic wire sculptures that may strike you as small (the tallest is 106 inches, with a circumference of 14 inches), rickety cell towers posing as artwork. That interpretation would be fun enough, but From the Bottom Up numbers 1, 2, 3, and 4 are reinterpreted incarnations of more solid, painted clay totems that Naranjo Morse created in 2006-2007 (which were featured in the exhibition Unlimited Boundaries: Dichotomy of Place in Contemporary Native American Art at the Albuquerque Museum of Art & History in 2007). Unlike those works, titled collectively The Black, White, and Brown of It — Transcending the Landscape of the Same, the current pieces (like Gatherings) look like armatures with banded circles interspersed from bottom to top, some serving as critical support mechanisms. Like so many tree trunks or human bodies, each totem has a peculiar identity based on the height, number, and size of its banded rings; its color combinations (or lack thereof); and its distinct posture.

In the same room is another suspended piece that, according to gallery director John Addison, began as a totem but ended up turned into a circle.

Smaller than Gatherings and not as colorful or as ovoid in shape — its largest dimension is 37 inches — the untitled piece dangles close to a wall and struck me as a see-through cocoon or some sort of egg sac, the eggs being the variously sized black orbs contained within it. On another level, maybe it’s a manifestation of a black hole with asteroids held captive inside its matrix. Then again, it may be allegorical in nature, for what goes around comes around. I couldn’t help but think that if this work were installed in another place with just the right lighting, it might allow for a wondrous play of shadows.

County Road 581 is the shared title of four smaller pieces displayed on pedestals. Each wire-and-clay construct could be held in two hands, and each represents a dwelling of some kind — some raised on ball supports, one with a rounded roof, and others with pointed roofs similar to the tops of pyramids. Each has only one doorway, and one sports a yellow ladder running up the side. Some viewers might see these as funky bird cages, while others might imagine miniature sweat lodges or one-room shelters thrashed by harsh weather conditions. Whatever Naranjo Morse saw on County Road 581, her retelling of that experience is done with whimsy and fun, and perhaps with a nod to Native history.

Unlike the artist’s wire-and-clay pieces, Squash Pod is a triad of free-standing, teardrop-shaped micaceous and Santa Clara clay sculptures — minimally colored in black and terra cotta. The tallest measures 34 inches, with a flared circular base of 12 inches in circumference. Despite their simple, abstract personae — think Disney-like creations from Fantasia — the organic shapes and gentle curves import a natural elegance as well as a sense of movement. In addition, the three rings that cap each squash pod add a touch of playfulness.

The only piece in the show that contains a figure — and a tiny one at that — is Swimming, an elongated, wrapped-wire sculpture (137 inches in length, suspended from the ceiling, with concentric circular bands running through it) that tapers to a point at each end. It reminded me of the whale skeletons hanging in the grand hallways of natural history museums. And knifing through this airy vortex of banded rings is a clay figure approximately 6 inches long — presumably female, based on the body shape — fully outstretched like a diver. I can only imagine the number of allegorical references at play here, not to mention possible creation myths. It’s a powerful statement. But as with Naranjo Morse’s untitled piece, the opportunity to extend the visual dynamics with shadows cast on nearby walls is lost — a minor gripe about a terrific show.

— Douglas Fairfield

IS BACK AT THE LENSIC 2012–2013 SEASON OPENER

L’ELISIR D’AMORE October 13

Anna Netrebko and Matthew Polenzani star in Donizetti’s comic opera

11 am & 6 pm encore

OTELLO October 27

Verdi’s Shakespearean tragedy, with Johan Botha and Renée Fleming

11 am & 6 pm encore

$22–$28 Encores $22/$15 students Tickets: 505-988-1234 www.TicketsSantaFe.org SERVICE CHARGES APPLY AT ALL POINTS OF PURCHASE ENCORES SUPPORTED BY KHFM & AMERICAN GENERAL MEDIA

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

Santa Fe Science Café For Young Thinkers

“Fracking: The Monster in Our Backyard” Larry Kilham

Author and Businessman Wednesday October 10 6 – 7:30 PM Georgia O’Keeffe Museum Education Annex 123 Grant Avenue, Santa Fe Fracking is an established technique for unlocking natural gas from deep shale rock. New equipment designs and the pressure for new cheap energy have brought fracking to center stage. Come learn the science and technology of fracking and the trade-offs between tapping the much-needed energy from this source and carbon and water pollution that results. There are no “right” answers. This will be a growing major issue in New Mexico.

Admission is Free. Youth (ages 13-19) seating a priority, but all are welcome! Larry also will appear on the KSFR Radio Café (101.1 FM) with host Mary Charlotte at 8:30 AM that day.

Larry was educated at the University of Colorado and MIT. He has worked at number of high tech companies. He is an author of three books, a corporate director, a member of the Santa Fe Alliance for Science, and is keenly interested in the relationships between energy and ecology.

Go to www.sfafs.org or call 603-7468 for more information.

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I wanted to present the visual evidence in such a way that viewers of the pictures could grasp the starkness and the horror as well as the utter blandness of the death and slave labor camps. — Karl P. Koenig 36

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Paul Weideman I The New Mexican

IMPRESSIONS OF Karl P. Koenig’s images of Nazi death camps

Karl P. Koenig’s images of Birkenau or Auschwitz II (above and left) and Auschwitz (top), produced using his gumoil process; from Fragments: Architecture of the Holocaust — An Artist’s Journey Through the Camps;; courtesy Fresco Fine Art Publications

arl P. Koenig’s photographs of old buildings and fences are arresting because of their grainy, shadowy starkness, a quality that multiplies when you realize that there are no people in most of them. But these are no ordinary buildings and fences; they are the remnants of 10 Nazi concentration camps, and the photos are horrific testaments to mankind’s best-known experiments in racism, ethnic cleansing, and profound brutality.

A photo taken at one of the former Auschwitz camps shows brick buildings, the trunk of a tree, and an old-fashioned, nonmotorized road roller. The caption details its use: “This large and very heavy granite roller required more than one prisoner to pull it in order to crush and tamp down paving materials (stone and human bones) into the roads and pathways throughout the camp complex.”

In the book, Fragments: Architecture of the Holocaust — An Artist’s Journey Through the Camps (published by Fresco Fine Art Publications), Koenig recalls the day in October 1994 when he and his wife, Frances Salman Koenig, drove through the Danube Valley in Austria and came into “the charming village of Mauthausen.” She suggested they visit a concentration camp she had read about. What they found there was overwhelming.

Although Mauthausen was not set up for mass exterminations like the Auschwitz camps in Poland, execution definitely was part of its program. “Preserved there are a crematorium, a gas chamber, a room with a camera rigged up to shoot prisoners who thought they were about to be photographed, and a cold storage unit for the corpses.”

Thus began a decade-long project to document what was left of the death camps in Austria, Belgium, Czech Republic, Germany, Netherlands, and Poland. Koenig died Jan. 18, 2012, only days after the book was published.

His first career was as a psychologist. He earned his Ph.D. in the field at the University of Washington. He was a psychology professor at the University of New Mexico and then spent much of the 1980s in private practice with his wife before devoting himself to photography during the past two decades.

His evolution into the art world was natural, since he had been exploring that sphere since he was a young boy. Koenig “contracted rheumatic fever as a child and was confined to bed for months ... his world a pile of books and a box of drawing supplies,” according to a tribute piece in The Photographer’s Formulary earlier this year. “In those many months of recuperation ... he taught himself how to draw, then to paint.” continued on Page 38 PASATIEMPO

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Karl P. Koenig, continued from Page 37

One Person Show “Golden Season”

by Dominique Boisjoli Artist Reception Friday, October 5th, 5-7pm 621 Canyon Road • Santa Fe NM 87501 • 505.989.7855 www.dominiqueboisjoli.com • art@dominiqueboisjoli.com

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When he decided to shift careers in 1989, he spent a couple of years taking classes in photography and printmaking, then experimented with alternative photographic processes. “In 1990, almost by accident, I created a new — but old-looking — ‘alternative process’ which I called polychromatic gumoil photography,” Koenig wrote on his website, www.gumoil.com.

“He developed the gumoil process before we discovered Mauthausen,” Salman Koenig told Pasatiempo. “Once we got back, he realized that it was perfectly suited to capture the emotionality of the experiences because it has depth and roughness and feeling that no other process or paper could capture.”

Salman Koenig is an Albuquerque psychologist and also manager of the Salman Raspberry Ranch in La Cueva. The ranch was established by her father, Col. William Salman, who lost most of his family in Hitler’s death camps during World War II. Although the first impression is that her husband’s prints are old, she prefers the term “impressionistic.” “They just look filled with feeling. They were his impressions of those buildings.”

In an essay in the book, Koenig wrote that gumoil offered the right quality for the subject matter: “I wanted to present the visual evidence in such a way that viewers of the pictures could grasp the starkness and the horror as well as the utter blandness of the death and slave labor camps.”

The photos are hard to look at. “But as a psychologist, Karl was interested in providing people with the opportunity of self-revelation, and these are prints that create a plethora of sensations inside the viewer,” his widow said. “It’s not just a historical moment. One passes into the experience of these prints, and in so doing comes to have a feeling about self and a knowledge about self that is expansive.”

Koenig came to New Mexico to teach at UNM in 1965. That’s where he met Frances Salman. “It was one of those illicit relationships, because he was a professor and I was a student,” she said. “But it was a relationship that proved to be worthy. It was not just scandalous; it was also special, and rather immortal.” They married in 1970.

Salman Koenig said her husband developed his gumoil printing process after taking a class on alternative printing, creating cyanotypes and Vandyke prints, with Betty Hahn at UNM. “As he began to work with it, he realized that it captured — it was like a projective technique, it was like a Rorschach — because it captured all of the sensation of the object that he saw through the camera lens and felt in the pit of his stomach. It was just fortuitous.

He did it for an economic reason but as he began to work it, it became more and more a self expression. And an expression of the object. Karl loved objects. He did a big series on grain elevators once, and he loved trees; he traveled all over Great Britain photographing ancient oaks. He loved Northern New Mexico, particularly Las Vegas and Mora, because they’re filled with objects of age.”

She witnessed something remarkable about the concentration-camp photography in 2004, when Koenig had a show at the Holocaust Museum Houston. “I watched people. They were typically in pairs, and they were absolutely silent. These images cause one to stop talking.”

But why, exactly? Everyone knows about the Holocaust, and they’ve seen images. Perhaps it was because they were witnessing images from a serious photographer with a special vision?

“Karl was a photographer, but he was a psychologist first and foremost,” Salman Koenig said. “This was an extension of his fascination with how we know ourselves, how we think, and how we explore our universe. I think the beginning of that was when he had rheumatic fever as a child.

He had to spend a year in bed, and when you stop going out and you start going in, that usually happens in silence and also to a certain extent in isolation. I think that was the beginning of his fascination with how the human psyche operates.” ◀

details ▼ Frances Salman Koenig discusses and signs Fragments: Architecture of the Holocaust — An Artist’s Journey Through the Camps

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▼ 6 p.m. Thursday, Oct. 11 505.983.5264 | thefirebird.com

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Stove, Fireplace &

Irrigation Specialists

▼ Collected Works Bookstore, 202 Galisteo St., 988-4226

Calling All Artisans

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Display and sell your work at the 23rd Annual

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Santa Fe Community College Arts & Crafts Fair 9 a.m. to 4 p.m. on Saturday, Dec. 8th in the William C. Witter Fitness Education Center

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Apply before November 1st Learn more. Call (505) 428-1437 or download an application at www.sfcc.edu/marketing_and_public_relations/conferences

Join us for the 2012 Piñon Awards & Community Forum Tuesday, October 9, 2012 Piñon Community Forum 9am – 12pm

Santa Fe Community Foundation HUB 501 Halona Street, Santa Fe Reservations: $25

Piñon Awards Ceremony & Dinner 5:30 – 8pm

La Fonda on the Plaza 100 E. San Francisco Street, Santa Fe Reservations: $35 For reservations and more information, visit ww.santafecf.org/pinonawards or call 505.988.9715 Ext. 7020.

es SANTA FE COMMUNITY FOUNDATION

This year, in addition to the Piñon Awards Ceremony, we are pleased to offer the Piñon Community Forum. Join us for thoughtprovoking, informed discussion with some of Santa Fe’s journalists and community leaders.

Forum Panels & Dialogues Immigration With Mary Charlotte Domandi, Radio Cafe The history and future of blending culture, tradition and community Veterans’ Affairs With Betsy Ronel, Humanity: The Experience Reintegrating our service people to family, work and community

LA FAMILIA MEDICAL CENTER INVITES YOU TO JOIN IN CELEBRATING ITS 40 YEARS OF SERVICE TO THE SANTA FE COMMUNITY

“A HERITAGE OF HEALTH CARE” OPEN HOUSE Location: 1035 Alto St. Date: October 13, 2012 Time: 2:00 p.m. to 5:30 p.m.

Activities: • Tour Expanded Clinic Space • Tour Extensive Art Collection (many artists present) • Raffle and Door Prizes • Food and Drink SPONSORS

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My work is about people exploring time, the ‘liveness’ and feeling of sound, the viscerality of movement.

— Robert Wood

Opposite page, Robert Wood in Ascension, 1996; photo Christopher Ramirez; this page, dancers in siLenCe, 2006 (left, Luca Tonini); photos Alessandro Botticelli 40

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Michael Wade Simpson I For The New Mexican

ROBERT WOOD’S COREOGRAFIA anta Fe is about to have a happening. In the 1960s, choreographer Merce Cunningham, composer John Cage, artist Robert Rauschenberg, and other artists juxtaposed their work to create performance events that unrolled in surprising and unrehearsed ways. The waves of influence continue to be felt. Choreographer Robert Wood (who danced with Cunningham’s company from 1987 to 1991) has assembled an international group of artists for a one-night show on Saturday, Oct. 6, at the Lensic Performing Arts Center. Coreografia, directed by Wood, features 16 dancers and the work of composer John King, sound designer Rob Miller, and visual designer Patricia Morgan.

Joan Lombardi, who once danced with Pina Bausch, was a choreographer for many years in New York, and settled in Santa Fe in 2006, said that contemporary dance had long ago stopped interesting her. However, Wood’s work called to her.

She is serving as co-artistic director for the evening. “I’ve waited for this moment in Santa Fe forever. His work has the potential to take you to a new place in the dance form.”

“We’re drawing a line of demarcation between entertainment and investigation,” Wood said. “I never say, ‘Speed that up.’ My work is about people exploring time, the ‘liveness’ and feeling of sound, the viscerality of movement. I like to create a breathing environment.”

Wood splits his time between New York and Santa Fe. He is looking for a way to establish an ongoing artistic presence here. His performers are those he met during residencies throughout the world, recently in Florence and Hong Kong.

Several Santa Fe dancers participate. “I look for dancers who are mature in their artistry and ready to receive new information — people who have a vast interest in finding out more about things.“ Three dancers who were members of the Merce Cunningham Company during its final years — John Hinrichs, Daniel Madoff, and Melissa Toogood — also join the cast. “The dancers aren’t doing what I tell them. It’s their personalities on display. It’s political for me. I like to see fewer steps and more of the person.”

Wood grew up in New Zealand, the son of a diplomat. He excelled at playing rugby and surfing. His early studies in dance and choreography inspired him to head to New York City with the idea of meeting and sharing ideas with other artists. He arrived in New York in the early 1980s, only to find that most choreographers were simply unwilling or unable to take the time to mentor a young artist. He realized the best way to get near the artists who interested him was to work for them. He said he attended many auditions just to have the experience of being around various choreographers. Then he began to get jobs. He danced with the companies of Margie Gillis, David Gordon, and Donald Byrd in addition to Cunningham. He had the opportunity to learn about aerial technique when he was cast in Martha Clarke’s Garden of Earthly Delights. Something Gordon said in a rehearsal in those days still resonates for him today: “I don’t know where I’m going or what it [the dance] means, but I think it’s an interesting direction.

Let’s continue.”

Describing Coreografia, Wood said, “You see what you want to see. It’s an environment for intellectual stimulation, a lovely environment to think in.”

The piece is 130 minutes long, with 27 sections of time and movement layered together, bridged by light and sound, projections and décor. Large metal grids Wood calls windows are lowered into the space at a certain point, allowing dancers to climb, hang, and move as they swing through the air. “The aerial work is more than tricks. It gives you a kind of sense of time and space changing.”

Benjamin Mielke has joined Wood in various productions on several continents.

Although Mielke has a fear of heights, he has found himself in harnesses and other aerial equipment, flying over audiences. “When you’re flying over people’s heads, you’re invading their space,” he said. “You get highly connected to what the audience is feeling.

“Robert sees what I do well and values that. He mixes people in who are more like Baryshnikov but also respects the way I dance as a man. He takes care of us.”

Mielke is a veteran of the Navy and currently in the M.F.A. dance program at the University of Utah. “He has really influenced the way I work. The way he makes dances, it’s not such a go, go, go kind of thing. You move, you pause; you give your body a chance to breathe, to remember. It’s like a relaxing day at the beach.

Then you come offstage and realize, Wow, I just walked really low, really close to the ground, for a really long time.

“The casts may change,” Mielke said, “but he establishes a sense of community and inter-connectedness that flows back. He seems to stumble upon other dancers who have the same kind of energy. In the rehearsal studio, when you’re not dancing you’re not on the sides practicing steps, you’re watching, giving energy to the performers. It’s the same way backstage. You become very attuned to energy.”

Though he is a living link to the legacy of Cunningham, whose art was incomparable for some and impenetrable to others but who was universally known for training some of the most brilliant dancers in the world, Wood clearly sees himself in a different light. This is apparent in the approach Wood said he might take in directing the dancers who just came off an intense, two-year farewell tour for the Cunningham company. “I would tell them, feel free to slow down.

I would like to see sensation that occurs through your body, and I would like to see your face. You’re used to being speedy. Now, you have time to explore this arched back. You can be there and allow people to feel your presence.” ◀

details ▼ Coreografia, performed by Robert Wood Dance ▼ 7:30 p.m. Saturday, Oct. 6 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $20 & $35; 988-1234, www.ticketssantafe.org

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Robert Nott I The New Mexican

Bring on the lovers, liars, and clowns

‘Scapin,’ based on Molière’s farce

A

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October 5 -11, 2012

Shenyse Harris as Zerbinette

apparent reason. Then there’s the lazzo (gag) in which Scapin pretends to be dying, so everyone is nice to him as he fades away. There’s also the guy-in-a-woman’s-dress bit, which is always good for a laugh even if you think it shouldn’t be. And, finally, and quite appropriately, there is a chase scene, orchestrated and driven by Scapin, who insists that every comedy calls for one.

In short, this Scapin is set up as nothing but fun, with a moral that says, laugh, love, and enjoy the chase while it lasts. Actress Shenyse Harris, who plays Zerbinette, put it this way: “Some shows are made to entertain, so audiences can come in and watch and forget their problems for an hour and 30 minutes — and that’s where we step in.” ◀

details ▼ Scapin, presented by Santa Fe University of Art and Design’s theater students ▼ Greer Garson Theatre Center, Santa Fe University of Art and Design, 1600 St. Michael’s Drive ▼ 7 p.m. Friday & Saturday, Oct. 5 & 6, 2 p.m Oct. 7; continues Oct.12-14 ▼ $15 (discounts available); Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org)

Eric Swanson

trio of actors from Scapin were rehearsing the well-worn “charades” routine on the stage of the Greer Garson Theatre at Santa Fe University of Art and Design last week. It goes something like this: person number one stands behind person number two, giving silent physical cues to a third person who is facing the second person so it looks like the third person knows what the second one is thinking as he is talking — but only because the first person already knows the story and is cuing him.

This is all part of the farce Scapin that director Jon Jory is staging with students from the SFUAD theater department. Scapin was adapted from Molière’s 17thcentury play Les Fourberies de Scapin by Bill Irwin and Mark O’Donnell in the ’90s. One of the show’s actors, Freedom Hopkins, described it as “superficial genius. The play is for the play’s sake, but it knows that about itself.”

As for the plot: Leander loves Zerbinette but can’t pursue her because his father doesn’t approve of the union. Octave loves Hyacinth, but he doesn’t know it yet. The boys’ fathers are coming back from long trips away and have their own views about whom their offsprings should wed. Scapin, servant to Leander — who, like the servants in most commedia dell’ arte works, is cleverer than his master — helps the boys straighten everything out, mostly because he plans to benefit financially from the deal and avenge previous mistreatments. As Scapin explains Molière the storyline to the audience: “Beautiful women, graphic violence, and then some sort of conclusion!”

Though the plot leaves plenty of room for the supporting players to show off their comedic skills, Irwin and O’Donnell’s version was clearly designed to spotlight the physical talents of Irwin, a man who, in the 1980s and 1990s, seemed to be working full-time to revive vaudeville. In a 1996 edition of Playbill, Irwin called his Scapin “a low-rent Hamlet. Hamlet in a farce. He’s not the Prince; he’s not the hero. He’s a coward, though unlike Hamlet, he’s not afraid of action; he dives into action. And like Hamlet, he loves to act. You might say he’s somewhere between Hamlet and Phil Silvers.”

Jory (whose late father, film actor Victor Jory, can still be spotted in films of varying quality from Gone With the Wind to Cat-Women of the Moon) wrote the book for the very short-lived Broadway-musical misfire Tricks, based on the antics of Scapin in the early 1970s. “On opening night the stage manager gave me a T-shirt; I still have the T-shirt but never had the nerve to wear it out,” Jory said “There are certain pains that never go away. I have had such a long career that if I don’t talk about my failures I’d have to leave out half my career when talking about it.”

He said that Irwin and O’Donnell’s Scapin “is not a traditional commedia.

Commedia’s routes later went into vaudeville, burlesque, and farce. This is more vaudeville-based with a dollop of burlesque. The story is made up of typical stuff that’s been going on since Aristophanes — you know, parents and children, lovers and liars, etc. There are 30- to 40-second comic scenes that, if extended to fiveto-six-minute-long scenes, you would have seen the Marx Brothers perform in vaudeville. It has physical comedy, farcical elements, and burlesque, all descended from commedia’s street-theater roots. Commedia had to hold the attention of a bunch of shoppers. If I was passing through the square where you were performing on my way to buying bananas, and if you held my attention for five minutes, I might stay for the whole show.”

Among the show’s other shenanigans is the tried-but-true bit in which a man hides in a sack and other men come along and beat him up with clubs for no

Santa Fe Playhouse presents A TOAST TO GEORGIA! Two Memorable Events, Held in Conjunction With Georgia O’Keeffe’s 125TH Birthday Celebration Alfred Stieglitz, Georgia O’Keeffe, 1918. Gelatin silver print, 9 1/4 x 7 1/4 inches. Gift, The Georgia O’Keeffe Foundation. © Georgia O’Keeffe Museum.

MOON OVER BUFFALO A comedy by KEN LUDWIG Directed by BARBARA HATCH

Oct. 11-28, 2012 TICKETS: 988-4262 or www.santafeplayhouse.org

Georgia O’Keeffe: Reading the Work as the Life An Engaging Lecture by O’Keeffe Biographer, Art Historian, & Novelist Roxana Robinson

This illustrated talk explores O’Keeffe’s rich and complex body of work, paying particular attention to the ways in which it illuminates the artist’s life.

When: Thursday, November 15, 6 PM Where: St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Avenue Cost: $5; Members and Business Partners Free. Reservations suggested: 505.946.1039 or online at okmuseum.org

Jazz Concert Celebrating Georgia O’Keeffe Featuring Karrin Allyson, Grammy Award Nominee

Jazz it up with singer/pianist, Karrin Allyson. A four-time Grammy Award nominee, Allyson was also nominated as 2012 female Jazz Singer of the Year by the Jazz Journal Association. Produced in collaboration with Friends of Santa Fe Jazz. All proceeds benefit the Georgia O’Keeffe Museum.

When: Saturday, November 17, 7 PM Where: La Posada Resort Hotel and Spa, Ballroom Cost: $35 per person/$75 Supporters & Friends Includes: birthday cake, bubbly toast, free valet parking; all seats general admission: ticketssantafe.org; 505.988.1234 SEE All BIRThdAy CElEBRATIOn EvEnTS OnlInE AT OKMUSEUM.ORG

217 JOhnSOn ST., SAnTA fE • 5O5.946.1OOO • OKMUSEUM.ORG

The Georgia O’Keeffe 125TH Birthday Celebration is sponsored in part by: Century Bank, Mary and Charles Kehoe, Los Alamos National Bank, and Santa Fe University of Art and Design. Preferred Hotel Partners: The Bishop’s Lodge, Inn on the Alameda, La Fonda on the Plaza, and Eldorado Hotel and Spa.

PASATIEMPO

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MOVING IMAGES pasa pics

— compiled by Robert Ker

Lerman) is new to high school and a bit shy. He receives guidance from Sam (Emma Watson, Hermione in the Harry Potter films) and her half-brother, Patrick (Ezra Miller). Rated PG-13. 103 minutes. Regal DeVargas, Santa Fe. (Not reviewed) PITCH PERFECT If the tagline “get pitch slapped” doesn’t sell you on this picture, perhaps the premise will. Anna Kendrick plays Beca, a freshman at college who discovers that she likes the way the a cappella team works it — no diggity — and decides to join the group. The singers soon discover, perhaps from an old VHS copy of Sister Act, that performing modern songs rather than traditional numbers gives them a competitive advantage. Rated PG-13. 112 minutes.

Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed)

Everyone looks so perky: The Perks of Being a Wallflower, at Regal DeVargas in Santa Fe

opening this week DETROPIA Theaters screens are often lit with fictional images of neglected, run-down cities of the future. This documentary looks at a similar city of the present day: Detroit. Heidi Ewing and Rachel Grady (Jesus Camp) take their cameras into the city to examine some of the ruins, but also to focus on stories of hope in the oncethriving metropolis. A Skype interview with Ewing and Grady is slated to follow the 5:30 p.m. Sunday, Oct. 7 screening. Not rated. 90 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) FRANKENWEENIE After adapting existing properties for the better part of the last 15 years (aside from 2005’s Corpse Bride), director Tim Burton returns to the animated short he created in 1984. Frankenweenie is the story of a boy who brings his dead pet back to life, and Burton resurrects the concept as a 3-D, featurelength, blockbuster production with the vocal talents of Catherine O’Hara, Martin Short, and Winona Ryder.

Rated PG. 87 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) PERFORMANCE AT THE SCREEN The fall series of high-definition screenings of performances from afar begins with a showing of Marius Petipa’s La Bayadère, in a production choreographed by Rudolf Nureyev, 44

October 5 -11, 2012

with members of the Paris Opera Ballet. Aurélie Dupont, Josua Hoffalt, and Ludmila Pagliero star.

11 a.m. Sunday, Oct. 7, only. Not rated. 180 minutes (plus intermissions). The Screen, Santa Fe. PORTRAIT OF WALLY This startling documentary finds the Museum of Modern Art and allied museums seeking to block a family’s efforts to reclaim a famous painting looted by the Nazis. Besides lifting a veil and exposing the high-stakes politics of the art world, director Andrew Shea’s film fairly weighs the complex legal and moral issues raised by the case. At the center of it all is Egon Schiele’s oil painting Portrait of Wally, one of the most sensual works of the 20th century. Presented by the Santa Fe Jewish Film Festival. Shows at 4 p.m.

Sunday, Oct. 7, only. Not rated. 90 minutes. Center for Contemporary Arts, Santa Fe. ( Jon Bowman) REEL NEW MEXICO The monthly series showcasing independent films with a New Mexico connection continues with Phil Duran’s feature film Missing You and Sarah Northrup’s short Phoenix. 7 p.m. Thursday, Oct. 11, only. Not rated. La Tienda Performance Space, 7 Caliente Road off Avenida Vista Grande, Eldorado. (Not reviewed) THE PERKS OF BEING A WALLFLOWER Stephen Chbosky’s beloved young-adult novel gets a film adaptation of such high-polished twee that it can only have come from the production company behind Juno. Chbosky writes and directs. Charlie (Logan

TAKEN 2 Liam Neeson’s turn as a bankable action star got a big boost with 2008’s Taken, in which he played a man who kills everyone in between him and his kidnapped daughter. But if this character is so tough, then why does his family keep getting taken? This time, it’s his wife (and him). Rated PG-13. 91 minutes.

Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) UNFORGIVABLE Novelist Francis (André Dussollier) and his real-estate-agent wife, Judith (the ravishing Carole Bouquet), live together on Sant’Erasmo, an island off the Italian coast near Venice. When Francis’ daughter Alice (Mélanie Thierry) and granddaughter (Zoé Duthion) come for a vacation, Alice, who is separated from her husband and has a drug-dealing aristocratic ex in the city, disappears. You’d be forgiven for thinking that this is a thriller. But the mind behind this movie is distinguished French writer-director André Téchiné (Rendez-vous). His focus is human behavior; the messy, mysterious nature of relationships; and the fact that we hurt the ones we love. Not rated. 111 minutes.

In French and Italian with subtitles. The Screen, Santa Fe. (Laurel Gladden) See review, Page 50.

now in theaters ARBITRAGE This is a thriller in the Hitchcockian mold, with clever writing despite a few bothersome split ends and plot contrivances. Richard Gere plays a high-rolling Wall Street trader who gets in trouble on a couple of fronts, one involving cooked books, the other involving a dead body. Writer-director Nicholas Jarecki offers an ambiguous moral tone in this wellcrafted first narrative feature. Whom audiences find

themselves rooting for, and how they feel about the story’s outcome, may reflect something of their political philosophies. Rated R. 100 minutes. The Screen, Santa Fe. ( Jonathan Richards) BEASTS OF THE SOUTHERN WILD Benh Zeitlin’s delirious debut feature transports viewers to a magical world conjured up by its 6-year-old heroine, Hushpuppy. She lives with her stern father in the Bathtub, a low-lying community in the Louisiana bayou that’s about to be slammed by Hurricane Katrina. The storm unleashes fears, emotions, and reveries for Hushpuppy, who clings to her dreams as the devastation mounts. One of the most inventive and visually stunning films you’ll see all year. Rated PG-13. 93 minutes. Center for Contemporary Arts, Santa Fe. ( Jon Bowman) THE BOURNE LEGACY Tony Gilroy, who wrote the first three Bourne films, takes a seat in the director’s chair for this spinoff.

Like Jason Bourne, Aaron Cross (Jeremy Renner) is a black-ops superagent, but he owes his strength and intelligence to “chems” engineered by scientists.

While Cross is in training, Bourne exposes the Blackbriar and Treadstone programs, leaving Eric Byer (Edward Norton) to clean up the mess. Performances are strong, but Legacy favors conspiracy and chatty exposition over the twists, tension, and fisticuffs we’ve come to expect. Rated PG-13. 135 minutes. Regal Stadium 14, Santa Fe. (Laurel Gladden) DREDD This intensely unpleasant film, based on the British comic-book character Judge Dredd, stars Karl Urban as the title hero — a violent cop in a dystopian future who is trapped in a large slum and must shoot his way out. Dredd’s adventures were already adapted into a terrible 1995 Sly Stallone vehicle, and this version retains all the bland, dimly lit posturing of a mid-’90s movie. There’s no humor, the violence is gross, the action is repetitive, the art direction is unimaginative, and the acting is wooden. Other than that, it’s a fine way to spend an evening. Rated R. 95 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) END OF WATCH Filmmaker David Ayer spent much of his childhood in South Central L.A. Those experiences inform his work as a writer (Training Day) and a writer/director (Harsh Times). He hits the streets again with this story of two cops ( Jake Gyllenhaal and Michael Peña) who make enemies of a drug cartel. Rated R. 109 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos.

(Not reviewed) FINDING NEMO That little clownfish (voiced by Alexander Gould) has gotten himself lost on the big screen again. That’s right: Pixar has brought one of its

most beloved movies back to theaters. “Gnarly, dude,” Crush the sea turtle (Andrew Stanton) might say, if he wasn’t too busy grooving on all those 3-D effects.

Rated G. 100 minutes. Screens in 3-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Not reviewed) FOR A GOOD TIME, CALL ... Bridesmaids proved that comediennes could be just as disgusting as comedians. This indie comedy takes advantage of that bold step by having a character get drenched in urine just a few seconds into the trailer. The drencher (Ari Graynor) and the drenchee (co-writer Lauren Miller) are college frenemies who become grown-up roomies.

To make ends meet, they take up phone sex. Rated R. 85 minutes. Regal DeVargas, Santa Fe. (Not reviewed) HOTEL TRANSYLVANIA Welcome to the Hotel Transylvania — such a scary place (thanks to Dracula, voiced by Adam Sandler), such a hairy place (thanks to Wayne the Wolfman, voiced by Steve Buscemi).

Andy Samberg voices Jonathan, a human who crashes this animated monster mash — the hotel was created to give monsters sanctuary from people — and falls in love with Drac’s daughter (Selena Gomez). Rated PG. 95 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher; Española; Storyteller, Taos. (Not reviewed) HOUSE AT THE END OF THE STREET This horror flick was due earlier in 2012 but was bumped so star Jennifer Lawrence’s stock could rise with The Hunger Games. Now fans of that film can see Lawrence bound and gagged in the basement of some creepy dude named Ryan (Max Thieriot). This comes after her character delves too deeply into Ryan’s family history — in which his sister apparently murdered their parents. Where’s that bow and arrow when you need it? Rated PG-13. 101 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) IN THE FAMILY Patrick Wang writes, directs, and stars in this film about a man named Joey (Wang) who loses custody of the child he has helped raise (Sebastian Banes) when his partner, Cody (Trevor St. John), is killed. With an outdated will in place, the boy goes to Cody’s sister (Kelly McAndrew), who removes him from Joey’s life. Not rated. 169 minutes. Regal DeVargas, Santa Fe. (Not reviewed) THE INTOUCHABLES François Cluzet stars as Philippe, a wealthy man who loses his wife and the use of his arms and legs in an accident. He hires Driss (Omar Cy), a Senegalese ex-con, to be his caretaker.

The film suggests one can overcome any differences to bond with another person, especially if you totally rely on that person. Rated R. 112 minutes. In French with subtitles. Regal DeVargas, Santa Fe. (Not reviewed)

Taken 2

KILLER JOE Director William Friedkin (The Exorcist) and writer Tracy Letts team up for a film noir adaptation of Letts’ first play. It’s a murder plot featuring some low-wattage types conniving to get at life-insurance money. As the hired killer who is yards cooler and smarter than the people engaging his services, Matthew McConaughey confirms his midcareer resurrection with a smoothly electric performance that commands the attention of everyone on both sides of the screen. Friedkin wastes it a bit with some over-the-top violence and depravity, but it’s still a stylish, violent, and darkly comic noir thriller. Rated NC-17. 103 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) LAWLESS Tom Hardy plays a Prohibition-era bootlegger in Virginia. He and his brothers, played by Shia LaBeouf and Jason Clarke, try to keep their business running in the face of crooked authorities (led by Guy Pearce) and rival gangsters (led by Gary Oldman).

Writer Nick Cave (yes, the musician) and director John Hillcoat collaborated on this tommy-gun-andfedora picture. Rated R. 115 minutes. Regal DeVargas, Santa Fe. (Not reviewed) LOOPER Writer and director Rian Johnson and actor Joseph GordonLevitt collaborated on the 2005 continued on Page 46

PASATIEMPO

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MOVING IMAGES pasa pics

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high-school noir Brick. They reunite for this timetravel tale — more noir than sci-fi, alternating locales between a futuristic urban jungle and a Midwestern cornfield — in which Gordon-Levitt plays Joe, a hit man who murders chumps that the mob from the future sends back in time to him. One day, however, the chump from the future turns out to be Joe (now played by Bruce Willis), and he gets away. Questions of fate and consequence arise artfully throughout the chase, which echoes the past work of Spielberg, Hitchcock, and Nicholas Ray. The prosthetics and acting tics Gordon-Levitt uses to embody a young Willis can be distracting, but everything else about the film is engrossing. Rated R. 118 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) THE MASTER After World War II, emotionally troubled Navy vet Freddie Quell ( Joaquin Phoenix) is taken under the wing of Lancaster Dodd (Philip Seymour Hoffman), the charismatic leader of a Scientologylike spiritual group known as The Cause. This long-awaited film from Paul Thomas Anderson poses questions about belief, religion, mental health, and whether humans really can — or want to — change.

It’s intense, ambitious, majestic, and visually luminous.

Jonny Greenwood provides another mesmerizing, sometimes-unsettling score. Phoenix and Hoffman deliver two of the finest screen performances this year.

Still, the film lacks a cohesive plot, and you may leave the theater wondering what, exactly, Anderson was trying to say. Rated R. 137 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) RESIDENT EVIL: RETRIBUTION The fifth Resident Evil film vaguely answers some questions about the franchise’s complicated plot. One remains unanswered: Why on Earth have there been five Resident Evil movies? The latest is a B movie full of kung fu, slow-motion bullets, technobabble, zombies, product placement, giant monsters, appalling acting, video-game set pieces, women who are naked everywhere but the naughty bits, and a script so incoherent that it’s practically performance art. Yet in spite of these elements — or perhaps because of them — I enjoyed myself for about 60 percent of the running time. Rated R. 95 minutes.

Screens in 2-D only in Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker)

spicy bland

medium

mild

heartburn

Send comments on movie reviews to pasamovies@sfnewmexican.com.

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October 5 -11, 2012

SAMSARA This is a documentary without narration, without characters, without a formal story. Its narrative and message, driven by a hypnotic Michael Stearns score, are conveyed by director Ron Fricke’s (Baraka) unfolding sequence of stunning images, filmed in 70 mm and gathered from 25 countries on five continents. The visuals are extraordinary, but much of the time you may find yourself wondering where the heck you are, even as you bathe in the beauty of nature’s abundance and culture’s triumphs or squirm at the robotic cruelty and soullessness of the modern world. But for all the negatives, the beauty ultimately trumps the squalor. It’s a fascinating planet. Rated PG-13. 99 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) SLEEPWALK WITH ME While not as charming or laugh-out-loud funny as the stand-up show of the same name, Sleepwalk With Me, based on comedian Mike Birbiglia’s real life, is a sweet and unusual take on the romantic comedy.

Matt Pandamiglio (Birbiglia) is a struggling comedian whose deadpan, self-deprecating style falls flat in the comedy club where he bartends. He’s also reluctant to commit to his long-time girlfriend (Lauren Ambrose).

When Matt’s act gets personal, he comes into his own as a performer, but at the expense of his relationship.

This American Life’s Ira Glass is one of the film’s writers.

Not rated. 90 minutes. Center for Contemporary Arts, Santa Fe; Taos Community Auditorium, 133 Paseo del Pueblo Norte, Taos, 575-758-2052.

(Adele Oliveira) THE STORY OF FILM: AN ODYSSEY This is the Lord of Film Histories, its 900-minute running time eclipsing the combined duration of Peter Jackson’s Lord of the Rings trilogy by four hours. But if you have a weak bladder, have no fear. The Screen presents it in seven installments through Nov. 17, each lasting roughly two hours. Breathtaking and audacious, it boasts more depth and breadth than any previous effort to chronicle the history of cinema. Mark Cousins is the originator and narrator, scouring the planet like Captain Ahab in search of unsung masterpieces. Visit The Screen’s website to see the focal point for each week’s program. Not rated. 900 minutes in total.

The Screen, Santa Fe. (Jon Bowman) TO ROME WITH LOVE Nobody can make love to a city like Woody Allen.

When he was young, his heart belonged to New York. Then it was London, and then Barcelona. After the heady triumph of Midnight in Paris, To Rome With Love is a grab bag of miniplots and wisecracks, a Fontana di Trevi of humor spewing cool, refreshing gags. This is Allen in his comic wheelhouse, spinning the kind of yarns he started his career with. There are several different

stories, the gags come thick and fast, and Rome never looked better. Rated R. 112 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) TROUBLE WITH THE CURVE Clint Eastwood turns away from the empty Obama chair to work with real, live human beings in this tale of a father (Eastwood) and daughter (Amy Adams). Daddy is an aging baseball scout who takes his daughter on a recruiting trip; they reconnect, and she meets a possible love interest ( Justin Timberlake). Rated PG-13. 111 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) WON’T BACK DOWN Inspired by actual events, but not inspired, this corny feel-good movie follows the efforts of a disillusioned teacher (Viola Davis, who delivers a fantastic performance despite the mediocrity of the script) and an activist mom (Maggie Gyllenhaal) who work against all odds to turn their failing Pittsburgh public school around. At times it comes off as a 1980s TV-movie that just escaped from a time capsule, but it does have some beautiful acting moments, and you will probably want to like the movie despite its many flaws. Rated PG. 121 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Nott)

other screenings Museum of Contemporary Native Arts 108 Cathedral Place, 983-1666 Grab.

New Mexico History Museum Auditorium 113 Lincoln Ave. 6 p.m. Friday, Oct. 5: Without Borders. Screening includes reception and filmmaker Q & A. Visit www.santafefilmfestival.com for tickets.

Storyteller Hope Springs.

Taos Community Auditorium 133 Paseo del Pueblo Norte, Taos, 575-758-2052 6 p.m. Saturday, Oct. 6: Woven Stories: Weaving Traditions of Northern New Mexico.

Unitarian Universalist Congregation of Santa Fe 107 W. Barcelona Road 7 p.m. Wednesday, Oct. 10: Globalized Soul.

Zane Bennett Contemporary Art 435 S. Guadalupe St., 982-8111 3 p.m. Saturday, Oct. 6: Ferlinghetti: A Rebirth of Wonder. No charge. ◀

Tomaž Šalamun

What’s shoWing

regAl deVArgAS 562 N. Guadalupe St., 988-2775, www.fandango.com For A GoodTime, Call... (R) Fri. to Thurs. 1 p.m., 7:15 p.m.

In the Family (NR) Fri. and Sat. 3 p.m., 9:25 p.m.

Sun. to Thurs. 3 p.m.

The Intouchables (R) Fri. and Sat. 1:10 p.m., 3:50 p.m., 6:50 p.m., 9:50 p.m. Sun. to Thurs. 1:10 p.m., 3:50 p.m., 6:50 p.m.

Killer Joe (NC-17) Fri. and Sat. 1:40 p.m., 10:05 p.m.

Sun. to Thurs. 1:40 p.m.

Lawless (R) Fri. to Thurs. 4:40 p.m., 7:30 p.m.

The Master (R) Fri. and Sat. 1:05 p.m., 4 p.m., 7 p.m., 9:55 p.m. Sun. to Thurs. 1:05 p.m., 4 p.m., 7 p.m.

The Perks of Being a Wallflower (PG-13) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:40 p.m., 10:05 p.m. Sun. to Thurs.

1:30 p.m., 4:30 p.m., 7:40 p.m.

To Rome With Love (R) Fri. and Sat. 1:20 p.m., 4:10 p.m., 7:10 p.m., 9:45 p.m. Sun. to Thurs. 1:20 p.m., 4:10 p.m., 7:10 p.m. regAl StAdium 14 3474 Zafarano Drive, 424-6296, www.fandango.com The Bourne Legacy (PG-13) Fri. to Thurs. 12:25 p.m.

Dredd (R) Fri. to Thurs. 8 p.m., 10:25 p.m.

End of Watch (R) Fri. to Mon. 12:40 p.m., 4:30 p.m., 7:30 p.m., 10:15 p.m. Tue. 12:40 p.m., 7:30 p.m. Wed. 4:30 p.m., 10:15 p.m. Thurs. 12:40 p.m., 7:30 p.m.

End of Watch (R) open captioned Tue. 4:30 p.m., 10:15 p.m. Wed. 12:40 p.m., 7:30 p.m. Thurs. 4:30 p.m., 10:15 p.m.

Finding Nemo 3D (G) Fri. to Thurs. noon, 2:35 p.m., 5:10 p.m., 7:50 p.m., 10:25 p.m.

Frankenweenie (PG) Fri. to Thurs. noon, 12:30 p.m., 2:50 p.m., 4:40 p.m., 5:10 p.m., 9:20 p.m.

Frankenweenie 3D (PG) Fri. to Thurs. 2:20 p.m., 7 p.m.

Hotel Transylvania (PG) Fri. to Thurs. noon, 12:30 p.m., 2:10 p.m., 2:55 p.m., 4:30 p.m., 5:15 p.m., 7:10 p.m., 7:40 p.m.

Hotel Transylvania 3D (PG) Fri. to Thurs. 10 p.m.

House at the End of the Street (PG-13) Fri. to Thurs.

12:05 p.m., 2:40 p.m., 5:15 p.m., 7:50 p.m., 10:20 p.m.

Looper (R) Fri. to Thurs. 12:20 p.m., 4:20 p.m., 7:20 p.m., 10:10 p.m.

Pitch Perfect (PG-13) Fri. to Thurs. 12:45 p.m., 4:15 p.m., 7:15 p.m., 10 p.m.

Resident Evil: Retribution (R) Fri. to Thurs. 9:40 p.m.

Taken 2 (PG-13) Fri. to Thurs. 12:15 p.m., 12:45 p.m., 2:40 p.m., 3:10 p.m., 4:35 p.m., 5:05 p.m., 5:35 p.m., 7:25 p.m., 7:45 p.m., 8:05 p.m., 9:55 p.m., 10:15 p.m., 10:30 p.m.

Trouble With the Curve (PG-13) Fri. to Thurs.

12:50 p.m., 4:10 p.m., 7:05 p.m., 9:50 p.m.

Won’t Back Down (PG) Fri. 4:25 p.m., 7:35 p.m., 10:20 p.m. Sat. 12:55 p.m., 7:35 p.m., 10:20 p.m. Sun. 4:25 p.m., 7:35 p.m. Mon. 4:25 p.m., 10:20 p.m. Tue. to Thurs. 12:55 p.m., 4:25 p.m., 7:35 p.m., 10:20 p.m.

Won’t Back Down (PG) open captioned Fri. 12:55 p.m. Sat. 4:25 p.m. Sun. 12:55 p.m., 10:20 p.m. Mon. 12:55 p.m., 7:35 p.m. the SCreen Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, www.thescreensf.com Arbitrage (R) Fri. and Sat. 3:45 p.m., 8:15 p.m. Sun. 2:30 p.m. Mon. and Tue. 3 p.m., 5:15 p.m. Wed. and Thurs. 3 p.m., 7:30 p.m.

Paris Opera Ballet: La Bayadère (NR) Sun. 11 a.m.

The Story of Film: Episodes 1 & 2 (NR) Sun. 7:15 p.m.

The Story of Film: Episodes 3 & 4 (NR) Sat. 11 a.m.

Unforgivable (NR) Fri. and Sat. 1:20 p.m., 6 p.m.

Sun. 4:45 p.m. Mon. and Tue. 7:30 p.m. Wed. and Thurs. 5:15 p.m.

Storyteller dreAmCAtCher CinemA (eSpAñolA) 15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.storytellertheatres.com End of Watch (R) Fri. 3:40 p.m., 7 p.m., 9:40 p.m. Sat. 12:50 p.m., 3:40 p.m., 7 p.m., 9:40 p.m. Sun. 12:50 p.m., 3:40 p.m., 7 p.m. Mon. to Thurs. 3:40 p.m., 7 p.m.

Finding Nemo 3D (G) Fri. 3:50 p.m. Sat. and Sun. 1:15 p.m., 3:50 p.m. Mon. to Thurs. 3:50 p.m.

Frankenweenie (PG) Fri. to Thurs. 4:20 p.m.

Frankenweenie 3D (PG) Fri. 6:40 p.m., 8:50 p.m. Sat. 1:20 p.m., 6:40 p.m., 8:50 p.m. Sun. 1:20 p.m., 6:40 p.m.

Mon. to Thurs. 6:40 p.m.

Hotel Transylvania (PG) Fri. 4:10 p.m. Sat. to Thurs.

4:10 p.m.

Hotel Transylvania 3D (PG) Fri. 6:50 p.m., 9 p.m.

Sat. 1:10 p.m., 6:50 p.m., 9 p.m. Sun. 1:10 p.m., 6:50 p.m.

Mon. to Thurs. 6:50 p.m.

House at the End of the Street (PG-13) Fri. 4:05 p.m., 6:55 p.m., 9:20 p.m. Sat. 1:25 p.m., 4:05 p.m., 6:55 p.m., 9:20 p.m. Sun. 1:25 p.m., 4:05 p.m., 6:55 p.m. Mon. to Thurs. 4:05 p.m., 6:55 p.m.

Looper (R) Fri. 3:45 p.m., 6:35 p.m., 9:15 p.m.

Sat. 12:45 p.m., 3:45 p.m., 6:35 p.m., 9:15 p.m. Sun. 12:45 p.m., 3:45 p.m., 6:35 p.m. Mon. to Thurs.

3:45 p.m., 6:35 p.m.

Pitch Perfect (PG-13) Fri. 4:30 p.m., 7:15 p.m., 9:45 p.m. Sat. 1:30 p.m., 4:30 p.m., 7:15 p.m., 9:45 p.m.

Sun. 1:30 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs.

4:30 p.m., 7:15 p.m.

Resident Evil: Retribution (R) Fri. 4 p.m., 7:05 p.m., 9:30 p.m. Sat. 12:50 p.m., 4 p.m., 7:05 p.m., 9:30 p.m.

Sun. 12:50 p.m., 4 p.m., 7:05 p.m. Mon. to Thurs. 4 p.m., 7:05 p.m.

Taken 2 (PG-13) Fri. 4:15 p.m., 7:10 p.m., 9:35 p.m.

Sat. 1:05 p.m., 4:15 p.m., 7:10 p.m., 9:35 p.m. Sun. 1:05 p.m., 4:15 p.m., 7:10 p.m. Mon. to Thurs. 4:15 p.m., 7:10 p.m.

Trouble With the Curve (PG-13) Fri. and Sat. 6:20 p.m., 8:45 p.m. Sun. to Thurs. 6:20 p.m.

Won’t Back Down (PG) Fri. 3:55 p.m., 6:45 p.m., 9:25 p.m. Sat. 1 p.m., 3:55 p.m., 6:45 p.m., 9:25 p.m.

Sun. 1 p.m., 3:55 p.m., 6:45 p.m. Mon. to Thurs.

3:55 p.m., 6:45 p.m. mitChell Storyteller CinemA (tAoS) 110 Old Talpa Canon Road, 575-751-4245 End of Watch (R) Fri. 4:40 p.m., 7:10 p.m., 9:55 p.m.

Sat. 2:10 p.m., 4:40 p.m., 7:10 p.m., 9:55 p.m. Sun. 2:10 p.m., 4:40 p.m., 7:10 p.m. Mon. to Thurs. 4:40 p.m., 7:10 p.m.

Frankenweenie (PG) Fri. 4:30 p.m. Sat. and Sun. 2 p.m., 4:30 p.m. Mon. to Thurs. 4:30 p.m.

Frankenweenie 3D (PG) Fri. and Sat. 7 p.m., 9:30 p.m.

Sun. to Thurs. 7 p.m.

Hope Springs (PG-13) Fri. 4:55 p.m., 7:20 p.m., 9:40 p.m. Sat. 2:30 p.m., 4:55 p.m., 7:20 p.m., 9:40 p.m.

Sun. 2:30 p.m., 4:55 p.m., 7:20 p.m. Mon. to Thurs.

4:55 p.m., 7:20 p.m.

Hotel Transylvania (PG) Fri. 4:40 p.m. Sat. and Sun. 2:15 p.m., 4:40 p.m. Mon. to Thurs. 4:40 p.m.

Hotel Transylvania 3D (PG) Fri. and Sat. 7:15 p.m., 9:30 p.m. Sun. to Thurs. 7:15 p.m.

Pitch Perfect (PG-13) Fri. 4:45 p.m., 7:25 p.m., 9:50 p.m. Sat. 2:20 p.m., 4:45 p.m., 7:25 p.m., 9:50 p.m.

Sun. 2:20 p.m., 4:45 p.m., 7:25 p.m. Mon. to Thurs.

4:45 p.m., 7:25 p.m.

Taken 2 (PG-13) Fri. 4:50 p.m., 7:30 p.m., 9:45 p.m.

Sat. 2:25 p.m., 4:50 p.m., 7:30 p.m., 9:45 p.m. Sun. 2:25 p.m., 4:50 p.m., 7:30 p.m. Mon. to Thurs. 4:50 p.m., 7:30 p.m.

Trouble With the Curve (PG-13) 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 Thurs. 4:35 p.m., 7:05 p.m.

Poetry Reading and Q&A Tuesday, October 9 at 7 pm

Join us at the Santa Fe University of Art and Design campus O’Shaughnessy Performance Space in Benildus Hall This free event is cosponsored by the Institute of American Indian Arts.

For more information call 473-6200 or visit www.santafeuniversity.edu

EmiliE Haman, Once UpOn a Time . . . , 2011. CourtEsy of lani mCGrEGor and dan sCHwoErEr

CCA CinemAtheque And SCreening room 1050 Old Pecos Trail, 982-1338, www.ccasantafe.org Beasts of the Southern Wild (PG-13) Fri. and Sat. 2:30 p.m. Sun. 11:30 a.m.

Detropia (NR) Fri. to Sun. 5:30 p.m., 7:30 p.m.

Mon. to Thurs. 5 p.m., 7 p.m.

Portrait of Wally (NR) Sun. 4 p.m.

Samsara (PG-13) Fri. and Sat. 12:30 p.m., 4:30 p.m., 6:30 p.m., 8:30 p.m. Sun. 1:30 p.m., 6:30 p.m., 8:30 p.m.

Mon. 4 p.m., 6 p.m., 8 p.m. Tue. to Thurs. 2 p.m., 4 p.m., 6 p.m., 8 p.m.

Sleepwalk With Me (NR) Fri. and Sat. 1:30 p.m., 3:30 p.m. Sun. 1 p.m., 3 p.m. Tue. to Thurs. 3 p.m.

Images courtesy Blue Flower Arts

Considered Slovenia's greatest living poet and one of the foremost figures of the Eastern European poetical avant-garde. His books have been translated into 21 languages, and nine of his 37 books of poetry have been published in English.

Call theaters or check websites to confirm screening times.

Free Friday Evenings!

october 5 5–8 p.m.

Opening reception for two concurrent exhibitions of glass art: Emerge 2012: A Showcase of Rising Talents in Kiln-glass and Chromatic Fusion: the Art of Fused Glass. Reception hosted by the Women’s Board of the Museum of New Mexico. Music by the Ron Helman Jazz Ensemble.

october 12 5:30–7 p.m.

Gallery conversations with artists in Alcove 12.5. Participate in open gallery conversations with the current artists.

october 26 5–8 p.m.

Alcove 12.6 opens. The next installation of the year-long project showcasing contemporary New Mexico artists.

New Mexico MuseuM of Art

107 West Palace avenue · on the Plaza in santa Fe · 505.476.5072 · nmartmuseum.org Partially funded by the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax.

PASATIEMPO

47

moving images film reviews

Lover, come back Jon Bowman I For The New Mexican Portrait of Wally, documentary, not rated, CCA Cinematheque, 3 chiles The Santa Fe Jewish Film Festival embarks on its third season embracing a new name as well as an expanded, community-wide mission. In prior years, the festival was known as the HaMakom Jewish Film Festival, carrying the imprimatur of the sponsoring HaMakom synagogue. Festival director Marcia Torobin said that HaMakom remains supportive, but now the festival has regrouped under a more broad-based board and is affiliated with the Jewish Federation of New Mexico. “The membership now reflects the broader Santa Fe community, not only the Jewish community, but the community at large.” Besides forming several new partnerships, the festival has mapped out a much more ambitious 48

October 5 -11, 2012

slate for its third season, pairing key lectures and educational events with each planned film screening.

To open the season, on Sunday, Oct. 7, at the Center for Contemporary Arts, the festival has secured what Variety described as a “bombshell” documentary, one that should be of particular appeal for Santa Feans because a prominent former city resident directed the picture. The film, Portrait of Wally, traces a landmark legal battle surrounding an Egon Schiele painting that had been seized by the Nazis from Lea Bondi, a Jewish gallery owner in Vienna. Following World War II, Bondi successfully reclaimed most of the artwork confiscated from her, but not Wally. Whether through sleight of hand or a clerical error — there’s still debate over which applied — the 1912 oil painting of Schiele’s mistress Walburga “Wally” Neuzil eventually landed in the collection of Austria’s famed Leopold Museum.

Acting on behalf of Bondi’s heirs, the U.S. government, through the district attorney in Manhattan, shocked the art world by seizing the painting after it came to America on loan from the Leopold to the Museum of Modern Art in 1997.

This precipitated an acrimonious court case that lasted more than a decade, pitting the heirs and the district attorney against the Leopold and MOMA, as well as a consortium of museums that claimed the seizure could have a chilling effect on art loan programs.

Andrew Shea, who directed Portait of Wally, founded the New Mexico Repertory Theatre and built it into the largest professional company in the history of New Mexico before leaving in the 1990s to Los Angeles to launch his film career. While here, he directed or produced more than 40 plays, including world premieres of works by New Mexico’s Mark Medoff, playwright of Children of a Lesser God. For the Jewish Film Festival’s screening of Wally, Shea has agreed to provide an introduction via Skype as well as to conduct a Q & A after the show. He will be appearing from his home in Austin, Texas, where he is an associate professor in the Radio, Television and Film Department at the University of Texas. Portrait of Wally is his first documentary after several feature-length fiction films including The Corndog Man, Santa Fe, and Forfeit.

Shea became aware of the convoluted Wally wrangling through David D’Arcy, a former NPR arts reporter whose coverage of the scandalous case got him fired by the radio network. “I could see what a great story it might be and how it could do just as well translated as a film,” Shea said. “Meeting David gave me the context and the connections to pull it off.”

What Shea didn’t imagine at the start, though, is how long the project would take to bring to fruition and how tough to foresee the outcome, and thus give final shape to the film. While the case was being litigated, District Attorney Robert Morgenthau and his staff lawyers begged off doing any on-the-record interviews. Principals from the museums also refused to go on camera, although Shea found news and archival footage representing their viewpoints.

As the case dragged on for years, Shea grew more nervous, wondering if he would ever finish the film. He also found himself buffeted by the explosive dynamics unfolding in the courtroom — dynamics, in the words of Variety’s John Anderson, that touch upon “cultural skulduggery, political sleaze, institutional hypocrisy, and the virtues of persistence.”

“A documentary is just like fiction in that the narrative arc is so important to the storytelling,” Shea said. “But what is so difficult in documentary is that nothing is open and shut. We were always rewriting and reworking our script, right up until the end, because the facts kept changing, and we had to shift our focus if we wanted to present the material as accurately and honestly as possible.”

In the end, Portrait of Wally packs an emotional wallop, not so much in excoriating the Nazis for originally looting the painting, but in suspenseful and charged as the painting itself — a work of great sexual energy and electricity that became a talisman openly coveted by many powerful players.

Having now acquired the documentary bug, Shea is eager to pursue a second nonfiction work, about the first Eastern European basketball stars recruited by the NBA. But he hasn’t abandoned a lifetime dream to film a screen adaptation of George Bernard Shaw’s Man and Superman. He is open to either possibility: “For under-the-radar indie films, it’s always a struggle to get funding for these projects.”

As an accompaniment to Portrait of Wally, Temple Beth Shalom presents a lecture and slide show on Oct. 28 on the topic “Looted Art: A Look at American Museums After the Holocaust,” with attorney Judah Best.

The Santa Fe Jewish Film Festival season continues through April 14, 2013, encompassing at least five other titles, among them, the 1939 Yiddishlanguage version of Tevye, based on the folk tales by Sholem Aleichem that inspired Fiddler on the Roof. ◀ The Santa Fe Jewish Film Festival opens at 4 p.m. on Sunday, Oct. 7, with a screening of “Portrait of Wally,” at the Center for Contemporary Arts (1050 Old Pecos Trail). Advance tickets, $10 (discounts available), may be purchased from www.santafejff.org; tickets at the door are $12. Multi-ticket passes are available from the website.

Opposite page, stills from Portrait of Wally, including the painting and its creator (Egon Schiele, at lower right)

“Wistful, witty, romantic.

A ‘BreAkfAst CluB’ for the new millennium.”

Roger Moore, Mcclatchy-tRibune WiRe seRvice

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FRI-SAT: 12:30, 4:30, 6:30 & 8:30 PM SANTA FE SUN: 1:30, 6:30 & 8:30 PM The Center For MON: 4:00, 6:00 & 8:00 PM Contemporary Arts TUE-THURS: 2:00, 4:00, 6:00 & 8:00 PM (505) 982-1338 NO PASSES ACCEPTED

-Peter Travers

“The BesT Movie i’ ve seen All YeAr!”

Written and Directed by

PAUL THOMAS ANDERSON

PHILIP AMY JOAQUIN PHOENIX SEYMOUR HOFFMAN ADAMS

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PASATIEMPO

49

moving images film reviews

Daily transgressions Laurel Gladden I For The New Mexican Unforgivable, drama, not rated, in French and Italian with subtitles, The Screen, 3 chiles Francis (André Dussollier) is a widower and novelist in Venice looking for the perfect new place to work on his next book. He hires real-estate agent Judith (the ravishing Carole Bouquet) to help him find it and quickly becomes smitten with her. She takes him to see a sprawling country home on the nearby island of Sant’Erasmo; he agrees to sign the lease, but only if she moves in with him.

Jump ahead a year and a half, and we find Francis and Judith not only living together on the island but married and welcoming visitors — Francis’ daughter Alice (Mélanie Thierry of The Princess of Montpensier) and granddaughter Vicky (Zoé Duthion). They’re having a lovely family vacation until Alice, who is separated from her husband and has a drug-dealing aristocratic ex in Venice, disappears.

Given that, you’d be forgiven for thinking that Unforgivable is a thriller. Max Richter’s frantic, foreboding score — suitable for the most gripping mystery or noir — certainly suggests it is.

And writer Francis, a central character, is even described as “the king of neo-Gothic thrillers.” But the mind behind this movie is no Alfred Hitchcock.

It’s distinguished French screenwriter and director André Téchiné (Rendez-vous, My Favorite Season, Wild Reeds). He is — and so we are — only mildly concerned about Alice. The real focus, rather, is everyday human behavior; the messy, mysterious

Dog days: André Dussollier and Mauro Conte

nature of relationships (between lovers, spouses, exes, parents, and children); and the cruel things people do to one another, intentionally or not. No man is an island, even if he chooses to live on one.

The story doesn’t unfold without tangles and twists. To help find Alice, the worried Francis hires private investigator Anna Maria (Adriana Asti) — a heavy-smoking alcoholic who also happens to be one of Judith’s many former lovers.

Francis’ obsessive worry and neediness begin to alienate Judith. Increasingly paranoid (perhaps because he repeatedly cheated on his first wife), Francis begins tracking Judith’s comings and goings with binoculars. He resorts to hiring Jérémie (Mauro Conte), Anna Maria’s sociopathic son, recently sprung from prison, to tail her.

At times the film begins to feel like a big-screen soap opera. It flits from one character to another, and everyone’s behavior changes. For a while, Judith seems to be the film’s anchor. Because she once worked for an auction house in the U.K., more than one character asks her to appraise an

Women are from Venice: Carole Bouquet and André Dussollier

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item or work of art. Each time, she declares the piece a forgery or fake. Perhaps this is Téchiné’s way of telling us that no one is quite who they seem. He adds layer after layer, and you’re never sure whom you should be rooting for.

What the film offers in realism and verisimilitude it lacks in structure and focus. It meanders and wanders — or perhaps ebbs and flows, like the water that surrounds the island and separates it from “civilization.” Much as they do in the boats that ferry them back and forth to Venice, the characters sometimes run into each other (not always deliberately). Occasionally they speed along, and occasionally they run out of gas.

The rambling nature might get on your nerves, but somehow the story still tugs at you, gently.

You want to know what happens to these characters, even if it’s nothing dramatic or shocking.

I can think of worse ways to spend two hours than watching attractive people act out their anxieties and peccadilloes in and around Venice.

Cinematographer Julien Hirsch makes the setting look enviably gorgeous — and believably so. And though they’re playing the parts of regular folks, the cast members are all easy on the eyes. Dussollier is dignified and Hemingway-esque. Thierry resembles a cherubic Brigitte Bardot. And Bouquet (Luis Buñuel’s “obscure object of desire” and also a Bond girl from For Your Eyes Only) is still a knockout.

Everyone here has flaws. People abandon their families, attempt suicide, beat up one another, sleep around, spy on each other, deal and use drugs, forge art, and launder money. But is any of that ultimately unforgivable? (The film’s only truly deplorable and inexcusable act is committed in a brief shocking moment by a very minor character.)

Sure, these characters do silly, even stupid, selfish things, but then, we all do. It’s human nature. We always hurt the ones we love. But why? And why are we almost always forgiven? That may be the biggest mystery of all. ◀

Santa Fe’s only not-forprofit, community-supported independent theatre, showing the best in world and independent cinema.

PROFESSIONAL PERSONABLE STYLE MEET HENRY, our beloved Transportation Manager. As a service of safety and excellence, Taos Retirement Village provides transportation to the doctor’s office, grocery store, bank, salon and pharmacy, as well as retail shopping destinations. With polished shoes and hair slicked back, Henry makes a proud escort to evening community events such as Taos School of Music, Music from Angel Fire and SMU Fort Burgwin Lecture Series. For 14 years, Henry has provided a professional, safe, courteous, and personable style. No wonder residents say that spending time with Henry is much like spending time "entertaining angels."

1050 Old Pecos Trail • 505.982.1338 • ccasantafe.org “Samsara is PURE Cinema.”

-American Cinematographer

“A triumph of the moving image.”

-IN70MM.COM

NOW PLAYING ONLY AT CCA!!

“I like helping out and the residents are very appreciative of what I do for them.”

T AO S

R ETI RE ME N T VIL L A GE

directors! h it w e p y k S ay Oct 7 5:30p Sund

414 Camino de la Placita . Taos www.taosretirementvillage.com

575.779.8993 Call Tammy Updike for a personal tour and move-in specials.

Lensic Presents

B ROAD CAST I N H D

The Last of the Haussmans

October 12 7 pm

$22 / $15 students

Stephen Beresford’s funny, touching, and sometimes savage portrait of a family that’s losing its grip.

P hoto: Cath eri n e A s h m o r e

from London’s Daily Express, Daily Mail, Evening Standard, Times, and Financial Times

D I S C OV E R T H E M O S T

MAGICAL FI L M OF T H E Y EAR

★★★★

“

A REMARKABLE CREATION.” ROGER EBERT

W I NN E r

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FINAL SHOW

caméra d’or caNNES FILm FESTIVaL

GraNd JUrY PrIZE SUNdaNcE FILm FESTIVaL

© 2012 TCFFC

Santa Fe Jewish Film Festival presents

PORTRAIT OF WALLY Friday-Saturday Oct 5-6

Tickets Santa Fe 505-988-1234 www.TicketsSantaFe.org S E R V I C E C H A R G E S A P P LY AT A L L P O I N T S O F P U R C H A S E

Coming Soon from the National Theatre

Timon of Athens / November 8

Shakespeare’s tale of consumption, debt and ruin.

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

12:30p - Samsara 1:30p - Sleepwalk With Me* 2:30p - Beasts - FINAL SHOWS 3:30p - Sleepwalk With Me* 4:30p - Samsara 5:30p - Detropia* 6:30p - Samsara 7:30p - Detropia* 8:30p - Samsara

4:00p Sunday, October 4

Followed by a Skype interview with director Andrew Shea!

Sunday Oct 7 11:30p - Beasts - FINAL SHOWS 1:00p - Sleepwalk With Me* 1:30p - Samsara 3:00p - Sleepwalk With Me* 4:00p - Portrait of Wally 5:30p - Detropia w/ Skype-in to directors!!* 6:30p - Samsara 7:30p - Detropia* 8:30p - Samsara

Advanced tickets recommended • santafejff.org

Monday Oct 8 4:00p - Samsara 5:00p - Detropia* 6:00p - Samsara 7:00p - Detropia* 8:00p - Samsara

Tues-Thurs Oct 9-11 2:00p - Samsara 3:00p - Sleepwalk With Me* 4:00p - Samsara 5:00p - Detropia* 6:00p - Samsara 7:00p - Detropia* 8:00p - Samsara * indicates shows will be in The Studio at CCA, our new screening room for $7.50.

Concessions Provided by WHOLE FOODS MARKET PASATIEMPO

51

RESTAURANT REVIEW Susan Meadows I For The New Mexican

And then there was Luce

Tanti Luce 221 Restaurant and Bar 221 Shelby St., 988-2355 Dinner 5-9 p.m. nightly; bar opens at 4 p.m.

Full bar Vegetarian options Noise level: intimate conversation Patio dining in season Handicapped-accessibility: some stairs & sharp corners Credit cards, no checks

•

The Short Order Perhaps unable to bring the mountains to Manhattan, Rick Smith, new Santa Fe restaurant owner and New Mexico native with a few New York roots, has decided to bring Manhattan to the mountains. A nuanced version of the cocktail, that is, and a slew of other sassy drinks and serious snacks served in perhaps the most charming bar in town. Chef Tom Kerpon expertly prepares his own take on southern European and American favorites so that whether you opt for the luminous newly redesigned main dining room, the terraces, or the bar, you will eat — and drink — very well at Tanti Luce 221 Restaurant and Bar. The wine list offers range, value, and many options by the glass. The Luce cocktail just might help you see the light.

Recommended: Southwest oysters Rockefeller, braised pork belly, meatballs in arrabbiata sauce, duck confit, “Tuscan” halibut, braised short ribs, “chocolate madness” cake, and cheesecake with mango sorbet.

Ratings range from 0 to 4 chiles, including half chiles.

This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value.

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The new kid on the block has attitude. In April, Tanti Luce 221 Restaurant and Bar moved into the centuryold adobe formerly occupied by Periscope, Julian’s, and lastly, Amavi. On its website it’s described as “a bit of Greenwich Village in Santa Fe.” The bar menu declares that the mojito is made with “freshly spanked mint” and that despite the chipotle, Southwest deviled eggs are “not hot; don’t be a sissy.”

But owner Rick Smith, a former Manhattan CEO via Albuquerque; general manager Missy Auge, an ex-New York fashion model from Belen; and chef Tom Kerpon, a Santa Fe veteran of the Inn of the Anasazi and the Río Chama Steakhouse are just having fun. And fun is a defining trait here. Kerpon mingles with diners and offers an unusual ingredient for making his authentictasting duck confit: a bottle of wine. “It’s not for the duck,” he declares. “It’s for me!”

The now luminous all-white and open dining room wraps around a free-standing kiva fireplace. Options are as plentiful as the light (luce in Italian): there are small plates, salads, and traditional mains in the dining room, or choose from these and/or the more playful menu in the tucked-away bar.

This is refined country cooking from my dream country: part France, part Italy, and part Spain-ta-Fe with a dash of Gulf Coast meets Southwest from Kerpon’s past in Texas — but all in the most natural way. I thought, of course, oysters Rockefeller should have a flame-roasted chile and red pepper undertow! Fingers of ultratender calamari mantle and tail-on shrimp seemed like small fry in the star presence of blue-corn crusted oysters as part of the fritto misto. Likewise, the lemon-coriander aioli attracted everything on my fork with an irresistible pull, upstaging the marinara-style dipping sauce.

The crisp-skinned duck leg confit rides in with half a handsome duck breast (generosity is a theme) cooked perfectly to order, sliced, and resting in a deep-flavored jus beside a hillock of white beans stewed with carrots and slivers of salty bacon —- a sort of deconstructed cassoulet. The flawless “Tuscan” halibut roasted and balanced on a bed of rice and spinach with a scattering of herbs, fresh artichoke leaves, and dried tomatoes is, for good reason, a popular dish according to our server.

A bottle of Comte Lafon chardonnay from Macon proved both good value and a boon companion to our meals, but a covey of young women twittering at the next table over the signature cocktails hardened my resolve to spend an evening in the bar. I already liked the attitude. What may be the most charming bar in Santa Fe also boasts perhaps the most affable bartender and some of the best cocktails: the house special “Luce” and Manhattan are both as smooth

as Betty Draper’s cheek and as complex as her ex.

Heady drinks like these require landing gear, so try the braised pork belly that defines the genre and gamy rosemary-skewered meatballs with arrabbiata sauce, both from the bar menu. These prompted a further exploration of Kerpon’s skilled hand with red meat (remember his steakhouse past?). The buffalo short ribs braised in Barolo fell apart under a fork, perfumed and moist. The tang of the Gorgonzola crust enhanced a petite filet, nearly as tender though wanting a bit more char. Potatoes mashed with butter and garlic and fresh bright greens or asparagus balanced them.

As for the desserts, try the cheesecake and the side of house mango sorbet. The chocolate “madness” cake is a necessity, and you can’t lose with the intensely fruity trio of house sorbets. The California and French pinot noirs offered by the glass are good, very different, and true to their type (I preferred the French). Kerpon isn’t trying to invent a new cuisine; he expertly combines and executes a handful of venerable ones whose riches have yet to be exhausted. And face it: Santa Fe’s finedining scene can always use some extra sass. ◀

Check, please

Dinner for two, Tanti Luce 221 Restaurant and Bar: Fritto misto ...................................................... $ 13.00 Southwest oysters Rockefeller ......................... $ 18.00 Tuscan halibut ................................................. $ 27.00 Duck confit & breast ....................................... $ 27.00 Chocolate madness cake .................................. $ 8.00 House sorbet .................................................... $ 9.00 Bottle, Macon chardonnay ............................... $ 37.00 TOTAL ............................................................. $ 139.00 (before tax and tip)

Dinner for two, another visit: Meatballs in arrabbiata sauce ........................... $ 7.00 Pork belly ........................................................ $ 10.00 Petite filet with Gorgonzola ............................. $ 36.00 Buffalo short ribs ............................................. $ 28.00 Cheesecake ...................................................... $ 8.00 Maria Takes Manhattan cocktail ...................... $ 14.00 Luce cocktail ................................................... $ 11.00 Glass, Latour pinot noir ................................... $ 9.00 Glass, Picket Fence pinot noir ......................... $ 10.00 TOTAL ............................................................. $ 133.00 (before tax and tip)

Elmoreindianart.com

The destination for pueblo pottery and vintage jewelry!

Special for Pasatiempo Readers: No Sales Tax thru Oct 31st.

STEVE ELMORE INDIAN ART

Santa Fe, New • 505/995-9677 839 Paseo de Mexico Peralta • Santa Fe, NM 505-995-9677

Fri and Sat at 1:20 and 6:00; Sun at 4:45; Mon through Wed at 7:30; thurS at 4:30

STEVE PETERS IS PRESENTED BY SFAI AND SFUAD CONTEMPORARY MUSIC PROGRAM

Composer and Sound Artist Steve Peters Lecture/Reception “Making a Place to Listen“ Mon Oct 8, 6pm Tipton Hall/SFAI

Episodes 3 and 4 Sat at 11:00am Encore Screening: Episodes 1 and 2 Sun at 7:15

Workshop “Listening, Finding, Giving, Receiving” Sat & Sun Oct 13 & 14, 10am - 2pm Benildus Hall, O’Shaughnessy Performance Space Sound Installations: “The Very Rich Hours” Oct 8 - 26, 9am – 5pm, M-F, SFAI Gallery I “Chamber Music 2: Atrium” Oct 1 - 31, Benildus Hall, Atrium Soundspace

Fri and Sat 3:45 and 8:15; Sun at 2:30 Mon through Wed at 3:00 and 5:15; thurS at 2:15

FALL SEASON BEGINS SUNDAY

“Ricardo Legorreta and Santa Fe”. A weekend of activities across Santa Fe to honor the influence of Ricardo Legorreta's creative force on Santa Fe design. Lectures, exhibition, tours of Legorreta designed Santa Fe buildings: Oct 19 & 20.

SFAI benefit dinner with Victor Legorreta: see sfai.org for details

WWW. S F A I .OR G, 5 0 5 4 2 4 - 5 0 5 0 , I NF O@ S F AI. ORG SANTA FE ART INSTITUTE, 1600 ST.MICHAELS DRIVE, SANTA FE NM 87505 | SANTA FE ART INSTITUTE PROMOTES ART AS A POSITIVE SOCIAL FORCE THROUGH RESIDENCIES, LECTURES STUDIO WORKSHOPS, EXHIBITIONS, COMMUNITY ART ACTIONS, AND EDUCATIONAL OUTREACH FOR ADULTS AND YOUNG PEOPLE. SFAI IS AN ENVIRONMENT WHERE CREATIVITY, INNOVATION, AND CHALLENGING IDEAS THRIVE. PARTIALLY FUNDED BY CITY OF SANTA FE ARTS COMMISION AND 1% LODGER’S TAX AND BY NEW MEXICO ARTS, A DIVISION OF DEPARTMENT OF CULTURAL AFFAIRS

BAYADERE

(PARIS OPERA BALLET) SUNDAY 11:00AM Santa Fe’s #1 Movie theater, showcasing the best DOLBY in World Cinema. ®

D I G I T A L

S U R R O U N D •E X

SANTA FE University of Art and Design 1600 St. Michael’s Dr. information: 473-6494 www.thescreensf.com

YOU CAN NOW PURCHASE TICKETS ONLINE go to thescreensf.com PASATIEMPO

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Ricardo Legorreta and Santa Fe

Desert Academy

Space to learn.

Room to grow.

A weekend of activities across Santa Fe to honor the influence of Ricardo Legorreta’s creative force on Santa Fe design.

Por favor, únase a nosotros para un fin de semana de eventos para celebrar Ricardo Legorreta.

JOIN US FOR OPEN HOUSE

Friday and Saturday October 19th and 20th

Thursday, October 18, 6:00-8:30pm or Saturday, October 20, 10:00am-12:30pm

Lectures with Victor Legorreta, Wayne Lloyd, Dr. Khristaan Villela Tours of the Thornburg Campus, Santa Fe Art Institute, Santa Fe University of Art and Design Visual Arts Center, Zocalo Condominiums, and a Private Santa Fe Residence

International Baccalaureate World School

COLLEGE PREPARATORY GRADES 7-12

7300 Old Santa Fe Trail • Santa Fe, NM 87505 (505) 992-8284, ext. 14 • www.desertacademy.org

Ricardo Legorreta and Santa Fe Exhibition with videos, drawings, and models of Santa Fe Projects.

SFAI Benefit Dinner to honor Anne & John Marion and to celebrate Ricardo Legorreta’s legacy - Victor Legorreta will be in attendence.

For information about the events or to purchase your tickets to the SFAI Benefit Dinner, contact us at (505) 424-5050, info@sfai.org, or www.sfai.org.

HEATHER WILSON

MARTIN HEINRICH

FREEDOM OF SPEECH Got an opinion about the debates?

Tune in to our LIVE blog at santafenewmexican.com/election and participate.

October 11: KRQE (Channel 13), 6-7 pm October 21: KOAT (Channel 7), 6-7 pm October 25: KOB (Channel 4), 7-9 pm

As you have for 163 Years, You Turn To Us. 54

October 5-11, 2012

pasa week 5 Friday

Zane Bennett Contemporary art 435 S. Guadalupe St., 982-8111. Letting Go of the Piano Top, reception and Design Santa Fe 2012 awards gala 5-7 p.m., through Oct. 24.

gallery/museum openings

aarin richard gallery 924 Paseo de Peralta, Suite 1, 913-7179.

Painted Hide/Painted Canvas: Abstract Art of the 19th & 21st Centuries, reception 5-7 p.m., through October. adobe gallery 221 Canyon Rd., 629-4051. Fifty-Year Span of Hopi Katsina Dolls, through December. arroyo gallery 200 Canyon Rd., 988-1002. Paul Steiner: Figures & Landscapes, reception 5-7 p.m., through October. axle Contemporary 670-7612 or 670-5854. The Art of the Chair, group show, reception 5-7 p.m., look for the mobile gallery’s van in front of Zane Bennett Contemporary, 435 S. Guadalupe St., visit axleart.com for van locations through Oct. 28.

Blue rain gallery 130 Lincoln Ave., 954-9902. Primitive — Elegant II: A Collaboration Between Preston Singletary and Dante Marioni, art glass, reception 5-7 p.m., through Oct. 20.

Charlotte Jackson Fine art 554 S. Guadalupe St., 989-8688. Winston Roeth: New Paintings, reception 5-7 p.m., through Nov. 1.

Collected Works Bookstore 202 Galisteo St., 988-4226. Works by Jan Denton, Karen Halbert, and Ellen Walton, reception 5-7:30 p.m., through Nov. 16.

Commissioner’s gallery — new mexico state land office 310 Old Santa Fe Trail, 827-5762. New Mexico Connections, paintings

by Mary Helen Follingstad, reception 5-7 p.m., through October.

Convergence gallery 219 W. San Francisco St., 986-1245. Limitless, paintings by Katherine Irish Henry, reception 5-7 p.m., through Oct. 27.

David richard Contemporary 130-D Lincoln Ave., 982-0318. Paintings and Works on Paper, Michio Takayama; Action Figures and Wall Sculptures, Richard Faralla; Abstract Expressionism: 1945-1965, group show; reception 5-7 p.m., through Nov. 17.

Dominique Boisjoli Fine art 621 Canyon Rd., 989-7855. The Golden Season, work by Boisjoli, reception 5-7 p.m., through Oct. 15. ed larson gallery 229-C Johnson St., 982-9988. Works by Ed Larson and Thomas E. Larson, reception 5-7 p.m., through Oct. 12. elysee Fine art 223 Canyon Rd. 820-9229.

Balance + Motion + Microscopic, works by Katey Berry Furgason and Scot Furgason, reception 5-7 p.m., through Nov. 5.

Pasa’s Little Black Book......... 56 Exhibitionism...................... 58 At the Galleries.................... 59 Libraries.............................. 59 Museums & Art Spaces........ 59 In the Wings....................... 60

compiled by Pamela Beach, pambeach@sfnewmexican.com

ClassiCal musiC

TgiF organ recital James David Christie, 5:30-6:30 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated, 982-8544 (see story, Page 18).

THeaTer/DanCe antonio granjero and entreFlamenco Aire, 8 p.m., María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr., $25-$45, 988-1234, ticketssantafe.org, WednesdayMonday through Oct. 21. ‘scapin’ opening night The Greer Garson Theatre 2012-2013 season begins with an adaptation of Molière’s comedy Les Fourberies de Scapin, 7 p.m., Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $12-$15, discounts available, 988-1234, ticketssantafe.org, FridaySunday through Oct. 14 (see story, Page 42).

President John Kennedy Visits NASA, September 1962, by Bob Gomel, Monroe Gallery of Photography, 112 Don Gaspar Ave.

Hunter Kirkland Contemporary 200-B Canyon Rd., 984-2111. New abstracts

by Peter Burega, reception 5-7 p.m., through Oct. 21. legends santa Fe 125 Lincoln Ave., 983-5639. Women in Art, works by Carol Hagan, Jan Van Ek, and Emily Wood, reception 5-7 p.m., through Oct. 29. lewallen galleries Downtown 125 W. Palace Ave., 988-8997. Home, paintings

by Jesse Blanchard, reception 5:30-7:30 p.m., through Oct. 28. manitou galleries 123 W. Palace Ave., 986-0440. Autumn Group Show, reception 5-7:30 p.m. meyer gallery 225 Canyon Rd., 983-1434. Paintings by Ted Polomis, reception 5-7 p.m., through Oct. 12. mill Fine art 530 Canyon Rd., 982-9212. Paintings

by Deborah Stevens (see story, Page 32), John Chang, and Steven DaLuz, reception 5-7 p.m., through Nov. 17. monroe gallery of photography 112 Don Gaspar Ave., 992-0800. ‘Life’ in the 1960s, work by Bob Gomel, reception 5-7 p.m., through Nov. 18. new Concept gallery 610 Canyon Rd., 795-7570. Botanica, paintings by Ann Hosfeld, reception 5-7 p.m., through Nov. 5.

Elsewhere............................ 62 People Who Need People..... 63 Under 21............................. 63 Short People........................ 63 Sound Waves...................... 63

new mexico museum of art 107 W. Palace Ave., 476-5072. Chromatic Fusion: The Art of Fused Glass; Emerge 2012: A Showcase of Rising Talents in Kiln Glass; reception 5:30-7:30 p.m.; through Jan. 6.

The palace restaurant & saloon 142 W. Palace Ave, 428-0690. Lithographs and works on paper by Deborah Jojola; sculpture

by Rollie Grandois; reception 5-7 p.m., through October. pippin Contemporary 125 Lincoln Ave., 795-7476. Spontaneous Combustion, abstracts by Aleta Pippin, reception 5-7 p.m., through Oct. 24. santa Fe Community College, school of arts and Design Visual arts gallery 6401 Richards Ave., 428-1501. Familia, Hogar, Fe: Día de los Santos + Día de los Muertos, works by members of Sangre Fuerte, reception 5-8 p.m., through Nov. 2.

Windsor Betts gallery 143 Lincoln Ave., 820-1234. Ancestors, paintings

by Dick Jemison, reception 5-7 p.m., through October.

Winterowd Fine art 701 Canyon Rd., 992-8878. Shimmer, landscapes

by Jamie Kirkland, artist talk 4:30 p.m., reception 5-7 p.m., through Oct. 18. yares art projects 123 Grant Ave., 984-0044. Mysteries: Full Circle, paintings by Kenneth Noland, reception 5:30-7:30 p.m., through Dec. 8.

BooKs/TalKs

artist talk Visual artist Pablo Helguera, 6 p.m., part of SITE Santa Fe’s Art & Culture series, 1606 Paseo de Peralta, $10, discounts available, 989-1199.

Donald levering The poet reads from and signs copies of his collection Algonquins Planted Salmon, 6 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, 992-0591. on the role of Questions in learning Richard McCombs speaks, 7:30 p.m., Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, no charge, 984-6070.

eVenTs

Design santa Fe 11 a.m.-4 p.m.: Design Crawl, local interiordesign businesses welcome the public as part of the annual event; Home & Garden Tour, selfguided, $15; for a list of participating businesses and a full schedule of events through Saturday, Oct. 6, visit santafeinteriordesignerspresents.com.

nigHTliFe

(See Page 56 for addresses) ¡Chispa! at el mesón The Three Faces of Jazz and friends, featuring Bryan Lewis on drums, 7:30 p.m., no cover.

Cowgirl BBQ Singer/songwriter Travis Joel, 5-7:30 p.m., no cover. Roots-rock singer/ songwriter Jono Manson, 8 p.m., $5 cover. ▶▶▶▶▶▶▶▶

calendar guidelines Please submit information and listings for Pasa Week

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

PASATIEMPO

55

El Cañon at the Hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover.

El Farol Latin-groove band Nosotros, 9 p.m., $7 cover.

Hotel Santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover.

La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover.

La Fiesta Lounge at La Fonda Sierra, country tunes, 8-11 p.m., no cover.

La Posada de Santa Fe Resort and Spa Nacha Mendez Trio, pan-Latin chanteuse, 6:30-9:30 p.m., no cover.

Le Chantilly Café at Garrett’s Desert Inn Equinox, Lou Levin on keyboard and Gayle Kenny on acoustic bass, 6:30-9 p.m., no cover.

The Palace Restaurant & Saloon The Strange, rock and funk, 5-7 p.m., no cover.

Pranzo Italian Grill Pianist David Geist, show tunes, 6-9 p.m.; joined by Santa Fe Rep performing numbers from the musical Working, 8 p.m., call for cover.

Rouge Cat Walker Barnard with DJs Melanie Moore and Bacon, electronic rhythms, 9 p.m., $5 cover before 11 p.m., $7 after.

Second Street Brewery The Squash Blossom Boys, experimental, folk, and bluegrass, 6-9 p.m., no cover.

Second Street Brewery at the Railyard Americana duo Todd & The Fox, 6-9 p.m., no cover.

Pasa’s little black book nt & Bar anasazi Restaura Anasazi, the Rosewood Inn of e., 988-3030 113 Washington Av nch Resort & Spa Bishop’s Lodge Ra ., 983-6377 Rd 1297 Bishops Lodge Fe a nt Sa of Bull Ring e., Suite 108, 150 Washington Av 983-3328 ón ¡Chispa! at El mes 983-6756 e., Av ton ing 213 Wash Cowgirl BBQ , 982-2565 319 S. Guadalupe St. Dinner for Two , 820-2075 106 N. Guadalupe St. lton El Cañon at the Hi 811 8-2 98 , St. al ov nd Sa 100 Rd., 983-9912 El Farol 808 Canyon ill Gr El Paseo Bar & 2-2848 208 Galisteo St., 99 Evangelo’s o St., 982-9014 200 W. San Francisc Santa Fe Hotel Chimayó de 988-4900 e., Av ton 125 Washing Hotel Santa Fe ta, 982-1200 1501 Paseo de Peral St., 982-3433 rcy Ma .

La Boca 72 W ina La Casa Sena Cant 8-9232 98 e., Av e lac Pa E. 5 12

56

October 5 -11, 2012

Taberna La Boca Accordionist Pedro Romero, 6-8 p.m., no cover.

Tiny’s Singer/songwriters John & Synde, 5:308 p.m., no cover. Classic-rock band The Jakes, 8:30 p.m.-12:30 a.m., no cover.

The Underground at Evangelo’s Acoustic-rock band Amber Saint Yves; DJ Magic Noodle spinning soul and funk; hip-hop band State of Mingo; 9 p.m., $5 cover.

Vanessie Pianist Doug Montgomery and violinist Tony Kawalkowski, classic and standards, 7-10 p.m., call for cover.

6 Saturday GaLLERy/mUSEUm oPEnInGS

Destiny allison Fine art 7 Caliente Rd., Suite A-1, Eldorado, 428-0024.

Vulnerabilities, encaustic portraits by Francisco Benitez, watercolors by Faro, and sculpture by Allison, reception 5-7 p.m., through Nov. 3.

Waits Studio Works 933 Baca St., 270-2654. By Products, giclée prints by Gregory Waits, reception 5-8 p.m., through Nov. 10.

In ConCERT

Songwriters Picking on Themselves, Volume 1 Catfish Hodge, Joe West, and Jono Manson, 7:30 p.m., Gig Performance Space, 1808-H Second St., $15 at the door, gigsantafe.com.

La Fiesta Lounge at La Fonda 100 E. San Francisco St., 982-5511 La Posada de Santa Fe Resort and Spa 330 E. Palace Ave., 986-0000 Le Chantilly Café at Garrett’s Desert Inn 311 Old Santa Fe Trail, 984-8500 Lodge Lounge at The Lodge at Santa Fe 750 N. St. Francis Dr., 992-5800 The matador 116 W. San Francisco St., 984-5050 The mine Shaft Tavern 2846 NM 14, Madrid, 473-0743 museum Hill Café 710 Camino Lejo, Milner Plaza, 984-8900 ore House at milagro 139 W. San Francisco St., 995-0139 osteria d’assisi 58 Federal Pl., 986-5858 The Palace Restaurant & Saloon 142 W. Palace Ave, 428-0690 Pizzeria da Lino 204 N. Guadalupe St., 982-8474 Pranzo Italian Grill 540 Montezuma Ave., 984-2645

THEaTER/DanCE

antonio Granjero and EntreFlamenco Aire, 8 p.m., María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr., $25-$45, 988-1234, ticketssantafe.org, WednesdayMonday through Oct. 21.

Robert Wood Dance Company Coreografia, contemporary dance theater, 7:30 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $20 and $35, 988-1234, ticketssantafe.org (see story, Page 40).

‘Scapin’ The Greer Garson Theatre presents an adaptation of Molière’s comedy Les Fourberies de Scapin, 7 p.m., Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $12-$15, discounts available, 988-1234, ticketssantafe.org, continues Friday-Sunday through Oct. 14 (see story, Page 42).

‘Working’ Santa Fe REP presents Stephen Schwartz and Nina Faso’s musical based on Studs Terkel’s book, 8 p.m., Black Box Theatre, Warehouse 21, 1614 Paseo de Peralta, $24, discounts available, 629-6517, sfrep.org, Thursday-Sunday through Oct. 14.

BookS/TaLkS

Jo-ann mapson The author discusses her new novel, Finding Casey, with novelist Judi Hendricks, 3 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

Wills and Estate Planning for your Pet Led by attorney Shawn K. Deasy, 10 a.m.1 p.m., Kindred Spirits Animal Sanctuary, 3749-A NM 14, south of Santa Fe, $35, 471-5366, kindredspiritsnm.org.

Rouge Cat 101 W. Marcy St., 983-6603 San Q Japanese Sushi and Tapas 31 Burro Alley, 992-0304 Santa Fe Sol Stage & Grill 37 Fire Pl., solofsantafe.com Second Street Brewer y 1814 Second St., 982-3030 Second Street Brewer y at the Railyard Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 989-3278 The Starlight Lounge RainbowVision Santa Fe, 500 Rodeo Rd., 428-7781 Stats Sports Bar & nightlife 135 W. Palace Ave., 982-7265 Taberna La Boca 125 Lincoln Ave., Suite 117, 988-7102 Tiny’s 1005 St. Francis Dr., Suite 117, 983-9817 The Underground at Evangelo’s 200 W. San Francisco St., 577-5893 Upper Crust Pizza 329 Old Santa Fe Trail, 982-0000 Vanessie 434 W. San Francisco St., 982-9966 Zia Diner 326 S. Guadalupe St., 988-7008

oUTDooRS

Geology and mining hike 10 a.m., Cerrillos Hills State Park, 16 miles south of Santa Fe off NM 14, parking area about a half mile north of the village of Cerrrillos, $5 per vehicle, 474-0196.

Harvest Festival Annual fall celebration; includes horsedrawn tours, hands-on activities for the family, Matachines dances, and storytelling, 10 a.m.-4 p.m., El Rancho de las Golondrinas, 334 Los Pinos Rd., $8, discounts available, 471-2261, continues Sunday, Oct. 7.

Leonora Curtin Wetland Preserve ethnobotany walk Led by Richard Ford, 10 a.m., 27283 Interstate 25 W. Frontage Rd., adjacent to El Rancho de las Golondrinas, no charge, 471-9103.

EVEnTS

Barkin’ Ball Santa Fe Animal Shelter and Humane Society’s annual fundraiser; carnival games, food booths, pet parade, a silent auction, and country-western music, 5 p.m., Santa Fe Community Convention Center, 201 W. Marcy St., $75, 983-4309, Ext. 202, dogs welcome.

Design Santa Fe 11 a.m.-4 p.m.: Design Crawl, local interior-design businesses welcome the public as part of the annual event; Home & Garden Tour, self-guided, $15; 5:30-7:30 p.m.: Design Dialogue, panel discussion on design and architecture with Michael Rotondi, April Greiman, and Suzanne Tick, New Mexico History Museum, 113 Lincoln Ave., tickets and list of participating businesses available online at santafeinteriordesignerspresents.com.

The Little Gala for a Big Cause Big Brothers Big Sisters fundraiser; the Sharing Family Traditions-themed event includes a cocktail reception, live entertainment, silent auction, and dinner prepared by local chefs, 6 p.m., Hilton Santa Fe Golf Resort & Spa at Buffalo Thunder, Pojoaque Pueblo, off U.S. 84/285, $150, 983-8360.

Painted Violins 2012 The Santa Fe Symphony Orchestra & Chorus hosts a gala and auction of artist-painted violins, 5:30 p.m., Stieren Hall, Santa Fe Opera, 301 Opera Dr., $95, 983-3530.

Pueblo of Tesuque Flea market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through December.

Santa Fe artists market at Cathedral Park 10 a.m.-5 p.m. through Sunday, Oct. 7, more than 100 artists, E. Palace Ave. and Cathedral Pl., 310-1555.

Santa Fe Farmers market 8 a.m.-1 p.m., 1607 Paseo de Peralta, 983-4098.

The Santa Fe Flea at the Downs 8 a.m.-3 p.m., south of Santa Fe at NM 599 and the Interstate 25 Frontage Rd., 982-2671, santafeflea.com, weekends through Oct. 28.

Santa Fe model Train Show 15th annual event; 9 a.m.-5 p.m., featuring the Vern Beardsley Memorial POW-MIA train and the Royce Brothers Circus train, Santa Fe County Fair Grounds, 3229 Rodeo Rd., no charge, continues Sunday, Oct. 7.

Santa Fe Society of artists Show 9 a.m.-5:30 p.m. in the First National Bank parking lot, off West Palace Avenue, across from the New Mexico Museum of Art, weekends through Oct. 21.

Santa Fe Tango Argentine Tango milonga, 8 p.m.-midnight, Scottish Rite Center, 463 Paseo de Peralta, $10, 982-3926.

Santa Fe Woman’s Club Flea Market Antiques, clothing, furniture, and food, 8 a.m.-5 p.m., 1616 Paseo de Peralta, 983-9455, continues Sunday, Oct. 7.

Straw appliqué demonstration and workshop Led by Craig Montoya, 1-4 p.m., part of a series in honor of Hispanic Heritage Month, Santa Fe Arts Commission Community Gallery, 107 W. Marcy St., no charge, 955-6707.

Sweet Salsa Havana Nights Center for Contemporary Arts’ fundraiser, 6 p.m., dinner, dance contest, and silent auction, Inn and Spa at Loretto, 211 Old Santa Fe Trail, $100; bachata and salsa dance contest $10, couples $20; 982-1338, ccasantafe.org.

Wings for Hope Charity Biker Rally 11 a.m.-5 p.m., live music by Old-school rockabilly band Rob-A-Lou and rock ’n’ roll band Al-stosch’oRama, outdoor grilling, balloon animals for kids, and vintage car and bike show, Real Burger, 2641½ Cerrillos Rd., proceeds benefit underpriviledged children, WFH, 984-0382, wingsforhope.com.

NigHtliFe

(See Page 56 for addresses) ¡Chispa! at el Mesón Flamenco Conpaz, 7-10 p.m., $10 cover.

Cowgirl BBQ Americana band Boris & The Salt Licks, 8:30 p.m., $5 cover. el Farol Funadix, oldies rock ’n’ roll, 9 p.m., $5 cover.

Hotel Chimayó de Santa Fe Acoustic-rock band Amber Saint Yves, 9:30 p.m., no cover.

Hotel Santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. la Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Sierra, country tunes, 8-11 p.m., no cover. the Mine Shaft tavern Connie Long with Fast Patsy, 7-11 p.m., call for cover.

Second Street Brewery New Orleans-style jazz ensemble WATIV, 6 p.m., no cover.

Second Street Brewery at the Railyard Bill Hearne Trio, roadhouse honky-tonk, 6-9 p.m., no cover. taberna la Boca Nacha Mendez Duo, pan-Latin rhythms, 6:30-9:30 p.m., no cover. tiny’s Showcase karaoke with Nanci and Cyndy, 7-11 p.m., no cover.

Vanessie Pianist Doug Montgomery and violinist Tony Kawalkowski, classic and standards, 7-10 p.m., call for cover.

7 Sunday galleRy/MuSeuM opeNiNgS

Red Sky/New School Studios 1519-1521 Upper Canyon Rd., 301-9142.

Red Crow Collective open studios, 2-5 p.m.

opeRa iN Hd

performance at the Screen Season opener, The Paris Opera Ballet in La Bayadère, 11 a.m., Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $20, discounts available, 473-6494, screensf.org.

Afternoon Gold, by Suzanne Siminger, Gerald Peters Gallery, 1011 Paseo de Peralta

ClaSSiCal MuSiC

an evening in e-flat Major Christine Chen, Gail Robertson, Dana Winograd, and David Bolotin perform as a piano trio and piano quartet, music of Beethoven, Schumann, and Dvoˇrák, 7 p.m., Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, no charge, 984-6070.

Música antigua de albuquerque The early music ensemble performs medieval and Renaissance music in A Day in the Life, 4:30 p.m., Christ Lutheran Church, 1701 Arroyo Chamiso, $16, discounts available, 505-842-9613.

iN CoNCeRt

Soul Kitchen with Hillary Smith and Chris dracup 3 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $10 and $25, 988-1234, ticketssantafe.org, proceeds benefit The Friendship Club and Children First. the dunwells British folk-rock band, The Bus Tapes open, 3-7 p.m., outdoors at the Railyard Plaza, 1607 Paseo de Peralta, no charge.

tHeateR/daNCe

antonio granjero and entreFlamenco Aire, 8 p.m., María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr., $25-$45, 988-1234, ticketssantafe.org, WednesdayMonday through Oct. 21. look to the Horizon scholarship performance Ballet dancers Ruben Rascon and Cora Cliburn, and flamenco dancer Emmy Grimm, 2 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., by donation, 927-0108.

‘Scapin’ The Greer Garson Theatre presents an adaptation of Molière’s comedy Les Fourberies de Scapin, 2 p.m., Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $12-$15, discounts available, 988-1234, ticketssantafe.org, Friday-Sunday through Oct. 14 (see story, Page 42).

‘Working’ Santa Fe REP presents Stephen Schwartz and Nina Faso’s musical based on Studs Terkel’s book, 8 p.m., Black Box Theatre,

Warehouse 21, 1614 Paseo de Peralta, $24, discounts available, 629-6517, sfrep.org, Thursday-Sunday through Oct. 14.

BooKS/talKS

Jerry ortiz y pino JourneySantaFe presents a discussion on education with the Democratic state senator, 11 a.m., Collected Works Bookstore, 202 Galisteo St., no charge, 988-4226.

outdooRS

Harvest Festival Annual fall celebration; includes horse-drawn tours, Matachines dances, and storytelling, 10 a.m.-4 p.m., El Rancho de las Golondrinas, 334 Los Pinos Rd., $8, discounts available, 471-2261.

eVeNtS

2012 New Mexico Film & tV industry Mixer New Mexico Women in Film fundraiser, includes NMWIF Sage Award presentation honoring Warehouse 21 director Ana Gallegos y Reinhart, 4-7 p.m., La Posada de Santa Fe Resort and Spa, 330 E. Palace Ave., $25 in advance online at nmwif.com. international folk dances 6:30-8 p.m. weekly followed by Israeli dances 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, or 983-3168, beginners welcome. pueblo of tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through December.

Railyard artisans Market 8 a.m.-1 p.m. weekly. Live music: balladeer Michael Combs, ranchera/folk/honky-tonk, 10 a.m.-4 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 670-6544.

Santa Fe artists Market at Cathedral park 10 a.m.-5 p.m., more than 100 artists, E. Palace Ave. and Cathedral Pl., 310-1555. the Santa Fe Flea at the downs 8 a.m.-3 p.m., south of Santa Fe at NM 599 and the Interstate 25 Frontage Rd., 982-2671, santafeflea.com, weekends through Oct. 28.

Santa Fe Jewish Film Festival The third season kicks off with former Santa Fean Andrew Shea’s documentary Portrait of Wally, tracing the legal battle surrounding Egon Schiele’s painting seized by the Nazis, 4 p.m., followed by a Q & A session via skype, Cinematheque, 1050 Old Pecos Trail, $10, 4-ticket passes $36, 6-tickets passes $54, tickets available in advance online at santafejff.org, 216-0672, the season continues through April 14 (see Moving Images, Page 48).

Santa Fe living treasures Honoring Priscilla McGill Carr, Roslyn E. Eisenberg, and Evelyn D. Ward, 2 p.m., Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., 989-5819.

Santa Fe Model train Show 15th annual event; 10 a.m.-4 p.m., featuring the Vern Beardsley Memorial POW-MIA train and the Royce Brothers Circus train, Santa Fe County Fair Grounds, 3229 Rodeo Rd., no charge.

Santa Fe Society of artists Show 9 a.m.-6 p.m., in the First National Bank parking lot, off West Palace Avenue, across from the New Mexico Museum of Art, weekends through Oct. 21.

Santa Fe Woman’s Club Flea Market Antiques, clothing, furniture, and food, 9 a.m.-4 p.m., 1616 Paseo de Peralta, 983-9455.

NigHtliFe

(See Page 56 for addresses) Cowgirl BBQ Country singer/songwriter Bill Hearne, 8 p.m., no cover. el Farol Nacha Mendez, pan-Latin chanteuse, 7-10 p.m., no cover. la Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la posada de Santa Fe Resort and Spa Wily Jim, Western swingabilly, 6-9 p.m., no cover.

Vanessie Pianist Doug Montgomery and violinist Tony Kawalkowski, classic and standards, 7-10 p.m., call for cover.

pasa week

continued on Page 61

PASATIEMPO

57

exhibitionism

A peek at what’s showing around town

Jesse blanchard: Blue Mountain, 2012, mixed media on paper.

LewAllen Galleries Downtown (125 W. Palace Ave., 988-8997) presents Home, an exhibition of works on paper

by Jesse Blanchard. Home includes Blanchard’s abstract imagery of houses and cakes rendered in a variety of mediums including painting and collage. There is a reception on Friday, Oct. 5, at 5:30 p.m.

ted Polomis: Mickey’s Mantel, 2012, oil on panel. An exhibit of still-life paintings

by Ted Polomis opens at Meyer Gallery on Friday, Oct. 5, with a 5 p.m. reception. Polomis paints children’s toys such as model cars and trucks, as well as pottery and other subjects, rendering them in a realist style. The gallery is at 225 Canyon Road. Call 983-1434.

thomas e. Larson: Empty City, 2011, oil on masonite. A show of new expressionist paintings by Ed Larson and his grandson Thomas E. Larson opens Friday, Oct. 5, with a 5 p.m. reception at Ed Larson Gallery (229-C Johnson St.). The reception includes music

by Carlos Vivanco. Call 982-9988.

Preston singletary and Dante marioni: Spirit Wolves, 2012, blown glass. Blue Rain Gallery (130-C Lincoln Ave.) presents the second exhibition of collaborative work by Preston Singletary and Dante Marioni, Primitive-Elegant II. Singletary fuses animal imagery and designs inspired by his Tlingit heritage with Marioni’s classic vessel forms. Primitive-Elegant II opens Friday, Oct. 5, with a 5 p.m. reception. Call 954-9902.

58

October 5 -11, 2012

Abraham Gelbart: Chair, 2008, watercolor. The Art of the Chair is an exhibit by local artists Abraham Gelbart, DeeAnne Wagner, Don Kennell, and SCUBA (Sandra Wang and Crockett Bodelson). The show opens at Axle Contemporary on Friday, Oct. 5, with a 5 p.m. reception. The Art of the Chair is shown in conjunction with the Design LAB juried exhibition at Zane Bennett Contemporary Art (435 S. Guadalupe St., 982-8111) — which opens with a 5 p.m. reception on Friday, Oct. 5 — and Design Santa Fe 2012 (running through Saturday, Oct. 6; www.santafeinteriordesignerspresents. com). Axle’s mobile gallery is located outside of Zane Bennett for the opening, but the location changes daily.

Visit www.axleart.com for updates or call 670-7612.

At the GAlleries Andrew Smith Gallery 122 Grant Ave. The Jungle at the Door: A Glimpse of Wild India, photographs by Joan Myers, through Oct. 15.

Caldera Gallery 933 Baca St., 926-1242. A New Age, work

by Jessamyn Lovell, through Oct. 26.

Chiaroscuro Contemporary Art 702½ Canyon Rd., 992-0711. Cause & Effect, work by Nora Naranjo Morse, through Oct.13 (see review, Page 34).

Gerald Peters Gallery 1011 Paseo de Peralta, 954-5700. Darren Vigil Gray: New Mythology; Singular Visions, watercolors by Harold Gregor, Keith Jacobshagen, and Suzanne Siminger; through Saturday, Oct. 6.

Jane Sauer Gallery 652 Canyon Rd., 995-8513. Ceramic sculpture

by Adrian Arleo, through Tuesday, Oct. 9.

Mark Sublette Medicine Man Gallery 602-A Canyon Rd., 820-7451. Jorge Fick (1932-2004) — Pueblo Windows, through Oct. 26.

McLarry Modern 225 Canyon Rd., 983-8589. Youthful Memories, paintings by Rebecca Kinkead, through Oct. 12.

Meyer East Gallery 225 Canyon Rd., 983-1657. Southwestern Light, landscapes by Albert Scharf; Love and Loss, portraits by Fatima Ronquillo; through Oct. 5.

Nüart Gallery 670 Canyon Rd., 988-3888. Iris Plural, portraits

by Alberto Gálvez, through Sunday, Oct. 7.

Patina Gallery 131 W. Palace Ave., 986-3432. Speaking of Klee, ceramics by Sheryl Zacharia, through Oct. 14.

Pop Gallery 142 Lincoln Ave., Suite 102, 820-0788. Wine, Chile & Clifford Bailey, paintings, through October.

Primitive Edge Gallery Institute of American Indian Arts, 83 Avan Nu Po Rd., 424-5745. Art in the Raw, annual student exhibit, through Oct. 25.

Randall Davey Audubon Center 1800 Upper Canyon Rd., 983-4609. Hope, paintings by Natasha Isenhour, through Oct. 14.

Santa Fe Art Institute Lobby Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5050. No Places With Names: A Critical Acoustic Archaeology, GPS-based interactive installation by Teri Rueb, Larry Phan, and Carmelita Tapaha, through Oct. 26.

Santa Fe University of Art & Design Benildus Hall Atrium Soundspace, 1600 St. Michael’s Dr., 424-5050. Chamber Music 2: Atrium, four-channel sound installation

by Steve Peters, 8 a.m.-10 p.m. daily through October.

Verve Gallery of Photography 219 E. Marcy St., 982-5009. A Sense of Time, works by Susan Burnstine, Michael Crouser, and Douglas Ethridge, through Oct. 13.

William & Joseph Gallery 727 Canyon Rd., 982-9404. Paintings by Natasha Isenhour, through Oct. 14. New paintings by Tony Saladino, through October.

liBrAries Beaumont and Nancy Newhall Library Marion Center for Photographic Arts, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5052. Open by appointment only.

Catherine McElvain Library School for Advanced Research, 660 Garcia St., 954-7200. Open Monday-Friday, call for hours.

Chase Art History Library Thaw Art History Center, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 473-6569. Open Monday-Friday, call for hours.

Faith and John Meem Library St. John’s College, 1160 Camino de Cruz Blanca, 984-6041. Visit stjohnscollege.edu for hours of operation. $20 fee to nonstudents and nonfaculty.

Fray Angélico Chávez History Library Palace of the Governors, 120 Washington Ave., 476-5090. Open 1-5 p.m. Tuesday-Friday.

Laboratory of Anthropology Library Museum of Indian Arts & Culture, 476-1264.

Open 1-5 p.m. Monday-Friday, by museum admission.

New Mexico State Library 1209 Camino Carlos Rey, 476-9700. Upstairs (state and federal documents and books) open noon-4:30 p.m. Monday-Friday; downstairs (Southwest collection, archives, and records) open 9 a.m.-4:30 p.m. Monday-Friday.

Quimby Memorial Library Southwestern College, 3960 San Felipe Rd., 467-6825. Rare books and collections of metaphysical materials.

Open Monday-Friday, call for hours.

Santa Fe Community College Library 6401 Richards Ave., 428-1352. Open MondayFriday, call for hours.

Santa Fe Institute 1399 Hyde Park Rd., 984-8800. Visit santafe.edu/library for online catalog.

Open 1-5 p.m. Monday-Friday to current students (call for details).

Santa Fe Public Library, Main Branch 145 Washington Ave., 955-6780. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday-Saturday, 1-5 p.m. Sunday.

Santa Fe Public Library, Oliver La Farge Branch 1730 Llano St., 955-4860. Open 10 a.m.-8 p.m. Monday-Wednesday, 10 a.m.6 p.m. Thursday-Friday. Closed Saturday and Sunday.

Santa Fe Public Library, Southside Branch 6599 Jaguar Dr., 955-2810. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday-Saturday. Closed Sunday.

Supreme Court Law Library 237 Don Gaspar Ave., 827-4850. Online catalog available at supremecourtlawlibrary.org.

Open 8 a.m.-5 p.m. Monday-Friday.

MuseuMs & Art spAces refer to the daily calendar listings for special events. Museum hours subject to change on holidays and for special events.

Center for Contemporary Arts 1050 Old Pecos Trail, 982-1338. Dust in the Machine, group show, through Nov. 25 • Rhythms of Life, images of global stone sculptures by Andrew Rogers, Spector Ripps Project Space, through Oct. 21. Gallery hours available by phone or online at ccasantafe.org, no charge.

Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Georgia O’Keeffe and the Faraway: Nature and Image, through May 5, 2013. Open 10 a.m.-5 p.m. SaturdayThursday, open 10 a.m.-7 p.m. Fridays. $12; seniors $10; NM residents $6; students 18 and over $10; under 18 no charge; NM residents free, 5-7 p.m. first Friday of the month.

Tell Me Your Sorrows (detail), by cortney Boyd, in the exhibit Chromatic Fusion: The Art of Fused Glass, opening Friday, Oct. 5, New Mexico Museum of Art, 107 W. palace Ave.

Governor’s Gallery State Capitol Building, fourth floor, Old Santa Fe Trail and Paseo de Peralta, 476-5058. Works by recipients of the Governor’s Awards for Excellence in the Arts, through Dec. 7.

Museum of Contemporary Native Arts 108 Cathedral Pl., 983-8900. 50/50: Fifty Artists, Fifty Years • Dual(ing) Identities, work by Debra Yepa-Pappan • Grab, screenings of a film by Billy Luther • Red Meridian, paintings by Mateo Romero • Vernacular, work by Jeff Kahm; all exhibits through December. Open 10 a.m.5 p.m. Monday and Wednesday-Saturday, noon-5 p.m. Sunday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays.

Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 476-1250.

Woven Identities: Basketry Art From the Collections • They Wove for Horses: Diné Saddle Blankets, Navajo weavings and silverworks; exhibits through March 4 • Margarete Bagshaw: Breaking the Rules, 20-year retrospective, through 2013 • Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Let’s Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents no charge on Sundays; free to NM residents over 60 on Wednesdays.

Museum of International Folk Art 706 Camino Lejo, Museum Hill, 476-1200.

The Art of Gaman, the works created by Japanese Americans in internment camps during WWII in this important show represent a significant moment in U.S. history, through Sunday, Oct. 7 • New Mexican Hispanic Artists 1912-2012, installation in Lloyd’s Treasure Chest, through Feb. 28 • Young Brides, Old Treasures: Macedonian Embroidered Dress • Folk Art of the Andes, work from the 19th and 20th centuries • Multiple Visions: A Common Bond, international collection of toys and traditional folk art. Open 10 a.m.5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; no charge for NM residents on Sundays.

Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 982-2226.

San Ysidro Labrador/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • New Deal Art: CCC Furniture and Tinwork; Transformations in Tin: Tinwork of Spanish Market Artists; through December • Recent Acquisitions, Colonial and 19thcentury Mexican art, sculpture, and furniture; also, work by Spanish Market youth artists • The Delgado Room, late Colonial period re-creation. Open 10 a.m.-5 p.m. TuesdaySunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays.

New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 476-5200.

Altared Spaces: The Shrines of New Mexico, photographs by Siegfried Halus, Jack Parsons, and Donald Woodman, through Feb. 10 • Native American Portraits: Points of Inquiry, through Nov. 4 • 47 Stars, tongue-in-cheek installation and items from the collection in celebration of New Mexico’s Centennial, through Nov. 25 • Illuminating the Word: The St. John’s Bible, 44 pages from two of seven volumes, a page from the Gutenberg Bible, and early editions of the King James Bible; Contemplative Landscape, exhibit featuring work by photojournalist Tony O’Brien; through Dec. 30 • Telling New Mexico: Stories From Then and Now, core exhibition of chronological periods from the pre-Colonial era to the present. Open 10 a.m.-5 p.m. TuesdaySunday. No charge on Fridays 5-8 p.m.; Open 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; no charge on Wednesdays for NM residents over 60; NM residents no charge on Sundays.

New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Chromatic Fusion: The Art of Fused Glass; Emerge 2012: A Showcase of Rising Talents in Kiln Glass; reception 5:30-7:30 p.m. Friday; through Jan. 6 • Alcove 12.5, ongoing series of revolving exhibits, through Oct. 21 • Treasures Seldom Seen, works from the permanent collection, through December • It’s About Time: 14,000 Years of Art in New Mexico, through January 2014. Open 10 a.m.-5 p.m. Tuesday-Sunday.

Open 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; free for NM residents over 60 on Wednesdays; NM residents free on Sundays.

New Mexico National Guard Bataan Memorial Museum and Library 1050 Old Pecos Trail, 474-1670. Housed in the original armory from which the 200th Coast Artillery Regiment was processed for entry into active service in 1941. Military artifacts and documents. Open 10 a.m.-4 p.m.

Tuesday-Saturday, by donation.

Poeh Museum 78 Cities of Gold Rd., 455-5041.

3-D: Nah Poeh Meng (The Continuous Path), installation tracing the story of the Tewa people. Open 10 a.m.-4 p.m. Monday-Saturday, donations accepted.

SITE Santa Fe 1606 Paseo de Peralta, 989-1199.

More Real? Art in the Age of Truthiness, group show, through Jan. 6. Open 10 a.m.-5 p.m.

Tuesday-Saturday; 10 a.m.-7 p.m. Friday; noon-5 p.m. Sunday. $10; seniors and students $5; Fridays no charge.

Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 982-4636. A Certain Fire: Mary Cabot Wheelwright Collects the Southwest, 75th anniversary exhibit • New work by Orlando Dugi and Ken Williams, Case Trading Post.

Open 10 a.m.-5 p.m. Monday-Saturday, 1-5 p.m. Sunday. Docent tours 2 p.m. Mondays, Wednesdays, Fridays, and Saturdays.

PASATIEMPO

59

In the wings MUSIC

KSFR Music Café Series Jazz guitarist Joshua Breakstone, with Earl Sauls on bass and John Trentacosta on drums, 7 p.m. Friday, Oct. 12, Museum Hill Café, Milner Plaza, 710 Camino Lejo, $20, 428-1527, proceeds benefit the radio station.

National Theatre of London live in HD The season continues with The Last of the Haussmans, 7 p.m. Friday, Oct. 12, Lensic Performing Arts Center, 211 W. San Francisco St., $22, discounts available, 988-1234, ticketssantafe.org.

The Met Live in HD The 2012-2013 season opens with Donizetti’s L’Elisir d’Amore, 11 a.m. and 6 p.m. Saturday, Oct. 13, Lensic Performing Arts Center, 211 W. San Francisco St., $22-$28, encores $22, advance tickets and full schedule available online at ticketssantafe.org, 988-1234.

Concordia Santa Fe The wind ensemble in Soaring, music of Björk, Stravinsky, and Dagenais, 2 p.m. Sunday, Oct. 14, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., donations welcome, 913-7211.

Eddie Daniels and Roger Kellaway The clarinetist and pianist pay tribute to Duke Ellington in a benefit concert for the New Mexico Center for Therapeutic Riding and the Santa Fe Symphony Youth Music Program, 4 p.m. Sunday, Oct. 14, Lensic Performing Arts Center, 211 W. San Francisco St., $25-$45, 988-1234, ticketssantafe.org.

Black Joe Lewis & The Honeybears Blues/funk/soul band, 7:30 p.m. Monday, Oct. 15, Santa Fe Sol Stage & Grill, 37 Fire Pl., $13, 988-1234, ticketssantafe.org.

Dan Deacon Theatrical electriconica DJ/ producer, 8 p.m. Tuesday, Oct. 16, Molly’s Kitchen & Lounge, 1611 Calle Lorca, $12, 988-1234, ticketssantafe.org.

Sean Hayes Folk singer/songwriter, Birds of Chicago opens, 7:30 p.m. Wednesday, Oct. 17, Santa Fe Sol Stage & Grill, 37 Fire Pl., $18, brownpapertickets.com.

Capleton & The Prophecy Band Jamaican reggae artist, Kulcha Knox opens, 7 p.m. Thursday, Oct. 18, Santa Fe Sol Stage & Grill, 37 Fire Pl., $25, ticketssantafe.org, 988-1234.

Guillermo Figueroa The violinist in a solo recital and accompanied by the Youth Symphony Orchestra, 7 p.m.

Saturday, Oct. 20, Scottish Rite Center, 463 Paseo de Peralta, $40, concert and reception $50, discounts available, tickets available at the Santa Fe Youth Symphony Association, 467-3770, proceeds benefit SFYSA. Charlie Christian Project Tribute to guitarist Charlie Christian with Michael Anthony on guitar, Bobby Shew on trumpet, Micky Patten on bass, and John Trentacosta on drums, 7:30 p.m. Saturday, Oct. 20, Gig Performance Space, 1808-H Second St., $15 at the door, gigsantafe.com.

Serenata of Santa Fe Chamber music ensemble in Rhapsodic Spin, music of Loeffler, Hindesmith, and Schumann, 3 p.m. Sunday, Oct. 21, Scottish Rite Center, 463 Paseo de Peralta, $20, serenataofsantafe.org.

Hélène Grimaud Solo piano recital, 7 p.m. Tuesday, Oct. 23, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$70, 988-1234, ticketssantafe.org. VIP tickets available through the New Mexico Wilderness Alliance, 505-216-9719, nmwild.org.

Ballet Folklórico de México 7:30 p.m. Thursday, Oct. 25, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$55, discounts available, 988-1234, ticketssantfe.org.

Caravan of Thieves Theatrical Gypsy-jazz band, 7:30 p.m. Friday, Oct. 26, Santa Fe Sol Stage & Grill, 37 Fire Pl., $15, solofsantafe.com.

Song Preservation Society Alt-folk trio, 7:30 p.m. Saturday, Oct. 27, Gig Performance Space, 1808-H Second St., $15 at the door, gigsantafe.com.

AU Experimental-pop band, 8 p.m. Sunday, Oct. 28, O’Shaughnessy Performance Space, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $12 in advance at holdmyticket.com, $15 at the door.

Alloy Orchestra The trio accompanies the 1925 silent horror classic, Phantom of the Opera, 7 p.m. Wednesday, Oct. 31, Lensic Performing Arts Center, 211 W. San Francisco St., $10-$20, 988-1234, ticketssantafe.org.

Sonia Pop-folk singer/songwriter and Indigie Femme, 7:30 p.m. Friday, Nov. 2, Santa Fe Sol Stage & Grill, 37 Fire Pl., $18 in advance, solofsantafe.com, $23 at the door.

Santa Fe Pro Musica Per Tengstrand: solo piano recital, Beethoven’s Piano Sonatas, 7:30 p.m. Friday, Nov. 2; SFPM

Upcoming events Orchestra featuring Tengstrand, music of Grieg, Schubert, and Beethoven, 3 p.m. Saturday, 6 p.m.

Sunday, Nov. 3-4, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$65, 988-1234, ticketssantafe.org.

Notes on Music: The Life and Music of Debussy Musical lecture by Santa Fe Concert Association artistic director Joseph Illick and soprano Gina Browning, 7:30 p.m. Tuesday, Nov. 6, United Church of Santa Fe, 1804 Arroyo Chamiso Rd., $20, discounts available, 988-1234, ticketssantafe.org.

Canticum Novum Chamber Orchestra & Chorus The Chamber ensemble opens its ninth season with music of Geminiani, Mozart, and Mendelssohn, 5 p.m. Saturday, Nov. 10, 3 p.m. Sunday, Nov. 11, pre-concert lectures by Oliver Prezant precede both concerts, Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $20 and $30, discounts available, ticketssantafe.org, 988-1234.

Catherine Donavon Sings the Pattie Page Songbook Accompanied by pianist Bert Dalton and his trio, 7:30 p.m. Saturday, 2 p.m. Sunday, Nov. 10-11, Santa Fe Playhouse, 142 E. De Vargas St., $20 minimum donation, 986-1801.

THEATER/DANCE

‘Poesía de México’ Teatro Paraguas presents five centuries of Mexican poetry, 7 p.m. Friday and Saturday, 2:30 p.m. Sunday.

Oct. 12-21, Teatro Paraguas Studio, 3205 Calle Marie, $8 and $10, Sundays pay what you wish, 424-1601, teatroparaguas.org.

‘Of Mice and Men’ New York-based troupe The Acting Company presents the drama, 7 p.m. Wednesday, Oct. 17, Lensic Performing Arts Center, 211 W. San Francisco St., $15-$35, 988-1234, ticketssantafe.org.

‘Elect to Laugh’ Political satirist Will Durst’s one-man show (with special guests), 7:30 p.m.

Alt-folk trio song preservation society performs at gig performance space oct. 27.

60

October 5 -11, 2012

Friday, Oct. 19, Lensic Performing Arts Center, 211 W. San Francisco St., $15-$20, discounts available, ticketssantafe.org, 988-1234.

‘Eleemosynary’ Theaterwork opens its 17th season with a play examining the relationships between a grandmother, mother, and child, 7:30 p.m. Thursdays-Saturdays, 2 p.m. Sundays, Oct. 19-28, James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $15, discounts available, 471-1799.

HAPPENINGS

Glamour & Gauze Christus St. Vincent Hospital Intensive Care and Critical Care Unit expansion fundraiser; dinner, music by Soulstice, and stand-up comic Paula Poundstone; also, silent and live auctions, 6 p.m. Saturday, Oct. 13, Eldorado Hotel & Spa, 309 W. San Francisco St., $250, presented by St. Vincent Hospital Foundation, 913-5209, stvinfoundation.org.

Raise the Roof! 2012 Mayor’s Ball in support of Santa Fe Habitat for Humanity, Jimmy Stadler Band, dinner, and silent and live auctions, doors open at 5:30 p.m. Saturday, Oct. 20, Santa Fe Community Convention Center, 107 W. Marcy St., $150 in advance, 986-5880, santafehabitat.org.

Santa Fe Independent Film Festival The fourth annual event opens with the New Mexico premiere of the adaptation of Rudolfo Anaya’s book Bless Me, Ultima, Wednesday, Oct. 17; 80 films will be screened through Sunday, Oct. 21 at various venues, festival passes ($100) and day passes ($10-$30) available in advance, ticketssantafe.org, 988-1234.

Lannan Foundation Cultural Freedom Event Poet/playwright Nathalie Handal with Naomi Shihab Nye, Wednesday, Oct. 24; both events begin at 7 p.m.; Lensic Performing Arts Center, 211 W. San Francisco St., $3 and $6, 988-1234, ticketssantafe.org.

Recycle Santa Fe Art Festival Friday-Sunday, Nov. 2-4, the annual event includes the Trash Fashion & Costume Contest, juried adult and kids’ art exhibit, kids’ make-and-take recycled-art activities, and art market, Santa Fe Community Convention Center, 201 W. Marcy St., recyclesantafe,org.

Wordharvest: 2012 Tony Hillerman Writers Conference Annual event, ThursdaySaturday, Nov. 8-10, faculty members include Santa Fe historian Thomas E. Chávez, Western Writers of America award-winner John D. Boggs, New Mexico author Steve Brewer, film/TV director Chris Eyre, Hotel Santa Fe, 1501 Paseo de Peralta, visit wordharvest.com for registration and full schedule.

Question of Power Fundraiser Green chile supper, photography exhibit, silent auction, and live music, 5-8 p.m. Friday, Nov. 9, Phil Space Gallery, 1410 Second St., $15 suggested donation at the door, 670-2560, questionofpower.org.

24th annual AID & Comfort Gala Celebrity-chef dinner 7 p.m. Saturday, Nov. 17, performances by Frenchie Davis, Donna Sachet, Burlesque Noir, and DJ Austin Head, 8 p.m., Hilton Santa Fe Golf Resort & Spa at Buffalo Thunder, Pojoaque Pueblo, off U.S. 84/285, $50-$300, tickets available online at southwestcare.ejoinme.org, proceeds benefit Southwest CARE Center’s AID & Comfort fund.

13th annual Santa Fe Film Festival Thursday-Sunday, Dec. 6-9, visit Santafefilmfestival.com for details.

pasa week

Continued from Page 57

8 Monday

9 Tuesday books/talks

antonio granjero and entreFlamenco Aire, 8 p.m., María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr., $25-$45, 988-1234, ticketssantafe.org, WednesdayMonday through Oct. 21.

John nichols and taylor streit The authors read from their respective books, On Top of Spoon Mountain and Instinctive Fly Fishing: A Guide’s Guide to Better Trout Fishing, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. cheryl and bill Jamison The cookbook authors discuss Tasting New Mexico, 3-4 p.m., School for Advanced Research, 660 Garcia St., no charge, 954-7203. tomaž Šalamun The Slovenian poet reads from his work, 7 p.m., O’Shaughnessy Performance Space, Benildus Hall, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., no charge, 473-6200 (see Subtexts, Page 14).

books/talks

events

gallery/museum openings

santa Fe art institute gallery Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5050. The Very Rich Hours, sound installation

by Steve Peters, through Oct. 26. Artist lecture, Making a Place to Listen, Tipton Hall, $10, discounts available; reception follows at the gallery (see story, Page 30).

theater/dance

mayan cave cosmology A Southwest Seminars Lecture by Keith M. Prufer, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775. michael chavez and thomas cobb The Pecos-based author reads from his mystery, Creed, and the novelist reads from With Blood in Their Eyes, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

events

Weekly all-ages informal swing dances Lesson 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., dance only $3, lesson and dance $8, 473-0955.

nightliFe

(See Page 56 for addresses) cowgirl bbQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover. el Farol Geeks Who Drink Trivia Night, 7 p.m., no cover. la Fiesta lounge at la Fonda Los Wise Guys, oldies/country/rock, 7:30 p.m., no cover. taberna la boca Flamenco guitarist Chuscales, 7-9 p.m., call for cover. vanessie Pianist Doug Montgomery and violinist Tony Kawalkowski, classic and standards, 7-10 p.m., call for cover.

2012 piñon awards & community Forum Winners include Littleglobe Inc., Santa Fe for Students, Friendship Club, and the League of Women Voters; panels and dialogues on immigration and veterans’ affairs 9 a.m.-noon, Santa Fe Community Foundation, 501 Halona St., $25; awards ceremony and dinner 5:30-8 p.m., La Fonda, 100 E. San Francisco St., $35, 988-9715, Ext. 7020. international Folk dances Lesson 7-8 p.m., dance 8-10:30 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, or 983-3168, beginners welcome. santa Fe Farmers market 8 a.m.-1 p.m., 1607 Paseo de Peralta, 983-4098, through November.

nightliFe

(See Page 56 for addresses) cowgirl bbQ Jazz-grass ensemble MilkDrive, 8 p.m., no cover. el Farol Canyon Road Blues Jam, with Tiho Dimitrov, Brant Leeper, Mikey Chavez, and Tone Forrest, 8:30 p.m.-midnight, no cover. la casa sena cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Los Wise Guys, oldies/country/rock, 7:30 p.m., no cover.

Madrid/cerrillos art Tour

Painting by Shelly Johnson

After a seven-year hiatus, the Madrid/ Cerrillos Art Tour begins with an auction and preview party from 7 to 9 p.m. Friday, Oct. 5, at The Engine House Theater on the grounds of The Mine Shaft Tavern, 2846 NM 14. The two-weekend tours (10 a.m.-5 p.m. Saturday and Sunday, Oct. 6-13, South of Santa Fe along NM 14) feature sculpture, jewelry, wearable fiber art, paintings, and photographs by 29 artists.

In addition, visitors can enjoy horseback riding, live music, several restaurants, and shops. Find a studio map and artists’ directory online at madridcerrillosstudiotour.com, or, pick up maps at all studios (watch for signs).

For additional information call 470-1346.

Arroyo Seco II. by Angus MacDonald, Michael McCormick Gallery, 106-C Paseo del Pueblo Norte, Taos

tiny’s Open-mic night with John and Synde, 7-11 p.m., no cover. vanessie Pianist Doug Montgomery and violinist Tony Kawalkowski, classic and standards, 7-10 p.m., call for cover.

10 Wednesday in concert

the helio sequence Pop-rock duo, 7:30 p.m., Slowdance opens, Santa Fe Sol Stage & Grill, 37 Fire Pl., $12, 988-1234, ticketssantafe.org.

theater/dance

antonio granjero and entreFlamenco Aire, 8 p.m., María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr., $25-$45, 988-1234, ticketssantafe.org, WednesdayMonday through Oct. 21.

books/talks

lannan Foundation cultural Freedom event Broadcast journalist/columnist Amy Goodman with Denis Moynihan, 7 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $3 and $6, 988-1234, ticketssantafe.org. Reception and benefit for KSFR Radio, 5 p.m., Chuck Jones Gallery, $50, 428-1527. (see story, Page 16). modern portraiture: robert henri Part of New Mexico Museum of Art’s docentled gallery talks, 12:15 p.m., 107 W. Palace Ave., by museum admission, 476-5075. school for advanced research lecture Fin de Millennium Football in Japan: A Sport and an Age for Individuals, by Elise Edwards, noon-1 p.m., SAR Boardroom, 660 Garcia St., no charge, 954-7203.

events

souls for soles Dance showcase in support of Capital High School’s dance program, 7 p.m., CHS Bryan Fant Theatre, 4851 Paseo del Sol, $5 at the door.

nightliFe

(See Page 56 for addresses) ¡chispa! at el mesón Flamenco guitarist Chusacales, 7:30-9:30 p.m., no cover. cowgirl bbQ Rock band Miggs, 5:30-7:30 p.m., no cover.

Country/honky-tonk singer/songwriter Bob Livingston, 8 p.m., no cover. el Farol Salsa Caliente, 9 p.m., no cover. la boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover. la casa sena cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover. the palace restaurant & saloon Bluegrass band Free Range Ramblers, 7:30-10:30 p.m., no cover. vanessie Pianist David Geist and friends, show tunes and the great American Songbook, 7-10 p.m., call for cover.

11 Thursday in concert

aimee mann Singer/songwriter, 7:30 p.m.. Lensic Performing Arts Center, 211 W. San Francisco St., $25-$42, 988-1234, ticketssantafe.org (see story, Page 20). el ten eleven Post-rock duo, 7:30 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $10, 988-1234, ticketssantafe.org.

theater/dance

antonio granjero and entreFlamenco Aire, 8 p.m. María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr., $25-$45, 988-1234, ticketssantafe.org, WednesdayMonday through Oct. 21. ▶▶▶▶▶▶▶▶ PASATIEMPO

61

‘Moon Over Buffalo’ sneak preview Ken Ludwig’s comic play opens the Santa Fe Playhouse’s 91st season, 7:30 p.m., 142 E. De Vargas St., $10, 988-4262, continues ThursdaySunday, through Oct. 28.

‘Working’ Santa Fe REP presents Stephen Schwartz and Nina Faso’s musical based on Studs Terkel’s book, 8 p.m., Black Box Theatre, Warehouse 21, 1614 Paseo de Peralta, $24, discounts available, 629-6517, sfrep.org, Thursday-Sunday through Oct. 14.

BOOks/talks

andrew Davis The poet and friends read from his poem Impluvium, 7 p.m., Molecule, 1226 Flagman Way, 982-0501.

Documentary Photography Documentary portrait photographer Toba Tucker speaks, 1-3 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, $10, part of the Renesan Institute for Life Long Learning’s Lecture Series, 982-9274.

Frances salman koenig The widow of photographer Karl P. Koenig discusses his book Fragments: Architecture of the Holocaust — An Artist’s Journey Through the Camps, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see story, Page 36).

Nickel stories Open five-minute prose readings, 6 p.m., Lucky Bean Café, 500 Montezuma Ave., Sanbusco Center, 438-8999.

eveNts

santa Fe Council on International Relations Benefit evening 2012 Gourmet dinner and a discussion of The Outlook for the Eurozone and European Union by ambassador Petr Gandaloviˇc of the Czech Republic, 6 p.m., La Fonda, 100 E. San Francisco St., $95 includes wine, full-table discounts available, 982-4931.

NIghtlIFe

(See Page 56 for addresses) ¡Chispa! at el Mesón Pianist John Rangel in duets with special guests, 7:30-9:30 p.m., no cover.

Cowgirl BBQ Singer/songwriters Jamie Sue Seal & John Latini, 8 p.m., no cover. el Farol The Bus Tapes, folk-rock, 9 p.m., no cover. la Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover. la Posada de santa Fe Resort and spa Pat Malone Jazz Trio, 7-10 p.m., no cover. the Matador DJ Inky spinning soul/punk/ska, 8:30 p.m., no cover. the Palace Restaurant & saloon Dance band Controlled Burn, 6:30-9:30 p.m., no cover.

Pizzeria da lino Gerry Carthy, tenor guitar and flute, 6:30 p.m., no cover. the starlight lounge Terry Acciardo and Gayle Kenny on bass, R & B, 7-9 p.m., no cover. taberna la Boca Nacha Mendez, pan-Latin Chanteuse, 6:30-9:30 p.m., no cover. tiny’s Mike Montiel Trio, classic rock, 8 p.m.-midnight, no cover. vanessie Jazz pianist Bert Dalton and friends, 7-11 p.m., call for cover.

Zia Diner Swing Soleil, Franco-American/Gypsy jazz, 6:30-8:30 p.m., no cover.

▶ Elsewhere abiquiú

19th annual abiquiú studio tour 10 a.m. to 5 p.m. Saturday-Monday, Oct. 6-8, Columbus Day weekend; more than 30 stops

abiquiú studio tour The 19th Annual Abiquiú Studio Tour spans Columbus Day weekend from 10 a.m. to 5 p.m. Saturday-Monday, Oct. 6-8, in the Village of Abiquiú and the surrounding Chama River Valley approximately one hour north of Santa Fe. More than 30 stops at studios and galleries offer sculpture, retablos, furniture, wood carvings, jewelry, and more at studios and galleries. The tour’s preview exhibit is on view at Galleria Arriba at the Abiquiú Inn, 21120 NM 84 through Oct. 30. Download a tour map and view examples of the artists’ works at abiquiustudiotour.org.

Photograph by Ken Brookshier

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October 5 -11, 2012

with artists offering sculpture, retablos, furniture, wood carvings, jewelry, and more; download a tour map and view examples of the artists’ works at abiquiustudiotour.org. galeria arriba Abiquiú Inn, 21120 NM 84, 505-685-4378. Abiquiú Studio Tour preview show, through Oct. 30.

albuquErquE Museums/art spaces

516 arts 516 Central Ave. S.W., 505-242-1445. ISEA2012 Albuquerque: Machine Wilderness, international group show of interactive installations, prints, and sculpture, part of the International Symposium of Electronic Art, through Jan. 6. african american Performing arts Center & exhibit hall Exhibition Center, New Mexico State Fairgrounds, 310 San Pedro Blvd. N.E., 505-222-0785. Annual Plein Air Painters of New Mexico exhibit, reception 5-7 p.m. Friday, Oct. 5, through Oct. 27. the anderson abruzzo albuquerque International Balloon Museum 9201 Balloon Museum Dr. N.E., 505-768-6020.

Saturday, Oct. 6 openings: Aerial Perspectives, silk batiks by Mary Edna Fraser • Federal Aéronautique Internationale Hall of Fame, portraits and artifacts on more than 40 inductees • International Symposium of Electronic Art ISEA2012 exhibits: Ulises 1, installation

by Juan José Díaz and the Mexican Space Collective; Beluga, installation by Antony Nevin. Balloon Fiesta hours: 6 a.m.-6 p.m.

Oct. 6-14; regular hours Tuesday-Sunday 9 a.m.-5 p.m. $4; New Mexico residents $3; seniors $2; ages 4-12 $1.

Indian Pueblo Cultural Center 2401 12th St. N.W., 866-855-7902. 100 Years of State & Federal Policy: The Impact on Pueblo Nations, through February 2013. Open 9 a.m.5 p.m. daily; adults $6; NM residents $4; seniors $5.50.

National hispanic Cultural Center 1701 Fourth St. S.W., 505-246-2261. Nuestros Maestros: The Legacy of Abad E. Lucero (19092009), paintings, sculpture, and furniture, through January 2013 • ¡Aquí Estamos!, items from the permanent collection. Open 10 a.m.-5 p.m.

Tuesday-Sunday; adults $3; seniors $2; under 16 no charge; Sundays no charge.

New Mexico Museum of Natural history & science 1801 Mountain Rd. N.W., 505-841-2804. ISEA2012 Albuquerque: Machine Wilderness, international group show of prints, interactive installations, and sculpture, part of the International Symposium of Electronic Art, through Jan. 6 • Dinosaur Century: 100 Years of Discovery in New Mexico, showcases of new finds change monthly through 2012.

Open 9 a.m.-5 p.m. daily; adults $7, seniors $6, under 12 $4; NM seniors 60 and over no charge on Wednesdays.

Richard levy gallery 514 Central Ave., S.W., 505-766-9888. DISTRICT (2012), interactive, site-specific installation

by Robert Drummond; SYN, installation using video-mapping technology by members of the Italian-based groups Artereazione+Consonant; through Oct. 12, part of the International Symposium of Electronic Art ISEA2012.

UNM art Museum Center for the Arts Building, 505-277-4001.

Dancing in the Dark, Joan Snyder Prints 19632010, exhibit of prints spanning 47 years of moments in Snyder’s life, through Dec. 15 • The Transformative Surface, film and digital works by faculty; through Dec. 15. Open 10 a.m.-4 p.m. Tuesday-Saturday; $5 suggested donation.

events/Performances

‘la Casa de Bernarda alba’ Teatro Nuevo México and the National Hispanic Cultural Center present Federica Garcia Lorca’s trilogy, 7 p.m. Friday and Saturday, 2 p.m.

Sunday, Oct. 5-7, Albuquerque Journal Theatre, NHCC, 1701 Fourth St. S.W., $12-$22, discounts available, 505-724-4771, nhccnm.org. sunday Chatter Violinist David Felberg and the LINKS! percussion ensemble perform works by Lou Harrison, 10:30 a.m. Sunday, Oct. 7, poetry reading by Don McIver, Factory on 5th, 1715 Fifth St. N.W., chatterchamber.org, $15 at the door.

Danilo Pérez trio Panamanian jazz pianist/composer, 7:30 p.m.

Thursday and Friday, Oct. 11-12, Outpost Performance Space, 210 Yale Blvd. S.E., $25 and $30, 505-268-0044.

cErrillos

Michael lancaster The author, and great-grandson of Charles Ringling of the original Ringling Brothers and Barnum & Bailey Circus, reads from Ringling, The Last Laugh, 5 p.m. Saturday, Oct. 6, Studio 98B, 98-B Gold Mine Rd., 474-7564.

los alamos

Bradbury science Museum 15th and Central Avenues, 667-4444. Open 10 a.m.-5 p.m. Tuesday-Saturday, 1-5 p.m.

Sunday-Monday; no charge. los alamos historical Museum 1050 Bathtub Row, 662-4493. Permanent exhibits on the geology of the Jémez volcano, the Manhattan Project, area anthropology, and the Ranch School for Boys. Open 9:30 a.m.-4 p.m. Monday-Friday, 11 a.m.4 p.m. Saturday, 1-4 p.m. Sunday; no charge.

Mesa Public library gallery 2400 Central Ave., 662-8247. UNMUTE: Text and Image in American Art, 1970-2000, prints and artists’ books from the New Mexico State University Art Gallery, opening Friday, Oct. 5, through Nov. 28.

events/Performances

los alamos symphony Orchestra Fall concert of music by Brahms, Saint-Saëns, Copland, and Gershwin, 7 p.m. Friday, Oct. 5, Crossroads Bible Church, 97 East Rd., $15 at the door, students/children no charge. los alamos historical society lecture The monthly series continues with Down the Río Grande: A Paddler’s Perspective of Rocks and Rapids, by geologist Paul Bauer, 7:30 p.m.

Tuesday, Oct. 9, Pajarito Room, Fuller Lodge, 2132 Central Ave., no charge, 662-6272.

madrid

Madrid/Cerrillos studio tour Auction and preview party 7-9 p.m. Friday, Oct. 5, The Engine House Theater on the grounds of The Mine Shaft Tavern, 2846 NM 14; self-guided tours 10 a.m.-5 p.m. Saturday and Sunday, Oct. 6-14; features jewelry, sculpture, paintings, and photographs by 29 artists; visit madridcerrillosstudiotour.com for a studio map and artists’ directory; for additional information call 470-1346.

Johnsons of Madrid 2843 NM 14, 471-1054. Group show of gallery artists; paintings by Mel Johnson; reception 1-5 p.m. Saturday, Oct. 6, through Nov. 28.

Madrid Old Coal town Mine Museum 2846 NM 14, 438-3780 or 473-0743. Steam locomotive, mining equipment, and vintage automobiles. Open 10 a.m.-6 p.m. daily. $5, seniors and children $3.

taos Museums/Art Spaces

E.L. Blumenschein Home and Museum 222 Ledoux St., 575-758-0505. Hacienda art from the Blumenschein family collection, European and Spanish Colonial antiques, permanent exhibits.

Open 10 a.m.-5 p.m. Monday-Saturday, noon5 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge; Taos County residents with ID no charge on Sunday.

Encore Gallery Taos Community Auditorium, Taos Center for the Arts, 133 Paseo del Pueblo Norte, 575-758-2052. Force of Nature, group show of Taos-based contemporary artists, reception 5-7 p.m. Friday, Oct. 5, through Dec. 2.

Greg Moon Art 109-A Kit Carson Rd., 575-770-4463. Only Paper Moons, works on paper by Moon, through Oct. 20.

Harwood Museum of Art 238 Ledoux St., 575-758-9826. Bea Mandelman: Collage • Bea Mandelman: The Social Realist Prints; works by Beatrice Mandelman (1912-1998) • Suspension of Disbelief: The Fantasy Worlds of Stella Snead, Barbara Harmon, Frieda Lawrence, Gisella Loeffler, Ila McAfee, and Millicent Rogers • Highlights From the Harwood Museum of Art’s Collection of Contemporary Art; all through Oct. 14.

Open 10 a.m.-5 p.m. Monday-Saturday, noon5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday.

Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson. Open 11 a.m.-5 p.m. daily, $5; seniors $4; teens $3; ages 12 and under no charge.

La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. Cultural Threads: Nellie Dunton and the Colcha Revival in New Mexico, through Jan. 30. Open 10 a.m.5 p.m. Monday-Saturday, noon-5 p.m. Sunday.

Adults $8; under 16 $4; children under 5 no charge; Taos County residents with ID no charge on Sunday.

Michael McCormick Gallery 106-C Paseo del Pueblo Norte, 800-279-0879.

Angus MacDonald’s Sixth Annual One-Man Exhibition, paintings, reception and book signing of Angus MacDonald: An American Artist with the artist and the author Lynne C. Robinson, 4-8 p.m. Saturday, Oct. 6.

Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462.

Unknown Was a Woman, group show of pottery, baskets, and weavings, through December. Open 10 a.m.-5 p.m. daily. $8, Taos County residents with ID no charge on Sunday.

Parks Gallery 110 Paseo del Pueblo Norte, 575-751-0343.

Transfigurations, figurative paintings by Dora Dillistone, through Oct. 20.

Taos Art Museum and Fechin House 227 Paseo del Pueblo Norte, 575-758-2690.

Open 10 a.m.-5 p.m. Wednesday-Sunday. $8, Taos County residents with ID no charge on Sunday.

Events/Performances

Historic E.I. Couse and J.H. Sharp properties studio and garden open house The Couse Foundation hosts the event featuring a preview sale of the foundation’s book, The Couse Collection of Santos, 5-7 p.m.

Saturday, Oct. 6, 146 Kit Carson Rd., no charge, 575-751-0369.

▶ People who need people Volunteers

Cornerstones Community Partnerships Help in the preservation of the San Miguel Chapel; hands-on training in working with traditional adobe mudding; info@cstones.org, 982-9521.

Santa Fe Community Farm Harvesting and other chores; 9:30 a.m.4 p.m., 1829 San Ysidro Crossing; 983-3303, sfcommunityfarm@gmail.com.

Street Homeless Animal Project Pick up collars once a week from various local pet supply stores for collar drives; staff information tables at community events, and help at fundraisers; call Karen Cain, 501-4933.

Artists/Craftspeople

Santa Fe Plaza Park Artist/Artisan Program The city is accepting applications from Santa Fe County residents for license terms valid from January 2013 through December 2017; handcrafted art only; pick up forms at City Hall, 200 Lincoln Ave., or download at santafenm.gov; all applications must be hand delivered by 5 p.m.

Wednesday, Oct. 31; for more information call the office of Constituent Services, 955-6949.

Santa Fe Society of Artists Oct. 27 Jury Santa Fe County resident painters, photographers, and sculptors sought; for details and application forms visit santafesocietyofartists.com, 424-9414.

Actors/Performers/filmmakers

Santa Fe Playhouse Submit 15-minute scripts for Benchwarmers 12; February 2013 performances; must be new or not yet produced; email playhouse@santafeplayhouse.org or call 988-4262 for submission packet and protocols; postscript deadline Monday, Oct. 29, or drop off at 142 E. De Vargas St.; for more information visit santafeplayhouse.org.

Taos Shortz Film Fest call for entries Held March 7-10 at the Taos Center for the Arts; regular deadline, Nov. 15, $25 entry fee; late deadline Dec. 15, $33; Taos residents special deadline Nov. 15, $11; student deadline Nov. 15, $15; entry forms and submission guidelines available online at taosshortz.com.

Women’s a capella group Must sing non-vibrato, have good pitch, and read music; paigewheeler@gmail.com, 603-3634.

▶ Under 21 Warehouse 21 Ground Zero Music Fest TRIP, Wolfman Jack, The Northern Lights, Skitts Revenant, and DJs Z and Sabotage, 7 p.m. Friday, Oct. 5, 1614 Paseo de Peralta, $5, 989-4423.

▶ short People Science After-School Programs Free classes (3:30 p.m.) for ages 5-12 at the Santa Fe Public Libraries: Monday, Oct. 9, Southside Branch, 6599 Jaguar Dr.; Tuesday, Oct. 10, Main Branch, 145 Washington Ave.; Thursday, Oct. 11, La Farge Branch, 1730 Llano St., other kids events listed online at santafepubliclibrary.org.

Santa Fe Science Café for Young Thinkers Fracking: The Monster in Our Backyard, discussion for students ages 13-19 led by Larry Kilham, 6-7:30 p.m.

Wednesday, Oct. 10, Georgia O’Keeffe Museum Education Annex, 123 Grant Ave., 982-0121, no charge. ◀

Close Shaver Country singer-songwriter Billy Joe Shaver Billy Joe Shaver once wrote, “I’m gonna spit and polish my old rough edged self/Till I get rid of every single flaw/ I’m gonna be the world’s best friend/Gonna go ’round shaking everybody’s hand/I’m gonna be the cotton pickin’ rage of the age/I’m gonna be a diamond some day.”

Shaver may be on the fast track to becoming the diamond he wants to be, but he spent a great deal of his earlier days hopelessly thrashing through darkened pits of aggregate emotional coal, wounding his own body, heart, and self-esteem in a world so cruel and hard on him that it’s a wonder he came out the other side with a little love still in his heart.

Shaver was the focus of a 2004 documentary produced by Robert Duvall, The Portrait of Billy Joe, which revealed the deep scars that define Shaver’s past while still leaving room for the reformed outlaw codger to soak in a little redemption. In Shaver’s 2005 book, Honky Tonk Hero: An Autobiography (written with Brad Reagan), he writes: I was not even born yet when my father first tried to kill me. It was June and the evening light had started to fade, but it was still hotter than nine kinds of hell ...

I was in my mother’s belly, two months from entering the world. Buddy Shaver [Shaver’s father] was convinced that my mother, Victory, was cheating on him.

That was bullshit, and he probably knew it. But he’d been drinking. ... He drank a lot. ... You know there are some guys who are just born naturally strong, with big shoulders and a chiseled upper body even though they never work a lick at it?

That was my father, and my mother didn’t have a chance.

Shaver’s parents abandoned him at an early age, and instead of going to high school, he worked on an uncle’s farm bailing hay and picking cotton before enlisting in the Navy on his 17th birthday. Along the way to becoming an outlaw honky-tonk legend — albeit one whose most palpable recognition came to him much later in life (his songs have been recorded by Kris Kristofferson, the Allman Brothers, Elvis Presley, and Waylon Jennings) — Shaver lost some of his fingertips in a sawmill accident; lost his wife and mother to cancer; lost his son to a drug overdose on New Year’s Eve in 2000; became an alcoholic; suffered a major heart attack; attempted suicide; and shot a man in Waco, Texas, in what he and his contended was self-defense. (Dear Robert Smith from The Cure: you have no idea what a bad day is.)

Shaver’s recent life has been like a prolonged rebound, and he’s been on a serious spiritual kick since around 2007, when he was acquitted of the Waco shooting. That same year, he released Everybody’s Brother, an uplifting and reflective collection of songs with a decidedly religious slant. I’d pray, too, if I were still alive after all he’s been through.

At 7:30 p.m. Friday, Oct. 5, Southwest Roots Music presents Billy Joe Shaver in concert at Santa Fe Sol Stage & Grill, 37 Fire Place, www.solofsantafe.com. Advance tickets, $25, are available from Tickets Santa Fe at the Lensic, 211 W. San Francisco St., 988-1234, www.ticketssantafe.org.

Not doomed if you don’t, and that would be a shame If you’re a regular Sound Waves reader, then you know I have a soft, squishy, angst-riddled spot in my metal-loving heart for local doommetal trio Drought. Word came down the social-media pike on Oct. 2 that Drought has teamed up with Salem, Oregon, black-metal outfit Mania for a three-song EP released on the Eternal Warfare imprint. It’s now available as a download for a measly buck at www.eternalwarfare.bandcamp.com/album/mania-drought. That’s three songs and more than 30 minutes of awesome, and 18 of those minutes come from Drought on a track titled “Turquoise Monolith.”

Go get ’em.

— Rob DeWalt rdewalt@sfnewmexican.com Twitter: @PasaTweet @Flashpan A weekly column devoted to music, performances, and aural diversions. Tips on upcoming events are welcome.

PASATIEMPO

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