Issuu

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

June June 21, 21, 2013 2013

Amethyst a healing space NEW IMPROVED MENU!

NEW DATES!

Friday, June 21st & Saturday, June 22nd, 2013 11am - 9pm

at the Santa Fe Community Convention Center 201 W. Marcy Street All Tickets Sold at the Door

Enjoy Greek Food, Pastries, Music & Dancing! Beer and Wine, too! www.santafegreekfestival.com

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hosted by St. Elias the Prophet Greek Orthodox Church

THIS WEEK’S SPECIALS

Home Sweet

Re claimed wood and iron furniture. Large slab dining tables. Sectionals. Great beds. Coffee tables. Organic mattress. Nature art.

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PASATIEMPO I June 21 - 27, 2013

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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!

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.

Grand Opening Celebration Weekend

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.

b o t w i n

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PASATIEMPOMAGAZINE.COM

PAYNE’S NURSERIES

Payne’s South 715 St. Michael’s 988-9626 Payne’s North 304 Camino Alire 988-8011

Summer Hours Mon - Sat 8 to 6 Sun 10 to 4

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

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4-Pack Vegetables (NM Chile, Other Peppers, Tomatoes etc.)

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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 6/27/13.

The Cowboy Way Eastern New Mexico Ranch Heritage

Sunday, June 23, 1:30–4 pm

A Bell Ranch tent joins Cowboys Real and Imagined. Curator Meredith Davidson speaks on “Ranching History Heard” in the auditorium, followed by cowboy singer Steve Cormier. Reserve a seat by calling 476-5191. Free with admission (Sundays free to NM residents).

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

African American Cowboys Sunday, June 30, 2 pm

See the documentary, African American Cowboy: The Forgotten Man of the West, followed by a discussion with Kevin Woodson and Aaron Hopkins of Cowboys of Color, the world’s largest multicultural rodeo tour. Free with admission (Sundays free to NM residents). Support by the New Mexico Humanities Council

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

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

PASATIEMPO I June 21 - 27, 2013

nity

The Linen & Cotton Store

DONATE. GIVING TO GOODWILL MEANS KEEPING IT LOCAL.

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Larger Sizes Too Free Chocolate with Every Visit

MAKE AN ONLINE DONATION

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Now...More Than Ever 223 Galisteo between Water & Alameda • 505.983.6331 • Mon-Sat 10-6, Sun 11-5

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PASATIEMPOMAGAZINE.COM

THE SANTA FE NEW MEXICAN

June 21 - 27, 2013

www.pasatiempomagazine.com

On the cOver 38 Whirled series In grade school, Channing Huser felt magic in Andy Goldsworthy’s land-based art. Each winter, she gives life to that inspiration with a giant snow-shoveled spiral she creates in a high Big Tesuque meadow; she then takes pictures of the feature in March, as it’s melting. In a show that opens on Friday, June 21, with a 5 p.m. reception, the New Mexico History Museum exhibits Huser’s photographs from the first four years of a project she envisions stretching over a decade. On the cover is Water Over Mountain, an archival pigment print from 2013; courtesy the artist and the Palace of the Governors Photo Archives, HP.2013.24.

BOOKs

mOving images

16 in Other Words Redgraves & Richardsons 32 Willa cather Selected Letters 50 a tale of two towns Learning Las Vegas

54 55 56 57 58

mUsic 18 20 23 24

terrell’s tune-Up The Dinosaur Truckers Pasa tempos CD Reviews Onstage Flute Immersion summer on the Plaza The Bandstand

Much Ado About Nothing Blancanieves Mile ... Mile & a Half Man of Steel Pasa Pics

calendar 64 Pasa Week

and

histOry

13 mixed media 15 star codes 62 restaurant review: dr. Field goods Kitchen

28 acequia madre house Three wise women

art 42 John tarahteeff Curious tableaux 46 nick cave The birds and the beads

Clarification: In Pasatiempo’s June 14 issue (Mixed Media) we failed to credit Surroundings Studio LLC for the architectural rendering of DeVargas Park and skate plaza.

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 ■

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

■

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

■

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

■

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

■

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

■

staFF Writers michael abatemarco 986-3048, mabatemarco@sfnewmexican.com James m. Keller 986-3079, jkeller@sfnewmexican.com Bill Kohlhasse 986-3039 billk@sfnewmexicon.com Paul Weideman 986-3043, pweideman@sfnewmexican.com

■

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

■

PrOdUctiOn dan gomez Pre-Press Manager

The Santa Fe New Mexican

detail of Sailors on Leave, by John tarahteeff

■

Robin Martin Owner

www.pasatiempomagazine.com

■

Ginny Sohn Publisher

■

advertising directOr Tamara Hand 986-3007

■

marKeting directOr Monica Taylor 995-3824

■

art dePartment directOr Scott Fowler 995-3836

■

graPhic designers Rick Artiaga, Dale Deforest, Elspeth Hilbert

■

advertising sales mike Flores 995-3840 stephanie green 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

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GET CONNECTED

Saturday, June 22 @ 10AM Netflix, iTunes, AppleTV, Pandora: do you use these services? This seminar can help! All of these services are available to every household with an internet connection. Streaming media services are often free, easy, and work well once your electronics are set up properly. Learn what you need to do to bring you and your home in to the 21st century and start enjoying what streaming media has to offer.

OPEN TUESDAY—SATURDAY 9 AM—5 PM 215 N GUADALUPE 505.983.9988

· SANTA FE, NM 87501

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Yamaha Sale event

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To receive this offer, visit SplurgeTaos.com before midnight Wednesday, June 26, and purchase the Splurge certificate, which can be redeemed for the above offer. This advertisement is not a Splurge certificate.

PASATIEMPO I June 21 - 27, 2013

Tuesday - saturday 11am to 5:30pm www.pianowerkes.com

Santa Fe Institute Community Lecture

Why is Time a One-Way Street? Wednesday, June 26, 7:30 p.m. James A. Little Theater 1060 Cerrillos Rd. Santa Fe Lectures are free and open to the public. Seating is limited.

Anyone can see that the past is different from the future. Anyone, that is, but theoretical physicists, whose equations do not seem to distinguish the past from the future. How, then, do physicists understand the “arrow of time”– the fact that the past and future are so different? Leonard Susskind will discuss the paradox of time’s arrow and how physicists and cosmologists view it today.

www.santafe.edu Leonard Susskind is the Felix Bloch Professor of Theoretical Physics at Stanford University and Director of the Stanford Institute for Theoretical Physics. Support for SFI’s 2013 lecture series is provided by Los Alamos National Bank.

Herb and Lavender Fair June 22-23, 2013 • 10am-4pm

Take a horse-drawn wagon ride and enjoy a guided tour of the museum’s herb gardens! Make a lavender “wand” and drink lavender lemonade Buy herb & lavender products and wonderful arts & crafts from local farmers and artists! Visit with a “curandera,” or traditional herbalist/healer Enjoy live marimba music from Kumusha both days! Learn about the uses of lavender, aromatherapy, growing and distilling lavender and more All in the setting of a 200-acre Spanish colonial ranch and living history museum with 34 buildings, agricultural fields, costumed villagers and more. Fun for the whole family!

NOW THROUGH JUNE 30

Admission: Adults $8; Seniors & Teens $5; 12 & Under FREE. Call 505.471.2261 or visit golondrinas.org for more information.

ExTRaORdiNaRy OffERs ON ExTRaORdiNaRy WaTcHEs maTiJEWElERs.cOm

cORONadO • cOTTONWOOd • saNTa fE 883-8078 792-1000 467-6913

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

Support provided by Santa Fe Arts Commission and 1% Lodgers’Tax, New Mexico Humanities Council, New Mexico Arts and New Mexico Tourism Department

PASATIEMPOMAGAZINE.COM

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

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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

Straight Up, with J Q Whitcomb and Brian Wingard

JAZZ TRUMPET & SAXOPHONE

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

w w w. s k yc i t y.co m

888 SK Y CI T Y( 759 24 89 ) P.O. B OX 3 1 0 • ACOMA , NM 8703 4 Management reserves all rights Must be or become a Winner’s Circle Member

PASATIEMPO I June 21 - 27, 2013

SPRING I N T O SUMMER THE BIG REVEAL

June28,5pm

at 225

Join us for something new, fun, different, and exciting at Manitou Galleries on Canyon Road! We’re debuting new work by nearly every Manitou artist – nearly a dozen new sculptures and more than 45 paintings will all be unveiled at 5 p.m. on Friday, June 28 at 225 Canyon Road.

Canyon R o a d

MANITOUGALLERIES ManitouGalleries.com · Santa Fe, NM 87501 123 W. Palace Ave. · 505.986.0440 | 225 Canyon Rd. · 505.986.9833

PASATIEMPOMAGAZINE.COM

Cu rt Walters

WORLD C LASS WATCHES 216 McKenzie St.  Downtown Santa Fe

Open: Mon - Fri 10-5 PM, SAT 11- 4 PM Call: 505.992.0200

 NEW + RARE MEN’s and WOMEN’s WATCHES 

WE BUY FINE TIMEPIECES  AUTHORIZED DEALER BALL and HAMILTON  AUTHORIZED ROLEX SERVICE  REPAIR and RESTORATION  Exclusivley available. . . bhwydesigns luxurious gemstone jewelry. . . Photo: BALL Engineer Master II Skindiver Men’s Watch

Implant Dentistry of the Southwest If you are missing one or more teeth, why not be a part of a study or clinical research? Replace them and save money.

Dr. Burt Melton

2 Locations

Albuquerque 7520 Montgomery Blvd. Suite D-3 Mon - Thurs 505-883-7744

Santa Fe 141 Paseo de Peralta, Suite C Mon - Fri 505-983-2909

The City of Santa Fe Arts Commission Community Gallery presents:

t s i L h s i W y m m o r f s k Wor

¡Viva Flora!

Treasured Plants of New Mexico

June 22 to July 13 2013

An Exhibit in Partnership with Santa Fe Botanical Garden Opening Reception: Saturday, June 22 2–4pm

Nedra Matteucci Galleries 1075 Paseo de Peralta, Santa Fe, NM 87501 tel 505-982-4631 • www.matteucci.com

June 21

August 23

Opening Reception Friday, June 21, 2013 from 5-7pm 201 W. Marcy (at the intersection of Marcy and Sheridan) Gallery Hours: Tuesday - Friday, 10am to 5pm and Saturday 9:30am to 4pm 505.955.6705

Bringing Art to the Community and the Community to Art 12

PASATIEMPO I June 21 - 27, 2013

MIXED MEDIA

Seeing new patients in our Santa Fe office! Appointments scheduled through Los Alamos office: 662-4351

New Mexican file photo

Most insurance accepted! (not contracted with Tricare)

We love a parade: Santa Fe Pride As the debate over the right for all Americans to marry rages on in legislatures and voting booths around the country, New Mexico struggles with its own constitutional vagaries as interpreted by the attorney general. Every year, Pride celebrations get bigger and better, and Santa Fe’s is no exception. The Saturday, June 22, Santa Fe Pride Festival, organized by Human Rights Alliance Santa Fe, begins with the annual parade, which starts at 11 a.m. at the Roundhouse and wends its way around Paseo de Peralta to the Railyard Park. This year’s theme is “Pride 365,” and the parade has an honorary grand marshal: Damian Garcia, the transgender student from St. Pius X High School in Albuquerque who skipped his graduation in protest of the school’s decision to forbid him to wear the black gown worn by male students at the ceremony. Beginning at noon at the park, there will be vendors and performers, including a show by Bella Gigante — the newly crowned Miss Santa Fe Pride 2013 — as well as performances by Guava Soleil, Jewel Box Cabaret, DC Gents, and a group from the Southwest Care Center. There will also be a youth talent show and excerpts from the play Little Shop of Horrors, which is presented in full this weekend at Warehouse 21 (1614 Paseo de Peralta, 984-4423). The party rages on until 4 p.m. — Jennifer Levin

& Dance

Summer Camp Music Theater

July 1-13 2013

For Boys & Girls - Ages 8-17 At the Santa Fe University of Art & Design Greer Garson Theatre Center

Limited Space- Register Today! Call 505-946-0488 or visit www.c-a-m-p.net PASATIEMPOMAGAZINE.COM

J(w!#' S"%r-"(,,(r SCHOLAR-IN-RESIDENCE SERIES

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Shabbat, June 29, at Kol BeRamah Morning Services, 8:30am, followed by Presentation & Shabbat Lunch approximately 11am Free

Peninnah Schram

is an internationally known storyteller, teacher, author and recording artist. She is Professor of Speech and Drama at Stern College of Yeshiva University in New York City, and is the author of 12 books of Jewish folktales and a CD. She was awarded the National Storytellers Network 2003 Lifetime Achievement Award “for sustained and exemplary contributions to storytelling in America.”

W!" & W!#$%&, W!"' A D("%)r *r%)+' H(,&

at Collected Works in Santa Fe Sunday, June 30, 2pm Free Everyone is welcome! Limited seating. Register at KolBeRamah.org or 216-6136. 551 W Cordova Rd, Suite F Santa Fe, New Mexico KolBeRamah.org 505.216.6136

JEWISH FEDERATION OF NEW MEXICO

New Mexico’s Center for Jewish Philanthropy

S at u r d ay

June 22

9:30–11:30 AM

Opera Makes Sense at the O’Keeffe This creative experience for children ages three to five focuses on learning and communicating through the five senses. t u e S d ay

Look at the

S!"r#$% Of S&'bb'!

Shabbat Dinner & Dessert Lecture Friday, June 28 at Kol BeRamah Kabbalat Shabbat Services, 7pm Suggested Donation: $18

June 25

10–11:30 AM

Readers’ Club This book accompanies the touring exhibition of works of O’Keeffe that were inspired by the cultural objects and distinctive architecture of northern New Mexico. S at u r d ay

June 29

9:30–11:30 AM

Creating an Adobe Village Families can create an adobe village using clay and found objects. m o n d ay

J u ly 1

8:30–9:45 AM

Breakfast With O’Keeffe Jake Barrow will present an overview of earthen architectural history, preservation work, and support for current initiatives. Fo r loc ations and mor e inFor mation: 505.9 4 6 .1 0 3 9 or online at okeeFFemuseum.or g

• 2 1 7 J O H N S O N S t. , S aN ta f e 8 7 5 0 1 5 0 5 . 9 4 6 . 1 0 0 0 • O K e e f f e M U S e U M . O RG

59 Artists, 37 Studios, Three Days Friday, June 28, 5:30-7:30 PM Saturday, June 29, 10AM-6PM Sunday, June 30, Noon-5PM For a map and list of artists visit

www.santafestudiotour.com

PASATIEMPO I June 21 - 27, 2013

STAR CODES

Heather Roan Robbins

Summer is the time to slow down, enjoy the view, and deepen our roots as the sun — and soon Jupiter — joins Mercury and Venus in the domestic water sign of Cancer. We take things at a measured pace as communicative Mercury retrogrades on Wednesday for the next three weeks. Mercury also hits the repeat button and spirals us back to hear the stories of relatives one more time and face familiar problems. This Cancerian line-up increases our need for security, privacy, and a personal nest. Mars, now in talkative Gemini, encourages us to speak up and demand freedom of information and transparency. Watch this paradox play out in relationships as well as in national politics. Over the weekend some event forces us to think about core issues — why we’re here and what we need to do before we leave — as the full moon in serious Capricorn conjuncts profound Pluto. Pay attention to important decisions made now; we stand at a crossroads. That Capricorn competence can also help us tie up loose ends before Mercury retrogrades. Tend to paperwork, unpaid bills, and reservations. By Wednesday, all things Mercurial — like connections, computers, and conversations — can develop a molasseslike quality. Make life an exercise in patience. Measure twice before cutting, confirm information, and renew, revisit, remember, and review over the next few weeks.

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Friday, June 21: The Sagittarius moon brings a lightheartedness with touchy edges. Midday breeds confusion or sleepiness as the moon squares Neptune. After taking a siesta, check what needs action before Mercury retrogrades. Tonight we’re most adventurous around familiar circumstances.

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Saturday, June 22: There is a paradoxical enthusiasm and a tired streak this morning; it’s a wonderful day to wander in nature or explore global cultures, but personal responsibilities may delay us. If some serious truth needs telling, do so directly and with an engaged heart. The afternoon is odd, funny, curious, and honest followed by a sweet if disjointed evening. Sunday, June 23: The full moon in Capricorn at 5:32 a.m. challenges us to ask important questions about life, death, the effects of the past, and the meaning of power. Tend to real issues, but be careful not to project an existential heaviness onto minor personal concerns. Monday, June 24: It’s an industrious day if we overcome a seductive inertia and avoid distractions. Don’t enable bad behavior or give into a listless feeling. Listen with an open heart. A little true attention goes a long way. Tuesday, June 25: Track responsibilities to the team and community as the Aquarius moon squares Saturn. Find the group dynamics funny and don’t get grim unless the situation truly calls for it. Tonight has a slapstick edge and offers a chance to get a fresh perspective.

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Wednesday, June 26: Sort through interesting mixed messages as the sun trines Saturn and Neptune, encouraging competence. Imagination and ability work together, meditation sings, but ordinary communication is complicated. Thursday, June 27: Communication levels drop while sensitivities and emotional melodrama increase. Stay grounded; make the most of the world’s beauty, and roll with the waves as the moon enters perceptive Pisces just as Venus enters abundantly expressive Leo. Play with the story line but don’t feed the drama. ◀

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In Other wOrds

book reviews

The House of Redgrave: The Lives of a Theatrical Dynasty by Tim Adler, Aurum Press, 336 pages

AP photo

“We’re a family of working actors. It’s like coming from a family of carpenters or plumbers.” — Natasha Richardson on the idea of a Redgrave dynasty Tim Adler’s The House of Redgrave is a tasty romp through British theater and cinema over the past 70-odd years, with plenty of detours through beds and marriages and personal dramas. What it is not, in the sense you might expect, is a tale of the House of Redgrave. If there were truth in advertising at work here, this book might better be called Tony Richardson and a Supporting Cast of Redgraves. If they were a pop group, they would be Tony and the Redgraves. As you may be gathering, this is a book overwhelmingly about Tony Richardson. And that’s not a bad thing. Richardson was one of the most influential and important figures of the second half of the 20th century in British stage and screen. He revolutionized British theater in 1956 with his powder-keg Royal Court production of John Osborne’s Look Back in Anger, which forced kitchen-sink realism up the noses of an establishment fed on drawing-room politesse. In 1959 he startled audiences with the movie version, starring Richard Burton. He and his production company, Woodfall, went on to remake the landscape of British cinema with great movies like The Entertainer (1960), which provided Laurence Olivier with the role for which he said he would like to be remembered. Richardson followed in short succession with the critically acclaimed A Taste of Honey (1961) and The Loneliness of the Long Distance Runner (1962). The following year he turned away from gritty North Country realism to make the period romp Tom Jones, which won four Oscars, including Best Director and Best Picture, and racked up a raft of other awards and nominations. Retrospect shows that to have been Richardson’ high-water mark; intermittent partial successes layered with failures played out over his remaining 30 years. In the midst of his professional explosion, he married Vanessa Redgrave in 1962. News of the marriage caught the theater world by surprise. “The idea that Tony the homosexual had now become miraculously heterosexual must have arched an eyebrow or two among those who knew him,” Adler observes. But the British theater scene was not unused to liberal sexual sampling from both sides of the bed. Vanessa’s famous father, Sir Michael Redgrave, numbered as many men as women among his lovers, and he was not alone in that ratio. When his long-suffering wife, Rachel Kempson, finally took a lover, Sir Michael had an affair with him too. The book opens with this theatrical anecdote of Vanessa’s birth: “More than seventy years ago, Vanessa Redgrave with her mother, Rachel Kempson, 1968 after a Saturday night performance of Hamlet at the Old Vic, Laurence Olivier stepped out on stage from behind the curtain to announce, ‘Ladies and gentleman, tonight a great actress has been born: Laertes has a daughter.’” Michael Redgrave (Laertes) wept as he accepted the congratulations of audience and company, and then, as Kempson and newborn daughter Vanessa lay recovering in the hospital, he went off to spend the night with a mistress, actress Edith Evans. Infidelity was something the Redgraves suckled at the breast, handed down from generation to generation along with the acting gene. Michael’s father, Roy, was a serial bigamist, Adler reports. But already, on the second page of this very readable family chronicle, Adler begins to show some of the carelessness that marks his sometimes giddy charge through the material. Roy had left his first wife “to be with Michael’s mother, Daisy Redgrave, by Vanessa Redgrave and her brother, Corin Redgrave, at an anti-Vietnam War rally in Trafalgar Square, 1968

PASATIEMPO I June 21-27, 2013

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SubtextS Sign language: The Renga Project Poets can be solitary creatures, but renga, a form of traditional Japanese poetry on which the haiku is based, demands collaboration. A new yearlong renga exhibit from Axle Contemporary opens at 6 p.m. on Friday, June 21. “Two years ago we found a road sign in Pojoaque and did a sign haiku project. From there we got interested in renga,” said Jerry Wellman, Axle co-founder. Fifty-two poets, led by Jon Davis, Santa Fe’s poet laureate, will construct four poems, each beginning on the seasonal solstice, on a sign installed between SITE Santa Fe and Warehouse 21. A new stanza will be added to the sign each week. Six stanzas will be displayed at one time and the oldest ones will be removed when the new ones are placed, creating a scrolling effect. Poets will respond to the stanza that precedes theirs but will not have access to the entire poem. “I like the idea of linked poetry, of people working off of each other,” said Davis, who added that he sometimes implements a similar technique when working with writing students. The series kicks off with Dana Levin, a poet and creative writing instructor at the Santa Fe University of Art and Design, reading her contribution. “Right away, Dana broke all the rules” concerning how renga should be composed, Davis said. “A famous renga master once said, Start writing renga now. In 20 years, you’ll know if you’re any good. But this is American renga; it starts off with a maverick verse.” Project participants — all New Mexicans or those with deep ties to the state — include Joan Logghe, former Santa Fe poet laureate, and Albuquerque poet laureate Hakim Bellamy. Upon the project’s culmination next summer, the poem will be published as a book, with each stanza accompanied by line drawings done by a range of artists, from a comic book artist to a santero. Call 670-7612. — Adele Oliveira

1903,” Adler says. Then, barely pausing for breath, he announces that “Roy and Daisy met in the summer of 1907.” Rhetorical missteps and logical inconsistencies are scattered throughout like corn in a chicken coop. “Sometimes [Richardson] never felt an artist had any difficulty in trying to preach political doctrine,” Adler writes; and “George Devine [Richardson’s producing partner] was pressurising him” to return to the theater. The flubs range from the typographical and grammatically inconsequential (“Michael weeped”) to more seriously troubling contradictions in substance. “Editing,” says the director Karel Reisz, “was something that [Richardson] mainly subcontracted to editors”; but within the same paragraph Adler observes, “Tony preferred the spontaneous — after all, he could control the film in the cutting room.” Similarly, there’s confusion over the quality of his direction of Tallulah Bankhead in a 1963 Broadway staging of Tennessee Williams’ The Milk Train Doesn’t Stop Here Anymore. Adler quotes one company member as saying, “He would suggest brilliant notes to her,” but Bankhead ignored them. Moments later another company member remarks that Bankhead was “begging for direction and not getting it.” Which was it? Adler doesn’t seem to care. And toward the end of the book, he describes daughter Natasha discovering the manuscript of Richardson’s autobiography in a cupboard while “sorting out Tony’s things at King’s Road after his death” in 1991. But a sentence later he has Richardson’s typist presenting the manuscript to Natasha and her sister on the day of his death. The Redgraves weave in and out of this book mostly to the degree that they interact with Richardson. Tony and Vanessa produced daughters Natasha and Joely before splitting up but remaining close friends and colleagues. Adler takes us through the scorching idealism of Vanessa and her brother, Corin (also a brilliant actor), whose radical politics periodically derailed their careers and love lives. Their sister Lynn steered clear of the siren song of political causes and managed a relatively normal life and stable marriage, until she discovered that her husband of 32 years had a child with her personal assistant. Nobody’s perfect. Whether or not the Redgraves qualify as a dynasty, as Adler insists and the family pooh-poohs, they have certainly suffered the dynastic curse of tragedy. “When sorrows come,” says Claudius in Hamlet, “they come not single spies/But in battalions.” Michael Redgrave wasted away from Parkinson’s disease. Tony Richardson died of AIDS. Lynn and Corin Redgrave died within a month of each other in 2010, he of a weak heart, she of cancer. It had been just a year since the most stunning and tragic death of all: in the freakiest of accidents, Natasha Richardson, learning to ski on a bunny slope, took a minor tumble and died a few hours later of a cerebral hemorrhage. Adler’s book is entertaining without being polished or especially well written. Its many self-contradictions make one suspect of some of its more sensational revelations. It is unauthorized by the family, although Adler claims that Natasha was enthusiastic about him writing a biography of her father. After her death, the family closed ranks and did not cooperate with the author. But for all its flaws, The House of Redgrave reminds us of the extraordinary contributions of that star-crossed acting family and of the game-changing brilliance of its favorite son-in-law, husband, and father, Tony Richardson. — Jonathan Richards

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TERRELL’S TUNE-UP Steve Terrell

Musical notes from underground country One of the most satisfying records in the “underground country” vein so far this year isn’t even from this country. I’m talking about the self-titled album by The Dinosaur Truckers, a (mostly) acoustic quartet from Germany. A Teutonic melding of Dinosaur Jr. and The Drive-by Truckers? Nope. These guys don’t sound much like either of those bands. They’re closer to the newer breed of country rock represented by groups like The Goddamn Gallows, Honky Tonk Hustlas, and The Calamity Cubes. Starting out just a few years ago as Pistol Pete & The Dinosaur Truckers (I don’t know what happened to Pistol Pete), this group is a banjo-and-stand-up-bass-centered band with strong affinity for bluegrass, although — simmer down, purists — it isn’t a bluegrass band. For one thing, these Truckers frequently feature electric guitar (heavy on the tremolo) and a lap steel for that lonesome sound heard on Hank Williams records. The Truckers are fond of minor-key songs that start out slow before exploding into banjo fury or mandolin mayhem. These guys can play, and they like to play it fast when the spirit says “fast.” If you’re expecting songs with lyrics about sweet country sunshine, forget it. There’s a certain apocalyptic mood that runs through The Dinosaur Truckers, fortified by song titles such as “Burn the Place to the Ground” (a good-time stomp, and musically it is the closest thing to real bluegrass on the album); “Wolves in the Street” (with an ominous chorus that goes, “I had a crazy dream of a long black limousine that was broken down and covered all in rust/There were wolves in the street

PASATIEMPO I June 21-27, 2013

There’s a certain apocalyptic mood that runs through ‘The Dinosaur Truckers.’

and vultures in the trees/And a plastic casket that turned to dust”); and the opening track, “Black Ship.” That one starts out with a burst of electric-guitar feedback, and then comes a primitive, heavy-foot brontosaurus waltz with a slow, ominous “la la la” chorus before breaking into galloping bluegrass mode. You might think that the moody “Box of Memories” is a long-lost Townes Van Zandt song. It’s one of the slower songs here with a slide guitar that sounds downright ghostly. “Shadow Fallin’ Down My Face” might remind you of something by Calexico thanks to the mariachi trumpets that seem to come out of nowhere. The Truckers’ prettiest moment has to be the exquisite “Leave Everything Behind,” a song about a guy trying to escape his ghosts. The chorus has a sly reference to an old Merle Haggard song: “And when I wake with change on my mind/And that old radio plays ‘The Running Kind’/And the weather and the wind whispers too me once again/It’s about time to leave everything behind.” I hope that music this soulful never becomes extinct, no matter where it come from. Visit http://dinosaurtruckers.de. Also recommended: ▼ Old World’s Ocean by The Calamity Cubes! I’ve had this album in my possession for more than a year. I bought a self-burned disc from the band at a performance at the Moose Lodge in Austin during the 2012 South by Southwest weekend (a show that the website Saving Country Music rated one of the top live performances of last year). Earlier this year, Farmageddon Records finally released the album. The Cubes are an acoustic trio from Wichita, Kansas — banjo, guitar, and stand-up bass. They draw from bluegrass, folk, gospel, country, and rock. And two of the three members — banjoist Joey Henry and guitarist Brooke Blanche — are strong songwriters. On Old World’s Ocean all of the songs are good, but two of them — “Empty Bottle” and “Same God” — are outstanding. Both are slow, sad ballads written and sung by the gravel-voiced Blanche, a man-mountain of a dude who looks like a

meaner version of the old wrestler Hillbilly Jim, but, judging by his lyrics, has a soul as deep and ancient as Leonard Cohen’s. “Empty Bottle” is the kind of tune the late George Jones could have nailed. “I’d rather have an empty bottle than no bottle at all/To remind me of the good times before last call/ To remind me of the taste before the fall.” By the next verse Blanche is singing about a possibly troubled relationship with “this rowdy woman” whom he vows to keep because “this life is a struggle, and I need someone to hold.” A listener is left wondering whether this love affair has become as empty as the bottle the singer also vows to hang on to. “Same God” sounds like an existential crisis unfolding before your very ears. What can you say about a song that begins with the lines, “You and I we’re like cattle in the slaughter house/By the time we realize where we are it’s too late to get out/And all the kicking and biting and scratching won’t do it/And all the endless hoping and praying won’t do it.” The most jarring part of the song is the bridge, in which Blanche borrows from the Elephant Man, moaning, “And I’m not an animal /And I’m not a criminal/You said you’d save my soul/ But it feels terrible.” With the refrain, “It’s the same God that never was,” the song could be an atheist confessional. But it sounds deeper than someone trying to make a theological point. The whole song aches with betrayal and pain, as if the singer is losing his religion as you watch him go down. These two songs are the best I’ve heard come out of the new country underground. I want to hear more. Check out http://tinyurl.com/ CubesFarmageddon. Copper Gamins rock The Opry: This week during the first hour of The Santa Fe Opry, The Copper Gamins, my favorite blues-punk duo from the mountains of Mexico, will play live before they have to run off to their gig at The Underground at Evangelo’s (200 W. San Francisco St.; call 577-5893 for cover ). No, they’re not country (once again, simmer down, purists), but they’re a lot of fun. The radio show starts at 10 p.m. Friday, June 21, on KSFR-FM 101.1 and streams live at www.ksfr.org. ◀

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PASA TEMPOS

album reviews

aUStra Olympia Mozart Requiem Realisations (KGS) If you (Domino) Near the end are a Mozart Requiem groupie of Olympia, the second record by — and there are many — this new interToronto-based synth-pop group Austra, pretation, with Stephen Cleobury conducting is a song titled “You Changed My Life.” the Choir of King’s College, Cambridge, The track is short and the lyrics are simple: and the Academy of Ancient Music, is not “You changed my life for the best,” Katie likely to supplant your favorite recorded Stelmanis croaks over a stark piano, version, which probably is conducted by drawing her vowels out in agony. “The John Eliot Gardiner (superb) or perhaps William Christie sun is cold and dark as night, but I remember what you said,” (emotive), Nikolaus Harnoncourt (questing), or Neville Marriner she continues — the only other words she sings — before the (elegant). Cleobury’s reading is quite fine, to be sure, though the song spirals down the drain into a churning, industrial beat. You choral timbre of boy trebles may not be one’s ideal for this piece, get the sense that it’s not a good thing that her life was changed for and soprano soloist Elin Manahan Thomas’ tonal approximation of the best. Sure enough, Olympia is a breakup album of the sort that a boy soprano is ultimately not satisfying. Mozart left expanses of this only Austra could pull off, as Stelmanis has the kind of voice that can piece unfinished at his death, in 1791, and, in the ensuing 222 years, turn the sun cold, and the group’s brand of synth-pop is one that is as many scholars and composers have proposed different solutions about sharp and unfriendly as icicles cracking along the eaves of a rooftop. Some how to fill in the blanks. Cleobury here uses the standard completion by joy breaks out here and there, particularly in the bounce of “Forgive Me,” Franz Xaver Süssmayr, a not terribly talented Mozart pupil who was “Painful Like,” and “Home” — provided you don’t listen closely to present as his teacher struggled to write this final composition. the lyrics, which tend to be glum “woman done wrong” sentiWhat sets this release apart is that Cleobury appends five ments that don’t include much fight. Olympia runs the risk sections of the work in completions put forward by other of sounding samey as the album progresses and requires figures — Richard Maunder, Franz Beyer, Duncan Druce, several listens for the highlights to appear. This patience is ‘Olympia’ is a Robert Levin, and Michael Finnissy. The last of these, a rewarded, but I’m more interested in hearing what Austra noted modern composer, imagines what the Lacrimosa produces when heartbreak isn’t its muse. — Robert Ker breakup album of the sort might have sounded like if Mozart had lived into the age of Rossinian bel canto. A second CD, an excellent JohN hollENbEcK Songs I Like a Lot (Sunnyside) that only Austra could pull off, hour-plus lecture on the work’s history, with musical You will think the intro to “Man of Constant Sorrow,” illustrations, provides added value. — James M. Keller with its plodding low-reed notes and chaotic percussion, as Katie Stelmanis has the is either horrible or wonderful. The latter audience is DaVID WEISS & PoINt oF DEPartUrE Venture again rewarded in John Hollenbeck’s arrangement of kind of voice that can Inward (Positone) Despite all the revival that goes on, the Freddie Mercury song “Bicycle Race,” complete with turn the sun cold. one of jazz’s most promising genres has mostly gone overbicycle-spoke percussion and wildly repetitive lyrics sung looked. The music composed by Miles Davis’ sidemen who by Kate McGarry. Then the song expands into remarkable were part of the trumpeter’s second great quintet running territories, complete with some terrific Queen-like harmonies. from roughly 1965 through 1968, a period that preceded Davis’ Hollenbeck is percussionist and conductor on this set featuring the Frankfurt Radio Big Band. The opener is Jimmy Webb’s “Wichita electric experimentation, was too abstract and impersonal for some Lineman,” here with humming reeds (reminiscent of early Brian Eno) audiences at the time. Venture Inward shows times have caught up. Its and Martin Scales’ guitarwork preceding lovely vocals by McGarry and version of Tony Williams’ “Black Comedy,” heard on Davis’ Miles in the Sky Theo Bleckmann. Another Hollenbeck fave, “Canvas” by Imogen Heap, recording, is true to the original but something else again. Drummer Jamire features gorgeously double-tracked McGarry and big-band trombonist Williams delivers dense rhythm, as did the piece’s composer in 1968. But its Christian Jaksjø. The Webb tune “The Moon’s a Harsh Mistress” in drive here is more complicated, less insistently forward, and more varied. Hollenbeck’s poetic hands varies from a balladic beginning to a warmly Herbie Hancock’s stately “I Have A Dream,” heard on the keyboardchaotic ending; the standout players here are the album’s pianist, Gary ist’s The Prisoner, is deliberate and not as grandiose as the original. Versace, and tenor saxophonist Julian Argüelles from the German Trumpeter Weiss punches up his attack, and saxophonist J.D. Allen gives an appropriate Wayne Shorter-inspired reading to the piece band. “All My Life” by Ornette Coleman is another multifaceted ( Joe Henderson was the saxophonist on the original). Pieces tour-de-force courtesy of McGarry, Versace, and several of the in the same spirit from pianist Andrew Hill big band’s horn players. Another bright and Detroit trumpet legend Charles Moore spot happens in the spooky cover of come with a bit of modern luster. Some of “FallsLake,” a song from indie-electronic that sheen is from guitarist Nir Felder, who artist Nobukazu Takemura’s 2003 album accompanies with predictable flow and warm 10th and featuring Oliver Leicht on clarinet harmonics while soloing with little pause. and vocalists sounding all robotic and In the end it all sounds new and not synthy. Altogether, this is wonderfully that abstract. Call it timeless. rich, creative modern music. — Bill Kohlhaase — Paul Weideman

PASATIEMPO I June 21-27, 2013

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N-28 2:30PM-5:00PM - 6 Vista de la Vida - Luxury 4549 sqft home ideal for guests and entertaining includes 3 BR/4 BA, office, family/media room, fitness center & workshop. Wide plank Nortic pine & travertine stone floors, vigas, 4 fireplaces. $1,150,000. MLS 201301256. (Camino La Tierra, right on Fin del Sendero. Right on Lluvia de Oro, right on Bella Loma. Right on Vista de Esperanza, left on Vista de La Vida. House is on the left.) Matt Desmond 505-670-1289 Santa Fe Properties.

D OL

1:30PM-4:30PM - 3 Campo Rancheros - Stunning 5536 sq ft Western Mountain-style home in the Estancias, built by Roger Hunter with Spectacular Jemez and Sangre de Cristo mountain views. Pitched roof, stone/ wood finishes, entry rotunda. $1,495,000. MLS 201300813. (599 - rt @ Camino La Tierra, 2 miles rt @ first Y, rt @ second Y after Parkside Drive (do NOT go under the Bridge). Stay on Camino La Tierra, past Trailhead, rt @ Campo Rancheros.) Tim Galvin 505-795-5990 Sotheby’s International Realty.

Mimosa

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Cam Acote

CIELO COLORADO

O-15

P-19

Q-29

1:00PM-4:00PM - 19 Camino De Colores/Las M e l o d i a s - Style and value are now available in Las Campanas. Each of the 22 developed lots are sited to maximize panoramic views. Each home is quality constructed; choose from 5 floor plans. $434,000. MLS 201201818. (From 599, exit off on Camino La Tierra (Las Campanas), follow signage to Las Melodias, make a right at Paseo Aragon (at gate contact Realtor), make a right onto Camino de Colores. Model home on left.) Gary Bobolsky 505-470-0927 Sotheby’s International Realty.

1:00PM-4:00PM - 14 Rising Moon, Las Campanas Magnificent Sangre de Cristo views! Beautiful, well constructed "adobe" home! 3BR/4BA/3767’ with multiple patios/portals. Versatile floor plan with a few interior steps. 2.42 AC www.14risingmoon.com $975,000. MLS 201301196. (Las Campanas Drive, left on Koshari, 2nd left on Rising Moon, #14 on left.) Tom Shaw, Host 512-7555270 Bell Tower Properties, LLC.

12:00PM-5:00PM - 709 Luna Vista - Open Fri-Mon. Stop by and we’ll show you the details of our quality construction at Piñon Ridge. Address is model home not for sale. Poplar floor plan available. 254,900 $254,900. (Take 599 Bypass, exit onto Ridge Top Road and head north. Turn right on Avenida Rincon, follow around to Camino Francisca, turn right on Luna Vista. Follow signs to open house.) Carmen Flores 505-699-4252 Homewise, Inc.

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PASATIEMPO I June 21 - 27, 2013

ON STAGE The day-after fest: Make Music Mañana

Make Music, an internationally celebrated day of concerts tied to the summer solstice, started in France in the 1980s and now includes events in some 400 cities. Leave it to Santa Fe to schedule it a day late, on Saturday, June 22. Make Music Mañana kicks off at 4 p.m. in the Railyard and includes a variety of local performers. The day begins with Gypsy accordion and violin duo Dadou & Hilary — followed by New Orleans-style brass band The Mil-tones, pianist Bert Dalton’s tribute project Time Out for Brubeck, and post-rock groove band As In We — and closes with the hip-hop reggae sounds of The Boomroots Collective. It’s not the longest day of the year, but it’s the next best thing. Make Music Mañana is a free event; for more information, visit www.santafemusicalliance.org. — BK

Flutes through the ages: Santa Fe Flute Immersion

Numerous flutists have gathered in Santa Fe this week for a workshop called Santa Fe Flute Immersion, organized by Linda Marianiello. Much of the time will have been given over to master classes for the enrollees, who are polishing their skills in not only classical flute-playing but also matters relating to historical flutes and piccolo. The public is invited to attend the concluding concert, at which all the participants present the solo music on which they have been focusing during the course of the week. The program won’t be set far in advance, but given the emphases of the conference, attendees can expect a hearty serving of French flute repertoire from the Baroque through the 20th century, some pieces with piccolo, and perhaps some cross-genre improvisation. Bill Epstein assists as pianist. There is no charge for the concert, which takes place at 5:30 p.m. on Sunday, June 23, in the Immaculate Heart of Mary Chapel (50 Mount Carmel Road). Call 474-4513. — JMK

THIS WEEK

y y p a p d a h rth h i o t b t ou y

All grown up: Warehouse 21

Warehouse 21 is now well into its rowdy teenage years. To celebrate the youth center’s 17th birthday, a host of new and old faces are paying musical tribute to the organization on Wednesday, June 26. According to executive director Ana Gallegos y Reinhardt, the concert features some “favorite W21 musicians who have given back to the nonprofit organization through the years.” Included on the list are Ryan Miera from Chicago band the Limbos, DJ Dirt Girl aka Emily Montoya, Alamo Sun’s Crockett Bodelson, and I Heart Metal’s Alex De Vore. The blend of music, from experimental rock to metal to indie pop, reflects the wide range of programming and support W21 has provided over the years. The music begins at 6:30 p.m., but show up early for the cake. Warehouse 21 is at 1614 Paseo de Peralta; call 989-4423. Entrance is by donation. — LB

Non-standard time: Straight Up and more

Trumpeter and Santa Fe native J.Q. Whitcomb isn’t easily pegged. Since returning from a long stint in Shanghai in 2010, he’s been known to embrace jazz in a moody sort of way, tempering his sound with funk, roots, and reggae influences. Saxophonist Brian Wingard, a New Mexico transplant who’s earned accolades from trumpeter Bobby Shew, among others, has assimilated a number of classic jazz styles while forming his own sound. When the two join versatile drummer John Trentacosta’s trio Straight Up with Chris Ishee on piano and Colin Deuble on bass, as part of St. John’s College’s Music on the Hill series, it’s certain that jazz standards will receive the not-so-standard treatment. The free concert is at 6 p.m. Wednesday, June 26, on the college’s athletic field (1160 Camino de Cruz Blanca); call 984-6000 or see www.stjohnscollege. edu/events/SF/music.shtml. — BK PASATIEMPOMAGAZINE.COM

Tiho Dimit

FREE

B Fat Booty and

rov

FREE

Big Yo Mama’s Nacha Me ndez

Shannon McNally

Matthew Andrae

Ber t Dalton’s Brazil Project

La Familia Vigil

Piper Ferguson

FREE

Anne Staveley

S U M M E R 2 013

John Courage & The Great Plains

The Dunwells

Duke City Pix

S A N TA F E B A N D S TA N D

Wallace Lester

gh Kerry Galla

PL AZA ON THE

FREE

Samantha Waidler

ON THE PL AZA

The Canyon Road Blues Band

FREE

AND

AY A U G U S T 2 3 F R I D AY, J U N E 2 1 - F R I D

FREE

Daigle Ba

FREE

The Gregg

FREE

speranza Jennifer E

vez Adele Cha

DST FE BAN S A N TA

R 2 013 SUMME

FREE

Terri Hendrix

Anthony Leon & The Chain

Wagogo

Felix y los Gatos

The Pleasure Pilots Band

Sorela

FREE

FR FREE FREE

Loren Bienvenu I For The New Mexican

Larry Mitchell

BACKSTAGE

at the

BANDSTAND Michael Dellheim

F R I D AY, J U N E 2 1 - F R I D AY, A U G U S T 2 3

Cloacas

Bill Hearne

John Mazlish

Busy & the Krazy 88!

Lipbone Redding

ichael Dellheim, executive director of Outside In, does not want the Santa Fe Bandstand summer music series to become a victim of its own success. “We are not trying to bring in Mumford & Sons to the Plaza,” he told Pasatiempo, referring to the hugely popular neo-folk band that recently appeared in Taos. Dellheim said he’s concerned “that if we get too big we might be asked to move to a more appropriate venue. So at all costs we are trying to protect our location.” The series does grow in scope every year but in a lateral fashion. “Last year we did an audience survey to find out what people liked and didn’t like,” Dellheim explained. “The number one answer we got back from people was: make it longer. We were able to go from seven weeks to nine for the first time in our history. We were also able to include weekend nights for the first time ever.” This is just one of several changes in the series, which has an 11-year history in Santa Fe. It all began when the city approached Outside In founder David Lescht with the idea of bringing a music series to the Plaza. Along with his nonprofit organization, Lescht, who died in May of last year, had a wealth of experience producing thousands of free shows for underprivileged communities in New Mexico, at places including the Kingston Residence retirement community and the New Mexico Women’s Correctional Facility. Outside In, now under the direction of Dellheim, continues with that mission while still spending summer months focused on the Santa Fe Bandstand. The current executive director is quick to point out that although the organization has run the Bandstand for over a decade, it does not have a monopoly on the series. “The city puts out an RFP [request for proposal] every three years. It is an open bidding process, so if someone else wanted to produce Santa Fe Bandstand or a summer music series like that ... it’s open. Someone else could do it.” continued on Page 26

PASATIEMPOMAGAZINE.COM

Santa Fe Bandstand, continued from Page 25

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PASATIEMPO I June 21-27, 2013

The city maintains an active involvement throughout many other stages of the process, from parking and permitting to traffic control and “resolving any kind of conflict that might come up,” as Dellheim put it. He was particularly gratified when the city agreed to extend this year’s programming to weekend nights, because generally the Bandstand is rented out on summer weekends for other occasions. “The city wasn’t particularly thrilled to lose the revenue, but I made the case to them that a lot of working families are not able to attend on school nights. By at least offering some Fridays and Saturdays, it gives the chance for more community support.” The series also aims to be more inclusive this year through broadening the variety of musical offerings. Just as Dellheim is wary of bringing in national marquee performers to the intimate Plaza venue, he recognizes the importance of keeping the reins on a series that in the past has threatened to “become an Americana fest.” Acknowledging that Americana remains a key genre in Bandstand programming, he said that this year’s focus includes seven additional categories. On the list are indie, country/swing, jazz, Latin/salsa, New Mexico classics, blues/R & B/rock, and world. These categories were pinpointed to increase the range of this summer’s season as well as to help streamline the application process. While a total of 340 musicians and bands applied to perform this year, only 80 slots were available, and for the first time, “everyone who wanted to play had to fill out the same application,” Dellheim said. The online application process included a basic questionnaire and the submission of musical samples. However, also for the first time, the selection committee “stopped accepting CDs ... the thought being that a band’s CD might tell you how good their producer is but may not tell you how good the band is,” Dellheim said. For a live music festival, “we wanted to get a better idea of how people actually perform in a live setting.” Necessarily, then, the samples often took the form of uploaded video clips of prior band shows. The result is a lineup that aims for balance in terms of genre and age diversity, with a shared common denominator of proven performance chops. Asked about highlights for this year, Dellheim went on at some length. He was particularly excited about opening night (Friday, June 21), because the show intentionally coincides with the first day of summer, occurs on a weekend night, and offers a double bill of salsa music — Ivon Ulibarri and Café Mocha — designed to get people dancing. Also on his list are folk-rockers The Dunwells, coming in from England (Monday, June 24); Shannon McNally, a country- and blues-inspired singer who recorded with Dr. John earlier this year (Tuesday, June 25); Max Gomez, a rising singer-songwriter from Taos (Aug. 7); and Nação Estrela Brilhante, a maracatu group from Brazil, arriving fresh from a gig at Lincoln Center in New York (Aug. 12). There is also a jazz night (Aug. 1), during which Dellheim encourages spectators to “spread a blanket out and just kind of hang on the Plaza, which is a vibe we are trying to introduce this year.” The diversity in music is matched by the diversity found within the typical Bandstand audience. This, in Dellheim’s opinion, is why the series boasts such a long and successful history and why the Plaza location itself is so important. “Outside In brings music into places where people can’t easily connect to the arts, and in many ways that mission is reflected at the Bandstand, because we see so many people who feel comfortable” listening to the music, he explained. “They can dance by themselves, or same sex couples can dance openly. Young people, old people, it is just such a diverse group of people ... such an incredible mix. And we’re very proud to provide that sort of a venue.” ◀

details ▼ Santa Fe Bandstand ▼ Opening night with Ivon Ulibarri & Café Mocha 6 p.m. Friday, June 21; series runs through Aug. 23 ▼ Santa Fe Plaza ▼ No charge; www.santafebandstand.org

2013

Exhibit of Works from the Santa Fe Paintout

June 22 – July 7

Gary Kim Fine Art Gallery

Opening reception June 21, 5–7pm

228 Old Santa Fe Trail Santa Fe, NM 505-699-8738

By the Lake, Nancy Murata, Pastel

Plein Air Santa Fe

Open daily 10am to 5pm Sponsored by Plein Air Painters of New Mexico www.PAPNM.org

PASATIEMPOMAGAZINE.COM

Paul Weideman I The New Mexican

The life and legacy of Eva and the Leonoras hree remarkable women, representing three generations, built and lived in one of Santa Fe’s beloved houses, at 614 Acequia Madre. Eva Scott Fényes and her daughter and granddaughter tallied remarkable achievements in the arts, science, business, and cultural preservation. Their lives are honored with the founding of the Women’s International Study Center. “I looked at this house, which is wonderful in itself and has retained so much of its original character, but the women were even more wonderful, leaders and role models in their time,” said J. Revell Carr. “So it seemed to me that the best thing to do would be honor those women by carrying forward their work.” With support from the Paloheimo Foundation, Acequia Madre House was established as a nonprofit organization, with Bunny Huffman as executive director. Carr was hired to develop a strategic plan for the house and archive. Last July, the Santa Fe Board of Adjustment designated the house and outbuildings on three acres a museum. “The house simply could not stand up to a steady flow of visitors, so in considering what to do with the house it was never an option to have it open as a historic house,” said Carr, former director and CEO of Mystic Seaport and a longtime trustee of the National Trust for Historic Preservation. 28

PASATIEMPO I June 21-27, 2013

These are amazingly adventurous and well-traveled women. One of the things I love most about their legacy in that house is that it represents a really different model of a dynasty: it’s a dynasty of three generations of women, and the men come and go. - - Virginia Scharff,WISC academic advisory board member

Painting cour tesy Pasadena Museum (Fényes-Curtin-Paloheimo Pap of History Archives ers, ESP 008.1963)

A limited-use museum is certainly preferable to 24 new condominiums, which would be allowed under the property’s zoning. The adobe Acequia Madre House was built 87 years ago by Fényes (1849-1930) and her daughter and granddaughter, Leonora Scott Muse Curtin (1879-1972) and Leonora Francis Curtin Paloheimo (1903-1999). It is filled with antique furniture and artworks from the Southwest and Finland, as well as Depression-era tinwork, textiles, and furniture made for the Native Market cooperative subsidized by Leonora Paloheimo. When Paloheimo died, family friend Paul Halme, a director of the Paloheimo Foundation, led the effort to determine the best use of the property. He helped secure a 100-year lease from the property’s owner, El Rancho de las Golondrinas, and hired Huffman to inventory and study the papers and photographs in the family archives. Under the museum plan, an academic advisory committee nominates fellows in residence who will stay on the property, receive small stipends, and conduct research. Others may apply for scholar-in-residence status. Each fellow and scholar will present a public program in Santa Fe during the time of residence. Acequia Madre House has also established a program of awards — the first Founders’ Award goes to author, journalist, and biographer Gail Sheehy. Fényes was the daughter of a New York publisher. Her first husband, U.S. Marine Corps general W.S. Muse, was the father of Leonora. Her second husband was Hungarian nobleman and physician Adalbert Fényes. Their first home in Pasadena, California, is now the Pasadena Museum of History. She first visited New Mexico in the 1880s and was an enthusiast and supporter of Spanish colonial and Native American art and history. Fényes was an accomplished artist, leaving behind thousands of watercolor sketches. “The great majority of her subjects are adobe structures in the Southwest,” Carr said, adding that the journalist, historian and poet Charles Lummis was one who encouraged her artistic inclination. “These are mostly watercolors, although she was accomplished in oils. Sanford Gifford, a most famous American painter at that time, taught her while they were on a cruise on the Nile in 1869. “If you look at photographs of Eva, she appears to be a grand dame, but she went by stagecoach and mule wagon and muleback to get to some of these places. She was not a frail grand dame.” Her daughter married Santa Fe lawyer Thomas E. Curtin. After his death, she and her 8-year-old daughter — also named Leonora — went to Pasadena, and accompanied Eva on her world travels. The youngest of the three generations wed Finnish consul Y.A. Paloheimo. In Santa Fe, the two Leonoras were founding members of the Spanish Colonial Arts Society and purchased the La Cienega property that became the living-history museum El Rancho de las Golondrinas. Leonora Curtin was an aficionado of Native and Spanish medicinal herbs and wrote two books on the subject. Leonora Paloheimo researched Native American languages for the Smithsonian Institution and during the 1930s started the Native Market to provide an outlet for the works of Hispanic craftsmen. Their Santa Fe house was basically designed and built by Eva and the Leonoras, as the WISC organizers refer to them. “Eva was really the guiding hand, and she was also more experienced because she had been building homes her entire life,” Huffman said. “Most of their money came from real estate, not from publishing.” WISC academic advisory board member Virginia Scharff said the women “pretty much fired every important architect” on their house project. “They were so confident in what they wanted and where they wanted to go, and they weren’t afraid to take risks. They relied on each other a lot, and you can see their personalities in there.” Scharff is a University of New Mexico history professor, director of the Center for the Southwest at UNM, and chair of the Women in the West

Clockwise from top; Eva Fényes watercolor of Tesuque Pueblo, 1897; ethnobotanist Leonora S.M. Curtin, 1934; two books by Leonora S.M. Curtin; Leonora Frances Curtin with John P. Harrington at Zuni Pueblo recording Zuni speaker, 1929; opposite, Leonora S.M. Curtin (standing), Eva Scott Fényes (seated), and baby Leonora Frances Curtin, 1904

continued on Page 30 PASATIEMPOMAGAZINE.COM

Three wise women, continued from Page 29

From top; Acequia Madre house under construction, 1926; living room, 1929; house today; the dynasty with Santa Fe artists, back row, left to right, Leonora S.M. Curtin, Julius Rolshaven, Mrs. Rollins, Eva Scott Fényes, front row, left to right, Mrs. Rolshoven, Leonora F. Curtin Paloheimo, Warren Rollins, Homer Grunn, and Marsden Hartley, 1919

program at the Autry National Center in Los Angeles. She first saw the Acequia Madre House about seven years ago. “The Paloheimo Foundation was involved in the Southwest Museum of the American Indian, which has since merged with the Autry. They had invited Jackie Autry and others from the Autry out to see the house, and I tagged along. When we walked in, it was like an electric current. We couldn’t believe what we were seeing, this intact environment and record of this 73-year history. All of us were just gaping. I was then co-curating an exhibit called Home Lands: How Women Made the West, and we recognized instantly that we were seeing a wonderful example of that.” Lummis dubbed the Santa Fe home “the house of the three wise women,” Carr said. Another angle in the story comes from the fact that Consul Paloheimo’s family was identified with Finnish independence and identity. “They were trying to separate their identity from Sweden and Russia,” Huffman explained. “Both Paloheimos grew up in these very rich intellectual communities, but the heart of their interest was folk culture, so this combination was why they fit so well here in Santa Fe.” The rich archive at Acequia Madre House includes thousands of photographs, some taken in Santa Fe dating to 1889. There is a photographic portrait by Mathew Brady of Fényes, who was a teenager during the Civil War. And there is a photo of Leonora Paloheimo by Ansel Adams. Eva and the Leonoras were devoted letter writers, and the archive holds more than a century’s worth of correspondences. One of the most interesting items is a book with two albums of selfportraits by artists including Gerald Cassidy. Fényes collected self-portraits, beginning with one by her first art teacher. “These were done fairly quickly, for the most part, and some of them, including Andrew Dasburg’s, reflect a playful attitude,” Huffman said. In the archives is an Ediphone — an antique recording machine — and wax cylinders that may hold the long-ago voices of Navajo and other indigenous peoples. Huffman said Leonora Paloheimo researched Native American languages, working with John P. Harrington of the Smithsonian Institution. “A representative from the Library of Congress will be here in July regarding the preservation of those cylinders.” Curtin was a student of Native American and Spanish-American herbology and wrote the books Healing Herbs of the Upper Rio Grande and By the Prophet of the Earth. “Leonora Curtin was an amazing ethnobotanist, and this was not a period in which you see a lot of women in science,” Virginia Scharff said. “Her mother was an accomplished painter who went to Santa Fe with a little kid to get herself a divorce. These are amazingly adventurous and welltraveled women. One of the things I love most about their legacy in that house is that it represents a really different model of a dynasty: it’s a dynasty of three generations of women, and the men come and go.” Carr emphasized that WISC is an institute focusing on women in the arts, cultural preservation, science, and business, but a man writing a book about a woman in one of those fields could qualify as a WISC fellow or scholar. He said the center has a founding donor in novelist and playwright Sallie Bingham. “She is really funding the first year of operation, and we’re raising money for the years beyond that.” ◀ For more information about the Women’s International Study Center, call 983-6538 or visit www.wisc-amh.org.

PASATIEMPO I June 21-27, 2013

Outrageously Funny! She’s the Ultimate Cougar

THE

GRAND

D UCHESS OF GEROLSTEIN O F F E N B A C H

Susan Graham portrays a sexy, spoiled aristocrat with an eye for a young cadet at the local military academy. Thereʼs just one problem: Heʼs already engaged. T H I S M E A N S WA R !

PERFORMANCES 8:30 PM: JUNE 28; JULY 3, 6, 12, 19; 8:00 PM: JULY 30; AUGUST 7, 15, 21, 24

T H E S A N TA F E O P E R A 2 0 1 3 F E S T I VA L S E A S O N • J U N E 2 8 — A U G U S T 2 4

Love Unmasked THE MARRIAGE OF FIGARO

MOZART

8:30 PM: JUNE 29; JULY 5, 10 8:00 PM: AUGUST 3, 8, 13, 20, 23

Only The Heart Knows L A DONNA DEL L AGO

ROSSINI

8:30 PM: JULY 13, 17, 26 8:00 PM: AUGUST 1, 6, 14

All That Blooms Fades L A T R AV I A T A

VERDI

8:30 PM: JULY 20, 24 8:00 PM: JULY 29; AUGUST 2, 5, 10, 16, 22

photo by Kate Russell

TICKETS START AT $32! Arrive early with a tailgate supper to enjoy the sunset and mountain views. 9 AM Backstage Tours begin at the Box Office (Monday-Friday); $10 Adults, $8 Seniors

The Love that Dared WORLD PREMIERE

OSCAR

THEODORE MORRISON

8:30 PM: JULY 27; 8:00 PM: JULY 31; AUGUST 9, 12, 17

505-986-5900 • www.SantaFeOpera.org

PASATIEMPOMAGAZINE.COM

Adele Oliveira I The New Mexican

Missives as memorial ••

Letters from Willa Cather

uthor Willa Cather was born in Virginia in 1873 and moved to Red Cloud, Nebraska, when she was 9, but it was not until adulthood that Cather traveled further west, to New Mexico and Arizona in 1912. Fifteen years later, she published Death Comes for the Archbishop, a fictionalized account of Jean-Baptiste Lamy’s 1853 establishment of a diocese in New Mexico, then a newly acquired U.S. territory. At the beginning of that book, she describes Father Latour (her characterization of Lamy) approaching Santa Fe after a journey that took nearly a year: “In that depression was Santa Fé at last! A thin, wavering adobe town ... a green plaza ... at one end a church with two earthen towers that rose high above the flatness. The long main street began at the church, the town seemed to flow from it like a stream from a spring.” Cather is known for her clean, lyrical descriptions of harsh and beautiful landscapes. Two of her most enduring characters are prairie women, Bohemian Ántonia of My Ántonia and Swedish matriarch Alexandra of O Pioneers! Each is as stalwart as any frontier man. Commercially and critically successful during her lifetime, Cather is still celebrated as one of the finest prose stylists of the early 20th century. But access to her personal correspondence has been unheard of, until now. Cather’s letters are published for the first time — 566 of her roughly 3,000 known letters are presented in The Selected Letters of Willa Cather (Alfred A. Knopf/Random House). The book was edited by Andrew Jewell, an associate professor at the University of Nebraska-Lincoln and editor of the Willa

PASATIEMPO I June 21-27, 2013

Cather Archive; and Janis Stout, a professor emerita at Texas A&M University and author and editor of a handful of academic books on Cather. Stout visits Collected Works Bookstore on Thursday, June 27. Stout discovered Cather in the 1980s, when she included My Ántonia on a syllabus for a course she was teaching about women writers at Rice University. “What I loved about it was her style — it seemed so easy, but the more you look the more you see,” Stout said. It wasn’t until the ’90s that Stout turned to Cather’s letters, when she was editing A Calendar of the Letters of Willa Cather, published in 2002. With help from Jewell, Stout began collecting letters from 75 disparate archives. “When we started reading and collecting and transcribing letters, I had 1,800 letters in my computer, more than anyone thought even existed,” Stout said. “There were false reports that Cather had burned all of her letters; but we had a lot of letters. People hung on to them for more than half a century.” The Selected Letters begins with the acknowledgement that publishing the letters is against Cather’s wishes, as expressed in her will. The editors believe Cather was invested in controlling her public image as a literary artist, but they say she’s now part of something greater than herself: our cultural history. There are no letters written to Cather in the book, only letters that Cather sent to others. “I have never felt guilty about it,” Stout said of the collection. “I felt that she was a treasure that belongs to American literary culture. If by any chance she was worried about our reading things that would embarrass other people, what she was

worried about is two-thirds of a century in the past — the time is just gone. And her family has been very cooperative with this effort.” Cather had no children. When her nephew (and second executor of her will) Charles Cather died in 2011, Cather’s will partially expired. Other descendants and The Cather Trust, which owned the letters’ copyright, were amenable to publication. In any case, U.S. copyright law dictates that in 2017, 70 years after Cather’s death in 1947, the material reverts to the public domain. The letters are illuminating. They reveal Cather as deeply devoted to her family and friends, a shrewd businesswoman, a follower of world affairs, and an avid traveler. She maintained correspondence with friends such as author and journalist Elizabeth Shepley Sergeant across decades. She wrote letters to her peers, including F. Scott Fitzgerald and Robert Frost, and there’s a photograph of Cather in an uncharacteristically fussy party dress celebrating Mark Twain’s 70th birthday. Her letters from her travels are lush and adventurous. New Mexicans will be gratified to know she loved the state. “Now about Arizona: it’s good, but New Mexico is better,” Cather wrote to Sergeant in April 1912. A month later she wrote again to Sergeant, “I don’t know what to tell you about New Mexico. It’s all so big and bright and consuming. And it’s expensive everywhere.” The book is organized chronologically, with ample annotation and background information between letters. An index of the letters’ recipients and those who are mentioned in them

Willa Cather at Cliff Palace in Mesa Verde, 1915 Top left, Cather and her niece Mary Virginia Auld on Grand Manan Island, 1933 Top right, Cather and Isabelle McClung Hambourg in Ville d’Avray, France, 1923 Opposite page, Cather about 1910 All images courtesy Philip L. and Helen Cather Southwick Collection, Archives and Special Collections, University of Nebraska-Lincoln Libraries and Random House

continued on Page 34

PASATIEMPOMAGAZINE.COM

Willa Cather, continued from Page 33 provides further context. The earliest letters, from a teenage Cather to family friends, are rife with enthusiasm and misspellings. We trace the course of her career as she goes to study at the University of Nebraska; moves to Pittsburgh, where she edits a women’s magazine and works as a teacher; goes on to New York to work at McClure’s magazine; and then devotes herself to writing fiction. Even if the biographical narrative is familiar to readers, reading Cather’s descriptions of her life and her reactions to what happens is new. For Stout, who knows Cather well, the letters still contained surprises. “She has a sense of humor,” Stout said. “People usually present Cather as sober and solemn, almost a goodygood. Her fiction had a sense of humor, but it doesn’t just jump out. But when you read the letters — such a sense of humor. Another discovery was back in the ’90s in Vermont, I read a letter she wrote to Dorothy Canfield Fisher in 1922, about World War I breaking out. Cather had written an essay that’s well-known among academics, and she has this line that I recognized while reading this letter, about how the world has just broken in two. I thought, my gosh, here’s that famous line, this is where it started.” The letters are also notable for what they do not include, particularly correspondence with Edith Lewis, Cather’s literary executor and her partner for 40 years. Stout laments the absence of these letters. Still, “we don’t know they’re destroyed,” she said. “There was a nurse who helped care for Miss Lewis in her later years, and there’s some hope that she took some away.” Without letters to Lewis, the portrait is incomplete. “Besides enriching our sense of Cather’s humanity, we know Edith Lewis participated in helping her read proofs: sometimes the handwriting on page proofs was Edith Lewis’. [Having the letters] would be very illuminating about [Cather’s] process of producing the novel,” Stout said. One letter to Lewis does survive, and it’s lovely. Cather wrote in 1936 from the Shattuck Inn in Jaffrey, New Hampshire: “My darling Edith; I am sitting in your room, looking out on the woods you know so well. ... One hour from now, out of your window, I shall see a sight unparalleled — Jupiter and Venus both shining in the golden-rose sky and both in the West; she not very far above the horizon and he about mid-way between the zenith and the silvery lady planet. ... I can’t but believe that all that majesty and all that beauty, those fated and unfailing appearances and exits, are something more than mathematics and horrible temperatures. If they are not, then we are the only wonderful things — because we can wonder.” “People have sometimes said Edith Lewis was a good friend, a helper, almost a gofer,” Stout said. “Well, read that letter. That’s not a letter to somebody who isn’t loved.” Though the letters offer no further insight on Cather’s romantic life, they do much to change what we know about her, as a person and as a writer. “We like being acquainted with the mind that produced the books,” Stout said. “You can find things out about the novels, sure, but the big thing we’re being put in touch with is this personality — we can all see how the 20th century affected this intelligent woman making her way in the world.” ◀

details ▼ Janis Stout reads from The Selected Letters of Willa Cather

Cather with her brother Roscoe’s daughters: Virginia and twins Margaret and Elizabeth, July 1924; top, Cather in Cavalière, Provence, with One of Ours under her arm, 1920

PASATIEMPO I June 21-27, 2013

▼ 6 p.m. Thursday, June 27 ▼ Collected Works Bookstore, 202 Galisteo St., 988-4226

Window on Lima: The Bel trán - Kropp Collection from Peru

June 2013 We’ll be giving aWay three CaMarO COnvertibleS in JUne! Drawings on Saturdays, JUne 8, 15 & 22 at 6 pm, 7 pm, 8 pm, 9 pm and 10 pm. See lightning rewards Club desk for complete contest rules and details. eaRn 10x entRies on MonDaYs!

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Museum of Spanish Colonial Art June 22, 2013 to May 27, 2014

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PASATIEMPO I June 21 - 27, 2013

PASATIEMPOMAGAZINE.COM

series Whirled

Channing Huser’s snow spirals

PASATIEMPO I June 21-27, 2013

Paul Weideman I The New Mexican

here is a presence up in the hills. In fact, it’s a part of one of the hills, one of the big ones, in the Big Tesuque area. “That mountain feeds me. It’s the thing that keeps me alive,” Channing Huser said. She emphasized that mountain. “That particular mountain. And there’s a particular place up in this meadow where I would go and hike and sit for many years.” This is the spot in the Big Tesuque drainage where she first thought of digging an unusual, quite large snow sculpture: a spiral, approximately 35 feet across. A photographic record of the snow spirals she has built on the mountain during the past four winters opens Friday, June 21, at the New Mexico History Museum. “Actually, the image of that spiral came to me in the summertime. There are these wild peas, yellow-flowering peas, that are in bloom now, in June, and you can see a movement pattern. I was sitting there and I thought, There’s an eddy here. There’s a current. I often walk to the top of Santa Fe Baldy, and this meadow [at Big Tesuque] has a similar quality even though it’s not a peak; it’s just a ridgeline meadow.”

She constructed similar sculptures in different areas of the meadow, but they “didn’t feel right.” She settled on an area above the eddy. “This place is where it lives.” There’s obviously an affinity, yet she doesn’t linger in the center of the spiral. “I don’t like it. It’s a big vibe. When I go to just sit, I like making a little snow bench and sit up above it. It’s like a still point for a ton of movement on this ridgeline.” The museum exhibit, Water Over Mountain, is a single frame — 2 feet high and 8 feet long — enclosing four archival pigment prints. Each one is a grid of 49 photographs that Huser made during March — in 2010, 2011, 2012, and 2013. The Colorado native first picked up a camera in high school art class, but her spiral took root when she was in elementary school, when a teacher showed her class a film about land artist Andy Goldsworthy. “At 8 years old, he was instantly my hero,” she said. She graduated with a BFA from Colorado State University, with a focus on photography, but she thinks of herself more as an artist than a photographer. “My photography studies in school

The spiral did not start as a photographic project. It started by spending time in that environment and just sitting still and paying attention to all the movement that’s happening on the mountainside through the seasons. — Channing Huser were about sequential imagery with still photography, and the beauty and activity at the edge of the photograph and how you can look at an image and feel a movement even though it’s not a video or a film. My photography has been stuck in that thread over the years. It’s interesting capturing in the blink of an eye some kind of movement. I’m very excited about the new technologies, and I’m glad to be out of the toxic darkroom. I take bajillions of pictures with my iPhone.” Huser moved to Santa Fe in 1988 and has taught skiing at Ski Santa Fe ever since. She’s also a bodyworker and teaches at the Santa Fe School of Massage. And she is a beekeeper. “The spiral did not start as a photographic project. It started by spending time in that environment and just sitting still and paying attention to all the movement that’s happening on the mountainside through the seasons. This is on the northwest edge of the Big Tesuque drainage, on the ridgeline, and when you sit there it’s stunning — the life and the movement that happen along the contour of the landscape there. There’s an air current there that you can hear in the trees and see in the grass.” The process of building the spiral starts in October, roughly coinciding with the first snowfall. Then she tends it. “There are a few friends who help me, because it’s a lot of work digging

this out after a storm.” The project’s documentation element is carried out each March. “That’s the threshold. That’s when there’s the most snow, but then the temperature rises and it melts really fast. Being up there and digging and hanging out is meditative, but watching it melt just blows my mind.” She takes the March photos with a Canon G11 camera, often attached to a 12-foot avalanche-probe pole. She sets the camera’s self-timer and hoists it up for the shot. Then she walks about 5 feet and does it again, or she takes the next picture from a lower vantage point. “This entire project was done with a pocket camera, a crappy little $20 tripod, and a roll of duct tape. My photography friends look at me like, Really? I have thousands of photographs from the Big Tesuque.” You can see quite a few of them at http://500px. com/channinghuser/sets. But those, Huser said, are “just the back story” to the spiral snow sculpture. She is admirably obsessive about the mountain remaining wild and pristine, and she picks up other people’s garbage whenever she sees it. She maintains that aesthetic by sculpting the spiral piece only with snow — so no trace can be found in the summertime.

Channing Huser: top, Water Over Mountain, 2011; opposite page, 2010; all images archival pigment prints; Palace of the Governors Photo Archives, HP.2013.24

continued on Page 40 PASATIEMPOMAGAZINE.COM

Channing Huser, continued from Page 39

My intention is, as long as my body can do it, to snowshoe up to this site and dig this thing out, to do this for a 10-year record. My plan is to annually create a composite image for the month of March and donate that to the Photo Archives so that in 10 years you’ll have that record. — Channing Huser

PASATIEMPO I June 21-27, 2013

Water Over Mountain, 2012 Writer and conservationist William deBuys, who wrote a thematic statement to accompany the exhibit, likes the artist’s medium. Snow, he writes, is “the miracle that animates our farms and forests, the great white reservoir that we pray for and play in literally metamorphoses into our rivers and springs and into the moisture that brings the soil alive in the spring.” In a phone interview, he said that Huser’s project is “a nice way to evoke a certain aspect of the land and certainly an aspect that has had the forefront in our minds these days as we struggle with dry times.” Huser, after shoveling snow in the mountain meadow for four consecutive years, has noticed that the amount of snow has changed drastically. “I know we have a natural ebb and flow of drought, but I would like to be able to document that there is a change within the ecosystem up there.” Pointing at the grid of photos she took this March, she noted that the viewer can see a lot of earth color — not all the whites and sky-reflected blues of snow. In 2010 the site didn’t look like that until early May.

When she creates and tends the piece, she uses a shovel to dig in a spiral, almost down to the ground. She leaves a couple inches of packed-down snow; this layer protects the grass underneath from foot action. The deeper the snow, the higher the spiral when she’s finished. In 2010 the spiral was as high as her eyeballs. This year it was up to only her knees. “My intention is, as long as my body can do it, snowshoe up to this site and dig this thing out, to do this for a 10-year record,” she said. “My plan is to annually create a composite image for the month of March and donate that to [the Palace of the Governors] Photo Archives so that in 10 years you’ll have that record.” ◀

details

▼ Channing Huser: Water Over Mountain ▼ Opening reception 5 p.m. Friday, June 21 ▼ New Mexico History Museum, Washington Avenue entrance (between Palace Avenue and Marcy Street) ▼ No charge; 476-5200

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Michael Abatemarco I The New Mexican

CURIOUS CANVASES J O H N T A R A H T E E F F ’S P U Z Z L I N G T A B L E A U X

aintings by John Tarahteeff may be seen as narrative and symbolic, perhaps even allegorical, but never do they feel didactic. The ambiguity of expression in his figures — whether sailors lounging by the seaside and enjoying a smoke or a young girl running through the grassy dunes — is open to interpretation. Those sailors are merely taking in some sun, you might say to yourself, and the girl is simply frolicking. These two specific paintings — Sailors on Leave and Flight, respectively — are among the more straightforward works included in the exhibit Undertow, which opens Friday, June 21, at Nüart Gallery. Still, there is an odd quality to them. One wonders what, for example, is passing between the sailor and the parrot staring at each other in the first painting and why the girl in the second painting has a backpack with a puppy sticking his head out of it, looking toward the beach. The answer is simply that there’s more here than meets the eye. The artist keeps his subject matter just slightly skewed toward the surreal. “Some people have used the term magic realism,” Tarahteeff said. “When I paint anything, it’s usually coming from more of an archetypal space. I rarely have anyone modeling for my paintings. The figures are constructed. They’re not about specific people. They stand in for ideas.” Tarahteeff provides just enough sense of story to get your mind working. There is much going on behind the scenes. “I’ve been using the ocean as a setting in my

work now for a number of years,” he said. “There’s something about the ocean, the land and the sea getting together. There’s something about emotions and the vastness of the ocean versus the land, this empty expanse and this mystery of what’s underneath. That’s kind of the metaphor for the paintings. There’s a sweet imagery going on on the surface, but sometimes the relationships between things in the paintings suggest a deeper emotional undercurrent kind of like an undertow. There is a story, but it’s usually not a story I’m aware of when I’m setting out to do the piece. Part of the fun of doing this painting thing is I kind of find out which stories are inside of me as I make the work. Sometimes I have ideas up front, but there’s kind of an honesty about painting where sometimes the ideas I have up front are subverted. In the process of painting, the narrative that emerges actually questions my initial assumptions about the narrative I thought I was painting.” Tarahteeff works in a tradition of formal composition. His figures are almost classically posed but rendered in an artificial, stylized manner. His painting The Shelter, for instance, is Mannerist in its treatment of bodies with elongated limbs and distortions. “It has that kind of twisting you see in a Mannerist painting. The figure is in flux, twisting different ways. I’m always looking at old paintings for inspiration. The Mannerists are definitely artists I look at a lot both in terms of how they handle the figure but also how they handle painting. They create a continued on Page 44

John Tarahteeff: opposite page, The Shelter, 2012, acrylic on canvas; above, The Dreamer (Seacliff), 2013, acrylic on canvas PASATIEMPOMAGAZINE.COM

There is a story, but it’s usually not a story I’m aware of when I’m setting out to do the piece. - - JohnTarahteeff

Running With Fox, 2012, acrylic on canvas

John Tarahteeff, continued from Page 43 whole world. Every little thing in the painting has this shared vision through it. It’s constructed. It’s not just exactly how things look but how the artist wants you to see them.” Tarahteeff seems to make reference to biblical themes in some of his work. The Dreamer (Seacliff), for example, features the image of a man emerging from the tail end of a fish, alluding to the story of Jonah and to the fish as symbol of the watery realm of dreams or the subconscious. The juxtaposition of human and animal is a frequent motif in his work. In addition to that seen in The Dreamer, this appears in The Shelter, which contains a woman and a horse. And in Running With Fox, a young man emulates the movements of a fox, suggesting a primal, instinctual connection forged between them. Tarahteeff said the animals can “play an echoing role of the drama. The humans trying to understand the natural aspects of themselves through the animal. Expressions of desire and whatnot. [Running With Fox] is real sweet to me. There’s not a lot of dark, emotional undercurrent in that one per se, versus some of the other pieces.” Tarahteeff grew up near the California coast, and his work is informed by personal experience. “I live in Sacramento, but I grew up in the San Francisco Bay area, and I made it up to the coast a lot. I have a lot of memories that come from vacationing, having a day trip over at the coast. I’m working out my myths that 44

PASATIEMPO I June 21-27, 2013

developed starting in childhood, about gender and stuff around that. I’m still wondering about how that works into the paintings, but I know it’s there. Anytime I paint a figure, whether it’s male or female, I’m referencing myself, because I know what it’s like to make the gestures and how I would feel in that position. There’s something visceral about painting a figure that really connects you.” When people see Tarahteeff’s work, they often ask for an explanation of the action happening in each scene. “When people want that back story, they come to you already with an idea of what they think it’s about. When you start explaining, you sort of ruin it for them, because the odds that you’re going to be on the same page are pretty low. It’s best to just let it be and hear what they have to say and not try to suggest too much. When I look back over my work, as years go by, my narrative with the piece changes. There are archetypes in there that are somewhat universal. Depending on where you are in life, you’re going to project something different on to the piece.” ◀

details ▼ John Tarahteeff: Undertow ▼ Opening reception 5 p.m. Friday, June 21; through July 7 ▼ Nüart Gallery, 670 Canyon Road, 988-3888

Celebrate the Solstice at the

Wheelwright Museum Three great shows & refreshments on the terrace It’s in the Details:

Kenneth Williams & Orlando Dugi

Public opening

June 21, 2013 5:00-7:00

Join us Friday Evening, June 21, 2013 Open til 7:00 pm

It’s In the Details CIBOLA: Seven Cities of Gold The Durango Collection Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill Santa Fe 87505•505-982-4636

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Loren Bienvenu I For The New Mexican

The birds and the

beads American performance artist and sculptor Nick Cave (not to be confused with the musician of the same name) is an adoptive artist — any stray button, discarded toy, relinquished handbag, or abandoned animal statuette has a chance of finding a new home in his elaborate works of sculpture and wearable art. His signature Soundsuits are an unsettling cross between garments and disguises, combining sequins, beads, synthetic hair, and more in tightly arranged swirls and patterns. Some evoke the celebratory costumes of Mardi Gras, others the creatures of nightmare, but nearly all unite the familiar with the unsettling. Cave is not a mere collector of stray buttons — he purchases hundreds of pounds of buttons at a time. Nor does he spend his hours with needle and thread in hand. Now in his mid-50s, the internationally recognized artist directs a team of assistants in the manufacturing of his art. His Chicago-based workshop has at times employed more than two dozen workers, generally recent art-school graduates, who sit in near silence for seven to eight hours a day and sew buttons (at the rate of two to three a minute) or perform a variety of other tasks that combine the artistic with the menial. Given that a huge part of the impressiveness of Cave’s work is its meticulous craftsmanship, the question arises: When creativity and craft are separated, do we still hold the work in the same awe? Cave operates on the outer fringes of fashion, a tradition that relies on a staggering amount of handiwork performed by workers as faceless as some of Cave’s Soundsuits. For instance, Yves Saint Laurent employed a small army of les petites mains (the little hands) to sew his pieces, a practice not just common but necessary in the field of haute couture. So in a way, Cave seems within the boundaries of tradition. His work particularly reflects the influence of avant-garde fashion designer Alexander McQueen as well as Saint Laurent’s 1967 Africa Collection, which employed unusually textured materials like raffia, shells, and wooden beads. That collection was showcased in a Saint Laurent retrospective at the Denver Art Museum last year. Now Sojourns, an exhibit of Cave’s work at the museum through Sept. 22, offers another compelling reason to make the short trip to Denver.

Nick Cave’s Sojourns 46

PASATIEMPO I June 21-27, 2013

Sojourns is site specific. The majority of the pieces were made expressly for the show, and Cave played an unusually active role in decisions involving structural alterations to the space and the specific layout of the art. Upon first walking into the exhibit, one enters a sort of antechamber partially plastered in colorful, psychedelic bird wallpaper. In the center of the room is a single piece titled Sculpture. In this work, a reclaimed baptismal font forms the base for a nest populated with plaster and rococo birds, fruit, and classical figurines. The kitschy presentation somehow evokes the innocence of Eden, yet the Christian implications of the baptismal font make it clear that the scene is firmly rooted after the fall. Perhaps the font is meant to serve as a birdbath, but in any case, its basin is empty. With this ceremonial introduction to Cave’s characteristic twisting of the familiar, the sojourn has officially begun. The following room offers visitors their first glimpse of Cave’s Soundsuits. The long, narrow room seems designed to create intimacy between viewers and the 11 mannequins arrayed in various poses. Though these alien forms are the ones on the catwalk, the viewer must do the actual walking. It’s necessary to make a full circle around each piece to see both its front and its back, which are typically different and speak to Cave’s interest in the symbolism of the dual-natured. While the figures in the first room are mostly white and sheathed or scaled in buttons, they differ in many ways. One has a colorful bouquet sprouting from its face (a beaded burial wreath, it turns out). A few others have heads defined by round spirals of bright tinsel. Extending as a canopy over the entire room and hanging on the walls is a massive length of mesh covered in thousands upon thousands of buttons — a twinkling galaxy that attests once more to the powers of the workshop. In the next room is a massive, 26-feet-in-diameter tondo, or circular piece, entitled Constellation. The piece might best be called a quilt, being an elaborately stitched collage of reclaimed, sequined garments that sparkle faintly in the low light. A wall caption explains that Constellation is Cave’s attempt to recreate the wonder he felt as a child when staring up at the stars. After winding past the tondo, viewers encounter a series of seven sculptures called Rescues. Much like Sculpture, these works combine cheap, discarded relics of the past in gaudy yet poignant displays. In this case, each includes a life-sized dog statue (“adopted” from thrift shops and antiques malls) resting on a piece of furniture. Overshadowed by nests of birds and beads, the dogs stare out from atop their thrones with benevolent and dreamlike gazes, seeming to transmit the protective yet nervous zeal of once-abandoned pets. The dogs serve as sentries leading to a second, larger room of Soundsuits. Here, the 14 figures on display are more varied and colorful than those that came before. One has a visor made of an old wooden abacus, another is surrounded by a mobile of 1950s-era metal toys and noisemakers, and others are covered in long, brightly colored hair. Also in this room, visitors learn from a wall caption that Cave was inspired to create his Soundsuits more than 20 years ago in response to the beating of Rodney King by policemen in 1991. As an African American, Cave empathized with King, and after seeing footage of the event, he explains in the exhibit catalog, “It was literally overnight that I completely turned a corner and never turned back.” The catalog suggests that his Soundsuits are intended to be protective disguises that offer outlandish anonymity, ones that combine elements of escape and vulnerability just as they evoke fear and wonder. Upon entering the exhibit’s final room, which is darkened for video projection, we realize that, just as the birds and dogs have not dared to sing or bark, the Soundsuits themselves have been quiet thus far. The continued on Page 48

Nick Cave: Untitled, 2013, mixed media Opposite page, Untitled, 2013, mixed media

PASATIEMPOMAGAZINE.COM

Nick Cave, continued from Page 47 suits are not designed to be silent museum pieces but rather performative costumes that emit noise through motion. Five projected videos offer the chance to see the Soundsuits in action and to hear the unique sounds inherent to each one’s design, from insectlike rustling and wavelike roaring to the rattle of tilted abacus heads and the desperate scraping of fingers on washboard faces. This final experience is further enhanced by noises from other viewers — occasional laughter arising from the bizarreness of the scenes, offset by comments such as “This is getting weird,” from a small girl to her parents. The sounds are somehow reassuring in that they reveal a shared uneasiness. Having arrived at the end of the exhibit, we should by now feel familiar with Cave’s creations. But if the work has taught us nothing else, it’s that familiarity and comfort are two different things. ◀ “Sojourns,” an exhibit of work by Nick Cave, runs through Sept. 22 at the Denver Art Museum (100 W. 14th Ave. Parkway). Call 720-913-0130 or visit wwwdenverartmuseum.

Left, Untitled, 2013, mixed media Right, Sojourn, 2012, All photos James Prinz Photography, Chicago; courtesy of the artist and the Jack Shainman Galllery, New York

PASATIEMPO I June 21-27, 2013

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Paul Weideman I The New Mexican ne hundred and seventy-five years ago, 154 people from the San Miguel del Bado land grant and neighboring communities east of Santa Fe established Las Vegas. In 1878, after four decades of enterprising growth centered around the plaza, the town’s progress was interrupted — or rather split — by an interloper: the Atchison, Topeka & Santa Fe Railroad. The company chose to build its own town on the other side of the Gallinas River, rather than cozying up to Las Vegas, which already boasted the stone Our Lady of Sorrows Catholic Church and the adobe Presbyterian Mission as well as many handsome houses — including the Maese, Rheua Pearce, Esquibel-Gallegos, Lorenzo Valdez, Jack Johnson, Benigno Romero, and Vicente Silva homes that remain today. A wonderful portrait of Las Vegas, which is still divided by many residents into Old Town and New Town, is offered by author and photographer Elizabeth Barlow Rogers in Learning Las Vegas: Portrait of a Northern New Mexico Place (published by Museum of New Mexico Press). It will impress the reader for its democratic portrayal. Rogers spends 40 pages or so laying out the town’s history, geography, and economic and demographic mix, and then for the remainder probes its residents to fill out the story. “This book records both in words and photographs my walks in Las Vegas, field trips throughout San Miguel and Mora counties, research in local archives, and conversations with the many Las Vegans who have graciously invited me into their homes and places of business,” she writes in the introduction. Among the scores of people she interviewed, and whose voices she brings into her text, are rancher Luis Martinez; historic preservationist Elmo Baca; United World College graduate Sara Parcero Leites; Christina Padilla, a Memorial Middle School student; graffiti artist Zak Lujan; activists Miguel Angel and Georgina Ortega; Luna Community College president Pete Campos; and Mickey Dowling, 50

PASATIEMPO I June 21-27, 2013

a manager of the Richards Drop In Center of the Mental Health Association on Bridge Street. San Antonio native Rogers, a resident of New York City and Santa Fe, has a bachelor’s degree in art history from Wellesley College and a master’s degree in city planning from Yale University. She is a life trustee of the Central Park Conservancy and is the president of the Foundation for Landscape Studies, New York. She is the author of The Central Park Book, Landscape Design: A Cultural and Architectural History, and other books. After a short introduction, Learning Las Vegas opens with a gallery of 26 color photographs. They sport a handsomely glossy finish — “spot-varnish,” according to book designer David Skolkin — which works well with Rogers’ cloudy skies. On Saturday, Jun 22, Barlow takes part in a panel discussion and book launch at the New Mexico History Museum. Pasatiempo: Those stormy skies really bring out the colors and textures of the people and buildings in that gallery section. Elizabeth Barlow Rogers: You know that in New Mexico those gorgeous big vibrant blue skies that we love are not kind to photographers. That very contrasty light isn’t nearly as nice as when you get a cloudy day, and I really did go for it when I had one. Pasa: You’ve done a nicely multidimensional portrait of Las Vegas. Rogers: Well, a book is a wonderful thing. It gives you an entrée; you can go into a tattoo parlor and say, “I’m writing a book. Tell me about your business, your life, your art.” People were amazing. There was a real generosity though the whole project. continued on Page 52

East Las Vegas Victorian mansion; above, six west Las Vegas homes; opposite page. Las Vegas ejido (common lands), 2010; photos by Elizabeth Barlow Rogers, courtesy the photographer PASATIEMPOMAGAZINE.COM

Clockwise from top left, two pictures taken at Montezuma Hot Springs; student soccer game, United World College; Zak Lujan mural, 2010; summer evening at the plaza

Las Vegas, New Mexico, continued from Page 50 Pasa: Because so much of the book is based on interviews, there’s quite a journalistic quality. Rogers: Yeah, I felt as I kept going that it was a composite sort of portrait. If you look at the website of the Foundation for Landscape Studies, you see our mission is “to foster an active understanding of the importance of place in human life,” and this is all about place and how these people feel about their place. Pasa: But this book seems different from what you did in your other books. Rogers: It is. In a sense they’re all about place, but this one has a more anthropological thread. Pasa: Besides the marvelous history and people and food, you also get into the poverty, drug use, corruption, intolerance, and school fighting. Rogers: I can’t stop taking the Las Vegas Optic. I’m probably the only person in New York that subscribes. This is like my little town now, and these are my people. I’m really grieving right now that Estella’s Café is closing. Whatever happened, one of those nasty family quarrels or whatever goes on, and I guess Addie [manager Adelita Lujan] threw up her hands, and it’s being sold to a developer. And Nancy Colalillo with Tome on the Range — I thought she was the last of the independent bookstores and she was doing it as a philanthropy really because she loved Las Vegas, and she has sold the bookstore. Pasa: At the beginning of the final chapter you mention that, in spite of the declines, there are many who see the half-full rather than the half-empty glass. Rogers: Things disappear but other things will reappear. I don’t know what’s happening at the moment with the Castañeda, the big hotel by the railroad, but that was supposed to be acquired. If that was renovated as the plaza has been renovated, that would add a tremendous push to turning the town around. Pasa: What inspired this degree of immersion in a New Mexico town? Rogers: Since I’m a part-time Santa Fe resident now, I learned about Las Vegas, and I went out to Fort Union and saw the wagon tracks in the grass, and I found it fascinating. But I didn’t think much more about it until I had taken several classes at the Santa Fe Workshops. I crossed the digital divide. It was a learning curve, including Photoshop, and I thought I’d give myself an assignment that 52

PASATIEMPO I June 21-27, 2013

wasn’t just going around shooting adobe walls and blue doors and sunflowers. So I went over to Las Vegas and started hanging out. That was in 2007, and I saw that it was so interesting, the two towns, and that Las Vegas is so anti-Santa Fe. Pasa: It has been an unusual town for a long time because of its importance on the Santa Fe Trail and the railroad, the colleges, the state hospital, and because it’s divided in two. Rogers: That’s what fascinated me. Going back to my background as someone who’s interested in landscape and cities and layouts and plans, it was immediately apparent that cheek by jowl you have the two towns, one with the old Hispanic Laws of the Indies layout with the plaza in the center and the other from the railroad. Pasa: And the city has such variety in its historic architecture. Rogers: There is beautiful Victorian architecture, some buildings in the Arts and Crafts bungalow style from the early 20th century, and some in the World’s Fair classic style named after the 1893 Chicago exposition. There’s just very beautiful architecture throughout the town, including in Old Town. Pasa: What are you working on now? Rogers: I am working on a book, really circling back to my origins writing about parks and [Central Park designer Frederick Law] Olmsted. I’ve done a lot of writing about different aspects of nature in New York and the landscapes, including the New York Botanical Garden and Green-Wood Cemetery and Prospect Park, and I’m putting it all together, with photography, also including the newer places, the High Line park and the terrific Franklin D. Roosevelt Four Freedoms Park, the FDR memorial by Louis Kahn. ◀

details ▼ Panel discussion & book launch with Elizabeth Barlow Rogers, historic preservationist Elmo Baca, and Christopher Wilson (J.B. Jackson Professor of Cultural Landscape Studies at the University of New Mexico School of Architecture and Planning) ▼ 2 p.m. Saturday, June 22 ▼ New Mexico History Museum Auditorium, 113 Lincoln Ave. ▼ No charge; 476-5200

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Shakespeare on the side Laurel Gladden I For The New Mexican Much Ado About Nothing, Shakespearean comedy, rated PG-13, Center for Contemporary Arts, 3.5 chiles Does it trouble you to hear that Joss Whedon — creator of TV’s Buffy the Vampire Slayer and last year’s big-screen megahit The Avengers — is adapting Shakespeare? Well, let me convert your thoughts of woe into hey-nonny-nonny, because this sweet, shortened version of one of the Bard’s most beloved comedies is a sunny, effervescent, and refreshing summer treat, like a citrusy sno-cone or a flute of ice-cold fizzy champagne. In case you’ve forgotten, here’s the gist of the play’s plot: Don Pedro (played here by Reed Diamond), his bastard brother Don John (Sean Maher), and Pedro’s friends Claudio (Fran Kranz) and Benedick (Alexis Denisof ) are returning from a battle. They’re staying at the home of high-powered politician Leonato (Clark Gregg), father of a young woman named Hero ( Jillian Morgese) and uncle of the witty, wise, and sharp-tongued Beatrice (Amy Acker). Claudio immediately falls for Hero, and plans for their wedding begin. Older, cynical, and snarky, Benedick and Beatrice engage in a “merry war” — they clearly have a thing for each other but refuse to admit it, cloaking their affection in scathing sarcastic barbs.

The course of true love never did run smooth: Alexis Denisof and Amy Acker

Meanwhile, Don John is hatching plots to destroy the romance between Claudio and Hero and to impugn the poor girl’s virtue. Whedon enlists a stable of his favorite players, nearly all of whom he has worked with before, whether in TV (Buffy, Angel, Firefly, Dollhouse) or in film (Serenity, The Cabin in the Woods, The Avengers). He shot the film in less than two weeks while on a break from The Avengers, and to further the easygoing ambience (and to add a touch of real-estate porn), he used his own Santa Monica home as the set. Just because you’re adapting a literary classic for a 21st-century audience doesn’t mean the result has to be overly stylized (I’m looking at you, Baz Luhrmann). Whedon sticks to black and white, which gives the whole film a feeling of easy, cool stylishness. Characters carry cellphones, wear flowy dresses and well-fitting business-casual suits, and are driven around in black town cars (frankly, Don

Counter intelligence: Emma Bates, Jillian Morgese, and Amy Acker 54

PASATIEMPO I June 21-27, 2013

Pedro and company look more like Wall Street bankers than soldiers). A party atmosphere — with jazzy music, dancing, and plenty of booze — pervades the whole production. Whedon composed some bubbly original music to help keep things aloft. He even turns a couple of Shakespeare’s poems, including “Sigh No More, Ladies,” into catchy tunes. The stuffiness and pretension that can overtake many a Shakespearean adaptation is completely lacking here. The delivery is relaxed — actors render their lines in a conversational way — making everything sound smart and practically hip. Acker in particular has clear, sharp enunciation, and she plays up Beatrice’s whip-smart feminist qualities. She and Denisof have a Hepburn-and-Tracy-style rapport and great chemistry, and they are excellent physical actors; because of that, this Much Ado About Nothing might remind you of a classic screwball comedy filled with verbal sparring, goofy pratfalls, and sight gags. I dare you not to laugh when Beatrice falls down a flight of stairs and Benedick does abs exercises and yoga poses to impress her. Gregg is a natural — here and in The Avengers (his Agent Colson is one of the best parts of that film) — and if Whedon has anything to say about it, I bet we’ll see a lot more of him in the future. Kranz, though he’s in his early 30s, has a goofy boyish charm that makes him totally believable and lovable as young Claudio. As Dogberry, the bumbling constable and master of malapropisms, Nathan Fillion nearly steals the show. The film’s seeming insistence on lightheartedness might actually be one of its few faults. The play’s darker elements have conveniently been trimmed, and in some ways the whole affair feels like a fluffy first draft of an even-better movie. Shakespeare’s plot creates a tiny hitch for 21st-century audiences, too. Much of the central conflict hinges on the fact that Hero might not actually be a virgin on her wedding day, and that emphasis on feminine “purity” is laughably archaic in this day and age. Does Claudio really deserve Hero’s love after being so easily fooled, judgmental, and frankly mean-spirited toward the woman he professes to love? Ass-kicking, nametaking Buffy would roll over in her grave. ◀

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Silence is golden Jonathan Richards I For The New Mexican Blancanieves, silent drama, rated PG-13, The Screen, 3.5 chiles In this silent-movie adaptation of the Grimm Brothers’ fairy tale by Spanish director Pablo Berger, the little girl with skin as white as snow and lips as red as blood (except the film’s in black and white, so they’re black as ink) is the daughter not of a king but of a famous bullfighter, Antonio Villalta (Daniel Giménez Cacho). When he turns to salute his pregnant wife (Inma Cuesta) in the stands, he takes his eyes off the bull, a fire-breather named Lucifer, and is badly gored and trampled. Villalta and his wife are both rushed to the hospital, she to give premature birth to a baby girl and die, he to recover slowly and painfully under the toxic care of a predatory nurse named Encarna (Maribel Verdú). The nurse eventually marries Villalta, and the little girl, Carmencita (Sofía Oria), is sent to live in a rat-infested cellar by her wicked stepmother, who shuts her father away in his rooms and forbids his daughter access. Carmencita lives the life of Cinderella, scrubbing and enduring sadistic abuse from the lady of the manor, who drapes herself in jewels and furs and cavorts shamelessly with the chauffeur (Pere Ponce). But Carmencita manages to find her way into the forbidden rooms of her wheelchair-bound father, and they bond over bullfighting lessons until Encarna cops to what’s going on. The chauffeur is dispatched to take Carmencita off into the countryside and kill her. But she gets away, suffers amnesia, and falls in with a troupe of seven bullfighting dwarves. A ragtag group of dwarves that includes a cross-dresser, a grumpy villain, and a short handsome lad named Juanín ( Jinson Añazco) adopt her, and being not unfamiliar with fairy tales and the circumstances of this story, they give her the name Blancanieves. This is a true silent film, an homage perhaps more to Buñuel than to the Hollywood silent era to which The Artist paid tribute (although like that Oscarwinner, it features a scene-stealing pet). Cinematographer Kiko de la Rica’s saturated photography gives the picture a stunning visual richness. There is also a very effective silent-movie-style score by Alfonso de la Vilallonga. True to contemporary sensibilities, Blancanieves grows up not just beautiful but tough. The grown Carmen (Macarena García) leaps into a bullring to rescue a fallen bullfighter, drawing olés and idolatrous applause but unfortunately also the attention of the wicked Encarna. Blancanieves swept the Goyas (Spain’s Oscars) with 10 wins, including best picture (but not director). Berger directs this retro tour-de-force with great gusto, and the performances are excellent. Maribel (who won mejor actriz principal) may vamp a bit too much in the wicked-stepmother role, but she has so much fun doing it that she’s hard to resist. And the Carmens, small and large, are both wonderful. Añazco, as the lovestruck Juanín, gets the last moment, a poignant finish that abandons Disney’s happy ending and the Grimm Brothers’ delicious sadism for a different take altogether. ◀

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Pack animals: Muir Project hikers in the Sierra Nevada

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PASATIEMPO i June 21-27, 2013

Capturing the visual beauty of a mountain range is one thing. Capturing the experience of being among the mountains is another. The Muir Project — a collaboration of filmmakers and artists who spent 25 days traversing California’s Sierra Nevada along its 211-mile John Muir Trail — does a fine job of the former and a fair job of the latter in the documentary Mile ... Mile & a Half. The film is a visual delight, filled with stunning vistas and craftily framed close-ups of wildflowers, cascades, trees, and the trail itself. Those who haven’t seen these mountains for themselves will be tempted to make at least part of the trip. That’s just what the project members — and no doubt the camping supply companies and other interests that helped fund the project — are hoping for. Suggestions from national parks and other hiking destinations that backpackers are declining must frighten the industry that supplies them as well as conservationists. Reasons for the decline? Backpacking is hard work. Mile ... Mile & a Half effectively portrays this as the party struggles up endless snow fields to attain mountain passes approaching 13,000 feet. One of the members finds the going so tough that he drops out after a couple of days. The effort required is multiplied by the weight of camera and sound equipment the hikers carry. They marvel at the size of blisters that sprout on their feet. But as the bear who went over the mountain knows, there’s another side. Those ascents are rewarded with spectacular vistas and often a long, onyour-bottom glissade down the other side. Camaraderie among the hikers is infectious, and the group that began as five and dropped to four picks up several followers before the journey ends at the top of 14,505-foot Mount Whitney. That journey began in Yosemite, just beyond the Muir Trail’s start (the group wasn’t able to get permits for the first leg). The granite domes and wide meadows of Yosemite contrast sharply with the upright basalt of the Ansel Adams Wilderness to the south and the rocky, snow-covered heights of Kings Canyon National Park further on. The party camps at idyllic lakes, where they track the changing color of the evening sky and the revolving curtain of stars overhead. The wilderness is captured on film and in still photography. Fellow hikers are seen painting landscapes, and the sound of rushing water provides a soundtrack. But words fail the hikers as they try to articulate the grandeur and their exertion. Often, the narration is more about the making of the experience — a documentary about the documentary — than the experience itself. The only profound statement comes from a hiker the group encounters who is retracing his steps of 50 years past. Fewer comments would have given nature more time to speak. ◀

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Robert Ker I For The New Mexican Man of Steel, superhero action, rated PG-13, Regal Stadium 14, 3.5 chiles Superman may be faster than a speeding bullet, more powerful than a locomotive, and able to leap tall buildings in a single bound, but one thing the big guy has struggled with is getting a decent movie made about him. Since 1980’s Superman II, the hero has been thwarted by lame jokes, disastrous sequels, Hollywood turnaround, and false starts. It seemed like he had a promising fresh beginning with director Bryan Singer’s 2006 effort Superman Returns, but the results were dull and disappointing, and the silver screen remained Kryptonite. However, with the wild success that Christopher Nolan had in rebooting Batman and the even wilder success that Marvel had in rolling out many of its heroes before uniting them in The Avengers, it remained clear that Superman is too lucrative a property to lie dormant for long. So Warner Brothers, part of the same corporation that owns DC Comics, brought Superman back — carefully. The company hired Zack Snyder to direct and brought in Nolan and screenwriter David S. Goyer to help conceive the film; these are the creative minds who helped hatch 300, Watchmen, the latest Batman trilogy, and the Blade movies. You’ll notice that the title does not contain the word Superman. You’ll barely hear it in the film, and you won’t see Clark Kent at a computer in the offices of The Daily Planet. This movie lays the groundwork for all of that; it’s “Superman Begins,” if you will. This foundation is dark and surprisingly violent; it eschews the colorful take on the Christopher Reeve-era Superman in favor of an approach that’s gritty and occasionally cinema vérité in style. The realism works surprisingly well, lending weight and a sense of awe to the superpowers. The film is also loaded with details that further imbue it with wonder, such as an early scene with Superman floating unconscious in the deep of the ocean as humpback whales swim above him. The story is mainly the setup that we all know: a dying planet, a baby in a spaceship, a Kansas cornfield, and so on. Here, Superman is pursued through space by General Zod (a grisly Michael Shannon), which leads to a climactic battle with massive destruction. Although the true carnage happens off-screen, the ruination and loud violence may be too much for children (and some adults). With the unfortunate exception of Henry Cavill, who looks the part but is often too stiff as Superman, the cast — which includes Russell Crowe, Lawrence Fishburne, and Kevin Costner — is inspired. If you think a Superman story is only as good as its Lois Lane, then fear not: Amy Adams is smart, assertive, funny, and downright perfect as the heroine reporter. The next time out, hopefully we’ll get more of her and a lighter, more playful tone. Man of Steel is a self-assured first step. Up, up, and away. ◀

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a combination of hard work, awe, and camaraderie. The group’s journey from Yosemite south to 14,505foot Mount Whitney yields a beautiful accounting of the varied terrain and its attractions, grand and small. Efforts to put the experience into words often fall flat, but that doesn’t matter. The lakes, peaks, and wildflowers are too beautiful for words. Screens at 7 p.m. Wednesday, June 26, only; producer and co-director Ric Serena attends. Not rated. 87 minutes. The Screen, Santa Fe. (Bill Kohlhaase) See review, Page 56. MONSTERS UNIVERSITY Pixar continues to roll out sequels to its biggest hits, with this follow-up to 2001’s Monsters, Inc. coming on the heels of Cars 2 and Toy Story 3 and with a Finding Nemo sequel in the works. This movie takes a look at the college days of monsters Mike and Sulley (voiced once more by Billy Crystal and John Goodman), during which the two get booted from school and must find a way to get back in. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed)

Couch potatoes in crime: Emma Watson (center) and the girls of The Bling Ring

opening this week BLANCANIEVES In his striking silent-movie adaptation of Snow White, Spanish director Pablo Berger transfers the setting to Spain in the early 20th century and makes his heroine the daughter of a famous bullfighter. There’s a wicked stepmother — an irresistibly overthe-top Maribel Verdú (Pan’s Labyrinth) — and a troupe of seven bullfighting dwarfs. The fairy-tale sisterhood has been a popular vein to mine in recent movies (Snow White and the Huntsman, Mirror Mirror), and true to contemporary sensibilities, Blancanieves grows up not just beautiful but tough and resourceful enough to take charge of her own life, if not to save it. Blancanieves swept the Goyas (Spain’s Oscars) with 10 wins, including best picture. Berger directs this retro tour de force with great gusto, and the performances are excellent. Rated PG-13. 105 minutes. Silent film with intertitles. The Screen, Santa Fe. ( Jonathan Richards) See review, Page 55. THE BLING RING Writer and director Sofia Coppola presents a story, based on true events, about a bunch of teenagers who are so obsessed with the gaudy

PASATIEMPO I June 21-27, 2013

trappings of fame they see on gossip websites that they decide to rob some of the featured celebrities, including Paris Hilton. The kids relieve these stars not of money but of their Gucci bags and Dolce & Gabbana sunglasses, which they use to feel luxurious themselves. Emma Watson (Hermione from the Harry Potter movies) stars. Rated R. 90 minutes. Regal DeVargas, Santa Fe. (Not reviewed) THE EAST As with The Bling Ring, this movie centers on a group of young people who break into the homes of wealthy people — only these protagonists attack morally bankrupt members of the 1 percent to do unto them what they do unto the 99 percent: spy, steal, poison, and so on. The story centers on an operative at a private investigation firm (Brit Marling) who is asked to find these vigilantes and ends up sympathizing with them. Ellen Page co-stars. Rated PG-13. 116 minutes. Regal DeVargas, Santa Fe. (Not reviewed) MILE ... MILE & A HALF The Muir Project — a collaboration of filmmakers and artists who spent 25 days traversing California’s Sierra Nevada along the 211-mile John Muir Trail — entices hikers with stunning vistas and craftily framed close-ups of wildflowers, cascades, trees, and the trail itself. The film gives a sense of what it’s like to walk among the mountains:

MUCH ADO ABOUT NOTHING Does it trouble you that Joss Whedon — creator of Buffy the Vampire Slayer and The Avengers — is adapting Shakespeare? Well, let me convert your thoughts of woe into hey-nonnynonny, because this sweet, shortened version of this beloved comedy is a sunny, effervescent, and refreshing summer treat. Don Pedro (Reed Diamond), Don John (Sean Maher), and Pedro’s friends Claudio (Fran Kranz) and Benedick (Alexis Denisof) are visiting the home of high-powered politician Leonato (Clark Gregg), father of young Hero ( Jillian Morgese) and uncle of sharp-tongued Beatrice (Amy Acker). Claudio falls in love with Hero, and plans for their wedding begin. Older, cynical, and snarky, Benedick and Beatrice clearly have a thing for each other but refuse to admit it, cloaking their affection in scathing sarcastic barbs. Meanwhile, Don John plots to destroy the romance between Claudio and Hero and to impugn the poor girl’s virtue. Rated PG-13. 107 minutes. Center for Contemporary Arts, Santa Fe. (Laurel Gladden) See review, Page 54. PERFORMANCE AT THE SCREEN The series of high-definition screenings of performances from afar continues with a showing of Berlioz’s Les Troyens from the Royal Opera House in London. Eva-Maria Westbroek, Fabio Capitanucci, and Anna Caterina Antonacci star. 11 a.m. Sunday, June 23, only. Not rated. 285 minutes, including two intermissions. The Screen, Santa Fe. (Not reviewed)

SOMETHING IN THE AIR French director Olivier Assayas offers an account of his youth in 1960s and ’70s France, and while he doesn’t entirely avoid Wonder Years clichés, the director keeps things fresh and lively with a colorful look, an immediacy that makes you feel invested in the action, and his peerless ear for pop music. The story centers on a teenager named Gilles (Clément Métayer) and his group of idealistic friends, who are leaving school and discovering there’s a wider world out there, one where they travel, make love, listen to music, create art, push the boundaries of protest where they can, and fight injustice wherever they see it. The movie goes down easy, even if the results are less robust and memorable than Bernardo Bertolucci’s 2003 look at youth in 1960s Paris, The Dreamers. Not rated. 122 minutes. In French, English, and Italian with subtitles. The Screen, Santa Fe. (Robert Ker) WORLD WAR Z The slow, lurching march of zombie movies continues, as Max Brooks’ bestseller about a global pandemic and the one man (played here by Brad Pitt) who travels the world to stop it arrives on the big screen courtesy of director Marc Forster (Quantum of Solace). Rated PG-13. 115 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed)

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 plants and animals of the planet have wisely evolved to hunt and destroy humans, and the son finds himself fighting for his life. Rated PG-13. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) 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 and the ways they make each other laugh and think and cry and rage. Both actors are as good or better than they have ever been. Rated R. 108 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards)

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 straightto-DVD, 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. (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)

World War Z

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 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. (Robert Ker)

THE GREAT GATSBY Baz Luhrmann’s movie rendering of F. Scott Fitzgerald’s classic 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 DeVargas, Santa Fe. ( Jonathan Richards)

KON-TIKI The 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. Pål 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) continued on Page 60

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LOVE IS ALL YOU NEED Danish director Susanne Bier, who normally deals in bleaker material, has gone all soft and cuddly in this romantic comedy about two lost souls who unite, 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 film, 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)

NOW YOU SEE ME First, assemble a highly watchable cast, which includes Woody Harrelson, Jesse Eisenberg, Morgan Freeman, Michael Caine, Mark Ruffalo, and Mélanie Laurent. Then 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, 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. (Robert Ker)

MAN OF STEEL The big screen has been Kryptonite to Superman — the hero has been thwarted by bad sequels, Hollywood turnaround, and false starts since 1980’s Superman II. Director Zach Snyder (Watchmen) reboots the character from the ground up (no need for a story recap — you know the deal) with help from writers Christopher Nolan and David S. Goyer (who teamed up on The Dark Knight). This result is (sometimes too) dark and violent yet promising; it favors a realistic approach that lends a sense of awe to that which is super. With the exception of Henry Cavill, who looks the part but is often too stiff as Superman, the cast — which includes Michael Shannon, Russell Crowe, and Kevin Costner — is inspired, none more so than Amy Adams as Lois Lane. Up, up, and away. Rated PG-13. 143 minutes. Screens in 3D and 2D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; shows in 2D only at Storyteller, Taos. (Robert Ker) See review, Page 57.

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 Maharaj-ji. However, the film misses opportunities to showcase Das’ music at greater length and to explore his admitted inconsistencies more thoroughly and critically. Not rated. 74 minutes. The Screen, Santa Fe. (Loren Bienvenu)

MUD Matthew McConaughey is in top form as Mud, an Arkansas Delta backcountry 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 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)

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PASATIEMPO I June 21-27, 2013

THE PURGE This movie imagines a future America in which peace is kept by giving the population 12 hours a year in which to commit whatever crimes they’ve secretly been wanting to perform on the other 364.5 days. The premise is cynical but has potential — too bad it’s 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) STAR TREK: INTO DARKNESS In the newest Star Trek movie, director J.J. Abrams ups the ante on action and visual effects. Kirk (Chris Pine) and Spock (Zachary Quinto) are at odds after a violation of the Prime Directive and the arrival of a genetically enhanced villain (Benedict Cumberbatch). The film 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 2-D only 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 James Franco, Jonah Hill, Seth Rogen, Danny McBride, Craig Robinson, and Jay Baruchel are holed up in Franco’s mansion when the apocalypse hits during a raging party. These guys aren’t playing characters — they’re playing themselves, often as preening, egotistical jerks. Suffice it to say, the mileage you get out of this comedy will vary depending on how much you like these dudes. The party portion of the movie is much more lively than the lockdown that follows, but there are plenty of laughs and some inspired bits in between the slow stretches. Emma Watson and Michael Cera kill in their cameos, and the cocky, obnoxious McBride pretty much steals the show. Rogen and Evan Goldberg, who collaborated on Superbad and Pineapple Express, co-direct with a light touch; if it looks like a film made by a bunch of buddies trying to crack each other up, that’s because it is. Rated R. 107 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker) 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, 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 7:30 p.m. Sunday, June 23: Currents presents Experimental Documentaries Program 1. 7:30 p.m. Thursday, June 27: Currents presents Experimental Documentaries Program 2. Regal Stadium 14 7 p.m. Thursday, June 27: White House Down. 10 p.m. Thursday, June 27: The Heat. Taos Community Auditorium 133 Paseo del Pueblo Norte, Taos, 575-758-2052 Sunday-Monday, June 23-25: Ginger & Rosa. ◀

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 Frances Ha (R) Fri. and Sat. 5:45 p.m., 8 p.m. Mon. to Wed. 5:30 p.m., 7:30 p.m. Thurs. 5 p.m. Kon-Tiki (PG-13) Fri. and Sat. 12:30 p.m. Mon. to Thurs. 12:30 p.m. Much Ado About Nothing (PG-13) Fri. to Thurs. 11:45 a.m., 2 p.m., 4:10 p.m., 6:20 p.m., 8:30 p.m. Tiger Eyes (PG-13) Fri. and Sat. 3:45 p.m. Mon. to Thurs. 3 p.m. regAl deVArgAS

562 N. Guadalupe St., 988-2775 Before Midnight (R) Fri. and Sat. 1:40 p.m., 4:40 p.m., 7:10 p.m., 9:40 p.m. Sun. to Thurs. 1:40 p.m., 4:40 p.m., 7:10 p.m. The Bling Ring (R) Fri. and Sat. 1:10 p.m., 3:20 p.m., 5:30 p.m., 7:40 p.m., 10:15 p.m. Sun. to Thurs. 1:10 p.m., 3:20 p.m., 5:30 p.m., 7:40 p.m. The East (PG-13) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 10:10 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 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. regAl StAdium 14

3474 Zafarano Drive, 424-6296, www.fandango.com Call for times not noted. After Earth (PG-13) Fri. to Sun. 9:30 p.m. Epic (PG) Fri. to Sun. 2:35 p.m., 5:05 p.m., 10:40 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 Heat (R) Thurs. 10 p.m. The Internship (PG-13) Fri. to Sun. 11:45 a.m., 4:10 p.m., 7:10 p.m., 7:50 p.m. Man of Steel 3D (PG-13) Fri. to Sun. 12 p.m., 3:30 p.m., 7:05 p.m., 10:30 p.m., 11:30 p.m. Man of Steel (PG-13) Fri. to Sun. 12:30 p.m., 1 p.m., 4 p.m., 4:35 p.m., 7:30 p.m., 8 p.m., 11 p.m. Monsters University 3D (G) Fri. to Sun. 11:20 a.m., 2 p.m., 4:40 p.m., 7:15 p.m., 10 p.m. Monsters University (G) Fri. to Sun. 11 a.m., 11:40 a.m., 1:40 p.m., 2:25 p.m., 4:20 p.m., 5 p.m., 6:55 p.m., 7:35 p.m., 10:30 p.m. Now You See Me (PG-13) Fri. to Sun. 11:05 a.m., 1:50 p.m., 4:40 p.m., 7:25 p.m., 10:20 p.m. The Purge (R) Fri. to Sun. 1:10 p.m., 10:10 p.m. Star Trek Into Darkness (PG-13) Fri. to Sun. 12:50 p.m., 4:25 p.m., 7:40 p.m., 10:45 p.m. This Is The End (R) Fri. to Sun. 1:30 p.m., 4:20 p.m., 7:15 p.m., 10 p.m. White House Down (PG-13) Thurs. 7 p.m. World War Z 3D (PG-13) Fri. to Sun. 1:15 p.m., 4:15 p.m., 7:15 p.m., 10:15 p.m., 10:45 p.m. World War Z (PG-13) Fri. to Sun. 11 a.m., 1:45 p.m., 4:45 p.m., 7:45 p.m. the SCreen

1600 St. Michael’s Drive, 473-6494, www.thescreensf.com Blancanieves (PG-13) Fri. 6 p.m. Sat. 11:45 a.m., 6 p.m. Sun. 4:15 p.m. Mon. and Tue. 6 p.m. Wed. 4:45 p.m. Thurs. 6 p.m. Mile ... Mile & a Half (NR) Wed. 7 p.m. One Track Heart:The Story of Krishna Das (NR) Fri. and Sat. 2 p.m. Mon. and Tues. 11:45 a.m. Thurs. 11:45 a.m.

LesTroyens: london’s Royal Opera House (NR)

Sun. 11 a.m.

Something in the Air (NR) Fri. and Sat. 8 p.m. Sun. 6:30 p.m. Mon. and Tue. 1:15 p.m., 8 p.m. Wed. 12 p.m. Thurs. 1:15 p.m., 8 p.m. Stories WeTell (PG-13) Fri. and Sat. 3:40 p.m. Mon. and Tue. 3:40 p.m. Wed. 2:30 p.m. Thurs. 3:40 p.m. mitChell dreAmCAtCher CinemA (eSpAñolA)

15 N.M. 106 and U.S. 84/285, 505-753-0087 After Earth (PG-13) Fri. 4:40 p.m., 7:35 p.m., 9:50 p.m. Sat. 2:10 p.m., 4:40 p.m., 7:35 p.m., 9:50 p.m. Sun. 2:10 p.m., 4:40 p.m., 7:35 p.m. Mon. to Thurs. 4:40 p.m., 7:35 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. Man of Steel 3D (PG-13) Fri. 5 p.m., 8 p.m. Sat. 1:50 p.m., 5 p.m., 8 p.m. Sun. 1:50 p.m., 5 p.m. Mon. to Thurs. 5 p.m. Man of Steel (PG-13) Fri. 6:50 p.m., 10 p.m. Sat. 3 p.m., 6:50 p.m., 10 p.m. Sun. 3 p.m., 6:50 p.m. Mon. to Thurs. 6:50 p.m. Monsters University 3D (G) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. Monsters University (G) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. The Purge (R) Fri. 4:55 p.m., 7:30 p.m., 9:35 p.m. Sat. 2:20 p.m., 4:55 p.m., 7:30 p.m., 9:35 p.m. Sun. 2:20 p.m., 4:55 p.m., 7:30 p.m. Mon. to Thurs. 4:55 p.m., 7:30 p.m. This IsThe End (R) Fri. 4:45 p.m., 7:10 p.m., 9:45 p.m. Sat. 2:05 p.m., 4:45 p.m., 7:10 p.m., 9:45 p.m. Sun. 2:05 p.m., 4:45 p.m., 7:10 p.m. Mon. to Thurs. 4:45 p.m., 7:10 p.m. World War Z 3D (PG-13) Fri. 4:50 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:15 p.m., 4:50 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:15 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 p.m., 7:25 p.m. World War Z (PG-13) Fri. 4:50 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:15 p.m., 4:50 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:15 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 p.m., 7:25 p.m. mitChell Storyteller CinemA (tAoS)

110 Old Talpa Canon Road, 575-751-4245 Fast & Furious 6 (PG-13) Fri. and Sat. 4:25 p.m., 7:10 p.m., 10 p.m. Sun. to Thurs. 4:25 p.m., 7:10 p.m. Man of Steel (PG-13) Fri. 6:50 p.m., 9:50 p.m. Sat. 2:25 p.m., 6:50 p.m., 9:50 p.m. Sun. 2:25 p.m., 6:50 p.m. Mon. to Thurs. 6:50 p.m. Monsters University 3D (G) Fri. 4:30 p.m. Sat. and Sun. 2 p.m., 4:30 p.m. Mon. to Thurs. 4:30 p.m. Monsters University (G) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. The Purge (R) Fri. 4:55 p.m., 7:30 p.m., 9:35 p.m. Sat. 2:30 p.m., 4:55 p.m., 7:30 p.m., 9:35 p.m. Sun. 2:30 p.m., 4:55 p.m., 7:30 p.m. Mon. to Thurs. 4:55 p.m., 7:30 p.m. This IsThe End (R) Fri. 4:45 p.m., 7:15 p.m., 9:40 p.m. Sat. 2:05 p.m., 4:45 p.m., 7:15 p.m., 9:40 p.m. Sun. 2:05 p.m., 4:45 p.m., 7:15 p.m. Mon. to Thurs. 4:45 p.m., 7:15 p.m. World War Z 3D (PG-13) Fri. and Sat. 7:25 p.m., 9:55 p.m. Sun. to Thurs. 7:25 p.m. World War Z (PG-13) Fri. 4:50 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:15 p.m., 4:50 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:15 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 p.m., 7:25 p.m.

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RESTAURANT REVIEW Laurel Gladden I For The New Mexican

Have a Field day

Dr. Field Goods Kitchen 2860-A1 Cerrillos Road, 471-0043 Lunch & dinner 11:00 a.m. till closing Mondays-Saturdays; closed Sundays Takeout available Vegetarian options Outdoor dining in season Noise level: relaxed rock-and-roll vibe, friendly conversation Handicapped-accessible Beer & wine Credit cards, no checks

•

The Short Order Odds are, you’re going to feel good about Dr. Field Goods Kitchen, a newish eatery in a strip mall on Cerrillos Road near Jackalope. You might expect that a place with field in its name would be a veggieheavy establishment, and while it’s true that chef Josh Gerwin (formerly of Casa Vieja in Corrales) is dedicated to supporting local farmers and the menu does include dishes for vegetarians and vegans, meat is the heavy hitter here. Even diners with the heartiest of appetites will be hard-pressed to clean their plates. Recommended: green chile patatas bravas, onion rings, Cubano, goat torta, the New Mexican, and the BLT.

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.

PASATIEMPO I June 21-27, 2013

“Really good food brings the community together,” said one of my friends between mouthfuls of barbacoa torta. We were sitting at the hefty wood-topped bar that occupies much of the dining room at Dr. Field Goods Kitchen, a newish eatery in a strip mall near Jackalope. You might expect that a place with the word field in its name would be a veggie-heavy establishment. While it’s true that chef Josh Gerwin (formerly of Casa Vieja in Corrales) is dedicated to supporting local farmers and producers, and his menu does offer dishes for vegequarians, vegetarians, and vegans, meat is the heavy hitter here. On the goat torta, barbacoa gets a refreshing, slightly sweet contrast from a crunchy cabbage-apple slaw and some sneaky heat from a creamy, tangy habanero-goatcheese spread. Slaw — this time apple and jicama — shows up again on the New Mexican, a sandwich of tender pulled pork with a deep smokiness and pleasant heat from a picante green chile rub. The Cubano offers a healthy serving of ham, Cuban pork, Swiss cheese, mayo, and the requisite pickles. Calling a dish “bad-ass” on your menu might sound pompous, but Gerwin’s uncommon, indulgent BLT is becoming legendary around town. It’s 9 ounces of ground bacon formed into a concentrated meaty patty, roasted in a wood-fired oven, slathered with mayonnaise (a little too heavily, perhaps), and stacked on a roll with crisp lettuce and plump ripe tomatoes. Gerwin’s house-made bread accomplishes something rare — it has a crust that crunches under your teeth but then immediately yields its soft, sweet interior, so you’re not required to tug at the bread to force a bite to come away. With all the sandwiches here, even diners with the heartiest of appetites will be hard-pressed to finish half. One afternoon’s special, Manila clams cooked in sake, butter, and herbs and finished in the wood oven, made me dream of the seaside. The clams were hot and meaty, the broth deliriously rich, mildly bitter, and sweet all at the same time. We sopped up the broth with bites of the tender house-made potato bread and washed it down with a frosty pint glass of ice-cold Andygator — a slightly fruity and sweet doppelbock from Louisiana’s Abita Brewing Company that’s one of the eight rotating beers on tap here. The veggies are good too. The salad greens are some of the freshest and plumpest I’ve seen in town. Regardless of whether you think onion rings count as a vegetable, try these — thick loops of sweet onion in a thick, nubbly house-made batter. The Field Good potatoes have an almost magical combination of crispy tawny exteriors; fluffy, tender, well-cooked centers; and a near-complete lack of greasiness. When combined with green chile aioli and sharp cheddar in the patatas bravas, they become

a wild spin on green chile cheese fries with an intense garlic flavor, a healthy dose of salt, and just the right amount of heat. By some culinary miracle, the potatoes manage to stay crispy beneath their saucy topping. The margarita pizza is heavy with boldly colorful, terrifically ripe local tomatoes from Khalsa Greenhouses. The blisteringly hot wood-burning oven gives the crust those delicious blackened charcoaly spots. While the pizza is crispy around the edges, the center remains soft, chewy, and just a bit too doughy — the mozzarella and all those juicy tomatoes must make it hard to get the thing crisp. There were some other missteps. Our charred Caesar salad was overdressed to the point of being soupy, and while the salad itself arrived promptly along with the other meals, my fish add-on showed up at least five minutes later. Our veggie arancini were oddly flavorless. The bean-based patty termed a vegetarian “steak” is overly sweet and not cohesive; and on the afternoon we tried it, it was burnt black on one side. Service is neighborly and friendly, but when things get busy (which is often), the staff can get overwhelmed, and you might start to feel neglected. Music is always playing (reggae or grunge one day, classic rock the next), and while it’s fun, sometimes it’s so loud that it becomes a conversation stifler. Everyone in the kitchen seems to be having fun, though, and once you tuck into your plate of food, I’m betting you will be, too. ◀

Check, please

Lunch for two at Dr. Field Goods Kitchen: Arancini ...........................................................$ 6.00 Vegetarian “steak” salad ..................................$ 10.00 Cubano ............................................................$ 12.00 Arnold Palmer .................................................$ 3.00 TOTAL .............................................................$ 31.00 (before tax and tip) Lunch for three, another visit: Green chile patatas bravas ...............................$ 6.00 Caesar salad with fish ......................................$ 15.00 Pizza margarita ................................................$ 13.00 Goat torta ........................................................$ 13.00 New Mexican sandwich ...................................$ 12.00 Pint, Pabst Blue Ribbon ...................................$ 3.00 Pint, Abita Andygator ......................................$ 5.00 TOTAL .............................................................$ 67.00 (before tax and tip)

THIS Sunday, JunE 23

Building a Better District Construction crews are busy building new schools and renovating existing ones as part of an initiative to ensure that all of the district’s facilities are up to speed when it comes to serving the needs of children. The projects are utilizing money from general-obligation bonds approved by voters in both 2009 and 2013.

Though questions remain about some $35 million in GO bond money allocated toward still-undeveloped highschool reform plans, for the most part proponents believe the money is being well spent and that construction is moving along at an acceptable rate.

See Sunday’s New Mexican for a look at ongoing school-construction projects occurring around town this summer.

As students at Kearny Elementary School put it, hopefully when all is said and done their renovated school “will look like the White House.”

PASATIEMPOMAGAZINE.COM

pasa week Friday, June 21

William r. Talbot Fine art, antique maps & prints 129 W. San Francisco St., second floor, 982-1559. Indian Summer, 1830-1940, works by Karl Bodmer, George Catlin, Peter Moran, and Datus Myers, through Sept. 7. Worrell gallery 103 Washington Ave., 989-4900. Watercolors by Rance Jones; oil paintings by David Griffin, reception 5-7 p.m.

gallery/museum openings

anagr.am 916 Baca St., 490-6577. Studio open house 5:30-7:30 p.m. axle Contemporary 670-7612 or 670-5854. The Renga Project, yearlong public-art installation of a sign with revolving poems by New Mexico poets, between SITE Santa Fe and Warehouse 21, across from the Santa Fe Farmers Market Pavilion, reading by poet Dana Levin 6 p.m., visit axleart.com for schedule of weekly readings (see Subtexts, Page 16). David richard gallery 544 S. Guadalupe St., 983-9555. A Career Exploring Color and Visual Perception, paintings by Paul Reed, through July 27; Slave to Love, work by Steven Alexander, through July 27. gary Kim Fine art gallery 228 Old Santa Fe Trail, 699-8738. 2013 Plein Air Santa Fe Exhibit, group show, reception 5-7 p.m., through July 7. gF Contemporary 707 Canyon Rd., 983-3707. Glance at the Sun, group show of mixed media, reception 5-7 p.m., through July 3. giacobbe-Fritz Fine art 702 Canyon Rd., 986-1156. Ben Steele’s Wild West Art Show: The Best Show on Canvas, reception 5-7 p.m., through July 10. Hunter Kirkland Contemporary 200-B Canyon Rd., 984-2111. Nothing but Life, paintings by Rick Stevens, reception 5-7 p.m., through July 7. Jane sauer gallery 652 Canyon Rd., 995-8513. Seeing, Sensing, Savoring, and Stitching, work by Cindy Hickok, reception 5-7 p.m., through July 9. meyer east gallery 225 Canyon Rd., 983-1657. Modern Times, new paintings by Robert LaDuke, reception 5-7 p.m., through July 4. meyer gallery 225 Canyon Rd., 983-1434. Paintings by Ken Daggett, reception 5-7 p.m., through June 27. museum of spanish Colonial art 750 Camino Lejo, Museum Hill, 982-2226. Beltrán-Kropp Peruvian Art Collection, 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 2:45 p.m., through May 27, 2014, $5. new mexico History museum/palace of the governors 113 Lincoln Ave., 476-5200. Water Over Mountain, Channing Huser’s photographic installation, reception 5 p.m. (see story, Page 38).

Pasa’s Little Black Book......... 65 Exhibitionism...................... 66 At the Galleries.................... 67 Libraries.............................. 67 Museums & Art Spaces........ 67

PASATIEMPO I June 21-27, 2013

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

ClassiCal musiC

TgiF new mexico 430 recital Music of Haydn and Krommer, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated, 982-8544, Ext.16.

in ConCerT

la Fête de la musique Performers include Indigie Femme, Faith Amour, and Eileen Meyer, 5 p.m., Café des Artistes, 223 Canyon Rd., no charge, presented by Santa Fe Accueil, santafeaccueil.com. new mexico gay men’s Chorus The Best Is Yet to Come, Santa Fe Gay Pride Festival event, 7:30 p.m., National Dance Institute of New Mexico Dance Barns, 1140 Alto St., $20 in advance online at nmgmc.org, discounts available. santa Fe Bandstand Concert The summer series opens with two salsa bands, Ivon Ulibarri & Café Mocha at 6 p.m. followed by Son Como Son at 7:15 p.m.; on the Plaza, santafebandstand.org, continues through Aug. 23 (see story, Page 24). soul-stice Bliss Local duo Mystic Measures celebrates the summer equinox, 8 p.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $15 at the door, 983-5022.

THeaTer/DanCe

Matthews Gallery shows work by Kate River, 669 Canyon Rd.

nüart gallery 670 Canyon Rd., 988-3888. Undertow, new paintings by John Tarahteeff, reception 5-7 p.m., through July 7 (see story, Page 42). pop gallery 142 Lincoln Ave., Suite 102, 820-0788. Urban Enchantments, New Visions of Iconic New Mexico, photo-based work by Jacob Johnson, reception 5 p.m., through July. santa Fe arts Commission Community gallery Santa Fe Community Convention Center, 201 W. Marcy St., 955-6705. Viva Flora: Treasured Plants of New Mexico, group show, reception 5-7 p.m., through Aug. 23. silver sun gallery 656 Canyon Rd., 983-8743. New Earth, paintings and prints by Gail Buono, reception 5-7 p.m., through July 2.

In the Wings....................... 68 Elsewhere............................ 71 People Who Need People..... 71 Under 21............................. 71 Pasa Kids............................ 71

studio Vaillancourt 821 Canyon Rd., 231-8961. A Painter’s Peru, watercolors and oil paintings by Sandy Vaillancourt and photographs by Jeff Della Penna, reception 5:30-7:30 p.m. Turner Carroll gallery 725 Canyon Rd., 986-9800. New work by ceramicist Wanxin Zhang, reception 5-7 p.m., through Aug. 18. unitarian universalist Congregation of santa Fe 107 W. Barcelona Rd., 982-9674. LGBT Artists’ 2013 Pride Art Show, reception 5-8 p.m., through June. Wheelwright museum of the american indian 704 Camino Lejo, 982-4636. It’s in the Details, beadwork and fashion by Orlando Dugi and Kenneth Williams, reception 5-7 p.m.

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-Sundays through June. Little Shop of Horrors Darling Starr Productions presents the musical, 7 p.m., Warehouse 21, 1614 Paseo de Peralta, $10, 989-4423, through Sunday. 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, final weekend.

BooKs/TalKs

Currents 2013: The santa Fe international new media Festival panel discussion Art and the Legacy of Artificial Life, the public is invited to a discussion led by University of North Texas professors, 6-8 p.m., Zane Bennett Contemporary Art, 435 S. Guadalupe St., currentsnewmedia.org, no charge.

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.

Sophie Cabot Black and Michelle Laflamme-Childs Black reads from her latest work The Exchange: Poems, and New Mexico poet Laflamme-Childs reads from her work-inprogress Some of 613, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. Valerie Martínez and Donald Levering The local poets read from their collections, 8 p.m., Teatro Paraguas Studio, 3205 Calle Marie, no charge, 424-1601.

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. 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.

22 Saturday

outDoorS

niGhtLiFe

(See addresses below) Cowgirl BBQ Busy & The Crazy 88, Busy McCarroll, Kevin Zoernig, Baird Banner, and Justin Bransford, 8:30 p.m.-close; no cover. La Fiesta Lounge at La Fonda Americana band Boris & The Salt Licks, 8-11 p.m., no cover. the Palace restaurant & Saloon Rock cover band Chango, 9:30 p.m., call for cover. Second Street Brewery Swing Soleil, Gypsy jazz/swing, 6 p.m., no cover. Second Street Brewery at the railyard Troy Brown Trio, Americana, 7-10 p.m., no cover. tiny’s Classic-rock band The Jakes, 8:30 p.m., no cover. the underground at evangelo’s Blues-punk duo Copper Gamins, 11:30 p.m., call for cover. upper Crust Pizza Songwriter/guitarist Michael Clay Mills, 6 p.m., no cover. Veterans of Foreign Wars Local band Lori and The Santa Fe Players, 8 p.m.-close, call for cover. Vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; pianist/vocalist Bob Finnie, pop standards, 8 p.m.-close, no cover.

Acoustic recital Martha Reich, Michael Kott, and Laurianne Fiorentino, Joey Wilson opens, 7:30 p.m., Iconik Coffee Roasters, 1600 Lena St., $15 at the door, 428-0996. 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 p.m.

Solstice moon hike Park ranger Peter Lipscomb leads the way at Cerrillos Hills State Park, 7 p.m., 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.

eVentS

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. today and Saturday, Santa Fe Community Convention Center, $3, ages 12 and under no charge, 577-4742, santafegreekfestival.com. 64th Annual Santa Fe rodeo 6:30 p.m., Santa Fe Rodeo Grounds, 3237 Rodeo Rd., $10-$37, ticketssantafe.org, 988-1234, concludes Saturday. the Alzheimer’s Poetry Project Meets Cowboys Real and Imagined Gary Glazner leads the workshop in conjunction with the New Mexico History Museum exhibit, 10-11 a.m., 113 Lincoln Ave., no charge with reservation, 577-2250 or gary@alzpoetry.com. 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., Santa Fe Rodeo Grounds, $65, 988-1234, ticketssantafe.org.

GALLery/MuSeuM oPeninGS

nedra Matteucci Galleries 1075 Paseo de Peralta, 982-4631. Works From My Wish List, plein air paintings by Curt Walters, reception 2-4 p.m., through July 13.

in ConCert

theAter/DAnCe

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. Little Shop of Horrors Darling Starr Productions presents the musical, 7 p.m., Warehouse 21, 1614 Paseo de Peralta, $10, 989-4423, through Sunday. 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, final weekend.

BookS/tALkS

Casey Jones The author signs copies of her memoir And the Angel Rocked Me, noon-2 p.m., Hastings Books, Movies, and Videos, 542 N. Guadalupe St., 988-3973.

From Chaos to Complexity: the Particular in the universal, and the universal in the Particular A talk by professor Luis M.A. Bettencourt and Cherokee artist Kade L. Twist, 2-4 p.m., Museum of Contemporary Native Arts, 108 Cathedral Pl., by museum admission, 428-5907. Learning Las Vegas: Portrait of a northern new Mexican Place Panel discussion and book signing with author Elizabeth Barlow Rogers, 2 p.m., New Mexico History Museum Auditorium, 113 Lincoln Ave., no charge, 476-5200 (see story, Page 50). oliver Prezant Opera as Biography discussion of Verdi’s La Traviata and Theo Morrison’s Oscar, 10 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

outDoorS

Bird walk at the Leonora Curtin Wetland Preserve 8 a.m., 27283 W. Frontage Rd., adjacent to El Rancho de las Golondrinas, no charge, call Santa Fe Botanical Garden for details, 471-9103.

eVentS

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., Santa Fe Community Convention Center, $3, ages 12 and under no charge, santafegreekfestival.com, 577-4742. 64th Annual Santa Fe rodeo 6:30 p.m., Santa Fe Rodeo Grounds, 3237 Rodeo Rd., $10-$37, 988-1234, ticketssantafe.org. AiA Digital Dome screenings Currents 2013: The Santa Fe International New Media Festival event hosted by Institute of American Indian Arts, 83 Avan Nu Po Rd., 3-5 p.m., no charge, currentsnewmedia.org.

pasa week

d Wine Bar 315 restaurant an 986-9190 il, Tra Fe a nt 315 Old Sa nch resort & Spa Bishop’s Lodge ra ., 983-6377 Rd e dg Lo 1297 Bishops Café Café 6-1391 500 Sandoval St., 46 ó Casa Chimay 8-0391 409 W. Water St., 42 ón ¡Chispa! at el Mes 983-6756 e., Av ton ing 213 Wash uthside Cleopatra Café So 4-5644 47 ., Dr o 3482 Zafaran Counter Culture 5 930 Baca St., 995-110 Cowgirl BBQ , 982-2565 319 S. Guadalupe St. Café te the Den at Coyo 3-1615 98 , St. r ate W 132 W. at the Pink the Dragon room a Fe Trail, nt Sa d Ol Adobe 406 983-7712 lton el Cañon at the hi 811 8-2 98 , St. al ov nd 100 Sa Spa eldorado hotel & St., 988-4455 o isc nc Fra n 309 W. Sa el Farol 3-9912 808 Canyon Rd., 98

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 nt La Casa Sena Ca 8-9232 98 e., Av e lac 125 E. Pa at La Fonda La Fiesta Lounge , 982-5511 St. o isc nc 100 E. San Fra a Fe resort nt Sa de da La Posa e Ave., 986-0000 lac Pa and Spa 330 E. g Arts Center Lensic Performin St., 988-1234 o 211 W. San Francisc Sports Bar & Grill the Locker room 3-5259 47 2841 Cerrillos Rd., the Lodge at ge un Lo e Lodg St. Francis Dr., N. 0 75 Fe at Santa 992-5800 the Matador o St., 984-5050 116 W. San Francisc vern ta the Mine Shaft 473-0743 d, dri Ma , 14 2846 NM Museum hill Café lner Plaza, 984-8900 710 Camino Lejo, Mi & Lounge Molly’s kitchen 3-7577 98 , 1611 Calle Lorca

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

continued on Page 69

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 Veterans of Foreign Wars 307 Montezuma Ave., 983-9045 Zia Diner 326 S. Guadalupe St., 988-7008

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exhibitionism

A peek at what’s showing around town

Rick stevens: Penetrating the Mystery, 2013, oil on canvas. Nothing but Life is an exhibit of new abstract paintings by Rick Stevens at Hunter Kirkland Contemporary (200-B Canyon Road). The artist’s work is full of light and color, and he draws inspiration from the natural world. The show opens Friday, June 21, with a reception at 5 p.m. Call 984-2111.

Robert LaDuke: Greener Grass, 2013, acrylic on panel. Plains, trains, and automobiles roaring through urban, rural, and western settings are the subjects of Robert LaDuke’s exhibition Modern Times at Meyer East Gallery (225 Canyon Road). His paintings have a retro look recalling America at midcentury. The show opens with a 5 p.m. reception on Friday, June 21. Call 983-1657.

Karl bodmer (1809-1893): Abdih-Hiddisch: A Minatarre Chief (detail), 1839-1840, etching. William Talbot Fine Art (129 W. San Francisco St., second floor) presents the exhibition Indian Summer, 18301940. The show includes works from the early 19th century through the modernist era that depict Native American cultures and opens on June 21 (there is no reception). Works by George Catlin, Gerald Cassidy, Emil Bisttram, and others as well as historic maps of the Southwest, New Mexico, and Indian Territory are available for viewing. Call 982-1559.

PASATIEMPO I June 21-27, 2013

Yoshi nakano: Popsicle Jazz, 2012, sumi, washi, pigment, and beeswax. Sachi Organics (523 W. Cordova Road) presents an exhibition of Yoshi Nakano’s calligraphy-based artwork. Brush Spirit With Five Elements: Brush, Sumi, Washi, Pigment, and Beeswax opens Sunday, June 23, with a reception at 1 p.m. Nakano is the founder of Tucson’s Zen Tribe Wellness, a center that includes workshops in calligraphy, Taoist cooking, and massage therapy. Call 982-3938.

ben steele: Cody’s Crayons, 2013, oil on canvas. Ben Steele’s Wild West Art Show: The Best Show on Canvas is the latest exhibition at Giacobbe-Fritz Fine Art (702 Canyon Road). Steele combines references to art history and popular culture in his trompe l’oeil work. The show opens with a 5 p.m. reception on Friday, June 21. Call 986-1156.

At the GAlleries A Gallery Santa Fe 154 W. Marcy St., Suite 104, 603-7744. Annual Alumni Show, through July 27. Bellas Artes 653 Canyon Rd., 983-2745. The Maquettes, work by ceramicist Ruth Duckworth (1919-2009), through July 27. David Rothermel Contemporary Fine Art 616½ Canyon Rd., 575-642-4981. New work by Rothermel, through June 28. LewAllen Galleries Downtown 125 W. Palace Ave., 988-8997. Internal Narratives, paintings by Sammy Peters, through July 7. Matthews Gallery 669 Canyon Rd., 992-2882. Variations, mixed-media work by Kate Rivers, through Thursday, June 27. William Siegal Gallery 540 S. Guadalupe St., 820-3300. Sutras, works by Polly Barton and Alison Keogh, through July 6.

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; students18 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 WednesdaySaturday, 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; no charge for NM residents over 60 on Wednesdays; no charge for NM residents on Sundays; school groups no charge. Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 982-2226. Beltrán-Kropp Peruvian Art Collection, exhibit of gift items, including a permanent gift of sixty art pieces and objects from the estate of Pedro Gerardo Beltrán Espantoso,

Peru’s ambassador to the U.S. (1944-45), opening 2:45 p.m. Friday, June 21, through May 27, 2014 • Stations of the Cross, 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, straw appliqué, and paintings on tin, and retablos • 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. TuesdaySunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays. New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 476-5200. Water Over Mountain, Channing Huser’s photographic installation, reception 5 p.m. Friday, June 21 (see story, Page 38) • 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; $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.

pablita Velarde Museum of indian Women in the Arts shows paintings by helen hardin (1943-1984) in the exhibit A Straight Line Curved.

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In the wings MUSIC

Genevieve Leitner Classical guitar recital, 7 p.m., Music Room at Garrett’s Desert Inn, 311 Old Santa Fe Trail, $10 in advance, brownpapertickets.com, $15 at the door, 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, 670-6482. Lady Ella & Lady Day Jazz vocalist Cristianne Miranda pays tribute to Ella Fitzgerald and Billie Holiday, with the Bert Dalton Trio, 6 p.m. Sunday and Monday, July 7-8, La Casa Sena Cantina, 125 E. Palace Ave., $25, 988-9232. 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. Santa Fe Desert Chorale 2013 Summer Festival The thirty-first season, July 11-Aug.19, features Romance to Requiem with Susan Graham and an evening of cabaret with Sylvia McNair, Santa Fe and Albuquerque, advance tickets available at the box office, 311 E. Palace Ave., 988-2282, or online at desertchorale.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. 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.

HAPPENINGS

Deadwood Duet and Love’s Lonely Highway Southwest Rural Theatre Project presents two one-act plays by Brad Gromelski and New Mexico playwright Patricia Crespin’s drama respectively; Deadwood Duet, Friday-Sunday, June 28-30; Love’s Lonely Highway, Friday-Sunday, July 5-7; Teatro Paraguas Studio, 3205 Calle Marie, $12, discounts available, 424-1601, teatroparaguas.org. Juan Siddi Flamenco Theatre Company The season runs July 2 through Sept. 1, all performances at 8 p.m. Tuesdays-Sundays, The Lodge at Santa Fe, $25-$55, discounts available, 988-1234, ticketssantafe.org. 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. Kicking a Dead Horse Fusion Theatre presents Sam Shepard’s 2007 drama, 2 and 8 p.m. Saturday, July 20, the Lensic, $10-$40, ticketssantafe.org, 988-1234. Gross Indecency: The Three Trials of Oscar Wilde Santa Fe REP presents a reading of Moises Kaufman’s play, 7 p.m. Friday, 4 p.m. Sunday, July 26 and 28, Santa Fe Woman’s Club, 1616 Old Pecos Trail, $15, discounts available, 629-6517 or sfrep.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.

THEATER/DANCE

2013 BUST Circus arts and puppetry troupe Wise Fool New Mexico spotlights its circuscamp 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. 68

PASATIEMPO I June 21-27, 2013

Upcoming events

Runa in concert July 27, at gig performance space

Santa Fe Opera community events Ranch Tours, extended tours of the grounds with a meet-the-artist component, June 28, July 26, and August 30, tour $12, added backstage tour $20, call 986-5900, visit santafeopera.org for a schedule of other community events. Pancakes on the Plaza Breakfast served 7 a.m.-noon Thursday, July 4; all-day events include children’s activities, musicians, and an arts & crafts show, tickets for breakfast $6 in advance, $7 day of event, call 274-2266 or visit pancakesontheplaza.com for ticket venues. Young Natives Arts & Crafts Show Children and grandchildren of the artists associated with the Palace of the Governor’s Portal Program sell their wares, 9 a.m.-3 p.m. Saturday and Sunday, July 6-7, Palace Courtyard, 476-5200. 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. Saving Wild Horses Gala fundraiser for Center for Inter Species Peace & Justice (New Mexico Chapter of the American Mustang & Burro Association), includes art exhibit, refreshments, and equestrian fashion show, 6:30 p.m. Saturday, July 6, La Tienda at Eldorado, 7 Caliente Rd., $15 suggested donation, tickets available at the Feed Bin, 1202 W. Alameda St., 982-0511, for more information call 466-3240. 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 FridaySunday, 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. 41st Annual Girls Inc. Arts & Crafts Show On the Plaza 9 a.m.-5 p.m. Saturday and Sunday, Aug. 3-4, 982-2042, girlsincofsantafe.org. SITE Santa Fe Gala Featuring a live auction of contemporary art; guest artist Richard Tuttle; Wednesday and Thursday, Aug. 7-8, 1606 Paseo de Peralta, 989-1199. 30th Annual Antique Ethnographic Art Show Gala preview Thursday, Aug. 8, show Friday and Saturday, Aug. 9-10, Santa Fe Community Convention Center, 201 W. Marcy St., 955-6707, preview opening $75, general admission $10, whitehawkshows.com 992-8929. Santa Fe Show: Objects of Art More than 65 galleries and exhibitors, gala opening night Friday, Aug. 9, expo Aug. 10-13, El Museo Cultural de Santa Fe, 555 Camino de la Familia, $13 run-of-show, opening-night gala $50, tickets available in advance online at thesantafeshow.com, proceeds benefit New Mexico PBS. 35th Annual Invitational Antique Indian Art Show Gala preview Sunday, Aug. 11, show Monday and Tuesday, Aug. 12-13, Santa Fe Community Convention Center, 201 W. Marcy St., gala preview opening $75, general admission $10, whitehawkshows.com, 992-8929. 92nd Annual Indian Market Monday-Sunday, Aug. 12-16; more than 1,000 Native artists; market events include the 13th Annual Native Cinema Showcase; Best of Show ceremony and luncheon; concerts; and a Native American Clothing Contest; on the Plaza and surrounding streets, visit swaia.org for full events schedule. 38th annual Wheelwright Museum of the American Indian benefit auction Silent auction and live auction preview Thursday, Aug. 15; The Collector’s Table, live auction preview, and live auction Friday, Aug. 16; plus, artist demonstrations and optional catered lunch, 704 Camino Lejo, Museum Hill, 982-4636, wheelwright.org. Palace Portal Artisans’ Celebration Native specialties food booth, music, handcrafted work, and traditional dances, 10 a.m.-5 p.m. Saturday and Sunday, Aug. 17-18, Palace of the Governors on the Plaza, 476-5200. Jim Hightower National radio commentator, talk and reception, 5:30 p.m. Saturday, Aug. 24, Museum Hill Café, $35, presented by KSFR Radio, 428-1527.

pasa week

from Page 65

22 Saturday (continued) Equine Spirit Sanctuary fundraiser Meet Bindy the Donkey and Sally the miniature horse, 11 a.m.-2 p.m., Barbara Meikle Fine Art, 236 Delgado St., 992-0400. Guess Who’s Coming to Dinner? Santa Fe Community Foundation benefit; dinner at several homes across the city; plus, dessert at the Scottish Rite Center, 5:30 p.m., 463 Paseo de Peralta, $125, call 988-9715, santafecf.org. Herb & Lavender Fair Herb garden tours, vendors, lectures, and hands-on activities, 10 a.m.-4 p.m., El Rancho de las Golondrinas, 334 Los Pinos Rd., $8, discounts available, 471-2261, continues Sunday. 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 complete schedule of community events. Santa Fe Pride Parade & Festival Parade begins at 11 a.m. at Old Santa Fe Trail and Paseo de Peralta and ends at the Railyard with entertainment, beverages, and vendor booths, santafehra.org. Santa Fe Public Library La Farge Branch book sale 10 a.m.-4 p.m., $3 per provided bag, 1730 Llano Dr., 955-4860.

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, santafetraditionalflea.com.

NIGHtLIFE

(See Page 65 for addresses) Café Café Los Primos Trio, traditional Latin tunes, 6-9 p.m., no cover. ¡Chispa! at El Mesón Flamenco Conpaz, 7 p.m.-close, call for cover. Cowgirl BBQ Bill Hearne Trio, classic country, 2-5 p.m.; Sean Healen Band, local singer/songwriter, 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 Old-school rockabilly band Rob-A-Lou, 9 p.m.-close, call for cover. Evangelo’s Local Led Zeppelin tribute band Moby Dick, 9 p.m.-close, call for cover. La Fiesta Lounge at La Fonda Americana band Boris & The Salt Licks, 8-11 p.m., no cover. the Mine Shaft tavern Classic-rock band The Jakes, 8 p.m., no cover. Pranzo Italian Grill Pianist John Rangel and vocalist Faith Amour, 6-9 p.m., call for cover. Second Street Brewery Railyard Reunion Band, bluegrass, 6-9 p.m., no cover.

New Mexico Gay Men’s Chorus performs Friday, June 21, at National Dance Institute of New Mexico Dance Barns, 1140 Alto St.

Second Street Brewery at the railyard One-man blues/alt. country band Alex Culbreth, 7-10 p.m., no cover. Sweetwater Harvest kitchen Hawaiian slack-key guitarist John Serkin, 6 p.m., no cover. tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m.-close, no cover. the Underground at Evangelo’s The Collective Reggae Party with DJ Dynamite Sol and Brotherhood Sound’s Don Martin, 9 p.m., call for cover. Vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; Ron Helman Jazz Ensemble, 8:30 p.m.-close, call for cover.

23 Sunday GALLEry/MUSEUM OPENINGS

Sachi Organics 523 W. Cordova Rd., 982-3938. Brush Spirit With Five Elements: Brush, Sumi, Washi, Pigment, and Beeswax, works on paper by Yoshi Nakano, reception 1-4 p.m.

OPErA IN HD

Les Troyens Broadcast from London’s Royal Opera House; 11 a.m., The Screen, SFUAD, 1600 St. Michael’s Dr., $20, discounts available, 473-6494.

CLASSICAL MUSIC

Concordia Santa Fe Primary Colors, full-ensemble concert featuring music of Rimsky-Korsakov, Ticheli, and Mackey, 2 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., donations accepted, 913-7211. Santa Fe Flute Immersion class concert Students of all ages from around the U.S. conclude the workshop series with orchestra excerpts and solo pieces, 5:30 p.m., doors open at 5 p.m., Immaculate Heart of Mary Retreat and Conference Center, 50 Mount Carmel Rd., no charge, presented by the New Mexico Performing Arts Society, 474-4513.

IN CONCErt

Collected Works open-mic Open to unpublished poets, writers, acoustic musicans, and stage performers, 3-4:30 p.m., sign up at 2:45 p.m. on the day of the event for a 10-minute spot, Collected Works Bookstore, 202 Galisteo St., no charge, 988-4223.

From Darkness to Light: A kurt Weill tribute Broadway tunes performed by singer Robert Sinn and pianist David Geist, 7:30 p.m., 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. Goddess: Marilyn Monroe Movie Musicals Vocalist Anne Ruth Bransford and the Bert Dalton Trio, 6 p.m. today and Monday, La Casa Sena Cantina, 125 E. Palace Ave., $25, 988-9232.

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. Little Shop of Horrors Darling Starr Productions presents the musical, 2 and 7 p.m., Warehouse 21, 1614 Paseo de Peralta, $10, 989-4423. 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.

BOOkS/tALkS

Currents 2013: the Santa Fe International New Media 1st-Mile Institute’s Scientists/ Artists Research Collaborations program; media screenings, panels, presentations, and group discussions, 2-6 p.m., Center for Contemporary Arts, 1050 Old Pecos Trail, currentsnewmedia.org, no charge. Looking Back at Eight years of Biking and Living in Santa Fe as a Family Without a Car Laura Cooley and Paul Cooley in conversation, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. robyn Hunt The Santa Fe poet reads from The Shape of Caught Water, 4:30 p.m., Ventana Fine Art, 400 Canyon Rd., 983-8815.

EVENtS

Cowboys real & Imagined event Guided tours of the New Mexico History Museum exhibit, 1:30-4 p.m.; plus, 2 p.m. lecture on Ranching History Heard by curator Meredith Davidson, followed by a performance by cowboy singer Steve Cormier, 113 Lincoln Ave., by museum admission, reservations 476-5191. Currents 2013: the Santa Fe International New Media Festival free experimental documentaries Video Shorts, six screenings beginning at 7:30 p.m., Center for Contemporary Arts, 1050 Old Pecos Trail, currentsnewmedia.org.

Herb & Lavender Fair Herb garden tours, vendors, lectures, and hands-on activities, 10 a.m.-4 p.m., El Rancho de las Golondrinas, 334 Los Pinos Rd., $8, discounts available, 471-2261. railyard Artisans Market Live music, jazz saxophonist Brian Wingard 10 a.m.-1 p.m.; classical guitarist David Yard 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 Living treasures ceremony Honoring Connie Hernandez, Patricio Serna, and Dave Warren for their contributions to the community, 2 p.m., Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., no charge.

FLEA MArkEtS

Pueblo of tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com. 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, santafetraditionalflea.com.

NIGHtLIFE

(See Page 65 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.; one-man blues/alt. country band Alex Culbreth, 8 p.m.; no cover. the Den at Coyote Café Speakeasy Sundays with vocalist Faith Amour and Dimian Disandi, 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 Posada de Santa Fe resort and Spa Wily Jim, Western swingabilly, 6-9 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. ▶▶▶▶▶▶▶▶

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24 Monday

BookS/talkS

the cosmic landscape A talk by Stanford physicist Leonard Susskind, 7:30 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., no charge, Santa Fe Institute’s Community Lecture Series, 984-8800. the horse as icon New Mexico Museum of Art’s artist-of-the-week docent talk, 12:15 p.m., 107 W. Palace Ave., by museum admission, 476-5075. humanity exists in a State of rupture From the World: hegel, the Fall, and Spirit’s alienation From Nature St. John’s College’s free summer lecture and Q & A series continues with tutor Raoni Padui, 3:15 p.m., Junior Common Room, Peterson Student Center, 1160 Camino de Cruz Blanca, 984-6070. New Mexico’s living landscapes A presentation by William W. Dunmire, 6 p.m., in conjunction with the Santa Fe Arts Commission Community Gallery exhibit Viva Flora: Treasured Plants of New Mexico, Santa Fe Community Convention Center, 201 W. Marcy St., presented by Santa Fe Botanical Garden, 471-9103. Stone age Seafarers in the Greek island Presented by Boston University archaeologist Curtis Runnels, noon, School for Advanced Research, 660 Garcia St., no charge, 954-7203.

opera

Youth Nights at the opera Offenbach’s The Grand Duchess of Gérolstein; special program for families with children ages 6-22 to attend select final dress rehearsals at reduced prices, beginning today and continuing Tuesday, 301 Opera Dr., santafeopera.org, 986-5900.

iN coNcert

Goddess: Marilyn Monroe Movie Musicals Vocalist Anne Ruth Bransford and the Bert Dalton Trio, 6 p.m., La Casa Sena Cantina, 125 E. Palace Ave., $25, 988-9232. Santa Fe Bandstand Americana band The Barefoot Movement, 6 p.m.; English folk rockers The Dunwells, 7:15 p.m.; on the Plaza, santafebandstand.org, continues through Aug. 23 (see story, Page 24).

BookS/talkS

Monumental Shell Mounds in coastal Brazil A Southwest Seminars’ lecture with University of Arizona professors Paul H. Fish and Suzanne K. Fish, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775.

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. Statue-dedication ceremony 9:30-11:30 a.m.; for Pueblo of Pojoaque’s Medal of Honor recipient Army Ranger Sgt. 1st Class Leroy Petry, Santa Fe City Hall, 201 W. Marcy St.

NiGhtliFe

(See Page 65 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 casa Sena cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Los Wise Guys, oldies/country/rock, 7:30-11 p.m., no cover. vanessie Pianist Doug Montgomery, jazz and classics, 7 p.m.-close, call for cover.

25 Tuesday opera

Youth Nights at the opera Mozart’s The Marriage of Figaro; special program for families with children ages 6-22 to attend select final dress rehearsals at reduced prices, 301 Opera Dr., 986-5900, santafeopera.org.

iN coNcert

Santa Fe Bandstand Singer/songwriter Shannon McNally, 6 p.m.; folk musician Eliza Gilkyson, 7:15 p.m.; on the Plaza, santafebandstand.org, continues through Aug. 23 (see story, Page 24).

theater/daNce

Luna Unlaced Presented by Chicago-based pan-Latina theater company Teatro Luna, 8 p.m. today and Wednesday, Teatro Paraguas Studio, 3205 Calle Marie, $12 and $15, 424-1601. 70

PASATIEMPO I June 21-27, 2013

Collected Works Bookstore shows work by textile artist Bengt Erikson, 202 Galisteo St.

BookS/talkS

Nancy kurshan The author reads from and signs copies of Out of Control: A Fifteen Year Battle Against Control Unit Prisons, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. New Mexico lawyers for the arts’ summer series Understanding the ArtistGallery Consignment Agreement, with Peter Ives, 6 p.m., Santa Fe Arts Commission Community Gallery, Santa Fe Community Convention Center, 201 W. Marcy St., no charge, for information email to info@nmlawyersforthearts.org. Santa Fe photographic Workshops’ instructor image presentation series Open conversation and slide presentation of works by Andrew Southam, Syl Arena, Julieanne Kost, and Christopher James, 8:30-10 p.m., Santa Fe Prep auditorium, 1101 Camino de Cruz Blanca, no charge, 983-1400, Ext 11. the tolstoy Family Story contest Michael Katz discusses his retranslation of Tolstoy’s The Kreutzer Sonata, 7 p.m., Peterson Student Center coffee shop, St. John’s College, 1160 Camino de Cruz Blanca, no charge, 984-6000.

eveNtS

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 65 for addresses) ¡chispa! at el Mesón Argentine Tango Milonga, 7:30 p.m.-close, call for cover.

cowgirl BBQ Kenny Skywolf Band, local blues trio, 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 Los Wise Guys, oldies/country/rock, 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, call for cover..

26 Wednesday iN coNcert

Music on the hill 2013 Straight Up jazz ensemble with J.Q. Whitcomb and Brian Wingard, 6 p.m., outdoors at the college’s athletic field, 1160 Camino de Cruz Blanca, visit stjohnscollege.edu for series lineup, 984-6000, continues weekly through July 24. Santa Fe Bandstand Hispanic-pop duo Sorela, 6 p.m.; intermission act 3HC Holy Faith Dance Crew; hip ranchera band Sol Fire, 7:15 p.m; on the Plaza, santafebandstand.org, continues through Aug. 23 (see story, Page 24).

theater/daNce

Luna Unlaced Presented by Chicago-based pan-Latina theater company Teatro Luna, 8 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $12 and $15, 424-1601.

arts alive! Weekly walk-in art workshops for children (ages 3 and up) and adults; pottery with Camilla Trujillo, 10 a.m.-2 p.m., Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, no charge, 982-2226. 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 65 for addresses) cowgirl BBQ Singer/songwriter Sean Healen and blues guitarist Tiho Dimitrov, 8 p.m., no cover. ¡chispa! at el Mesón Flamenco guitarist Joaquin Gallegos, 7 p.m.-close, no cover. la Fiesta lounge at la Fonda The Bill Hearne Trio, classic country, 7:30-11 p.m., no cover. the pantry restaurant Acoustic guitar and vocals with Gary Vigil, 5:30-8 p.m., no cover. tiny’s Mike Clymer of 505 Bands’ electric jam, 7:30 p.m.-close, no cover. vanessie Bob Finnie, pop standards piano and vocals, 7 p.m.-close, no cover.

27 Thursday iN coNcert

arlen asher Santa Fe’s woodwind veteran 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., Museum Hill Café, 710 Camino Lejo, $20, 428-1527. Santa Fe Bandstand Americana duo Todd & The Fox, 6 p.m.; indie band John Courage & The Great Plains, 7:15 p.m.; on the Plaza, santafebandstand.org, continues through Aug. 23 (see story, Page 24).

theater/daNce

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.

books/Talks

Janis stout The author reads from and signs copies of The Selected Letters of Willa Cather, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see story, Page 32). santa Fe art Institute Monthly open studio Meet-and-greet with writersand artists-in-residence, 5:30 p.m., University of Art & Design, 1600 St. Michael’s Dr., 424-5050.

evenTs

Currents 2013: The santa Fe International new Media Festival experimental documentary program Free screening of Denis Côté’s Bestiaire, 7:30 p.m., Center for Contemporary Arts, 1050 Old Pecos Trail, currentsnewmedia.org. 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 65 for addresses) ¡Chispa! at el Mesón Tierra Soniquete, Joaquin Gallegos on guitar and J.Q. Whitcomb on trumpet, 7 p.m.-close, no cover. Cleopatra Café southside The Saltanah Dancers, belly dance, 7-9 p.m., no cover. Cowgirl bbQ Roots/blues duo Littlewolf, 8 p.m., no cover. evangelo’s Dance band Little Leroy and His Pack of Lies, 9 p.m.-close, call for 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 blues/rock guitarist Alex Maryol, 6-8 p.m., no cover. Tiny’s Americana band Broomdust Caravan, 8 p.m.-close, no cover. Zia Diner Swing Soleil, Gypsy jazz and swing, 6-8 p.m., no cover.

▶ Elsewhere albuquErquE Museums/art spaces

albuquerque Museum of art & history 2000 Mountain Rd. N.W., 505-243-7255. Changing Perceptions of the Western Landscape, contemporary group show, through Sept. 1 • Landscape Drawings From the Collection, through Oct. 27. Open 9 a.m.-5 p.m. TuesdaySunday; adults $4 ($1 discount for NM residents); seniors $2; children ages 4-12 $1; 3 and under no charge; the first Wednesday of the month and 9 a.m.-1 p.m. Sundays no charge. 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.

events/Performance

Chatter sunday Quartet New Mexico 430 performs music of Mozart, Haydn, and Dotzauer, 10:30 a.m. Sunday, June 22; plus,

Blue Rider Mongolia by Maritza Wild Chateau, at Ellsworth Gallery, 215 E. Palace Ave.

a poetry reading by Kathleen Browning, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, chatterchamber.org.

los alamos

gordon’s summer Concerts Homemade Jamz’ Blues Band, 7 p.m. Friday, June 21, Pajarito Mountain Ski Hill, no charge, gordonssummerconcerts.com. 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, visitpajaritoeec.org for weekly programs and events schedule.

madrid

new Mexico 430 The quartet in A Summer Serenade, music of Mozart, Haydn, and Dotzauer, 1 p.m. Saturday, June 22, Johnsons of Madrid, 2843 NM 14, $20 donation, 471-1054.

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. Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. Retrospective, Altar Screens and Retablos:

Catherine Robles Shaw & Family, through July 7. Open 10 a.m.-5 p.m. daily. NM residents $5; non-residents $10; seniors $8; students $6; ages 6-16 $2; Taos County residents no charge. 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.

▶ People who need people artists

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

Reel new Mexico Independent Film series New Mexico filmmakers may submit shorts, narrative and documentary features, student films, and works-in-progress through 2013; for more information or to submit a film, contact reelnewmexico@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; visit girlsincofsantafe.org or call 982-2042 for details and to sign up. The hospice Center Work in the office (computer skills desirable) with the bereavement program and help with flower arrangements and delivery for the Flower Angel program; call Mary Ann at 988-2211. kitchen angels Drive vans to deliver food for the homebound two hours a week between 4:30 and 6:30 p.m.; 471-7780, kitchenangels.org.

▶ under 21 Warehouse 21’s 17th birthday celebration Concert includes Ryan Miera, DJ Dirt Girl, Crockett Bodelson, and Keyboard, 6:30 p.m. Wednesday, June 26, 1614 Paseo de Peralta, donations accepted, 989-4423.

▶ Pasa Kids bee hive kids books Paper-making, 11 a.m. Saturday, June 22, 328 Montezuma Ave., no charge, 780-8051. Youth nights at the opera Special program for families with children ages 6-22 to attend select final dress rehearsals at reduced prices, Monday, June 24, Offenbach’s The Grand Duchess of Gérolstein, Tuesday, June 25, Mozart’s The Marriage of Figaro; 301 Opera Dr., 986-5900, santafeopera.org, final night July 16, Verdi’s La Traviata. arts alive! Weekly walk-in art workshops for children (ages 3 and up) and adults; pottery with Camilla Trujillo, 10 a.m.-2 p.m. Wednesday, June 26, Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, no charge, 982-2226. ◀

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