Pasatiempo, June 14, 2013

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

????????? ??, 2013 June 14, 2013

“Pull up a chair.

LA MESA

Take a taste.

Come join us.

Life is so endlessly delicious.”

OF SANTA FE

–– Ruth Ruth Reichl Reichl

RUS S VOGT “5 Reed” Ceramic Sculpture

Artist Reception June 14 5-7pm meet the artist throughout the weekend Gift idea for Father’s Day! Color for your garden No water required!

225 Canyon Road Santa Fe NM 505.984.1688 lamesaofsantafe.com

526 Galisteo Street • 820.0919 www.restaurantmartin.com

‘Day of the Dad’

Home Sweet

Re claimed wood and iron furniture. Large slab dining tables.

Sectionals. Great beds. Coffee tables. Organic mattress. Nature art.

Father’s Day Brunch Sunday, June 16th

10:30 a.m. – 2:30 p.m. always a la carte!

505 984 1788

231 Washington Avenue Santa Fe, NM www.santacafe.com

‘like’ us on:

Happy Hour Special

OUR FAMOUS CLASSIC APPETIZERS

CALAMARI, DUMPLINGS, SPRING ROLLS 50% off Select wines-by-the-glass, ‘Well’ cocktails & our House Margarita! - $5.00 each FULL BAR with FREE WI-FI Monday thru Friday from 4:30 – 6:30 p.m. …

We Are Open Every Day! lunch from 9.50 / dinner from 19.00

www.

sequoia santafe

.com

201 Galisteo St, Santa Fe, NM 87501 Tel 505 982 7000

5:00pm - Gates Open

for shopping & dining

6:30pm - muttOn Bustin’ 7:00pm - Grand entry Wednesday, June 19th

Admiral Beverage Blake’s Lotaburger Boot Barn Buffalo Thunder Café Fina Cameron Veterinary Century Bank Chaparral Materials City of Santa Fe Clint Mortenson Silver & Saddles Coca-Cola of SF Comcast Cable Cowboy Church Diamond Vogel Paints Feed Bin/Ranchway Feeds

1st National Bank of Santa Fe Gibraltar Construction Graphic Sky Printing High Desert Landscaping Hyatt Place Hutton Broadcasting Inn at Santa Fe Joe’s Diner Justin Boots Lithia Santa Fe Los Alamos Medical Center Los Alamos National Bank Maloy Mobile Storage Mr. & Mrs. John N. McConnell McDonald’s Motel 6

NMGRA NM History Museum NM Sports & Physical Therapy O’Farrell Hats Pendleton Whisky Pueblo Bonito B&B Quality Inn Ram Rodeo The Ranch House SF New Mexican Santa Fe Sage Inn San Marcos Feed State Employees Credit Union State Farm/Melissa Pessara Wild Life West Park Wilson Storage

tickets at the Lensic Or caLL: 988-1234

Buffalo thunder night Free t-shirt to first 500 at Buffalo thunder booth

thursday, June 20th honor Our serviceman

Friday, June 21st

1:00pm chicks n chaps Breast cancer Fundraiser (920-8444 for tix) pink night for breast cancer awareness

saturday, June 22nd

Lithia night Gifts to first 500 visitors to the Lithia Booth

Rodeo Parade, Sat. June 15, 3pm, NEW ROUTE, rodeodesantafe.org

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Luxury Eyewear Cartier Chanel Chrome Hearts Anglo American Anne et Valentin, Dolce & Gabbana Etnia Barcelona FACEa FACE Ronit Furst Gotti i.c!berlin, Lindberg Oliver Peoples RetroSpecs Paul Smith Theo . Eyephorics…

OptOmetric physicians

Dr. Mark Botwin Dr. Jonathan Botwin Dr. Jeremy Botwin

Providing comprehensive eye care services to the residents of Santa Fe and northern New Mexico for two generations.

444 St Michaels Drive 5 0 5 . 9 5 4 . 4 4 4 2 BotwinEyeGroup.com PASATIEMPOMAGAZINE.COM

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35th Annual Challenge New Mexico

Matthew Broderick

ARTS & CRAFTS FESTIVAL

Ferris Bueller’s Day Off June 14 7 pm, $5

Lensic Presents Big Screen Classics

’80s COMEDY WEEKEND!

June 15 and 16, 2013

Michael J. Fox & Christopher Lloyd

BACK< to the

future June 15

Sponsored by

7 pm, $5

Tickets: 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

t h e l e n s i c i s a n o n p r o f it, m e m b e r- s u p p o rt e d o rga n i zat i o n

new oxygen facials

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Payne’s South 715 St. Michael’s 988-9626

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Bring DAD by Payne’s and let him choose a tree of his choice or plant one in his honor.

Payne’s Organic Soil Yard 6037 Agua Fria 424-0336 Mon - Fri 8 to 4 Sat 8 to Noon

Whether you’re looking for shade, fragrance, color or fruit, evergreen or deciduous, Payne’s has an excellent selection of all kinds of trees in stock at both stores, including really big trees.

Payne’s North 304 Camino Alire 988-8011 Mon - Sat 8 to 6 Sun 10 to 4

powered by pressurized oxygen & intraceuticals serums for deep hydration & instant lift

Payne’s Discount Coupon

30% OFF

Apache Plume 5 gal.

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Good at either St. Michael’s Dr. or Camino Alire location. Coupon must be presented at time of purchase. Applies to cash, check or credit card sales only.

Limit one coupon per customer, please. Cannot be combined with any other coupon or offer. Good through 6/21/13.

PASATIEMPO I June 14 - 20, 2013

introductory special all oxygen facials 25% off in june & july www.

ten thousand waves .com for info on these revolutionary treatments

Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room

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DONATE. GIVING TO GOODWILL MEANS KEEPING IT LOCAL.

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Handcrafted in Santa Fe MAKE AN ONLINE DONATION

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PASATIEMPOMAGAZINE.COM

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THE SANTA FE NEW MEXICAN

June 14 - 20, 2013

www.pasatiempomagazine.com

On the cOver 40 electrons on parade Currents is not your typical art fair. The annual homegrown-yet-international festival of new media produced by Parallel Studios takes over the town in what has grown into one of the largest community events of the season. The epicenter lies in and around El Museo Cultural de Santa Fe, and the fun begins Friday, June 14. The opening weekend of the festival features video and projection as well as multimedia performances from Tim Weaver (Page 44) The Bridge Club (see Page 48), and the trio of Janet Feder, Andrew Pask, and Darwin Grosse (Page 50), among others. The new-media mayhem continues throughout the month of June with art exhibits, panel discussions, lectures, interactive installations, and art gaming. Pasatiempo’s coverage of Currents begins on Page 40.

On the cover is Emily Martinez’s 2012 Anti-Apocalypse, installation view; image courtesy the artist.

mOving images

BOOks 16 in Other Words Nikola Tesla 28 chaco canyon Time and Time Again

52 53 54 55 56

mUsic & PerFOrmance 18 20 22 24 27

complex simon Chapter Two theaterwork Miss Jairus terrell’s tune-Up Mose McCormack Pasa tempos CD Reviews Onstage Colorblind Poet

calendar 63 Pasa Week

and

art

13 mixed media 15 star codes 60 restaurant review: sunrise Family restaurant

32 eli levin Happy birthday

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

detail of Blockheads Celebrating, 2013, by eli levin

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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/Website 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 James m. keller 986-3079, jkeller@sfnewmexican.com Paul Weideman 986-3043, pweideman@sfnewmexican.com

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cOntriBUtOrs loren Bienvenu, laurel gladden, robert ker, Bill kohlhaase, Jennifer levin, adele Oliveira, robert nott, Jonathan richards, heather roan-robbins, casey sanchez, michael Wade simpson, roger snodgrass, steve terrell, khristaan d. villela

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PrOdUctiOn dan gomez Pre-Press Manager

The Santa Fe New Mexican

© 2013 The Santa Fe New Mexican

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Robin Martin Owner

www.pasatiempomagazine.com

One Track Heart Before Midnight Shadow Dancer Kon-Tiki Pasa Pics

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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 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

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet

Panacea, 70” x 70”, Mixed Media

Galerie Züger presents Britten

Meet the Arist Friday and Saturday June 14, 5 - 8 pm & June 15, 1 - 5 pm 120 W San Francisco St, Santa Fe, NM 505.984.5099 galeriezuger.com

Chaos to Complexity: Artists & Scientists Share Insights Into the Creative Process

Luís M.A. Bettencourt

Kade L. Twist

Valerie Plame Wilson

Saturday, June 22 | 2-4 p.m.

Museum of Contemporary Native Arts 108 Cathedral Place, Allan Houser Art Park MoCNA and the Santa Fe Institute (SFI) explore the creative process in art and science. SFI Professor Luís M.A. Bettencourt and Cherokee artist Kade L. Twist discuss if Native artists and complexity scientists are so far apart? Moderated by SFI’s Valerie Plame Wilson.

Luís M.A. Bettencourt is an SFI professor and a former senior scientist at Los Alamos National Laboratory.

His focus is to understand complex systems: how cities function and grow, how the brain achieves cognition, how diseases spread, and what conditions lead to innovation.

Kade L. Twist (Cherokee Nation) is an interdisciplinary artist working with video, installation, sound and text. Twist’s work combines re-imagined tribal stories with geopolitical narratives to examine the unresolved tensions between market-driven systems, consumerism and American Indian cultural self-determination.

For more information or to RSVP please contact: Andrea R. Hanley, Membership + Program Manager 505.428.5907 or email at ahanley@iaia.edu Reception to Follow, Free with Admission | Seating is Limited

iaia.edu/museum

santafe.edu

PASATIEMPOMAGAZINE.COM

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engaged minds inspired leaders active citizens

THOUGHTFUL PURPOSE Prep means Prepared. Ready for Anything.

Tuition Assistance awarded annually to 32% of our families

2

Great rafting Adventure deals

$25 AM or PM Rafting Adventure on The Rio Grande Racecourse, Reg. $50.

OR

Peter SarkiSian, Book 1, 2011. CourteSy of the artiSt and JameS kelly ContemPorary, Santa fe.

success defined by courage and character

what’s happening

a small school that prepares you for a big world

this weekend June 15 | Saturday 9 am – 4 pm

annual book sale

New and gently used books on art, photography, architecture and the Southwest. Free.

coming up June 28 | Friday 5:30 – 6:30 pm

public lecture

Video artist Peter Sarkisian talks about his current exhibition. St. Francis Auditorium. Free.

New Mexico MuseuM of Art 107 w. palace ave | on the plaza in santa fe | 505.476.5072 | nmartmuseum.org |

The Dog Days of Summer... ...are almost here!

Corinna See Photography

$20 For One hour introductory SUP lesson, Reg. $40.

Assistance Dogs of the West, in cahoots with our talented canines, offers two wonderful summer camps:

Dog Days of Summer for ages 8-18

Monday, June 24 to Thursday, June 27 9 a.m.-3 p.m.

Monday, July 29 to Thursday, August 1 9 a.m.-3 p.m.

om eTaos.c

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Exclusively available at SplurgeTaos.com

To receive this offer, visit SplurgeTaos.com before midnight Wednesday, June 19, and purchase the Splurge certificate, which can be redeemed for the above offer. This advertisement is not a Splurge certificate.

8

PASATIEMPO I June 14 - 20, 2013

Engaging craft activities – fun games with canines – cooking for humans and hounds. Call to jump into the fun: 505-986-9748 or visit us online: assistancedogsofthewest.org

S A N TA F e B O TA N i C A l G A r d e N e v e N T S !

¡Viva Flora!

www.santafebotanicalgarden.org • 471-9103 Grand OpeninG Gala SpOnSOr

Grand OpeninG SiGnature SpOnSOr

(505) 989-3435

Santa Fe Botanical Garden at Museum Hill July 19–21, 715 Camino Lejo Gala Benefit Reception, Members Only Day and Free Community Day with activities for all ages. Gala tickets for sale online at www.santafebotanicalgarden.org.

1 1 0 D O N G A S PA R , S A N TA F E

Grand Opening Celebration Weekend

ShopBabette.com

PhOTO: ChARLES MANN

Painting by Jan Denton, New Mexico Evening Primrose

Treasured Plants of New Mexico, Botanical Art Show Opens June 21, 5–7pm Community Gallery, 201 W. Marcy St. Through August, the show includes art classes, lectures and children’s activities.

Free and open to the public.

PASATIEMPOMAGAZINE.COM

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THE LONGEST DAY JOIN US for The Longest Day®, as together Taos Retirement Village and Taos Living Center honor those living with Alzheimer’s disease and their caregivers. On The Longest Day, employees and friends from both Senior Living communities will be hiking, knitting, bicycling, playing games, etc. to raise awareness and funds for Alzheimer’s research and caregiver support.

For people facing Alzheimer’s disease, this challenge is every day. For you, it’s just one.

Please call Tammy Updike, 758-8248 or Bonnie Golden, 758-2300 x 232 to find out how you can make a difference (either sign up to be a participant or make a donation).

A celebration of creativity on the campus of Santa Fe University of Art and Design. High school workshops are open to rising juniors and seniors; community workshops are open to anyone 18+.

co m m u I Am Trying to Break Your Heart: Flash Fiction with Jon Davis, IAIA Creative Writing Faculty; July 8 - 12

Writing Your Life: Mapping a Memoir with Emily Rapp, SFUAD Creative Writing Faculty; July 8-12 Southwest Photography Survey with Mary Anne Redding, SFUAD Photography Chair; July 15-19 African Drumming with Fred Simpson, SFUAD Contemporary Music Contributing Faculty; July 22 - 26 all community workshops are $350

EVENT: THE LONGEST DAY Friday, June 21, 2013 at 5:00 pm at Taos Retirement Village You are invited to attend a talk about Alzheimer’s, offering resources and information.

Refreshments will be served.

high sc

hool

Serious Fun: Fiction and Poetry with Dana Levin, SFUAD Creative Writing Co-Chair; July 13; Free ARTLAB with David Leigh, SFUAD Studio Arts Contributing Faculty; July 15 - 19; $285

T AO S

1340 Maestas Road taoslivingcenter.com

RETIREMENT V IL L A GE 414 Camino de la Placita taosretirementvillage.com

575.758.2300

575.758.8248

Film IIntensive with Peter Grendle, SFUAD Film School Contributing Faculty; July 15 - 19; $285

to register for an ArtFest workshop, please visit artfestSF.com or call 505-473-6551 *all costs are workshop fees only; housing and meal plans are available at additional cost

• • •

505.983.5264 thefirebird.com 10

PASATIEMPO I June 14 - 20, 2013

nity

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Mortgages close to

home

Local service. great rates.

Book

Sale

first editions | signed | rare southwest and art books | art and collectibles

Whether you are buying a home or want to refinance your current home, we can help you find the right loan. Plus, mortgage loans are eligible for Earn Your Return, the annual dividend paid to members like you who participate in their credit union.

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Saturday, June 16, 9:00 am to 4:00 pm Proceeds benefit the New Mexico Museum of Art

|

107 West Palace Santa Fe, NM 87501 505-476-5061 nmartmuseum.org

107 West Palace Santa Fe, NM 87501

Photo Š Robert Reck

PASATIEMPOMAGAZINE.COM

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&

boots, bolos boogie ball

The Second Annual Benefit to Fight Youth Homelessness

featuring grammy winner

Juice Newton Thursday July 25 at 5:30

Enjoy Dining, Dancing and Live Auction at the beautiful

Inn at Loretto

jem trio playing during cocktail hour Ticket Price: $100 ($50 tax deductible)

Proceeds from this event will benefit Youth Shelters, a nonprofit in Santa Fe that delivers life-changing services to homeless, runaway, and in-crisis youth and their families.

By the Lake, Nancy Murata, Pastel

www.youthshelters.org • 505-983-0586

Plein Air Santa Fe

2013

g the

Paintin

ent

hantm

f Enc Land o

June 22 – July 7 Gary Kim Fine Art Gallery Santa Fe Paintout: June 16 - 21 Quick Draw Awards Demonstrations

Open daily 10am to 5pm

228 Old Santa Fe Trail Santa Fe, NM Opening reception: June 21, 5–7pm 505-699-8738 Sponsored by Plein Air Painters of New Mexico

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PASATIEMPO I June 14 - 20, 2013

MIXED MEDIA

Headache?

If medical doctors, alternative practitioners, tests, and MRIs have not helped cure your headaches, the headaches may actually be caused by your jaw.

Here‛s a simple test you can do: place your little finger into your ear, and push firmly forward, toward your eye. Open and close your jaw while continuing to push with your finger. Does this make your jaw or ear hurt? Does it change how your mouth opens? Does it cause noises in front of your ears?

If your answer is yes to any of these questions, call us for an appointment.

Jaw problems are a common cause of headaches, and we can help most people get rid of the pain. Visit SantaFeTMJcom. &

jaw pain sleep apnea center

505-474-4644

FantaSe island

A swarm of skateboarders takes to downtown streets on Saturday, June 15, to celebrate the inauguration of the newly renovated skate plaza in DeVargas Park. Thanks to the Rodeo de Santa Fe parade, which passes by the park this year, nearby streets are blocked off. Organizers of the FantaSe Festival, which runs from 3 to 11 p.m. on Saturday at the park, took advantage of the situation and pushed successfully for a city-sanctioned vanguard of skaters to preface the parade.

The FantaSe celebration, presented by Creative Santa Fe and a host of community collaborators, includes a dozen diverse musical acts, with local indie band As in We scheduled for 9 p.m. Interspersed between the bands’ sets are performances by Santa Fe Opera apprentices and students from the outreach program of National Dance Institute-New Mexico. There will also be a show of recycled fashion and a breakdance crew. Members of Dancing Earth will perform a water dance.

In addition, the festival showcases works by four multimedia artists who received grants from New Mexico Arts to create installations for this event.

August Muth’s work integrates lasers, prisms, and prayer flags, and Jennifer Joseph’s piece Mirrored Sky employs thousands of LED-lit orbs to create a constellation. Other featured artists are Chris McLean, whose projection installation encourages audience interaction, and Jon Vigil, who uses the facade of the Santuario de Guadalupe as a screen on which to project a variety of photographic portraits of New Mexicans from different walks of life.

A side stage hosts electronic music and DJs throughout the event, and ambient lighting and glow-in-the-dark face painting come courtesy of Meow Wolf.

DeVargas Park is on West De Vargas Street between Don Gaspar Avenue and Guadalupe Street. The skaters are scheduled to roll in around 3:30 p.m., in advance of the Rodeo parade, with DJ Mickey Paws wrapping up the festivities by 11 p.m. There is no charge to attend the festival. For a complete roster of events, visit www.creativesantafe.org/fantase-festival.

— Loren Bienvenu

Improving the quality of your life

2019 Galisteo St, J2 Santa Fe, NM 87505

Robert L.Wartell, DMD

We are providers for Blue Cross Blue Shield Presbyterian Health Plan Lovelace Health Plan United Healthcare Medicaid

ClearlyMore Focused Expect and on GetYou It!

Dr. Mark Bradley Ophthalmologist

Board Certified Ethical & Caring Professional Serving Santa Fe since 2002

Now accepting former patients and inviting new patients.

Call 466-2575

Hours by Appointment • 1925 Aspen Drive, Ste. 500-B Accepting Most Insurance

Discount Home Supplies All donations and sales benefit Santa Fe Habitat for Humanity.

Moving? Buying or selling your home?

Keep us in mind and donate your gently used furniture, appliances, books, new and used building materials to the Santa Fe Habitat for Humanity

Call 505-473-1114 to schedule a pick up.

2414 Cerrillos Road ● Monday - Saturday 9:00 am - 5:00pm www.santaferestore.org

PASATIEMPOMAGAZINE.COM

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Earth Song Jenny Reeves Johnson & MaRgaRet schuMacheR

Karl May’s Winnetou Friday, June 14, 6 pm, NMHM Auditorium Who was the Native hero of Germany’s favorite author? University of Bochum Professor Michael Wala talks about how 19th- and 20thcentury Germans imagined Native peoples of the American West, the final lecture for the exhibit Tall Tales of the Wild West: The Stories of Karl May. Free.

Father’s Day Special Sunday, June 16, 1–3 pm Meet the Royal Court of Rodeo de Santa Fe and get a professional portrait of Dad in a hat, courtesy of photographer Cheron Bayna Ryan and J.D. Noble of The HatSmith of Santa Fe. Part of the exhibit Cowboys Real and Imagined.

Portrait sittings limited; sign up at the event. Free with admission (Sundays free to NM residents; children 16 and under free daily).

all images © 2013 courtesy, gerald Peters gallery

Events sponsored in part by the Museum of New Mexico Foundation and New Mexico Humanities Council 1011 Paseo de Peralta, santa Fe | 505.954.5700

gPgallery.com | Find us on Facebook + instagram

14

PASATIEMPO I June 14 - 20, 2013

STAR CODES Heather Roan Robbins

m a d e

The most efficient thing we can do this week is fill up our wells, inside

and out. Water, too much here and too little there, remains in the headlines all summer as constrictive, focusing Saturn and watery Neptune trine.

The stars call for rest from an abundance of recent emotional events. We may need extra sleep and extra time to dream and read a good book that takes us far away as thoughtful Mercury and heartfelt Venus challenge Neptune.

Because this need for interior time can knock loudly at our psyches, fuzzyminded daydreams make it harder to focus efficiently at work if we don’t have enough downtime.

The work won’t wait, and neither will our inspiration or ambition as active Mars quincunxes powerful Pluto and irritates us with what is left undone.

But we can work with this active subconscious — we can give it a problem to solve or a process to create and then go about the daily puttering and trust the psyche to cook in the spacious backrooms of the soul.

The weekend promises to be industrious, if disjointed, under a responsible Virgo moon. It’s a great time to weed the garden, clear the clutter of the mind, and tend to whatever needs healing. On Sunday we want to lighten the load and expand our world as the sun conjuncts expansive Jupiter.

The week starts under a sociable, aesthetic, egalitarian Libra moon. We take one step closer, one step back. Midweek sings the blues under a brooding Scorpio moon, but we can get down to business and deal more directly with the challenges at hand.

Friday, June 14: Check in with one another and coordinate this social morning as Venus trines Chiron. Organize and repair this afternoon; direct any nervous buzz into constructive channels and avoid cranky thoughts as the moon enters Virgo. Tonight, look for the magic but confirm facts as the moon opposes confusing Neptune.

Saturday, June 15: Learn, investigate, try something new, and just watch the gossip as the moon trines Pluto. A warmhearted morning turns brusque at midday and evolves into an open-hearted evening. Layers of undertones and unspoken ambitions weave complications. If anger comes from frustrated longing, don’t give up; redirect instead.

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Sunday, June 16: Contradictions are exposed; moods can work at crosspurposes. We need acceptance of different priorities, healthy communication, and a willingness to drop righteousness to make the most of a busy if disjointed day.

Monday, June 17: Look for a change of scene and pace this morning as Mars sextiles Uranus under a friendly Libra moon. Later on we can oversimplify a complex situation or get carried away by our imagination. Look underneath the smoke screen.

* select models

Tuesday, June 18: An inner push-pull can leave us emotionally at odds as the moon squares Venus and Mercury. Midday we find more common ground and a lighter heart as the moon trines the sun and Jupiter, though evening may sharpen again as the moon approaches Scorpio.

Wednesday, June 19: Share opinions, but respect personal privacy. Feel the ambient attitude, attraction, and complicated paradox as we get down to some core work. The cynical Scorpio moon resists an optimistic expansiveness as the sun conjuncts Jupiter. This can bring a witty, nononsense approach to free a stuck situation or can leave us sarcastic and self-indulgent. It’s our call.

Thursday, June 20: Expect challenges around how to handle tempers.

Don’t get stuck in the past, but set clean boundaries in the present. Closeknit teams or groups may need to be supported and reorganized with loving honesty. Evening calls for a poet’s soul as Mercury conjuncts Venus. Go on, speak those feelings. ◀ www.roanrobbins.com

PASATIEMPO

15

In Other wOrds

book reviews

Tesla: Inventor of the Electrical Age by W. Bernard Carlson, Princeton University Press, 500 pages It’s no longer apt to think of Nikola Tesla as a forgotten genius. The electric-car company that bears his name and uses facets of his motor design has been in the news of late for its awards (Motor Trend’s 2013 car of the year) and rising stock price. In recent years, Tesla (1856-1943) was the subject of Constantine Koukias and Marianne Fisher’s opera Tesla — Lightning in His Hand, and he made appearances in novels, both as a cameo (in Thomas Pynchon’s Against the Day) and as the focus (in Samantha Hunt’s The Invention of Everything Else). David Bowie played the lanky scientist in The Prestige, Christopher Nolan’s 2006 film about rival magicians, a movie that suggests both the triumph and tragedy of the inventor. Tesla is as cool today as he was in 1895.

All this attention has left the inventor with a quasimystical legacy. He not only designed the first practical alternating-current motors and aided the discovery of X-rays and radio transmission, he was also the first man to detect signals from extraterrestrial sources and to induce digestive regularity and mental stability through the use of carefully applied electricity. Yet for all his genius and invention, Tesla had only a short run of success, principally in the 1890s.

He ended up bankrupt, discredited, and finally ignored. His story, as thoughtfully told by W. Bernard Carlson in Tesla: Inventor of the Electrical Age, demonstrates that innovation requires more than just a brilliant scientific mind. Practical application, salesmanship, and the support of moneyed benefactors, not to mention luck, are all key.

It’s in these areas that Tesla, whose success once seemed guaranteed, lacked the kind of imagination that defined his scientific vision.

Steve Jobs he was not.

A major focus of Carlson’s biography involves detailed explanations of just how Tesla’s advancements worked. He also gives insights into the workings of Tesla’s mind. Carlson, a professor of science, technology, and society at the University of Virginia, suggests that Tesla’s visual imagination both spurred his invention and hindered it. Tesla suffered hallucinations as a child, visions he was able to overcome through mental discipline. These early exercises in control were reflected in his work ethic well past his productive years. But his ability to picture how his creations would work aided their realization.

Illusion was, according to Carlson, central to Tesla’s triumphs.

Certainly Tesla’s public demonstrations of his work resembled magic shows. The inventor would wave glass wands between zinc plates hanging on different sides of a stage, and they would emit ghostly light. Sparks and electrical streamers would leap across the stage. Carlson says that Tesla and his colleagues’ ability to shape the thinking of potential manufacturers and buyers was key to his early successes. “Clearly, Tesla’s motor moved forward not through the disclosure of cold, hard facts but through the careful orchestration of selected information and subtle suggestion,” he writes. Marketing became a kind of prestidigitation and, for a time, Tesla was Houdini. One of the author’s lines — “Illusions play a significant role in guiding our understanding of how the ‘real’ world works” — is as true today as it was at the turn of the last century.

When Tesla lost the aid of publicity-savvy colleagues, he was unable to pull off the same tricks that had first brought him fame. His former employer Thomas Alva Edison became a rival, one significantly better at the practice of capitalism. Guglielmo Marconi, hijacking Tesla’s transmission ideas, beat the inventor at his own game by setting lower expectations. Not content with short-distance broadcasts, Tesla sought nothing less than “world telegraphy.”

Funding for larger projects, especially the transmission of electrical current through the ground, fell away. Carlson suggests that Tesla’s European roots — he had a distinct accent — hurt him in a time of all-American fervor.

Carlson offers the accepted idea that J.P. Morgan and others pulled support from Tesla because they thought him a madman, and as his fortunes fell, Tesla suffered a breakdown, which he treated with electric shocks. “This guy is crazy,” one of Morgan’s colleagues reputedly told him. “What he is doing is, he wants to give free electrical power to everybody.” This would never fly among America’s then wizards of finance. But Carlson agrees with the explanation Tesla offered for Morgan’s pulling out: a speculative bubble that was growing around the wireless industry. Sound familiar?

To his credit, Carlson lets readers draw modern-day parallels for themselves. He also doesn’t find much consequence in Tesla’s personal life, suggestions of his homosexuality (Tesla never married and was close to select colleagues), or his depression. But he does show Tesla’s poor marketing choices and faults his scientific process. Tesla’s greatest flaw may have been his pursuit of advancements that served humankind rather than creating wealth for their manufacturer. In that, he may have been truly ahead of his time. And ours.

— Bill Kohlhaase

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PASATIEMPO I June 14 -20, 2013

SubtextS Let the murders begin Santa Fe-based mysteries written by authors who know the area well are a special treat, especially when they are published just in time for summer.

Famed santero and Santa Fe native Marie Romero Cash reads from her new Jemimah Hodge mystery, Treasure Among the Shadows, at 6 p.m. on Monday, June 17, at Collected Works Bookstore (202 Galisteo St., 988-4226). She is joined by Tony Hillerman Prize winner Christine Barber, reading from When the Devil Doesn’t Show.

Cash is the author of several books about the art and culture of the Southwest as well as a memoir about growing up in Santa Fe. Treasure Among the Shadows is a fictional take on the controversial, reallife hunt for a treasure buried by Forrest Fenn that has attracted the attention of treasure seekers worldwide as well as the FBI. The author knows Fenn in real life; in the book he is renamed Tim McCabe and has strong ties to law enforcement, specifically Santa Fe County Sheriff’s Deputy Rick Romero, a straight-arrow local boy who is dating his esteemed colleague, forensic psychologist Jemimah Hodge. Hodge, who gets involved in the murder mystery beyond the scope of her job, has a curious back story: as a teenager, she ran away from a polygamist Mormon community to save herself from being married off to a stranger three times her age. She then put herself through school, earned a doctorate, and eventually landed in Santa Fe. Joining this crew as McCabe’s foil — and then the story’s next murder victim — is Gilda Humphreys, the frumpy, tyrannical state archaeologist who’s been leading a double life as a sex kitten. She’s fixated on the treasures to be found on McCabe’s ranch — property he bought from a pueblo and to which he insists the state has no claim.

When real treasure is indeed found, the fun begins.

— Jennifer Levin

Time Commences in Xibalbá by Luis de Lión, translated by Nathan C. Henne, University of Arizona Press, 152 pages On May 15, 1984, Guatemalan teacher, writer, and activist Luis de Lión became one of the “dirty war’s” many “disappeared,” kidnapped and presumably assassinated by a Guatemalan government death squad. Although de Lión was never heard from again, he did leave behind a powerful, disturbing, and evocative masterpiece of a novel, finally translated into English by Nathan C. Henne.

Time Commences in Xibalbá tells the multilayered story of an idyllic indigenous village and how the return of a wandering prodigal son named Pascual instigates an alarming, violent disintegration of the very fabric of the town’s life. In Pascual’s eyes, his village (like de Lión’s mother country) is simultaneously mired in time and timeless. The author’s ambivalence toward his own cultural roots lies at the heart of the narrative and speaks to what Henne calls de Lion’s own “indigenous poetics of the uncertain.”

In his densely academic introduction, Henne discusses the many difficulties in translating this work. Among them: the “various mestizo selfhoods” that inhabit Guatemalan culture; the obscure, oxymoronic connotations of Maya languages (with words that are translated here as lovehate, dirtywhite, accidentnecessity); and the intentionally unclear gender sexuality references to Pascual and his fellow protagonists, Juan and Concha. Bottom line, says Henne, de Lión’s novel “negotiates various aspects of the trauma indigenous people in Guatemala undergo because of the multiple worlds in which they must simultaneously construct themselves.”

De Lión employs a chronological elasticity to examine the uneasy relationship between the country’s indigenous past and its rapidly assimilating present. Strangely enough, it is never clear when — or even if — time actually does commence in the village, which is never actually identified as Xibalbá (the underworld in Maya mythology).

His sensibility draws heavily on magical realism, with surreal scene-setting passages such as “its copper sun was born on the opposite side of the sky from where it normally rose,” and “it wasn’t wind. It was an animal in the shape of wind. Or it was a person in the shape of an animal.”

Religious references abound, contrasting traditional Maya beliefs with Catholicism. “The Virgen de Concepción was a whore,” the author writes.

“I never met her. But I remember her.” “She’s not our mother,” says Pascual of the shrine. “She’s just another ... Ladina [a nonindigenous, Spanishspeaking Latin American woman]; except that she was put here to show us up.” The church’s pealing bells “rip through the cloth of dead air hanging over the village.” The sun itself “was rotating like a wafer of the unleavened host of a spotless god.”

Gender and racial tensions also pierce these pages. Local women notice that “their men only used them to release their sexual tension, to have their children, to cook their food,” knowing “that their women weren’t white ... and that they certainly weren’t Ladinas.” At another point, the author sarcastically writes, “Thank you, little Indians, for your good little Indian hearts!”

Despite the bitterness, darkness, and violence that underscore his writing, de Lión’s language glistens like that copper sun: stunningly imagistic, inventive, athletic, and utterly arresting. The poetics of the uncertain informs not only the subject matter but also the kaleidoscopic quality of his writing.

This is a story to be chewed, digested, and savored, even though it can give the reader an acid stomach. As de Lión might have said, it has a greatterrible uglybeauty.

— Wayne Lee

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17

Michael Wade Simpson I For The New Mexican

N E I L

S I M O N’S

IN SUSAN KOPRINCE’S 2002 BOOK, UNDERSTANDING NEIL SIMON, the playwright is quoted as saying, “I used to ask, ‘What is a funny situation?’

Now I ask, ‘What is a sad situation and how can I tell it humorously?’ ” Simon is the author of such Broadway blockbuster comedies as Barefoot in the Park, The Odd Couple, and The Sunshine Boys. His 1977 play, Chapter Two, opening at the Santa Fe Playhouse on Friday, June 14, exemplifies this darker turn in his work.

It was described by critic Sheridan Morley in The New York Times as a turning point for the writer, in which his semi-autobiographical tendencies began to reveal deep emotion as much as laughs. George, the play’s protagonist, is a writer and a recent widower — as Simon was when he wrote the play — and is trying to stay open to the sudden arrival of new love in his life.

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PASATIEMPO I June 14 -20, 2013

C H A P T E R

T W O

Grieving and renewal would not seem to be obvious sources for laughter, but for Simon, snappy dialogue and quick-hitting jokes reflect character. This may partially explain the writer’s popularity. The subjects of his plays are often funny, urban, Jewish, and middle class. They struggle with the problems of aging and families and the difficulties of marriage.

“We’ve all had a Chapter Two moment, where you’re starting over again in life,” said Erin O’Shaughnessy, who along with the director, Kent Kirkpatrick, sat down to speak with Pasatiempo after a rehearsal. She plays Faye, George’s new wife’s best friend. Robert Nott plays George. Barbara Hatch plays Jennie, based on actress Marsha Mason, whom Simon married after his first wife’s death. Charles Gamble plays George’s brother.

“I resent everything you want out of marriage that I’ve already had,” George tells Jennie late in the play, after they have fallen in love and married in a rush and are now reconsidering their decision. “And for making me reach so deep inside to give it to you again. I resent being at L or M and having to go back to A! And most of all, I resent not being able to say in front of you ... that I miss Barbara so much.”

“The first time we read the play at rehearsal,” Kirkpatrick said, “I was very surprised how real it was. It’s about being middle aged, about a character who has lost someone and asks himself, I’m happy, but do I deserve it? I didn’t get the depth of that until I heard it out loud. There was a shift in my head, a new picture of the play.”

Although Simon’s plays are highly verbal, Kirkpatrick began his rehearsal process without words. Early in his career, the director studied the Suzuki theater method in Japan. He learned to use the whole body to tell a story, not just the face and voice. For Chapter Two, he had the actors delve into the psychology of their characters before diving into the words. “We explored the core of the characters’ darkness.” He had them do an exercise in which they expressed what their character was feeling in the moment by using gestures, not words. “The play is so verbal. I wanted to give them a foundation.

To start from a place of knowing where their character really came from.”

In a scene in which the O’Shaughnessy and Gamble characters are making adulterous plans in close proximity to each other onstage, playing New Yorkers in two different apartments talking on the phone, Kirkpatrick had the actors try again to get the scene right. “The urgency is good, but we’re missing specificity. To get the laugh lines, let’s do it more slowly. Take it back to 75 percent.”

“Ripping apart a Neil Simon play makes you realize how hard comedy is,” O’Shaughnessy said. “There is a lot of technique.” “It’s like a fine piece of music,” Kirkpatrick added. “What most interested me in directing this piece was looking at it like a Mozart concerto. Getting the beats right and the lines right. Helping the actors and supporting them in finding moments.”

O’Shaughnessy, who worked as an actress in television, including parts in Two and a Half Men and Desperate Housewives, spoke about working in the theater. “In TV, if you get the phone cord on the wrong side, you just do another take. I didn’t worry about technical things like that. It’s a challenge to be real in this environment and to get the phone cord right.” Chapter Two is set in the 1970s, and the actors do have to deal with wall-mounted telephones and dangling cords. They talk about President Jimmy Carter and Catch-22. Thirty thousand dollars is an enormous sum of money for one of the characters.

“Simon gets poo-pooed, but he’s a genius,” Kirkpatrick said. “There’s a rhythmic way he puts words together. He can set up a laugh like no one else. I was in The Odd Couple in high school and I had no idea what I was doing. I would just say the lines, and people would be rolling in the aisles.

I had no idea. In fifty or a hundred years, Simon’s plays will be looked at as classics. He’ll be the American writer everyone will study. His work is full of silliness and a lot of real emotion.”

O’Shaughnessy was also in a high-school production of The Odd Couple, a version with two women playing the Oscar and Felix roles. “To think now how awful I was,” she said. “Back in the day I just hammed it up. I had no idea about the seriousness. About the reasons behind the humor.”

“Oh, to be that stupid again,” Kirkpatrick said. ◀

details ▼ Chapter Two by Neil Simon, presented by Thirstybrush Productions and Santa Fe Playhouse

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19

A supernatural breath Adele Oliveira I The New Mexican

IN

1951, toward the end of his career, Belgian playwright Michel de Ghelderode described his attitude toward the unfathomable and the transcendent in the Ostend Interviews, which aired on the French national public broadcast station, Radiodiffusion Télévision Française. “Only the brute can deny that we are surrounded by the supernatural, that we lose our footing to the extent that reason advances in its sloping territories, its nocturnal borderlands. You can perceive it, unexpectedly come across its messages in the humblest things, the most everyday things. I have an angel on my shoulder and a devil in my pocket!”

Nowhere is this philosophy about the permeability between our world and the next more realized than in Ghelderode’s 1934 play Miss Jairus: A Mystery in Four Tableaux, presented by Theaterwork at the James A. Little Theater beginning Friday, June 14. Most broadly, the play is about death: how we confront it, how it confounds our expectations, and how we try to subvert or deny it.

The action opens on the distraught Jairus family, living in Bruges, in some unspecified time, though the ambience is vaguely medieval. Jairus, head of the household, is raving because his 16-year-old daughter, Blandine, is near death. Jairus’ wife frets and fusses, and officials from civic, religious, and occult communities (a doctor; a joiner; the vicar; Mankabena, a wise woman; and the Mariekes, a trio of harpies) attend the girl’s deathbed. Blandine dies, but her fiancé, Jacquelin, decides not to accept her death, and with the help of Le Roux, a conjurer, she springs back to life with the dawn. Miss Jairus comes from a story Ghelderode’s mother told him when he was a child. When his mother was young, she knew a girl who “died” and came back to life just as she was being lowered into her coffin.

The play is as obscure as it is strange. According to David Olson, Theaterwork’s artistic director, Miss Jairus has been performed only a handful of times in the United States, though it’s more commonly staged in Europe. Olson said the first known U.S. performance was at Harvard University in 1955. In the ’70s, Olson directed Miss Jairus at Gustavus Adolphus College in Minnesota, where he was teaching. “The play has a timeless quality, but doing it now is altogether different than it was in 1971,” Olson said. “Now, as a 71-year-old person, I understand much more the question of what death brings to us. Ghelderode was frightened by death but also embraced it. ... In spite of or maybe because of the play’s strangeness, it’s very beautiful, full of poetic imagery. I wouldn’t have done it if I thought it was grotesque. We’ve done a lot of experimental work, but this was another step, somewhere we hadn’t gone.”

Born in 1898, Ghelderode was perhaps unusually preoccupied with death. He watched a huge swath of his generation die in World War I, in which he was unable to serve because of ill health.

Ghelderode’s father was principal clerk at Belgium’s Archives Générales, and throughout childhood Ghelderode enjoyed sifting through aging documents. He was a solitary child, enchanted with

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PASATIEMPO I June 14 -20, 2013

marionettes and dolls, and because of his illness he spent a great deal of adolescence in bed, writing poetry and reading Cervantes and Poe. As an adult, Ghelderode wrote “in a room, all alone,” and described himself as untroubled with exterior success.

While it isn’t his best-known play, Ghelderode called Miss Jairus his “climactic work.” In addition to the story from his mother, the play is inspired by the city of Bruges. “Everything in it is old, earth, stones, blood, and this town is an old man continuing to live because of a marvel, or rather by a mistake,” he said in the Ostend Interviews.

“One has the impression that this dream city may suddenly collapse, fall into dust, like those ancient corpses that are dug up.” Bruges is at once dead and alive.

For the aesthetic of Theaterwork’s production, the design team looked to the Flemish Renaissance painter Pieter Bruegel, whom Ghelderode also cited as an influence. Theaterwork’s iteration of

Theaterwork presents Miss Jairus

••

Miss Jairus borrows tone, color, and prop design from the artist’s paintings. From Bruegel’s 1559 work The Fight Between Carnival and Lent, the production team took the image of a hooded man seated on a chair atop a cart and created a similar, smaller prop that the play’s eccentric doctor wheels around, though he doesn’t sit in it. Blandine’s bed — with a headboard that stretches 20 feet into the air, adorned with religious iconography rendered in sepia, yards of bunched black tulle, and dusky purple bedclothes — is based on the bed in Bruegel’s The Death of the Virgin. The shades of the characters’ billowy costumes recall the artist’s muted reds, greens, and blues, and the edges of Jairus’ canvas coat are painted turquoise, which bleeds at the edges like pigment on a painting.

During a recent rehearsal, the cast, particularly Jack Sherman as Jairus, telegraphed anxiety. (He says outright he wishes Blandine would just die and get it over with.) The in-betweenness of Blandine’s condition is what the earthly characters (excepting those who deal in magic) cannot fathom or accept, both when she is near death and when she returns from the other side.

“Theater is meant to agitate,” said Alaina Warren Zachary, who plays Mankabena, the wise woman/witch. “Miss Jairus has a lot of echoes of tales we’re familiar with, but it never stops asking new questions.”

Miss Jairus is macabre and humorous — odd yet universal.

Warren Zachary noted that each character presents the story from his or her point of view. The cast members approach reality differently: the vicar believes in the absolution of Christian faith, while Le Roux’s power comes from somewhere else, an indefinite shadow land. It is the viewer who need decide where Blandine has been and whether she still belongs there. “When this [Christian] faith became diverted, I had to re-think the essential problems of our life, our human condition — what all things would become, and what would be their end,” Ghelderode said. “This fear of the night gives value to our days.” ◀

details

Angela Janda; above, Janda and Jack Sherman; opposite page, Alaina Warren Zachary; production photos Petr Jerabek Background, Pieter Bruegel the Elder)’s 1559 The Fight Between Carnival and Lent

▼ Miss Jairus: A Mystery in Four Tableaux, presented by Theaterwork ▼ 7:30 p.m. Friday, Saturday & Thursday, June 14, 15 & 20; 2 p.m. Sunday, June 16; Friday-Sunday through June 23 ▼ James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Road ▼ $15 (discounts available) at the door; 471-1799 for reservations

PASATIEMPOMAGAZINE.COM

21

TERRELL’S TUNE-UP Steve Terrell

The Mose knows The last time that Mose McCormack, the Alabama-born country singer and songwriter now living in Belen, released an album (2009’s After All These Years), I noted that it had been 12 years since his previous record, Santa Fe Trail. And it had been 16 years between Santa Fe Trail and the one before that (1981’s Mosey Mac). I’m happy to report that McCormack’s new one, Mosey On … is out a mere four years since the last one. For McCormack, that might be a land speed record.

I’m even happier to report that once again McCormack has created an ace collection of songs. Though he’s not nearly as famous as he ought to be, McCormack is a credit to the entire genre of country music.

I recognize a handful of these tunes from a live performance on my radio show The Santa Fe Opry a few years ago. Among those are the best tracks on Mosey On … . First there’s “Under the Jail,” an outlaw tale that starts out with the line “Robbed a bank in Colorado/I rode my horse to death near the Taos County line.” The refrain begins with a little Woody Guthrie populism: “Stealin’ is stealin’ far as I can tell/ The outlaw and the banker meet on the road to hell.” But then the tone shifts to “Mama Tried” guilt: “Mama always told me, I remember well/‘Son, they’re going to put you under the jail.’ ” And I think we can all agree that being under the jail is worse than being inside the jail.

Even better is the song “Hillbilly Town.”

McCormack’s radio performance of this was jaw-dropping, and the studio version is strong too. It starts off with McCormack’s lonesome harmonica before the whole band comes in, with keyboardist Dick Orr’s organ in the lead.

The lyrics tell the story of a young musician “determined to float while all around him drown.” The protagonist’s quest for stardom

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PASATIEMPO I June 14 -20, 2013

Though he’s not nearly as famous as he ought to be, Mose McCormack is a credit to the entire genre of country music. leads him to places like “the alley behind the peep shows and the lower Broadway bars.” But he’s determined to hold on to his dignity. “Play it like a gunslinger before they shoot you down./ But you play it like a bluesman in some hillbilly town.”

My other favorites here include the Tex-Mexflavored “Naco Jail” (yes, another jail song).

You know that correctional facility — maybe even under that correctional facility — is where the narrator is heading when he sings, “Well, the bartender liked my horse, and his wife she loved my eyes/And I knew I was in trouble when her hand fell to my thighs.”

“Native Son” stands out because it’s actually closer to rock or blues than country, with a crime-jazzy hook that Stan Ridgway could sink his teeth into. I was listening to it one day last week after reading several stories about government surveillance, the PRISM program, etc. These lines from the song reached out and hit me: “He’s changing his ID, taking it on the lam/’Cause in computer justice, call it Big Brother watching you/What have you done?/ There goes another native son.”

Not all of McCormack’s songs deal with fugitives from justice, jails, and seedy cantinas.

For instance, the banjo- and fiddle-driven “Honeysuckle Vine” is nothing but a sweet love song. “Sweeter than molasses, that pretty little gal of mine/When she wraps her arms around me like a honeysuckle vine.” On “Mr. Somebody,” a cool honky-tonk shuffle, the narrator is a middle-aged guy who realizes that his youthful “dreams of flying” are now dreams that are dying.

Like nearly all of his albums since his 1976 debut Beans and Make Believe, Mosey On … was recorded at Albuquerque’s John Wagner Studios. Wagner plays guitar, accordion, and drums on the record. McCormack has a sturdy bunch of New Mexico musicians behind him.

And almost every time I play this record, I find something else to like about it — a fiddle lick, a clever lyric. I just hope it doesn’t take years and years for McCormack to do another record. He is playing live on The Santa Fe Opry at 10 p.m. on Friday, June 14, on KSFR-FM 101.1 and streaming at www.ksfr.org. Visit www.mosemccormack.com.

Also recommended ▼ Ride by Wayne Hancock. Apparently in the past few years, Wayne “The Train” could have turned into Wayne “The Train Wreck.” His wife left him, and he ended up in rehab a couple of times. His backup band broke up. And if you think that sounds like a recipe for some country songs, you’re thinking right. Hancock — a master country traditionalist whose blend of juke-joint blues, western swing, rockabilly, and Hank-style heartache songs — unabashedly writes about his life.

It’s obvious from the first line of the first song, the title track. “Well, me and my baby was splittin’ up, and I’m feelin’ really bad inside.” Then in “Best to Be Alone,” Hancock moans, “I had a good gal that I loved so/We both got married, not long ago/But then my drinking got in the way/So she left me, a year ago today.” “Fair Weather Blues” might remind Bob Wills fans of “Trouble in Mind,” but lines like “I’m gonna lay down my sorrow/And listen to the falling rain/I feel so lonely/But the thunder will ease my pain” remind me of Hancock’s own “Thunder Storms and Neon Signs.”

So, yes, in some ways, this is a country confessional album. But don’t think for a second that it’s all cry-in-your-beer music.

For instance the song “Ride” isn’t so much about Hancock’s marriage as it is about the joys of motorcycles. It’s an upbeat, rocking little tune with some mean guitar solos. And just because he has sobered up doesn’t mean he can’t sing about strong drink. He does that in “Cappuccino Boogie.” Hancock sings, “Well I dig a java shot with the gone girl at the counter/I get a triple shot brother just to be around her.”

One of the strongest songs here is “Deal Gone Down,” a brutal little tale based on a true story about a guy who went into some Texas juke joint — his wife had been having an affair with the bartender — and he shot up the place and killed a bunch of people. “Well that was 30 years ago but it seems like it was yesterday/ And all the blood turned to dust, and the rain came and washed it away.” And that’s why I love country music. Check out www.waynehancock.com/music.html. ◀

A free and family friendly summer concert series at St. John’s College.

Enjoy great music in the open air.

Wednesday evenings 6 - 8 p.m. on the athletic field.

8th

TM

19

Santa Fe Great Big Jazz Band, with Joan Kessler

BIG BAND SWING

Parking for the event is limited. There is a free shuttle between Museum Hill and St. John’s College.

Concertgoers may picnic on the field. No seating is available. Food and drink can be purchased from Walter Burke Catering and Sprouts Farmers Market. For safety purposes, no pets allowed on the field, bicycles must be parked along the tennis court fences, and parents need to monitor their children. Please drink responsibly.For more information and parking directions, or in case of rain, see our website at www.stjohnscollege.edu

Dan Christensen the orb paintings

Bayez, 1995, acrylic on canvas, 75" x 90"

LewAllenGalleries AT T H E R A I LYA R D

1613 Paseo de Peralta Santa Fe, NM 87501 tel 505.988.3250 www.lewallengalleries.com info@lewallengalleries.com

linear language

Jane Manus

Higher Form, 2002, painted, welded aluminum, 70"h x 37"w x 18"d

june 14 - july 14 . 2013

Reception: Friday, June 14, 5:00-7:00pm

Railyard Gallery

PASATIEMPOMAGAZINE.COM

23

PASA TEMPOS

album reviews

maJicaL cLouDz Jonathan Dimmock Bach at Impersonator (matador) Haarlem (Loft) The Grote Kerk (or Initially, I thought this was a goof.

Bavokerk) in Haarlem, the Netherlands, The name of this Canadian duo, which houses one of the most famous of all reads like a band in a satirical movie, organs. Completed in 1738, its 60 stops is enough to make one triple-check made it the largest organ in the world the artists’ intent. Singer Devon Welsh when it was unveiled. All organists have it half scats his baritone over minimal on their pilgrimage list, and many of them accompaniment, sounding at times harbor the particular wish to play Bach on like he’s emulating Depeche Mode’s this magisterial instrument that dates from Dave Gahan and at other times like his lifetime. (Bach never played on it, but he’s spoofing Robert Goulet. The lyrics, Handel, Mozart, and Mendelssohn were among the noted composers however, are no joke. “The cheesiest songs all end in a smile,” Welsh who did.) The San Francisco-based organist Jonathan Dimmock will sings at the start of “Bugs Don’t Buzz” before assuring us “this won’t be in Santa Fe this summer, playing the organ for the Santa Fe Desert end with a smile.” That song, staged to a few piano chords, feedback Chorale’s performances of Duruflé’s Requiem in August. Before then, squiggles, and one repeated, earth-destroying bass note, obsesses over listeners can check out the newest of the more than 35 recordings he has impending death, pausing only to briefly reflect on the importance of made, an all-Bach CD recorded in Haarlem. Richly packed at 76 minutes, savoring precious moments. This specter follows the narrator throughout the CD ranges among a variety of preludes and fugues (including the record as he ruminates on endings — of childhood, relationthe beloved “Wedge” and “Jig” Fugues), chorale preludes, the ships, life — and burdens every decision one faces with an towering C-Minor Passacaglia, and the ever-popular Toccata almost unbearable weight. This is refreshing; too many singers and Fugue in D Minor (which many scholars doubt is these days refuse to commit to their lyrics. They tiptoe actually by Bach, but never mind). Dimmock seems by around strong statements and sing in a disaffected fashion, nature a lyrical player, and many of these interpretations hiding their (frequently inadequate) voices behind lowChance the Rapper’s seduce through the elegance of his legato articulation. budget studio haze. Welsh’s vocals, on the contrary, Nonetheless, he invests powerful drama in climactic are bold and thoroughly masculine in a thoughtful ‘Acid Rap’ is a love letter moments, and his registration draws captivating color way. That he’s unafraid to come across as goofy only from the instrument. Turn up the volume and bask in shows that he’s an artist to take seriously. — Robert Ker to Chicago musical culture the seven-second reverberation. — James M. Keller chancE thE RaPPER Acid Rap (self-released) and a funeral dirge for its SPEctRaLS Sob Story (Slumberland Records) With Delivered in a nasal whine, the album-opening line, a title like Sob Story, it’s no surprise that Spectrals’ latest “Rap just made me anxious and acid made me crazy,” residents killed young. album begins and ends with a whimper. Louis Jones of would seem to cast native Chicagoan and 20-year-old Heckmondwike, Yorkshire, started the band in 2009, and Chancelor Bennett in the mold of Kid Cudi or Eminem added his brother, Will Jones, not long after. The instru— emotive loner rappers who dabble heavily in psychoactive mentals on Sob Story are spare but have the virtues of variety substances. But then the music begins. Licks of gospel piano and scat-singing choruses give way to exuberant dance rhythms and high production value. Vocally there’s less variety, with Louis of juke and techno. Chance the Rapper is out to give his listeners a Jones relying mostly on affected, throaty laments. A few songs, like the title track, give the impression that Spectrals are undergoing a slight identity hard-edged tour through every genre born on the city’s South Side — from crisis. These Brit rockers shouldn’t need a weepy, slide-guitar-heavy country Baptist hymns and Buddy Guy’s blues up to the urban thump of house music and drill rap. At one point, he even pines, “I got the Chicago blues/We ballad to fill out an album. The following track, “Milky Way,” is more invented rock before the Stones got through.” The result is a record as compelling, combining tight drumming and a clean pop structure with gritty as it is psychedelic, where drugs and drive-bys, nerd culture and the heavy reverb modulations established in the band’s 2011 debut, Bad spiritual longing all converge in an adolescent’s earnest questioning Penny (also released on Slumberland — a label whose roster includes of the world. “Why God’s phone die every lo-fi mainstays like Dum Dum Girls and time I call on him/If his son had a Twitter, Weekend). Other songs, like “Friend I wonder if I would follow him,” Chance Zone,” exist in a purgatorial compromise between these two styles and more. It’s asks on “Everybody’s Something.” Over on apparent from the track selection and “Pusha Man,” he chimes in on Chicago’s songwriting that the Joneses want to violence, with a gimlet eye for sociological cover a lot of ground while still developdetail. “Everybody dies in the summer, ing a signature sound, but about half the wanna say ya goodbyes, tell them while it’s time they end up stepping in the footspring.” Acid Rap is a love letter to Chicago prints of their influences, leaving little musical culture and a funeral dirge of their own imprint behind. for its residents killed young.

— Loren Bienvenu — Casey Sanchez

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PASATIEMPO I June 14 -20, 2013

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PASATIEMPO I June 14 - 20, 2013

ON STAGE Pushing boundaries: Sole

Though Sole’s appearance in Santa Fe was canceled at the last minute, fans of the socially conscious hip-hop artist still have the opportunity to see him in Albuquerque on Saturday, June 15. As a co-founder of the Anticon label, he has spent much of his career in the midst of underground hip-hop’s most exciting evolutions, including performing with Deep Puddle Dynamics (along with Slug of Atmosphere and others). It’s no coincidence that Sole’s most recent album, No Wising Up No Settling Down, came out on International Workers’ Day — May 1, 2013.

He recently returned from a European tour that included an extended stay in Athens, where he studied squat communities and other responses to government austerity and performed to an audience of 1,500 in a park heavily patrolled by armed guards. Sole appears with Moodie Black at the Chill Factory (312 Rosemont N.E., Albuquerque) at 9 p.m.

Tickets are $10; for information contact chillfactorynm@gmail.com. — LB

David McClister

And they’re off: Emmylou Harris and Rodney Crowell

The Downs of Santa Fe seems an appropriate venue for Emmylou Harris and Rodney Crowell’s Saturday, June 15, concert. The storied racetrack is gearing up for a new start as a music venue, and veteran musicians Harris and Crowell are launching their official partnership. Despite remaining in the limelight as individual artists since the 1970s and having collaborated together all along the way, their 2013 album, Old Yellow Moon, is actually their first as a duo. The songs on the album won’t disappoint fans of either Nashville legend. Some selections, like “Invitation to the Blues” by honky-tonker Roger Miller, do homage to country greats.

Others, in their honed exuberance, are oddly reminiscent of another modern partnership, that between Robert Plant and Alison Krauss. Rising bluegrass star Sarah Jarosz opens the Downs show (27475 W. Frontage Road) at 7 p.m. Tickets ($40 and $70, with discounts available) can be purchased from Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org).

— LB

A combination of sounds: Sandra Wong, Dominick Leslie, and Alya Sylla

THIS WEEK

Dominick Leslie and Sandra Wong

Sandra Wong, Dominick Leslie, and Alya Sylla offer an intriguing combination of sounds, playing nyckelharpa, mandolin, and African percussion, respectively.

The trio plays at 8 p.m.

Alya Sylla Friday, June 14, at the Outpost Performance Space, 210 Yale S.E., Albuquerque; and at 8 p.m. Saturday, June 15, at Gig, 1808 Second St. Wong grew up in upstate New York playing classical violin, later expanding into bluegrass and folk. In 1999 she added the nyckelharpa, an old Swedish folk instrument, to her repertoire.

Colorado native Dominick Leslie started playing the ukulele at age 4.

In 2004 he was the youngest contestant ever to win the Rockygrass mandolin contest. He has also studied jazz at the Berklee College of Music. Sylla is a master percussionist from Guinea, West Africa, who performs on balafon and djembe. The three play their own compositions as well as music from Europe and India, jazz, bluegrass, and folk music. Tickets for the Outpost concert are $22; see www.ampconcerts.org. Admission to the Gig date (www. gigsantafe.com) is $15 at the door. — PW

Shades of grunge: Colorblind Poet

Daniel Murphy of Colorblind Poet tries to maintain blindness when it comes to genre identification, if not color. Every band must at one time hazard the waters of self-classification, so while Murphy explained to Pasatiempo that he is hesitant to oversimplify his project, he concluded, “I’ve been calling the genre grunge-folk.” In a town with plenty of folk but a relative lack of grunge, Colorblind Poet emphasizes some of the genre’s “instrumental intricacies and technical stuff,” according to Murphy. The band has existed in various forms since early 2006, with some permutations in personnel along the way. Murphy, who also plays in popular local rock group The Strange, has remained the driving force behind the music along the way. Colorblind Poet performs at Second Street Brewery at the Railyard, 1607 Paseo de Peralta, on Friday, June 14, at 5:30 p.m. There is no cover charge. Call 989-3278. — LB

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PASATIEMPO I ????????? ??-??, 2013

Paul Weideman I The New Mexican

ome pairings of old and new photographs of Chaco Canyon sites depict what appears to be reverse aging. The truth is that preservationists have rebuilt walls, roomblocks, and kivas so the structures appear to be growing. An example is seen in two views of the east end of Pueblo Bonito in the new book Time and Time Again: History, Rephotography, and Preservation in the Chaco World. One is an 1897 photograph featuring a rough curve of wall ruins. In author and photographer Peter Goin’s 2000 picture, the semicircle is now full of reconstructed rooms and kivas.

“This is one of the amazing things about thinking about time as a cultural construct, that we have the ability to reconstruct our understanding of history to a more pleasing and more romantic sentiment,” Goin told Pasatiempo.

The book from Museum of New Mexico Press, with text by Lucy Lippard, contrasts old and new views of many of the Ancestral Pueblo sites at Chaco Canyon and Mesa Verde. But this is not merely rephotography. Goin and Lippard pull that simple subject inside out, examining the biases of the reconstructors and other issues of more philosophic import.

Goin’s priorities show up in a comment he made about his two current book projects, one a Lake Tahoe history with rephotography and the other a portrait of Lake Powell in terms of climate change. “Again, I’m using the language of photography to get involved in larger concepts of sense of place, of landscape, of biotic community, of how we perceive the environment in which we live.”

Among Goin’s other books are Stopping Time: A Rephotographic Survey of Lake Tahoe (1992) and, with Paul Starrs, Black Rock (2005) and Field Guide to California Agriculture (2010). Lippard is the author of Eva Hesse (1976), The Pink Glass Swan: Selected Essays on Feminist Art (1995), Down Country: The Tano of the Galisteo Basin, 1250-1782 (2010), and many other books.

She is a member of the Galisteo Basin Archaeological Sites Protection Act Committee, but she is not an archaeologist. She did make an effort to heed admonitions from archaeologists to avoid “the Chaco vortex,” meaning the morass of facts and big questions about the place and the people who lived there. “With Chaco, you think you’re just going to stick your toe in, and then the rest of you goes in and you drown,” she said.

In her work on Time and Time Again, Lippard ended up diving right in.

She tells the reader that Chaco Canyon was “a regional magnet as early as the late 400s,” but it was in the ninth century that the so-called Chaco Phenomenon began. “How, one wonders, was this place chosen to become a social and religious center on a scale hitherto unknown in the Southwest, never to be replicated after its two and a half florescent centuries?”

Thousands of people occupied Chaco and built a remarkable system of buildings and roads, but by the late 13th century they were all gone. In the book’s final chapter, “No Conclusions,” Lippard says the great houses of Chaco mostly “lay silent (or inaudible) for almost two centuries” after the abandonment. For some time before the coming of Europeans, the area was continued on Page 30

Round Tower, Cliff Palace, Mesa Verde photographed by Thomas McKee circa 1896 and Peter Goin in 2000; opposite page, Pueblo Bonito, Chaco Canyon, photographed by the Hyde expedition in 1897 and by Goin in 2000; images courtesy Museum of New Mexico Press PASATIEMPOMAGAZINE.COM

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The Chacoan great house Kin Kletso, built about 885 years ago, captured by an unknown photographer in 1899 and Goin in 2000

Chaco Phenomenon, continued from Page 29 apparently used by others. “The Navajo were in there, and nobody knows when,” Lippard said. “The earliest actual date I think is the early 1500s, but they were well settled by then. They were on the site.”

In the early 20th century, preservationists began efforts to stabilize and repair structures at Chaco and Mesa Verde. Buildings were rarely completely rebuilt to some guessed-at semblance of “whole” but rather were restored to a lesser height so that visitors could imagine what had been there. “This is a lot of the core narrative of the book: who gets to say what is the most pristine concept of a ruined site, and where does it fit within our imagination such that we arrest time at this particular moment of decay,” Goin said.

Another matter of possibly idealized appearances is the texture of the buildings themselves. The characteristic core-and-veneer masonry, according to the book, consists of “elegant flat sandstone facings chinked with smaller stones alternating with thicker bands in different colors and sizes, containing a rubble core. However, 30

PASATIEMPO I June 14 -20, 2013

it is suspected that the masonry banding designs we so admire may once have been covered in layers of pale mud plaster.”

“When we look back, we romanticize aboriginal identity,” Goin said, “and that’s part of the great narrative of the conquest that authors such as Patricia Nelson Limerick wrote about.” Limerick’s The Legacy of Conquest: The Unbroken Past of the American West was published in 1987.

Rephotography’s strategy of pairing old and new photographs tends to emphasize two discrete moments, leaving the viewer ignorant of all the moments and appearances between them. It also “brings together two very different cultural experiences to form a new, almost surrealist reality,” Lippard writes. “The indigenous viewpoint is often buried between them, a visually unacknowledged presence.”

When you look at the book’s contrasting photographs, you often notice that the vantage point is different. Goin said that is sometimes necessary because of changes in the landscape or structures since the original picture was taken.

In other instances, he deliberately selected a different vantage point, one motivation being a desire to show more of the landscape surrounding the archaeological site — to expand the context and thus illuminate the ancient builders’ choices about site.

With one fascinating subject, he subverts the whole rephotography modus. In his treatment of Chimney Rock, he chose to present an extreme panorama of the Chaco-centered landscape as seen from the Chimney Rock site. This is laid out on five consecutive pages but deliberately not as a gatefold.

“It really indicated my effort to move away from rephotographing those documentary photographs and really reach back into the visual mind-set of those who lived there. The reason that I know that is that if you visit that site, it is obvious that this promontory was where they went and stood. Now we’re rephotographing the view itself. And instead of making it a foldout, you have to turn the pages and you have to read it. And my view is that they read the landscape.

They had their points of measure and points of announcement. The scale of the view was so outrageous. So really switching the conceptual view back into time, that much was for me a very significant switch in how to look at these sites.”

In the chapter “Road Stories, Celestial Landscapes, Sacred Geographies,” Lippard discusses the orientation of Chaco’s buildings to solar and lunar events.

She writes of Chimney Rock, “As the northernmost outpost of the Chacoan system, this most spectacular site of astronomical events was perhaps all the more significant for its association with the extreme north. Chimney Rock, built around 1076 and occupied only in the Chaco era, is a great house surrounded by pithouse villages below. Set on a mesa 7,600 feet high just below two striking rock spires between which the moon rises roughly at the lunar standstill, it was built in the year of a lunar standstill, remodeled in 1093 to mark another standstill, and abandoned before 1150.”

Lippard refers to an article by Brenda Todd in the summer 2010 issue of Archaeology Southwest. In 2009 Todd, then a doctoral student in archaeology at the University of Colorado at Boulder, supervised excavations of two rooms in the Chimney Rock Great House. “Todd suggests that pilgrims would have come from far and wide to climb a causeway, ascend a steep stairway, pass a ‘guardhouse,’ and crest the ridge to see the full moon rising between the spires at this auspicious moment.” A meaningful representation of that spectacle would be impossible to show in a book, but Goin does a good job of focusing on the magnificent view from Chimney Rock.

Regarding the big questions about Chaco Canyon, Lippard said that one of the frustrating things about writing about this site is that archaeologists are always coming up with new ideas that you wish you had known when you were writing.

It is likely that these ideas will remain only theories, unless some new test is devised to read the stories contained in artifacts. Meanwhile, the time and reality of the Chaco Phenomenon gets more and more remote.

“And more and more confusing,” Lippard said. “Because the more extraordinary tests are developed, the more contradictions there will be, and some people won’t believe the new tests. Archaeology is nuts.” ◀

details ▼ Peter Goin and Lucy Lippard discuss Time and Time Again: History, Rephotography, and Preservation in the Chaco World ▼ 6 p.m. Thursday, June 20 ▼ Collected Works Bookstore, 202 Galisteo St., 988-4226

Desert Academy

Pat r i c i a B e g g i n s e r i k a g u i l l o r y Pa g e

Engaging the mind. Engaging the world.

annie Vought

Grace Moon

reed college

Patricia Beggins, The Red Queen, oil, birdseed, oatmeal and salt on canvas, 48 x 72 inches.

The learning experience Desert Academy granted me was marked by its intimate network of dedicated teachers, deeply involved staff, and communally engaged, creative students. The academic rigor of the IB curriculum helped equip me with the skill set for independent, introspective, and globally-oriented thinking. I was embraced by the positive atmosphere of Desertâ&#x20AC;&#x201D;an environment in which talent, idiosyncrasy, and intelligence were not only accepted but also encouraged.

UNIV. of saN fraNcIsco

Annie Vought, Struck By and Carried Away (detail), 2013, Hand cut paper, 31 x 21 inches.

Elle Jansen

Photos Š Kim Kurian

Erika Guillory Page, SIR1, oil stick on paper, 9 x 19 1/2 inches.

I started at Desert as a freshman, took a two year gap schooling elsewhere, and am ending here as a senior. Being away made me realize how special and unique Desert is. From the exceptional teachers to the vibrant student body, Desert creates an amazing atmosphere for learning and expanding. Through passion for excellent education and dedication to students, Desert is a school that produces extraordinary people. I am grateful to have rejoined the community for my last year of high school.

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College PreParatory grades 6-12 Now at 7300 Old Santa Fe Trail www.desertacademy.org (505) 992-8284 PASATIEMPOMAGAZINE.COM

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Jennifer Levin I For The New Mexican

AND A FEW BARS

CE L E BRAT I NG EL I LEV I N

or a few months in the 1980s, Eli Levin sold out to the tourist market.

The painter and etcher — who moved to Santa Fe in 1964, squatted in abandoned adobes and drank with rabble-rousers, had affairs with his female models, and generally lived a storybook Santa Fe artist life — signed a contract with a prestigious Canyon Road gallery. Levin, a 1930s social realist-style painter, agreed to paint still lives of Indian pottery.

“That was probably the fanciest gallery I was ever in,” Levin told Pasatiempo.

“I’ve always been able to do good still lives, but I did objects that weren’t aimed at anybody. These paintings were selling right off the easel. I did seven of them, and even though there are hardly any art critics in Santa Fe, some critic noticed and said it was too bad I’d finally sold out, but at least I’d waited a while. I was so hurt that I never did another one. I got into terrible tension with the gallery. I had to get a lawyer so I could get out of my contract. They were mean. They always wanted me to paint the same thing because it sold. The pressure was terrible.”

Not long after, he got to know the controversial art dealer Forrest Fenn, with whom he liked to argue about art. Fenn gave Levin and his friends a two-day show in his gallery and then offered Levin a show of his own if he would paint bar scenes with some prespecified content. “He wanted cowboy bars, like in the movies, and you had to have whores and gunfights and cheating at cards. I said I couldn’t do that. He found a commercial artist to do it, and they had the show — and he sold!

Fenn could just snap his fingers. He was a power maniac, such a strange character.”

That the paintings were of bar scenes particularly rankled Levin, because since the beginning of his career he has been known for painting two things: bar scenes and nudes. Often, there are nudes in the bars. His bar patrons drink, dance, play music, fight, make art, and orate. Levin doesn’t like being told what to paint by galleries or customers, because if he’s not painting what comes from inside his head then the art becomes less serious. Another danger for him has been nude models, with whom he had “a variety of relationships” and over whom he tended to obsess. “To obsess over the woman you’re painting rather than the painting — that’s kind of heavy. Some people would give their eyeteeth for that. I’m just a private person. I also don’t do portraits. It could be anyone who asked and I wouldn’t do it.

It confuses my private life with my art in some kind of intimate way.” He was also convinced by some feminist thinking that nudes in general were a problem, because they were products of the male gaze. “I’ve written a whole essay about it, like 30 pages, but in a nutshell: you do get obsessed with the sexuality of it. A lot of clients get a lascivious charge out of it when they buy this stuff. I backed off. I don’t use nude models in my studio anymore. It was a lifestyle.”

Levin has been drawing, etching, and painting since he was a little boy, and he’s always been serious about his pursuits, eschewing trends that emphasize messy expression over honed craft. He’s pretty sure most young artists would consider him old-fashioned, though he’d love it if old-fashioned young artists interested

Eli Levin: opposite page, Dancing on Table, 2012, tempera on panel 32

PASATIEMPO I June 14 -20, 2013

in intaglio wanted to join the Santa Fe Etching Club he started with artist Sarah McCarty in 1980 that continues to thrive at Argos Studio/Gallery under the leadership of Eric Thomson. On Friday, June 14, in honor of his birthday, his friends and business partners are mounting an exhibit of his intaglio prints and paintings, Eli Levin’s 75th, at Argos.

After that, Levin said, he’s retiring.

Levin was born in New York. His parents were divorced when he was small; his mother, Mabel, remarried a wealthy man with whom Levin lived for a few years, until they got a divorce and Mabel, who had a doctorate in chemistry, got a job teaching at the University of Hawaii. He lived with her there and spent summers with his father, the writer Meyer Levin, and his father’s new family in Paris.

“So, that was my childhood. My mother committed suicide back in the States when I was 12. She was an alcoholic.”

After that, he lived with his father in New York. Meyer Levin was a war correspondent who went on to write several books, including Compulsion, a novel about the infamous murderers Leopold and Loeb. Meyer was integral to the publication of Anne Frank: The Diary of a Young Girl but was shut out of the playwriting process and spent the rest of his life obsessed with — and litigating over — this injustice. “He wasted millions of dollars, all his creative energy.

That was a kind of family disaster. He was paranoid, but he was a decent man.

It was sort of another little catastrophe left over from the Holocaust. When he was a correspondent he went into all the concentration camps. That might have unsettled him, right from the get-go,” Levin said.

At New York’s High School of Music & Art in the 1950s, teen artists, their left-wing, largely Communist parents, and their teachers were active and passionate about art and politics. Levin considers his high-school years one of the most idealistic times in his life, leading him to combine politics and social issues with art, the way his social realist teachers did. As a teenager, he took a weekly figure-drawing class at the city’s Art Students League and formed drawing groups of his own. He’d learned to etch even before entering high school, from an artist he met through a friend of his mother’s, with whom he stayed while she was in rehab. Levin continued his art education at the New School for Social Research, where he painted with Raphael Soyer, and then went on to Boston’s School of the Museum of Fine Arts, where he was denied a degree because he insisted on painting small-scale social realist works at a time when large abstract pieces had become all the rage. “I painted in egg tempera, and they wanted me to paint in oil. I’d already developed a style,” Levin said. “I don’t like modern art. I’ve written a book about it, though it’s not published yet. It’s called Why I Hate Modern Art.” continued on Page 34

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Eli Levin, continued from Page 32 Levin stayed in Boston for a couple of years and then he had a nervous breakdown. “I got this terrible poison ivy-like rash all over. My eyes were swollen closed. My nose was swollen closed. I had to use a pen knife to breathe, to open my mouth. I was locked up in my little slum apartment in the middle of winter.

I didn’t even look like myself when I recovered from that. There was something wrong. I just felt so alienated that I started hitchhiking across the country. I didn’t plan to come to Santa Fe, but this is where I ended up.”

It didn’t take Levin long to establish roots in Santa Fe. He’s been well known here for decades and has written books about the Santa Fe art colony of the ’60s, ’70s, and ’80s. He’s gone back to the East Coast several times and taught at the University of Wisconsin for a bit, but he always returned to Santa Fe, and — save for his brief foray into painting for the tourist dollar — he’s kept to his social-realist ideals. Levin’s recent work includes nearly two dozen bar scenes, which will be on display at the Argos exhibit. He has also done series on cleaning ladies and janitors; Guatemalan workers in Dixon, where he lives now, with his girlfriend; local people in the town outside of their houses; and one on torture at

Above, from left, Recalcitrant, 2005, mezzotint; 3 Diggers, 2009, etching with drypoint 34

PASATIEMPO I June 14 -20, 2013

Abu Ghraib. And he is a honest-to-goodness card-carrying Communist. He keeps the red plastic card in his wallet.

Levin’s life is the stuff of Santa Fe lore and legend, the kind of life that probably couldn’t happen today because of the lack of abandoned adobes for artists to convert for free into studios. Though he has lived here for the bulk of his life and considers himself a regional artist, he has some misgivings about leaving the East Coast art world behind. When all is said and done, he wishes he had been more game for the rigor and competitiveness of the New York scene. “I might have made a mistake living here. If I’d had the strength of character and the guts I would have stayed in New York. But this is a nicer life. Probably if I’d gone back to New York I would have been dead years ago from hypertension.” ◀

details ▼ Eli Levin’s 75th, intaglio prints & paintings ▼ Opening reception 5 p.m. Friday, June 14; through July 7 ▼ Argos Studio/Gallery & Santa Fe Etching Club ▼ 1211 Luisa St.; 988-1814

20 APRIL – 16 JUNE 2013 AGAIN: Repetition, Obsession and Meditation in the Lannan Collection Again features artworks where repetition, obsession or meditation, are key elements to the artist’s process, sometimes obvious in the resulting artwork, sometimes not.

Whether what compels each is expressed as a life-long obsession with a subject, such as the bird for Jean-Luc Mylayne, or a repetitive action, as seen in prints by Sol LeWitt and Agnes Martin, or a meditative practice that results in an object like Susan York’s hand-polished solid graphite sculptures, the artists in this exhibition repeat themes, motions, motifs and materials again and again, over and over.

Lannan Gallery 309 Read Street Tel. 505.954.5149 Gallery Hours: Saturdays and Sundays noon to 5pm (weekends only or by appointment)

Renate Aller Stuart Arends Uta Barth Chuck Close Olafur Eliasson Lawrence Fodor

Martha Hughes Cassandra C. Jones Sol LeWitt David Marshall Agnes Martin Pard Morrison

Jean-Luc Mylayne Jorge Pardo Buzz Spector Roger Walker Susan York

Image: Olafur Eliasson, The Lighthouse Series, 1999, Twenty color photographs, 9½ x 14¼ inches each, Collection Lannan Foundation.

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39

The new-media carnival of Currents 2013

Michael Abatemarco I The New Mexican

IF

the sensory experiences offered at this year’s installment of Currents, an international festival of new media, are any indication, gone are the days when “new media” was simply another term for video. Of course, there will be plenty of video but also a whole lot more. The center of the activity, as in past Currents, is El Museo Cultural de Santa Fe, with satellite events occurring at locations across town throughout the month, culminating in a free concert at the Railyard Plaza by D Numbers on June 29.

The festival is the brainchild of Mariannah Amster and Frank Ragano, digital media artists whose organization Parallel Studios began producing the festival in 2002 at the Center for Contemporary Arts, with only eight video artists. Past Currents occurred sporadically between the years 2002 and 2009, but the festival has grown in size to become an annual event over the last four years. Several galleries and art venues are partnering with Parallel Studios for Currents 2013, including Zane Bennett Contemporary Art, which hosts a talk by César Meneghetti at 1 p.m. on Saturday, June 15. Meneghetti worked with physically and mentally disabled people from Rome’s Community of Sant’Egidio, a Christian evangelical charity organization, on his project I\O — a component of which, called Opera #01, is on view at El Museo.

Also at Zane Bennett is a panel discussion on June 21, “Art and the Legacy of Artificial Life.” In addition, CCA hosts New Media: Arts and Sciences, an afternoon of events on June 23 presented by 1st-Mile Institute’s SARC (Scientists/Artists Research Collaborations) program. The day’s activities include screenings, panel discussions, and presentations. Together with “Art

40

PASATIEMPO I June 14 -20, 2013

and the Legacy of Artificial Life,” it represents one of several convergences — this one between art and science — that make Currents 2013 a dynamic, broadly focused festival. Other convergences include music and new media as well as live multimedia performances that incorporate video projection and video installation. Details of all events, including performance times, can be found on Currents’ website, www.currentsnewmedia.org.

The opening weekend starts with 5 p.m. receptions on Friday, June 14, at David Richard Gallery — which offers Projected, an exhibition of digital and video artwork by Susan Herdman, Matthew Kluber, and collaborators Max Almy and Teri Yarbrow — and at Zane Bennett, host of the exhibit Projections in New Media. But the main event is at El Museo, where, beginning at 6 p.m., visitors can see examples of web art, gaming, experimental documentaries, and other new-media installations. Among the nearly two dozen artists with single-channel videos at El Museo are Snow Yunxue Fu of Guiyang, China; Karl F. Stewart of Düsseldorf, Germany; and Jennifer Berger of Los Angeles.

Also at the El Museo opening are a series of performances by Miwa Matreyek, Paula Gaetano Adi, The Bridge Club, and Xristina Penna that run at specific times throughout the evening. Penna’s interactive installation I know this, I do this all the time (I don’t like it though) relies on audience participation. Audience members, using a device similar to an overhead projector, draw images projected onto the face of the performer, erasing the line between observer/object and referencing psychic processes. Matreyek’s Myth and Infrastructure involves a mix of live shadow play and digital media with the artist’s silhouette, from behind a screen, interacting with projected animation.

CURRENTS 2013

Left, Jean Constant: “The Naked Truth” Freiburg, B-W. 12, 2012, digital image Below, Jennifer Burger: Head Split, 2013, video still Opposite page, Bart Woodstrup: Under Saraswati River, 2012, still from interactive video installation/ live cinema performance

This year, the submitted single-channel video and video-installation work includes a lot of geometric imagery evocative of mandalas, particularly in the installations of Bonnie Lane from Melbourne, Australia, and Santa Fe artist Flame Schon. “Those two videos are very much based on a kind of mandala structure, but we got a lot more submissions like that,” Ragano said. Such imagery is something Currents has avoided showing in the past. “Usually I find it very gimmicky, but these are quite beautiful and very compelling.”

Participation by local artists is something Ragano and Amster strive to include every year. Along with Schon, others from Santa Fe are Anne Farrell, Madelin Coit, and Matthew Chase-Daniel. Chase-Daniel’s mobile gallery, Axle Contemporary (a project with Jerry Wellman), will be parked by the Railyard Plaza during opening night and features an interactive performance and installation by August Muth called The Carnival of Shattered continued on Page 43

PASATIEMPOMAGAZINE.COM

41

David Stout and Cory Metcalf: Melt, 2013, mixed-media Installation Opposite page, Susanna Carlisle and Bruce Hamilton: Pneumatic City, 2013, mixed-media Installation

Other brothers: César Meneghetti’s I\O project

S

an Servolo, a small island in the Venetian Lagoon, was the site of a historic 18th-century asylum, which closed in 1978 after psychiatriccare reforms went into effect across Italy. Now, San Servolo is home to Venice International University, a consortium of educational and cultural institutions. It is also the site of a major work by Italian-Brazilian artist César Meneghetti, whose project I\O_I Is an Other appears in this year’s Venice Biennial. The title is partly taken from a line by Arthur Rimbaud.

Santa Feans have an opportunity to experience part of I\O at Currents 2013 at El Museo Cultural de Santa Fe, where Meneghetti’s I\O Opera #01, a video installation, is being shown. For the overall I\O project, four years in the making, Meneghetti collaborated with members of Rome’s Community of Sant’Egidio who were involved in an ongoing art lab program. The art lab works with the mentally and physically disabled — many of whom were directly affected by the closing of the hospitals in the late 1970s — allowing them opportunities for creative self-expression. San Servolo has been a major component of the project, because of its history. Meneghetti discusses I\O at Zane Bennett Contemporary Art (435 S. Guadalupe St., 982-8111) at 1 p.m. on Saturday, June 15.

I\O was conceived in several stages, which Meneghetti calls “verifications,” and culminated in a multimedia work. The first verification involved interviewing members of the community who then were given an opportunity to interview Meneghetti, volunteers from Sant’Egidio, and curators Simonetta Lux and Alessandro Zuccari. “We set up about 30 questions about some issues of existence: love, god, death, things like that,” Meneghetti said.

“I don’t call this an interview. It was a horizontal relationship. I observed them; they observed me. I never met, don’t have in my family, and don’t have friends who are disabled, so for me it was a way to break through this barrier of preconceptions. I think we did break this barrier.”

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PASATIEMPO I June 14 -20, 2013

César Meneghetti: I\O Opera #01, 2010-present, video installation

For the second verification Meneghetti taught the participants about new media. “We talked a lot about what is reality, and what is truth,” he said.

“One of the issues was self-portraiture, how they see themselves and how they see the world — different from how I see or how we see the world as pseudo ‘normals.’ ” The third verification was a type of conference that involved philosophers, writers, poets, art historians, and staff from the Franco Basaglia Foundation.

(Basaglia, a psychiatrist, was an outspoken critic of Italy’s mental-health facilities and was instrumental in reforming them.) The conference was held at San Servolo. The fourth verification involved filming a series of workshops with deaf, autistic, and other mentally or physically challenged members of Sant’Egidio. Meneghetti later arranged the results into a video presentation.

“They talk about love, about life, reality, discrimination,” he said. “Humanity is 360 degrees. If you exclude people for race, for religion, or for mental conditions you are missing something of humanity. That’s the thing.”

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Currents, continued from Page 41 Dreams. Chase-Daniel’s own video installation, Venice Beach, is on view at El Museo.

Area high schools and colleges also take part. Elliot Roberts, Julia Griffin, Keith Riggs, and Brandon Birkey, who participated in Santa Fe University of Art and Design’s Outdoor Vision Fest in April, show video projections at the Railyard Plaza, along with a light and fog installation by Jack Snider and performances under the water tower by Meow Wolf DJ’s Dirt Girl and P.F.F.P. A site-specific video presentation by Molly Bradbury is shown on the west wall of Warehouse 21. Video projects at the Institute of American Indian Art’s Digital Dome begin at 2 p.m. on Saturday, June 15, and run on various dates throughout the month. As for high school video projects, Currents 2013 offers more than what’s been included in the past.

“Usually we just show single-channel video work on a dedicated flat panel for the student work, which we also have this year,” Ragano said. “But this is the first year that we actually have some installations from the students.

Two of them are from Santa Fe Prep, and one is from the New Mexico School for the Arts. One from Santa Fe Prep has three different screens with three different videos happening. Two students have actually created a built installation, a slanted nine-foot apparatus, and projected onto the apparatus is, I believe, the Santa Fe River. At the foot of this is a Google map that shows you where you are along the river. We’re very excited to have work from the students that moves beyond single channel — not that single-channel work isn’t great; it’s just something different.”

Between gallery exhibitions, performances, and the new-media exposition at El Museo, Currents offers a lot to take in and is, without question, among Santa Fe’s largest annual community art happenings. It’s local, it’s international, it’s fun, it’s free, and it’s huge. ◀

details ▼ Currents 2013 ▼ Opening reception 6 p.m. Friday, June 14; events continue through June ▼ El Museo Cultural de Santa Fe, 555 Camino de la Familia, 992-0591 ▼ No charge; for participating venues and a complete list of events, visit www.currentsnewmedia.org

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43

CURRENTS 2013

Paul Weideman I The New Mexican

Sounds from silence Strangenesses.

That is one way of describing Timothy Weaver’s works of art that incorporate images of extinct species and attempt to translate their once-upon-a-time DNA profiles into musical elements that can be played.

ArthropodaChordataConiferophyta is his performance piece for the new-media festival Currents; the title refers to three phyla or classes of organisms within which are insects, birds, and cone-bearing trees, respectively.

“For this performance in Santa Fe I’ll be playing morphological lines of these different extinct species from direct scans I have,” Weaver said from his office at the University of Denver. “I’ve been working with the Museum of Nature and Science here in Denver; I had access to their extinct-species collection to scan them on a flatbed scanner to do these real large-scale prints and video works and try to bring back these residues that none of us have ever seen.”

By “residues,” he is referring to extinct species and the voids in our ecological milieu, and in the planet’s gene pool, left by their departures. For his art, he is working with the “sonification of lost genomes,” as he put it. “If I have the passenger pigeon genome information, for example, I can take that data — in proteins it

44

PASATIEMPO I June 14 -20, 2013

might be an amino-acid sequence and in DNA it would be a nucleic-acid sequence — and if I have a sequence in data form, I can put that into software I’ve written to translate as a note so I can play it like an instrument. It’s a sound-based expression of the lost DNA.” Weaver said he felt it was time to give some priority to art after 15 years of working in protein engineering, microbiology, and cloning human proteins. “I’ve been focusing on the same things I was in science: the fragility of life and the vulnerability of certain species and different ecosystems, and then I happened onto this whole thing of ecological memory and where that places us in terms of time and space when we have a realization of our ecology around us.”

He is an associate professor and director of the Emergent Digital Practices program in the University of Denver’s School of Art and Art History. The program

Above, Tim Weaver composing protein music through morphological drawing/ graphite-circuit interfaces for ArthropodaChordataConiferophyta, 2013

Timothy Weaver translates extinct creatures’ genetic code into music seeks students who are interested in shaping the futures not only of social media and smartphone applications but also of “humane games,” “science fiction as techno-cultural forecast,” and “digital humanities.” That last one might bring to mind scary automated beings who can steal our psyches. Rather, Weaver deals with “humanities that are empowered or extended by digital intervention, so it could be how social media affects human rights, and it has implications in phenomenology and theology. We’re coming up with all these new ways of assessing how we interact with people and just accepting it, and also what other life forms mean to us, so I’m going back to the point of an artist looking for pigment and sound base from data.”

The Currents work is in three movements. The first, “Arthropoda,” deals with lost insect migrations, specifically locust swarms. Remnants of the locusts that existed in the American West in the 1870s have been held frozen in glaciers in Wyoming — glaciers that are now melting. “I’ve worked a lot the last four years with data from a cultural entomologist, Jeff Lockwood, at the University of Wyoming in Laramie. I have drawings from the 1880s from the first entomological

surveys of these swarms and then the DNA sequence that Jeff gave me from the glaciers. That’s the basis of the first movement that’s being performed through an interface I’ve built.”

Weaver coaxes video and audio elements from two-dimensional prints on which he has outlined the extinct organism’s form in graphite. “You can take electronic probes and stick them into the graphite to form a circuit, then channel the video and audio data of the shape. One student says it’s witchcraft.”

For the movements “Chordata” and “Coniferophyta,” Weaver engages with the memory of the extinct passenger pigeon and with the microscopic structure of a redwood cone; in the latter he also references an endangered bird, the marbled murrelet, which nests in the redwoods of central California.

ArthropodaChordataConiferophyta is about both science and music. “I’m interested in terms of new creative expression, bringing into dialogue how we value these new visions of life forms and how we start to assimilate them. If we know continued on Page 46

PASATIEMPOMAGAZINE.COM

45

Tim Weaver, continued from Page 45

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Weaver performing protein music based on the Rocky Mountain locust, 2013

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about the DNA of something that’s extinct or endangered, how is that different from when we’re face to face with that being?

“Then the other thing I find really compelling is the experience of performing video and audio at the same time, and the video is affecting the audio in terms of maybe pulling color information from some of these direct scans of lost species like the feather pattern of a lost bird, and the way it affects the music that I can respond to as a performer and as an artist. So I’m looking for new sensoria to express those things but also new modes to be able to talk around really complex issues of how we value life and how we assess the loss of ecological memory of species that had migrated through this part of the world for tens of thousands of years and all of a sudden there’s a big hole there.”

The paraphernalia that comprise Weaver’s “instrument” and his performance methodology permit the manifestation of an unpredictable image or sound.

“Sometimes it’s completely hypnotic because I’ve never seen it before, and so I get to follow that lead in kind of a jam with these residues of lost life forms,” he said. “I’ve also started to put myself into the work more because of some things that have happened having to do with my own mortality, so there’s that personal aspect as well.”

Weaver’s recent projects have been featured at Subtle Technologies in Toronto, FILE Hipersonica in Brazil, Transmediale in Berlin, and the Korean Experimental Art Festival in Seoul, among other exhibitions and festivals. One focus of his during the last six years is glacial recession and biodiversity loss in South America. This summer, he jaunts to Iceland to do some time-lapse photography of the last nesting grounds of the great auk. And closer to home, he’s interested in listening to the movement of water and nutrients through the circulatory systems of trees.

“I live in the foothills between Boulder and Golden, and I have about 380 trees on my property. I’ve been living with them for 20 years, and I’m trying to set up monitoring so I can compose music from the flow of fluids through them in different times of the year. This comes from a project of David Dunn’s down there in Santa Fe. Some years ago he was monitoring the piñon trees after the beetle infestation where he was trying to establish if there was a vibration of the trees from being in duress that the insects could hear.

“David put out this project where people could use a special piezo microphone, which he described as a mixture of a greeting card and a meat thermometer. That technology is actually not as available now, but there are very sensitive piezo pickups they make to fit under the bridges of guitars and violins, and you can insert them into the outside bark of the tree and pick that up on an electronics board and send it wirelessly to another place and play it like an instrument.” ◀

details

NO GIMMICKS E JUST GREAT CAR 46

PASATIEMPO I June 14 -20, 2013

▼ Tim Weaver: ArthropodaChordataConiferophyta ▼ 7:30 p.m. Saturday, June 15 ▼ El Museo Cultural de Santa Fe, 555 Camino de la Familia, 992-0591 ▼ No charge; www.currentsnewmedia.org

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Michael Abatemarco I The New Mexican

Something’s happening here Take a seat with The Bridge Club

T

he Bridge Club probably isn’t what you think. Annie Strader, Christine Owen, Emily Bivens, and Julie Wills are not little old ladies who meet up to play cards. They make up a collaborative of performance artists, coming to Santa Fe to immerse you in a slightly uncomfortable, otherworldly experience. Medium, a multimedia performance piece by the group, is one of several public performances during the opening weekend of Currents 2013 at El Museo Cultural de Santa Fe. You might think of Medium as a typical bridge-club meeting, insofar as there are four participants, and they all sit in chairs. However, there is no table, no cards, and the chairs rest not

We don’t typically acknowledge the audience, almost as if we exist in a different time or space. ...

We capitalize on the awkwardness of that. Awkwardness is sort of our forte.

— Emily Bivens of The Bridge Club

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PASATIEMPO I June 14 -20, 2013

on the floor but suspended from the walls of the room where members of the group interact with video projections and one another. Three performances are scheduled throughout the evening of Friday, June 14, with another three on Saturday, June 15.

The Bridge Club’s pieces are often of long duration, sometimes lasting over several days, and are site specific, incorporating not just the physical landscape of a geographic location but its history and culture as well. Wearing wigs and costumes that evoke bygone eras, the artists conflate past and present to suggest themes of universality and commonality. Medium was performed only once before, in August 2012 at the Art Palace Gallery in Houston. Owen and Bivens spoke with Pasatiempo about their performance style and the physical demands of their art form.

Pasatiempo: You have been working together for nearly a decade. How did it all come about?

Emily Bivens: We started working together quite informally in graduate school. We quickly realized that there were ideas we were all interested in and best pursued as a collaborative.

Christine Owen: It was sort of spontaneous.

Pasa: What is going on with these characters or personas you create for these pieces? They all seem very similar to one another, the way they dress.

Bivens: When we’re all in character we see ourselves less as individuals and more as a type of person that might experience these unified themes. So the collaborative really works for that multiple perspective rather than the individual perspective.

Owen: Our costuming kind of make us anonymous. We realized we could

All photos: The Bridge Club performing Medium, Art Palace Gallery, Houston, 2012

play around with ideas of gender and how gender changes because our outfits are nonspecific and of different eras. There’s always an ambiguity in our costuming.

Pasa: Are the performances spontaneous happenings or more choreographed?

Owen: We have grown to think of ourselves as modern dancers — no. I’m totally kidding. When we find ourselves explaining what we do as performance artists it’s often said, “Oh, you’re a dancer,” and, speaking for myself, I’m quite clumsy. Some of our performances require arduous, physical choreography that we’re training ourselves to do. But it’s not innate, and we don’t have any professional training doing it.

Bivens: I would say, too, that one of the ways that we work is we set up circumstances or a logic with certain rules of participation where there’s structure but we leave a good deal up to the movements that occur within that time/space parameter — a loose structure, but we let our interactions dictate how we proceed.

Owen: We have a skeleton of action, but there’s improvisation that fleshes it all out.

Pasa: You’re responding to one another, but are you interacting with the audience as well?

Bivens: We don’t typically acknowledge the audience, almost as if we exist in a different time or space. At the same time, the audience’s movements and interactions definitely affect how we’re able to move or interact within a space.

There’s a tension, I think, built from that lack of interaction while being in the same exact space as the viewer. We capitalize on the awkwardness of that.

Awkwardness is sort of our forte.

Owen: We do a lot of work in public spaces. When we were invited to do Medium at the Art Palace, we were forced to address the walls of the gallery. We considered how to address the walls conceptually, aesthetically, and that’s how we ended up putting ourselves up on the wall. We feel more like the observers in the space. That creates a different kind of relationship between the viewer and ourselves. It just flips it a little bit.

Bivens: What I found really interesting about Medium is that the audience was really captivated by the subtlety of our eye contact. So for example, if I looked across the room, the entire audience followed my gaze. The audience was looking at us, but their actions became the center of the performance.

Pasa: The title Medium seems to have several connotations. What are some of your ideas about that?

Owen: It’s connecting up with the idea that artworks can be available for knowledge and how we access this information. There’s a performer on the wall who has a stack of books on her lap and is searching through the books

and tearing pages. The books are a collection of technology books, anatomy books, how-to books — Bivens: Nursing books. Somewhat antiquated books.

Owen: The manuals are maybe not accurate any longer, or this method of finding information is not accurate. So it references this idea like a medium, meaning otherworldly messages, and that artwork requires a medium. The sound components and video components are integrated into the performance.

The images being projected are in a circle around the performer on a particular wall. It has images of clouds going by and also text.

Pasa: It must a difficult piece to perform, because of the physical demands required.

Bivens: The suspended state is a difficult one. We’re often doing durational performances that require stamina. The length of time becomes interesting.

People are often surprised at what they want to sit and stare at. We want to push that moment where there’s not necessarily a beginning or an end where we’re telling the audience when it’s no longer appropriate to watch. They’re actually deciding that on their own. It’s important for it to be long enough so that the audience is left to make that decision for themselves. There is a sense that it just continues, that it just is.

Owen: Typically, our performances are a one-off because they are site specific.

It’s exciting to get a chance to re-perform this piece. We didn’t know how painful it would be to sit in that straight-backed chair for two hours until we actually did it. We once did a performance where we wore these very high-heel shoes. That was it’s own form of discomfort.

Bivens: Although mine were cozy as could be. I don’t know what you guys were doing wrong but my stilettos were just fine.

Owen: We also each have different kinds of pain thresholds.

Bivens: Mine being the lowest, in case you weren’t clear about that. ◀

details ▼ The Bridge Club: Medium ▼ 6 p.m., 7:45 p.m. & 9:30 p.m. Friday, June 14; 11 a.m., 2 p.m. & 4 p.m. Saturday, June 15 ▼ El Museo Cultural de Santa Fe, 555 Camino de la Familia, 992-0591 ▼ No charge; www.currentsnewmedia.org

CURRENTS 2013 PASATIEMPOMAGAZINE.COM

49

Loren Bienvenu I For The New Mexican

J

PrePared imProv Darwin Grosse

anet Feder prepares her guitar in ways that extend beyond just tuning the strings. Among other innovations, she adds different objects (generally of metal) on or between the strings to create a richer range of harmonic, tonal, and percussive possibilities.

Feder explained, “I want to hear myself do things that I’ve never heard before. That’s just what makes me happy.” This, she continued, is the “prime motivator in what I do.”

Feder is in town to perform as part of a trio for Currents 2013. Fellow boundary-pushing artists Andrew Pask (clarinet, saxophone, analog and digital systems) and Darwin Grosse (visual elements) appear with her onstage. The trio performs at El Museo Cultural de Santa Fe on Saturday, June 15, and Grosse and Pask offer a duo reprise the following day, also at El Museo.

Feder, Grosse, Pask do what they do

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Janet Feder

Michael McGrath

Like Feder, Pask alters the sound of his instruments in unusual ways.

However, he uses digital effects, rather than material objects, to explore distant sonic frontiers. Pask explained that his system of processing is “mostly unpredictable ... I do not control the audio processing I am doing literally, rather, I set processes in motion and they evolve. This sort of evolution of the sound and the processing sits well in an improvisational context like ours.”

That context extends even to the visual side of each performance. “I create visual systems that use a variety of cues from the players — their sound, tonal range and movement — to generate performance-specific results,” Grosse explained. “Additionally, I control the visuals in a way that informs the results based on my own emotional attachment to the music, providing second- and third-order reactive effects.”

These reactive effects are in marked contrast to what Grosse described as “the typical first-order effects that occur when, for example, a toot on the horn translates directly into a blotch on the screen.” Grosse develops visuals that react to the improvisations of his two collaborators but also alters them in the moment depending on how the music unfolds.

The overall effect of the trio’s live shows is difficult to describe, not least because each performance is distinct and unpredictable. The three members are spread across different cities and states and play together infrequently. When they reunite, it’s common that they have grown artistically as individuals in the interim period, which in turn leads to developments in their overall sound.

The uniqueness of each performance also results from the challenges of group improvisation. From Feder’s point of view, when it comes to live shows, she interacts with her two collaborators in different yet simultaneous ways. First, she explained, “I want to see what Darwin’s doing. What his visual content is doing. I want to learn the ways in which

“THE CHANT MASTER OF AMERICAN YOGA” –The New York Times

CURRENTS 2013 I can interact with him from this very analog place that I come from, and see and learn what he does with it so I can be a better responder to his work. When I play with Andrew, it’s a sort of wonderful far-reaching conversation that we have.”

Despite differences in each of the trio’s “conversations,” their performances are not entirely random. In fact, the best label for the group’s approach is “structured improvisation,” Feder said. “We’re all in the same universe and responding to each other, and generating content at the same time that is both sonic and visual, that typically does have an arc. By that, I mean a beginning, a middle, and an end. It has direction, it has momentum, it has outcome.”

The trio is sure to feel at home at Currents. Feder co-curates a newmedia festival in Boulder called MediaLive, and she looks forward to seeing friends and colleagues gathered in Santa Fe. “There’s a sort of kinship among people far and wide who are doing new media,” she said.

“We get to know each other and cross-pollinate.”

Feder’s familiarity with the avant-garde probably results from her experiences as a curator and educator. Until recently, she was the chair of the music department at Naropa University. Grosse is an adjunct professor at the University of Denver, and Pask is an in-demand programmer who has designed onstage performance systems for Herbie Hancock, among others. As part of their Currents appearance, Grosse and Pask are leading two workshops on Max/MSP, software used to coordinate video and audio, among other things. The software is integral to the trio’s ability to improvise in a connected way.

The first workshop is on Saturday, June 15, at Warehouse 21, and is called “Rapid Development of Visual Performance Tools.” In Pask’s words, this workshop is a “hands-on introduction to creating flexible video performance systems.” Participants do programming in Max (with the associated video-processing software Jitter) and learn “how you can easily build complex video processing routines, and control and perform live with them.”

The second workshop, on the following day, also at Warehouse 21, is called “Exploring the Analog Model.” Participants will learn how to incorporate “analog audio equipment with modern computer-based DSP processing for performance,” by using Max and “programming in a virtual modular synthesizer environment called BEAP,” Pask said.

Though these jargon-heavy descriptions might sound intimidating, both workshops are geared toward beginners. Experience with Max programming is not necessary, and participants need only bring a laptop and headphones. Best of all, these daytime crash courses are followed each night by live performances from the pros — performances sure to highlight that, when analog improvisation meets digital programming, anything can happen. ◀

“AFFECTING!...

It’s a portrait of the possibility of finding peace, contentment and self through both music and spirituality.”

–Nick Schager, Time OuT New YOrk

“Will move you to tears with its many poignant moments of deep feeling and connection.”

–Frederic and mary Ann Brussat, SpiriTuAliTY ANd prAcTice

One track Heart: Fri,the Sattrailer and Sun watch at at 6:30; MOn, tueS & wed at 8:15; tHurS at 5:45

In Bed with Ulysses

THE MOVIE LETS FRESH AIR INTO “ULYSSES” LIKE A GUST FROM THE IRISH SEA. — ANDY WEBSTER, NYTIMES

in Bed witH ulySSeS: Fri, Sat & Sun at 12:15

HELD OVER StOrieS we tell: Fri & Sat at 2:00 and 4:15; Sun at 4:15; MOn, tueS & wed at 2:00 and 6:30; tHurS at 1:15

details ▼ Feder, Grosse, Pask 7:30 p.m. Saturday, June 15; 7:30 p.m. Sunday, June 16 (Grosse and Pask only) El Museo Cultural de Santa Fe, 555 Camino de la Familia, 992-0591 No charge; www.currentsnewmedia.org ▼ Max/MSP Workshops 2 p.m. Saturday & Sunday, June 15 & June 16 Warehouse 21, 1614 Paseo de Peralta, 989-4423 No charge; to register, email parallel-contact@earthlink.net

IN THE HOUSE

Fri & Sat 8:00; Sun 2:00; MOn, tueS & wed 4:15; Sat and Sun at 10:30 tHurS at 3:30 tHe reluctant FundaMentaliSt: MOn, tueS & wed at 11:30aM 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

Bargain Matinees Monday through Friday (First Show ONLY) All Seats $7.50 PASATIEMPOMAGAZINE.COM

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movIng Images film reviews

Partial enlightenment Loren Bienvenu I For The New Mexican One Track Heart: The Story of Krishna Das, documentary, not rated, The Screen, 2.5 chiles Krishna Das, whose deep, hypnotic voice has helped him become one of the leading chant recording artists of all time, spends more time talking than chanting in Jeremy Frindel’s documentary, One Track Heart.

This is not necessarily a bad thing — Das’ life is certainly worth exploring at length, particularly when it intersects with those of other well-known Western converts to Eastern spirituality. If you’re only interested in his music, buy a CD; if you’re interested in his narrative, watch the movie.

Frindel does an admirable job of compiling interview and archival footage, especially considering it’s his first time directing a feature. His previous credits are for editing and sound editing.

The film serves primarily as a tribute to Das, and it falls short of developing a clear, overall trajectory that explains exactly who the famous chanter is, what he does, and why he’s so influential.

Indeed, those unfamiliar with Das might be a little confused when it comes to the specifics of his music.

He is known for interpretations of traditional Hindu kirtan, but what exactly is Hindu kirtan? We never explicitly learn that it’s a devotional system of calland-response hymns based on the Bhakti movement of Hinduism.

On the other hand, Das devotees already in the know will discover plenty of biographical and anecdotal gems in the film. Das’ early life is particularly well portrayed, beginning with his youth, when he was simply Jeffrey Kagel of suburban Long Island, continuing on to his morose teenage years, when he fell in love with the blues and started jamming with

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the band that would later become Blue Öyster Cult, and culminating in a period of drug experimentation and soul searching during the late 1960s.

This last period is when many of the more interesting characters in the film make their first appearances. Kagel’s transformation to Das began in 1969 when he met Ram Dass (formerly Richard Alpert, who was Timothy Leary’s boss at Harvard before the two were fired for their notorious LSD psychology studies). Ram Dass was a disciple of Hindu guru Maharaj-ji, and he had just begun spreading his teachings in America. These teachings inspired Das to travel to India in 1970 in search of their original source.

Maharaj-ji seems at times to be the real star of the film. Ram Dass tells his oft-recirculated account of giving the guru large doses of LSD to no apparent effect, the implication being that Maharaj-ji’s superior plane of consciousness is immune to manipulation by drugs. Tales like these, combined with archival footage of the charismatic and peaceful man, make it clear why he had such a profound, albeit trickledown, effect on an entire generation of curious Westerners.

It is to Maharaj-ji that Das’ musical career is dedicated. Several particularly poignant clips in the film occur when present-day Das recalls the guru and his message of universal love, the wistfulness still apparent in his voice even 40 years after Maharj-ji’s death. This older, wiser Das is completely candid in both appearance and word. Having thrown off his robes years ago in favor of T-shirt and jeans, he looks like a man one might bump into at the local coffee shop or Apple Store, as opposed to a renowned musical and spiritual leader.

His continuous personal evolution is intentional — a matter of casting off appearances and desires in favor of focusing on the music itself. Paradoxically, because many of the film’s most powerful moments show Das performing, we also end up craving more of the music itself by the end of the documentary.

His signature Western-influenced devotional yogic chanting is fascinating in the ways it transports his audiences. Prolonged footage of Das in action, then, would help show the music’s power and appeal, as opposed to primarily discussing it.

Frindel chooses instead to rely mostly on interview footage, avoiding long performance sequences as well as narration and voice-over. To his credit, some of the subjects he lands are well-known figures worthy of their own documentaries, foremost among them Ram Dass and Rick Rubin. However, the relevance of some interviewees in relation to Das could benefit from more explicit contextualization.

Rubin, for example, is captioned at the beginning of the film as the “Grammy-winning producer of

Das Buddha: Krishna Das

Johnny Cash, Tom Petty, Beastie Boys, and Jay-Z.” We only learn at the end that he produced a few Krishna Das records as well.

Frindel’s roster of interviewees is also noticeably devoid of any critical sources. Just like any other international figure whose career stems from the intersection of the spiritual and commercial, Das deserves at least moderate scrutiny. In fact, he is himself aware of the potential contradictions present in his particular field, at one point jokingly recounting how one detractor labeled him “an American burger with Indian ketchup.”

Such openness is refreshing. Das’ reluctance to sugarcoat the truth extends even to the darkest moments of his life, most notably an addiction to freebase cocaine that developed out of his despair over Maharaj-ji’s death. If Frindel would further explore these avenues, the portrait might be even richer.

In the end, it is contradictions that both make Das a fascinating character and prevent the documentary from seeming fully comprehensive. “I could probably say the whole thing again and make it sound really mystical,” Das tells us after the credits roll.

But, he concludes, who cares? Considering that large portions of the film’s commentaries are heavily mystic, his included, chances are that the target audience does. ◀

moving images film reviews

Saying with fire Jonathan Richards I For The New Mexican Before Midnight, talky drama, rated R, Regal DeVargas, 4 chiles Celine (Julie Delpy) and Jesse (Ethan Hawke) met and fell for each other back in 1995 (Before Sunrise), when they were young and beautiful and traveling by train through Europe. A decade later they met again by chance, in Paris (Before Sunset), still relatively young and beautiful, and though their lives had gone in different directions, the old chemistry was still there. Both stories ended with cliffhangers of sorts, leaving us to wonder if there would be a next chapter in the lives of these star-crossed lovers.

The answer is in. Another 10 years have passed, and Celine and Jesse are still gratifyingly young and beautiful in their early 40s. And they are still together, having made the fateful commitment when Jesse chose to miss his plane home to his wife and child in ’04. They’ve stuck with it to the tune of not marriage but an enduring relationship that has twin daughters (Jennifer Prior and Charlotte Prior) to show for it.

As their third movie chapter begins, Jesse is at an airport in Greece saying goodbye to his teenage son, Hank (Seamus Davey-Fitzpatrick), who is flying back from summer vacation to his mother in Chicago. It’s a nice matchup of neurotic adolescent angst and balanced maturity, with Jesse evincing the former and Hank the latter. It’s only when Jesse returns to the car, where Celine is waiting and the twins are asleep in the back, that you wonder if the scene may have been a bit overlong. But it’s essential underpinning for much of the conflict and conversation to come.

Chapter three: Ethan Hawke and Julie Delpy

If you are not a fan of intelligent conversation in the movies, stop right here and go see Fast & Furious 6.

Because talk is pretty much what you get. But it’s fascinating talk. As they drive back to the home of Patrick (Walter Lassally), a Greek writer friend with whom they’re staying, Celine and Jesse banter and tease and toss a few barbs. Over a leisurely outdoor meal with the writer and other guests, they discuss literature, love, and modern technology, and the differences between men and women (spoiler alert: men generally come off second best).

And if you take the airport as prologue, the car as Act 1, and dinner as Act 2, then the third act is what it is all building to. Patrick and his friends have given Celine and Jesse a present for the last night of their stay: a hotel room and babysitting for the night.

And so, with a bit of not misplaced reluctance, off they go. They stroll through fields and ruins and picturesque village streets toward their waterfront hotel. The scenery throughout (expertly photographed by Christos Voudouris) is beguiling, but not to the extent that it distracts from the conversation.

Similarly, the score by Graham Reynolds, a light piano theme with echoes of Leonard Cohen’s haunting anthem “Hallelujah,” gently enhances the mood.

Once in the narrow confines of the hotel room, the mood changes. A gift of babysitting and a hotel room for a last night of vacation is intended for one basic purpose, for which romance is the polite term, and Celine and Jesse are no strangers to its meaning.

But as they pour the wine and slide into foreplay, the other elements that make up their complex chemical formula are sizzling and fermenting, and the talk never stops, and emotional scabs are worried and picked at and then ripped off, and things are said that should never have been said, and all the elements that conspire in life to turn the idyllic into the excruciating come into play.

It’s absorbing, and completely natural, and often very funny. The hurts are hurts we all can recognize, the warning signs are signs we’ve seen, and the hurtling past “Danger: Road Closed” barriers are accidents we know can happen. The dialogue, co-written by Hawke and Delpy with director Richard Linklater, is as natural as drawing breath, to the point that much of it might have been improvised around a set of themes.

It has the rhythms of real life.

The team of Linklater, Delpy, and Hawke has developed that level of comfort and trust, and it pays off here with a jackpot. Both actors are as good or better than they have ever been. The sense of commitment to the relationship, the good and the bad, is encompassing.

In the Act 1 driving scene, as novelist Jesse floats a trial balloon about possibly moving to Chicago to be closer to his son, Celine digs in her heels. Fed up with the frustrations of being an activist do-gooder, she is considering an offer of a government job. “I’m not moving to Chicago,” she says. “This is how it starts,” she warns, picturing the drift of a relationship toward a precipice. “This is how it happens.”

Sometimes that precipice is comfortingly far away, sometimes it rushes up with the terrifying immediacy of the chicken scene in Rebel Without a Cause, and as in that seminal scene, there are always two drivers behind the wheels of the racing cars. Will somebody jump before they go over the edge? ◀

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The loyal family Robert Nott I The New Mexican Shadow Dancer, drama, rated R, Center for Contemporary Arts, 3 chiles A little boy happily rides his new bicycle in an open field in Belfast, 1993, as his loving family members — most of whom work for the Irish Republican Army — maintain a watchful eye. In the background, clouds and sunshine appear to be at perpetual war, and you just don’t know which way the day is going to turn, given the politically charged and dangerous atmosphere. The way the scene plays out, you may start feeling that something bad is going to happen.

It doesn’t — not in this scene anyway — but this business symbolizes the driving sense of tension that permeates James Marsh’s direction of Tom Bradby’s screenplay Shadow Dancer, which is based on Bradby’s novel of the same name. It is a mostly quiet suspense film that pushes politics to the background as it tells the story of people who place allegiance to their family over loyalty to any cause. To do so, they must agree to pay a pretty high price.

The unsettling tone of the picture kicks off early in a prologue that gives us some back story on one of the two protagonists. Collette (Andrea Riseborough) is a roughly 30-year-old single mother and unwilling member of the IRA who is not particularly adept at serving as a terrorist. After intentionally botching a planned IRA bombing of a subway tunnel, she finds herself in the clutches of agents from the British intelligence agency MI5.

“Mac” (Clive Owen) is a high-ranking member of MI5. He gives Collette a choice: turn traitor on her IRA brothers and their cause or go to jail and never see her son again. He tells Collette that eventually

Andrea Riseborough

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Into the shadows: Clive Owen and Andrea Riseborough

MI5 will relocate her, set her up in a safe house, and give her enough money to live out the rest of her life with her son. “Nobody dies,” he assures her.

He is wrong. Shadow Dancer features just enough explosive energy to remind viewers that its players are living in dangerous times as both the British government and the major IRA players attempt to either broker a peace or destroy it. It is not a movie that gives you much background information on most of its characters. Mac comes off as a contemporary version of Clint Eastwood’s Man With No Name, a hero who believes in honoring his word to Collette even as his superiors decide to blow her cover in an effort to protect another informant known only as Shadow Dancer. Collette becomes Mac’s only family.

Otherwise, as the film makes clear, he spends most of his days in the office sitting at his computer, wearing the same suit, smoking the same brand of cigarette.

We never learn what made him this way, but Owen’s introspective turn makes you realize that Mac suffered

some loss in his past life. And if he has to break ranks with his organization to save Collette, he’ll do it.

Collette’s main concern is her son. And she’s lucky that her two hot-headed brothers also value family ties more than their duty to their IRA comrades. It is this devotion to life that offers all these characters salvation in a volatile environment where all of them could be sacrificed for a greater cause.

One of the joys of the picture is watching the way Marsh — whose 2008 documentary Man on Wire earned an Oscar — focuses his camera on the everyday activities of the people living in an unofficial war zone. They play, drink tea, hang out the wash, enjoy a beer at the pub, and shop. But always, the clouds in the skies above them paint those conflicting colors. Gray skies may just clear up, but then again, a violent cloudburst may send everyone scurrying for cover.

The film has its problems. Once you’ve put together all the pieces of the puzzle — and there is a twist or two at the end that could throw you — you may leave the cinema saying to yourself, Wait a minute, that made no sense! A brief, daring scene wherein Collette surprises Mac with a passionate kiss to show how much she appreciates what he is trying to do for her hints at a romance that is never developed and threatens to mar the story’s potential. At times it seems like the excellent work of the ensemble cast is bridging gaps of logic in the storyline.

But Marsh has a sensitive hand and eye, and the actors — including Gillian Anderson as Mac’s superior and Brid Brennan as Collette’s anxious mother — deliver fully rounded performances that reveal both their characters’ faults and admirable traits. They all come off as people who want to do the right thing in a world that has long given up on that concept. It’s too bad that the odds are against most of them — though one or two will find the price of redemption worth paying. ◀

moving images film reviews

Life of Thor Jonathan Richards I For The New Mexican Kon-Tiki, historical adventure, rated PG-13, Center for Contemporary Arts, 2.5 chiles The Kon-Tiki expedition that Norwegian Thor Heyerdahl and his crew undertook in 1947, to cross the Pacific from Peru to Polynesia on a balsawood raft named for a Peruvian sun god, was one of the great adventures of modern times. The footage they shot with their 16 mm camera became a documentary that won the Oscar in 1951. Heyerdahl’s account of the voyage was a thrilling bestseller that to date has sold more than 50 million copies in about 70 languages.

Now there’s a feature film of that epic voyage.

Directed by Joachim Rønning and Espen Sandberg and budgeted at $16 million, it’s the most expensive Norwegian movie ever made, and it entered the Oscar lists this year, losing out to Amour.

Great adventures can make great movies, but it doesn’t always work out that way. This one, trimmed into episodes, would have fit nicely into the old serial programs that used to play before the feature in movie theaters on Saturday mornings.

Right off the bat there are a couple of unfortunate decisions. The movie opens with a childhood scene that could have been filmed back in the days when child actors had a bad name. Daredevil Thor leaps onto a tiny ice floe, ignoring the plaintive cries of his playmates — “Thor, don’t!” — and he is pulled half-dead from the icy waters. The sequence ends as the plucky tyke lies in bed and his father begs, “Promise me you’ll never take a risk like that ever again. Promise!”

Another irritant is the language. The filmmakers shot two versions, one (almost 20 minutes longer) in Norwegian, the other tooled for the English-

All at sea: Tobias Santelmann and Pa˚ l Sverre Hagen

speaking market. The latter version is fine when Heyerdahl is bearding stodgy magazine publishers in their New York dens, but it rings false with his fellow Scandinavians at sea.

The grown-up Thor is Pa˚ l Sverre Hagen, a lanky blond actor with a winning smile who resembles Peter O’Toole’s Lawrence of Arabia crossed with John Phillip Law in Barbarella. We first meet him in 1937 as a young anthropologist frolicking with his wife Liv (Agnes Kittelsen) on the island of Fatu Huku. There he hears tales from tribal elders of ancestors coming from the east. The nearest land to the east is Peru, more than 4,000 miles away.

With that bee buzzing in his bonnet, Thor develops his theory that the Marquesas Islands were settled from South America. The scientific establishment scoffs. So the stubborn Heyerdahl decides to show them by building a raft using the technology and materials of 1,500 years ago and riding the Humboldt Current west. It’s a little like blasting off for the moon in a rocket you’ve built in your garage from old lawnmower parts.

Heyerdahl assembles his crew, including a shlubby refrigerator salesman named Watzinger (Anders Baasmo Christiansen). It’s the Zach Galifianakis role, apparently there for comic relief, but without the comic relief, and apparently without historical accuracy — the real Watzinger was as buff and macho as the rest of them, and his family is said to resent the movie’s characterization. In fact, the crew are all blond and Nordic, and once their beards start growing out they’re pretty much indistinguishable one from the other.

After an overlong buildup, they set out from Callao harbor, waving from the deck in their suits and ties, and hit the high seas. The high seas are where this story belongs, and some breath-stopping action scenes ensue as the raft battles storms and

sharks, encounters whales and flying fish, and wanders dangerously off course. There’s a delirious one-with-the-universe shot as the camera lifts up from the little craft, soars past the clouds, and sweeps through the Milky Way before drifting back down to the deck of Kon-Tiki. There’s a ginned-up scene in which Watzinger loses his nerve and harpoons a shark, but he redeems himself with some specialized knowledge at the end. For today’s audiences, the most terrifying challenge may be the lack of sunscreen as the raft drifts for 101 days under a broiling sun.

Kon-Tiki can be exciting once it hits its watery stride, and the movie sometimes has us by the throat as these six men and a parrot undertake a trip that may have seen successful execution by primitive Peruvians a millennium and a half earlier but probably also sent plenty of them to Davey Jones’ locker. Heyerdahl’s insistence on using only period materials and technology to reproduce their feat (he does take a radio and a sextant, and keeps his notes on a typewriter) ignores the fact that the ancient Peruvians were no doubt experienced sailors. Heyerdahl, incredibly, couldn’t even swim.

The voyage was an unqualified triumph and made Thor Heyerdahl a household name in Scandinavia and around the world. I have visited the Kon-Tiki Museum in Olso and seen the craft, and it raises the hairs on your neck to contemplate riding it across the bay, much less the Pacific. But the scientific community wasn’t swayed. Despite Kon-Tiki’s heroics, most anthropologists remained convinced that Polynesia was settled from the east, and recent DNA evidence seems to tie the local genetics to Taiwan.

Who cares? The DNA may come from Asia, but that glorious act of surpassing adventure in a diminishing world certainly set sail from the west coast of South America. This movie doesn’t do it justice, but it does put Kon-Tiki back in the conversation. ◀

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MOVING IMAGES pasa pics

— compiled by Robert B. Ker

lived it — he based the earthy Molly Bloom on his fevered imaginings of her infidelities. Directors Alan Adelson and Kate Taverna have done an earnest job of burrowing into the epic story of the circumstances and struggles involved in the writing and publishing of this seminal work of 20th century literature. They have included vintage photographs, clips of a staged reading of Ulysses, and insightful commentary from contemporary writers and scholars. Adelson’s inexpert narration drags it down, but the subject matter is worth it. Not rated. 80 minutes. The Screen, Santa Fe. ( Jonathan Richards)

Why don’t we steel away? Henry Cavill in Man of Steel, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week BACK TO THE FUTURE It’s time to climb into your DeLorean and set the date to July 3, 1985 — the day that Robert Zemeckis’ Back to the Future came out. A plucky young skateboarder (Michael J. Fox) accidentally travels back to the year 1955, and he must get back to the ’80s with the help of an eccentric scientist (Christopher Lloyd). With a brilliant script, jokes galore, and terrific performances, only a butthead would think this isn’t one of the heaviest blockbusters of all time. 7 p.m. Saturday, June 15, only. Rated PG. 116 minutes. Lensic Performing Arts Center, Santa Fe. (Robert Ker) BEFORE MIDNIGHT The third round of the collaboration between director Richard Linklater and stars Julie Delpy and Ethan Hawke that began with Before Sunrise (1995) is set at the end of a family vacation in southern Greece. Celine (Delpy) and Jesse (Hawke) have been together for the decade since Before Sunset (2004). Here they drive and talk and walk and talk and make love and talk. All that conversation ebbs and flows through the intimate knowledge two people develop about each other over a long time, of how they make each other laugh, and think, and cry, and

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rage. Both actors are as good or better than they have ever been. Rated R. 108 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) See review, Page 53.

DEAD MAN’S BURDEN This film, which is set in the years after the Civil War and was filmed in Northern New Mexico, centers on a frontier couple (Clare Bowen and David Call) who try to decide whether to sell their land to a mining company. Presented by the New Mexico Film Office. Skype interview with director Jared Moshe follows the 12:30 p.m. Saturday, June 15, screening. Not rated. 93 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) FERRIS BUELLER’S DAY OFF John Hughes’ 1986 comedy is probably more iconic than great, but when a movie is this iconic, that’s no big deal; this is a rare chance to see that Ferrari fly across a big screen.

Matthew Broderick plays the title character, who cuts class for one last day of truancy. He and some pals race around town, with his school’s dean of students (Jeffrey Jones) hot on his trail. Does anyone not like this movie? Anyone? 7 p.m. Friday, June 14, only.

Rated PG. 103 minutes. Lensic Performing Arts Center, Santa Fe. (Robert Ker) IN BED WITH ULYSSES Seldom have so many words been so highly praised and so little read by so many. Among the delinquent was Nora Barnacle Joyce, the author’s wife. As far as her husband was concerned, she had

KON-TIKI The Kon-Tiki expedition that Thor Heyerdahl and his crew undertook in 1947 to cross the Pacific on a balsa-wood raft was one of the great adventures of modern times. This movie doesn’t rise to those heights, but it has visual grandeur and some exciting scenes at sea. Pa˚ l Sverre Hagen plays Heyerdahl, although as the voyage and the movie wear on it’s increasingly difficult to tell the members of the bearded crew apart. The voyage was an unqualified triumph of derring-do, but the scientific community wasn’t swayed. PG-13.101 minutes.

Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) See review, Page 55.

MAN OF STEEL Superman has struggled on the big screen, with the character’s last truly beloved film (Superman II) coming way back in 1980. Warner Brothers hopes to remedy this by hiring Zack Snyder (Watchmen) to direct, getting two of The Dark Knight’s writers (Christopher Nolan and David S. Goyer) to script, and bringing back the villain of Superman II (General Zod, played here by Michael Shannon).

This movie covers the character’s origin again (with Superman now played by Henry Cavill), even though we all know it by now. Rated PG-13. 143 minutes.

Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) ONE TRACK HEART: THE STORY OF KRISHNA DAS Krishna Das is a yogic chanter with a captivating voice and a larger than life personality. In this documentary, director Jeremy Frindel explores every element of the man’s life, from his childhood years in suburban Long Island to the drug experimentation and soul searching that took Das to India in 1970. Frindel keeps things interesting by interviewing a number of high-profile subjects, including Rick Rubin and Ram Dass, and by including archival footage of Hindu guru Majaraj-ji.

However, the film misses opportunities to showcase Das’ music at greater length and explore his admitted inconsistencies more thoroughly and critically.

Not rated. 74 minutes. The Screen, Santa Fe. (Loren Bienvenu) See review, Page 52.

SHADOW DANCER James Marsh directs this quietly violent and often suspenseful tale of a burned-out MI5 agent (Clive Owen) whose dedication to his own set of morals puts him at odds with his superiors as he attempts to help a young single mother (Andrea Riseborough) he has brought into the fold as an IRA informant. The movie is slow moving at times, and the actors often seem to be working overtime to make up for gaps in logic. But the two leads, as well as Brid Brennan in a nearly wordless role as Riseborough’s anxious mother, are excellent. Rated R. 102 minutes. Center for Contemporary Arts, Santa Fe. (Robert Nott) See review, Page 54.

now in theaters AFTER EARTH Will Smith and real-life son Jaden play a father-son astronaut duo who crash-land on a future Earth. The son finds himself fighting for his life as the plants and animals of the planet have wisely evolved to hunt and destroy humans. Rated PG-13. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) EPIC This animated Avatar rehash by Ice Age director Chris Wedge is about a teenage girl (voiced by Amanda Seyfried) who is shrunk into a secret forest world where she must join plants and animals against an evil dude (Christoph Waltz). There are no palpable stakes, the dialogue is uninspired, the character animation looks straight-toDVD, Aziz Ansari’s hyper-annoying slug seems forced, and the dichotomy between girly princesses and manly soldiers is so dated that even Disney gave it up decades ago. Rated PG. 103 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker) FAST & FURIOUS 6 This franchise, which somehow finds new gears with each installment, is wildly popular, and part six is more of the same. The stunts are Looney Tunes-worthy, the dialogue is hilarious (except for the jokes), and the acting (from Dwayne Johnson, Vin Diesel, and friends) stresses brawn over brains. These are all positive traits.

The problem is that for a movie that hypes speed, the story, in which the gang attempts to take down a terrorist (Luke Evans), downshifts to a crawl in the film’s second half. Rated PG-13. 130 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker)

42 This version of the story of Jackie Robinson — the first African-American player in Major League Baseball — by writer-director Brian Helgeland aims for a double, not a home run. No big deal: the story has all the greatness one could want. In staying the course and paying attention to detail, Helgeland has crafted an uplifting movie. Much credit goes to the actors: Chadwick Boseman is every inch the movie star as Robinson, Harrison Ford delights as Brooklyn Dodgers general manager Branch Rickey, and the supporting cast is as sturdy as a Louisville Slugger. Rated PG-13.

88 minutes. Regal DeVargas, Santa Fe. (Robert Ker) FRANCES HA Writer and director Noah Baumbach’s latest movie, shot digitally in black and white, centers on a 27-year-old woman (Greta Gerwig, who also co-wrote) who is sliding down a rocky road with her struggling dance career and loosening relationships.

Fortunately, her disposition is cheerful and optimistic, and for the most part, so is the film’s mood.

Frances Ha nicely captures the awkward plight of those who struggle to find a place in the world and accurately represents floundering in your 20s.

Rated R. 88 minutes. Center for Contemporary Arts, Santa Fe. (Robert Ker) THE GREAT GATSBY Baz Luhrmann’s movie rendering of F. Scott Fitzgerald’s classic American novel is The Great Gatsby the way Jay Gatsby might have directed it. Gaudy, extravagant, and ecstatically excessive, it lights up the screen like a lavish party into which Luhrmann hopes Daisy Buchanan will wander some night — and if not Daisy, then at least the rest of the world, looking for a good time. That is the quality that distinguishes this movie; when it slows down for the more intimate scenes, it usually fails to convince. Leonardo DiCaprio, Carey Mulligan, and Tobey Maguire star.

Rated PG-13. 143 minutes. Screens in 2-D only at Regal Stadium 14 and Regal DeVargas, Santa Fe. (Jonathan Richards) THE HANGOVER PART III The Wolf Pack is back for one last bender, so pass around some shot glasses and high-five your bros! When a gangster named Marshall (John Goodman) kidnaps a member of the Pack (Justin Bartha), it’s up to the other three (Bradley Cooper, Ed Helms, and Zach Galifianakis) to find Leslie Chow (Ken Jeong) and recover Marshall’s stolen millions. As usual with the Hangover franchise, the best moments are those that play with Galifianakis’ offbeat persona. The rest of the film is so watered down that you won’t even catch a buzz. Rated R. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker)

In Bed With Ulysses

IN THE HOUSE Sex and menace hover perpetually around the edges of this superior psychological thriller from François Ozon (Swimming Pool). Germain (the wonderful Fabrice Luchini) is a failed novelist who teaches literature in a French lycée. When a bright kid in his class shows a real talent for writing, Germain is hooked. Claude (Ernst Umhauer) writes about insinuating himself into the home of a classmate, Rapha (Bastien Ughetto), who needs help with his math homework. As story and life become muddled, one topping the other in melodrama and dubious dialogue, Ozon herds us toward a gratifying surprise ending. Rated R. 105 minutes. In French with subtitles.

The Screen, Santa Fe. ( Jonathan Richards) THE INTERNSHIP Vince Vaughn and Owen Wilson hope to revisit the success of their hit comedy the Wedding Crashers with this story of two grown men who attempt to jump-start their stalled careers by entering Google’s internship program. As the leads hit the check marks of the “rapscallions teach nerds how to live, and prove there is more to achieving success than just brains” story, the film comes off as a sobering look at the state of the economy combined with a two-hour ad for Google. It’s watchable, but it’s rarely funny and often as mediocre as its main characters. Rated PG-13. 120 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker) continued on Page 58

PASATIEMPOMAGAZINE.COM

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MOVING IMAGES pasa pics

continued from Page 57

THE IRAN JOB This crisp, fast-moving documentary follows basketball player Kevin Sheppard to a country few people want to play in: Iran. He lands on a new, last-place team and helps it grow. Along the way he meets several people — including three women living as second-class citizens under Iran’s strict regime — who help him personally grow. The drama of the sports season is downplayed, but the film shows the power of sports to bring people together. Not rated.

90 minutes. In English and Persian with subtitles.

The Screen, Santa Fe. (Robert Ker) IRON MAN 3 Tony Stark (Robert Downey Jr.) is suffering from anxiety attacks when a terrorist called the Mandarin (Ben Kingsley) starts blowing things up. Meanwhile, a billionaire inventor (Guy Pearce) has created a drug that regenerates human limbs and is plotting to kidnap the president. Luckily, Stark has developed an army of Iron Man suits he can summon from afar and control remotely. The special effects are eye-popping, but Downey’s typically barbed jabs are dull and the villains’ motivations are muddy at best. Rated PG-13.

130 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Laurel Gladden) LOVE IS ALL YOU NEED Danish director Susanne Bier, who normally deals in bleaker material, has gone all soft and cuddly here, and in lesser hands the result would probably be insufferably cute. But Bier manages to keep this valentine on a very enjoyable track, helped immeasurably by a fine cast led by Pierce Brosnan and the wonderful Trine Dyrholm. It’s a grown-up romantic comedy, beautifully photographed at a family wedding on an Amalfi coast, that will make you sing “That’s Amore.” Rated R. 110 minutes. In English, Danish, and Italian with subtitles. Regal DeVargas, Santa Fe. (Jonathan Richards) MUD Matthew McConaughey is in top form as Mud, an Arkansas Delta back-country hothead with a ton of charm who enlists a couple of teenage boys (Tye Sheridan and Jacob Lofland) to help him reunite with his sweetheart (Reese Witherspoon). Meanwhile, the law and the

spicy

medium

bland

heartburn

mild

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PASATIEMPO I June 14 -20, 2013

irate father of a man he killed are out looking for him.

It’s a colorful tale and a cautionary one. Director Jeff Nichols does a good job with style and character, but he lets the story run on too long and loses the handle at the end. With Sam Shepard and Michael Shannon.

Rated PG-13. 130 minutes. Regal DeVargas, Santa Fe. (Jonathan Richards) NOW YOU SEE ME First, you assemble a highly watchable cast, which includes Woody Harrelson, Jesse Eisenberg, Morgan Freeman, Michael Caine, Mark Ruffalo, and Mélanie Laurent. Then you roll out a crackerjack setup: four illusionists perform a trick in Las Vegas in which one of their audience members is “teleported” to Paris to rob a bank. As the FBI and an opportunist who exposes magicians’ secrets close in on the illusionists, you make every scene interesting in and of itself. Abracadabra! You have a movie that’s wildly entertaining, despite having to cheat to connect all the dots. Rated PG-13. 116 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos.

(Robert Ker) THE PURGE This movie imagines a future America in which peace is kept by giving the population 12 hours a year in which people can commit whatever crimes they’ve secretly been wanting to perform on the other 364.5 days. The premise is cynical but contains potential, which is squandered on a typical home-invasion horror story, with the creeping tension swapped out for gunplay. It’s well directed, but the flimsy script hints at moral quandaries that aren’t explored. Rated R. 85 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos.

(Robert Ker) THE RELUCTANT FUNDAMENTALIST Indian director Mira Nair (Monsoon Wedding) has taken The Reluctant Fundamentalist, an international bestseller by Mohsin Hamid, and ramped it up into a psychological and political thriller that is rich in complexity and taut with tension. Riz Ahmed (Trishna) is excellent as a young Pakistani torn between the fundamentals of two worlds: the sky’s-the-limit opportunities of the American capitalist system and the poverty, tradition, and unrest of his Pakistani roots. Saturday and Sunday, June 15 and 16, only.

Rated R. 128 minutes. The Screen, Santa Fe. ( Jonathan Richards) STAR TREK: INTO DARKNESS In the newest Star Trek movie, director J.J. Abrams ups the ante on action and visual effects. This film finds Kirk (Chris Pine) and Spock (Zachary Quinto) at odds after a violation of the Prime Directive and the arrival of a genetically

enhanced villain (Benedict Cumberbatch). It steers the U.S.S. Enterprise in new and exciting directions while exploring themes of unjust war and terrorism.

Rated PG-13. 132 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. (Rob DeWalt) STORIES WE TELL Actress Sarah Polley’s documentary exploration of her family history is better if you don’t know too much about it. Polley’s mother, Diane, who died of cancer in 1990, when Polley was 11, is the heart of the film, which is primarily constructed through interviews with her friends and family.

Diane emerges as a complicated figure, and there’s no consensus on her character. Stories We Tell is about the Polleys, but it speaks to the mythmaking that occurs in all families. Rated PG-13. 108 minutes.

The Screen, Santa Fe. (Adele Oliveira) THIS IS THE END This movie takes a hypothetical Hollywood hangout and rains the apocalypse down on it. James Franco, Jonah Hill, Seth Rogen, Danny McBride, Craig Robinson, Michael Cera, Emma Watson, Mindy Kaling, Paul Rudd, and others play caricatures of themselves during the end times. Rogen and Evan Goldberg, who collaborated on Superbad and Pineapple Express, co-direct. Rated R. 107 minutes.

Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) TIGER EYES After Davey’s father is killed, her mother moves the family across the country to New Mexico, for an extended stay at their aunt and uncle’s house. Judy Blume’s beloved coming-of-age novel was adapted for the screen by the author and her son Lawrence Blume, who also directs. Performances are subtle, and casting is spot-on. The film is set in Los Alamos and Santa Fe, so local actors abound. Rated PG-13.

92 minutes. Center for Contemporary Arts, Santa Fe. ( Jennifer Levin)

other screenings Center for Contemporary Arts 4 p.m. Sunday, June 16: The Santa Fe Jewish Film Festival presents Hava Nagila: The Movie. Q & A session with cinematographer Dyanna Taylor follows.

Regal DeVargas What Maisie Knew.

Regal Stadium 14 8 p.m. Thursday, June 20: Monsters University.

8 p.m. Thursday, June 20: World War Z. ◀

What’s shoWing Call theaters or check websites to confirm screening times.

CCA CinemAtheque And SCreening room

1050 Old Pecos Trail, 982–1338, www.ccasantafe.org Dead Man’s Burden (NR) Fri. 2:30 p.m.

Sat. 12:30 p.m. Sun. 7:30 p.m.

Frances Ha (R) Fri. 11:45 a.m., 7 p.m., 8:45 p.m.

Sat. 2 p.m., 6:15 p.m., 8:15 p.m. Sun. 1:30 p.m., 5:30 p.m., 8:30 p.m. Mon. 12 p.m., 2 p.m., 5:30 p.m., 8:15 p.m. Tues. 12 p.m. 2 p.m., 5 p.m., 8:15 p.m.

Wed. and Thurs. 12 p.m., 2 p.m., 5:30 p.m., 8:15 p.m.

Hava Nagila (NR) Sun. 4 p.m.

Kon-Tiki (PG-13) Fri. 1:45 p.m., 4:10 p.m., 6:30 p.m.

Sat. 2:45 p.m., 5:15 p.m., 7:45 p.m. Sun. 11:15 a.m., 6:15 p.m. Mon. 12:45 p.m., 3:10 p.m., 7:30 p.m.

Tue. 12:20 p.m., 2:40 p.m. Wed. and Thurs.

12:45 p.m., 3:10 p.m., 7:30 p.m.

Shadow Dancer (R) Fri. 5 p.m. Sat. 4 p.m.

Sun. 3:15 p.m. Mon. to Thurs. 4 p.m.

Tiger Eyes (PG-13) Fri. 12:30 p.m. Sat. 12 p.m.

Sun. 1 p.m. Mon. to Thurs. 6:15 p.m. regAl deVArgAS

562 N. Guadalupe St., 988–2775, www.fandango.com 42 (PG-13) Fri. and Sat. 1:10 p.m., 4:10 p.m., 7:10 p.m., 10 p.m. Sun. to Thurs. 1:10 p.m., 4:10 p.m., 7:10 p.m.

Before Midnight (R) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 10 p.m. Sun. to Thurs.

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

The Great Gatsby (PG-13) Fri. and Sat. 12:55 p.m., 3:50 p.m., 6:50 p.m., 9:50 p.m. Sun. to Thurs.

12:55 p.m., 3:50 p.m., 6:50 p.m.

Love Is All You Need (R) Fri. and Sat. 1:20 p.m., 4:20 p.m., 7:20 p.m., 10:10 p.m. Sun. to Thurs.

1:20 p.m., 4:20 p.m., 7:20 p.m.

Mud (PG-13) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 9:55 p.m. Sun. to Thurs. 1 p.m., 4 p.m., 7 p.m.

What Maisie Knew (R) Fri. and Sat. 1:40 p.m., 4:40 p.m., 7:40 p.m., 10:05 p.m. Sun. to Thurs.

1:40 p.m., 4:40 p.m., 7:40 p.m. regAl StAdium 14

3474 Zafarano Drive, 424–6296, www.fandango.com Call for times not noted After Earth (PG-13) Fri. to Sun. 11:30 a.m., 2:10 p.m., 5 p.m., 7:30 p.m., 10 p.m.

Epic (PG) Fri. to Sun. 11:10 a.m., 1:45 p.m., 4:45 p.m., 7:40 p.m., 10:30 p.m.

Fast & Furious 6 (PG-13) Fri. to Sun. 1:35 p.m., 4:35 p.m., 7:35 p.m., 10:40 p.m.

The Great Gatsby (PG-13) Fri. to Sun. 11:30 a.m.

The Hangover Part III (R) Fri. to Sun. 1:15 p.m., 4:10 p.m., 7:05 p.m., 9:50 p.m.

The Internship (PG-13) Fri. to Sun. 1:10 p.m., 4:10 p.m., 7:10 p.m., 10:10 p.m.

Iron Man 3 (PG-13) Fri. to Sun. 11:05 a.m., 2:05 p.m., 5:05 p.m., 8:05 p.m., 10:50 p.m.

Man of Steel (PG-13) Fri. to Sun. 12:30 p.m., 1 p.m., 4 p.m., 7:30 p.m., 8 p.m., 11 p.m. Mon. to Thurs.

12:30 p.m., 4 p.m., 7:30 p.m., 11 p.m.

Man of Steel 3D (PG-13) Fri. to Sun. 12 p.m., 3 p.m., 3:30 p.m., 4:30 p.m., 6:30 p.m., 7 p.m., 10 p.m., 10:30 p.m., 11:30 p.m. Mon. to Thurs. 12 p.m., 3:30 p.m., 7 p.m., 10:30 p.m.

Monsters University (G) Thurs. 8 p.m.

Now You See Me (PG-13) Fri. to Sun. 11 a.m., 1:50 p.m., 4:40 p.m., 7:25 p.m., 10:20 p.m.

The Purge (R) Fri. to Sun. 11:15 a.m., 1:30 p.m., 4:15 p.m., 7 p.m., 9:30 p.m.

Star Trek Into Darkness (PG-13) Fri. to Sun. 12:50 p.m., 4:15 p.m., 7:40 p.m.

Star Trek Into Darkness 3D (PG-13) Fri. to Sun. 10:45 p.m.

This Is The End (R) Fri. to Sun. 1:30 p.m., 4:15 p.m., 7:15 p.m., 10 p.m.

the SCreen

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473–6494, www.thescreensf.com In Bed With Ulysses (NR) Fri. to Sun. 12:15 p.m.

In the House (R) Fri. and Sat. 8 p.m. Sun. 2 p.m.

Mon. to Wed. 4:15 p.m. Thurs. 3:30 p.m.

The Iran Job (NR) Sat. and Sun. 10:30 a.m.

One Track Heart:The Story of Krishna Das (NR) Fri. to Sun. 6:30 p.m. Mon. to Wed. 8:15 p.m.

The Reluctant Fundamentalist (R) Mon. to Wed. 11:30 a.m.

Stories WeTell (PG-13) Fri. and Sat. 2 p.m., 4:15 p.m. Sun. 4:15 p.m. Mon. to Wed. 2 p.m., 6:30 p.m. Thurs. 1:15 p.m.

World War Z (PG-13) Thurs. 8 p.m.

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110 Old Talpa Canon Road, 575–751–4245 Epic (PG) Fri. 4:40 p.m. Sat. and Sun. 2:05 p.m., 4:40 p.m. Mon. to Thurs. 4:40 p.m.

Fast & Furious 6 (PG-13) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:45 p.m., 4:30 p.m., 7:15 p.m., 10 p.m.

Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs.

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

The Internship (PG-13) Fri. to Sun. 7:10 p.m., 9:45 p.m. Mon. to Thurs. 7:10 p.m.

Man of Steel (PG-13) Fri. 7 p.m., 10 p.m.

Sat. 3 p.m., 7 p.m., 10 p.m. Sun. 3 p.m., 7 p.m.

Mon. to Thurs. 7 p.m.

Man of Steel 3D (PG-13) Fri. 5 p.m., 8 p.m.

Sat. 2 p.m., 5 p.m., 8 p.m. Sun. 2 p.m., 5 p.m.

Mon. to Thurs. 5 p.m.

Now You See Me (PG-13) Fri. 4:35 p.m., 7:05 p.m., 9:40 p.m. Sat. 1:55 p.m., 4:35 p.m., 7:05 p.m., 9:40 p.m. Sun. 1:55 p.m., 4:35 p.m., 7:05 p.m.

Mon. to Thurs. 4:35 p.m., 7:05 p.m.

The Purge (R) Fri. 4:50 p.m., 7:25 p.m., 9:35 p.m.

Sat. 2:10 p.m., 4:50 p.m., 7:25 p.m., 9:35 p.m. Sun. 2:10 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs.

4:50 p.m., 7:25 p.m.

This IsThe End (R) Fri. 4:45 p.m., 7:20 p.m., 9:55 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:20 p.m., 9:55 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:20 p.m.

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

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15 N.M. 106 (intersection with U.S. 84/285), 505–753–0087, www.storytellertheatres.com After Earth (PG-13) Fri. 4:45 p.m., 7:35 p.m., 9:50 p.m. Sat. 2:10 p.m., 4:45 p.m., 7:35 p.m., 9:50 p.m. Sun. 2:10 p.m., 4:45 p.m., 7:35 p.m.

Mon. to Thurs. 4:45 p.m., 7:35 p.m.

Epic (PG) Fri. 4:40 p.m., 7:15 p.m., 9:30 p.m.

Sat. 2:05 p.m., 4:40 p.m., 7:15 p.m., 9:30 p.m.

Sun. 2:05 p.m., 4:40 p.m., 7:15 p.m. Mon. to Thurs.

4:40 p.m., 7:15 p.m.

Fast & Furious 6 (PG-13) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:45 p.m., 4:30 p.m., 7:15 p.m., 10 p.m.

Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs.

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

The Hangover Part III (R) Fri. 4:55 p.m., 7:30 p.m., 9:45 p.m. Sat. 2:25 p.m., 4:55 p.m., 7:30 p.m., 9:45 p.m. Sun. 2:25 p.m., 4:55 p.m., 7:30 p.m.

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

The Internship (PG-13) Fri. 4:25 p.m., 7:10 p.m., 9:45 p.m. Sat. 1:50 p.m., 4:25 p.m., 7:10 p.m., 9:45 p.m. Sun. Mon. to Thurs. 4:25 p.m., 7:10 p.m.

Man of Steel (PG-13) Fri. 7 p.m., 10 p.m.

Sat. 3 p.m., 7 p.m., 10 p.m. Sun. 3 p.m., 7 p.m.

Mon. to Thurs. 7 p.m.

Man of Steel 3D (PG-13) Fri. 5 p.m., 8 p.m.

Sat. 2 p.m., 5 p.m., 8 p.m. Sun. 2 p.m., 5 p.m.

Mon. to Thurs. 5 p.m.

Now You See Me (PG-13) Fri. 4:35 p.m., 7:05 p.m., 9:40 p.m. Sat. 1:55 p.m., 4:35 p.m., 7:05 p.m., 9:40 p.m. Sun. 1:55 p.m., 4:35 p.m., 7:05 p.m.

Mon. to Thurs. 4:35 p.m., 7:05 p.m.

The Purge (R) Fri. 4:50 p.m., 7:25 p.m., 9:35 p.m.

Sat. 2:20 p.m., 4:50 p.m., 7:25 p.m., 9:35 p.m.

Sun. 2:20 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs.

4:50 p.m., 7:25 p.m.

This IsThe End (R) Fri. 4:45 p.m., 7:20 p.m., 9:55 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:20 p.m., 9:55 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:20 p.m.

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

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59

RESTAURANT REVIEW Bill Kohlhaase I For The New Mexican

Keep on the sunny side

Sunrise Family Restaurant 1851 St. Michael’s Drive, 820-0643 Breakfast & lunch 7 a.m.-3 p.m. daily Takeout available No alcohol Noise level: fine for small talk Vegetarian options Credit cards, no checks

•

The Short Order Sunrise Family Restaurant is an unassuming spot that delivers decent food at affordable prices. Breakfast — the standard egg and meat combinations as well as pancakes, waffles, French toast, omelets, huevos rancheros, and blimp-sized smothered breakfast burritos — is served all day. The home fries are simple but exceptional. New Mexican dishes are offered at lunch, as is traditional lunch and diner fare: sandwiches, soups, and salads. Two pork chops for $10.50?

You’ve got to be kidding. Recommended: chile relleno omelet, carne adovada breakfast burrito, cheese enchiladas, and green chile cheeseburger.

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.

60

PASATIEMPO I June 14 -20, 2013

Somewhere between fine dining and fast food exists a shrinking category of restaurants that many of us visit on a regular basis. These sorts of places — cafés, diners, and “family restaurants” — offer simple sit-down meals that are freshly prepared and moderately priced. Those moderate prices are essential. You might be able to afford a fine-dining splurge on special occasions, but at your bread-and-butter spot, you don’t want to empty your wallet to fill your stomach. Of course, the food has to be decent.

Sunrise Family Restaurant is that kind of place. It serves satisfying, if not extraordinary, breakfasts and lunches at prices that somehow seem out of place in today’s world.

Sure, the two pork chops you get for $10.50 may not be as thick as the ones you’ll pay twice or three times as much for in that upscale restaurant. But they’re nicely finished, just slightly greasy, and equally filling. And that finedining place probably doesn’t offer tuna salad, menudo, chicken-fried steak, or breakfast all day long.

Don’t be put off by Sunrise’s downscale appearance.

The front of the bunkerlike building boasts a mural of green snowcapped mountains that looks like a gradeschool art project. The restaurant’s name is announced in bright red and yellow letters framed between strings of red ristras. The most eclectic decoration, on top of the entrance, is a giant old-school satellite dish that cradles two strips of painted bacon and one egg sunny side up.

Inside, the place retains some of the character of its former occupant, the Green Onion Tavern, only it’s brighter, with yellow pressed-tin walls and low-budget art. Part of the bar has been cut away to afford better access to the kitchen. Don’t think because the parking places are filled, as they often are, that you won’t find room inside — it’s a spacious place. Weekdays it’s crowded at breakfast with laborers and the leisurely retired, almost all in ball caps. At lunch, the office pool tucks into patty melts and burritos. Sunday mornings, families take over.

The menu — diner food New Mexican style — offers lots of choices. There are stacked enchiladas with fillings ranging from cheese and ground beef to shrimp and spinach. There’s a club sandwich and tuna salad. You can get a Frito pie or a Navajo taco made with fry bread.

There’s grilled trout or salmon for under $9 and a T-bone for under $15.

The chile rellenos here are crispy and oozing with cheese. The red and green chile sauces are spicy, though not as flavorful as others in town. The tamales and rolled enchiladas are fine but not exceptional, although the pinto beans that come with them are soft and tasty. The green chile cheeseburger is thick and misshapen, juicy unless you order it well-done, and blanketed with plenty

of cheese and chopped green chile. The fries, French or curly, are crisp. Order an airy sopaipilla, and you’ll be surprised at its size — as big as a loaf of French bread.

If your taste runs to crispy Baja-style fish tacos, this may not be your place. While generous, the unbreaded fish here is grilled with onion and cheese before being rolled in a corn tortilla. Forgo the lime and hit it with the smooth but thick red salsa.

The best meal here is breakfast. Sunrise does a good job with the standard egg and meat platters — they come looking almost as good as the one in the satellite dish — and you can get carne adovada in place of bacon, chorizo, or ham. The 6-ounce rib-eye that came with our perfect eggs was thin and not overly grilled; it’s not a fine cut of beef, but it’s satisfying and full of flavor. The breakfast burrito was as large as that blimp of a sopaipilla, the carne adovada inside spicy, and the red sauce a fine complement to those soft, delicious home fries. (You can get beans if you prefer.) Biscuits here are the soft, dense sort, but they’re served with a wonderful cream gravy flecked with sausage. Had a rough night? Menudo is offered daily. The coffee is standard diner joe, hot and endlessly poured.

There’s nothing pretentious about the service here.

It falters only during the lunch rush, when you might see your server run to take your order after delivering plates to the far room. Sunrise may not offer fine dining, but its food is fine enough. ◀

Check, please

Breakfast for three at Sunrise Family Restaurant: Chile relleno omelet ...........................................$ 7.99 with pinto beans and tortillas Carne adovada breakfast burrito with home fries$ 7.99 Two eggs and rib-eye steak .................................$ 8.25 with home fries and toast Two coffees ..........................................................$ 3.90 TOTAl.................................................................$28.13 (before tax and tip) Lunch for two, another visit: New Mexican combination plate.........................$10.50 Sopaipilla.............................................................$ 1.50 Fish tacos.............................................................$ 7.99 TOTAl.................................................................$19.99 (before tax and tip)

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2013 International Folk Art Market Magazine Publishing Wednesday, July 10 Folk artists from all over the world will converge in Santa Fe in mid-July to display and sell their creations in the only international event of its kind in the world, sponsored by the Museum of International Folk Art. This is the official program of the juried event.

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SPACE RES/COPy DEADlINE: 06/14/2013 62

PASATIEMPO I June 14 - 20, 2013

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505-983-3303

pasa week

compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com

Friday, June 14 gallery/museum openings

argos studio/gallery 1211 Luisa St., 988-1814. Eli Levin’s 75th, intaglio prints and paintings by Levin, reception 5-8 p.m., through July 7 (see story, Page 32). axle Contemporary 670-7612 or 670-5854. Carnival of Shattered Dreams, August Muth’s interactive performance installation in conjunction with Currents 2013: The Santa Fe International New Media Festival, 7 p.m., look for the mobile gallery’s van at Railyard Plaza, 1607 Paseo de Peralta, visit axleart.com for van locations through June 23.

Currents 2013: The santa Fe international new media Festival El Museo Cultural de Santa Fe, 555 Camino de la Familia, 992-0591.

Main exhibit of free interactive video performance installations; artists include Miwa Matreyek, The Bridge Club collaborative, and Xristina Penna, 6 p.m.-midnight, festival continues through June; visit currentsnewmedia.org for a complete list of events at participating venues (see stories, Pages 40-51).

David richard gallery 544 S. Guadalupe St., 983-9555. Projected, group show in conjunction with Currents 2013: The Santa Fe International New Media Festival, reception 5-7 p.m., through June. galerie Züger 120 W. San Francisco St., 984-5099. Work by painter Britten, reception 5-8 p.m., through Saturday. gerald peters gallery 1011 Paseo de Peralta, 954-5700. Earth Song, work by ceramicist Jenny Reeves Johnson and paintings by Margaret Schumacher, reception 5-7 p.m., through July 20. lewallen galleries at the railyard 1613 Paseo de Peralta, 988-3250. Linear Language, work by sculptor Jane Manus; Dan Christensen: The Orb Paintings, postabstract expressionist paintings by the late artist; reception 5-7 p.m., through July 14. liza Williams gallery 806 Old Santa Fe Trail, 820-0222. Group show of book art, reception 4-6 p.m., through Sept.12. matthews gallery 669 Canyon Rd., 992-2882. Variations, mixed-media work by Kate Rivers, reception 5-7 p.m., through June 27. meyer gallery 225 Canyon Rd., 983-1434. Colorscapes, paintings by Kent R. Wallis, reception 5-7 p.m. new Concept gallery 610-A Canyon Rd., 795-7570. Santa Fe and Beyond, group show, reception 5-7 p.m., through July 8. railyard District Paseo de Peralta and S. Guadalupe St. Currents 2013: The Santa Fe International New Media

Project in Motion performs Friday and Saturday, June 14-15, at the Railyard Performance Center.

Festival; outdoor video projections, installations, and performances; including Santa Fe University of Art & Design’s Outdoor Vision Fest, DJs Dirt Girl and P.F.F.P., and Tunnel, an installation by Jake Snider, 8:30 p.m.-midnight, a complete list of events at participating venues is available online at currentsnewmedia.org (see stories, Pages 40-51). santa Fe art Collector 217 Galisteo St., 988-5545. Forever and a Dream, work by landscape artist Isabelle Dupuy, reception 5-7 p.m., through Saturday.

Zane Bennett Contemporary art 435 S. Guadalupe St., 982-8111. Projections in New Media, works by Molly Bradbury, Derek Larson, and Inhye Lee in conjunction with Currents 2013: The Santa Fe International New Media Festival, reception 5-7 p.m., through June.

ClassiCal musiC

TgiF organ recital Wyatt Smith performs music of Bach and Knecht, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated, 982-8544, Ext.16.

in ConCerT

eldorado music series Pop/country/gospel band Never the Same, 5:30 p.m., Agora Shopping Center courtyard, 7 Avenida Vista Grande, Eldorado, 466-1270.

TheaTer/DanCe

Chapter Two opening night Santa Fe Playhouse presents Neil Simon’s comedy, gala reception 6:30 p.m., curtain 7:30 p.m., 142 E. De Vargas St., $25, 988-4262, santafeplayhouse.org, Thursdays-Sundays, through June (see story, Page 18).

Desiring-Machine I Installation and performance piece by Paula Gaetano Adi in Currents 2013: The Santa Fe International New Media Festival, performed at various times today through Sunday, El Museo Cultural de Santa Fe, 555 Camino de la Familia, 992-0591, no charge, installation up through June, visit currentsnewmedia.org for a complete list of events at participating venues.

I Know This, I Do This All the Time (I Don’t Like It Though) Xristina Penna’s interactive performance installation performed

by Kate Juta as part of Currents 2013: The Santa Fe International New Media Festival; 6 and 9 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, no charge, encores through Sunday, visit currentsnewmedia.org for a complete list of events at participating venues. ▶▶▶▶▶▶▶▶

Pasa’s Little Black Book......... 64 Exhibitionism...................... 66 At the Galleries.................... 67 Libraries.............................. 67 Museums & Art Spaces........ 67

In the Wings....................... 68 Elsewhere............................ 70 People Who Need People..... 70 Under 21............................. 70 Pasa Kids............................ 70

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. See our calendar at www.pasatiempomagazine.com, and follow Pasatiempo on Facebook and Twitter.

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Medium Multimedia performance/installation

by The Bridge Club collective as part of Currents 2013: The Santa Fe International New Media Festival, 6 p.m., 7:45 p.m., and 9:30 p.m., through Saturday, El Museo Cultural de Santa Fe, 555 Camino de la Familia, 992-0591, no charge, for a complete list of events at participating venues visit currentsnewmedia.org (see story, Page 48).

Miss Jairus: A Mystery in Four Tableaux Theaterwork presents a play by Belgian dramatist Michel de Ghelderode, 7:30 p.m., James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., $15, discounts available, 471-1799, Thursdays-Sundays, through June 23 (see story, Page 20).

Project in Motion New Mexico aerial dance company in The Palace at Night, 8 p.m., Railyard Performance Center, 1611 Paseo de Peralta, $10 in advance at projectinmotion.com and at the door, Saturday encore.

events

santa Fe Opera Backstage tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900, weekdays, through Aug. 13. summerBrew 2013 Sample New Mexico craft beers and spicy food prepared by local chefs, 4-9 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, $20-$25, holdmyticket.com.

nightliFe

(See addresses below) Bishop’s lodge Ranch Resort & spa Jazz guitarist Pat Malone, 6-9 p.m., on the patio.

Café Café Los Primos Trio, traditional Latin beats, 6-9 p.m., no cover.

d Wine Bar 315 Restaurant an 986-9190 il, Tra Fe 315 Old Santa nch Resort & spa Bishop’s lodge Ra ., 983-6377 Rd e 1297 Bishops Lodg Café Café 6-1391 500 Sandoval St., 46 Casa Chimayó 8-0391 409 W. Water St., 42 ón ¡Chispa! at el Mes 983-6756 e., 213 Washington Av uthside Cleopatra Café so 4-5644 47 ., 3482 Zafarano Dr Counter Culture 5 930 Baca St., 995-110 Cowgirl BBQ , 982-2565 319 S. Guadalupe St. te Café the Den at Coyo 3-1615 98 , St. r 132 W. Wate at the Pink the Dragon Room a Fe Trail, nt Sa adobe 406 Old 983-7712 lton el Cañon at the hi 811 8-2 98 , St. al ov 100 Sand spa eldorado hotel & St., 988-4455 o isc nc 309 W. San Fra el Farol 3-9912 808 Canyon Rd., 98

64

PASATIEMPO I June 14 -20, 2013

¡Chispa! at el Mesón The Three Faces of Jazz and friends, featuring Bryan Lewis on drums, 7:30-10:30 p.m., no cover.

Cowgirl BBQ Folk-pop singer/songwriter Ray Tarantino, 5-7:30 p.m.; Brittany Reilly Band, bluegrass and American roots, 8:30 p.m.-close; no cover. el Cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. evangelo’s Rock cover band Chango, 9 p.m., call for 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 Local jazz trumpeter Ryan Montano, 8-11 p.m., no cover. the Palace Restaurant & saloon C.S. Rockshow with Don Curry, Pete Springer, and Ron Crowder, 9:30 p.m., call for cover.

Pranzo italian grill Geist Cabaret with pianist David Geist, 6-9 p.m., call for cover. second street Brewery Milton Villarrubia’s birthday bash featuring Southern Gothic Ameritronica band Catahoula Curse with special guests, 6-9 p.m., no cover. second street Brewery at the Railyard Grunge/folk-rock band Colorblind Poet, 5:30-8:30 p.m., no cover. tiny’s E. Christina Herr & Wild Frontier, Americana/ alt-country/rock ’n’ roll blend, 8:30 p.m.-close; no cover.

Pasa’s little black book evangelo’s o St., 982-9014 200 W. San Francisc hotel santa Fe ta, 982-1200 1501 Paseo de Peral la Boca 2-3433 72 W. Marcy St., 98 ina la Casa sena Cant 8-9232 98 e., Av e 125 E. Palac at la Fonda la Fiesta lounge , 982-5511 St. o isc 100 E. San Franc a Fe Resort nt sa la Posada de lace Ave., 986-0000 and spa 330 E. Pa g arts Center lensic Performin St., 988-1234 o isc nc Fra n Sa .

211 W sports Bar & grill om Ro er ck lo the 473-5259 2841 Cerrillos Rd., the lodge lodge lounge at St. Francis Dr., N. 0 at santa Fe 75 992-5800 the Matador o St., 984-5050 116 W. San Francisc vern the Mine shaft ta 473-0743 d, dri Ma , 2846 NM 14 & lounge Molly’s Kitchen 3-7577 98 , 1611 Calle Lorca fé Ca ll 0 Museum hi lner Plaza, 984-890 710 Camino Lejo, Mi

tortilla Flats Singer/songwriter Gary Vigil, acoustic rock, 6-9 p.m., no cover. vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; R & B trio J. Boy Adams, Zenobia, and Mister Sister, 8:30 p.m.-close, call for cover.

15 Saturday galleRy/MuseuM OPenings

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

Two Journeys, installation by Monika Kaden and linocut prints by Irina Thomas, reception and panel discussion 5-7 p.m. galerie Züger 120 W. San Francisco St., 984-5099.

Paintings by Britten, reception 1-5 p.m. giacobbe-Fritz Fine art gallery 702 Canyon Rd., 986-1156. Art for Rabbits, 4-5 p.m. closing reception and silent auction in support of the New Mexico House Rabbit Society’s rescue and adoption efforts. laFontaine studio 3920 Buffalo Grass Rd., Suite 4, 603-9087.

The Return, new work by sculptor Bruce LaFontaine, reception 6:30 p.m. la tienda exhibit space 7 Caliente Rd., Suite A-6, Eldorado. BlindFaith: The Creative Vision, group show, reception 5-8 p.m., through July 6, for information call 466-7277.

Plaza galeria pop-up show 66-70 E. San Francisco St., Suite 8. Bountiful Color, acrylic paintings by Emily Van Cleve, reception 2-4 p.m., through July, call 474-0385 for information.

Music Room at garrett’s Desert inn 311 Old Santa Fe Trail, 982-1851 the Palace Restaurant & saloon 142 W. Palace Ave, 428-0690 the Pantry Restaurant 1820 Cerrillos Rd., 986-0022 Pranzo italian grill 540 Montezuma Ave., 984-2645 Pyramid Café 505 W. Cordova Rd., 989-1378 Revolution Bakery 1291 San Felipe Ave., 988-2100 Rouge Cat 101 W. Marcy St., 983-6603 san Francisco street Bar & grill 50 E. San Francisco St., 982-2044 santa Fe Community Convention Center 201 W. Marcy St., 955-6705 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 1607 Paseo de Peralta, 989-3278 secreto lounge at hotel st. Francis 210 Don Gaspar Ave., 983-5700

in COnCeRt

emmylou harris and Rodney Crowell 7 p.m., The Downs of Santa Fe, general admission, $40, VIP tickets $70, ages 14 and under $10, 988-1234, ticketssantafe.org.

Janet Feder, Darwin grosse, and andrew Pask Currents 2013: The Santa Fe International New Media Festival free multimedia concert, 7:30 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, 992-0591, visit currentsnewmedia.org for a complete list of events at participating venues (see story, Page 50). sandra Wong, Dominick leslie, and alya sylla Percussion, nyckelharpa/fiddle, and mandolin trio, 8 p.m., Gig Performance Space, 1808-H Second St., $15 at the door, gigsantafe.com. son Como son Salsa band, free dance lessons 8:15-9 p.m., music follows, La Tienda Performance Space, 7 Caliente Rd., Eldorado, $10, 603-0123 or 570-0707.

theateR/DanCe

ArthropodaChordataConiferophyta Tim Weaver’s audiovisual performance piece in Currents 2013: The Santa Fe International New Media Festival, 7:30 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, 992-0591, visit currentsnewmedia.org for a complete list of events at participating venues (see story, Page 44).

Chapter Two Santa Fe Playhouse presents Neil Simon’s comedy, 7:30 p.m., 142 E. De Vargas St., $20, discounts available, santafeplayhouse.org, 988-4262 Thursdays-Saturdays through June (see story, Page 18).

the starlight lounge RainbowVision Santa Fe, 500 Rodeo Rd., 428-7781 stats sports Bar & nightlife 135 W. Palace Ave., 982-7265 steaksmith at el gancho 104-B Old Las Vegas Highway, 988-3333 sweetwater harvest Kitchen 1512-B Pacheco St., 795-7383 taberna la Boca 125 Lincoln Ave., Suite 117, 988-7102 thunderbird Bar & grill 50 Lincoln Ave., 490-6550 tiny’s 1005 St. Francis Dr., Suite 117, 983-9817 tortilla Flats 3139 Cerrillos Rd., 471-8685 the underground at evangelo’s 200 W. San Francisco St., 577-5893 upper Crust Pizza 329 Old Santa Fe Trail, 982-0000 vanessie 427 W. Water St., 982-9966 Zia Diner 326 S. Guadalupe St., 988-7008

Desiring-Machine I Installation/performance piece by Paula Gaetano Adi in Currents 2013: The Santa Fe International New Media Festival, performed at various times, El Museo Cultural de Santa Fe, 555 Camino de la Familia, 992-0591, no charge, installation up through June, complete list of events at participating venues available online at currentsnewmedia.org, concludes Sunday.

I Know This, I Do This All the Time (I Don’t Like It Though) Currents 2013: The Santa Fe International New Media Festival interactive performance installation, 11 a.m. and 2:30 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, 992-0591, no charge, complete list of events at participating venues available online at currentsnewmedia.org, encore Sunday.

Medium Multimedia performance/installation

by The Bridge Club collective as part of Currents 2013: The Santa Fe International New Media Festival, 11 a.m., 2 p.m., and 4 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, 992-0591, no charge, visit currentsnewmedia.org for a complete list of events at participating venues.

Miss Jairus: A Mystery in Four Tableaux Theaterwork presents a play by Belgian dramatist Michel de Ghelderode, 7:30 p.m., James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., $15, discounts available, 471-1799, Thursdays-Sundays, through June 23 (see story, Page 20).

Project in Motion New Mexico aerial dance company in The Palace at Night, 8 p.m., Railyard Performance Center, 1611 Paseo de Peralta, $10 in advance at projectinmotion.com and at the door.

books/talks

Currents 2013: the santa Fe International New Media Festival Artist César Meneghetti discusses Opera #01, a component of his program working with physically and mentally disabled people, 1 p.m., Zane Bennett Contemporary Art, 435 S. Guadalupe St., 982-8111, visit currentsnewmedia.org for a complete list of events at participating venues (see stories, Pages 40-51).

Isn’t It Grand? A talk by Oliver Prezant, Santa Fe Community Orchestra director, on the Santa Fe Opera’s mounting of The Grand Duchess of Gérolstein, 10 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

eveNts

35th annual Challenge New Mexico arts & Crafts Festival Works by more than 200 artists on sale at the Plaza, 9 a.m.-6 p.m. today and Sunday, proceeds benefit the horseback riding center for the disabled, 988-7621.

64th annual santa Fe Rodeo parade Begins downtown at 10 a.m.; rodeo runs Wednesday-Saturday, June 19-22, $10-$37, ticketssantafe.org, 988-1234. buckaroo ball Fundraiser in support of children in need in Santa Fe County; music by Asleep at the Wheel, dinner, and silent and live auctions, 6-10:30 p.m., Buffalo Thunder Resort & Casino, Pojoaque Pueblo off U.S. 84/285, $160 in advance at buckarooball.com.

Currents 2013: the santa Fe International New Media Festival Guided tour and meetand-greet with participating artists and festival organizers, 11 a.m.-12:30 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, 992-0591, complete list of events at participating venues available online at currentsnewmedia.org.

Currents 2013: the santa Fe International New Media Festival Max/MsP software workshop Rapid Development of Visual Performance Tools, led by electronic media musicians Darwin Grosse and Andrew Pask,

David Richard Gallery shows video stills and digital prints by Susan Herdman, 544 S. Guadalupe St.

2 p.m., Warehouse 21, 1614 Paseo de Peralta, no charge, visit currentsnewmedia.org for a complete list of events at participating venues available online at, geared for beginners.

Fantase Festival 3-11 p.m. celebration of the new skate park and the completion of Stage 1 of El Parque del Rio’s renovation; events include a performance by SFO apprentices, prog-rock band As In We, and National Dance Institute of New Mexico’s breakdance crew, DeVargas Park, S. Guadalupe and Sandoval Sts., for details visit creativesantafe.org.

IaIa Digital Dome screenings Currents 2013: The Santa Fe International New Media Festival event hosted by Institute of American Indian Arts, 2-5 p.m. today and Sunday, round-trip shuttle van leaves at 1:15 p.m. from El Museo Cultural de Santa Fe, 555 Camino de la Familia, visit currentsnewmedia.org for a complete list of events at participating venues.

New Mexico Museum of art book sale Books on art, photography, architecture, and the Southwest, 9 a.m.-4 p.m., 107 W. Palace Ave., no charge, 476-5068. santa Fe artists Market 8 a.m.-1 p.m.

Saturdays at the Railyard Park across from the Farmers Market through November, 310-1555. santa Fe Farmers Market 7 a.m.-noon, 1607 Paseo de Peralta, 983-4098. santa Fe opera Insider Days Opera Guild members offer insights into productions and behind-the-scenes processes, Saturdays through Aug. 24; call 986-5900, visit santafeopera.org for a complete schedule of community events. snakes of New Mexico Get up close and personal to a selection of native species during a presentation by Tom Wyant, Española Wildlife Center’s resident snake expert, 4 p.m., Cerrillos Hills State Park, 16 miles south of Santa Fe off NM 14, parking area one half-mile north of the village of Cerrillos, $5 per vehicle, 474-0196.

Flea MaRkets

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 the year. the santa Fe Flea at the Downs 8 a.m.-3 p.m. Saturdays and Sundays through September, south of Santa Fe at NM 599 and the Interstate 25 Frontage Rd., 982-2671.

NIGhtlIFe

(See Page 64 for addresses) Café Café Los Primos Trio, traditional Latin tunes, 6-9 p.m., no cover. ¡Chispa! at el Mesón Jazz trumpeter Chief Sanchez and his quartet, 7:30 p.m.-close, no cover.

Cowgirl bbQ Santa Fe Chiles Dixie Jazz Band, 2-5 p.m.; Felix y Los Gatos, zydeco/Tejano/juke-swing, 8:30 p.m.-close; no cover. el Cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. el Farol Country Blues Revue, 9 p.m.-close, call for cover. la Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Local jazz trumpeter Ryan Montano, 8-11 p.m., no cover. la Posada de santa Fe Resort and spa Jazz vocalist Whitney Carroll Malone, bassist Asher Barreras, and guitarist Pat Malone, 6-9 p.m., no cover. the Mine shaft tavern Psychedelic country with Joe West, Lori Ottino, and Peter Singdahlsen, 8 p.m., call for cover.

Pranzo Italian Grill Pianist David Geist with vocalist Faith Amour, 6-9 p.m., call for cover. second street brewery Broomdust Caravan, juke joint honky-tonk and biker bar rock, 6-9 p.m., no cover. second street brewery at the Railyard Roots-rock duo Man No Sober, 7-10 p.m., no cover. stats sports bar & Nightlife Opening weekend party for Currents 2013, DJ’d by music collective Meow Wolf, 10 p.m.-close, call for charge. sweetwater harvest kitchen Hawaiian slack-key guitarist John Serkin, 6 p.m., no cover. vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; pianist/vocalist Bob Finnie, pop standards, 8 p.m.-close; no cover.

16 Sunday IN CoNCeRt

Darwin Grosse and andrew Pask Currents 2013: The Santa Fe International New Media Festival free multimedia concert, 7:30 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, 992-0591, visit currentsnewmedia.org for a complete list of events at participating venues.

theateR/DaNCe

Chapter Two Santa Fe Playhouse presents Neil Simon’s comedy, 2 p.m., 142 E. De Vargas St., $20, discounts available, santafeplayhouse.org, 988-4262, Thursdays-Sundays through June (see story, Page 18).

Desiring-Machine I Installation/performance piece by Paula Gaetano Adi as part of Currents 2013: The Santa Fe International New Media Festival, performed at various times, El Museo Cultural de Santa Fe, 555 Camino de la Familia, 992-0591, no charge, installation up through June, complete list of events at participating venues available online at currentsnewmedia.org.

Flamenco’s Next Generation Youth troupe, 2 p.m. Sunday performances through July 28, María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr., tickets available online at institutespanisharts.org, 467-3773.

I Know This, I Do This All the Time (I Don’t Like It Though) Currents 2013: The Santa Fe International New Media Festival interactive performance installation, noon and 3:30 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, 992-0591, no charge, visit currentsnewmedia.org for a complete list of events at participating venues.

Miss Jairus: A Mystery in Four Tableaux Theaterwork presents a play by Belgian dramatist Michel de Ghelderode, 2 p.m., James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., $15, discounts available, 471-1799, Thursdays-Sundays, through June 23 (see story, Page 20).

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exhibitionism

A peek at what’s showing around town

Robert Drummond: Hemingray - 17, 2012, cast glass, single-channel video, and stereo audio. Zane Bennett Contemporary Art (435 S. Guadalupe St.) presents Projections in New Media, shown in conjunction with the Currents 2013 new-media festival. Projections includes work by Robert Drummond, Derek Larson, Inhye Lee, and Molly Bradbury, among others. Interactive installations, video, light painting, and other digital media are on view. The reception is Friday, June 14, at 5 p.m. Call 982-8111.

Kate Rivers: Breaking Free, 2013, mixed media on paper.

Kate Rivers’ collages combine salvaged materials in abstract configurations. Her exhibition Variations opens at Matthews Gallery (669 Canyon Road) on Friday, June 14, with a reception at 5 p.m. The show includes new collages, including a series in which the artist has stitched together the spines of old books.

Rivers writes that her work is “structurally dense, complex, and is an autobiographical statement.”

Call 992-2882.

Jane manus: Trailerman, 2002, aluminum. Jane Manus’ Linear Language, an exhibition of monochromatic, geometric sculptures at LewAllen Galleries at the Railyard (1613 Paseo de Peralta), explores the relationship of line and form. Manus’ work is angular and architectural. There is a 5 p.m. reception on Friday, June 14.

Call 988-3250.

John Geldersma: Half Sliced Spirit Poles 1, 2, and 3, 2013, burned and painted aspen.

John Geldersma’s painted spirit poles have the appearance of tribal ceremonial objects. Chiaroscuro Contemporary Art (702½ Canyon Road) presents a series of these pieces, arranged vertically like trees in a forest, for the exhibition Variations. His work is shown concurrently with Bark, an exhibit of pen-and-ink drawings on handpounded bark by Gayle Crites.

Both shows run through July 7.

Call 992-0711.

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PASATIEMPO I June 14 -20, 2013

steven A. Jackson: Along the Road to La Veta, Colorado, 2010, archival digital photograph. New Concept Gallery (610-A Canyon Road) presents Santa Fe and Beyond, an exhibition of paintings, photographs, and sculptures of Santa Fe and the surrounding countryside. The show includes work by Reg Loving, Steven A. Jackson, and Tim Prythero. There is a reception Friday, June 14, at 5 p.m.

Call 795-7570.

At the GAlleries Blue Rain Gallery 130-C Lincoln Ave., 954-9902. Group Glass Show, through June.

GVG Contemporary 202 Canyon Rd., 982-1494. Forge, Spin, Wrap, and Weld, metalwork group show, through Friday, June 14.

Meyer East Gallery 225 Canyon Rd., 983-1657. David Jonason: New Works, cubist Southwest oil paintings, through Thursday, June 20.

Peyton Wright Gallery 237 E. Palace Ave., 989-9888. Postwar American Abstraction: Downing, Loving, and Pollock, through June 25.

Red Dot Gallery 826 Canyon Rd., 820-7338. Rare Earth, mixedmedia works in jars by New Mexico students and teachers; Splinter Group, drawings and sculpture by Debby Young; through June 28.

Santa Fe Art Institute SFUAD, 1600 St. Michael’s Dr., 424-5050. Cavities and Clumps: The Psychology and Physicality of Contested Space, site-specific installations by Martha Russo; plus, collaborative pieces with Katie Caron, Elizabeth Faulhaber, and Roberta Faulhaber, through July 12.

Silver Sun Gallery 656 Canyon Rd., 983-8743.Watercolors

by Jim Doyle, through Tuesday, June 18.

Stan Natchez Gallery 201 E. Palace Ave., 231-7721. The American Dream, multimedia miniatures, through June 22.

TAI Gallery 1601-B Paseo de Peralta, 984-1387. Emerging Bamboo, group show of basketry and sculptural forms, through June 21.

Touching Stone Gallery 539 Old Santa Fe Trail, 988-8072. Quintessence, work by ceramicist Tadashi Ito; paintings by Sheila Keefe; through June 29.

Verve Gallery of Photography 219 E. Marcy St., 982-5009. Photo-based works

by Maggie Taylor and Henrieke Strecker, through June 22.

Waxlander Gallery 622 Canyon Rd., 984-2202. Absorb and Connect, new work by Christopher Owen Nelson, through Monday, June 17.

William and Joseph Gallery 727 Canyon Rd., 982-9404. New paintings

by Jeanne Bessette, through June.

Yares Art Projects 123 Grant Ave., 984-0044. Four Tides, Four Decades, paintings and works on paper by Sam Scott, through July 1.

Zane Bennett Contemporary Art 435 S. Guadalupe St., 982-8111. Mixografia prints by Mimmo Paladino, through June 21.

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. $40 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. Open 1-5 p.m.

Monday-Friday to current students (call for details).

Visit santafe.edu/library for online catalog.

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-Saturday. Closed 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. Balancing Signal to Noise, works by Zoe Blackwell, Brandon Soder, and Betsy Emil, Spector Ripps Project Space; Muñoz Waxman front and main galleries: Vector Field, installation by Conor Peterson; The Curve, works by CENTER’s competitionwinning photographers David Favrod and Ignacio Evangelista; through July 7. Gallery hours available online at ccasantafe.org or by phone, no charge.

Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land, through Sept. 8. Open 10 a.m.5 p.m. Saturday-Thursday, 10 a.m.-7 p.m.

Fridays. $12; seniors $10; NM residents $6; students 18 and over $10; under 18 no charge; no charge for NM residents first Friday of each month.

Museum of Contemporary Native Arts 108 Cathedral Pl., 983-1666. Facing the Camera: The Santa Fe Suite, photographic portraiture by Rosalie Favell • Stands With a Fist: Contemporary Native Women Artists • For Instance, Look at the Land Beneath Your Feet, video installation by Kade L. Twist • Apache Chronicle, Nanna Dalunde’s experimental documentary on the artist collective Apache Skateboards; through July.

Open 10 a.m.-5 p.m. Monday and Wednesday-

rotunda Gallery shows work by fiber artist candace Kenyon in the group show New Mexico: Unfolding

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.

What’s New in New: Recent Acquisitions, annual exhibit celebrating the gallery’s namesake, Lloyd Kiva New, through 2013 • Woven Identities: Basketry Art From the Collections • Margarete Bagshaw: Breaking the Rules, 20-year retrospective • 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. TuesdaySunday. 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.

Tako Kichi: Kite Crazy in Japan, exhibit of traditional Japanese kites, through March 2014 • Plain Geometry: Amish Quilts, textiles from the collection and collectors, through Sept. 2 • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, international collection of toys and 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; no charge for NM residents over 60 on Wednesdays; no charge for NM residents on Sundays.

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

• Stations of the Cross, group show of works

by New Mexico artists, through Sept. 2 • Metal and Mud — Out of the Fire, works by Spanish Market artists, through August • San Ysidro/ St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, Colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late Colonial period re-creation. Open 10 a.m.5 p.m. Tuesday-Sunday. $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.

Cowboys Real and Imagined, artifacts and photographs from the collection, through March 16, 2014 • Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author, through Feb. 9, 2014. Open 10 a.m.-5 p.m.

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

New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Peter Sarkisian: Video Works 1994-2011, mixed-media installations, through Aug.18 • Shiprock and Mont St. Michel, Santa Fe photographer William Clift’s landscape studies, through Sept. 8 • Back in the Saddle, collection of paintings, prints, photographs, and drawings of the Southwest, through Sept.15 • It’s About Time: 14,000 Years of Art in New Mexico, through January 2014. Open 10 a.m.-5 p.m. TuesdaySunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; NM residents free on Sundays.

Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Pl., 988-8900. A Straight Line Curved, paintings

by Helen Hardin, through September. Open noon-4 p.m. Friday-Sunday. $10 admission.

Poeh Museum 78 Cities of Gold Rd., Poeh Center Complex, Pueblo of Pojoaque, 455-3334. Creativity Revisited, silver anniversary of the museum’s permanent collection, through July13. Open 8 a.m.-5 p.m. Monday-Friday; 9 a.m.-4 p.m.

Saturday; donations accepted.

Rotunda Gallery State Capitol, Old Santa Fe Trail and Paseo de Peralta, 986-4589. New Mexico: Unfolding, group show of mixed-media fiber art, through Aug. 16.

SITE Santa Fe 1606 Paseo de Peralta, 989-1199. Marco Brambilla: Megaplex, video installations, through June. Open 10 a.m.-5 p.m. TuesdaySaturday; 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. The Durango Collection: Native American Weaving in the Southwest, 1860-1880, through April 13, 2014. Open 10 a.m.-5 p.m.

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

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In the wings MUSIC

Santa Fe Bandstand Outside In Productions and the City of Santa Fe present the 11th annual free performance series featuring national and local performers on the Plaza community stage, weekly from June 21 through Aug. 23. Line-up includes Eliza Gilkyson, A Hawk & A Hawksaw, and Max Baca y Los Texmaniacs. Schedule and updates available online at santafebandstand.org.

New Mexico Gay Men’s Chorus The Best Is Yet to Come, Santa Fe Gay Pride Festival event, 7:30 p.m. Friday, June 21, National Dance Institute of New Mexico Dance Barns, 1140 Alto St., $20 in advance online at nmgmc.org, discounts available.

Make Music Manaña Santa Fe Music Alliance presents a free concert at the Railyard; performers include Dadou & Hilary, As In We, and Boomroots Collective, 4:30-9:30 p.m.

Saturday, June 22, santafemusicalliance.org.

Goddess: Marilyn Monroe Movie Musicals Vocalist Anne Ruth Bransford and the Bert Dalton Trio, 6 p.m. Sunday and Monday, June 23-24, La Casa Sena Cantina, 125 E. Palace Ave., $25, 988-9232.

From Darkness to Light: A Kurt Weill Tribute Broadway tunes performed by singer Robert Sinn and pianist David Geist, 7:30 p.m.

Sunday, June 23, dessert reception follows, doors open at 7 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20 in advance and at the door, santafehadassah.org.

Arlen Asher Santa Fe’s woodwind master is joined by Michael Anthony on guitar, Michael Olivola on bass, and John Trentacosta on drums in KSFR Radio’s concert series, 7 p.m. Thursday, June 27, Museum Hill Café, 710 Camino Lejo, $20, 428-1527.

The Howlin’ Brothers Nashville-based bluegrass band, 7:30 p.m.

Friday, June 28, Gig Performance Space, 1808-H Second St., $15 in advance at brownpapertickets.com, $18 at the door, gigsantafe.com.

Patty Griffin Singer/songwriter, 7:30 p.m. Friday, June 28, Max Gomez opens, Greer Garson Theatre, SFUAD, 1600 St. Michael’s Dr., $46-$62, ticketssantafe.org, 988-1234.

Stacy Dillard Trio New York City-based tenor saxophonist with bassist Diallo House and percussionist Ismail Lawal, 6 and 8 p.m. sets Friday, July 5, The Den, 132 W. Water St., $55-$250, Santa Fe Jazz Festival, 670-6482.

Festival au Desert: Caravan for Peace Tour Malian artists Ali Farka Toure All-Stars, featuring Mamadou Kelly, and trance-groove ensemble Tartit, 7:30 p.m. Wednesday, July 10, the Lensic, $25-$40, 988-1234, ticketssantafe.org.

Goggle Saxophone Quartet 8 p.m. Thursday, July 11, Gig Performance Space, 1808-H Second St., $15 at the door, gigsantafe.com.

Santa Fe Chamber Music Festival The 41st season (July 14-Aug. 19) performers include pianists Inon Barnatan and Jeremy Denk, violinists Ida Kavafian and L.P. How, and the Orion and Shanghai String Quartets, for advance tickets call 982-1890, for more information and full concert schedule visit santafechambermusic.com.

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PASATIEMPO I June 14 -20, 2013

New Mexico Jazz Festival Stanley Clarke Band, Sunday, July 21; Terence Blanchard Quintet and Lionel Loueke Trio, July 26; Eddie Palmieri Latin Jazz Band, July 27; all concerts begin at 7:30 p.m. at the Lensic, $20-$50, 988-1234, ticketssantafe.org; free Santa Fe Bandstand concerts, The Mil-Tones and Larry Mitchell, July 23, full concert schedule available online at nmjazzfestival.org.

Runa Celtic-roots ensemble, 8 p.m. Saturday, July 27, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com.

Christine Brewer The Santa Fe Opera soprano in recital honoring Wagner and Britten, accompanied by pianist Joseph Illick, 4 p.m. Sunday, Aug. 4, 301 Opera Dr., $25-$50, 986-5900.

Toad the Wet Sprocket Alt-rock band, 7:30 p.m. Thursday, Aug. 8, Santa Fe Sol Stage & Grill, 37 Fire Pl., $27, 988-1234, ticketssantafe.org.

THEATER/DANCE

Luna Unlaced Presented by Chicago-based pan-Latina theater company Teatro Luna, 8 p.m. Tuesday and Wednesday, June 25-26, Teatro Paraguas Studio, 3205 Calle Marie, 424-1601.

Upcoming events 2013 BUST Circus arts and puppetry troupe Wise Fool New Mexico spotlights its circus-camp participants, 7 p.m. Friday, 2 and 7 p.m.

Saturday, June 28-29, 2778-D Agua Fría St., $10-$15 sliding scale, kids 12 and under $5, 992-2588.

Aspen Santa Fe Ballet The first program of the summer features new works by choreographers Cayetano Soto and Norbert de la Cruz; plus, Trey McIntyre’s Like a Samba, 8 p.m. Friday and Saturday, July 12-13; , the Lensic, $25-$72, 988-1234, ticketssantafe.org.

The Screwtape Letters Fellowship for the Performing Arts presents its comedic theatrical adaptation of the C.S. Lewis novel, 8 p.m. Friday, 4 p.m. Saturday, Aug. 2-3, the Lensic, $35-$55, student discount available, 988-1234, ticketssantafe.org.

Secret Things Camino Real Productions presents Elaine Romero’s play about New Mexico Crypto-Jews, Friday-Sunday, Aug. 16-25, Teatro Paraguas Studio, 3205 Calle Marie, call 424-1601 for ticket information.

HAPPENINGS

Beltrán-Kropp Peruvian Art Collection Museum of Spanish Colonial Art exhibit of gift items, including a permanent gift of 60 art pieces and objects from the estate of Pedro Gerardo Beltrán Espantoso, Peru’s ambassador to the U.S. (1944-45), opening Friday, June 21, running through May 27, 2014, 750 Camino Lejo, Museum Hill, 982-2226.

Chicks ’n’ Chaps Rodeo clinic for women in support of Breast Wishes Fund; meal; silent and live auctions; and an evening at the rodeo, 1 p.m. Friday, June 21, Santa Fe Rodeo Grounds, $65, 988-1234, ticketssantafe.org.

the Howlin’ Brothers onstage at gig performance space June 28.

16th Annual Santa Fe Greek Festival Á la carte menu by Santa Fe chefs; music by The Aegean Sounds; folk dances; and an import market; 11 a.m.-9 p.m. Friday and Saturday, June 21-22, Santa Fe Community Convention Center, $3, ages 12 and under no charge, visit santafegreekfestival.com or call 577-4742 for more information.

Santa Fe Pride Parade & Festival Noon Saturday, June 22, parade route begins at Old Santa Fe Trail and Paseo de Peralta and ends at the Railyard with entertainment, vendor booths, and beverages, santafehra.org.

Santa Fe Opera community events Youth Nights at the Opera, special program for families with children ages 6-22 to attend select final dress rehearsals at reduced prices, June 24-25, and July 16; Ranch Tours, extended tours of the grounds with a meet-the-artist component, last Friday of June, July, and August, tour $12, added backstage tour $20, call 986-5900, visit santafeopera.org for a schedule of other community events.

Santa Fe Wine Festival New Mexico wine samples and sales, music, food booths, and arts & crafts, noon-6 p.m.

Saturday and Sunday, July 6-7, El Rancho de las Golondrinas, 334 Los Pinos Rd., $13 includes wine glass for adults 21+, youth discounts available, 471-2261.

Louise Glück and Dana Levin The award-winning poets read from and sign copies of their collections, 5:30 p.m. Tuesday, July 9, O’Shaughnessy Performance Space, Benildus Hall, SFUAD, 1600 St. Michael’s Dr., no charge, 473-6011.

2013 Santa Fe International Folk Art Market More than150 artists offer goods at the 10th annual event hosted by the Museum of International Folk Art; pre-market events begin July 10-11, opening party July 12, market July 13-14, visit folkartmarket.org for schedule and ticket information.

ART Santa Fe 2013 Contemporary art expo; vernissage Thursday, July 11, $100; expo Friday-Sunday, July 12-14, $10; Santa Fe Community Convention Center; keynote speaker Robert Wittman, former special agent and founder of the FBI’s art crime team, Saturday, July 13, New Mexico History Museum, 113 Lincoln Ave., $15; ticketssantafe.org, 988-1234.

SITE Santa Fe events The experimental exhibit series SITElab, presented primarily in the lobby gallery space, continues with Enrique Martínez Celaya: The Pearl opens July 12; My Life in Art series (held at the Armory for the Arts) begins July 16 with Lowery Stokes Sims and Jaune Quick-to-See Smith; other shows are scheduled in November, December, and January 2014, visit sitesantafe.org for updates.

Museum Hill Garden grand opening Santa Fe Botanical Garden hosts a gala with live music, tapas, and tours of the newly planted Meadow Garden, 6-8 p.m. Friday, July 19, $125 in advance, santafebotanicalgarden.org.

Behind Adobe Walls House and Garden Tour Santa Fe Garden Club’s annual guided tour of local private residences; noon-5 p.m.

Tuesday, July 23 and 30, tour $75, optional pre-tour luncheon $20, call Terry at Westwind Travel, 984-0022 or visit thesantafegardenclub.org for information and reservations.

pasa week

from Page 65

16 Sunday (continued) books/talks

barbara spencer Foster The New Mexico author signs copies of Santa Fe Woman, Fremont F. Ellis: Last of Los Cinco Pintores, and Montana Lawman, 1-5 p.m., Hastings Books, Movies, and Videos, 542 N. Guadalupe St., 988-3973. kate stalter The investment advisor discusses risk management and investment strategies, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

events

35th annual Challenge new Mexico arts & Crafts Festival Works by more than 200 artists on sale at the Plaza, 9 a.m.-6 p.m., proceeds benefit the therapeutic horseback riding center for the disabled, 988-7621.

Currents 2013: the santa Fe International new Media Festival Max/MsP software workshop Exploring the Analog Model, led by electronic media musicians Darwin Grosse and Andrew Pask, 2 p.m., Warehouse 21, 1614 Paseo de Peralta, currentsnewmedia.org, no charge, geared for beginners (see story, Page 50).

Father’s Day at the new Mexico History Museum Meet the Rodeo de Santa Fe Royal Court; watch hat maker J.D. Noble demonstrate hat-shaping techniques, and get free photographs taken of dad by photographer Cheron Bayna Ryan, 1-3 p.m., in conjunction with the exhibit Cowboys Real and Imagined, 113 Lincoln Ave., by museum admission, 476-5200.

IaIa Digital Dome screenings Currents 2013: The Santa Fe International New Media Festival group show hosted by Institute of American Indian Arts, 2-5 p.m., round-trip shuttle van leaves at 1:15 p.m. from El Museo Cultural de Santa Fe, 555 Camino de la Familia, visit currentsnewmedia.org for a complete list of events at participating venues.

Railyard artisans Market Live music: Ramone 10 a.m.-1 p.m.; Kindle 1-4 p.m.; Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, railyardartmarket.com, 983-4098, market 10 a.m.-4 p.m. santa Fe Jewish Film Festival Hava Nagila: The Movie, Q & A and reception with cinematographer Dyanna Taylor follow, 4 p.m., Center for Contemporary Arts, 1050 Old Pecos Trail, deli-bites reception $15 available in advance at santafejff.org, $20 at the door. second annual Motorado Classic Motorcycle show Bikes, food, and beverages, 10 a.m.-2 p.m., La Tienda, Eldorado, at the junction of Avenida Vista Grande and U.S. 285, visit motorado.org for more information.

nIgHtlIFe

(See Page 64 for addresses) Café Café Guitarist Michael Tait Tafoya, 6-9 p.m., no cover.

Cowgirl bbQ Joe West and Friends, eclectic folk-rock, noon-3 p.m.; multi-instrumentalist Rick Mena, country/blues/pop/rock, 8 p.m.; no cover. the Den at Coyote Café Speakeasy Sundays with vocalist Faith Amour, 5:30-8 p.m., call for cover. el Farol Nacha Mendez, pan-Latin chanteuse, 7 p.m., no cover. evangelo’s Tone & Company, R & B, 8:30 p.m., call for cover.

la Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Old movie night, 6-10 p.m., no cover. la Posada de santa Fe Resort and spa Wily Jim, Western swingabilly, 6-9 p.m., no cover. the Mine shaft tavern Soulful-blues band The Barbwires, 3-7 p.m., no cover. second street brewery at the Railyard The Bill Hearne Trio, classic country, 1-4 p.m., no cover. vanessie Pianist Doug Montgomery, jazz and classics, 7 p.m.-close, call for cover.

17 Monday books/talks

Marie Romero Cash and Christine barber The New Mexico authors read from their respective novels Treasure Among the Shadows (See Subtexts, Page 16) and When the Devil Doesn’t Show: A Mystery, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

Paleo-Indian sites in north america: location, location, location A Southwest Seminars’ lecture with archaeologist Michael Collins, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775.

events

Currents 2013: the santa Fe International new Media Festival experimental documentaries Program 1, Video Shorts, six free screenings beginning at 7:30 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, visit currentsnewmedia.org for a complete list of events at participating venues. santa Fe opera backstage tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900, weekdays, through Aug. 13.

nIgHtlIFe

(See Page 64 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 Albuquerque singer/songwriter Zenobia, R & B/gospel, 7:30-11 p.m., no cover. vanessie Pianist Doug Montgomery, jazz and classics, 7 p.m.-close, call for cover.

18 Tuesday books/talks

sandra k. toro and Isabelle Medina sandoval The New Mexico authors read from and sign copies of their respective works, Hidden Shabbat: The Secret Lives of Crypto-Jews and Secrets Behind Adobe Walls, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. santa Fe Photographic Workshops’ instructor presentations series Open conversation and slide presentation of works by Karen Divine, Christopher James, Arthur Meyerson, Elizabeth Opalenik, and Jennifer Spelman, 8:30-10 p.m., Santa Fe Prep auditorium, 1101 Camino de Cruz Blanca, no charge, 983-1400, Ext. 11.

Santa Fe Photographic Workshops’ free summer series of instructor presentations begins Tuesday, June 18; The Offering by Karen Divine pictured

events

Communicate With the landscape of new Mexico through Collage Georgia O’Keeffe Museum workshop led by Helene Pfeffer, 6-8 p.m., Museum Education Annex, 123 Grant Ave., no charge, 946-1039. santa Fe Farmers Market 7 a.m.-noon, 1607 Paseo de Peralta, 983-4098. santa Fe opera backstage tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900, weekdays through Aug. 13.

nIgHtlIFe

(See Page 64 for addresses) ¡Chispa! at el Mesón Argentine Tango Milonga, 7:30 p.m.-close, call for cover.

Cowgirl bbQ The McCoy Tyler Band, roots/alt. country, 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 Fiesta lounge at la Fonda Singer/songwriter Zenobia, R & B/gospel, 7:30-11 p.m., no cover. second street brewery at the Railyard Acoustic open-mic nights with Case Tanner, 7:30-10:30 p.m., no cover. tiny’s Mike Clymer of 505 Bands’ acoustic open-mic night, 8:30 p.m., no cover. vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; pianist/vocalist Bob Finnie, pop standards, 8 p.m.-close; no cover.

19 Wednesday In ConCeRt

the Flatlanders Texas country trio, acoustic set 7:30 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $34, 988-1234, ticketssantafe.org.

Music on the Hill 2013 St. John’s College’s free outdoor summer concert series continues with the Santa Fe Great Big Jazz Band, featuring vocalist Joan Kessler, 6 p.m., outdoors at the college’s athletic field, 1160 Camino de Cruz Blanca, visit stjohnscollege.edu for series line-up, 984-6000, continues weekly through July 24.

books/talks

the Manhattan Project in los alamos: an eyewitness Perspective A talk by authors Toni Gibson and Sharon Snyder, noon-12:45 p.m., Meem Community Room, Fray Angélico Chávez History Library, 120 Washington Ave., no charge, 476-5090, monthly Brainpower & Brownbags lecture series, bring your lunch.

Reductionism, naturalism, and Undecidability St. John’s College’s free summer lecture and Q & A series continues with Simon DeDeo, Santa Fe Institute research fellow, 3:15 p.m., Junior Common Room, Peterson Student Center, 1160 Camino de Cruz Blanca, 984-6000. santa Fe Clay summer slide lecture The series continues with ceramicist Linda Cordell’s discussion of animal constructs, 7 p.m., Santa Fe Clay, 545 Camino de la Familia, 984-1122, Wednesdays through Aug.15. a sense of Place: georgia o’keeffe New Mexico Museum of Art’s artist-of-theweek docent talk, 12:15 p.m., 107 W. Palace Ave., by museum admission, 476-5075. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM

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events

events/Performances

nightliFe

▶ People who need people

64th Annual santa Fe Rodeo 6:30 p.m., beginning today through Saturday, June 22, Santa Fe Rodeo Grounds, 3237 Rodeo Rd., $10-$37, ticketssantafe.org, 988-1234. santa Fe Opera Backstage tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900, weekdays through Aug. 13.

taos school of Music The 51st season opens in Taos on Sunday, June 16, with the Shanghai Quartet, featuring guest pianist Robert McDonald and violist Michael Tree, music of Schubert, Brahms, and Dvoˇrák, $20 in advance, discounts available, visit taosschoolofmusic.com for tickets, concert schedule, and venues.

(See Page 64 for addresses) ¡Chispa! at el Mesón Flamenco guitarist Joaquin Gallegos, 7 p.m.-close, no cover.

Cowgirl BBQ Woody Pines, ragtime/country-blues band, 8 p.m., no cover. la Fiesta lounge at la Fonda The Bill Hearne Trio, classic country, 7:30-11 p.m., no cover.

Artists

20 Thursday ClAssiCAl MusiC

Cantos de taos Quartet Taos Opera Institute singers perform popular arias, noon, Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Pl., no charge, taosoi.org.

in COnCeRt

eric McFadden trio San Francisco-based alt-rock band, 7 p.m., The Mine Shaft Tavern, 2846 NM 14, Madrid, $10, 473-0743.

theAteR/dAnCe

Chapter Two Santa Fe Playhouse presents Neil Simon’s comedy, 7:30 p.m., 142 E. De Vargas St., $10 special pricing, santafeplayhouse.org, 988-4262, Thursdays-Saturdays through June (see story, Page 18).

Little Shop of Horrors opening night Darling Starr Productions presents the musical, 7 p.m., Warehouse 21, 1614 Paseo de Peralta, $10, 989-4423, continues Friday-Sunday, June 21-23.

Miss Jairus: A Mystery in Four Tableaux Theaterwork presents a play by Belgian dramatist Michel de Ghelderode, 7:30 p.m., James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., $15, discounts available, 471-1799, Thursdays-Sundays, through June 23 (see story, Page 20).

BOOks/tAlks

Charting a sensible Path to u.s. energy security Presentation by Bernard Weinstein, hosted by Santa Fe Council on International Relations, 5:30 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, $20, 982-4931.

Peter goin and lucy R. lippard The photographer and author read from and sign copies of Time and Time Again: History, Rephotography, and Preservation in the Chaco World, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see story, Page 28).

events

64th Annual santa Fe Rodeo 6:30 p.m. daily through Saturday, June 22, Santa Fe Rodeo Grounds, 3237 Rodeo Rd., $10-$37, ticketssantafe.org, 988-1234.

Currents 2013: the santa Fe international new Media Festival experimental documentary program Free screening of Denis Côté’s Bestiaire, 7:30 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, complete list of events at participating venues available online at currentsnewmedia.org.

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PASATIEMPO I June 14 -20, 2013

Palette Contemporary in Albuquerque shows work by Alexander Calder (1898-1976)

santa Fe Opera Backstage tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900, weekdays through Aug. 13.

nightliFe

(See Page 64 for addresses) ¡Chispa! at el Mesón Jazz pianist John Rangel, 7 p.m.-close, no cover.

Cleopatra Café southside The Saltanah Dancers, belly dance, 7-9 p.m., no cover.

Cowgirl BBQ The Bus Tapes, folk-rock, 8 p.m., no cover. evangelo’s Dance band Little Leroy and His Pack of Lies, 9 p.m.-close, call for cover. la Boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover. la Fiesta lounge at la Fonda The Bill Hearne Trio, classic country, 7:30-11 p.m., no cover. la Posada de santa Fe Resort and spa Pat Malone Jazz Trio, featuring Kanoa Kaluhiwa on saxophone, Asher Barreras on bass, and Malone on guitar, 6 p.m., no cover. second street Brewery Local bluesman Kenny Skywolf and his band, 5-8 p.m., no cover. vanessie Cantos de Taos Quartet, Taos Opera Institute singers perform popular arias, 6-7 p.m.; Bob Finnie, pop standards piano and vocals, 7 p.m.-close; no cover.

▶ Elsewhere albuquErquE Museums/Art spaces

Palette Contemporary 7400 Montgomery Blvd. N.E., 505-855-7777.

Primarily, works on paper by Alexander Calder (1898-1976), through July 3.

Richard levy gallery 514 Central Ave. S.W., 505-766-9888. Alex Katz, retrospective exhibit of prints; Elderly Animals, photographs by Isa Leshko; through July 26.

Weyrich gallery 2935-D Louisiana Blvd. N.E., 505-883-7410. The Unique and Unusual, new work by Judith Duff; mixed-media paintings by Susan Zimmerman, through July 26.

events/Performance

Chatter sunday The ensemble performs David Lang’s Child with live video projections

by Nick Tauro, 10:30 a.m. Sunday, June 16, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, chatterchamber.org. seth Meyers Saturday Night Live’s head writer brings his stand-up comedy routine to Albuquerque’s KiMo Theatre; 7 p.m. Sunday, June 16, $54 in advance at holdmyticket.com, proceeds benefit Jewish Federation of New Mexico.

los alamos Museums/Art spaces

Mesa Public library Art gallery 2400 Central Ave., 662-8250. Meg Kramer: New Work, drawings and prints, through June 29.

Pajarito environmental education Center 3540 Orange St., 662-0460. Exhibits of flora and fauna of the Pajarito Plateau; live amphibians, an herbarium, and butterfly and xeric gardens.

Open noon-4 p.m. Tuesday-Friday, 10 a.m.-1 p.m.

Saturday, no charge, visit pajaritoeec.org for weekly programs and events schedule.

events/Performances

gordons’ summer Concerts Lightnin’ Malcolm, Mississippi blues, 7 p.m.

Friday, June 14, Ashley Pond, 2132 Central Ave., gordonssummerconcerts.com.

taos Museums/Art spaces

harwood Museum of Art 238 Ledoux St., 575-758-9826. The Taos art colony is celebrated with four exhibits, Woody Crumbo: The Third Chapter; Jim Wagner: Trudy’s House; R.C. Gorman: The Early Years; and Fritz Scholder: The Third Chapter; through Sept. 8. Open 10 a.m.-5 p.m. Tuesday-Saturday, noon-5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday. taos Art Museum and Fechin house 227 Paseo del Pueblo Norte, 575-758-2690.

Director’s Choice: 14 Years at the Taos Art Museum, works from the collection, through June. Open 10 a.m.-5 p.m. Wednesday-Sunday. $8, Taos County residents with ID no charge on Sunday.

new Mexico furniture craftspersons Santa Fe Arts Commission Community Gallery is planning an exhibit of chairs from June through August 2014; traditional, modern, sculptural, and functional pieces considered; submit portfolio to Rod Lambert, Community Gallery manager,

by Friday, June 28; mail to P.O. Box 909, Santa Fe, NM, 87504, 955-6705. site santa Fe’s spread 4.0 dinner Artists of all disciplines are invited to submit proposals for food-related projects for the Oct. 11 dinner designed to generate financial support for artistic innovation; applications accepted online only at spreadsantafe.com through Sunday, July 7.

Filmmakers/Performers/Writers

new Mexico dance Coalition student scholarships Three scholarships awarded to New Mexico residents ages 8 to adults in the amount of $400; visit nmdancecoalition.org for guidelines and application forms; applications accepted through Friday, July 26; direct questions to Dyan Yoshikawa, nmdancecoalition@gmail.com. santa Fe independent Film Festival Submissions sought for the Oct.16-20 festival; deadline July 1; final deadline Aug. 1. Visit santafeindependentfilmfestival.com for rules and guidelines.

volunteers

girls inc. of santa Fe Artists needed to act as jurors during the 41st annual arts & crafts show Aug. 3-4, on the Plaza; also, various positions are available for help during the show; call 982-2042 or visit girlsincofsantafe.org for details and to sign up.

People for native ecosystems Pitch in with feeding the prairie dog colonies in Santa Fe two or three hours a week; call Pat Carlton, 988-1596.

▶ under 21 Outdoor video projections Interactive installations: Emmerich by Molly Bradbury; Vocabulary by Jason Goodyear, Mara Leader, and Tim Hackett, 9 p.m.-midnight Friday, June 14, Warehouse 21, 1614 Paseo de Peralta, no charge, 989-4423.

▶ Pasa Kids day Out With thomas: the go go thomas tour 2013 Ride the Cumbres & Toltec Scenic Railroad train with Thomas the Tank Engine, star of the Thomas & Friends TV series, and enjoy a day of Thomas-themed activities, Saturday and Sunday, June 15-16, Friday-Sunday, June 21-23, 500 S. Terrace Ave., Chama, call 888-286-2737 for ticket prices and details. dig into Reading Santa Fe Public Library 2013 Summer Reading Program, toddlers and children up to age 12, visit santafelibrary.org for registration and events schedule, through July 27. ◀

Leopold Bloom: Sensual Cuckold, Crucified Jew, Heroic Pacifist A Lecture in Celebration of Bloomsday Presented by James Heffernan

Sunday 16 June from 3-5pm New Mexico History Museum Auditorium

FREE (first-come, first-served) 113 Lincoln Avenue (use washington avenue entrance) Santa Fe, NM 505-476-5200 www.nmhistorymuseum.org

Bloomsday is a commemoration and celebration of the life of the Irish writer James Joyce during which the events of his novel Ulysses (which is set on 16 June 1904) are relived. It is observed annually on 16 June in Dublin and many cities around the world. Professor Heffernan will give an in-depth talk on Leopold Bloom, the hero of James Joyceâ&#x20AC;&#x2122;s celebrated novel Ulysses, to commemorate Bloomsday in Santa Fe. James Heffernan, Professor Emeritus from Dartmouth College, has written extensively on James Joyce, particularly his Ulysses. For the Teaching Company he has taped 24 lectures on Ulysses and another 24 on great authors from Wordsworth to Camus. His addiction to political news periodically drives him to blog for The Huffington Post where he advocated Stephen Colbert for Pope in January and again in February 2013.

www.lannan.org

FANTASE Saturday, June 15, 3 – 11pm DeVargas Park

FESTivAl SchEdulE 3:00 pm SkatePark Opens 3:00 – 3:30 pm cherry Tempo

3:00 – 5:00 pm Games on the Grass with the National dance institute 3:25 – 4:00 pm Rodeo Roll, Rodeo Parade Ribbon cutting with Mayor coss 4:30 – 4:40 pm 3 hc Santa Fe B-Boys

4:45 – 4:50 pm National dance institute

5:00 – 5:30 pm Recycled Fashion Show

by Santa Fe community college 5:30 – 8:30 pm SkateJam

6:00 – 6:20 pm Brittany O’Reilly Band 6:20 – 6:45 pm dancing Earth

7:30 – 8:15 pm Buddha Fitness Bootcamp 6:45 – 7:15 pm Grannia Griffith Story 7:00 – 8:00 pm lululemon Yoga

8:00 – 10:45 pm light Shows and video Projections by: • Jennifer Joseph • Chris Mclean • August Muth • Jon Vigil 7:30 – 8:00 pm Thieves & Gypsys 8:15 – 8:45 pm The Sticky 9:00 – 9:40 pm As in We

9:45 – 10:15 pm dJ dirt Girl

10:20 - 11:00 pm dJ holiday 11:00 pm Park closes PHOtO: MArCO LuKINI

SPONSORS Avalon Trust | Casas de Santa Fe | Christus St. Vincent | City of Santa Fe | Classic Party Rentals Albuquerque New Mexico Arts Commission | Santa Fe Arts Commission | Sotheby’s International Realty | Taos Cow | Wade Wilson Art

Door Prizes for the FantaSe Pass will be drawn at approximately 6pm, 7pm, 8pm and 9pm. To be eligible to win, entries must show a visit to at least three FantaSe Pass participating venues. You do not have to be present to win.

PARTNERS Art Santa Fe | ARTsmart | As In We | August Muth and The Light Foundry | Axle Contemporary | Bike Coalition of New Mexico | Brittany O’ Reilly Band | Buddha Fitness Club | Center for Contemporary Arts| TheCommunityProject | Cowboy Up Energy Drink | Cowgirl BBQ | Currents New Media Festival | Dancing Earth | David Grey and Marco Lukini Designs | Dirt Girl | Eldorado Hotel | Fat Tire Society | Flobug| Global Water Dances | Grannia Griffith Story | High Desert Angler | Hutton Broadcasting | Jennifer Joseph | Koder | Los Amigos del Parque | Lululemon | Chris Mclean | Mellow Velo | Meow Wolf | Mickey Paws | Museum of International Folk Art | National Dance Institute | NM Xtreme Sports Association | Outside Magazine | Parks and Open Spaces Advisory Commission | P. Joseph Barron Architecture and Lighting Design | PlanitMapper | Pocket Watch Press | Rail Runner Express | Rob and Charlie’s Bike Shop | Rodeo de Santa Fe | Santa Fe AudioVisual | Santa Fe Botanical Gardens | Santa Fe Chamber of Commerce | Santa Fe Climbing Center | Santa Fe Community College | Santa Fe Culinary Academy | Santa Fe Opera | Santa Fe Railyard Community Corporation | Santa Fe Sage Inn | Santa Fe Skate School | Santa Fe University of Art and Design | Santa Fe Workforce Connection | SITE Santa Fe | Sotheby’s International Realty, Inc. | Story of Place Institute | Suby Bowden + Associates | Surroundings| Szesh1 | Teddy No Name | The Bennett Firm | The Cherry Tempo | The Shrine of Our Lady of Guadalupe | The Sticky | Thieves & Gypsys | USASA Southwest Freeride Series | Van of Enchantment Mobile Museum, Department of Cultural Affairs | Jon Vigil | Warehouse 21 | Warehouse 508 | Youthworks | 3HC Santa Fe B-Boys

314 read Street, Santa Fe, NM 87501 | 505.989.9934 | www.creativesantafe.org