The New Mexicanâ€™s Weekly Magazine of Arts, Entertainment & Culture
May 17, 2013
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PASATIEMPO I May 17 - 23, 2013
Great bed collection www.
s e q u o ia s a n t a f e
201 Galisteo St, Santa Fe, NM 87501 Tel 505 982 7000
SALE! Save $150 now. Limited time only.
50% OFF ALL Spring & Summer Samples!
Friday, May 17 Tuesday, May 21
10 am—5 pm | Sunday 11am—4 pm NEW Location: CASA NOVA
530 S. Guadalupe (Railyard District) Phyllis Frier | 601.918.3651 Nicole Perez | 917.374.8952 sizes 2 - 16 | Credit Cards Accepted SPRING/SUMMER 2013 | WORTHNEWYORK.COM
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New exHibitiON OpeNS tODay!
Georgia O’Keeffe in New Mexico: Architecture, KAtsiNAM, ANd the LANd M Ay 1 7 – S E P T E M B E R 1 1 , 2 O 1 3 This beauTiful exhibiTion tells the Georgia O’Keeffe, Black Cross with Stars and Blue, 1929. Oil on canvas, 40 x 30 inches. Private Collection. © Georgia O’Keeffe Museum
little-known story of how the New Mexico landscape, and O’Keeffe’s introduction to Hispanic and Indigenous art and architecture, inspired a significant creative shift in her painting. In addition to O’Keeffe’s iconic landscapes, it includes newly discovered paintings, and the work of Hopi artists Ramona Sakiestewa and Dan Namingha.
Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land was organized by the Georgia O’Keeffe Museum. This exhibition and related programming were made possible in part by a generous grant from The Burnett Foundation. Additional support was provided by American Express, the Healy Foundation, Shiprock Gallery, Hotel Santa Fe, the City of Santa Fe Arts Commission 1% Lodger’s Tax Funding. Partially funded by the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax.
• 217 JOHNSON Street, SaNta fe, NM 875O1 5O5.946.1OOO • OKeeffeMUSeUM.OrG
Celebrate art MUSeUM Day ON SatUrDay, May 18 free admission for new Mexico residents!
PASATIEMPO I May 17 - 23, 2013
A Bishop’s Lodge SUMMER EVENT
Memorial Day Weekend Sunday, May 26
Grilled Steaks and Chicken, Braised Ribs, Ranch Burgers and All the Fixin’s • Cowboy Hats for Buckaroos • FREE Pony Rides Live Country and Western Music & Dancing with The Steve Rose Band
Gourmet BBQ Dinner from 6 pm $39.95 per person • $34.95 seniors $19.95 for buckaroos under 18, under 5 free
RESERVATIONS 505.819.4035 or holdmyticket.com
Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room
Our Warehouse Showroom on Airport Road features over 8,000 sq. ft. of Southwestern Furniture. Warm and inviting to the touch, our pieces reflect simple, attractive, and functional designs that will enhance the investment in your home. We offer Southwestern Style Furniture, Great one-of-a-kind Pieces, Wonderful Hand-Forged Iron Lamps, and Unique Handmade Lamp Shades. Locally owned and operated since 1987, our goal has always been to offer the best selection of Quality Handcrafted Furniture at the best value in Santa Fe. Please come in, you’ll be pleasantly surprised.
Reasonable Prices every day of the year! Caffe Greco
open Daily 7:30aM – 8PM
Plaza de Suenos y Milagros
Jewel Mark 505.820.6304 • Jacqueline’s Place 505.820.6542 caffe Greco 505.820.7996 once you have stepped into our world you won’t want to leave 233 canyon road • santa fe, new Mexico 87501 • JewelMark.net
SANTA FE COUNTRY FURNITURE 525 Airport Road • 660-4003 • Corner of Airport Rd. & Center Dr.
Monday - Saturday
TO FIND US ON GOOGLE MAPS USE: 273 AIRPORT RD. • IPHONE SEARCH USE: “LOC: +35.638542, -106.024098”
THE SANTA FE NEW MEXICAN
May 17 - 23, 2013
On the cOver 32 altered plates In their photography-based art, Henrieke Strecker and Maggie Taylor reference photomechanical processes, albeit in different ways and with different results. Taylor combines original photography with old daguerreotypes and tintypes, while Strecker’s processes include photogravure, photograms, and pinhole photography. Each artist’s work possesses an undeniably surreal, mysterious, dreamlike quality. An exhibit of Strecker’s and Taylor’s work opens with a 5 p.m. reception at Verve Gallery of Photography on Friday, May 17. Our cover image is Taylor’s The garden game, a 2013 archival pigment ink print; courtesy Verve Gallery of Photography and the artist.
16 in Other Words Champion of Choice 42 max evans Reflecting on The Hi Lo Country
44 48 49 50 51
dance 18 Julie brette adams Alone, together
mUsic and PerfOrmance 20 22 24 26 29 63
Pasa Pics The Reluctant Fundamentalist The Source Family The Great Gatsby Jackie
55 Pasa Week
Pasa reviews Scott Jarrett Justice league Theater for marriage equality listen Up Borromeo String Quartet Pasa tempos CD Reviews Onstage this Week Madrid Blues Fest sound Waves The end of an era
and 13 mixed media 15 star codes 52 restaurant review
art 30 spirited imagery O’Keeffe and katsinam 36 art in review Clark Walding: flux 38 eagle eye views John Delaney hits the steppes
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: email@example.com PasatiemPO editOr — kristina melcher 986-3044, firstname.lastname@example.org
Julie brette adams © Paolo t. Photography
art director — marcella sandoval 986-3025, email@example.com
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staff Writers michael abatemarco 986-3048, firstname.lastname@example.org rob deWalt 986-3039, email@example.com James m. keller 986-3079, firstname.lastname@example.org Paul Weideman 986-3043, email@example.com
cOntribUtOrs douglas fairfield, laurel gladden, robert ker, bill kohlhaase, Wayne lee, Jennifer levin, robert nott, adele Oliveira, Jonathan richards, heather roan-robbins, casey sanchez, michael Wade simpson, steve terrell, khristaan d. villela
PrOdUctiOn dan gomez Pre-Press Manager
The Santa Fe New Mexican
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Robin Martin Owner
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advertising directOr Tamara Hand 986-3007
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Rob Dean editor
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FINE ARTS FOR CHILDREN & TEENS
Half-day, Week-long Art Camp Sessions: June 3-7 8:30am-12:30pm June 10-14 1:30-5:30pm June 17-21 8:30am-12:30pm June 24-28 1:30-5:30pm July 8-12 8:30am-12:30pm July 15-19 1:30-5:30pm July 22-26 8:30am-12:30pm July 29-Aug. 2 1:30-5:30pm
2013 Summer Art Camps for ages 5-10 At The Artbarn Community Studio
Drawing • Painting • Printmaking Sculpture • Collage & FUN! FACT half-day ARTbarn Summer Camps! Mon - Fri, June 3 - August 2 Sliding scale tuition based on family size and income. Para la infromacion en espanol por favor llame al Elizabeth a 505-992-2787 ™
To Register: www.factsantafe.org or call 505-992-2787
FACT is a nonprofit organization providing innovative visual arts education programs that empower and transform lives through art-making, literacy and life skills.
The Lighthouse, 56” x 56”, Mixed Media
Galerie Züger presents
James Jensen Meet the Artist
Friday, May 17 & Saturday, May 18, 5 - 8 pm
We’ll be giving aWay three CaDillaC atS in May! Drawings on Saturdays, May 11, 18 & 25 at 6 pm, 7 pm, 8 pm, 9 pm and 10 pm.
Now...More Than Eve 120 W San Francisco St, Santa Fe, NM 505.984.5099 galeriezuger.com
Now...More Than Now...More Than Ever Ever
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Player receives one entry for every 30 points earned on their Lightning Rewards card, May 1 through May 25, 2013. Drawings will be simulcast at Cities of Gold. Management reserves all rights.
Comfortable and smart, not massive. Omnia® Furniture... personalizing comfort: 100 styles. 120 leather colors and fabrics. Sectionals to sleepers, all made in America.
CB FOX /Furniture 1735 Central • Los Alamos • 662-2864 • facebook.com/CBFoxLA
PASATIEMPO I May 17 - 23, 2013
Santa Fe Farmers’ Market Institute
WEDNESDAY NIGHT M
Digging in the dirt for real change!
Beneﬁcial Farms CSA Crumpackers Café & Bakeshop Intergalactic Bread and Space Sauces
Jacona Farm La Fonda on the Plaza Lakind Dental Group Dan Merians and MorganStanley
Red Mesa Meats Refugio Verde Romero Farms South Mountain Dairy
Place: Santa Fe Farmers’ Market Pavilion Admissions: General Admission: $12, Institute Members, Seniors & Students over 18: $10, Under 18 and Santa Fe Farmers’ Market Vendors: Free
1 1 0 D O N G A S PA R , S A N TA F E
Transforming communities with local“Good Food Systems”
The New Mexico Performing Arts Society Presents
CHORAL MASTERPIECES WITH A FRENCH CONNECTION
Thursday, May 23, 2013 at 7:00 P.M., in the St. Francis Auditorium / 107 W. Palace Ave.
Performed in the orchestral version with Full Choir, Soloists and Orchestra
JOHN DONALD ROBB Requiem A major work by New Mexico composer John Donald Robb – Performed by the New Mexico Bach Society, FRANZ VOTE, Conductor
Church of St. Eustache, Paris Site of the Premiere
PURCHASE TICKETS: Call 505-988-1234 or in person at the Lensic box office.
More Information: firstname.lastname@example.org or 505-474-4513 PASATIEMPOMAGAZINE.COM
New Shipments Every Day! Hurry in for Best Selection
Payne’s South 715 St. Michael’s 988-9626 Payne’s North 304 Camino Alire 988-8011 Spring/Summer Hours
Mon - Sat 8 to 6 Sun 10 to 4
Photo: Chris Callis
Payne’s Organic Soil Yard 6037 Agua Fria 424-0336 Mon - Fri 8 to 4 Sat 8 to Noon
Payne’s Discount Coupon
Trumpet Vine 1 gal. Juniper Prince of Wales 5 gal. www.paynes.com
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 5/24/13
20% Off Spring Sale til May 31st! Elmoreindianart.com The destination for pueblo pottery and vintage jewelry!
StEvE ElMOrE IndIan art 10
PASATIEMPO I May 17 - 23, 2013
839 Paseo de Peralta, Suite M • Santa Fe, NM email@example.com * 505-995-9677
MAY 22-JUNE 2 • POPEJOY HALL unmtickets.com • 877-664-8661
UNM Ticket Offices and area Albertsons www.JerseyBoysTour.com
Original Cast Recording On
Upcoming Events and Specials Join us for our monthly events that are perfect for your next night on the town. Donâ€™t miss our next Meet the Artist Event featuring Amy Ringholz, with a memorable reception and dinner.
Meet the Artist Event Featuring Amy Ringholz at The Gallery at Eldorado
Thursday, May 23, 2013 6:00 pm - 9:00 pm Weâ€™ve joined with Beals and Abbate Gallery to celebrate the work of Amy Ringholz with a reception and four-course dinner paired with wines from Santa Fe Winery. Please call 505.995.4502 to make reservations.
Dinner with The Monks A Four-Course Feast
Wednesday, May 29, 2013 6:30 pm - 9:00 pm Dine with the Monks while enjoying this posh meal created by Chef Anthony Smith and Chef Evan Doughty. This four-course dinner features a Monks product with each course. Try Monks Ale, Monks Tripel Reserve (made with their own monastery-grown hops), and the Monks Wit. Please call 505.995.4530 to make reservations.
Spa Specials May 2013
Remember: locals get 15% off every spa service, everyday! Also enjoy our pool, hot tub, steam room, relaxation lounge and fitness center. Purchase a gift card at Nidah Spa today. Nidah Spa 505.995.4535
Located at Eldorado Hotel & Spa 309 W. San Francisco Street EldoradoHotel.com
TAKE HOME A PIECE OF
LA FONDA! LA FONDA WAREHOUSE SALE
POSTERS ORIGINAL ART
CABINETS, CHAIRS, FIXTURES WAREHOUSE SALE
1591 PACHECO STREET THIS WEEKEND ONLY, 10-4 CASH AND CARRY ONLY
ALL SALES FINAL EVERYTHING SOLD AS IS
curanderísmo: folk healing sunday, may 19 · 1:00 – 4:00 pm 1:00 pm · Talk by Nasario García 2:00 – 4:00 pm · Folk Healing Expo
By museum admission. New Mexico residents with i.d. free on Sundays. Youth 16 and under and mnmf members always free. Funded by the International Folk Art Foundation.
On Museum Hill in Santa Fe · www.InternationalFolkArt.org · (505) 476-1200
PASATIEMPO I May 17 - 23, 2013
The Encaustic Art Institute Gallery Showing:
Wax with Dimension
Opening: Saturday, May 18th, noon to 5pm
Nation-wide members of the non-profit Institute, working in encaustic/wax medium, have entered this themed show with the guideline of entering 3D sculptural pieces, or 2D paintings that have dimensional quality to them. A wide variety of styles and creative interpretations are the result. The show will remain up in the gallery through June 16th. A selection of artists showing their work include: Patricia Aaron (CO) Susanne Arnold (VA) Guy Baldovi (NM) Jodi Barraclough (TX) Matthew Bryan (NM) Yvonne Buijs-Mancuso (WA) Marie Coburn (NM) Susan Delgalvis (AK) Desiree DeMars (NC)
Linda Fillhardt (NM) Trish Foschi (NM) Elizabeth Harris (MA) Diane Kleiss (AZ) Nicki Marx (NM) Douglas Mehrens (NM) Barbara Michener (ID) Linda Oldham (NM) Teena Robinson (NM)
Gay Schy (WA) Sharon Sperry Bloom (NM) Mary Stratton (ID) Rodney Thompson (CA) Harriette Tsosie (NM) Kelly Wagner Steinke (TX) Cherry Whitener Rohe (NM)
Susanne K. Arnold, “Daphne” Wood Branch, Encaustic and Beeswax Photo Crdit: Taylor Dabney
For maps and more information go to www.eainm.com or call Douglas Mehrens at 505-424-6487. Gallery open to the public weekends from noon to 5 pm during April through October. 18 General Goodwin Road (County Road 55A), Cerrillos, NM 87010
Gregory Heltman, General Director • Steven Smith, Music Director
...bringing great music to life
CARMINA BURANA STEVEN SMITH CONDUCTS
José Ángel Pérez Moreno’s Harley-Davidson Flathead; top, 1950 Harley-Davidson Panhead belonging to Ernesto Guevara March
Soul brothers In place since the early 1960s, the U.S. embargo against Cuba left the island nation with a wealth of pre-revolution classic American cars, which are still being driven today. These old vehicles have become cultural icons in Cuba, but so have Harley-Davidsons. The American motorcycle manufacturer stopped exporting to Cuba in 1960, leaving the country with a little more than 100 cycles still in working condition. In the recent publication Harlistas Cubanos, a testament to the culture surrounding these classic Harleys, former New Mexico Department of Cultural Affairs secretary Stuart A. Ashman takes us on a journey into the culture of the Harlistas. Harlistas Cubanos (published by Ebner Verlag) is a photographic documentation of the motorcycles and those who maintain them, often without access to U.S. parts, giving their Harleys a “Cuban soul.” Included in the book are stories about Ernesto Guevara March, the youngest son of revolutionary leader Ernesto “Che” Guevara, and his old Panhead; Jorge Santos Prats and his beautiful blue 1947 Flathead; and Ricardo Salmerón Calderín and his 1960 Duo-Glide, among other portraits of contemporary Cubans and their Harleys. Ashman, who was born in Cuba and whose career has involved cultural exchanges with Cuba, and photographer Günther Maier speak and sign copies of Harlistas Cubanos at Collected Works Bookstore (202 Galisteo St., 988-4226) on Monday, May 20, at 6 p.m. Maier, one of five photographers whose work is in the book, is also a Harley enthusiast and started Ride the Dream in Santa Fe, a company offering motorcycle tours of the Southwest. — Michael Abatemarco
Mary Wilson soprano
Sam Shepperson tenor featuring
Jeremy Kelly baritone
The Symphony Chorus and the Santa Fe Men’s Camerata plus Britten’s “Four Sea Interludes” from Peter Grimes
SATURDAY, MAY 18, 5:00 PM SUNDAY, MAY 19, 4:00 PM AT THE LENSIC
Pre-concert talk one hour prior to performance $20–$70 • Children 6–14 half price with adult purchase
Concert underwriting by Ann Neuberger Aceves in memory of Roy R. & Marie S. Neuberger. The 2012-2013 season is funded in part by the Santa Fe Arts Commission, and the 1% Lodger’s Tax, New Mexico Arts, a division of the Office of Cultural Affairs, and the National Endowment for the Arts.
The Santa Fe Waldorf School Class of 2013 received 71 College Acceptances and more than
in merit scholarships offered! Learn how a Waldorf education can be a good investment in your child’s future, contact Admissions at 505 476 6431.
S a n t a F e Wa l d o r f S c h o o l 2 6 Pu e s t a d e l S o l S a n t a Fe | s a n t a fe wa l d o r f. o rg | G ra d e s PS - 1 2 5 0 5 9 8 3 9 7 2 7 G r. PS - 8 | 5 0 5 9 9 2 0 5 6 6 G r. 9 - 1 2
Congratulations to the Class of 2013 Back Row L to R - Elliot Radsliff, Joel “Kiki” Varela, Joshua Hagen, Edgar Davila, Victoria Lustig, and Sophia Richard Front Row L to R - Kailey Zercher, Kayla Salyer, Alina Afanasyeva, Addison Nace, Sarab Saraswati Kaur Khalsa, and Starr Adams 14
PASATIEMPO I May 17 - 23, 2013
Heather Roan Robbins
Gemini this week — inventive and excited on a good day and gossipy and anxious on a hard day. Events speak of deep turning points in our lives and culture. This can leave us a bit scattered but ready for the end of spring’s social whirl. We run into old friends and family, make new contacts, and talk about life’s foibles with warmth and humor that helps us bear the unbearable. Our words are pollen in the wind: pervasive, productive, and sometimes irritating. While this makes for fabulous gossip, it’s less attractive coming from our friends and politicians. Watch the Gemini love of witty, wry, and salacious conversation. Our internal chatter can flutter about like a newly hatched bird, and our unusually busy minds can be easily distracted from work and get stuck on worries as mental Mercury squares intuitive, creative Neptune when the weekend begins. This aspect has practical consequences; watch accidents around liquids and other things that flow. Behind this social buzz, some deep aspects push the next layer in our personal maturation. Freedom and responsibility, security and individual rights — the tension between these poles can test the teenager and the global citizen alike as Jupiter and Saturn sesquisquare. Greet every decision, small or large, like it is a chance to help forge a new era. Friday, May 17: People can be set in their ways and difficult this morning as the Leo moon squares Mars. Choose to be stubborn in a constructive way. The afternoon brings more cooperation as the moon sextiles Jupiter, though people still resist pushing. The evening is outgoing, edgy, and fun but has a jagged edge if we feel cornered. Saturday, May 18: The vibe is sensitive, interested, and creative; our imagination works overtime and our judgment is spotty as Mercury squares Neptune under the edgy Virgo moon. Watch communication problems built on a touchy response to an apparently critical comment as Mercury quincunxes Saturn. Sunday, May 19: Feelings are unsettled this morning, but we can accomplish a lot while we’re waiting for resolutions. The big issues of life weave in the background, but for the moment we can do our chores. Monday, May 20: Look upward and outward as the sun enters verbal Gemini and the moon enters sociable Libra. We become more aware of our social context. The mood is generally friendly, interactive, and alert, which helps us connect with others and deal with the heartbeat of larger change as Uranus squares Pluto.
patio.dining 326 S. Guadalupe • 988-7008 • www.ziadiner.com
r at Sanbus e m m co u op.cit. books S ~ with ~
Saturday, May 18th 2-4 PM
Gary Brower, Michael C. Ford and John Macker Join us for an afternoon of poetry and flamenco guitar – SAVE THE DATES! – June 9th at 3:30 PM Red Mountain Press Launch of TO INHABIT THE FELT WORLD by Susan Gardner
July 21st at 3:30 PM Red Mountain Press Launches A FIVE-BALLOON MORNING by CharlesTrumbull
E’S BOUTI SI
I SS ATT 453 Cerrillos Rd., Suite A – across from High Desert Angler Parking available at 505 Cerrillos Rd., 1/2 block south 505.983.0647 | www.cassiesboutiquesantafe.com | Tue-Sat 10-5:30 NE
Thursday, May 23: Get serious this morning as the moon conjuncts Saturn. The mood is wary, but we can hear the heart song later. Midday is productive, though later a series of small obstacles helps us diagnose the problem. ◀
August 4th, at 2PM we welcome Newbery Honoree Jacqueline Kelly reading from her new book ‘Return to the Willows’
check our website for event updates – www.opcit.com
Tuesday, May 21: This morning we need to adjust to unsettling news as the moon opposes Mercury. Offer radical acceptance and respect others’ limits without judgment. New doors open as the moon trines Venus and Mercury. If we hit a patch of nerves tonight, rest and reassure one another. Wednesday, May 22: Ride a wave of confidence and make friendly contacts early, but rein in preconceptions — they will be tested later. The Scorpio moon may have us singing the blues this afternoon; it helps to turn sudden emotional intensity into art. Enjoy the focus but watch an obsessive streak.
The mood is nervy as the sun joins Mercury and Venus in voluble
In Other wOrds Champion of Choice: The Life and Legacy of Women’s Advocate Nafis Sadik by Cathleen Miller, University of Nebraska Press, 496 pages Putting a reality check on the weight of your first-world problems could be as easy as picking up this book. If you are overly agitated at the grocery store or hospital emergency room, consider some examples of otherworld problems. A woman endures a difficult childbirth and her brothers carry her on a wooden plank for four days to try to reach help, yet she stills suffers an obstetric fistula that leaves her ostracized by society. An 11-year-old impregnated by her father is legally forbidden to get an abortion until a judge issues a court order. An Indian teenager is forced into prostitution and then murdered while her family believes she’s working as a maid in California. These are the kind of problems that Nafis Sadik has stared down. Sadik isn’t a household name, but maybe she should be. This Pakistani woman — a Muslim whom author Catherine Miller calls “a solider in a sari” — took on some of the developing world’s biggest challenges to play a major role in the United Nations’ family planning and women’s rights efforts for more than half a century. A civilian army obstetrician in her early career, Sadik treated military wives and bounced along rutted roads to reach rural Asian communities with a message about how allowing time between pregnancies and placing equal cultural value on both sexes could elevate conditions for all. At age 34 she retired, Miller writes, “exasperated at encountering illness and death fueled by ignorance, and a culture that reduced the feminine gender to chattel.” Just months later Sadik applied for a public health job in Pakistan’s Planning Commission, where she pushed for such nontraditional methods of sex education as sending condoms with agricultural and military workers traveling to the hinterlands. Success in her home nation, even as it moved toward Islamic theocracy, led the doctor to host a global symposium on controlling fertility in 1969, a time when the right to use contraception was met with “queasy dissent” and did not have the endorsement of religious or political groups. Yet the message had traction for governments, Miller writes, that “saw the quality of life for their citizenry sliding backward, indirectly proportional to the birthrate.” In 1971, Sadik expanded her reach to the global stage with a position at the United Nations, moving through the ranks of the international policy-setting group to become, in 1987, director of the United Nations Population Fund — the first woman to head a UN agency. Witnessing the failure of paternalistic theories with Western moral underpinnings to change the large impoverished families from Karachi to Kenya, Sadik realized the only way to persuade policymakers was to go for the pocket. “Nafis had learned early on when dealing with heads of state that it was much easier to appeal to their desire for a brighter economic future than their shame over human rights abuses,” Miller writes. One of her greatest diplomatic achievements was gaining global consensus in 1994 for a 20-year agenda to increase family planning education and address reproductive health issues, including HIV/AIDS. The recent appointment of a new pope might prompt interest from readers in the significant portion of the book devoted to the ways in which Sadik battled the Vatican. The Roman Catholic institution is the only nongovernmental organization with a voice at the UN — albeit technically only as a “permanent observer.” Miller carefully unpacks how the Vatican perspective on contraception and the political winds in the United States were tangled. Ronald Reagan needed the church’s support of U.S.-propped dictators in Latin America. Even though his father worked with and supported Planned Parenthood, as the vice president and then as the president, George H.W. Bush continued Reagan’s “gag rule” stance that forbade U.S. money to be used on programs that so much as mentioned abortion. Bill Clinton reversed the policy, only to have Bush’s son reinstate the gag rule when he took office. Obama restored funding to the organization in 2009. The tragedy in political ping-pong of this sort is that it detracts from one of the main goals of the population fund, to provide women with access to contraceptives to reduce the demand for abortion in the first place. Miller, who teaches creative writing at San Jose State University, traveled extensively to complete both the portrait of Sadik and a series of vignettes that remind the reader that the struggles are not over. She repeats the mantra that raising the economic bar for the women in a society raises the bar for everyone. Her brief stories about modern women are jarring. Try to complain about your life after reading the chapter on female genital mutilation from the perspective of a 13-year-old girl in Kenya. — Julie Ann Grimm
PASATIEMPO I May 17-23, 2013
SubtextS Grill guides Local cookbook mavens and four-time James Beard Cookbook Award recipients Cheryl and Bill Jamison are back with another outdoor-cooking essential. The couple’s 1995 book Smoke & Spice is a must-have for lovers of low-and-slow barbecue, and The Big Book of Outdoor Cooking and Entertaining is an excellent primer for keeping guests happy while not setting the backyard on fire. From 3 to 5 p.m. Saturday, May 18, the Jamisons celebrate the release of their new cookbook, 100 Grilling Recipes You Can’t Live Without: A Lifelong Companion (Harvard Common Press), with a signing at the Santa Fe School of Cooking (125 N. Guadalupe St., 983-4511). The authors will also give tips on grills and grilling techniques. 100 Grilling Recipes is chock-full of delectable offerings, from blue corn/green chile pizza and quail with red-eye rub to cedar-plank salmon and apple wedges with whiskey-caramel sauce. But the book is much more than a collection of recipes. The Jamisons’ combined years of culinary experience — not to mention the fact that they cook roughly 100 meals a year outdoors (thus the decision to include 100 recipes here) — make them indispensable resources of grilling knowledge. Peppered with useful tips (Are you seasoning the grates correctly? What’s the secret to great marinades?), the book tackles burgers, hot dogs, sausages, fish, chicken, pork, and game. Vegetarians will enjoy a section devoted entirely to meatless dishes — two sections if you count dessert (mmm: s’mores). — Rob DeWalt
OYSTER PERPETUAL MILGAUSS
On the PLaza, Santa Fe 61 Old Santa Fe Trail • 505 • 983 • 9241 rolex
oyster perpetual and milgauss are trademarks.
Wayne Lee I For The New Mexican
julie brette adams ancer and choreographer Julie Brette Adams is staging the fifth incarnation of her popular One Woman Dancing performances this weekend at the Santa Fe Playhouse, premiering six new works. But she isn’t doing it alone. “I never do anything by myself in my one-woman show,” Adams said after an informal studio rehearsal. “I show work early on to a variety of people — dancers and nondancers. I ask for feedback about everything — costuming, how to order the program, everything. I like to collaborate with everyone — photographers, lighting designers, artists, sculptors, painters.” On this day, the run-through was witnessed by an artist, a fellow dancer, a journalist, a videographer, and lighting designer Skip Rapoport. True to 18
PASATIEMPO I May 17-23, 2013
form, Adams asked for notes afterward from all assembled. This was Rapoport’s first time seeing the program, although this will be his seventh time doing lights for Adams. “Julie always gives me a good design challenge because her work has so much variation to it,” he said. “I need to find the right look for what she’s doing, extract the most potential as possible.” He does that, he said, by imagining the work at the playhouse, a space he knows well from previous productions he has lit there. He will watch at least three of Adams’ rehearsals in order to “find what’s critical, how much light, the direction of the light. I’m accentuating what she’s doing.” The show opens with Chronos, Cosmos, Corvus, a triptych that explores the devolution of human consciousness. Adams calls the second work, Saiseisan,
a bookend to last year’s Jisei No Ku: both pieces incorporate wearable paper sculpture by Susanna Carlisle and are infused with a zenlke sensibility. While the older piece concerns death, the new work focuses on fertility and birth. The first half of the program concludes with Sodadi, choreographed by Margaret West and set to a longingly emotional song by Sara Tavares. West set the dance to a different piece of music, but Adams adapted the movement to the Tavares song. “I choose music that moves me, emotionally and physically,” Adams said. “Often I have listened to a piece for years prior to finally making a dance to, for, or with it. ... Sometimes, as with Sodadi, a certain piece of music inspires me to generate choreography, but I end up letting that music go and performing the dance I have created to a completely different song.” The soundtrack for this concert includes an eclectic blend of music by Philip Glass, Erik Satie, DJ Krush, the Baka Pygmies of Camaroon, and the Smolyan Folk Ensemble. Act 2 kicks off with The Minutes, Alone, a dozen widely divergent short dances made by a brace of choreographers. As with many of her works, Adams finds ample opportunity during the scenes to inject humor among the pathos. In Lost and Found, Adams uses striking hand, arm, and face isolations within an opening in a large black box — designed by Jefferson Voorhees — to depict the heartache of lost love. Voorhees, whom Adams described as her longtime collaborator, associate artistic director, and best friend, has been working with the dancer for 12 years, and he still finds himself “amazed by her ability to be gracious and grateful for everyone’s contributions, then she sifts through it and comes up with something that’s right for her. She’s able to listen to a lot of opinions without losing her core.” The recital closes with The Calling, Adams’ homage to modern dance pioneer Martha Graham. Using liturgical chants by medieval composer Hildegard von Bingen, Adams embodies both the agony and ecstasy of the life of faith. An abundant black dress serves not only as a costume but as moveable art, creating sound effects as Adams flaps the fabric through the air. Other costumes range from unitards to fatigue pants. There are cowboy hats and even some semi-nudity. “This show is crazy prop-heavy, even though I’m a minimalist,” Adams said. “When you don’t have other bodies onstage, you dance with stuff.” Those objects don’t distract her from her objective, though. “I dance because it’s a deep spiritual expression of my most essential self. That’s how I can have the stamina and perseverance and sheer will to perform a solo concert.” Another reason is Adams’ great physical strength. As a longtime teacher of dance, yoga, Pilates, and fitness classes, she is muscular yet lithe and limber, in good enough condition to sustain the level of effort required by a solo gig. She has learned through experience how to make dances that will work in an evening-long show, how to sequence the pieces, and pace the evening so she doesn’t collapse. The intellectual demands are no less taxing. “I have to be acutely present for the creative process and during the performance. There’s an element of transcendence in that.” Transcendence is nothing new to Adams. She has practiced meditation for many years, she said, and she often gets ideas while sitting. “I pay attention. I just listen to the broadcast that’s going on.” Most of Adams’ ideas involve making dances with emotional weight and some degree of narrative. “This concert is quite heavy on storytelling. I want to make work that is accessible. Technical execution isn’t enough. I’m a person who gives to others, serves, reaches out to humanity, community, hopefully with something meaningful. I want people to be moved, taken somewhere emotionally.” ◀
details ▼ Julie Brette Adams: One Woman Dancing ▼ 8 p.m. Friday & Saturday, May 17 & 18; 2 p.m. Sunday, May 19 ▼ Santa Fe Playhouse, 142 E. De Vargas St. ▼ $20 (discounts available); 986-1801
Julie Brette Adams; Paulo T. Photography
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PASA REVIEWS Scott Jarrett Gig Performance Space, May 11
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PASATIEMPO I May 17-23, 2013
here’s a certain melancholy in the works of songwriters who have outgrown youthful optimism but not lost touch with it. Scott Jarrett, pulling from some four decades of works at Gig Performance Space, showed he hasn’t forgotten romanticism or hopes for humankind in general, even as he’s been tempered by experience. Love, once the answer, is now the question. The world, then a place of promise, is somewhere that “if you’re not lethal, you’re not cool.” Though Jarrett tries, he “can’t find the milk of human kindness anymore.” He doesn’t look to place blame for his uneasiness, at least not entirely; though Higher Powers may be the source of some resentment. “What did I do to deserve Friday, August Friday 10th to Friday May 17th toto this badMarch treatment?” he sang in his22nd opening number, somewhat Friday, February 1st to Friday Friday AprilFriday 5th to Friday, Febry0th to Friday, December 2nd Frida Friday March 22nd Friday to tongue-in-cheek. Thursday, August Thu 16th The song was dedicated “maybe to God if there is one.” Otherwise, any lament toThursday, Thursday, June to Thursda Thursday May 23rd Thursday, Fary Thursday 16th February 7th Thursday Thursday April 11th Thursday March 28th Thursday March 28th 4:30 – 6:30pm he aired was mostly directed at his own shortcomings. Given today’s blame-laden 4:30-6:30pm 4:30 toto 4:30-6:30 4:30 6:30 4:30 to6:30pm lyrics of breakups and betrayals, this was somewhat refreshing. San Francisco St.Red Pilsner Marble Brewery Ale Jarrett, an instructor of recording arts and music business at Santa Fe University of Art and Design and an active recording producer and engineer, All premium draft4:30-6:30pm pints $3.50 Draft Pints $3.50 had smooth-jazz success in 1980 with Without Rhyme or Reason, especially with the tune “The Image of You,” which was in rapid rotation on adult contemporary-radio stations everywhere. Without Rhyme or Reason included a number of notable jazz and fusion artists, including Dave Grusin, Toots Thielemans, Eddie Gomez, Marcus Miller, and Jarrett’s brother Keith in a notentirely-easy-listening collection that cemented his reputation as a jazz crossover artist. That label never really applied. Jarrett is more from the singer-songwriter tradition. Accompanying himself on guitars and piano in what he called “The Revived Scott Jarrett Songbook, Part One,” the composer touched on influences as well as older material that he’d left unfinished and more recent works. In all, the two-set show was a considered look into the man’s heart and mind over time. The few non-originals Jarrett performed reflected his melancholy. Among them, Randy Newman’s languid “Marie” found Jarrett emphasizing the shortcomings of the subject’s admirer. Joni Mitchell’s “Marcie,” from her 1967 album Song to a Seagull, not only carried a wistful story but also suggested the music Jarrett now writes, turning on attractive chord progressions and intriguing melody lines. He doesn’t so much frame his words with music but floats them on buoyant lines that bob above a depth of chords and embellishments. The tunes don’t sound complex until one starts to listen to what’s under them. This was most apparent when he sat at the piano. In the few tunes on which he played a smaller, four-string instrument that suggested a mandolin, the melodies came in more direct fashion. One, “Here We Are,” was played as an instrumental in lines that seemingly suggested lyrics as they came out. When he sang, the slight imprecisions in his voice made for an appealing innocence that suggested vulnerability. A song of Jarrett’s that dates back to the 1970s, “Bang, Bang, Bang,” seemed assertive, even aggressive among the more recent numbers. A tune written in 1985, “Holding on to You,” with its affirmative chorus, suggested the power of attachment. “Save Me,” from his 2009 recording Aperçu, fell into cliché of the sort avoided in his other lyrics (“Won’t you save me?/’Cause I’m drowning/In a stormy sea”). The songs Jarrett hadn’t yet recorded were among his best. One of the more touching and musically diverse pieces, “Bella Russian Prayer,” was about women from the area near Chernobyl, two of them suffering from cancer. “Tumbleweed” found him trapped in a fence corner like the namesake, windblown brush tangled in barb wire. At the evening’s close, Jarrett announced, “This is the last solo gig I do forever or the first one I’ve done in 10 years.” Let’s hope it’s the latter. — Bill Kohlhaase
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New Mexico has yet to make its final decision. But the time for dialogue is now. Where do we stand on this issue, and how are we moving forward as a state?
AP Images for Human Rights Campaign / Paul Morigi
â€”W. Nicholas Sabato, Santa Fe theater director
Rob DeWalt I The New Mexican
M A R R I AG E E QUA L I T Y TA K E S C E N T E R S TAG E I N 8 22
PASATIEMPO I ????????? ??-??, 2013
[given that the state’s laws do not mention specific gender requirements for marriages] — and that the county clerks should start issuing same-sex marriage licenses. I guess New Mexico has yet to make its final decision. But the time for dialogue is now. Where do we stand on this issue, and how are we moving forward as a state?” After the staged reading, ticket holders are invited to stay for a panel discussion moderated by Brian T. Byrnes, president of the Santa Fe Community Foundation. Panel guests slated to attend include Attorney General Gary King, who is currently looking over the wording of the state’s marriage law; Mayor Coss; City Councilor Bushee; First Judicial District Attorney Angela Pacheco; and New Mexico Representative Brian F. Egolf.
is the true story of two loving couples — Kris Perry and Sandy Stier, and Paul Katami and Jeff Zarrillo — who, with the help of attorneys David Boies and Theodore B. Olson, filed a discrimination suit aimed squarely at the strong language contained in Proposition 8. A thrilling courtroom drama that, despite the serious subject matter, contains a few great laughs, 8 also presents the strongest evidence from both the defense and the plaintiffs while exploring the emotional impact that Prop 8 has had on gay and lesbian couples and their families.
AP photo/Jeff Chiu
a ballot proposal and a state constitutional amendment known jointly as Proposition 8 passed in California by public vote. The passage attached language to the state’s constitution that spoke loudly and clearly: same-sex marriage was officially made illegal. Numerous legal challenges to Proposition 8’s constitutionality followed, including the high-profile court case Perry v. Schwarzenegger, which would later come to be known as Perry v. Brown and then Hollingsworth v. Perry. In the case, which was originally brought before the U.S. Court of Appeals for the Ninth Circuit, one lesbian couple and one gay couple filed suit against the state, claiming that the constitutional amendment was discriminatory. In 2010, based on the testimony heard during the case’s original proceedings, Prop 8 was deemed unconstitutional. Supporters of Proposition 8 appealed the Ninth Circuit court’s findings to the U.S. Supreme Court in July 2012, and on March 26 of this year, oral arguments were heard. The Supreme Court’s rulings on the matter have yet to come, but some word on the matter is expected in June or July. While the nation and the world await the court’s ruling, the fight for marriage equality in the U.S. continues: on May 2, Rhode Island became the 10th state in the Union where gay marriage will soon be legal. On May 7, Delaware became the 11th. And on May 13, Minnesota became the 12th. One of today’s most ardent supporters of equal marriage and gay rights is screenwriter Dustin Lance Black, who took home a 2008 Academy Award for best original screenplay for Milk, a biopic celebrating the life and achievements of slain politician and gay-rights activist Harvey Milk. Black, a founding board member of the nonprofit American Foundation for Equal Rights, has written a riveting script based on the court transcripts of the Perry v. Schwarzenegger proceedings. On Saturday, May 18, Santa Fe Performing Arts presents a staged reading of Black’s play, titled 8, at the Armory for the Arts Theater. 8 is the true story of two loving couples — Kris Perry and Sandy Stier, and Paul Katami and Jeff Zarrillo — who, with the help of attorneys David Boies and Theodore B. Olson, filed a discrimination suit aimed squarely at the strong language contained in Proposition 8. A thrilling courtroom drama that, despite the serious subject matter, contains a few great laughs, 8 also presents the strongest evidence from both the defense and the plaintiffs while exploring the emotional impact that Prop 8 has had on gay and lesbian couples and their families. Staged readings are taking place in theaters and at colleges and universities across the country in the run-up to the Supreme Court’s ruling. Directed in Santa Fe by SPFA executive artistic director W. Nicholas Sabato, the cast includes 21 characters, and the roles are played by well-known actors and Santa Fe celebrities. Veteran television and stage actress Joyce DeWitt (Three’s Company) and screen icon Ali MacGraw play the female couple, while David Trujillo and Longmire television-series actor Adam Bartley assume the roles of Jeff and Paul, respectively. Wes Studi plays Charles Cooper, a former assistant attorney general during the Reagan administration and lead council for the sponsors of Prop 8, while actor Jonathan Richards plays Olson, the U.S. solicitor general under George W. Bush who, along with Boies (played by Longmire actor Bailey Chase), filed suit on the gay couples’ behalfs. Santa Fe mayor David Coss assumes the role of the chief judge in the case, Vaughn R. Walker, and Joan Tewkesbury, a film and television director, screenwriter, producer, and actress (she wrote the scripts for Robert Altman’s Nashville and Thieves Like Us), plays a broadcast journalist. “Everyone is donating their time and services,” Sabato said, “and it’s amazing to have so many people from the community involved.” During the summer of 2012, Jenny Kanelos of New York-based Broadway Impact, a grassroots organization of theater artists and fans who support marriage equality, contacted Sabato. The organization, which is sponsoring and promoting the staged-reading campaign, asked Sabato if SFPA would be interested in holding a reading in Santa Fe. “It’s being done throughout the country in a variety of ways. Some are free readings. Broadway Impact suggested making the Santa Fe show an event for the American Foundation for Equal Rights, not only to raise awareness about marriage equality but also to raise dollars. “Certainly Santa Fe is the kind of community that would be supportive and help in doing that, and this is the kind of work that SFPA loves doing — work that deals directly with real social issues. Here we are in Santa Fe, a fairly progressive city as evidenced by the recent symbolic resolution by Mayor Coss and City Councilor Patti Bushee that states that gay marriage is legal in New Mexico
From left, Jeff Zarrillo, Paul Katami, Sandy Stier, and Kris Perry
Sabato said he’s going along with the feel of the original staged readings, which were star-studded events in New York (2011) and California (2012). “There’ll be a judge’s bench, a witness stand, and chairs for witnesses. All the actors have scripts in hand, and because it’s impossible to wrangle all of these busy and high-profile people at the same time and place, I’m meeting with a few of the actors before the only rehearsal we’ll have; and that only happens the night before the show. Working with professionals and people who can really chew up the scenery, even in a staged reading, means they each will bring something special to the performance. “The play, which remains unpublished for now to allow for these types of nationwide readings, is an eye opener as to what actually went on in that courtroom. The expert witness for the defense — the proponents of Prop 8 — turns out to be the opposite of an expert. He’s a real bungler, in fact. I was a little shocked after doing more research on Perry v. Schwarzenegger, because I would have thought they would have prepared a much better defense for a case of this caliber. Nothing could have been further from the truth.” ◀
details ▼ Staged reading of Dustin Lance Black’s 8 ▼ 7 p.m. Saturday, May 18; panel discussion follows reading ▼ Armory for the Arts Theater, 1050 Old Pecos Trail ▼ $60, $125 includes preferred seating and admission to afterparty with cast and panelists; call 984-1370 for tickets
James M. Keller
Give us this data
The Borromeo String Quartet was founded in 1989 by four students at the Curtis Institute of Music in Philadelphia and spent a fair portion of the years since doing what most quartets do when they climb the ladder from obscurity to eminence. The musicians snagged top awards in notable competitions, developed an active concert schedule, and settled in as a resident ensemble, in their case at the New England Conservatory, which has served as a base for more than two decades. They mastered the standard quartet repertoire and gained a reputation for husbanding new works by American composers. Then, about five years ago, their concerts took a novel turn. They decided to make use of digital technology to make their lives a bit easier and began playing from music displayed on laptop computers rather than from printed pages. From there, the group — especially its first violinist, Nicholas Kitchen — started imagining how they might harness digital possibilities to the audience’s experience, and they entered the world of multimedia presentation. When the Los Alamos Concert Association hosted the group at Duane Smith Auditorium on May 4, the printed program included a bio that proclaimed the ensemble’s confidence about what they are up to: “The Borromeo have been redefining the classical music landscape through innovative uses of MacBook Pro laptops, video projection, and iPads in performance.” The event began in standard concert format, if with an unusual choice of repertoire: Stravinsky’s Three Pieces for String Quartet, a plucky set of modernist miniatures from 1914. The entire set runs perhaps seven minutes, and you might call it an anti-quartet. The astute critic Paul Griffiths, in his book The String Quartet: A History, observed of the piece: “There is no acknowledgment of a tradition or a form, and the lack of any such acknowledgment seems iconoclastic because of our own experience of the genre’s tradition. ... The notion of quartet dialogue has no place here, nor have subtleties of blend: the texture is completely fragmented, with each instrument sounding for itself.” The Borromeo appeared to agree with him in the spastic opening movement, in which the players really do seem to be each on their own, but they infused the second (which Stravinsky related to the jerky movements of a then-popular clown named Little Tich) with considerable charm, and they seemed to find that quartettish blend was far from irrelevant in the third, which has a flavor of liturgical chant. That said, their blend in that final movement struck one as sometimes arbitrary, with a viola or cello popping out of the unified texture now and again for no apparent reason. 24
PASATIEMPO I May 17-23, 2013
hen it was time for technological innovation, and Kitchen started off by giving a speech detailing the group’s recent path. He explained that the shift from printed sheet music to computer screens made it possible for the ensemble to play from score rather than parts, thereby making the notation of all four lines available to each player with the sweep of an eye, rather than just that musician’s own part. Doing this from printed scores would require an impractical amount of page-turning, a problem that was eliminated by connecting the computers to pedal devices — mice for the feet — that enable the musicians to advance the pages on the computer screens without ever removing their hands from their instruments. Then it occurred to the group that audiences might like to follow the score, too, so during concerts they started projecting onto a screen behind them the pages that were simultaneously glowing on their computers. Next step: think how much cooler it would be if players and listeners could watch not just an ordinary, edited score but rather the music as written in the composer’s own hand And so we embarked on Beethoven’s Quartet in E-flat Major (op. 127), the first of the five supernal quartets of his late period. Part of the piece was available to the Borromeos in the composer’s full “working score,” part of it not; accordingly, the presentation was divided movement by movement between projections of a standard, edited, typeset score and of the composer’s own manuscript. Perhaps the experience would have been more satisfying if the projections had made it to the screen in their entirety. As it was, the bottom third or so of each page was cast onto the bobbing bodies of the players and was thereby rendered invisible. Let’s say the printed score typically fits five systems onto a page; maybe three could be read and two could not. (A system is a group of concurrently sounding lines that together represent the total musical texture — here, the four parts of first violin, second violin, viola, and cello; so of the 20 printed lines of music on the page, one could read perhaps 12 of them, after which the visual aspect of the presentation effectively entered suspended animation until it was time to turn the page.) The sections that involved Beethoven’s manuscript did a similar disappearing act, but that was the least of the problems they presented. Somewhere within Beethoven’s jottings lurks a masterpiece being born, but most of the pages are a morass of crammed-in additions, crossed-out deletions, and vehemently inked corrections scribbled over what is widely regarded as the most illegible chicken scratch in the history of musical penmanship. Factor in the vanishing lower systems, and you can imagine how unmanageable everything was for viewers.
In his introduction, Kitchen spoke about what a revelation it was when the ensemble first experienced playing from a full score and how still more meaningful it was when they began playing directly from the manuscript. I cannot imagine that any committed chamber group at the level of the Borromeo would not spend a great deal of rehearsal time playing from full scores, even given the inconvenience of the frequent page-turns that would be inhibitory in a live performance. I assume that, at some point, the members have all traded parts or at least played each other’s lines to gain an intimate awareness of how the parts fit together. And surely they must have followed recorded versions of the Beethoven quartets with scores in hands. All this would be pretty basic for a serious chamber group, and one might expect that by the time a top-level ensemble goes on stage to play a Beethoven quartet for the umpteenth time they would have internalized the music so deeply that whatever music was sitting before them, whether on music stands or computer screens, would serve as little more than an aide-mémoire.
tudying available source materials is a terrific thing for all serious musicians to do, and I absolutely commend the Borromeo for doing it as part of their preparation. I am sure it helped them deepen their appreciation of op. 127 and ended up informing their interpretation. But I wonder what the projection of the manuscript can have possibly meant to most attendees. Beethoven’s unruly pages may have suggested the struggle that went into the composing process, but — even if the projections had worked adequately — it is really not conceivable that anybody could have followed the manuscript notation more than sporadically as the piece unrolled at full tilt. At best, it can have been little more than constantly shifting wallpaper. Perhaps it could have been put to illuminating effect in a pre-concert lecture-demonstration, or as a self-standing segment of the evening in which the musicians might call attention to specific points in the manuscript that shed light on the composer’s process. So how was the music-making in op. 127? I can’t really say. Even while it was going on, I was aware that I was not listening closely. Occasionally I closed my eyes and focused on the playing, but then the lids would flutter open and again I was plunged into overload. When it was finished, I had the impression it was a fine performance, but I couldn’t cite much in particular about it except that the exercise was exhausting to the eye and that the fatigue carried over to the ear. Unfortunately, that left a listener in a depleted state to embark on Dvoˇrák’s G-Major String Quartet (op. 106), the lovely if arguably overextended work that occupied the second half of the program, rendered without projections. Nonetheless, one could not fail to admire the firm ensemble work, which reached an appealing wistfulness in the slow movement, as well as the inherent “choreography” that attaches to the physical interaction of a string quartet. The group had prepared an encore, and again the multimedia revved up for a frenzied rendition of Kitchen’s arrangement of Bach’s Fugue in E-flat Major (BWV 552/ii), the glorious and intricate final movement of the Leipzig master’s Clavier-Übung III, an organ collection. Following a spoken introduction, a projection of the score flew past at breakneck speed, one measure at a time, with each measure (once played) being shrunk to a tiny thumbnail and placed within a geometric structure that was supposed to demonstrate the mathematical proportions that rein over Bach’s conceptions. As this was happening, pictures of Bach-related sites popped up at various places on the screen at a velocity that practically induced seasickness. In the midst of it all, the musicians offered an interpretation that made Bach’s scintillating fugue sound utterly bland. Don’t get me wrong: there is nothing sacred about traditional concert practice, and there is no reason that the presentation of great music needs to remain identical to what was done at some time in the past. But on this night at least, the Borromeo String Quartet offered a concert so overwhelmed with distractions and poorly realized intentions that the music itself took a back seat, and that cannot possibly be the direction in which the concert experience ought to evolve. ◀
Opposite page, the Borromeo String Quartet; photo by Eli Akerstein
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KiSSeS Kids in Michel caMilo What’s Up? (oKeh) L.A. (cascine) I recently Pianist Michel Camilo’s new solo visited old stomping grounds in album starts off rousing, bluesy, and Los Angeles, and was reminded of how contrapuntally dazzling in the title song. different music sounds while driving in He follows it with the beautiful, flowing that city. There’s a reason that L.A.-based ballad “A Place in Time” and a cover of Paul music — everything from 1970s Laurel Desmond’s “Take Five,” here playing both Canyon folk to 1980s glam metal to 1990s Desmond’s sax part and Dave Brubeck’s G-funk rap — is difficult to replicate elsepiano, and then tweaking it, flying away from the theme where. There’s a certain flow to it, which needs to work while maintaining the familiar left-hand pulse — brilliant! on a car stereo while driving on the 101 at dusk. It needs to Born in the Dominican Republic, Camilo worked with Cuban be exciting and optimistic, yet easygoing. It needs to sparkle. bandleader Paquito D’Rivera for three years and has released Kisses are great at affecting that SoCal mood, smoothly slipping about 20 albums as a leader, including with bassists Horacio “El between L.A. staples of soul and disco. They gave their album this Negro” Hernandez, Charles Flores, and Marc Johnson; as well as title for a reason: it’s wistful and youthful and evokes the feeling of duet albums with Tomatito and Katia Labèque. Camilo said What’s looking down at all the twinkling lights in the valley and imagining all Up? “expresses my desire to explore the contrasts of color, harmonic the lives and loves below. Jesse Kivel hovers over the album’s grooves with texture, rhythm, and nuances in jazz piano playing. Here is my love for a crystalline croon, painting an enticing expectation of romance and sex. the many musical influences I have been exposed to over the The melodies could be a little stronger throughout, which makes years.” After the delicate, lovely “Sandra’s Serenade,” the pianist the best songs — the ecstatic chorus of “Funny Heartbeat” offers the Caribbean-flavored “Island Beat,” alternating lyriand the sensual mysteries of “Air Conditioning” — truly cism with charging percussiveness. “Paprika” is just hot. stand out. It’s also shallow; emotions are not seriously Composer Camilo demonstrates the independence of his two hands plumbed here. That dovetails with L.A.’s (unfair, but Lera Auerbach with some crazy-good counterpoint and again trades not entirely untrue) reputation as a city obsessed with off between loud and soft, in this case roaring blocksurface and image at the expense of honesty. Kids in inherited Shostakovich’s chord patterns and quieter segments. Also here are L.A. lives up to its title, and that’s both its biggest wonderful takes on the standards “Alone Together” and compliment and its biggest drawback. — Robert Ker insistence on emotional “Love for Sale,” plus a heady treatment of the Compay Segundo tune “Chan Chan.” — Paul Weideman leRa aueRBach Celloquy (cedille) Right out of the commitment, his horror of gate, composer Lera Auerbach grabs the listener’s attention Bill PalMeR’S TV KilleRS Self-titled (Frogville with a mournful slow movement that makes its point withblandness and his penchant Records) Bill Palmer’s reputation as a music producer and out wasting a note, and then she swings into a terrifying engineer at Frogville Studios in Santa Fe is as solid as his 47-second allegro that seems simultaneously chock-a-block for unanticipated notoriety for telling it like it is. It has already proven to be a and spare. Thus begins her 24 Preludes for Violoncello and juxtapositions. great production year for the singer-songwriter/guitarist, who Piano (1999), a 50-minute sequence of short pieces that also wields an ax in his wife’s band Stephanie Hatfield and Hot constantly shift character as they wend their way through each of the major and minor keys. Their genealogy reaches to chromatically Mess. How Palmer managed to carve out enough free time to lay plotted cycles by Bach (who is recalled through several allusions), down some tracks with his own band is a mystery. But rather than waste precious moments trying to solve it, just go pick up this eight-song treasure Chopin, and Shostakovich — but especially Shostakovich, the composer to whom Auerbach is most often compared. Born in 1973 in Chelyabinsk, in the trove of alt-rock and Americana. “Tell the Man” displays Palmer’s fondness for Urals, she inherited her predecessor’s insistence on emotional commitment, lyrical self-reflection and a deep love of Tom Petty’s more low-fi rock tunes. his horror of blandness, and his penchant for unanticipated juxtapositions. “Gimme Gimme” finds Palmer and Hatfield, who pulls secondary-guitar Nothing is off-limits: individual preludes can suggest Baroque dances, and harmony-vocal duties on this debut album, crunching down a sexy, ballroom waltzes, folk ballads, rock-guitar riffs — even, in one fuzz-rich country rocker. The “Crimson and Clover”-sounding “The movement, Mozart’s Zauberflöte Overture attempted on a dismally Illegals” further solidifies Palmer as a strong visual storyteller while mistuned piano. The cycle is a textbook of modern cello technique, exploring the complexities of the ongoing immigration debate. Band mates Matt McClinton (bass) and Mikey Chavez (drums) and cellist Ani Aznavoorian is so expert that she might have round out this tight ensemble, which never written that textbook herself. Auerbach is forces the twangier moments to the point of a dazzling pianist throughout the cycle and cliché. It’s an absolute pleasure to listen to a in her impressive Sonata for Cello Piano collection of carefully crafted songs penned (2002). This captivating CD concludes by someone who knows his way around a with a haunting Postlude, a recasting of guitar and a studio and isn’t afraid to wear one of the preludes, now with prepared his rage, disappointment, redemppiano and, as the composer observes, tion, and fear on his sleeve. suggesting an ancient ruin. — Rob DeWalt — James M. Keller
PASATIEMPO I May 17-23, 2013
XT W MA EE Y 2 KEN 5-2 D 6 !
FROM CLASSIC TO CONTEMPORARY, FROM EMERGING TO ESTABLISHED
MUSEUM-QUALITY NATIVE AMERICAN ART SHOW Photos by Carol Franco
May 25-26, 2013 Santa Fe Convention Center
Dobkin Family Foundation
Orlando DG Dugi House
• Saturday 10-4 ($10) * Sunday 10-4 (free) • Over 200 of the best Native American artists • Beneﬁts the Museum of Indian Arts & Culture www.nativetreasures.org
2013 Featured Artist Tammy Garcia Join us at “Breakfast with Tammy” Wednesday, May 22, 9am Museum Hill Café Museum of Indian Arts & Culture Tickets $40 Available at www.ticketssantafe.org
JUST A FEW OF OUR MUSEUM-QUALITY ARTISTS Keri Ataumbi • Ernest & Veronica Benally • Black Eagle • Sally Black • DY Begay • Autumn Borts-Medlock • Nocona Burgess • Joe & Althea Cajero Fritz Casuse • Richard & Jared Chavez • Randy Chitto • Evelyn Fredericks • Tammy Garcia • Gaussoin family • Goldenrod • Benjamin Harjo Jr. Delbridge Honanie • Oreland Joe • Mona Laughing • Samuel Manymules • Les Namingha • Ed Archie NoiseCat • Amado Pena Ken Romero • Maria Samora • Penny Singer • Roxanne Swentzell • Kathleen Wall • Liz Wallace • Robin Waynee • Yellowman PASATIEMPOMAGAZINE.COM
REDISCOVER PEACE OF MIND 4th Annual Santa Fe
FIBER ARTS FESTIVAL!
Saturday and Sunday, May 18 & 19, 2013 10:00 am to 4:00 pm •
Participate in fun historical demonstrations of sheep shearing, wool washing, carding, spinning, dying, weaving and colcha embroidery by Las Golondrinas’ weavers!
See talented border collies herding a flock of sheep
Buy weaving, clothing, supplies, Rio Grande textiles and much more from local wool producers and fiber artisans
Learn about the history and importance of “Cochineal - the Perfect Red” from expert Peter Lipscomb
Enjoy Native American Pueblo weaving demonstrations & presentations by Louie Garcia (Tiwa/Piro)
Visit with master weaver Pearl Sunrise (Navajo) and watch her work on her upright loom
Hands-on crafts for kids!
All in the setting of a 200-acre Spanish colonial ranch and living history museum with 34 buildings, agricultural fields, costumed villagers and a Museum Shop!
Adults: $8, Seniors & Teens: $5, Children 12 & Under Always FREE! Call or visit our website for more information & a schedule
ind peace of mind, as well as F comfort and convenience at Taos Retirement Village. As a resident in our
vital community, you will find socially engaging and comforting lifestyle options, which are key components to healthy aging.
T AO S
R E T I R E ME NT V IL L A GE 414 Camino de la Placita . Taos NM
Six Words Jane Rosemont, Photography “Colorful India, in black and white.”
George Duncan, Acrylic Paintings “Endless matrix rhythm, breath of red.”
Paul Biagi, Acrylic Paintings
“Seeking essence beyond time and language.”
Barrie Brown, Kiln Glass
“Colorbursts of floating texture; transparent harmony.”
505-471-2261 • WWW. GOLONDRINAS.ORG
JUST SOUTH OF SANTA FE • EXIT 276 OFF I-25 FOLLOW SIGNS FOR “LAS GOLONDRINAS”
Support provided by the Santa Fe Arts Commission and the 1% Lodgers Tax and New Mexico Arts
PASATIEMPO I May 17 - 23, 2013
iVO V contemporary
May 15 – July 1 Opening Reception Friday, May 17 5pm – 7pm
725 Canyon Rd, Santa Fe • 505-982-1320 • www.vivocontemporary.com
ON STAGE Into the darkness: Laura Cortese
Songstress, violist, and fiddler Laura Cortese strikes the perfect balance between a contemporary harmonic pop sensibility and deep string-folk traditions on her new album, Into the Dark. And dark it certainly is, with Cortese’s rich and whispery alto leaning into melancholy confessional tales of hope in times of desperation. “While our lovers’ backs were turned, engaged in conversation,” Cortese sings in the album’s title track. “The slightest indication of a spark, ‘a demon
The good life: Carmina burana
Carl Orff’s Carmina burana is an hour-long cantata for multiple choruses, vocal soloists, and a full orchestra, and it scored such a terrific success at its premiere, in Frankfurt in 1937, that even the Nazi government had to make peace with its rampant eroticism. Its libretto, consisting of 24 poems selected from a volume of poetry collected at a medieval abbey in Bavaria, is a compendium of the good life, detailing adventures in eating, drinking, and sex. Around 1980, the piece caught the attention of makers of popular culture, and from that point on its pulsating phrases have figured in a plethora of movies, television shows, commercials, and athletic extravaganzas. Steven Smith conducts the Santa Fe Symphony Orchestra and Chorus and the Santa Fe Men’s Camerata in this evergreen classic at 5 p.m. on Saturday, May 18, and at 4 p.m. on Sunday, May 19, at the Lensic Performing Arts Center, 211 W. San Francisco St. Also on the program are the considerably more subtle “Four Sea Interludes” from Britten’s opera Peter Grimes. Tickets ($20 to $70, discounts available) may be purchased by calling 988-1234 and visiting www.ticketssantafe. org. Lectures an hour before performances are free to ticket holders. — JMK
Mudbugs in Madrid
Get ready to shuffle your feet and stuff your gumbo-lovin’ gullet, because it’s time for the Sixth Annual CrawDaddy Blues Fest in Madrid. This year, the event takes place next to Madrid’s Old Coal Town Museum near the Mine Shaft Tavern (2846 N.M. 14), and the lineup spans two days. from noon to 7 p.m. each day. On Saturday, May 18, catch Jim & Tim Blues, the Desert Southwest Blues Band, Las Cruces one-man blues band CW Ayon, zydeco/Tejano/Gypsy-swing kings Felix y Los Gatos, and Austin hillbilly-swing mainstay Wayne “The Train” Hancock. On Sunday, May 19, The Barbwires, Connie Long with Fat Patsy, and Ayon hit the stage. And it wouldn’t be CrawDaddy without a performance by the inimitable Junior Brown, who headlines on Saturday. Of course there will also be a full bar, barbecue, gumbo, shrimp, and plenty o’ dem delicious mudbugs from the Gulf Coast. Advance tickets, $15, can be reserved by calling 473-0743 or visiting www.themineshafttavern.com. There is no charge for the under-12s. — RDW
and a rose,’ he said. ‘Your wit is ever sharper. It’s cutting through the cage around my heart.’ ” The Santa Fe Performance Exchange presents Cortese at 7:30 p.m. Friday, May 17, at the Music Room at Garrett’s Desert Inn (311 Old Santa Fe Trail, 982-1851) to celebrate the release of Into the Dark. Opening for Cortese and her vocal/string ensemble is Mariel Vandersteel, who blends fiddling traditions from the U.S., Norway (she plays a mean nine-string hardingfele), and Ireland. Advance $15 tickets are available through www.brownpapertickets.com. Admission at the door is $18. — RDW
Preserving the preserver: music by John Donald Robb
John Donald Robb (1892-1989) served for 16 years, through 1957, on the music faculty of the University of New Mexico — and for all but one of those years as its dean of the College of Fine Arts. He earned particular note for his work exploring the state’s Hispanic folk music, which he edited and helped preserve through published collections. He was also an active composer, having numbered Horatio Parker, Nadia Boulanger, and Paul Hindemith among his teachers. Since his death, the John Donald Robb Musical Trust, administered by the University of New Mexico, has provided funds to support musical research in the areas that interested him and underwrites performances of his music. At 7 p.m. on Thursday, May 23, the chorus and orchestra of the New Mexico Bach Society, conducted by Franz Vote, offers Robb’s Requiem (1985) at the St. Francis Auditorium in the New Mexico Museum of Art (107 W. Palace Ave.). Also on the bill is the Messe solennelle de Sainte-Cécile, unveiled in 1855 by Charles Gounod, a work that earned the approval of even as demanding a listener as Hector Berlioz. Tickets ($20 to $55, discounts available) can be had through Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org). — JMK Junior Brown
Michael Abatemarco I The New Mexican
Spirited imagery Much has been made of Georgia O’Keeffe’s paintings of katsina tithu — popularly knows as kachina dolls —which represent spirt beings in the Hopi religion. The paintings represent a departure from the work we normally associate with O’Keeffe, such as her floral imagery and her desert abstractions. They are a rare venture into figurative imagery, though they are more appropriately regarded as still lifes. The paintings are included in the traveling exhibit Georgia O’Keeffe in New Mexico: Architecture, Katsinam and the Land, opening at the Georgia O’Keeffe Museum on Friday, May 17. Two contemporary artists — Santa Fe-based painter and sculptor Dan Namingha, from the Hopi-Tewa tribe, and Hopi artist Ramona Sakiestewa — are also part of the exhibit. One of Namingha’s works in the show is his 2002 painting Katsina Assemblage #4, a highly abstracted rendition of katsinam or Hopi spirit beings. Objects that represent the katsinam are not meant to be seen by outsiders and are maintained by katsina societies. Exact reproductions of katsina tithu, such as photographs, are discouraged. In their abstraction, Namingha’s representations are respectful of Hopi beliefs. “The idea is to protect the sanctity of these images,” Namingha told Pasatiempo. “Some of these [religious] ceremonies are open to the public. When a non-Hopi person visits one of the Hopi villages and witnesses one of the ceremonies, they’re only getting a glimpse of the culture. For that reason, I’ll sometimes do partial imagery of katsinam. These ceremonies, at one time, were completely open, but some of them have been closed because of disrespect by outsiders. Some outsiders feel it’s just entertainment for them. It’s not entertainment. It’s serious stuff.” Namingha is one of several contributors to the exhibition catalog, which was edited by former O’Keeffe museum curator Barbara Buhler Lynes and current curator Carolyn Kastner. Both curated the exhibition. Among the paintings in the catalog are images of katsina tithu that O’Keeffe painted in the 1930s and 1940s. The exhibit and catalog provide opportunities to consider artistic representation of such objects and bring into focus Native and non-Native perspectives. In deference to Hopi and Pueblo peoples, the museum agreed to exclude carved katsina tithu from the exhibit in Santa Fe (although they were exhibited at other venues),
Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land 30
PASATIEMPO I May 17-23, 2013
a respect that many Hopi and non-Hopi alike wish had guided the perspective of auctioneers in France on Friday, April 12, of this year, the day a collection of Hopi masks were sold. Members of the Hopi Nation protested the controversial auction because they are sacred objects, intended for ceremonial use and not as objects of art. As the masks were communal Hopi property, the larger Hopi society would not have consented to sell them to outsiders, and they probably came into private collections unethically. “During the years O’Keeffe painted images of katsina tithu,” Lynes writes in the catalog’s introduction, “the politics of the appropriateness of depicting, selling, displaying, and exhibiting these representations of Native American spirit beings had not yet developed.” Unlike the masks, the dolls are traditionally carved to teach Hopi youth about katsinam and the Hopi religion. “At Hopi we have a ceremony called Powamu, a ceremony that’s the beginning of new birth and the new year in reference to planting,” Namingha said. “Planting begins with beans. During that period, the katsina dolls are carved and painted and presented mainly to adolescent girls to educate these young girls on the katsinam.” Namingha stated that bean sprouts are tied to the dolls before being presented to the children. The boys are given rattles, also tied with bean sprouts. “As time progressed [katsina dolls] became marketable items. You see some really fine carvers, and it’s now become an art form. But we still continue to create these objects for ceremonial use as well.” Dolls made today for market sale are often altered in some way to distinguish them from objects used ceremonially and to avoid actions considered sacrilegious. “They maybe add something different to the piece, abstract it, or delete some parts of it.” O’Keeffe’s paintings of the katsina tithu form only a part of the exhibition, which is steeped in the artist’s fascination with a sense of place and the things that inform it — the natural and the spiritual. The katsina tithu are a part of the abiding spirit O’Keeffe recognized in the landscape of the Southwest. She also revered the region’s distinctive adobe architecture, as exemplified in her Ranchos Church No. 1, which reflects the earthy feel of the desert. Because O’Keeffe seldom painted live subjects, it is a rare treat to see images such as The China Cock, depicting a rooster framed by a range of majestic blue mountains. Her intensive focus on the land conveyed a deep respect for it, and this reverence extended to her still lifes. In a painting called Kokopelli With Snow, the figure of Kokopelli seems to embody a living spirit. According to Namingha, Kokopelli is associated with late-winter fertility rites, around the month of February, when snow is still likely, “so she included snow as her background.” Other images of the katsina tithu include charcoal renditions of the dolls sketched from different angles. Only a few are placed in any kind of landscape setting. In addition to the Kokopelli, O’Keeffe painted A Man From the Desert, depicting an older style of katsina carving rarely seen today, placed in a desert environment. In his accompanying catalog essay, contributor Alph H. Secakuku, a member of the Sipaulovi Hopi Tribal Council at Second Mesa, delineates the changes and styles of the katsina tithu over time. He ends with a discussion of O’Keeffe’s paintings. “O’Keeffe’s depictions of landscapes,
Top, Dan Namingha: Katsina Assemblage #4, 2002, acrylic on canvas, 72 x 120 inches; courtesy Niman Fine Art © Dan Namingha Left, Georgia O’Keeffe: The China Cock, 1929, oil on canvas, 15.25 x 11.5 inches; private collection © Georgia O’Keeffe Museum Opposite page, Georgia O’Keeffe Kachina, 1934, oil on canvas, 22 x 12 inches; © Georgia O’Keeffe Museum
architecture, plant life, and artifacts incorporate what appears to be an innate appreciation and understanding of the colors and natural spirit of our southwestern homeland,” he writes. The sentiment is shared by Namingha. “She found some connection to nature. Our ceremonies are not only for our immediate tribe, but some of these ceremonies are performed for the universe, which means all of humanity, to balance the whole. ◀
details ▼ Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land ▼ Opens Friday, May 17; through Sept. 8 ▼ Georgia O’Keeffe Museum, 217 Johnson St., 946-1000 ▼ By museum admission
t Michael Abatemarco I The New Mexican
Altered plAtes The photo-based art of Henrieke Strecker and Maggie Taylor Maggie Taylor: The concert, 2013, 15 x 15 inches, archival pigment ink print 32
PASATIEMPO I May 17-23, 2013
he photography of Henrieke Strecker and Maggie Taylor, on exhibit at Verve Gallery of Photography in a joint exhibition that opens Friday, May 17, forms a vivid contrast between two artists whose images are surreal, mysterious, and dreamlike. Both artists reference traditional photomechanical processes in their work, although they approach them in different ways and with different results. Taylor, whose photomontages are saturated, painterly visions of the sublime and the uncanny, combines original photography with old daguerreotypes and tintypes. Strecker’s processes include photogravure, photograms, pinhole photography, and other alternative photographic methods that lend her work an atmospheric feel. “I appreciate simple tools,” Strecker told Pasatiempo. “These are my instruments. I often use the forest as a reflective muse. Thirteen years ago, in Germany, I lived for several months in a small, charming caravan, which was built in the ’60s and looked like an egg, an ambulant home, a trailer, as you say here. I wanted to figure out how it feels to live simply. I did.” At the time, Strecker occupied just 45 square feet amid beautiful country that stretched for thousands of acres. “I felt blessed, and, figuratively speaking, I have never left that place. I experienced the transitions of nature, three seasons: summer, fall, and winter, and its overwhelming beauty. I observed my inner chaos, digested the leftovers of decades, and tried to find balance and peace inside of me.
I learned from nature — thunderstorms, thick rains, hail, heavy winds, bending trees, snow storms. A question I asked myself very often is: What is really essential in life?” Strecker’s subjects reflect the simple beauty of objects with an abstract, ambiguous sensibility that might remind some of the work of the 19th- and early-20th-century Pictorialists, particularly in her pinhole work, made with her own hand-built cameras. “These are intimate images that rather whisper in a world that often shouts,” she said. “Building upon the painterly tradition of early Pictorialism, I try to also distinctly enrich my images with a contemporary psychological depth. But when I was in my early 20s I was very much fascinated by German artist Max Ernst.” Strecker’s working methods are always in service to the imagery, monochromatic visions that evoke an intimate mood. “When one talks too much about the process or technique, one runs the danger to demystify or even betray the work.” Sometimes, the mood is dark and haunting as in her Hommage à Goya series, one image of which resembles some writhing, tormented beast, made all the more strange when one realizes the nature of the simple, organic materials used. “An artist friend once visited me in my studio in Germany, and saw some of my gravures, printed with my etching press, and then said, continued on Page 34
Above left, Henrieke Strecker: from the series Hommage à Goya, 2006, photogravure, 6 x 4.25 inches; above right, Untitled, 2007, photogravure, 5.75 x 4.25 inches PASATIEMPOMAGAZINE.COM
The SanTa Fe IrIS SocIeTy PreSenTS:
Altered plates, continued from Page 33
Thirty-Second annual Iris Show May 18, 2013 11:30 am - 4:00 pm
aDMISSIon: Free 7:30-9:30am oPen For VIeWInG n. Guadalupe and Paseo de Peralta Santa Fe, new Mexico
PHOTO BY BOB GODWIN
ADDDDDDDDDDDDDDDDDDDDDF H H H H H H H H Creating an Opera Season H Brad Woolbright, director of artistic administration at The H Santa Fe Opera, will explain what goes into planning an H H opera season. Is there a programming philosophy here in H H Santa Fe? With his many years of connections to artists, to agents, and to new talent, Brad will answer your questions. H H H H Wednesday, May 29 at 5:30 p.m. Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona St. H H Free to members of all Guilds. Non-members: $10 or join the Guild at the door from $35 per year. H H JLLLLLLLLLLLLLLLLLLLLL: Metta Metta Theatre Theatre of Taos & Teatro Paraguas present
If A Door Opens
A Journey with Frances Perkins aa play play written and performed by
directed by Bruce McIntosh
Friday & Saturday 7:30 pm, Sunday 2pm $15/12 424-1601 www.teatroparaguas.org Teatro Paraguas Studio, 3205 Calle Marie Frances Perkins FDR’s Secretary of Labor architect of Social Security
made possible in part by New Mexico Arts, a division of the Dept. of Cultural Affairs,The National Endowment for the Arts, the Santa Fe Community Foundation, and the Santa Fe Arts Commission
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
Albuquerque 7520 Montgomery Blvd. Suite D-3 Mon - Thurs 505-883-7744 34
PASATIEMPO I May 17-23, 2013
Santa Fe 141 Paseo de Peralta, Suite C Mon - Fri 505-983-2909
Maggie Taylor: The burden of dreams, 2012, archival pigment ink print, 15 x 15 inches
‘Your work reminds me of Francisco Goya’s Los Caprichos.’ In my gravures there is often a subtle message embedded, maybe not available on short glance. I don’t want to explain or document the world. They often refer to a human condition, even though, at first glance, they might look like simple studies of plants. The deeper I immerse myself in my work, which means to go deeper within myself, the deeper I move into the unknown.” Taylor’s work also presents the viewer with layers of meaning, feeling, and mood. Her montages often have a dark undertone that is enhanced by the ambiguity of expression of people from old daguerreotypes that she infuses with the sensibility of an absurdist. Consider The burden of dreams, the staid portrait of a man whose dreams appear to burst from his head in a great cloud with a profusion of wild animal forms. Taylor is adept at building internal contradictions into her work, merging the prosaic with a sense of the mystical. Entering the world of Maggie Taylor is like entering a fairy realm — beautiful, beguiling, and sometimes a little sinister, but her images can be peaceful and introspective, too. A photomontage called Once shows a small mouse gazing into a pool on a gently sloping hill. One wonders what the little mouse is thinking and whether, like Narcissus, he gazes at his own reflection. And in Small boat waiting, a skiff rests on calm, untroubled waters, but the image beckons and seems alive with possibility. Where the boat might take you is anyone’s guess. Taylor signs copies of her recent retrospective publication No Ordinary Days at the May 17 reception. Strecker’s work is less narrative, and her photogravures are often quiet in tone. The etching process allows for singularity of vision — just the image, without any surrounding noise to take away from the pure experience of engagement with the subject. “Most of my images have no titles. I want observers to get in touch with the images so that they will find their own story. I would never name a breath. My wish is that my images are still breathing, even though the processes of exposure and developing are done.” ◀
details ▼ Henrieke Strecker and Maggie Taylor ▼ Opening reception & book signing 5 p.m. Friday, May 17; through June 22 ▼ Verve Gallery of Photography, 219 E. Marcy St., 982-5009
TURNTABLE BASICS WORKSHOP
Saturday, May 18 @ 10AM
Come to Constellation Home Electronics and learn about turntables: set-up, tune-up, & clean-up tips to get your turntable sounding its best—even if its from 1970. We will have turntable and vinyl experts on hand to answer questions, suggest updates or upgrades, and of course we will be spinning records.
OPEN TUESDAY—SATURDAY 9 AM—5 PM
· SANTA FE, NM 87501 · CONSTELLATIONSANTAFE.COM
215 N GUADALUPE 505.983.9988
Martin Markinson in association with The Lensic presents
Hershey Felder in
Maestro: The Art of Leonard Bernstein
May 31–June 2
Fri & Sat 7:30 pm, Sun 2 pm $20–$50
Hershey Felder, star of George Gershwin Alone, returns to The Lensic in a music-filled performance that brings composer and conductor Leonard Bernstein to life. “Hershey Felder has the chutzpah to take on Leonard Bernstein and the talent to pull it off!” —Los Angeles Times
Tickets: 505-988-1234 www.TicketsSantaFe.org SERVICE CHARGES APPLY AT ALL POINTS OF PURCHASE
t h e l e n s i c i s a n o n p r o f it, m e m b e r- s u p p o rt e d o rga n i zat i o n
REVIEW Clark Walding: flux, Charlotte Jackson Fine Art, 554 S. Guadalupe St. (Railyard), 989-8688; through June 3
Clark Walding: Third Rail, 2012-2013, oil, wax, and pencil on canvas, 46 x 43 inches Above, Lookout, 2013, oil and wax with pencil on canvas, 21.5 x 19 inches Opposite page, Dark Intervals, 2012-2013, oil and wax with pencil on canvas, 50.25 x 32 inches
PASATIEMPO I May 17-23, 2013
ust recently, I perused Peter Sarkisian: Video Works, 1994-2011 at the New Mexico Museum of Art, and then went directly to Charlotte Jackson Fine Art to see Clark Walding: flux, an exhibit featuring 13 paintings completed by the artist within the last three years at his studio in Cerrillos. Talk about night and day. Sarkisian’s show is one to behold. It’s a techno extravaganza filled with clever one-liners that make you think and often grin but for the most part may not stick with you very long. Of course, the artist’s technical prowess is impressive. The multiple stations of individual pieces must have been a nightmare to install, so kudos to the artist and the museum preparators. Unexpected was the near-total darkness in the galleries and a thermostat setting that rivals the deepest regions of the Carlsbad Caverns. The miserly lighting is to better display the video streams and disguise the necessary mechanics, while the latter presumably saves the multitude of electronics from heat stroke. Going from the dark, cavelike environs of the museum into the sheer brightness of Jackson’s gallery was a born-again moment — not that I disliked the Sarkisian exhibit; it’s really worth seeing. But I was ready for something not digitized, projected, or synchronized with sound that played to conceptual narratives, which in a few instances felt contrived. I needed something beautiful to look at that touched both the mind and the soul. Walding’s paintings do that and more. The austere presentation of Walding’s work is striking, typical of Charlotte Jackson’s less-is-more aesthetic, with clean white walls devoid of labels and lots of breathing space between the pieces. It’s an installation strategy that invites a purposeful dialogue with the works and elicits contemplation of more than subject matter. Walding’s work is decidedly nonobjective. Think in terms of formal elements — paint application, color scheme, textural qualities, shapes and forms, symmetry, and composition — along with the artist’s sensitivity to his materials as he develops a visual mapping of these elements onto canvas. Indeed, Walding’s total abstractions speak to a variety of relationships between line, shape, and patterning within textured fields of subtle color that often allude to architectural components, if not an indecipherable coding via the artist’s marks. And therein lies the beauty. Dark Intervals — a vertically formatted piece executed in oil and cold wax with pencil — is a case in point. Drawn and painted rectangular shapes exist within a darkish field of assorted grays that from a distance appears dense and opaque as well as flat in tonality. Upon closer examination, it becomes apparent that the surface is composed of a delicate layering effect with passages of underpainting peeking through, giving the overall canvas a silky sheen that dances with the light and changes with the viewer’s position. Three painted parallel black bands positioned horizontally to the lower left import a visual equilibrium to the largest and adjoining rectangle to the right, which has attached to its top a construct that could be a stylus balanced on a fulcrum. A small, light blue rectangle nudged against the right edge of the composition is an added focal point that extends Walding’s asymmetrical design, but nothing feels discernibly skewed — all is how it should be. Compositionally less complex but bolder in voice is Third Rail, a nearsquare painting at 46 by 43 inches in which Walding again incorporates a large rectangle juxtaposed with three black bands. This time the bands — more prominent in scale than those in Dark Intervals and placed high in the painting in a field of dark gray — overlap a light bluish-gray rectangle to the right that sports a finely drawn black line that extends its vertical length. Similar to Dark Intervals — and, for that matter, the majority of Walding’s body of work for flux — Third Rail has a scumbled surface quality of finely applied expressive marks that soften painted, drawn, and scratched lines that demarcate geometric shapes.
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Lookout — the smallest piece in the show at 21.5 by 19 inches — is arguably the most vibrant and the most beautiful painting in the group. Isolated in an alcove, Lookout is painted in the most gorgeous shades of cerulean blues tending toward teal blue — think of the crystal clear, lapping blue waters of a tropical island. The subtle spectrum of Walding’s blues in this and a few other paintings has a calming effect upon the eye and spirit. To quickly pass by these works is to deprive yourself of a moment of silent reverie. My only quibble with some of Walding’s paintings is that in one or two there exists a tendency to get a bit fussy. For example, the centrally located rectangle — think check box — of Shelter contains a very deliberate “X” that fills its interior, which imparts a static quality to an otherwise dynamic painting. When I stepped back and blocked out the X-ed box with my thumb, the work exuded a marvelous feeling of openness belying its diminutive scale of 24 by 21 inches. The cohesiveness of Walding’s flux is to be admired. The exhibit clearly conveys a singular vision that is focused on subtle variations of shifting, related colors — blues and grays — along with expressive additive and subtractive processes where occasional schematics of red, rust, and yellow only heighten the aesthetic effect. In short, I got what I came for. — Douglas Fairfield
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Paul Weideman I The New Mexican
eagle eye views
J O H N D E L A N E Y ’S S T R I K I N G P O R T R A I T S F R O M T H E S T E P P E S
young Kazakh man, warmly dressed in a sheepskin coat and a hat of fur and feathers, stares intently into the eyes of the golden eagle perched on his arm. Photographer John Delaney captured the moment during a 2008 trip to Mongolia, where he focused on the Kazakhs who hunt with eagles. For the next eight weeks, Photo-eye Gallery features 16 prints in Delaney’s Golden Eagle Nomads series alongside new photographs by Svjetlana Tepavcevic. Her Means of Reproduction series features great enlargements of seedpods from trees and other plants. The Kazakhs depicted in the Delaney work are part of a culture that has hunted with eagles for more than 500 years. “The people mostly hunt for fox and rabbit,” Delaney said from his home in Hoboken, New Jersey. “In the past it was for food and the furs for clothing. Now they have herds of cattle and goats for their main diet and the eagle hunting is more like a men’s tradition.” Golden eagles exist in the wild over most of North America, Europe, and Asia. They can be more than 3 feet tall with wingspans of more than 7 feet, and they can dive on prey at speeds in excess of 150 miles per hour. The Kazakhs capture young eagles right from the nests and raise and train them. They hunt together for about seven years, then the eagles are released to the wild, where they can live for another two decades or so. “The people start hunting in the late fall with the first snows. The rider goes up into the hills, usually by himself, and goes from outcropping to outcropping, then gets off the horse and sits. It’s very meditative. He has the eagle hooded when he’s riding to keep it calm, then the hood comes off. When the eagle sees something, he lets it go and gets on the horse and chases it down. He carries meat with him to reward the eagle with.” Delaney has written that he considers photography as a way to record “an existence that may soon vanish.” The Kazakh eagle-hunters exemplify “the precious differences between our many world cultures [that] are rapidly eroding away.” The changes he saw in 2008 after first visiting the area in 1998 were drastic. “When I first went I was a novelty. There were very few Westerners, not to mention photographers shooting with large-format view cameras, who had come through. The people were very welcoming and trusting. In each area I was in, it was kind of an event, with a continued on Page 40
John Delaney: Silent Watcher, 1998, gelatin silver print; opposite page, Kazakh Eagle Nomad #3, 2008, gelatin silver print
PASATIEMPO I May 17-23, 2013
John Delaney, continued from Page 38
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huge meal and everybody would come around and help in the production, in my portable tent studio. The second time they were more jaded. They had seen a lot of tourists, and there were now satellite dishes and solar panels. There were funny situations where I’d be watching Jackie Chan movies in the middle of nowhere. “Most of the young Kazakhs, you can’t keep ’em down on the farm. Once they see the world that’s out there, the life of the nomadic herder isn’t so appealing. A lot of the younger generation head over to the capital of Mongolia, which is not a very pleasant place at all.” Delaney’s traveling studio was somewhat of a meeting place for Kazakh acquaintances, and it was especially useful in controlling lighting on his portrait subjects. There, and out on the landscape, he made every effort to “honor my subjects in a simple unpatronizing and respectful way.” Delaney is a master of the fine-art photographic print. Produced using a large-format field camera and black-and-white sheet film, each gelatin silver print glows with rich detail: the people’s bronzy, dramatically handsome faces and the eagles’ bristly feathers, fierce eyes, and big, sharp beaks and talons. His love of photography began when he discovered Irving Penn’s 1974 series Worlds in a Small Room, which features photographs made in a portable studio on journeys through Australia and Asia. Delaney attended Rochester Institute of Technology, but his real education began at the Richard Avedon Studio, where he was employed as Avedon’s master printer from 1990 to 2004. He also worked with Penn and Bruce Davidson, but it was during his time with portrait-master Avedon that he decided to focus on Kazakhs. “I was a hermit, basically, in that intense period of printing, and I had the money from that, and I needed to get out and do something. I saw a minidocumentary about a French adventurer in Mongolia, including about the Kazakhs. It was actually at a Super Bowl party, and they were switching the channels because they were bored. With a little research, I knew that’s what I wanted to do. It was the perfect time in my life that I was able to do it.” For the Mongolia project, he used a wooden 5 x 7 field camera and Rollei and Mamiya medium-format cameras. Back home in New Jersey (where he owns John Delaney Fine B&W Printing), he lost more and more of his best photographer clients, either because they died (Avedon and Penn, for example) or because they switched to digital processes (Annie Leibovitz, for example), and he decided to go back to school. He graduated from the School of Visual Arts last year with a master’s in digital photography. The project he initiated for his master’s thesis was Hoboken Passing. It features portraits of people involved in some of the city’s old family businesses that are fading in today’s economy. “I’m continuing with the Hoboken work. I have an exhibition planned for the fall. Those photographs were made with a digital 35mm camera, but I’m not completely sold on digital, so I’m thinking of doing some large-format color-film work.” Like many other traditional-process photographers, Delaney misses some of the materials that have disappeared in the wake of the digital revolution. One of those lamented departures is Type 55 Polaroid film, which yielded both a print and a negative. “Yeah, I know the Polaroid positive/neg film is gone, which is unfortunate. I loved that film. On my first trip to Mongolia, I brought a case of Polaroid. I shot family portraits that I coated out in the wild and gave them to the families.” Zapping off around the world on a trip like that isn’t so easy now, since Delaney has a wife and two small children. “I continue to print. I was in the darkroom all day today. There is another project I’m starting, researching portraits of the families of gun violence, of the victims of drive-by shootings. The images will not be reportage. This will be distinct, kind of a crossover, and hopefully I’ll be able to bring a power to it, rather than just art, something with an emotional power that may bring some needed attention to the problem.” ◀
details ▼ John Delaney: Golden Eagle Nomads & Svjetlana Tepavcevic: Means of Reproduction ▼ Opens Friday, May 17; reception 5 p.m. June 5; exhibits through July 12 ▼ Photo-eye Gallery, 376-A Garcia St., 988-5152
PASATIEMPO I May 17-23, 2013
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Robert Nott I The New Mexican
Author Max Evans on The Hi Lo Country
Max Evans, circa 1995, photo Pat Evans; courtesy Palace of the Governor’s (NMHM/DCA), HP.2006.19 Top left to right, Big Boy Hittson’s hat on Hittson’s grave, stars of the 1998 film adaptation of The Hi Lo Country
PASATIEMPO I May 17-23, 2013
ou either adapt or perish in the beautiful country of northeast New Mexico, according to Albuquerque-based writer Max Evans. Evans’ best friend, Big Boy Hittson, adapted quite well to the elements, but that wasn’t enough to stop his brother from filling Big Boy with five .38 slugs in November 1949. Big Boy’s death inspired Evans to write the novel The Hi Lo Country, which was published in 1961. Some 35 years later, producer Martin Scorsese and director Stephen Frears worked together to bring the novel to the screen. The film, released late in 1998, starred Woody Harrelson as Big Boy Matson (his name in the novel and movie), Patricia Arquette as his married lover, Billy Crudup as Big Boy’s best friend, Pete, and Penélope Cruz — in her first major American film role — as Pete’s neglected girlfriend. Evans, who is still going strong at age 87, talks with author Jim Harris, director of the Lea County Museum in southeast New Mexico, before a screening of the picture at the New Mexico History Museum on Friday, May 17. The event is part of the history museum’s Cowboys: Real and Imagined exhibition. Evans’ novel uses its protagonists to tell the story of the changing West in the wake of World War II, when the pick-up truck replaced the horse and the big outfits began buying up ranches and muscling out independent cowhands. Evans, who was born in Ropes, Texas, relocated to New Mexico in the mid-1930s and was one of the little fellows who eventually got squeezed out by progress. “I published The Rounders in ’60 and The Hi Lo Country a year later,” Evans said of his first two major literary works. “I just worked two to three years on Hi Lo, but the story was on my mind forever. I decided that I couldn’t tell just that story of Big Boy, because there were so many damn adventures I had in the Hi Lo country with other people: not just cowboys, but miners and trappers and bartenders and railroaders and women. I wanted to tell the story of a huge lonesome country and the wonderful few people in it who held it together and are related to the land and the country and how they survived. And that’s what I did.” Hollywood called almost immediately after the book’s publication. Director Sam Peckinpah — whose most recent picture at the time, Ride the High Country (1962), was picking up critical and commercial steam in Europe after a so-so run in America — got in touch with Evans’ agent to talk about optioning The Hi Lo Country for film. According to Evans, Peckinpah told Evans’ agent, “I want to meet the son of a bitch who wrote it.” “So this son of a bitch went out to Hollywood to meet him.” Peckinpah optioned the film repeatedly over the years and even wrote a screenplay for 20th Century Fox in 1968. Evans recently uncovered that script, which is about 140 pages long and includes many characters and scenes that have nothing to do with his novel. But Peckinpah went off to Mexico to make The Wild Bunch, and his plans for The Hi Lo Country got shelved. Over the years, various producers, directors, and actors expressed interest in the book, including Lee Marvin, Steve McQueen, Charlton Heston, and Stuart Whitman, as well as NBC, which considered turning the novel into a Bonanza-type television show (obviously Big Boy wouldn’t die if he had to come back week after week). But by the mid-1990s, Evans — who saw The Rounders move to the big screen in a 1965 production directed by Burt Kennedy and starring Henry
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May 18th & 19th only Sena Plaza, 125 E. Palace 988-5635 Fonda and Glenn Ford — had given up any dreams of seeing a film version of The Hi Lo Country. Evans and his wife, Pat, were attending the Cowboy Hall of Fame awards ceremony in Oklahoma City in the mid-1990s when one of their daughters called them from Albuquerque to tell them that Scorsese had left a phone message for Max. Actor L.Q. Jones, a friend of Evans’ and frequent actor for Peckinpah, had just worked for Scorsese in Casino and suggested that Scorsese read The Hi Lo Country and adapt it for film. Scorsese wrote Evans a letter asking about the rights and expressing admiration for the book. “He said he understood why Sam [Peckinpah] wanted to make the picture — because of the characters.” The movie was shot in New Mexico in 1997. Though it received fairly good reviews, it came and went quickly. “Polygram was the production company, and it was taken over by Universal while we were filming,” Evans recalled. “They had two pictures and just enough money to promote and release one — Elizabeth, which earned Cate Blanchett an Oscar. They just threw The Hi Lo Country away. That happens all the time in Hollywood; it happened to Sam with Ride the High Country.” And while many in the cast received good notices, Arquette got blasted by some critics for her low-key portrayal of an unhappily married woman enjoying a passionate romance with Harrelson’s Big Boy character. The New York Times, for instance, praised Frears for a “wildly ambitious new film” but said Arquette “fails to convey her character’s fiery animal magnetism.” Evans said the fault was all his. During a lunch with the cast that Frears organized, Arquette asked Evans why the script — written by Walon Green — underplayed her feelings for Big Boy. “I said to her, It’s the truth. In that country, so slimly populated, everybody looked for a movement,” Evans recalled. “Your whole existence out there is movement — you’re looking for a cow, a horse, a coyote, so any movement is instantly picked up by anyone who is looking. So a married woman having an affair in that country at that time would be scared to death to have anyone see her make a daring move. She played it perfectly and got slaughtered by the critics because the other women in the film (including Cruz and Katy Jurado) were so vibrant and vital in their parts.” Evans said that in real life he did not vie with Big Boy for the love of a married woman, as Billy Crudup’s character does in the movie. “I was very protective of him and that woman. I loved them and thought their relationship was great. That part of the story is fiction. There was no contest or jealousy between us over her. But people think I was the guy played by Billy Crudup.” And in real life, Big Boy’s killer got off scot-free. Evans said he heard that he became an alcoholic and died falling off a bar stool in a saloon in Raton some years later. Evans inherited Big Boy’s hat and gun. ◀
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All classes are held at a selection of Taos’ great restaurants or lodges, and are led by local artists. Learn to paint in a relaxed and fun environment.
details ▼ Author Max Evans in conversation with Jim Harris about the book & film The Hi Lo Country; screening follows ▼ 6 p.m. Friday, May 17 ▼ New Mexico History Museum, 113 Lincoln Ave. ▼ No charge; 476-5200
Arts and Carafe To receiv e t his of f er, v isit Splur ge Taos. c om be for e m idnight Wednes day , May 22 and pur c hase the Splur ge c e r tific ate , w hich can be re de e m e d for the above offe r . Thi s a dve rti se me nt is not a Sp lurge certificate.
MOVING IMAGES pasa pics
— compiled by Robert Ker
natural and is hampered by a treacly score. It’s still an affecting journey, lifted by memorable photography, wonderful performances, and the novel experience of seeing a European film set in New Mexico. Skype Q & A with Beumer follows the 12:45 p.m. Saturday, May 17, screening. Not rated. 96 minutes. In English and Dutch with subtitles. Center for Contemporary Arts, Santa Fe. (Robert Ker) See review, Page 51. PERfORMANCE AT THE SCREEN The series of high-definition screenings continues with a dance performance celebrating the choreography of Crystal Pite, from Nederlands Dans Theater in The Hague. 11 a.m. Sunday, May 19, only. Not rated. 90 minutes. The Screen, Santa Fe. (Not reviewed)
Ed Helms, Zach Galifianakis, and Bradley Cooper in The Hangover Part III, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española
opening this week THE HANGOVER PART III The pack is back! Again! The Hangover Part II was roundly criticized for being a poor copy of the first film. Will the third installment tread the same ground? Bradley Cooper, Ed Helms, Justin Bartha, and Zach Galifianakis play four middle-aged men who head to Las Vegas and get into some wild adventures. Maybe the filmmakers are hoping you’ll get drunk and forget you saw the first two films. Opens Wednesday, May 22. Rated R. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) fAST & fURIOUS 6 Agent Luke Hobbs (Dwayne Johnson) offers professional criminal Dominic Toretto (Vin Diesel) and his crew full pardons if they agree to help him take down an organization led by a former British officer turned criminal mastermind. Opens Thursday, May 23. Regal DeVargas; Regal
PASATIEMPO I May 17-23, 2013
Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) THE ICEMAN Michael Shannon’s popularity is on the rise, primarily by virtue of how good he is at portraying men who alternate between creepiness and kindness. It’s ideal, then, that he should star in this based-on-true-events tale of Richard Kuklinski, a hitman who went home to his family every night for decades and kept the truth about his day job hidden from them. Ray Liotta, an actor who once played the kind of roles that Shannon currently gets, plays Kuklinski’s mob contact. Rated R. 105 minutes. Regal DeVargas, Santa Fe. (Not reviewed) JACKIE Dutch director Antoinette Beumer casts two actresses from her country (reallife sisters Carice and Jelka van Houten) as adopted sisters who, upon hearing that their genetic mother (Holly Hunter) needs serious physical therapy, travel to New Mexico to meet her for the first time. At first, they don’t get along, but it’s nothing a little road trip can’t cure. They learn how to become a family through a familiar plot that unfolds too quickly to feel
THE RELUCTANT fUNDAMENTALIST Indian director Mira Nair (Monsoon Wedding), based in New York, has taken The Reluctant Fundamentalist, an international bestseller by the Pakistani/British writer Mohsin Hamid, and ramped it up into a psychological and political thriller that is rich in complexity and taut with tension. Riz Ahmed (Trishna) is excellent as Changez, a young Pakistani torn between the fundamentals of two worlds: the sky’s-the-limit opportunities of the American capitalist system and the poverty, tradition, and unrest of his Pakistani roots. Nair delivers a fascinating exploration of duality and perspective. With Liev Schreiber, Kate Hudson, and Kiefer Sutherland. Rated R. 128 minutes. The Screen, Santa Fe. ( Jonathan Richards) See review, Page 48. THE SOURCE fAMILy Communes were all the rage during the countercultural revolution of the 1960s and ’70s, but few were as attractive, sexually active, or musically inclined as Father Yod (aka Jim Baker) and his Source Family. Baker, a man with a checkered past, began gathering devotees at his successful Source restaurant in Los Angeles in 1970, attracting them with peaceand-love soliloquies, implied promises of sex (he called it balling), and only one inhalation of “magic herb” each morning. Soon the members all moved in together. Filmmakers Maria Demopoulos and Jodi Wille use period footage and recent interviews to make Father Yod’s devotees, if not the father himself, sympathetic. There are a number of lessons to be learned here — not the least of which is that utopia never lasts — but only if you read between the lines. Not rated. 98 minutes. Center for Contemporary Arts, Santa Fe. (Bill Kohlhaase) See review, Page 49.
now in theaters THE ANGEL’S SHARE In this quirky Scottish heist/buddy picture by longtime collaborators Ken Loach (director) and screenwriter Paul Laverty (The Wind That Shakes the Barley), Glaswegian delinquent Robbie (newcomer Paul Brannigan) is sentenced to community service after nearly killing a man. When his guardian, mildmannered social worker Harry ( John Henshaw), introduces him to the intricacies of fine Scotch whisky, Robbie hatches a plan to steal a priceless cache of the distilled spirit and create a new life with his girlfriend and their baby. Combining goofball comedy with a caper device is certainly nothing new, but Loach and Laverty add enough twists and turns to keep the whole affair funny and interesting. A few clichés and a thinly veiled social message threaten to spoil the barrel, but the laughs and overall sweetness will keep your buzz going through the final credits. Not rated. 106 minutes. In Glaswegian dialect with subtitles. Center for Contemporary Arts, Santa Fe. (Rob DeWalt) THE BIG WEDDING Diane Keaton, Susan Sarandon, and Robert De Niro used to be some of the most daring and versatile actors out there. Now they play the quirky parents in Katherine Heigl rom-coms. In this one, Keaton and De Niro play a divorced couple who, to appease their son, must pretend to be married — much to the frustration of De Niro’s new wife, played by Sarandon. Rated R. 90 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) THE COMPANY YOU KEEP In Robert Redford’s latest directorial effort, he plays Jim Grant, a man enjoying a peaceful life as a lawyer. When a reporter uncovers his connection to the 1960s radical protest group the Weather Underground, Grant must go on the run to avoid arrest and clear his name. The cast includes Shia LaBeouf, Julie Christie, Susan Sarandon, Nick Nolte, Chris Cooper, Terrence Howard, Stanley Tucci, Anna Kendrick, and Brendan Gleeson. Rated R. 121 minutes. Regal DeVargas, Santa Fe. (Not reviewed) THE CROODS The land this Neanderthal clan (voiced by Nicolas Cage, Ryan Reynolds, Emma Stone, and others) lives in is crumbling, so they have to find a new place to live. Rated PG. 91 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed)
42 This version of the story of Jackie Robinson — the first African-American player in Major League Baseball — by writer-director Brian Helgeland aspires not to greatness but to merely avoid blowing the opportunity. Helgeland aims for a double, not a home run — his film is formulaic, respectful, and at times too treacly. No big deal: the story itself has all the greatness one could want. In staying the course and paying extraordinary attention to detail, Helgeland has crafted an uplifting and crowd-pleasing movie. Much credit goes to the actors: Chadwick Boseman is every inch the movie star as Robinson, Harrison Ford delights in a rare character-actor turn as Brooklyn Dodgers general manager Branch Rickey, and the supporting cast is as sturdy as a Louisville Slugger. Rated PG-13. 88 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) FREE THE MIND This documentary looks at brain scientist Richard Davidson, who helps veterans recover from PTSD and move beyond the horrors of war through meditation and yoga. Not rated. 80 minutes. The Screen, Santa Fe. (Not reviewed) THE GREAT GATSBY Baz Luhrmann’s movie rendering of F. Scott Fitzgerald’s classic American novel is The Great Gatsby the way Jay Gatsby might have directed it. Gaudy, extravagant, and ecstatically excessive, it lights up the screen like a lavish party into which Luhrmann hopes Daisy Buchanan will wander in some night — and if not Daisy, then at least the rest of the world, looking for a good time. He’s mounted an ecstatic spectacle, an adrenaline rush of Jazz Age intoxication going at breathless, breakneck speed, and on its own terms it can sometimes be pretty irresistible. This is the quality that distinguishes this movie; when it slows down for the more intimate scenes, it usually fails to convince. Ultimately, like the green light at the end of the Buchanans’ pier, Gatsby is a dream that eludes Luhrmann’s grasp. Leonardo DiCaprio is Gatsby; Carey Mulligan is the lovely, self-absorbed Daisy;
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and Tobey Maguire is the narrator, Nick Carraway. Rated PG-13. 143 minutes. Shows in 2-D at Regal DeVargas; shows in 3-D & 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. ( Jonathan Richards) See review, Page 50. IRON MAN 3 Tony Stark (Robert Downey Jr.), once a cocksure genius ladies’ man, is suffering from anxiety attacks, insomnia, and an inability to relate to his live-in girlfriend, Pepper Potts (Gwyneth Paltrow). That’s when a terrorist-villain called the Mandarin (Ben Kingsley) starts blowing things up. Meanwhile, a billionaire inventor (Guy Pearce) Stark once dissed at a party has, with the help of one of Stark’s exes (Rebecca Hall), created a drug that regenerates human limbs (side effects include breathing fire and becoming a human bomb) and is plotting to kidnap the president. How’s Stark supposed to handle two baddies at once? Luckily, he has developed an army of Iron Man suits he can summon from afar and control remotely. This flick is fun at times, and the special effects are eye-popping. But Downey’s typically barbed jabs are dull, the jokes aren’t funny, and the villains’ motivations are muddy at best. There’s too much going on, yet it doesn’t add up to much. Rated PG-13. 130 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Laurel Gladden) 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 elude the law and 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) NO In 1973, with the CIA’s backing, Gen. Augusto Pinochet ousted Salvador Allende, the democratically elected Socialist president of Chile. For the next 15 years, Pinochet ruled the country with an iron fist. But when his term expired, the Chilean constitution required a referendum for voters to decide whether Pinochet would return to office. The choice would be a simple yes or no. Pablo Larraín’s movie, Chile’s continued on Page 46
MOVING IMAGES pasa pics
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THE PLACE BEYOND THE PINES The director (Derek Cianfrance) and star (Ryan Gosling) of 2010’s Blue Valentine reunite for this noir-ish story about a stunt motorcyclist (Gosling) who, when it turns out he needs some extra cash, rides his bike to the wrong side of the tracks to take part in bank robberies. It probably doesn’t end well. Bradley Cooper, Eva Mendes, and Ray Liotta co-star. Rated R. 140 minutes. Regal DeVargas, Santa Fe. (Not reviewed) THE SAPPHIRES It’s the year 1968. Social change is enveloping the world. In Australia, the indigenous population is finally granted the right to vote. A scruffy talent scout (Chris O’Dowd) meets four gifted Aboriginal sisters, teaches them to sing in a Motown style, and brings them to Vietnam to entertain U.S. troops. Full of music and humor and loosely based on a true story, this could potentially be the most feelgood story set during the Vietnam War since Forrest saved Lieutenant Dan. Rated PG-13. 99 minutes. Regal DeVargas, Santa Fe. (Not reviewed)
entry in 2012’s foreign language Oscar category, follows the advertising campaigns that helped settle the future course of the country. The film is a lively mix of social satire and political thriller. Rated R. 115 minutes. In Spanish with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) OBLIVION It’s the year 2077. Earth has been ravaged by a war with aliens. Tom Cruise plays one of the last men left alive. But before he can finally let loose and act completely crazy, he’s summoned into action when he discovers a woman (Olga Kurylenko) in a crashed spaceship and learns — via a character played by Morgan Freeman — that he is mankind’s last hope. Rated PG-13. 125 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) PAIN & GAIN It doesn’t get more blue-blooded American than this movie, which struts out Old Glory, booming bass, muscle cars, Miami beach, the American dream, steroid-jacked-up weight lifters, and fake-boob-sporting strippers. Furthermore, the
PASATIEMPO I May 17-23, 2013
film is directed by our leading expert in blowing stuff up good (Michael Bay), and it stars a former rapper and underwear model (Mark Wahlberg) and a former professional wrestler (Dwayne Johnson). What they’ve made is a somewhat ironic, partly satirical telling of a true story about three musclemen who kidnap and extort a businessman (Tony Shalhoub), only to have the plan go wrong. The running time is pumped on ’roids, and it’s a dumb movie. But it’s so colorful and goofy and slyly dark that it would be unpatriotic to hate it. Rated R. 130 minutes. Regal Stadium 14. (Robert Ker) PEEPLES Craig Robinson (The Office, Pineapple Express) plays Wade, a man who is eager to propose to his girlfriend (Kerry Washington) and travels to meet her family, win over daddy (Virgil Peeples, played by David Alan Grier), and offer the ring. Good luck with that, Wade: father-in-laws are never nice in the movies, and Peeples are strange when you’re a stranger. Rated PG-13. 95 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)
STAR TREK INTO DARKNESS Trekkies from all over The Federation rejoiced when director J.J. Abrams slapped a slick, modern coat of paint on Star Trek and rebooted the franchise. He gets another chance to screw it up with this sequel, which pits the Enterprise crew (Chris Pine, Zachary Quinto, Karl Urban, Zoe Saldana, and Simon Pegg) against a mysterious villain (Benedict Cumberbatch) and sends them trekking into darkness. Rated PG-13. 132 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed)
other screenings Center for Contemporary Arts 8:15 p.m. Friday, May 17: 33 Postcards. 8:15 p.m. Wednesday, May 22: 3 Geezers. 7 p.m. Thursday, May 23: French Film Salon presents a sneak preview of Renoir. Regal Stadium 14 11:15 a.m. Friday-Tuesday, May 17-21: Oz the Great and Powerful. Taos Community Auditorium 133 Paseo del Pueblo Norte, Taos, 575-758-2052 Sunday-Tuesday, May 19-21: On the Road. ◀
“BOUNCY, SPIRITED ENTERTAINMENT. IT SINGS WITH EXUBERaNT CHaRM.”
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1050 Old Pecos Trail, 982-1338, www.ccasantafe.org 3 Geezers! (NR) Wed. 8:15 p.m. 33 Postcards (NR) Fri. 8:15 p.m. The Angels’ Share (NR) Fri. 1:15 p.m., 5:30 p.m., 7:30 p.m. Sat. 5:30 p.m., 7:30 p.m. Sun. 1:15 p.m., 5:30 p.m., 7:30 p.m. Tue. and Wed. 5:30 p.m., 7:30 p.m. Thurs. 4:45 p.m. Jackie (NR) Fri. 4:15 p.m. Sat. 12:45 p.m., 4:15 p.m. Sun. 4:15 p.m. Tue. and Wed. 4:15 p.m. Thurs. 3:45 p.m. No (R) Fri. to Sun. 3:15 p.m. Tue. and Wed. 3:15 p.m. Thurs. 2:30 p.m. Renoir (R) Thurs. 7 p.m. The Source Family (NR) Fri. 2:15 p.m., 6:15 p.m. Sat. and Sun. 2:15 p.m., 6:15 p.m., 8:15 p.m. Tue. 6:15 p.m., 8:15 p.m. Wed. 6:15 p.m. Thurs. 5:45 p.m., 7:45 p.m. regAl deVArgAS
562 N. Guadalupe St., 988-2775 The Company You Keep (R) Fri. and Sat. 1:20 p.m., 4:20 p.m., 7:20 p.m., 10:10 p.m. Sun. to Thurs. 1:20 p.m., 4:20 p.m., 7:20 p.m. The Great Gatsby (PG-13) Fri. and Sat. 12:50 p.m., 3:50 p.m., 6:50 p.m., 9:55 p.m. Sun. 12:50 p.m., 3:50 p.m., 6:50 p.m. Mon. to Thurs. 12:50 p.m., 3:50 p.m., 6:50 p.m. The Iceman (R) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 9:50 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m. Mud (PG-13) Fri. and Sat. 1:10 p.m., 4:10 p.m., 7:10 p.m., 10:05 p.m. Sun. to Thurs. 1:10 p.m., 4:10 p.m., 7:10 p.m. The Place Beyond the Pines (R) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 10 p.m. Sun. to Thurs. 1 p.m., 4 p.m., 7 p.m. The Sapphires (PG-13) Fri. and Sat. 1:40 p.m., 4:40 p.m., 7:40 p.m., 10:05 p.m. Sun. to Thurs. 1:40 p.m., 4:40 p.m., 7:40 p.m. regAl StAdium 14
3474 Zafarano Drive, 424-6296 42 (PG-13) Fri. 1:35 p.m., 4:30 p.m., 7:35 p.m., 10:30 p.m. Sat. and Sun. 10:30 a.m., 1:35 p.m., 4:30 p.m., 7:35 p.m., 10:30 p.m. Mon. and Tue. 1:35 p.m., 4:30 p.m., 7:35 p.m., 10:30 p.m. The Big Wedding (R) Fri. to Tue. 1:40 p.m., 7:10 p.m. The Croods (PG) Fri. 1:30 p.m., 4 p.m. Sat. and Sun. 10:50 a.m., 1:30 p.m., 4 p.m. Mon. and Tue. 1:30 p.m., 4 p.m. Fast & Furious 6 (PG-13) Thurs. 10 p.m. The Great Gatsby 3D (PG-13) Fri. to Tue. 12:20 p.m., 3:50 p.m., 7:10 p.m., 10:20 p.m. The Great Gatsby (PG-13) Fri. to Tue. 12:50 p.m., 4:15 p.m., 7:40 p.m., 10:45 p.m. The Hangover Part III (R) Wed. 10 p.m. Thurs. 1:15 p.m., 4 p.m., 7 p.m., 9:50 p.m. Iron Man 3 3D (PG-13) Fri. to Tue. 1:05 p.m., 4:10 p.m., 7:25 p.m., 10:40 p.m. Iron Man 3 (PG-13) Fri. 11:30 a.m., 1:30 p.m., 2:30 p.m., 4:45 p.m., 5:45 p.m., 8 p.m., 9 p.m., 10:55 p.m. Sat. and Sun. 10:30 a.m., 11:30 a.m., 1:30 p.m., 2:30 p.m., 4:45 p.m., 5:45 p.m., 8 p.m., 9 p.m., 10:55 p.m. Mon. and Tue. 11:30 a.m., 1:30 p.m., 2:30 p.m., 4:45 p.m., 5:45 p.m., 8 p.m., 9 p.m., 10:55 p.m. Oblivion (PG-13) Fri. 1:35 p.m., 4:35 p.m., 7:40 p.m., 10:35 p.m. Sat. and Sun. 10:40 a.m., 1:35 p.m., 4:35 p.m., 7:40 p.m., 10:35 p.m. Mon. and Tue. 1:35 p.m., 4:35 p.m., 7:40 p.m., 10:35 p.m. Oz the Great and Powerful (PG) Fri. to Tue. 11:15 a.m. Pain & Gain (R) Fri. to Tue. 1:20 p.m., 4:20 p.m., 7:20 p.m., 10:20 p.m. Peeples (PG-13) Fri. to Tue. 4:30 p.m., 9:45 p.m. Star Trek Into Darkness 3D (PG-13) Fri. 12:30 p.m., 2 p.m., 3:45 p.m., 5:15 p.m., 6:30 p.m., 7 p.m., 8:30 p.m., 9:45 p.m., 10:15 p.m. Sat. and Sun. 10:45 a.m., 12:30 p.m., 2 p.m., 3:45 p.m., 5:15 p.m.,
6:30 p.m., 7 p.m., 8:30 p.m., 9:45 p.m., 10:15 p.m. Mon. and Tue. 12:30 p.m., 2 p.m., 3:45 p.m., 5:15 p.m., 6:30 p.m., 7 p.m., 8:30 p.m., 9:45 p.m., 10:15 p.m. StarTrek Into Darkness (PG-13) Fri. to Tue. 1 p.m., 2:30 p.m., 4:15 p.m., 5:45 p.m., 7:30 p.m., 9 p.m., 10:45 p.m. the SCreen
Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, www.thescreensf.com Free the Mind (NR) Sat. 12:15 p.m.
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15 N.M. 106 and U.S. 84/285, 505-753-0087 42 (PG-13) Fri. 4:40 p.m., 7:20 p.m. Sat. and Sun. 1:55 p.m., 4:40 p.m., 7:20 p.m. Mon. to Wed. 4:40 p.m., 7:20 p.m. The Croods (PG) Fri. 4:45 p.m., 7:10 p.m., 9:45 p.m. Sat. 2 p.m., 4:45 p.m., 7:10 p.m., 9:45 p.m. Sun. 2 p.m., 4:45 p.m., 7:10 p.m. Mon. to Wed. 4:45 p.m., 7:10 p.m. Fast & Furious 6 (PG-13) Opens Thurs. Call theater for showtimes The Great Gatsby 3D (PG-13) Fri. and Sat. 4:25 p.m., 7:25 p.m. Sun. to Wed. 4:25 p.m. The Great Gatsby (PG-13) Fri. 6:55 p.m., 9:50 p.m. Sat. 2:05 p.m., 6:55 p.m., 9:50 p.m. Sun. 2:05 p.m., 6:55 p.m. Mon. to Wed. 6:55 p.m. The Hangover Part III (R) Starts Wed. Call theater for showtimes Iron Man 3 3D (PG-13) Fri. and Sat. 4:40 p.m., 7:30 p.m. Sun. to Wed. 4:40 p.m. Iron Man 3 (PG-13) Fri. 7 p.m., 9:55 p.m. Sat. 2:20 p.m., 7 p.m., 9:55 p.m. Sun. 2:20 p.m., 7 p.m. Mon. to Wed. 7 p.m. Peeples (PG-13) Fri. 4:35 p.m., 7:05 p.m., 9:40 p.m. Sat. 2:15 p.m., 4:35 p.m., 7:05 p.m., 9:40 p.m. Sun. 2:15 p.m., 4:35 p.m., 7:05 p.m. Mon. to Wed. 4:35 p.m., 7:05 p.m. StarTrek Into Darkness (PG-13) Fri. 4:30 p.m., 5 p.m., 7:15 p.m., 8 p.m., 10 p.m. Sat. 1:45 p.m., 2:10 p.m., 4:30 p.m., 5 p.m., 7:15 p.m., 8 p.m., 10 p.m. Sun. 1:45 p.m., 2:10 p.m., 4:30 p.m., 5 p.m., 7:15 p.m. Mon. to Wed. 4:30 p.m., 5 p.m., 7:15 p.m. StarTrek Into Darkness 3D (PG-13) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:45 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m. Mon. to Wed. 4:30 p.m., 7:15 p.m. mitChell Storyteller CinemA (tAoS)
110 Old Talpa Canon Road, 575-751-4245 The Croods (PG) Fri. 4:35 p.m., 7:10 p.m., 9:45 p.m. Sat. 2 p.m., 4:35 p.m., 7:10 p.m., 9:45 p.m. Sun. 2 p.m., 4:35 p.m., 7:10 p.m. Mon. to Wed. 4:35 p.m., 7:10 p.m. Fast & Furious 6 (PG-13) Opens Thurs. Call theater for showtimes The Great Gatsby 3D (PG-13) Fri. and Sat. 4:25 p.m., 7:25 p.m. Sun. to Wed. 4:25 p.m. The Great Gatsby (PG-13) Fri. 6:55 p.m., 9:50 p.m. Sat. 2:05 p.m., 6:55 p.m., 9:50 p.m. Sun. 2:05 p.m., 6:55 p.m. Mon. to Wed. 6:55 p.m. The Hangover Part III (R) Starts Wed. Call theater for showtimes Iron Man 3 3D (PG-13) Fri. and Sat. 4:40 p.m., 7:30 p.m. Sun. to Wed. 4:40 p.m. Iron Man 3 (PG-13) Fri. 7 p.m., 9:55 p.m. Sat. 2:10 p.m., 7 p.m., 9:55 p.m. Sun. 2:10 p.m., 7 p.m. Mon. to Wed. 7 p.m. StarTrek Into Darkness 3D (PG-13) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:45 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m. Mon. to Wed. 4:30 p.m., 7:15 p.m. StarTrek Into Darkness (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 Wed. 4:30 p.m., 7:15 p.m.
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movIng Images film reviews
Where you stand Jonathan Richards I For The New Mexican The Reluctant Fundamentalist, drama, rated R, The Screen, 3.5 chiles Mira Nair, the New York-based Indian film director, has taken on The Reluctant Fundamentalist, the intriguing 2007 bestseller of conflicting loyalties by Mohsin Hamid, the Pakistani/British writer who divides his time between London, Lahore, New York, and the Mediterranean. She has made a terrific movie of it, and if it isn’t exactly Hamid’s novel, well, that’s nothing new in the book-to-movie game. The novel is a tale told in the first person by a Pakistani. The whole slim book is a monologue pitched at an unnamed, unidentified American (or at least the narrator takes him for an American) in the Old Anarkali section of Lahore. The listener may be CIA, he may be a threat, but as he never speaks we never learn anything definitive about him. He’s a bit like the wedding guest stopped by the Ancient Mariner, at first restless and impatient, then a rapt listener. But this is the movies, and so Nair has added some action and ramped up the confrontational drama (Hamid collaborated in reshaping his novel for the screen). Now the story is told by the book’s central character, Changez (Riz Ahmed), giving an interview to an American journalist named Bobby Lincoln (Liev Schreiber) in a student gathering place near the university where he is a popular and perhaps radical professor. The telling is given context and urgency by the kidnapping of an American
Kate Hudson and Riz Ahmed
PASATIEMPO I May 17-23, 2013
Hard to pin down: Riz Ahmed, left
professor on the streets of Lahore in an opening sequence, against the backdrop of singers performing a traditional Qawwali song. As the clock ticks toward the victim’s threatened execution, Bobby presses Changez for any information he may have on his whereabouts and condition. Changez, with maddening deliberation, tells the story of his life, and how, from a golden pursuit of the American Dream on Wall Street, he wound up a professor in Lahore in robes, sandals, and a beard as a member of “Pakistan’s new militant academia.” “Will you listen to the whole story from the beginning?” he urges. “Not just bits and pieces.” His story (how much time do you have?) begins many years ago when Changez was a teenager who came to the U.S. from Pakistan, excelled at prep school and Princeton, and wound up with a coveted job at Bain Capital (or something very much like it) as the protégé of Mitt Romney (or someone very much like him — a cutthroat financier named Jim Cross, played by 24’s Kiefer Sutherland). Changez is very good at the business of sizing up companies and ruthlessly pulling the plug on the less profitable ones, and when he meets the boss’s photographer niece Erica (Kate Hudson) and they fall in love, he’s well on his way to becoming one of what Tom Wolfe once called the Masters of the Universe. “In 10 years,” he predicts wryly, he expects to be “dictator of an Islamic republic with nuclear capability.” And then Islamic fundamentalists fly a couple of jetliners into the World Trade Center, and everything changes for the world and for Changez. Suddenly he is no longer an assimilated exotic but a potentially dangerous dark-skinned Muslim. He is strip-searched by airport security. People look at him differently. But the firm sticks by him. The bottom line is that Changez produces. Profit is the only thing that counts
in that world that is every bit as committed to its fundamentals as radical religionists are to theirs. What propels Changez off the gravy train of vulture capital is a personal decision, spurred by a wound that is ripped open in his conscience by 9/11 and festers through personal and professional torments and discoveries. The Reluctant Fundamentalist is all about duality; about the chasm between the worldview of East and West, the identity crisis of a Pakistani in the white shoe worlds of the Ivy League and Wall Street, about cultures that deeply and inherently distrust one another. “I wish I could take a break from being myself,” Erica says, and Changez sighs, “Me too.” With the great cinematographer Declan Quinn (brother of Aidan) capturing the images that underline the differences between the two worlds, Nair spins out a story that works as both a psychological and a political thriller. The stakes rise, the tension mounts, the atmosphere grows incendiary, and the air becomes hard to breathe. Changez repeatedly urges Bobby to be wary in interpreting things, warning that nothing is what it seems. Has Changez been radicalized, or just reoriented? This story is much concerned with the difference perspective makes in the way things look. Terror can be waged as ruthlessly and as devastatingly with a checkbook as with a bomb, and where you stand in relation to the lives destroyed determines your view of who is the terrorist and who the champion of freedom. Where the movie perhaps falls short is in sometimes hitting these points too starkly. “I am a lover of America,” Changez says, but even as he watches in horror the collapse of the World Trade Center on television from a Manila hotel on that terrible morning, he finds that he can’t entirely suppress a smile. ◀
moving images film reviews
Family affairs Bill Kohlhaase I For The New Mexican The Source Family, documentary, not rated, Center for Contemporary Arts, 3 chiles Not all cults are like the Manson family. Yet cults from the counterculture era of the late 1960s and early 1970s were (and still are) inevitably associated with evil influence. The Source Family, a group of “Aquarians” that formed around Los Angeles restaurateur Jim Baker in 1971, had little in common with Manson’s headline-grabbing, helter-skelter killers. Baker, later known as Father Yod and Ya Ho Wha, was frontman for a fun-loving, hardworking group that was in some ways representative of the many utopian experiments spawned by that era of unrest and soul searching. The group was an almost picture-perfect family of innocence; its demise wasn’t sensationalistic but was still tinged with overreaching ego and paranoia. At the center of the family was The Source, a Sunset Boulevard landmark opened in 1969 and one of the first health food cafés in sprout-crazy Los Angeles. Baker, a successful businessman with a past that puts Don Draper to shame, seems an unlikely character to go through a spiritual transformation or to gain a devoted following. But that was before he discovered he was God. Maria Demopoulos and Jodi Wille’s documentary of the Source Family’s brief but intense existence — roughly 1970 until Baker’s death in 1975 — is a fascinating look at a largely overlooked phenomenon: small New Age religious cults that never achieved wide public exposure. Members of many quasi-religious communal movements, like the one portrayed in Drop City, T.C. Boyle’s novel of commune failure, just wanted to escape the accepted commercial and conformist
Father knows best: Jim Baker
Yod sale: members of the Source Family
pressures of their times. The evolution of the Source Family, though not as tragic or inevitable as the commune in Boyle’s depiction, still unwinds in a way that you might expect when impressionable, attention-starved young people take up with a charismatic father figure. While the film is sympathetic to the followers of Baker, its central focus is how readily, even magically, they took to Baker. Tellingly, Baker’s father abandoned his family when the budding spiritual leader was a baby. He was unofficially adopted by Paul Bragg, a pioneer of America’s health food and exercise movements, whose line of organic vinegars and amino acids can still be found on grocers’ shelves. Baker learned martial arts and at 12 was honored with the title of “America’s Strongest Boy.” During World War II, as one of his disciples tells it, he killed enemy soldiers in hand-to-hand combat and shot planes out of the sky. A judo champion, he was apparently implicated in two killings, one in 1955 and one in 1963. Legend has it that he robbed up to 11 banks to get the money for his first restaurant chain. Overindulging in women, alcohol, and speed, Baker was removed from his own business, the Old World restaurant chain, by its board of directors. Inspired by a girlfriend and looking to regain control of his life, Baker embraced the peace-andlove generation. He became a follower of Yogi Bhajan, a guru with a fleet of Rolls-Royces, and then decided to develop his own following. His restaurant, known for its attractive staff and clientele, was a gathering place for the hip, the famous, and the culturally dispossessed. Sunday-morning meditation sessions held there began attracting a following, and Baker, now known as Father Yod (“Yod? ... Give me a break,” says one of Baker’s skeptical acquaintances), began to assemble his family. In 1972 he decided that they should all live together, and they moved into a Los Angeles mansion. Members enjoyed tantric sex and one inhalation of “magic herb” early each morning, and everyone seemed happy. Using films and photos gathered mostly from the family’s resident historian — her earliest film records
a difficult home birth, the first of some 54 in a threeyear period — Demopoulos and Wille give a striking visual account of the group’s lifestyle. They blend this archival footage with interviews of various members — Magus, Sunflower, Electricity, and other renamed followers — whose devotion to their “father” and his principles seems to endure, even if one couple now sells Hawaiian real estate. The filmmakers create real sympathy for their subjects while developing the father theme. The social and political upheavals of the times created armies of “cultural orphans” who either abandoned or were thrown out by their parents. It was among this group that Baker, as well as almost every other cult leader of the time, found his devotees. The faded-home-movie quality of the vintage film and the cracked facade of the photos give the documentary a decidedly period feel. The flowing hair, beards, and clothing — the family preferred long white robes with occasional adornments — as well as the armada of Volkswagen vans, add to the film’s generational decorations. The music, recorded in the 1970s by family members, is a mash of folk, soul, and psychedelia, all overshadowed by Yo Ho Wha’s strange chanted singing and Native Americaninspired drumming. (A soundtrack recording is available from Drag City Records.) Things began to unravel when Ya Ho Wha changed one of his central tenets and allowed himself more than one wife. There were accusations of sex with minors. Complaints from neighbors, fearful after the Manson attacks, drove the family from their first house and then another. The entire commune picked up and moved to Hawaii, where they weren’t received well by the locals. Paranoia and a prediction of a coming apocalypse followed. Ingesting magic mushrooms seemed to bring Baker to his senses when it came to his being God. It all ended when Ya Ho Wha decided to go hang gliding without prior experience. The Source Family is a revealing, even nostalgic look at the innocence and egotism of the times. Its unspoken message is about the importance that fathers, real or figurative, have for all of us. Without them, it seems, we’re lost. ◀ PASATIEMPOMAGAZINE.COM
movIng Images film reviews
All that Jazz Age Jonathan Richards I For The New Mexican The Great Gatsby, novel-based spectacle, rated PG-13, Regal DeVargas & Regal Stadium 14, 2.5 chiles Baz Luhrmann’s movie rendering of F. Scott Fitzgerald’s classic American novel is The Great Gatsby the way Jay Gatsby might have directed it. Gaudy, extravagant, and ecstatically excessive, it lights up the screen like a lavish party into which Luhrmann hopes Daisy Buchanan will wander some night — and if not Daisy, then at least the rest of the world, looking for a good time. In the opening lines of the novel, the narrator, Nick Carraway, muses: “In my younger and more vulnerable years my father gave me some advice that I’ve been turning over in my mind ever since. ‘Whenever you feel like criticizing any one,’ he told me, ‘just remember that all the people in the world haven’t had the advantages that you’ve had.’” “In consequence,” Carraway goes on to say, “I’m inclined to reserve all judgments, a habit that has opened up many curious natures to me.” It’s not bad advice for anyone, and certainly not for the critic charged with finding fault or favor with a movie that plunges into its story with such ravenous abandon. But not having been raised with Carraway’s advantages, I’ll venture some criticism anyway. Fitzgerald’s novel is an exquisite chamber piece that Luhrmann (Moulin Rouge!) delivers with the thumping wallop of a brass band. Subtlety, it will come as no surprise to those familiar with his work, is a concept unknown to this flamboyant Aussie director. And to double down on the giddiness, Luhrmann has whipped this movie into the lather of 3-D. It is also being shown in the conventional two-dimensional form, but a lot of the visual swoops and flourishes have been dictated by the pursuit of
PASATIEMPO I May 17-23, 2013
Eggites over easy: Tobey Maguire, Leonardo DiCaprio, Carey Mulligan, and Joel Edgerton
the third dimension. And Luhrmann relishes it. His excitement with 3-D is like the enthusiasm Orson Welles expressed on arriving in Hollywood: “A movie studio,” he exulted, “is the best toy train set a boy could ever hope for.” The Great Gatsby was published in 1925 to mixed reviews and disappointing sales, and it went in and out of favor over the decades before gradually becoming enshrined by the late ’50s in the Valhalla of American literature. The book’s initial sales run was less than 20,000 copies; it now sells around half a million annually, and with the movie’s boost, that number will only go up. The story, narrated by Nick Carraway (Tobey Maguire), tells of one summer when he rented a modest gardener’s cottage on Long Island. Nick’s place is sandwiched in between opulent mansions in the (fictional) town of West Egg. In the movie, his house looks like something from The Hobbit, a quaint little bungalow nestled in a dark leafy bower of overhanging trees. To his right is a mansion belonging to a man named Gatsby, a fabulous shady character about whom nobody seems to know very much, about whom rumors abound, and to whose house fun-seeking society flocks, uninvited, every weekend for wild and opulent partying. Across the bay in East Egg, where the Old Money is, the Buchanan mansion stands directly opposite Gatsby’s. And there lives Daisy Buchanan, the love of Gatsby’s life and the sole and guiding inspiration for everything he has made of himself. It is his obsession with Daisy that has driven him to the heights, and that will be his undoing. The movie casts Leonardo DiCaprio as the enigmatic Gatsby and Carey Mulligan as the beautiful, languid Daisy. Both are excellent actors who find the passion and yearnings of their characters but somehow don’t manage to share. Those passions remain within themselves; the chemistry and hunger never quite connect and release. This in a way is true to the characters, each of whom is in love with a romantic ideal of the other that lives inside his or her
own head and heart. The real connecting chemistry is found in the friendship between DiCaprio’s Gatsby and Maguire’s Carraway. Luhrmann and co-writer Craig Pearce have consigned Carraway to an alcoholic’s sanitarium, where he is urged by a sympathetic doctor to work out his demons by writing it all down. Nobody can accuse Luhrmann of indifference to Fitzgerald’s intoxicating words: he floats them physically across the screen in undulating three-dimensional word art, as Carraway beats on, a boat against the current, borne back ceaselessly into the past. A movie adaptation of a book needs to be taken on its own terms, and it helps to put aside one’s preconceptions when looking at Luhrmann’s Gatsby. He’s mounted an ecstatic spectacle, an adrenaline rush of Jazz Age intoxication going at breathless, breakneck speed, and on its own terms it can sometimes be pretty irresistible. This is the quality that distinguishes this movie; when it slows down for the more intimate scenes, it usually fails to convince. Ultimately, like the green light at the end of the Buchanans’ pier, Gatsby is a dream that eludes Luhrmann’s grasp. Simon Duggan’s cinematography is drenched in color and recalls in places the dark, fathomless blue of Francis Cugat’s original book-jacket art, lately restored to paperback editions. Catherine Martin’s production design is sometimes spectacular, sometimes oddly self-conscious, as in Nick’s little cottage or the nightmarish wasteland of the ash-heap countryside between West Egg and the city, where the brooding eyes of Dr. T.J. Eckleburg stare out from their sooty billboard upon the follies of man. Fitzgerald died a lonely alcoholic in Hollywood, turning out screenplays for a studio system that devoured writers. His fascinating final novel, The Last Tycoon, unfinished at his death, turns a perceptive eye on the business of making movies. Fitzgerald would probably have heaved a pained sigh at this latest cinematic corruption of his masterpiece. But lord, he would have loved the box office. ◀
moving images film reviews
Winnebago trials Robert Ker I For The New Mexican Jackie, drama, not rated, in English and Dutch with subtitles, Center for Contemporary Arts, 3 chiles We’re used to production companies coming to the state to take advantage of the New Mexico Film Incentive program, but these companies usually fall into one of two camps: they’re either Hollywood studios looking to cut corners with their big toys (like The Avengers) or mid-level indies shooting in New Mexico partly out of necessity, to keep costs down (as for Little Miss Sunshine). Their business is appreciated, but the stories they tell are rarely specific to New Mexico; many of them could be set anywhere. Jackie is an exception to this. It’s a family reunion story with a distinctly New Mexican feel to it, which is all the more remarkable given that the director traveled from much farther away than Los Angeles to get here: Antoinette Beumer hails from Holland and boasts a CV that includes a lot of Dutch TV. Here, she casts two Dutch actresses (sisters Carice and Jelka van Houten) as sisters who were raised by a gay couple in the Netherlands. Upon hearing that their genetic mother (Holly Hunter) needs serious physical therapy, the two women travel to the United States to meet their mom for the first time. That the film was made by a combination of Dutch and American talent serves the movie’s central notion that it’s a small world after all. The mother-and-daughters reunion does not go well at first; the daughters are too stuffy, self-conscious, and urbane, while the mother has lived in a Winnebago in the desert for years, speaks in a low gravelly tone (when she speaks at all), and doesn’t give a darn what anyone thinks of her. The Dutch women must drive the Winnebago and their mother to a rehab facility. Over the course of this road trip — which, naturally, involves music, laughter, sunshine, rattlesnakes, revelations about love and careers, and a prolonged wait after running out of gas in the middle of nowhere — this family learns how to feel like a family. If you’ve seen this kind of bittersweet dramedy before, then you can probably guess the drawbacks: the arc happens much too quickly to feel natural, hits upon familiar story beats, and is occasionally hampered by a treacly score. Jackie is lifted by some terrific photography — including some memorable aerial shots — by cinematographer Danny Elsen, and wonderful performances by the three actresses. There’s also a novel element to it: we’ve seen many movies set in New Mexico this past decade, but this may be the first truly European film among them, and it uses the state for more than just its beautiful light and tax incentives. ◀
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RESTAURANT REVIEW Bill Kohlhaase I For The New Mexican
Istalif Cuisine 112 W. San Francisco St., Suite 101, 982-0825 Lunch & dinner 11 a.m.-9 p.m. MondaysSaturdays, 11 a.m.-3 p.m. Sundays Takeout available No alcohol Noise level: sedate Vegetarian options Credit cards, no checks
The Short Order Hidden down a curved flight of stairs a block and a half from the Plaza, Istalif Cuisine serves Middle Eastern dishes that are carefully prepared and wonderfully presented. Grilled meats — beef, lamb, chicken, game hen, and salmon — are top choices accompanied by cool yogurt sauces with mint, parsley, or shallots. Soup jow is a delicious contrast of firm textures and creamy broth, especially when spiked with lemon juice. Complimentary hummus, though not outstanding, beats most gratis salsas around town. If only it were served with better pita. The basmati and saffron rice is perfectly done. Recommended: Kashk o bedemjan (sautéed eggplant appetizer), soup jow, lamb and game hen kabobs, falafel, and soan papdi dessert.
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 May 17-23, 2013
It’s something of an adventure finding your way off West San Francisco Street and into the neatly hidden Istalif Cuisine. Think of it as a treasure hunt. Your first clue is a gaggle of signs hanging overhead on the covered walkway. Take the curving stairwell to the bottom. Enter through a pale blue door into something that resembles a grotto. There’s an attractive bar but no alcohol; it’s a good place to sit and contemplate your discovery if you’re by yourself. Or you can pass through the narrow room, its windows hung with macramé, Persian throw rugs at your feet, to an attractive enclosed patio under a large skylight. This will be a great place to dine. People on the first floor walkway above will look down and envy you. Why? Because they’ll smell the fragrance of grilled meat that rises from your plate. Istalif serves Persian and Mediterranean food, and the menu is certainly a homogenization of Middle Eastern selections. If you’re lucky, your server will bring you a complimentary schooner of hummus that cradles a small pool of oil sprinkled with sumac, a powder that may resemble paprika but gives something of a sharp berry flavor. Suffer the unremarkable pita that comes with it. It’s worth using that dull flatbread to scoop up the earthy, flavorful spread that’s not afraid to let you know its been made with chickpeas. This may not be the very best hummus in a town that offers so much of it, but it’s close. Istalif’s menu has been consolidated since the restaurant first opened last year. Mostly it’s the sandwiches that have gone away, and that’s all right. There’s still plenty to make a satisfying light lunch or a sumptuous, exotic dinner. Cool, yogurt-based sauces; perfectly cooked basmati rice colored with saffron; and unusual sweets bring a variety of flavors together in ways you expect from Middle Eastern and East Indian restaurants, but without the overpowering spiciness and thick sauces. And those grilled meats! This isn’t unfamiliar cooking by any means. But it is different and done well enough to give diners something of an unusual experience. Soup jow is the perfect example, with its cooked wheat berries and barley swimming in a cream and chicken-broth liquid spiked with finely chopped carrots and parsley. Its textures, at once firm and forgiving, are a delight, its flavors subtle. Add some of the accompanying lemon juice and the creamy smoothness of the soup takes on a slightly acidic character. The kashk o bedemjan is a mix of sautéed eggplant and garlic held together by Persian kashk, a mild yogurtlike whey mixture cut by the sauté oil. Don’t put the mint leaves that decorate the dish aside. They make for a strong flavor contrast. There are rice dishes mixed with such meats as poached lamb shank, chicken breast, or beef seasoned with dill or dried limes and made hearty with beans. But I was never able to tear myself away from the skewerless kabobs. Each of the three we sampled over two visits was moist, perfectly done, and carrying just a touch of char. Two lengths of chelaw kabab koobideh, seasoned grilled ground beef, were subtly flavored — not as spicy as some I’ve had in
the Persian restaurant enclaves of West Los Angeles. The delicate seasoning made for a nice matching of beef and salt flavor. Lamb kebabs were firm and succulent, with just a hint of a gamey taste. Marinated Cornish game hen, the mild meat a blank slate for an intriguing combination of flavors we couldn’t quite decipher beyond the flavor of grilling, was fall-apart tender and slightly juicy. Each of these plates came with a generous oval of basmati topped with a yellow stripe of saffron rice, all circled with parsley. A grilled tomato and pepper stood guard at either end of the plate. A vegetarian dish of well-boiled spinach wasn’t so stellar; the spinach mixture, cut with a few red beans, was soupy and flavorless until a generous sprinkling of sumac gave it some life. Better for the meat-averse to go with the veggie skewer that’s just as charbroiled as any of the other kebabs. Or try the crispy, complexly flavored falafel. The baklava we split for dessert was just OK, not sticky sweet but flaky enough. Soan papdi, little cubes of compressed chickpea flour, ground almonds, and pistachios flavored with cardamom, was a delight, the tiny shards broken from the squares dissolving sweetly in our mouths. Other desserts? There are dates and a Persian ice cream scented with rose water. Food comes out quickly, but service — ordering and securing the bill — can be slow when the place is busy, which it seldom is. And that’s too bad. I guess people just aren’t willing to hunt for treasure (unless it’s cash or jewelry) even when it’s hidden just steps away. Correct a few inconsistencies, such as that stale pita, and Istalif could be an even better find. ◀
Dinner for three at Istalif Cuisine: Spinach sabzi plate ............................................... $ 12.99 Kashk o bedemjan eggplant appetizer .................. $ 6.25 Lamb kabob .......................................................... $ 16.00 Joojeh game hen kabob ........................................ $ 16.00 Baklava ................................................................. $ 3.00 Soan papdi dessert ................................................ $ 4.50 Fruit tea ................................................................ $ 1.99 TOTAL .................................................................. $ 60.73 (before tax and tip)
Lunch for two, another visit: Chelaw koobideh ground beef kabob ................... $ 14.99 Soup jow ............................................................... $ 5.50 Falafel plate .......................................................... $ 12.50 Lemonade ............................................................. $ 2.59 TOTAL .................................................................. $ 35.58 (before tax and tip) See more Restaurant Reviews @ www.pasatiempomagazine.com
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33 POSTCARDS - 8:15p Friday, May 17 // 3 GEEZERS - 8:15p Weds, May 22 Friday May 17
1:15p - Angels’ Share 2:15p - Source Family* 3:15p - No 4:15p - Jackie* 5:30p - Angels’ Share 6:15p - Source Family* 7:30p - Angels’ Share 8:15p - 33 Postcards*
Sat May 18
12:45p - NMFO: Jackie w/ Skype 2:15p - Source Family* 3:15p - No 4:15p - Jackie* 5:30p - Angels’ Share 6:15p - Source Family* 7:30p - Angels’ Share 8:15p - Source Family*
Sun May 19
11:00a - NMFO: Native American Filmmakers 1:15p - Angels’ Share 2:15p - Source Family* 3:15p - No 4:15p - Jackie* 5:30p - Angels’ Share 6:15p - Source Family* 7:30p - Angels’ Share 8:15p - Source Family*
Mon May 20
Tues May 21
3:15p - No 4:15p - Jackie* 5:30p - Angels’ Share 6:15p - Source Family* 7:30p - Angels’ Share 8:15p - Source Family*
Wed May 22
3:15p - No 4:15p - Jackie* 5:30p - Angels’ Share 6:15p - Source Family* 7:30p - Angels’ Share 8:15p - 3 Geezers*
Thurs May 23
2:30p - No 3:45p - Jackie* 4:45p - Angels’ Share 5:45p - Source Family* 7:00p - French Film Salon: Renoir 7:45p - Source Family*
* indicates show will be in The Studio at CCA for $7.50 or $6.00 for CCA Members
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PASATIEMPO I May 17 - 23, 2013
pasa week 17 Friday
primus 3D See Les Claypool through 3-D glasses, 7:30 p.m., doors open at 6:30 p.m., Santa Fe Community Convention Center, 107 W. Marcy St., $38, ticketssantafe.org, 988-1234.
axle Contemporary 670-7612 or 670-5854. Splinter Group, sculpture by Debby Young, reception 5-7 p.m., look for the mobile gallery’s van at Railyard Plaza, 1607 Paseo de Peralta, visit axleart.com for van locations through June 2. David richard gallery 544 S. Guadalupe St., 983-9555. Wavelength, paintings by Beverly Fishman; Variations: Evolution of the Artist’s Media 1986-2012, work by Richard Anuszkiewicz; reception 5-7 p.m., through June 15. galerie Züger 120 W. San Francisco St., 984-5099. Work by James Jensen, reception 5-8 p.m. georgia o’Keeffe museum 217 Johnson St., 946-1000. Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land, through Sept. 8 (see story, Page 30). Jay etkin gallery 703 Camino de la Familia, Suite 3103, 983-8511. TEXT/ure, group show, reception 5-7 p.m., through May 26. la Tienda exhibit space 7 Caliente Rd. Eldorado Studio Tour artists’ reception 5-7 p.m., through Sunday. photo-eye gallery 376-A Garcia St., 988-5152. Golden Eagle Nomads, photographs by John Delaney (see story, Page 38); Means of Reproduction, Svjetlana Tepavcevic’s plant seed studies, through July 12. santa Fe Time Bank 1219 Luisa St., Suite 1, 490-2119. Group show of drawings, paintings, sculpture, and photography, reception 5-7 p.m., through the summer. Turner Carroll gallery 725 Canyon Rd., 986-9800. New Work: Shawn Smith and Rusty Scruby, reception 5-7 p.m., through June 23. Verve gallery of photography 219 E. Marcy St., 982-5009. Photo-based works by Maggie Taylor and Henrieke Strecker, reception and book signing 5-7 p.m., through June 22 (see story, Page 32). Vivo Contemporary 725-A Canyon Rd., 982-1320. Six Words, gallery artists’ group show, reception 5-7 p.m., through July 1. Without reservations gallery 116 W. San Francisco St., Suite 104, 273-0943. Grand-opening reception 4-6 p.m.
TgiF recital Baritone Edmund Connolly accompanied by Maxine Thévenot on piano; music of Gerald Finzi, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated, 982-8544, Ext.16.
Pasa’s Little Black Book......... 56 Exhibitionism...................... 58 At the Galleries.................... 59 Libraries.............................. 59 Museums & Art Spaces........ 59 In the Wings....................... 60
compiled by Pamela Beach, firstname.lastname@example.org pasatiempomagazine.com
If a Door Opens: a Journey With Frances Perkins Metta Theatre presents the docudrama by Charlotte Keefe, 7:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $15, discounts available, 424-1601, through Sunday. Julie Brette adams One Woman Dancing 2013, 8 p.m., Santa Fe Playhouse, 142 De Vargas St., $20, discounts available, 986-1801, encores through Sunday (see story, Page 18). Singing My Heart In Performance artist Linda Mary Montano sings Linda Ronstadt and Raka Mukerjee tunes in front of SITE Santa Fe in conjunction with the closing of her exhibit Always Creative, noon-7 p.m., 1606 Paseo de Peralta, 989-1199. Willy Wonka Jr. Pandemonium Productions’ musical adaptation of the Roald Dahl tale performed by local students ages 6-16, 7 p.m., James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10, children 12 and under $6, 982-3327, for information call 920-0704 or visit pandemoniumprod.org for information, final weekend.
max evans The author discusses his career with Jim Harris, Lea County Museum director, 6 p.m., a screening of The Hi-Lo Country follows, held in conjunction with New Mexico History Museum’s exhibit Cowboys Real and Imagined, museum auditorium, 113 Lincoln Ave., no charge, 476-5200 (see story, Page 42).
Kristin Johnson Fine Art shows work by Jason Appleton, 323 E. Palace Ave.
Boom! Facemelt Interactive electronic music and multimedia performance by Santa Fe Community College students, 7 p.m., including Star Destroyer, Lysergic, and Northern Lights, Warehouse 21, 1614 Paseo de Peralta, no charge, call 577-8036 for information. Evoke! Concert and market in support of Golden Acorns Summer Camp, marketplace festivities 7:30 p.m.,
Elsewhere............................ 62 People Who Need People..... 63 Under 21............................. 63 Pasa Kids............................ 63 Sound Waves...................... 63
music 8 p.m., performers include flutist/ percussionist Suzanne Teng, and dancers Alhassane Camara and Kavita Nandakishore, Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., $25 in advance and at the door, discounts available, 795-9079. laura Cortese Singer, songwriter, and fiddler, 7:30 p.m., Music Room, Garrett’s Desert Inn, 311 Old Santa Fe Trail, 982-1851, $15 in advance, $18 at the door, brownpapertickets.com.
rivers run Through us The series of free events along the Santa Fe River continues with two performances at 6 p.m. today, East — West Intersecting by Sydney Cooper and Edie Tsong and Once Upon a Time There Was Water with poets Jazz Cuffee, Jamie Figueroa, Valerie Martinez, and Shelle Sánchez. Both events at amphitheater at Agua Fría Rd. and San Isidro Crossing, presented by the nonprofit Littleglobe, visit littleglobe.org for details. santa Fe skate Fest Figure-skating competition hosted by Santa Fe Skating Club, 3:30-5:30 p.m., Genoveva Chavez Community Center, 3221 Rodeo Rd., $2, 424-4886, competitions continue through Sunday. ▶▶▶▶▶▶▶▶
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 email@example.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 firstname.lastname@example.org or email@example.com. See our calendar at www.pasatiempomagazine.com, and follow Pasatiempo on Facebook and Twitter. PASATIEMPOMAGAZINE.COM
(See addresses below) Café Café Los Primos Trio, traditional Latin beats, 6-9 p.m., no cover. ¡Chispa! at el Mesón The Three Faces of Jazz and friends, featuring Bryan Lewis on drums, 7:30-10:30 p.m., no cover. Cowgirl BBQ Blues and folk singer/songwriter Zoe Evans, 5-7:30 p.m.; zydeco/Tejano/juke-swing band Felix y Los Gatos, 8 p.m.; no cover. el Cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. el farol C.S. Rockshow with Don Curry, Pete Springer, and Ron Crowder, 9 p.m., call for cover. hotel Santa fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. la Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la fiesta lounge at la fonda Los Wise Guys, oldies/country/rock, 8-11 p.m., no cover. la Posada de Santa fe Resort and Spa Nacha Mendez Trio, pan-Latin music, 6:30-9:30 p.m., no cover. the Mine Shaft tavern Dance party with DJs Mesa Punk and Ickymac, 8 p.m., no cover. Pranzo italian grill Pianist David Geist and vocalist Julie Trujillo, 6-9 p.m., call for cover. Second Street Brewery Americana band Backwoods Benders, 6-9 p.m., no cover.
d Wine Bar 315 Restaurant an 986-9190 il, 315 Old Santa Fe Tra Shop Betterday Coffee lano Center So , St. a ed am Al . 905 W h Resort & Spa nc Ra e dg lo ’s op Bish Rd., 983-6377 1297 Bishops Lodge Café Café 6-1391 500 Sandoval St., 46 ó ay Casa Chim 8-0391 409 W. Water St., 42 ón es M ¡Chispa! at el 983-6756 e., Av ton ing ash W 213 hside ut Cleopatra Café So 4-5644 47 ., Dr o an far 3482 Za Cowgirl BBQ , 982-2565 319 S. Guadalupe St. at the Pink the dragon Room a Fe Trail, nt Sa adobe 406 Old 983-7712 lton el Cañon at the hi 811 8-2 98 , St. al ov 100 Sand Spa eldorado hotel & St., 988-4455 o isc nc 309 W. San Fra el farol 3-9912 808 Canyon Rd., 98 ill gr el Paseo Bar & 848 2-2 99 , St. teo lis Ga 208
PASATIEMPO I May 17-23, 2013
Second Street Brewery at the Railyard Folk singer-songwriter Steve Guthrie, 7-10 p.m., no cover. tiny’s Flatpicking guitarist Ben Wright, 5:30-8 p.m.; classic-rock band The Jakes, 8:30 p.m.-12:30 a.m.; no cover. tortilla flats Singer/songwriter Gary Vigil, acoustic rock, 6-9 p.m., no cover. Vanessie Zenobia & Jay Boy Adams, with Mister Sister, R & B/pop, 7:30 p.m.-close, call for cover.
18 Saturday galleRy/MuSeuM oPeNiNgS
galerie Züger 120 W. San Francisco St., 984-5099. Work by James Jensen, reception 1-5 p.m.
Santa fe Symphony orchestra and Chorus Joined by the Santa Fe Men’s Camerata in Carl Orff’s Carmina Burana, 5 p.m., featuring soprano Mary Wilson, tenor Sam Shepperson, and baritone Jeremy Kelley, pre-concert lecture 4 p.m., the Lensic, $20-$70, ticketssantafe.org, 988-1234, encore Sunday.
Black Swans DJ showcase with Pete “The Shaker” Bones and Melanie Moore; also, a video-DJ set with Chispa, Oona Bender opens, 9 p.m., Rouge Cat, 101 W. Marcy St., $10 at the door, 983-6603. CrawDaddy Blues Fest Featuring Lionel Young Band, Felix y Los Gatos, and Desert Southwest Blues Band, noon-7 p.m. today and Sunday, under the tent at the Madrid
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 Ca na la Casa Se 988-9232 125 E. Palace Ave., at la fonda la fiesta lounge , 982-5511 St. 100 E. San Francisco a fe Resort nt la Posada de Sa e Ave., 986-0000 lac Pa E. 0 33 a and Sp g arts Center lensic Performin St., 988-1234 o isc nc Fra 211 W. San Sports Bar & grill om Ro er the lock 3-5259 47 ., Rd 2841 Cerrillos e lodge th at ge lodge loun Francis Dr., St. at Santa fe 750 N. 0 992-580 the Matador o St., 984-5050 116 W. San Francisc vern the Mine Shaft ta 473-0743 d, 2846 NM 14, Madri & lounge Molly’s kitchen 3-7577 98 , rca Lo lle Ca 1611 fé Museum hill Ca lner Plaza, 984-8900 710 Camino Lejo, Mi
Museum Park, 2846 NM 14, Madrid, $15 in advance and at the tent, ages 12 and under no charge, 473-0743. eryn Bent and Jono Manson Santa Fe singer/songwriters, 7 p.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $5 at the door, donations welcome, 983-5022, proceeds benefit Bent’s album fund. Nosotros Latin-groove band, free dance lessons 8:15 p.m., music follows at 9 p.m., La Tienda Performance Space, 7 Caliente Rd., El Dorado, $10 at the door, 603-0123 or 570-0707. the Sticky Santa Fe funk/disco band, 9 p.m.-midnight, Railyard Performance Center, 1611 Paseo de Peralta, $10 at the door, thestickyband.com, all ages.
8: a reading Santa Fe Performing Arts Adult Company presents a reading of the play by Academy Award-winning screenwriter Dustin Lance Black chronicling the legal challenge to California’s Proposition 8 state constitutional amendment, 7 p.m., Armory for the Arts, 1050 Old Pecos Trail, $60, preferred seating and admission to after-party $125, 984-1370 (see story, Page 22). If a Door Opens: a Journey With Frances Perkins Metta Theatre presents the docudrama by Charlotte Keefe, 7:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $15, discounts available, 424-1601, concludes Sunday. Jewel Box Cabaret Drag show featuring special guest Bella Gigante, 8:30 p.m., María Benítez Theatre, The Lodge at Santa Fe, 750 N. St. Francis Dr., $10 at the door, VIP seating $20, 310-3911, jewelboxcabaret.com.
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
Julie Brette adams One Woman Dancing 2013, 8 p.m., Santa Fe Playhouse, 142 De Vargas St., $20, discounts available, 986-1801, concludes Sunday (see story, Page 18). Stand up Revolution tour Comedians Dillon Garcia, Shaun Latham, Alfred Robles, and Edwin San Juan on stage to fundraise for the 301st Fiesta de Santa Fe, 7:30 p.m., Santa Fe Community Convention Center, 201 W. Marcy St., $22-$44, 988-1234, ticketssantafe.org. Willy Wonka Jr. Pandemonium Productions’ musical adaptation of the Roald Dahl tale performed by local students ages 6-16, 7 p.m., James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10, children 12 and under $6, 982-3327, for more information call 920-0704 or visit pandemoniumprod.org, final weekend.
Bats! Justin Stevenson sorts fact from fiction about the much-maligned mammals, 2 p.m., Cerrillos Hills State Park Visitor Center, 37 Main St., Cerrillos, 16 miles south of Santa Fe off NM 14, 474-0196. Bernard lafayette Jr. The civil rights leader discusses Strategic Nonviolent Social Change, 7:15 p.m., Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., donations accepted, visit wearepeoplehere.org for more information. Cheryl and Bill Jamison The local cookbook authors offer advice and sign copies of 100 Grilling Recipes You Can’t Live Without: A Lifelong Companion, 3-5 p.m., Santa Fe School of Cooking, 125 N. Guadalupe St., 983-4511 (see Subtexts, Page 16).
the Starlight lounge RainbowVision Santa Fe, 500 Rodeo Rd., 428-7781 Stats Sports Bar & Nightlife 135 W. Palace Ave., 982-7265 Steaksmith at el gancho 104-B Old Las Vegas Highway, 988-3333 Sweetwater harvest kitchen 1512-B Pacheco St., 795-7383 taberna la Boca 125 Lincoln Ave., Suite 117, 988-7102 thunderbird Bar & grill 50 Lincoln Ave., 490-6550 tiny’s 1005 St. Francis Dr., Suite 117, 983-9817 tortilla flats 3139 Cerrillos Rd., 471-8685 the underground at evangelo’s 200 W. San Francisco St., 577-5893 upper Crust Pizza 329 Old Santa Fe Trail, 982-0000 Vanessie 427 W. Water St., 982-9966 Zia diner 326 S. Guadalupe St., 988-7008
The Vietnam War and Its Impact on Subsequent U.S. International Relations Lecture by William Stewart, columnist for the The New Mexican, presented by the Santa Fe Council on International Relations, 3 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, $20, 982-4931.
32nd Annual Santa Fe Iris Society show The public is invited to enter irises to be judged from 7:30 to 9:30 a.m.; public viewing 11 a.m.4 p.m.; DeVargas Center, 564 N. Guadalupe St., 982-2655. eldorado Studio Tour The 22nd anniversary showcases more than 100 artists in 72 studios; paintings; drawings; prints; sculpture; ceramics; photographs; and wearable art; self-guided tours 10 a.m.-5 p.m. today and Sunday, samples of artists’ works, brochures, and maps available at the preview gallery open 9 a.m.-5 p.m., La Tienda Exhibit Space, 7 Caliente Rd., eldoradostudiotour.org. 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. Rivers Run Through Us A series of free events along the Santa Fe River continuing Tuesday; 9 a.m. guided hike of the village of La Bajada, meet at the parking lot by the old Route 66 bridge at La Bajada; 4 p.m. water-wheel ceremony with the Water Awareness Group at Frenchy’s Field, Agua Fría St. across from Osage Ave.; presented by the nonprofit Littleglobe, littleglobe.org. St. John’s College commencement Commencement speech delivered by Jill Cooper Udall, ceremony begins at 10:30 a.m. on Weigle Placita, 1160 Camino de Cruz Blanca, call 984-6102 for information. 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 8 a.m.-1 p.m., 1607 Paseo de Peralta, 983-4098. Santa Fe Fiber Arts Festival El Rancho de las Golondrinas’ annual event includes fiber arts and supplies for sale and weaving demonstrations, 10 a.m.-4 p.m., 34 Los Pinos Rd., $8, discounts available, 471-2261, continues Sunday. Santa Fe Skate Fest Figure-skating competition hosted by Santa Fe Skating Club, 9-11:30 a.m. and 1-5:45 p.m., Genoveva Chavez Community Center, 3221 Rodeo Rd., $2, 424-4886, concludes Sunday.
(See Page 56 for addresses) ¡Chispa! at el Mesón Ryan Finn Quartet, Caribbean-style jazz, 7:30 p.m.-close, no cover. Cowgirl BBQ Santa Fe Chiles Traditional Dixie Jazz Band, 2-5 p.m.; Sean Healen Band, Western-tinged rock ’n’ roll, 8:30 p.m.; no cover. el Cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. la Fiesta lounge at la Fonda Los Wise Guys, oldies/country/rock, 8-11 p.m., no cover. la Posada de Santa Fe Resort and Spa Jazz vocalist Whitney and guitarist Pat Malone, with special guest bass player Asher Barreras, 6-9 p.m., no cover.
More than 100 artists participate in the Eldorado Studio Tour Saturday and Sunday, May 18-19; Night Flower by photographer Shelly Moore
Pranzo Italian grill Geist Cabaret with David Geist, 6-9 p.m., call for cover. Second Street Brewery Annual crawfish boil; New Orleans-style brass jazz band The Miltones 1 p.m.; New Orleans jazz and funk band Pollo Frito 6 p.m.; no cover. Second Street Brewery at the Railyard Alto Street Band, Americana/bluegrass, 7 p.m.-close, no cover. Tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m.-close, no cover. The Underground at evangelo’s Collective Reggae Party with DJ Dynamite Sol and Brotherhood Sound’s Don Martin, 9 p.m., call for cover. Vanessie Ron Helman Jazz Ensemble, 7:30 p.m.-close, call for cover.
19 Sunday ClASSICAl MUSIC
Santa Fe Symphony Orchestra and Chorus Joined by the Santa Fe Men’s Camerata in Carl Orff’s Carmina Burana, 4 p.m., featuring soprano Mary Wilson, tenor Sam Shepperson, and baritone Jeremy Kelley, pre-concert lecture 3 p.m., the Lensic, $20-$70, ticketssantafe.org, 988-1234.
CrawDaddy Blues Fest Featuring Junior Brown, C.W. Ayon, and The Barbwires, noon-7 p.m., under the tent
at the Madrid Museum Park, 2846 NM 14, Madrid, $15 in advance and at the tent, ages 12 and under no charge, 473-0743. Round Mountain Folk-rock duo Char and Robby Rothschild celebrate the release of their album The Goat with special guests Moira Smiley and Jon Gagan, Luke Carr opens, 4 p.m., Railyard Plaza, 1607 Paseo de Peralta, no charge.
If a Door Opens: a Journey With Frances Perkins Metta Theatre presents the docudrama by Charlotte Keefe, 2 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $15, discounts available, 424-1601. Julie Brette Adams One Woman Dancing 2013, 2 p.m., Santa Fe Playhouse, 142 De Vargas St., $20, discounts available, 986-1801(see story, Page 18). Willy Wonka Jr. Pandemonium Productions’ musical adaptation of the Roald Dahl tale performed by local students ages 6-16, 2 p.m., James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10, children 12 and under $6, 982-3327, for more information call 920-0704, or visit pandemoniumprod.org.
200 new Mexico Poems: 100 Poems Celebrating the Past, 100 More for the Future Readings by local poets, 2-4 p.m., La Tienda Performance Space, 7 Caliente Rd., El Dorado, no charge, for more information visit 200newmexicopoems.wordpress.com.
dennis Marker The local author of Fifteen Steps to Corporate Feudalism: How the Rich Convinced America’s Middle Class to Eliminate Themselves discusses local and national economic issues, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226, presented by JourneySantaFe.
Crop Mob Help with planting at the Santa Fe Community Farm, 1-4 p.m., 1829 San Ysidro Crossing, $10 suggested donation supports the distribution of fresh produce to The Food Depot, Kitchen Angels, St. Elizabeth Shelter, and other local charities, santafecommunityfarm.org. eldorado Studio Tour The 22nd anniversary showcases more than 100 artists in 72 studios; paintings; drawings; prints; sculpture; ceramics; photographs; and wearable art; self-guided tours 10 a.m.-5 p.m.; samples of artists’ works, brochures, and maps available at the preview gallery open 9 a.m. to 5 p.m., La Tienda Exhibit Space, 7 Caliente Rd., eldoradostudiotour.org. The horse Shelter benefit Gourmet luncheon by Restaurant Martín and music by Roark Griffin; ranch tours, auction preview, and demonstrations from 11 a.m.; luncheon 12:30 p.m., The Horse Shelter Ranch, Old Cash Ranch Rd., Cerrillos, $75 in advance, $85 at the door, 471-6179, thehorseshelter.org. Pueblo of Tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com.
continued on Page 61
A peek at what’s showing around town
Jane Rosemont: Barber, 2008, archival pigment print. Vivo Contemporary (725 Canyon Road) features the work of four artists in the exhibition Six Words. Jane Rosemont, George Duncan, Paul Biagi, and Barrie Brown work in a variety of mediums — photography, acrylic, and kiln-formed glass. The show’s minimalist aesthetic is inspired by a six-word short story, sometimes attributed to Hemingway: “For sale: baby shoes, never worn.” There is a 5 p.m. reception on Friday, May 17. Call 982-1320.
Richard Anuszkiewicz: Translumina — Opaque Triangle: Yellow Green, Green and Blue, 1990, enamel on wood construction. David Richard Gallery holds a reception for two exhibitions on Friday, May 17, at 5 p.m.: Richard Anuszkiewicz: Variations — Evolution of the Artist’s Media, 1986-2012 and Beverly Fishman: Wavelength. Variations features Anuszkiewicz’s minimalist sculptures in addition to his drawings and paintings. Wavelength features Fishman’s paintings on steel that reference electrocardiograms and other medical diagnostic data. The gallery is at 544 S. Guadalupe St. Call 983-9555.
PASATIEMPO I May 17-23, 2013
Linda oldham: Just a Bed of Roses, 2013, encaustic. The Encaustic Art Institute presents a themed exhibition by a nationwide selection of its members who work in wax sculpture and relief. The show, Wax With Dimension, opens Saturday, May 18, with a reception at noon. The gallery is open from noon to 5 p.m. on weekends. The institute is at 18 County Road 55-A (General Goodwin Road) near Cerrillos. Call 424-6487.
Charles Pollock (1902-1988): Alba I, 1965, acrylic on canvas. Peyton Wright Gallery’s summer season kicks off with Postwar American Abstraction: Downing, Loving, and Pollock. Thomas Downing (1928-1985) is associated with the Washington Color School of painting. Al Loving (1935-2006) emphasized color and geometric design in his abstractions. Charles Pollock, elder brother of Jackson Pollock, began his career in social realism and then turned to Abstract Expressionism and, like Downing and Loving, moved to Color Field painting. The show is on view through June 25. The gallery is at 237 E. Palace Ave. Call 989-9888.
marina brownlow: Zygon, 2011, wax, rubber, and artificial sinew. TEXT/ure, the first in a series of themed juried shows that focus on work by underrepresented artists, opens on Friday, May 17, with a 5 p.m. reception at Jay Etkin Gallery. The show features pieces by 15 artists from Northern New Mexico, including Marina Brownlow, Mark Pack, and Greta Young. The gallery is at 703 Camino de la Familia. Call 983-8511.
At the GAlleries Charlotte Jackson Fine Art 554 S. Guadalupe St., 989-8688. Flux, paintings by Clark Walding, through June 3 (see review, Page 36). Eight Modern 231 Delgado St., 995-0231. Dogs Are Forever, mixed-media work by Nancy Youdelman, through Saturday, May 18. Evoke Contemporary 130-F Lincoln Ave., 995-9902. Figurative paintings by Sean Cheetham and Lee Price, through May. Karan Ruhlen Gallery 225 Canyon Rd., Suite 18, 820-0807. Paintings by Kevin Tolman, through Thursday, May 23. Legends Santa Fe 125 Lincoln Ave., 983-5639. New Blood, works by Marla Allison, Chris Pappan, and De Haven Solimon Chaffins, through May 29. Manitou Galleries 123 W. Palace Ave., 986-0440. Jerry Jordan and Tom Perkinson, landscape paintings, watercolors, and pastels, through Friday, May 17. NoiseCat on Canyon 618 Canyon Rd., 412-1797. Hip and Happening, new works by painters Ryan Singer and Cloud Medicine Crow, and jewelry by Liz Wallace, through June 4. Santa Fe Art Institute Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5050. Earth Chronicles Project — The Artist’s Process: New Mexico, group show, through Friday, May 17. Santa Fe Arts Commission Community Gallery Santa Fe Community Convention Center, 201 W. Marcy St., 955-6705. Cumulous Skies: The Enduring Modernist Aesthetic in New Mexico, group show, through June 7. Santa Fe Clay 545 Camino de la Familia, 984-1122. The Sum of Its Parts, group show, through June 1. Santa Fe University of Art & Design Fine Arts Gallery 1600 St. Michael’s Dr., 473-6500. Interwoven, senior-thesis exhibit, through Sunday, May 19. Touching Stone Gallery 539 Old Santa Fe Trail, 988-8072. Origin, work by ceramicist Jonathan Cross, through May 25. William Siegal Gallery 540 S. Guadalupe St., 820-3300. Selections, group show of works by gallery artists, through May 25. Winterowd Fine Art 701 Canyon Rd., 992-8878. Thaw: Glass Re-imagined, glass sculpture by Karen Bexfield, through Thursday, May 23. Zane Bennett Contemporary Art 435 S. Guadalupe St., 982-8111. European Perspectives: The Radiant Line, group show, through May 24.
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. Collect 10: Lucky13, annual fundraising exhibit showcasing New Mexico artists’ works, through Sunday, May 19, Spector Ripps Project Space. 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, opening Friday, May 17, through Sept. 8 (see story, Page 30) • ArtSpring 2013, works by students of New Mexico School for the Arts’ Visual Arts Department, through May 28. Open 10 a.m.-5 p.m. Saturday-Thursday, 10 a.m.-7 p.m. Fridays. $12; seniors $10; NM residents $6; students 18 and over $10; under 18 no charge; no charge for NM residents 5-7 p.m. first Friday of the month. Museum of Contemporary Native Arts 108 Cathedral Pl., 983-8900. Open 10 a.m.-5 p.m. Monday and Wednesday-Saturday, noon-5 p.m. Sunday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays. Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 476-1250. What’s New in New: Recent Acquisitions, annual exhibit celebrating the gallery’s namesake, Lloyd Kiva New, through 2013 • Woven
linda Mary Montano sings in conjunction with her exhibit Always Creative, noon-7 p.m. Friday, May 17, in front of site santa Fe; still from My Beautiful Picture
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. Plain Geometry: Amish Quilts, textiles from the museum’s 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 traditional folk art. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; no charge for NM residents on Sundays. Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 982-2226. Stations of the Cross, group show of works by New Mexico artists, through Sept. 2 • Filigree and Finery: The Art of Spanish Elegance, an exhibit of historic and contemporary jewelry, garments, and objects, through May 27 • Metal and Mud — Out of the Fire, works by Spanish Market artists, through August • San Ysidro/ St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, Colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late Colonial period re-creation. Open 10 a.m.5 p.m. Tuesday-Sunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays. New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 476-5200. Cowboys Real and Imagined, artifacts and photographs from the collection, through March 16, 2014 • Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author,
through Feb. 9, 2014. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; no charge for school groups; no charge on Wednesdays for NM residents over 60; 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 • Mont St. Michel and Shiprock, 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 no charge on Sundays. 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. State of Mind: New California Art Circa 1970, conceptual and avant-garde works of the late ’60s and ’70s • Linda Mary Montano: Always Creative, interactive performance • Mungo Thomson: Time, People, Money, Crickets, multimedia installation; closing Sunday, May 19. Open 10 a.m.-5 p.m. Tuesday-Saturday; 10 a.m.-7 p.m. Friday; noon-5 p.m. Sunday. $10; seniors and students $5; Fridays no charge. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 982-4636. 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. PASATIEMPOMAGAZINE.COM
In the wings MUSIC
Lyle Lovett and Robert Earl Keen An acoustic evening with the Texas musicians, 7 p.m. Sunday, May 26, Santa Fe Opera, 301 Opera Dr., $27-$89, santafeopera.org, 986-5900. Joy Kills Sorrow Americana ensemble, 7:30 p.m. Tuesday, May 28, Gig Performance Space, 1808-H Second St., $15 in advance at southwestrootsmusic.org, $18 at the door. Joshua Breakstone KSFR Radio’s Music Café series continues with the jazz guitarist joined by Earl Sauls on bass and John Trentacosta on drums, 7 p.m. Thursday, May 30, Museum Hill Café, Milner Plaza, 710 Camino Lejo, $20, 428-1527. Mumford & Sons English folk-rock band, Michael Kiwanuka and Mystery Jets open Thursday, June 6, 7 p.m., Kit Carson Park, Taos, $62.15 in advance at ticketmaster.com. Cheryl Wheeler New England songwriter, 7:30 p.m. Thursday, June 6, Music Room, Garrett’s Desert Inn, 311 Old Santa Fe Trail, 982-1851, $25 in advance at southwestrootsmusic.org, $28 at the door,. Music on the Hill 2013 St. John’s College’s free outdoor summer concert series; featuring Santa Fe Great Big Jazz Band with vocalist Joan Kessler; Straight Up with J.Q. Whitcomb, Brian Wingard, and John Trentacosta, and John Proulx’s quartet; concerts begin at 6 p.m. outdoors at the college’s atheletic field June 12, visit stjohnscollege.edu for schedule. Sandra Wong, Dominick Leslie, and Ty Burhoe Percussion, nyckelharpa/fiddle, and mandolin trio, 8 p.m. Saturday, June 15, Gig Performance Space, 1808-H Second St., $15 at the door, gigsantafe.com. Santa Fe Bandstand Outside In Productions and the City of Santa Fe present the 11th annual free performance series featuring national and local performers on the Plaza community stage June 21, weekly through Aug. 23. Eliza Gilkyson, A Hawk & A Hawksaw, and Max Baca y Los Texmaniacs round out the line-up. Schedules and updates available online at santafebandstand.org. Santa Fe Opera The season opens Friday, June 28, with Offenbach’s The Grand Duchess of Gérolstein; other offerings include the premiere of Theodore Morrison’s Oscar, SFO’s first mounting of Rossini’s La Donna del Lago, and two revivals, Mozart’s The Marriage of Figaro and Verdi’s La Traviata; also, a concert honoring Wagner and Britten; call 986-5900 or visit santafeopera.org for tickets and details on all SFO events. Portugal. The Man Portland-based rock band, 7:30 p.m. Tuesday, July 2, Santa Fe Sol Stage & Grill, $21, 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. New Mexico Jazz Festival The eighth annual event takes place in Santa Fe and Albuquerque July 12-27; includes Stanley
Clarke Band, Lionel Loueke Trio, Terence Blanchard Quintet, and Catherine Russell, $20-$50, tickets available online at the Lensic box office, ticketssantafe.org, 988-1234. Santa Fe Chamber Music Festival The 41st season (July 14-Aug. 19) includes performances by pianists Inon Barnatan and Jeremy Denk, violinists Ida Kavafian and L.P. How, and the Orion and Shanghai String Quartets, call 982-1890 for advance tickets, for more information visit santafechambermusic.com.
Maestro: The Art of Leonard Bernstein Hershey Felder pays tribute to the composer, 7:30 p.m. Friday and Saturday, 2 p.m. Sunday, May 31-June 2, the Lensic, $20-$50, 988-1234, ticketssantafe.org. Lady Blue’s Dreams Puppet’s Revenge presents its adaptation of the story of a New Mexico nun, Sor María de Jesus de Ágreda, 7:30 p.m. Friday and Saturday, June 7-8, Teatro Paraguas Studio, 3205 Calle Marie, $15 suggested donation benefits the Solace Crisis Treatment Center’s Immigrant Women’s Jewelry Collective, seniors and students $12, 424-1601. National Theatre of London in HD The series continues with The Audience, starring Helen Mirren, 7 p.m. June 13, the Lensic, $22, student discounts available, 988-1234, ticketssantafe.org. Miss Jairus, A Mystery in Four Tableaux Theaterwork presents Michel de Ghelderode’s play, 7:30 p.m. Thursday-Saturday, 2 p.m. Sunday, June 14-23, James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., 471-1799, firstname.lastname@example.org.
Upcoming events Seth Meyers Saturday Night Live’s head writer brings his stand-up comedy routine to Albuquerque’s KiMo Theatre; 7 p.m. Sunday, June 16, $54 in advance at holdmyticket.com, proceeds benefit Jewish Federation of New Mexico. 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. 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.
Native Treasures Indian Arts Festival Traditional and contemporary works by more than 200 artists, Memorial Day weekend Saturday and Sunday, May 25-26, Santa Fe Community Convention Center, Saturday: early birds $20, general admission $10 (all tickets available at the door), Sunday: no charge, 982-7799, Ext. 3, nativetreasures.org. Creating an Opera Season Brad Woolbright, Santa Fe Opera’s director of artistic administration, discusses the opera’s selection process, 5:30 p.m. Wednesday, May 29, Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., $10, presented by the Santa Fe Opera Guild, 629-1410, Ext.123. Savor the Flavor Nonprofit organization Delicious New Mexico and the Museum of International Folk Art present an event 10 a.m.-5 p.m. Sunday, June 2, in conjunction with the exhibit New World Cuisine: The Histories of Chocolate, Mate y Más; includes food booths, a cooking demonstration with chef Rocky Durham, a book fair, baking demonstrations on an outdoor horno, and beer and wine tastings ($20), Museum Hill, by museum admission, call 505-217-2473 for more information. Santa Fe Botanical garden Tours 2013 Pre-tour luncheon (private venue) Sunday, June 2, $25, registration deadline May 30; self-guided tours Sunday, June 2 and 9,
Helen mirren stars as Queen elizabeth ii in the national theatre of London in HD series production of The Audience, June 13, at the Lensic.
PASATIEMPO I May 17-23, 2013
$35 for one day; $65 for both days; tickets on tour days $40 for one day; $75 for both days; advance tickets available at the Lensic box office, 988-1234, ticketssantafe.org, call 471-9103 for more information. Santa Fe Opera community activities Backstage Tours weekdays June 3-Aug. 13, $10, discounts available; Opera Insider Days, Opera Guild members offer insight into productions and behind-the-scene processes Saturdays June 1-Aug. 24, Ranch Tours, extended tours of the grounds with a meet-the-artist component the last Friday of June, July, and August, tour $12, added backstage tour $20, call 986-5900, visit santfeopera.org for complete schedule of events. 3 Minute Film Festival Juried competition presented by Mission Control and Pasatiempo; amateur, student, and professional films; 7 p.m. Saturday, June 8, the Lensic, $12, kids $8, ticketssantafe.org, 988-1234. SITE Santa Fe events The experimental exhibit series SITElab, presented primarily in the lobby gallery space, begins Saturday, June 8 with Marco Brambilla: Creation (Megaplex); other shows are scheduled in November, December, and January 2014. Enrique Martínez Celaya: The Pearl opens July 12; My Life in Art series (held at the Armory for the Arts) begins with Lowery Stokes Sims with Jaune Quick-to-See Smith July 16, visit sitesantafe.org for updates. Santa Fe International New Media Festival Currents 2013 features works by international and local artists; exhibits; outdoor video projections, digital dome screenings; panel discussions; and workshops; openingnight receptions and performances Friday, June 14, at Zane Bennet Contemporary Art, David Richard Gallery, El Museo Cultural de Santa Fe, and the Railyard Plaza; festival runs through Sunday, June 30 at various venues, visit www.currentsnewmedia.org for details. 64th Annual Santa Fe Rodeo Downtown rodeo parade 10 a.m. Saturday, June 15; rodeo 6:30 p.m. Wednesday-Saturday, June 19-22, Santa Fe Rodeo Grounds, $10-$37, 988-1234, ticketssantafe.org. Santa Fe Opera opening night benefit The opening-night performance of Offenbach’s The Grand Duchess of Gérolstein is preceded by a gala buffet dinner and a talk by Tom Franks, Friday, June 28, Dapples Pavilion, 301 Opera Dr., $80, hosted by the Santa Fe Opera Guild, 629-1410, Ext. 113, guildsofsfo.org. Santa Fe Opera tailgate contest Held opening night Friday, June 28; prizes in several categories, only ticketholders eligible; visit santafeopera.org for information about categories, prizes, celebrity judges, and how to enter. 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. 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.
from Page 57
19 Sunday (continued) Railyard Artisans Market Multi-instrumentalist Gerry Carthy 10 a.m.1 p.m.; jazz saxophonist Brian Wingard 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 Fiber Arts Festival El Rancho de las Golondrinas’ annual event includes fiber arts and supplies for sale and weaving demonstrations, 10 a.m.-4 p.m., 34 Los Pinos Rd., $8, discounts available, 471-2261. Santa Fe Fun Fest Santa Fe Skating Club’s open basic skills/learn-to-skate figure-skating competition; 9:45 a.m.-2:15 p.m., Genoveva Chavez Community Center, 3221 Rodeo Rd., $2, 424-4886
(See Page 56 for addresses) Café Café Guitarist Michael Tait Tafoya, 6-9 p.m., no cover. Casa Chimayó Sunday in Havana with Ramon Calderon, 6-8 p.m. on the patio, call for cover. Cowgirl BBQ Cathy Faber’s Swingin’ Country Band’s tribute to Hank Williams, noon-3 p.m.; singer/songwriter Russell Stafford, 8 p.m., no cover. el Farol Nacha Mendez and guests, pan-Latin music, 7 p.m.-close, no cover. la Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. Second Street Brewery Annual crawfish boil; blues guitarist Jim Almand 1 p.m.; New Orleans jazz and funk band Pollo Frito 3 p.m.; zydeco/Tejano/juke-swing band Felix y Los Gatos 5 p.m.; no cover. Second Street Brewery at the Railyard Joe West’s Santa Fe Revue, eclectic folk-rock, 1-4 p.m., no cover. Vanessie Sunday Open Mic with pianist David Geist, 5-7 p.m.; Bob Finnie, piano and vocal classics, 7 p.m.-close, no cover.
20 Monday BookS/tAlkS
Blood Feud or Bad Death? Violence Among early Farming Communities in the Sonoran Desert A Southwest Seminars lecture by James T. Watson, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775. Stuart Ashman and günther Maier The former New Mexico Department of Cultural Affairs Secretary and the photographer discuss and sign copies of Harlistas Cubanos, introduction by Diane Karp, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.
Weekly all-ages informal swing dances Lesson 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., dance only $3, lesson and dance $8, 473-0955.
(See Page 56 for addresses) Cowgirl BBQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover.
Independent Artists Gallery shows photographs by Peter Wagner, 102 W. San Francisco St.
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 Syd Masters & the Swing Riders, Western swing, 7:30-11 p.m., no cover. tiny’s Great Big Jazz Band, 7-9:30 p.m., no cover. Vanessie Bob Finnie, pop standards piano and vocals, 7 p.m.-close, no cover.
21 Tuesday eVeNtS
International folk dances Lesson 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, or 983-3168, beginners welcome. Rivers Run through Us Littleglobe’s series of free events along the Santa Fe River concludes with Water Matters: What is the Role of Art and Artists in Protecting and Restoring Our Rivers?, performances by artist Bobbe Besold, poet Valerie Martínez, and performance artist Dominique Mazeaud, 5:30 p.m., Santa Fe Community Foundation, 501 Halona St., presented by Amigos Bravos, amigosbravos.com. Santa Fe Farmers Market 8 a.m.-1 p.m., 1607 Paseo de Peralta, 983-4098.
(See Page 56 for addresses) ¡Chispa! at el Mesón Argentine Tango Milonga, 7:30-11 p.m., call for cover. Cowgirl BBQ Anthony Leon & The Chain, country angst, 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 Syd Masters & the Swing Riders, Western swing, 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 Bob Finnie, pop standards piano and vocals, 7 p.m.-close, no cover.
22 Wednesday BookS/tAlkS
Painter of Beauty: Agnes Martin The New Mexico Museum of Art docent talks series continues with a discussion of the abstract expressionist, 12:15 p.m., 107 W. Palace Ave., by museum admission, 476-5072. Sean Murphy The author discusses and signs copies of One Bird, One Stone, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.
Native treasures breakfast with tammy garcia 9 a.m. breakfast at Museum Hill Café, followed by a walk-through and talk by the 2013 Living Treasures artist at the Museum of Indian Arts and Culture, 710 Camino Lejo, Museum Hill, $40, 988-1234, ticketssantafe.org. SFCC commencement Keynote speaker San Antonio, Texas Mayor Julián Castro, 5 p.m., William C. Witter Fitness Education Center, Santa Fe Community College, 1401 Richards Ave., 428-1776.
(See Page 56 for addresses) ¡Chispa! at el Mesón Flamenco guitarist Joaquin Gallegos, 7-9 p.m., no cover. Cowgirl BBQ Indie blues duo Joe & Vicki Price, 8 p.m., no cover. el Farol Salsa Caliente, 9 p.m., no cover. la Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover. the 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 p.m.-close, no cover. Vanessie Bob Finnie, pop standards piano and vocals, 7 p.m.-close, no cover.
23 Thursday ClASSICAl MUSIC
New Mexico Bach Society John Donald Robb’s Requiem and Gounod’s Messe solennelle de Sainte-Cécile, 7 p.m., doors open at 6 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$55, 988-1234, ticketssantafe.org.
Pato Banton Veteran reggae artist, 7 p.m., doors open at 6 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $20 in advance at holdmyticket.com, $25 at the door. ▶▶▶▶▶▶▶▶
2013 Indian arts Research Center speaker series Native Appropriations, a talk by Adrienne Keene, noon, Meem Auditorium, Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, no charge, 954-7205. Diana Untermeyer The author of Qatar: Sand, Sea and Sky discusses the Muslim country, 5:30 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, $20, 982-4931, sfcir.org. Jon Davis Santa Fe’s Poet Laureate launches Thelonious Sphere and reads from his new manuscript Improbable Creatures, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. Plan the Future! Creative Santa Fe invites the community to weigh in on the issue of affordable live/work spaces for artists and creative people, 5:30 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., call 288-3527 for information. 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.
(See Page 56 for addresses) ¡Chispa! at el Mesón Pianist John Rangel, 7-9 p.m., no cover. Cowgirl bbQ Tony Buford & Little Leroy, soul, 8 p.m., no cover. evangelo’s Guitarist Little Leroy with Mark Clark on drums and Tone Forrest on bass, 9 p.m.-close, call for cover. la boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover. la Fiesta lounge at la Fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover. la Posada de santa Fe Resort and spa Pat Malone Jazz Trio, 6 p.m., Fuego Restaurant, no cover. The Matador DJ Inky spinning soul/punk/ska, 8:30 p.m.-close, no cover. second street brewery at the Railyard Blues and folk singer/songwriter Zoe Evans, 6-8 p.m., no cover.
Jon Davis Santa Fe’s Poet Laureate launches Thelonious Sphere, inspired by jazz composer Thelonious Monk, and reads from his new manuscript Improbable Creatures at 6 p.m. Thursday, May 23. Collected Works Bookstore, 202 Galisteo St., 988-4226.
PASATIEMPO I May 17-23, 2013
of 3-D photographs of New Mexico’s Lechuguilla Cave of Carlsbad Caverns National Park, through May 29. Pajarito environmental education Center 3540 Orange St., 662-0460. Underground of Enchantment, traveling group show of 3-D photographs of New Mexico’s Lechuguilla Cave of Carlsbad Caverns National Park, through May 29. 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.
Chimayó Museum exhibits photographs by Don Usner in Chimayósos: Portrait of a Community, opening reception Sunday, May 19, Chimayó
steaksmith at el gancho Mariachi Sonidos del Monte, 6:30 p.m., no cover. Tiny’s Broomdust Caravan, juke joint honky-tonk and biker bar rock, 8 p.m.-close, no cover. Vanessie Jimmy Stadler Band, Americana/rock, 8 p.m.-close, call for cover. Zia Diner Swing Soleil, Gypsy jazz and swing, 6-8 p.m., no cover.
Richard levy gallery 514 Central Ave. S.W., 505-766-9888. Color Matter, abstracts by Xuan Chen; new paintings by Charles Fresquez; through May. UnM art Museum Center for the Arts Building, 505-277-4001. In the Wake of Juarez: Drawings of Alice Leora Briggs • Bound Together: Martin Stupich: Remnants of First World, inkjet prints, through May 25. Open 10 a.m.-4 p.m. Tuesday-Saturday; $5 suggested donation.
steve Miller band 8 p.m. Friday, May 17, Legends Theater, Route 66 Casino, 14500 Central Ave. S.W., $48-$125, holdmyticket.com. sunday Chatter Cellist Joel Becktell performs works of Bach, Bloch, and Gabrielli, 10:30 a.m. Sunday, May 19; plus, a poetry reading by Anthony Hunt, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, chatterchamber.org.
abiquiú Chamber Music series The sixth season opens June 9, with violinist Carmelo de los Santos and pianist Rubia Santos, and continues through September, visit abiquiumusic.com for tickets, directions, and concert schedule, 505-685-0076.
AlbuquErquE Museums/art spaces
516 arts 516 Central Ave. S.W., 505-242-1445. Flatlanders & Surface Dwellers, international multimedia show, through June 1. harwood art Center 1114 Seventh St. N.W., 505-242-6367. I Have a Question and There’s No One Left to Answer It, encaustic paintings by Evey Jones and Harriette Tsosie, through May 30. Original home of the Harwood Girls School (1925-1976). Open 10 a.m.-4 p.m. Monday-Friday, no charge. holocaust and Intolerance Museum of new Mexico 616 Central Ave. S.W., 505-247-0606. Disturbing, but Necessary, Lesson, scale model of a WWII prisoner transport to Auschwitz • Hidden Treasures, 158-year-old German-Jewish family heirloom dollhouse belonging to a family that fled to the U.S. and settled in New Mexico. Open 11 a.m.3 p.m. Tuesday-Saturday, donations accepted. Indian Pueblo Cultural Center 240112th St. N.W., 866-855-7902. Challenging the Notion of Mapping, Zuni map-art paintings, through August. Open 9 a.m.-5 p.m. daily; adults $6; NM residents $4; seniors $5.50.
encaustic art Institute 18 County Rd. 55-A (General Goodwin Rd.), north of the village of Cerrillos, 424-6487. Wax With Dimension, national group show of mixed media, reception noon-5 p.m. Saturday, May 18, through June 16.
Chimayó Museum 13 Plaza de Cerro, 505-351-0950. Chimayósos: Portrait of a Community, photographs by Don Usner, reception 2 p.m. Sunday, May 19, through July. Open 11 a.m.-4 p.m. Wednesday-Saturday, through October, donations welcome.
art in the Park The Corrales Society of Artists presents an arts-and-crafts show on the third Sunday of the month through Oct. 20; opening show 10 a.m.-4 p.m. Sunday, May 19, featuring potters, painters, and sculptors; La Entrada Park, for map and details visit corralesartists.org.
los AlAmos Museums/art spaces
Mesa Public library art gallery 2400 Central Ave., 662-8250. Underground of Enchantment, traveling group show
anchee Min The Chinese-American author celebrates the release of her second memoir The Cooked Seed, 8 p.m. Sunday, May 19, Reel Deal Theater, 2551 Central Ave., $20 in advance and at the door, reeldealtheater.com, 603-2130, or 606-1454, proceeds benefit Self-Help Inc. bomb: The Race to build and steal the World’s Most Dangerous Weapon The Authors Speak series continues with Steve Sheinkin, 7 p.m. Thursday, May 23, Upstairs Rotunda, Mesa Public Library, 2400 Central Ave., 662-8250, no charge.
mAdrid Museums/art spaces
Madrid old Coal Town Mine Museum 2846 NM 14, 438-3780 or 473-0743. Madrid’s Ghost Town Past, new display celebrating Madrid’s 40th Rebirth Day, through October. Steam locomotive, mining equipment, and vintage automobiles. Open 10:30 a.m.-4:30 p.m. daily. $5, seniors and children $3. Metallo gallery 2863 NM 14, 471-2457. In Microscale, group show of miniatures, through May. Tapestry gallery 4 Firehouse Ln., 471-0194. Reductive Architectonics — Plus Additions, new tapestries by Donna Loraine Contractor, through June 20.
CrawDaddy Blues Fest Featuring Junior Brown, Felix y Los Gatos, and Mississippi Rail Company, noon-7 p.m. Saturday and Sunday, May 18-19, under the tent at the Madrid Museum Park, 2846 NM 14, Madrid, $15 in advance and at the tent, ages 12 and under no charge, 473-0743. Madrid’s 40th Rebirth-Day Celebration Exhibit openings, entertainment, and scheduled events every weekend through May, details available online at visitmadridnm.com.
tAos Museums/art spaces
203 Fine art 203 Ledoux St., 575-751-1262. Paintings, Monotypes & Sculpture From the ’80s, work by Bill Gersh (1943-1994), through June 8. e.l. blumenschein home and Museum 222 Ledoux St., 575-758-0505. Hacienda art from the Blumenschein family collection, European and Spanish Colonial antiques. Open 10 a.m.-5 p.m. Monday-Saturday, noon-5 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge; Taos County residents no charge on Sunday. harwood Museum of art 238 Ledoux St., 575-758-9826. The Taos art colony is celebrated with four exhibits, Jim Wagner: Trudy’s House; R.C. Gorman: The Early Years; Fritz Scholder: The Third Chapter; and Woody Crumbo: The Third
Chapter, opening Saturday, May 18, 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. Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson. Open 11 a.m.-5 p.m. daily, $5; seniors $4; teens $3; ages 12 and under no charge. Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. 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 with ID. Ribak/Mandelman House 209 Ribak Ln., 575-751-0310. Reckoning With Modernism, works by Santa Fe painter Shelley Horton-Trippe and Taos textile artist Terrie Hancock Mangat, reception 4-8 p.m. Friday, May 17. Stables Gallery 133 Paseo del Pueblo Norte, 575-758-2052. Everything’s Comming Up Lilacs, group show of works by Taos Artist Organization artists, reception 4-7 p.m. Friday, May17, through Sunday, May19. 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.
Lilac Festival Three-day event May 17-19, on the Plaza and various areas around town; crafts fair 12:30 -7:30 p.m. Friday, 10 a.m.-5 p.m. Saturday and Sunday; walking- and drivingtour maps of the area’s lilacs available at the event, visit taoslilacfestival.com for details. Stephanie Lee Taos-based singer/songwriter 7 p.m. Thursday, May 23, Encore Gallery, Taos Community Auditorium, 145 Paseo del Pueblo Norte, $12, 575-758-2052.
Ghost Pony Gallery 1634 NM 76. 505-689-1704. Cowgirl Returns, new work by Trish Booth, reception 4-7 p.m. Sunday, May 19, through June.
▶ People who need people Artists
Nominations for the 2013 Mayor’s Awards for Excellence in the Arts Any member of the public may nominate an artist, writer, performer, philanthropist (individuals ages 21 and older), or an organization or business for consideration; also, nominations for the Melissa Engestrom Youth Arts Award are being accepted (ages 21 or younger); information and forms available online at santafeartscommission.org or call 955-6606; deadline is 5 p.m. Friday, May 31. Pojoaque River Art Tour Area artists welcome to join the 20th annual studio tour Sept. 21-22; call 455-3496 or visit pojoaqueriverarttour.com for information. Santa Fe Public Libraries’ exhibits Month-long exhibits open to local artists; all two-dimensional work considered; no commissions taken, for information call 955-4862 or 955-6784; visit santafelibrary.org for application process details.
Santa Fe Opera’s tailgate contest Visit santafeopera.org for information about categories, prizes, celebrity judges, and entry details for the June 28 opening-night event; entries accepted after June 1 by emailing email@example.com; include name, email address, phone number, and approximate number in your group.
The Hospice Center Work in the office with the bereavement program (computer skills desirable) and help with flower arrangements and delivery for the Flower Angel program; call Mary Ann at 988-2211. Santa Fe Community Farm Help with the upkeep of the garden that distributes fresh produce to The Food Depot, Kitchen Angels, St. Elizabeth Shelter, and other local charities; the hours are 9 a.m.4 p.m. daily, except Wednesdays and Sundays; email firstname.lastname@example.org or visit santafecommunityfarm.org for details.
New Mexico Dance Coalition student scholarships Three scholarships awarded to New Mexico residents aged 8 to adults in the amount of $400; visit nmdancecoalition.org for guidelines and application forms; applications accepted through Friday, July 26; direct questions to Dyan Yoshikawa, email@example.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. Santa Fe Opera extras Males needed between the ages of 21 and 50 for The Marriage of Figaro or Oscar; auditions held 11 a.m.-1 p.m. Saturday, May 18; contact Adam Franklin at firstname.lastname@example.org. Tony Hillerman best first mystery novel contest Publishing contract with St. Martin’s Press and $10,000 advance offered to the winner; only authors of unpublished mysteries set in the Southwest may enter; manuscripts must be received or postmarked by June 1; further guidelines and entry forms available online at wordharvest.com.
▶ under 21 Boom! Facemelt Interactive electronic music and multimedia performance by Santa Fe Community College students, 7 p.m. Friday, May 17, including Star Destroyer, Lysergic, and Northern Lights, Warehouse 21, 1614 Paseo de Peralta, no charge, call 577-8036 for information.
▶ Pasa Kids Willy Wonka Jr. Pandemonium Productions’ musical adaptation of the Roald Dahl tale performed by local students ages 6-16, 7 p.m. Friday and Saturday, 2 p.m. Sunday, May 17-19, James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10, children 12 and under $6, 982-3327, for more information call 920-0704 or visit pandemoniumprod.org. Flying Cow Gallery Warehouse 21, 1614 Paseo de Peralta, 989-4423. Dragonfly Art Studio student exhibit (ages 5-13), reception 4-7 p.m. Saturday, May 18, through May. Santa Fe Children’s Museum open studio Learn to paint and draw using pastels, acrylics, and ink, noon-3:30 p.m. Fridays, 1050 Old Pecos Trail, 989-8359, visit santafechildrensmuseum.org for weekly scheduled events. ◀
Get your Goat The tag “world music” has never appealed to me. Actually, I despise it. World music, as the name of a thing, reeks of quasi-New Age silliness, a desperate stab at sounding worldly without having the slightest clue what other cultures do, say, think, or feel. Furthermore, it’s a music-journalism cop-out phrase used when the writer can’t think of the name of that instrument from that place he or she can’t possibly pinpoint on a map. And it’s an insult to bands like Santa Fe duo Round Mountain Round Mountain. Well-traveled and instrumentally gifted, brothers Robby and Char Rothschild take their stylistic cues from traditions found around the globe, and their rich harmonies lull and caress the ears like a sweet Simon & Garfunkel ballad. Blending elements of Eastern European, French Gypsy, African, Turkish, Appalachian, and Celtic music, Round Mountain rides the fence between contemporary Americana and international folk. The Rothschilds, who many locals also remember as members of ’90s-era Santa Fe rock band Lizard House, are about to release their fourth full-length CD as Round Mountain, and they’re throwing a little party to help celebrate. At 4 p.m. Sunday, May 19, Heath Concerts present the band on the Railyard Plaza by the water tower near the Santa Fe Farmers Market Pavilion (1607 Paseo de Peralta) with guests Andy Irvine, Moira Smiley, San Francisco’s 10-piece Balkan brass orchestra Brass Menažeri, and Anias Mitchell. The new album The Goat — a title inspired by the Rothschilds’ many encounters with animals, including their parents’ Nigerian Dwarf milk goats — was recorded almost entirely at Frogville Studios in Santa Fe. Multiple engineers and mixers didn’t get in the way or damage the continuity of these stellar 13 tracks, which shimmer with finely crafted instrumentation — accordion, bouzouki, kora, djembe, cajón, tupan, low whistle, calabash, hosho, mandola, and the instruments of Brass Menažeri, to name a few. Each song on the album is accompanied in the liner notes by a story about the song’s genesis or its thematic inspiration. The oddly vaudevillian-sounding “Coffee,” for instance, celebrates the uplifting elixir and the wonderful manner in which it removes many heads from many — well, you get the idea. Making a special appearance among the instruments in this tune is the espresso-machine steam wand from Santa Fe café/coffee roaster Ohori’s. There’s something of a stripped-down Peter Gabriel New Blood vibe to The Goat, both vocally and in the arrangements, although the Rothschilds wisely leave the multitextured percussion in the songs untouched. In press materials for the CD-release party, Robby Rothschild explains, “I feel we’ve become more relaxed about letting what’s imperfect shine out. … We found a balance between our dreams and the actual grit of pursuing them.” And on The Goat, that grit shows. I’m also off to pursue some more dreams. This is the last “Sound Waves” column I’ll write. It’s been a pleasure and a privilege covering Santa Fe’s music scene for more than eight years for Pasatiempo. Thanks for reading, and thanks for listening. — Rob DeWalt email@example.com www.pasatiempomagazine.com Twitter: @PasaTweet @flashpan
A weekly column devoted to music, performances, and aural diversions. Tips on upcoming events are welcome.
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Pasatiempo, May 17, 2013