Pasatiempo, May 24, 2013

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Amethyst a healing space Coming Soon to Downtown Santa Fe Featuring Amethyst BioMats John of God Crystal Light Therapy Energy Medicine & Asian Body Work www.amethystsantafe.com

STARS NEVER FADE PRODUCTIONS PROUDLY PRESENTS

CRY ME A RIVER

BETH KENNEDY jONES SINGS the jULIE LONDON SONGB}K

with THE BERT DALTON TRIO

SUNday MAY 26 6 pm MONday july 27 6 pm

seating begins at 5:30 pm

LA CASA SENA CANTINA

125 EAST PALACE AVENUE, SANTA FE

Tickets $25 • Seating for both performances begins at 5:30 pm For reservations please call 988-9232 4

PASATIEMPO I May 24 - 30, 2013

WHAT’S NEW AT NAMBÉ It’s Here!!!

MEMORIAL DAY

SALE May 23 - May 27

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The Friends of Archaeology Annual Celebration of

CHILES & SHERDS 2013 JOIN US FOR A TOUR OF PUEBLO SHE in the GALISTEO BASIN

The Friends of Archaeology is hosting the 2013 Chiles and Sherds event at Pueblo She, one of the premier Galisteo Basin pueblo ruins. This exceptional 1500-room pueblo is located on the San Cristobal Ranch.The all-day event will include lunch catered by Cowgirl Catering, a tour of the pueblo with longer hikes available and a stop at the set for the 1972 John Wayne movie The Cowboys.

Sunday, June 2nd, 2013 9:00 am to 4:30 pm

$95 per person ($70.00 tax-deductible) Lunch will be served from 11:30 until 2:00.

Morning and afternoon tour options are available when you purchase tickets.

Maps to the event will be distributed by e-mail to participants beginning May 24th.

To order tickets visit:

www.museumfoundation.org/friends-archaeology

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Find additional information at nmarchaeology.org If you can’t access the web page for tickets, call the FOA hotline at 505-982-7799 ext. 5 PASATIEMPOMAGAZINE.COM

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THE SANTA FE NEW MEXICAN

May 24 - 30, 2013

www.pasatiempomagazine.com

On the cOver 40 show of strength The Museum of Contemporary Native Arts starts its summer season with Stands With a Fist, an exhibition of work by seven Native women artists who explore themes of cultural identity, relationships to land and community, and the roles of women in contemporary society through mixed-media installations, paintings, photography, and other mediums.

The show opens Friday, May 24, with a reception at 5 p.m. Our cover image is a detail from Lindsay Delaronde’s Iakon:kwe, a 2009 mixed-media serigraph; photo by Dianne Stromberg; courtesy the Museum of Contemporary Native Arts.

BOOKs

mOving images

14 in Other Words This Is How 46 Design secrets Acoma Pueblo pottery

52 Star Trek: Into Darkness 54 Renoir 56 Pasa Pics

mUsic & PerFOrmance 18 20 22 24 26 28 31

calenDar

Porch pals Lyle Lovett & Robert Earl Keen losing labels Joy Kills Sorrow Pasa reviews Santa Fe Symphony anger management J.D. Allen terrell’s tune-Up Mas, mas from El Molino Pasa tempos CD Reviews Onstage this Week Reggae, set, go

63 Pasa Week

anD 9 mixed media 13 star codes 60 restaurant review: sweetwater harvest Kitchen

art 32 the good earth SCUBA 44 eye to eye Rosalie Favell portraits 50 shape shifter Tammy Garcia

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

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

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

Sikyatki Birds (detail) by tammy garcia

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

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

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

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

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

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staFF Writers michael abatemarco 986-3048, mabatemarco@sfnewmexican.com rob DeWalt 986-3039, rdewalt@sfnewmexican.com James m. Keller 986-3079, jkeller@sfnewmexican.com Paul Weideman 986-3043, pweideman@sfnewmexican.com

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cOntriBUtOrs laurel gladden, Julie ann grimm, robert Ker, Bill Kohlhaase, Jennifer levin, susan meadows, adele Oliveira, robert nott, Jonathan richards, heather roan-robbins, roger snodgrass, steve terrell, Khristaan D. villela

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PrODUctiOn Dan gomez Pre-Press Manager

The Santa Fe New Mexican

© 2013 The Santa Fe New Mexican

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Robin Martin Owner

www.pasatiempomagazine.com

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Ginny Sohn Publisher

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aDvertising DirectOr Tamara Hand 986-3007

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marKeting DirectOr Monica Taylor 995-3824

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art DePartment DirectOr Scott Fowler 995-3836

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graPhic Designers Rick Artiaga, Dale Deforest, Elspeth Hilbert

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aDvertising sales mike Flores 995-3840 stephanie green 995-3820 margaret henkels 995-3820 cristina iverson 995-3830 rob newlin 995-3841 Wendy Ortega 995-3892 art trujillo 995-3852

Rob Dean editor

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet

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

LOS ALAMOS MEDICAL CENTER WELCOMES

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 ™

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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.

Currently accepting new patients Please call 661-9150 for an appointment Dr. Knight brings more than thirty years of Urological experience to Los Alamos Medical Center. He received his Doctor of Medicine from Baylor College of Medicine in Houston Texas, where he also completed 2 years of general surgery residency and a full 4-year urological residency.

James G. Knight, MD

He has been board Certified in Urology since 1983 and has recertified twice since his original board certification.

Most recently Dr. Knight has been the Staff Urology and Chief of Staff at Alta Vista Regional Hospital in Las Vegas, New Mexico.

Dr. Knight is located at suite 138 at the Los Alamos Medical Center.

PASATIEMPOMAGAZINE.COM

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PAYNE’S

Trees, Flowers & Plants NURSERIES Make Great Living Memorials

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

Spring/Summer Hours

From Trees & Shrubs to Flowers & Tropical Plants

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June 2nd 2:30 St. Francis Auditorium

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

Limit one coupon per customer, please. Cannot be combined with any other coupon or offer. Good through 5/30/13.

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Free admission Donations appreciated Friday, May 31: Anatomy of a Symphony Concert Preview Featured work: Brahms Symphony No. 1 6 – 7pm, St. Francis Auditorium

SFCO projects are made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs, the National Endowment for the Arts; the Santa Fe Arts Commission, and the 1% Lodger’s Tax.

Scottsdale/Santa Fe - Tesuque

est. 1966

glenn green galleries

Rimsky-Korsakov: Russian Easter Overture Grieg: Holberg Suite, Op. 40 Brahms: Symphony No. 1 in C minor, Op. 68 Sunday

Payne’s Discount Coupon

www.paynes.com

Oliver Prezant, Music Director

Season Finale

Payne’s North 304 Camino Alire 988-8011

Mon - Sat 8 to 6 Sun 10 to 4

Santa Fe Community Orchestra

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There is no law here but the law of man.

It is a time of GOLD. It is a time of CIBOLA.

reception + artiSt talk 2:30 pm to 5 pm Saturday, may 25

“Melanie Yazzie, an International Voice” Works on Paper Yazzie, a talented painter, printmaker and sculptor, follows the Diné (Navajo) dictum to create life and work in beauty and harmony. She has exhibited her work in such places as Japan, Australia, New Zealand, Great Britain, Siberia as well as throughout the United States. She incorporates a personal history into her work while her aesthetic depicts a purity of form that is universally accessible.

Glenn Green Galleries + Sculpture Garden 136 Tesuque Village Road, Tesuque, NM 87506 glenngreengalleries.com 505.820.0008

PASATIEMPO I May 24 - 30, 2013

CIBOLA: SEVEN CITIES OF GOLD SCREENING & ART INSTALLATION OPENING SUNDAY, MAY 26, 2013 10:00 AM

Jamison C. Banks, Frank Buffalo Hyde, Keith Secola, Garnett Thompson, August Walker, Leahi Kekahuna Mayfield, Marty Two Bulls, Cole Bee Wilson and Mark Herndon. Directed by Daniel Augustin Grignon.

Photography by Cameron Tafoya Wheelwright Museum of the American Indian 704 Camino Lejo, Santa Fe, NM 87505 Open daily 10:00 am to 5:00 pm This project is made possible in part by the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax; New Mexico Arts, a division of the Department of Cultural Affairs and the National Endowment for the Arts; and several private donors.

MIXED MEDIA Ernst Gruler, Donald Gialanella, Christopher Bathgate, and Jamie Monroe showcase the versatility of metal as a medium in Forge, Spin, Wrap, and Weld at GVG Contemporary (202 Canyon Road). Gruler, co-owner of the gallery, is known for his handcrafted furniture. He presents a new body of work called Sound Sculptures; its pieces resonate with tone when struck. Gruler makes his metal sculptures from repurposed scrap metal. Gialanella’s background includes working as a studio assistant to Louise Bourgeois. He won an Emmy Award for his television graphics work in 1992 and has been sculpting for 15 years, combining metalworking techniques with elements of painting and collage. For Forge, Spin, Wrap, and Weld, he presents his series Tree People, vertical sculptures that look like a cross between humans and trees. Bathgate, a two-time recipient of the Pollock-Krasner Foundation grant, creates sculptures out of precision-made aluminum, stainless steel, brass, and bronze parts. His designs have a high degree of symmetry and a polished gleam, transforming the machinelike objects into aesthetic forms. Monroe’s work includes free-standing and wall-mounted sculptures crafted in the medium of hot forged steel in the manner of blacksmithing.

There is an opening reception on Friday, May 24, at 5 p.m. The exhibit runs through June 14. Call 982-1494.

— Michael Abatemarco

Christopher Bathgate: LS 322244414, machined aluminum and stainless steel

Desert Academy

Engaging the mind. Engaging the world.

Elliot Melk UCLA

Desert Academy has been a perfect fit for me. Desert provides a unique education experience with the International Baccalaureate Program, giving it a global perspective and hands-on teaching methodology. The small, discussion-based classes, led by extremely supportive faculty, have brought me out of my shell and encouraged me to become a more active and involved student. Each student quickly becomes an integral part of the close-knit Desert community.

Sean Colin-Ellerin University of Chicago

Photos © Kim Kurian

Metalmorphosis

Through its rigorous and comprehensive curriculum, Desert Academy has helped me achieve academic success. The culture created by the faculty and staff has inspired me. The International Baccalaureate programs have given me the opportunity to go to my dream college and have adeptly prepared me for the challenge of college studies. Desert, through its friendly and welcoming atmosphere, has made my high-school years extremely fun and rewarding.

International Baccalaureate World School

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

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Centennial Celebration

E

rnest Chiriacka was born May 11, 1913 at home on Madison Street on the lower eastside of Manhattan. The son of Greek immigrants, his Greek name, Anastassios Kyriakakos, was translated to Ernest Chiriacka when he entered school.

His nickname, Tassi, used by family and friends when he was growing up was anglicized to Darcy by his wife, Kathryn. Not only did he use this nickname as an adult, he also signed some of his earlier paintings as Darcy.

Ernest started drawing when he was three using the charcoal remnants from the wood burning stove in the kitchen of their tenement apartment. His teachers recognized his talent and he was chosen, at a young age, to participate in the drawing program offered at the Brooklyn Museum of Art. His training continued at the Art Students League in New York, the National Academy of Design Art School, and the Grand Central School of Art in New York.

Ernest began his professional career painting signs in his neighborhood and taking photos for driving licenses. His talent was quickly recognized by publishers, and his paintings began to grace the covers for pulp magazines. He eventually became an illustrator for national magazines. The Saturday Evening Post, Cosmopolitan, Argosy, and American Magazine were just some of the magazines that carried his illustrations. In the early 1950’s he began painting the coveted Esquire “Pin-Up” calendar girls and continued to do so for five years. He was also commissioned to paint portraits of many leading film stars and created movie posters for major movie studios.

In the mid 1960’s Ernest retired from is work as an illustrator and began to focus on his passion for painting. He started traveling throughout Europe with Kathryn, making sketches and studies. These sketches were brought back to his Long Island studio and developed into paintings.

As a young boy, Ernest had been fascinated with the Wild West. When the plight of the Native Americans became a national story during the 1973 “Siege of Wounded Knee”, his interest in the West was rekindled. Ernest began to study Native American tribes, history, and culture. He and Kathryn spent months touring America by car, visiting the Midwest, Dakotas, West and Southwest. Once again he would sketch and paint developing these studies into large works when he returned home. He devoted many years to portraying various aspects of his great love, the American West, and offering an accurate representation of cowboy and Native American life.

Ernest Chiriacka’s paintings are unique, thanks to his ability to use impressionistic techniques to capture a mood, tell a story, and depict dramatic landscapes.

The sketches in this book are the original studies done while he travelled which were later used to create his paintings and sculpture.

The works of Ernest Chiriacka are exclusively handled by the Casweck Galleries in Santa Fe, New Mexico.

– Athene Westergaard 10

PASATIEMPO I May 24 - 30, 2013

“Pulp to Passion” Retrospective Opening Reception: May 24th, 2013 • 5:30–8:30 pm Catering by “The Butler Did It”

Picking Wild Flowers • 20” x 24” • Oil on Board

Photography: Craig Clark

Western Pulp Cover Art • 1949

The Preparation • 30” x 24” • Oil on Board

fine western and contemporary art

203 West Water St. • Santa Fe, NM 87501 www.casweckgalleries.com • 505.988.2966 PASATIEMPOMAGAZINE.COM

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Orlando Dugi Kenneth Williams It’s In the Details

Bargains

on the Lawn ✻

One Day Only!

Saturday, May 25, 9–5 ✻

ANTIQUES 136 Grant Avenue

+ INTERIORS ON GRANT

May 26, 2013 – January 10, 2014

983-0075

This project is made possible in part by the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax; New Mexico Arts, a division of the Department of Cultural Affairs and the National Endowment for the Arts; and several private donors.

Wheelwright Museum of the American Indian 704 Camino Lejo, Santa Fe, NM 87505 Open daily from 10:00 am to 5:00 pm

Free customer parking

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PASATIEMPO I May 24 - 30, 2013

Back by popular demand.

530 S. Guadalupe St. • 505-989-7300 • www.mossoutdoor.com

STAR CODES Heather Roan Robbins

On Memorial Day, we remember the fallen as we prepare for the future.

This weekend brings some articulate and communicative aspects in the foreground and waves of change in the background. Luckily the sun, Mercury, Venus, and Jupiter, all in nervy, articulate Gemini, help us adapt quickly to changing circumstances and to think fast on our feet. We have to add depth and empathy, and we may need to search for calm in the quiet pools of our soul.

On Friday, look for a lovely Venus-Mercury-Jupiter conjunction visible just after sunset in the west. The full moon will barely be grazed by the Earth’s shadow at 10:24 p.m. MDT. This eclipse heralds a pruning of outmoded philosophies and relationships and a beginning of new ones.

Events happen quickly. Most of us will enjoy the buzz, but those who have planets near four degrees of Gemini, Sagittarius, or Virgo may feel a sudden surprising shift. This conjunction can make our hearts yearn for people we can really communicate with, and it invites us to notice and break any patterns that leave us isolated.

Since Neptune is also square this full moon, watch out for water damage and floods — and a flooded feeling in the soul. Ride the waves of feelings and sift out the crazy streaks.

Saturday is beautifully sociable. Sunday and Monday bring a busy, fractious edge; it’s good to have practical chores to do and people to help. Midweek get busy instead of worried. All this week, reach out and connect with others for love and profit — it is time to network.

Friday, May 24: It will take patience to make a competent, uncomfortable morning practical and clear. The mood lightens midafternoon as the moon enters generous and restless Sagittarius, and it expands sociably as the moon waxes full tonight. Look for an opportunity for beautiful endings and beginnings — and a chance to dance the night away.

Saturday, May 25: Our attention wanders this dreamy morning. Feel good changes in the air. Midday, work around others’ anxieties. Play out the dance that’s already in motion. Tonight, the mood intensifies and gets edgy.

Sunday, May 26: Our feelings may be unsettled, and nervous systems may be overextended. Most of us need rest, preferably near water, but may resist it as the moon enters determined Capricorn and the sun squares Neptune.

Respect tradition and the advice of elders. Traveling has challenges — allow extra time to be safe.

Monday, May 27: The pragmatic Capricorn moon conjuncts Pluto and urges us to change our circumstances. Make the project small enough to accomplish.

The afternoon encourages socialization but brings a competitive streak to picnic games. Engage in great conversations tonight.

Tuesday, May 28: Jump back in the saddle and strengthen social and professional contacts this morning while friendly Venus, mental Mercury, and expansive Jupiter conjunct in communicative Gemini under a pragmatic Capricorn moon. Beauty, form, and function work together. Don’t control beloveds; just share the love.

Wednesday, May 29: Worry may haunt dreams overnight as the moon squares serious Saturn but soon clears. We want to connect with our tribes as the Aquarius moon trines the sun and sextiles curious Uranus. Be aware of, but not overly concerned about, others’ opinions.

Thursday, May 30: The morning is generous, success-prone, and excitable as the Aquarius moon trines Venus and Jupiter. Midday, release expectations and listen to the whispers of fate. Watch a growly phase over dinner as the moon squares argumentative Mars. Be kind to tender feelings tonight as the moon enters sensitive Pisces. ◀ www.roanrobbins.com

PASATIEMPOMAGAZINE.COM

13

In Other wOrds

book reviews

This Is How: Surviving What You Think You Can’t by Augusten Burroughs, Picador, 230 pages The problem with Augusten Burroughs is that he’s arrogant. With his new book, This Is How: Surviving What You Think You Can’t, the writer of autobiographical novels and essays has turned self-help guru. Arrogance doesn’t rule out intelligence, and Burroughs is right about many topics.

He gets the illness and death of loved ones especially right, and for that, much can be overlooked.

But though Burroughs is right a lot of the time, he’s also contradictory and arbitrary, and his tone implies that he knows the truth of all human psychology better than anyone else because he’s been through more trauma and tribulation than most. He’s terse and direct regarding emotionally treacherous subjects, offering a kind of tough love that might not be all that well-meaning. Burroughs is a distinctly talented writer who knows exactly what he is doing. He wants to push your buttons, and that’s arrogant.

Despite all that, he’s deeply insightful, which comes from enduring trauma and then thinking very intensely about his life, over and over, for an extended period.

This is the same aspect of his personality that makes him a writer of page-turners. He has written essays, memoirs, and autobiographical stories and novels, including Running With Scissors, Magical Thinking, Possible Side Effects, and A Wolf at the Table. He hooks you even as your gut tells you he might not be the most reliable narrator.

His thinking in This Is How is so layered that even his clearest points are difficult to analyze in a quick review, because to state them without context would make him sound unempathetic at best. For instance, his advice to those who would like to lose weight is: weigh less. This sounds absurdly oversimplified, but in the context of the book, which includes many personal anecdotes and creative analogies, it’s not terrible advice. He doesn’t engage in fat-shaming and even deems his advice irrelevant for those who suffer from medical conditions that affect weight. In later chapters, when talking about the need not to dwell on one’s traumatic past, he makes allowances for victims of extreme trauma, such as survivors of World War II concentrations camps. So he doesn’t lack compassion for the truly abused and savaged, and his advice isn’t resolutely bad on all fronts, but his ideas about body image are just the first morsels in a giant helping of hypocrisy.

How, according to Burroughs, do you get to that place of sudden, effortless change? Through ruthless self-honesty. You tell yourself the truth about everything, all the time. That alone, he says, will get you over your self-pity and average-level traumatic past faster and more effectively than any therapy will. He wants us to trust him, because getting to a place of ruthless self-honesty did more to get him right in the head than all the therapy he ever had. But, he says, you can’t actively strive for this state of mind. You have to figure out how to be it. Just be it. Does he realize he sounds like a slogan for Buddhist running shoes?

Regarding therapy, after all he’s been through, he’s decided there isn’t much value in going over and over one’s past traumas, because they get enshrined as your personal dramatic narrative and become too closely entwined with your personality. You have to get them out of you and get over them. And he thinks you should do it the same way he did, which is by writing autobiographical books (some of which landed him in court). So now we know how: write several books, share your entire life with the world, and just get it off your chest — no problem.

Burroughs says that therapy and AA are probably a waste of time and that you should just listen to him instead, but he did therapy and AA for years, and the truth he never faces is that his epiphany about learning not to lie to yourself is actually a well-traveled path. It’s a main goal of good therapy and an intrinsic aspect of all 12-step programs. Many of his quibbles with the therapeutic process and 12-step programs have merit, especially if you live life as a cynic, but the main thrust of his argument is arrogant and naive.

This Is How is hard to put down, but it’s not a substitute for the help required in an acute crisis.

However, if you’ve been toiling away in misery for years, unable to make therapy or AA or anything else work for you, then This Is How might be the right book at the right time. If you don’t know how to tell yourself the truth, this is how.

— Jennifer Levin 14

PASATIEMPO I May 24-30, 2013

SubtextS

Feed your read In a time of heightened awareness about the importance of local and sustainable food, restaurants and chefs touting such measures on menus are commonplace throughout the U.S. For many home cooks, however, navigating the language and processes of effective sustainability can be intimidating and confusing.

The Chefs Collaborative, a nonprofit consortium of chefs, food professionals, and producers, was formed to highlight global food issues such as school-lunch nutrition, sustainable seafood, and the greenwashing of companies. Educational outreach to the food-service industry is at the core of the Chefs Collaborative, and now the organization is bringing its knowledge into the home. In March, Taunton Press published The Chefs Collaborative Cookbook, a collection of recipes, beautiful photography, and vital sustainability basics to help eliminate the mystery behind best-food practices. At 6 p.m. Thursday, May 30, Chefs Collaborative member, cookbook contributor, chef, and longtime Santa Fe culinary treasure Kim Müller speaks about sustainable foods and cooking at Collected Works Bookstore (202 Galisteo St., 988-4226). — Rob DeWalt Hip-hop-cupcake-poetry session At 6:30 p.m. (doors open at 5:30 p.m.) Friday, May 24, Momo & Co. Bakery & Boba Tea Bar (229-A Johnson St., 983-8000) hosts Hakim Bellamy, Albuquerque’s first poet laureate, and theater director, choreographer, and educator Daniel Banks for a night of poetry reading, book signing, and delectable gluten-free, allergen-free, organic, and mostly vegan treats. Banks, a Santa Fe resident, edited the 2011 anthology Say Word! Voices From Hip-Hop Theater. He reads from his upcoming book, Shades. Bellamy reads from his debut collection, Swear (published by West End Press). The free event is followed by a Q and A. — RDW

Chef Kim Müller

Zoobiquity: What Animals Can Teach Us About Health and the Science of Healing by Barbara Natterson-Horowitz and Kathryn Bowers, Alfred A. Knopf/Random House, 308 pages Even those who don’t believe in evolution go to the doctor, which means they receive treatments that were developed and tested first on animals.

Despite significant differences among species, the equally important similarities allow animals to serve as human surrogates. We share approximately 98.6 percent of our genome with chimpanzees, a fact that is undisturbed by religious objections. Since 2005, when scientists established this important genomic relationship, which Charles Darwin’s work essentially predicted more than 150 years ago, biologists, veterinarians, and human medical doctors have increasingly turned their attention to deep homology, which authors Barbara Natterson-Horowitz and Kathryn Bowers describe as “nearly identical clusters of genes [that] have been passed down for billions of years, from cell to cell and organism to organism. These remarkably unchanged gene groups code for similar structures and even similar reflexes across species. ... Deep homology traces our molecular lineage to our most ancient common ancestors. It proves that all living organisms, including plants, are long-lost relatives.”

This well-referenced work is told from the point of view of Natterson-Horowitz, a Harvardeducated cardiologist at the David Geffen School of Medicine at UCLA who is also on the medical advisory board of the Los Angeles Zoo. The fastpaced engaging prose is probably attributable to her collaborator, Bowers, a former staff editor at The Atlantic and a writer and producer at CNN International.

Zoobiquity traces the relationships between some human diseases (including some that are often described as psychological or behavioral — eating disorders and self-injury, for example) and their animal equivalents from an evolutionary perspective. Veterinarians have long recognized the relation between human and animal disease and even have a joke about it: What do you call a physician? A veterinarian who can treat only one species. But medical doctors — especially those practicing in modern urban settings — are less receptive to this knowledge because they are less likely to have experience with animal patients — unlike many country doctors in previous centuries, when the line between doctor and veterinarian was much blurrier.

The fact that animal correlates exist for every human disease “practically without exception,” according to the authors, means that tracing the evolution of disease is not an idle exercise. Zoobiquity — an invented term the authors use to describe an evolutionary approach to human disease — allows us to understand, for example, the physiological basis for a person literally dying of grief or possibly even from a witch doctor’s curse. Such human victims exhibit symptoms seen in wild animals that die suddenly when captured, despite a lack of physical injuries. That response in turn can be traced back two billion years to an adaptive physiological response of plants under stress. Biology, in other words, is more powerful than voodoo. In the reverse direction, we now recognize that veterinarians have an important role in warning of potential human pandemics as animal viruses evolve, often rapidly, to infect people. Examples include HIV and avian and swine flu.

Be prepared for some frank biological descriptions that might provide more information than you really want. Also be prepared to see your fellow nonhuman travelers on earth as kin who might hold the keys to your own health and behavior. You may deny evolution, but you’d better hope your doctor doesn’t. Your life may depend on it.

— Susan Meadows Barbara Natterson-Horowitz gives a lecture titled “Zoobiquity: What Dolphin Diabetes Can Teach Us About Human Health” at 7:30 p.m. on Thursday, May 30, at the James A. Little Theater on the campus of the New Mexico School for the Deaf (1060 Cerrillos Road). There is no charge for the lecture, which is presented by the Santa Fe Institute; call 984-8800. more book reviews on Page 16

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PASATIEMPO I May 24-30, 2013

In a few days, the city of Mumbai could be nuked off the face of the planet.

India would probably retaliate with an atom bomb in the biggest city in Pakistan, tipping off what’s shaping up to be World War III. It’s against this backdrop that Manil Suri sets his complicated love story.

Suri is a native of Mumbai, the most populous city in India — a place called Bombay by the British and also known for its patron deity, Devi. His novel depicts the musical names of Indian foods, mystical tales of Hindu gods, and the colors and characters of the city. Yet now there’s an eerie quiet there: “The street lies completely empty — only an abandoned red doubledecker bus looms ahead. Even the beggars who live under the bridge over Queen’s Road have disappeared — I miss running the gauntlet of their badgering voices, their pawing hands.”

We’ve come to this point after a popular Bollywood movie featured a conquering Devi. A band of hoodlums then used her image to seize power by erecting statues and staging appearances, and warring between various groups took center stage. “The riots that ensued permanently changed the character of the city,” Suri writes. “Even after they abated, an atmosphere of heightened animus, of extreme mistrust, lingered between communities.”

It’s the civilian reaction to the tearing of the social fabric that makes the story compelling. Warning: the plot is so purposeful and interwoven that it’s difficult to lay out its bare bones without destroying the suspense that drives it.

First, Suri offers us a portrait of a Hindu woman, Sarita, on the verge of being too old to marry. He beautifully narrates the story of how she finally finds someone she can picture as part of her long-term future. She falls in love with and learns how to be a wife to Karun before he disappears without a trace. An alternative title to the book could have been The Pursuit of Karun.

After a healthy dose of Sarita, you meet Karun’s first love, a Muslim man named Jaz. Karun’s conflicted soul is revealed not by his own thoughts but instead through the eyes of Sarita and Jaz. While Sarita is a picture-perfect modest Indian woman, highly educated and full of dreams, Jaz is a surprise at every turn. First he’s a lecherous park prowler. Then he’s building a relationship with a man he wants to hold forever.

Suri’s passion and grace in writing about the relationships make him something akin to an Armistead Maupin for Mumbai, although Suri’s third novel isn’t an extension of his other two books, and his characters are far fewer than those in Maupin’s Tales of the City series.

The love triangle at the heart of The City of Devi encapsulates myriad challenges involving classes, religions, economies, and cultures — especially with tensions between extremist Hindus and Muslims reaching nuclear levels and with guarded and even hostile attitudes toward homosexuality from both cultures.

The storytelling is explosive, and no details seem superfluous, even if some moments are surely too graphic for some tastes. There’s hardly anything predictable about the story line, and once it takes off, the pace escalates with the frenzy of a crowded Indian marketplace and thrills with the passion of mortality. In the end, as one character explains, one is neither Hindu nor Muslim, gay nor straight, Indian nor some other nationality. One is merely a survivor.

— Julie Ann Grimm

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Bill Kohlhaase I For The New Mexican

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E L Y L T E M T R E B O R N Texas songwriter Robert Earl Keen comes full circle with porch pal Lyle Lovett

Michael Wilson

18

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

exas singer-songwriter Robert Earl Keen was a bit trepidatious before he played the Santa Fe Farmers Market Pavilion in March.

“I’m not being derogatory,” he said in a phone call from his home in Kerrville, Texas, “but I didn’t think there were that many good places to play in Santa Fe. But I was surprised. That turned out to be a great show — great space, great crowd.” Keen, who said he can play anywhere, anytime, will step it up a notch when he appears in a duo concert with Lyle Lovett at the Santa Fe Opera on Sunday, May 26. No trepidation this time. “Opera?” he laughed. “I’m all for it.”

Lovett and Keen go back to College Station, Texas, and the late 1970s, when both were students at Texas A&M University. Keen had rented a house on Church Street, and its front porch became a gathering place for like-minded musicians. As the story goes, Lovett — easy to spot because of his unruly hair — would be riding by on a ten-speed bicycle and would stop to listen. One day, he was invited up and quickly became part of the musical circle. Those times preceded the musical careers of both men as well as signaling the start of a friendship that endures. “I think those days were the biggest factor in me doing what I’ve done,” Keen said. “I learned a lot of things from Lyle. That’s where our friendship began, where we shared our mutual admiration for songwriting and songwriters.”

Keen was an English major at A&M. His studies included the Romantic circle of poets — John Keats, Samuel Taylor Coleridge, Lord Byron, Percy Bysshe Shelley — and how their relationships with one another provided inspiration and influence. “Those guys were all pals.

And here I am 19 years old and reading all these classics in Romantic literature and just fascinated by all this, how they would talk about their songs and drink wine and challenge each other to write better poetry. In a strange way, that’s the same kind of thing that Lyle and I were doing. It remains to be seen if we attain that level of immortality,” and here he laughed, “but we have achieved some kind of celebrity.”

Those days are memorialized in a tune co-written by Keen and Lovett called “The Front Porch Song.” Keen’s poetry studies seem to echo in the tune, heard on his 1988 recording The Live Album and, more recently, 2003’s The Party Never Ends. He compares the front porch to “a big ol’ red and white Hereford bull,” and in another verse, “a steamin’ greasy plate of enchiladas.” These images, sung in a Texas dialect that might have seemed crude to the Romantics, are a far cry from the kind Shelley and Coleridge wrote. But they do carry a sense of the place and cultural flavor of the sort those porch gatherings represented. “We were truly just two kids with pimples who were so awkward and clumsy, taking about girls and music and writing and our classes. And all of a sudden, all of our plans became real. Weird.”

Keen frequently intertwines stories into his songs. He takes an interlude during The Live Album’s version of “The Front Porch Song” to tell how he and his roommates would crawl out of their beds on Sunday morning in their underwear, strap on their instruments “among four or five hundred empty beer cans,” and wait for the Presbyterians to exit the church across the street.

The thought of the imperially slim Lovett with his wire-brush crown of hair playing banjo in his underwear prompts a question: Was Lovett there for

those Sunday-morning sessions? “No, Lyle wasn’t involved in that,” Keen said, “but [fiddler Bryan] Duckworth and some other ne’er-do-well sorts were. We were doing it as a sort of backlash. Somebody from the church had written a letter to the editor and called us scoundrels and even claimed our house was a dope drop, which was about as far from the truth as you can get. So we just thought we’d add a little injury to their insult, kick some beer cans around, sit there in our underwear, and play some bluegrass.

Somehow, somebody with some sense at the church had a kid who wanted to know about the music we were playing and came over and asked us about it. So we cleaned up, had them come over, and played them some gospel songs. Turned out great.”

Keen graduated from A&M in 1980 and moved to Austin, where he became a regular on the city’s then-blooming music scene. His first album, No Kinda Dancer, included Lovett and singer-songwriter Nanci Griffith — another product of Texas. (That record also included the first appearance of “The Front Porch Song.”) Some 15 or so recordings later, Keen is known as a colorful songwriter whose narratives and character descriptions make for engaging lyrics in a down-home kind of way. (He was inducted into the Texas Heritage Songwriters Hall of Fame last year.) With equal measures of charm and humor, and influences that include folk, country and western, hillbilly, and bluegrass, Keen’s music has come to define the “Americana” movement, the roots-music category that’s seen as an authentic, meaningful alternative to slick, commercial, rock-influenced country pop.

Keen’s English-major background still affects his life. A self-professed heavy reader who enjoys the work of Larry McMurtry and Cormac McCarthy, among other authors, he said his literature background “absolutely” has an influence on his songwriting style. “But here’s the weird thing,” he explained.

“I’m a terrible prose writer. I’m getting better, but still I’m not what you call a great writer. What’s strange is that I love prose more than poetry. Lots of my songs come out of things I’ve picked up from reading novels and short stories. They make this weird transference in my brain into lyrics. It doesn’t matter what I’m reading — books or magazines — as long as the writing is great. You stand to gain a whole lot from it. It’s like getting a splash of Visine in your face when you read great writing. It opens your eyes.”

For many years, solitude was an important factor in Keen’s writing. Or so he thought. He is known to retreat to a small house on the hill near his home, a place he calls the Scriptorium, to work on his music. “I just felt I needed the quiet, the privacy to do my work.” Then things changed. He was spending so much time on the road that he was unable to retreat to the Scriptorium to write material for his last recording, Ready for Confetti.

“I always felt that great material comes from solitude, but I just ran out of time. I always felt I couldn’t write on the road, but finally I had to take a deeper look and decided that idea was something I had to overcome.” Many of Keen’s narrative lyrics — he’s also known to tell a story or two between numbers — are sugared with humor. “I found early on that it’s your first barometer to gauge if the audience is with you or not. If you kind of joke around with the audience, they get more comfortable with you. If they’re laughing a lot, you know they’re listening. Also, I don’t want to take myself too seriously. We want to go out there and have fun.”

Before their performances together earlier this year, Keen and Lovett hadn’t appeared together since a benefit concert held after the deadly collapse of the fuel structure for the annual Texas A&M bonfire in 1999. Then, both musicians brought their own bands. This time it will be just the two of them onstage. In light of their long relationship, and Lovett’s reputation as the perfect gentleman, maybe Keen has a story — some dirt that might stick to Lovett’s slick suit just a little and maybe provide a laugh? “No, it’s pretty hard to come up with something like that about Lyle. He’s a great guy and friendly to everyone. I wish I had some kind of Dean Moriarty story to give you. There just isn’t one.” ◀

details ▼ Robert Earl Keen & Lyle Lovett ▼ 7 p.m. Sunday, May 26 ▼ Santa Fe Opera, seven miles north of Santa Fe on U.S. 84/285 ▼ $38-$89; 986-5900, www.santafeopera.org

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Jennifer Levin I For The New Mexican

INDIE-PENDENCE Joy Kills Sorrow loses the labels

here may be no looser label for a genre of music than “indie.” The term is broad enough to encompass any band not in the mainstream and narrow enough to call to mind a specific brand of melodious hipster pop played by young men with scraggly facial hair. In a surface-level way, that description fits the Boston-based self-professed “modern American string band” Joy Kills Sorrow, although the lead singer and bass player are women, both are Canadian, and neither is bearded. As the band prepares to tour in promotion of its new seven-song EP Wide Awake (which releases on June 4), singer Emma Beaton enthusiastically embraces the indie label, shucking off “bluegrass” — the term many critics previously applied to the band.

“We aren’t a bluegrass band,” she told Pasatiempo. “We just kind of get called that because we have a banjo and a mandolin. We have elements of bluegrass in our music — we have solo sections, and there are some songs that are a little more folky-sounding — but I would say we’re just as influenced by jazz as we are by bluegrass, because there are a lot of chords and harmonies that you would never hear in a bluegrass song. And then of course indie rock and mainstream styles of music influence our songwriting. So it’s equal parts all of those things.”

Joy Kills Sorrow — which takes its name from the call letters WJKS, the radio station in Gary, Indiana, that hosted the Monroe brothers (Charlie, Bill, and Birch) in the 1930s — brings its eclectic jazz-, bluegrass-, and indie-rock-infused acoustic pop to Gig Performance Space on Tuesday, May 28. Joy Kills Sorrow is made up of founding member Matthew Arcara on guitar, Beaton on lead vocals, Wesley Corbett on banjo, Jacob Jolliff on mandolin, and the newest band member, Zoe Guigueno, on bass.

For a band that stoutly refuses to embrace the bluegrass label, the members’ bluegrass/Americana bona fides are stellar, as is their classical training. Arcara is the winner of the National Flatpicking Championship at Winfield, Kansas, and has performed with fiddler Darol Anger and Grammy Award-winning guitarist David Grier. Corbett is an associate professor of strings at Berklee College of Music and has toured with Crooked Still, the Biscuit Burners, and the Bee Eaters. Jolliff, 20

PASATIEMPO I May 24-30, 2013

who grew up playing mandolin with his father, has been performing since the age of 11 and is Berklee’s first full-scholarship mandolin student. Critics and fellow musicians refer to him as a virtuoso. Guigueno, who hails from British Columbia, not far from where Beaton grew up on Vancouver Island, recently filled the spot left by founding member Bridget Kearney; Guigueno used to be a member of the Canadian acoustic groups Fish & Bird and Bull Kelp.

At age 18, after the release of her debut album, Pretty Fair Maid, Beaton was named Young Performer of the Year at the Canadian Folk Music Awards. She then went on to study cello at Berklee. Beaton’s mother was an avid Scottish fiddle player, and Beaton spent her childhood at fiddle camps, festivals, and house concerts, meeting numerous touring musicians and learning how to play traditional styles on the cello. “I grew up playing Scottish music and Quebecois music and old-time music, and I still love to play that on the cello, but I wouldn’t say that has influenced Joy Kills Sorrow much, especially since I don’t play cello in the band,” she said. “I don’t consider myself a bluegrass singer at all.” Yet one listen to “New Shoes” and “Send Me a Letter,” on the band’s 2010 album, Darkness Sure Becomes This City, and it’s easy to dispute her claims. Beaton’s voice is often described as “earthy.” It’s clear and strong and is just as able to embrace a high-lonesome sound as it is to lilt over the catchy, pretty refrains of “Jason,” from 2011’s decidedly more indie-pop This Unknown Science.

The video for “Jason” — the band’s first — premiered on Rollingstone.com.

It was created by Liam Hurley and Sam Kassirer of the production company Shutter & String and features a wooden puppet dancing with a coat rack. “Jason” is something like a love song, but its meaning and the video’s narrative are less important than the tone of both — a tone that infuses much of indie pop: unwilling cynicism that crescendos into jaded yet energized hope for something better or at least different.

Wide Awake drives quite a bit harder than This Unknown Science, and the bluegrass influences, which are noticeable, are far more integrated into the entire sonic experience than they were on Darkness. The instrumentation is lush but is spare

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enough to never feel produced. “Wide Awake is a little more focused than our last record,” Beaton said. “We learned from our experiences and honed in on the aspects that we really liked and what we want to sound like. We don’t have drums, and it’s an acoustic band, but we want people to be able to turn it up.”

As a singer, Beaton knows she performs best when she is emotionally connected to the music. “In terms of singers I listen to, I always think it’s most important that they are feeling something and therefore I can feel something.

I’m not going to be moved by a song if it feels like the singer is just going through the motions. When I’m performing, I really try to understand the lyrics that I’m singing and find a way to make the audience part of the experience of the song.” When asked, she named Bonnie Raitt and Patty Griffin as her favorite singers. Both women, legends of Americana/blues-rock, are known for their ability to convey searing and specific emotions with their voices.

It’s possible that what “indie” really means is music influenced by whatever a given band or individual wants to bring to bear at any point in the creative process without having to declare an affiliation with anything that pigeonholes or narrows the scope of the potential results. Bluegrass is just as likely as klezmer, Balkan, gospel, or hip-hop to work its way into indie music.

Eighties new wave, grunge, and glam rock have their place as well, and indie bands influence one another. In the case of Joy Kills Sorrow, an old-timey Americana sensibility is dispersed throughout songs that form a distinctive and consistent but always eclectic body of work. And ultimately the band sounds only like itself. ◀

details ▼ Joy Kills Sorrow ▼ 7:30 p.m., Tuesday, May 28 ▼ Gig Performance Space, 1808 Second St. ▼ $15 in advance, $18 at the door; www.gigsantafe.com

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balmy spring weekend provided a fitting background for Carl Orff’s cantata Carmina burana, which anchored the final program of the season for the Santa Fe Symphony and Chorus at the Lensic Performing Arts Center. A large expanse of this work describes such pleasures of spring as scented breezes, flowering meadows, rosy-lipped maidens, and randy boy-gods. After that, the texts turn to gustatory and bibulous delights along with further amorous exploits, the whole framed by a carpe diem sentiment: we might as well have a good time while we can since the vagaries of fortune are sure to deal us a bum hand sooner or later.

Orff composed this piece in the mid-1930s, deriving its libretto from a collection of medieval poems housed in a Benedictine abbey in the Bavarian Alps, most of them written in Latin or Middle High German.

Following the work’s premiere in Frankfurt in 1937, an official Nazi reviewer condemned the piece for its “mistaken return to primitive elements of instrumentalism and a foreign emphasis on rhythmic formulas.”

In fact, its forthright harmonies, infectious rhythms, and folkloric character were quite in line with Nazi musical ideals. Even Joseph Goebbels, the Reich’s homicidal minister of propaganda, limited his nervousness to the overt sensuality of the text, stating: “Carmina burana exhibits exquisite beauty, and if we could get him to do something about his lyrics, his music would certainly be very promising.”

It is precisely that simplicity that made the work an enduring success, one that over the past few decades has been reinforced by its constant citation in the commercial soundtracks of Hollywood and Madison Avenue. By now, most of us are so inured to the piece that we tend not to linger over its darker political corners, like the movement in which the chorus belts out (in monumental, Fascistic style): “Were all the world mine, from the sea to the Rhine, I would starve myself of it, so that the Queen of England might lie in my arms” — which might seem a bit distasteful in the context of World War II. Steven Smith led his forces in a reading infused with enthusiasm at the opening performance on May 18. The Symphony Chorus was expanded by the Santa Fe Men’s Camerata to yield a total of about 70 choristers, who took to their task with obvious gusto. Of the three vocal soloists, the tenor gets the least fair shake, a single movement in which he sings almost entirely in falsetto to imitate a distressed swan turning on a spit.

Sam Shepperson enlarged the part with a full serving of histrionic acting.

Mary Wilson proved a pure and precise soprano soloist. The most extensive solo part is that of the baritone, and Jeremy Kelly rendered it impressively.

His serious stage presence never veered from the Orson Wellesian, but his supple voice sported velvety tone, and he achieved vibrant Puccinistyle lyricism in his elegant phrasing.

The program opened with the orchestra’s adept rendition of the Four Sea Interludes from Benjamin Britten’s opera Peter Grimes. The second movement, depicting pealing church bells on a Sunday morning, pushed the ensemble to the limit of its ability but not beyond, and elsewhere the players effectively conveyed Britten’s evocations of swelling waves and glistening stars.

— James M. Keller

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Bill Kohlhaase I For The New Mexican

Rebecca Meek

H

n e l A .

D .

J t s i n o h p o learned to be cool x a s ow

no longer young, admits he was an angry young man. That knowledge explains why the first jazz saxophonist he embraced as a kid wasn’t Wayne Shorter, Dexter Gordon, Coleman Hawkins, or even John Coltrane, though they all came later. His introduction to jazz came through Albert Ayler, the intensely radical avant-garde saxophonist who issued a string of wild, over-the-top recordings in the 1960s before being found dead in New York’s East River in 1970, two years before Allen was born. “I wasn’t in it for his scholarship or the technical aspects of his play,” Allen said from Washington, D.C., where he was performing at the Bohemian Caverns club. “What he was doing spoke to me as something that I could do to express myself. He was letting out his anger. At 13, I could squeak and squawk and cry out like that. That’s why I gravitated to his work. America eats its young, baby, and I was upset about a lot of stuff, definitely angry. And I discovered the sanity that could be found in art — that it was an acceptable form of expression.

I wasn’t a punk rocker or some kind of rapper. I could work out how I felt my way, on the horn.”

Allen is no longer as angry, but he still works out his emotions on the horn.

After a stint in the 1990s with vocalist Betty Carter, who was known for her schooling of young sidemen, Allen has mostly followed his own path, putting out a string of recordings, almost all in trio formats, beginning in 1999 with In Search Of. April saw the release of Grace, in which he breaks from his usual format and works with a quartet that includes the young pianist Eldar Djangirov. “The trio has been the perfect vehicle for me,” Allen explained. “The perfect little formula 24

PASATIEMPO I May 24-30, 2013

of A + B + C. Now there’s a new variable, which makes for more combinations.

The challenge is to maintain the elasticity of the trio with the addition of the piano. And now that I’ve done the new recording with the quartet, I have a clear idea of where I want to go.”

But that doesn’t mean he’s done performing as part of a trio. On Friday, May 24, he plays The Den (redubbed the Half Note for this occasion in honor of the New York jazz club) with bassist Dezron Douglas and drummer Jonathan Barber. Allen’s trio work has been acclaimed for its approach to music, not only because of the saxophonist’s way of suspending his sound without the aid of harmonic accompaniment but also because of the length of its recorded pieces. On last year’s The Matador and the Bull, only two of the dozen pieces, all Allen originals, are longer than four minutes. The rest are in the two- and three-minute range. “Muleta,” a bluesy ballad, clocks in at just a minute and 55 seconds. In it, Allen sets a somber mood, repeats a six-note phrase, and gets out. “I feel I should be able to say what needs to be said in as little space as possible. I’m capable of doing what I want to do in three minutes. That’s about what attention spans are nowadays anyway. Music isn’t a relay race; it isn’t a marathon. Just say what you have to say.”

While Allen’s recorded performances are short, he stretches out more in concert.

Last June, during his first appearance at the Santa Fe Jazz Club Festival, he stated themes that easily dissolved into variations and improvisation. Though he occasionally broke into cries and upper-register overtones, mostly his attack was reserved — a coursing of ideas that flowed easily together. It was hard to know when tunes changed from one to another, much like on the recordings, unless they came to a full stop. “Playing live is a different experience. I’m not so

concerned with the clock. I know what I’m going to play most of the time, and then I slip into this stream of consciousness. I get a feeling of how the room is going. If I can tell they’re with me, I’ll keep going.”

Allen was in his 20s and living in New York when he joined Carter’s Jazz Ahead program, a clinic that allowed budding young jazz musicians and composers to write and perform under Carter’s tutelage (the program continues without Carter). The singer then pulled the young saxophonist out of the program to appear in her band. But the studies continued. “Betty was all about you writing your own compositions. That was the law of the land. She thought that the more we wrote, the more we could picture our own sound. What I learned from her was to seek my own original style.

You had to write like yourself and sound like yourself. When we weren’t onstage, there was no messing around. She had us writing. I gained a lot of confidence working with her.”

Allen grew up in Detroit, a fact he credits with the various sounds that come together in his music. “My mother was into Motown, so I grew up hearing a lot of that. I liked Sly Stone and Prince and Marvin Gaye.” After moving to New York he gained valuable and varied experience working with bassist Ron Carter, drummer Jack DeJohnette, trumpeters Lester Bowie and Wallace Roney, saxophonist David Murray, and the Frank Foster Big Band. He also paid attention to classical music, specifically to Shostakovich, Ives, and Prokofiev. “What they made me realize was the canvas is much bigger than the 32-bar format. When I listen to Ives or Shostakovich, I hear marches, I hear cabaret influence, I hear 12-tone serialism. And I thought, why can’t we do that in jazz? I don’t want to take away anything from Tin Pan Alley or the Great American Songbook. That’s our classical music. But listening to them has given me a better understanding of the music and its possibilities. It’s helped me refine what I’m trying to do.”

America eats its young, baby, and I was upset about a lot of stuff, definitely angry. ... I could work out how I felt my way,on the horn. J.D.Allen Allen’s interest in classical music is one of the reasons he’s expanded his recording group to include pianist Djangirov, a former child prodigy — he appeared on Marian McPartland’s National Public Radio show Piano Jazz at 12 — born in the former Soviet republic of Kyrgyzstan. “He’s like a little Mozart,” Allen said. “I can hear his knowledge of classical music and jazz when he plays, and that’s what made him my guy.” Like Carter, Allen has gained a reputation for providing a springboard for young musicians.

Allen is well aware that acclaim in the jazz world is relative when compared to the success of pop and rap stars. “Yeah, I’ve got friends who comment on that, who say it isn’t fair that I’m not on the magazine covers and making all the money. I really try hard not to think about it, hard as it is. I’ve been reading the Thelonious Monk biography [Thelonious Monk: The Life and Times of an American Original], and it’s really pretty inspirational. Monk didn’t really get recognized until the age of 40. Prior to that, he’d get up every day, put on a suit and tie, and practice. As I read this, I realized I have it a lot easier than he did. So I try not to complain. Most of the recognition people gain is evidence that they’re working hard in whatever idiom they’re doing. And most of that work is done behind the scenes. When I’m given the opportunity to speak louder, I’ll speak louder. Until then, no bitterness — full steam ahead.” ◀

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25

TERRELL’S TUNE-UP Steve Terrell

Mas, mas from El Molino Most fans of Joe “King” Carrasco first got to know his music through his band The Crowns.

Dubbing their sound Nuevo Wavo, Joe “King” Carrasco & The Crowns got a lot of attention in the early ’80s — Saturday Night Live, MTV, etc. But before there were The Crowns, there was El Molino, a band Carrasco founded in the mid-1970s. El Molino, at least most of the time, didn’t have that frantic hopped-up beat that characterized The Crowns. Made up primarily of old Doug Sahm sidemen, including San Antonio sax star Rocky Morales, the band was more down-to-earth than The Crowns, with a sound you might hear in some barrio bar in San Antonio, bringing a Tex-Mex feel to R & B, soul, blues, greasy ’50s ballads, and ’60s garage rock.

And now, after 35 years or so, Carrasco, with a reconstituted El Molino, is back with a new album, Tlaquepaque.

Following last year’s reunion of the original Crowns — they recorded a fun album called Que Wow and went on tour, with a great free show at the Plaza bandstand last year — Carrasco went back to the studio with original Molino members Speedy Sparks (bass) and Ernie “Murph” Durawa (drums). According to Carrasco’s website, the idea was just to record a couple of songs, including one for a benefit Christmas album for the Health Alliance for Austin Musicians (a novelty tune called “Tamale Christmas”).

However, the collaboration of the old compadres led to a bigger project. Many of the

26

PASATIEMPO I May 24-30, 2013

El Molino was down-to-earth, with a sound you might hear in some barrio bar in San Antonio, bringing a Tex-Mex feel to R & B, soul, blues, greasy ’50s ballads, and ’60s garage rock

Wanna.” There is a guitar riff very similar to that on Eddie Dimas’ “El Mosquito,” and the refrain, “Donna, Donna, Donna, Donna, do ya wanna?” reminds me of Frank Zappa’s conversation with Flora and Fauna in “Dinah-Moe Humm.”

I don’t think Carrasco, who has lived in Puerto Vallarta, Mexico, for a decade or two, will be touring anytime soon with the reconstituted El Molino. So it’s good to have this document of this worthwhile band. Find out more about the world of Joe “King” Carrasco at www.joeking.com.

original members of El Molino have gone up to that great cantina in the sky, and a bunch of fine Texas musicians dropped into the studio to help out. These included guitarists John X Reed and Jesse Dayton (a honky-tonk hero in his own right), sax man Joe Morales (no relation to Rocky, who died in 2006), and Texas keyboard deity Augie Meyers, whose distinct electric-organ sound helped create the sound of the Sir Douglas Quintet and the Texas Tornados. Meyers reportedly did a brief stint with the original El Molino.

For fans of the Crowns’ manic sound, hearing this somewhat more laid-back Carrasco shouldn’t be much of an adjustment. The opening track, the title song, sounds like The Crowns with a sweet saxophone added. There’s even a new all Mexed-up version of Carrasco’s signature song “Buena” here.

Showcasing this band’s diverse influences are “I Saw My Baby,” which answers the question “What would `Who’s Been Talkin’” have sounded like had Howlin’ Wolf been born in San Antonio?”; “Make Believe Kisses,” which has a country-western feel; “Ayudame Lupe,” with its pronounced debt to Chuck Berry; “Tell Me,” which features echoes of New Orleans; and the smoldering cumbia “Mas Mas,” which should make Los Lobos jealous.

Right now I have two favorites on this album.

There’s the ’50s-soaked slow dance “Anna.” No, it’s not the Arthur Alexander classic of the same title, but the two songs would sound great side by side. The absolute best song on Tlaquepaque is the ranchero-flavored “Donna, Do Ya

Also recommended: ▼ Cookin’ Up a Party by King Salami & the Cumberland Three. Here’s another “king” who specializes in good-time rock ’n’ roll with heavy old-school R & B overtones. King Salami — who reportedly once went by the name “Prince Chipolata” — and his Cumberlands continue as one of the best party bands to come out of the British Isles in who knows how long.

This is the group’s second full-length album, following 2010’s Fourteen Blazin’ Bangers!

They cook up 14 more blazin’ bangers on this year’s outing. And every dang one of them is a moneymaker-shaker. “Monkey Beat” features crazy bongos; “Yosemite Sam” is a spirited tribute to the original Red Headed Stranger; “It’s All Your Fault” sounds like a lost Jimmy Reed song; “She’s a Kukamunga” is a wild take on an old Louie Prima tune; and “Howlin’ for My Woman” could wear you out just listening to it.

Salami continues his fascination with politically incorrect (but fun) faux AmericanIndian surfy instrumentals in the tradition of The Shadows’ “Apache.” He’s previously done “Uprising” and “Pawnee Stomp,” full of pseudo Native chants and war whoops. On this album it’s “Big Chief,” an original instrumental.

Now here’s a mystery to ponder. The band’s always been called the Cumberland Three, but the album cover clearly shows four guys beside King Salami. Who’s going under a flaming limbo bar? As the late Jonathan Winters might have said, “Where’s the other two?” Visit www. facebook.com/KingSalamiandtheCumberland3.

Have you checked my music blog lately?

No time like now. It’s at www.steveterrell. blogspot.com. ◀

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PASA TEMPOS

album reviews

VisaGe Hearts RiceRcaR consoRt Weckmann: and Knives (Blitz Conjuratio (Mirare) German club/control Room Records) music of the 17th century often depicts The resurgence of ’80s-era British new a melancholy landscape painted in the wave/new romantic music continues with sonic equivalents of deep maroons, forest a fresh collection of songs by Visage, which greens, and sunset golds. In the sacred scored a U.K. hit in 1980 with the catchy concertos by Matthias Weckmann, track “Fade to Grey.” The ensemble’s first nearly all of which date from the two new full-length album in a whopping 29 decades connecting 1655 to 1674, the years, Hearts and Knives is a committed sadness sometimes blossoms into unbridled grief. There was good throwback to Visage’s early days. A list of equipment used on reason for his despondency. The Thirty Years War spelled ongoing the album, which is posted on the Visage Facebook page, reads deprivation through the century’s midpoint, and then in 1663 the like noise candy for analogphiles: Korg MS-20 patchable semiplague decimated the proud city of Hamburg, where Weckmann served modular monophonic synth (1978-1983), Moog Source Z80 analog as a leading church musician. As family members and professional colbox with flat-panel membrane keyboard ... It’s a music geek’s paradise. leagues perished before his eyes, he composed several of the works included Blending Steve Barnacle’s driving bass lines (real bass guitar, not canned in this affecting recital as well as his own provisional funeral anthem (since digital stuff), the echoed string wails of former Ultravox/Magazine guitarist lost). When he sets biblical texts like “Zion speaks: the Lord has forsaken me” Robin Simon, and lead singer Steve Strange’s laid-back vocals, this album or “How desolate lies the city that was full of people,” he leaves no is a triumphant comeback for Strange, who has long been tied to doubt that he knows whereof he sings. Philippe Pierlot leads the addiction and controversy. Strange’s fashion-obsessed lyricism four singers and eight instrumentalists of the Ricercar Consort endures and serves as a reminder that he was a pioneer of the in expert interpretations that cut right to the heart. A handful new romantic fashion movement. He appeared in the 1981 of Weckmann’s organ pieces provide variety, as do a couple video for David Bowie’s “Ashes to Ashes” in his trademark In the sacred concertos of concertos written in the relatively unstressed period after gender-bending makeup and costumes, and the sleeve for the war ended and before the plague hit. His spectacular the new album indicates that he’s sticking with the visual

by Matthias Weckmann, “Weine nicht” even breaks into a masterly paraphrase of template of his past as well as the audible one. From Monteverdi’s toe-tapping duet “Zefiro torna,” making this the discoesque opening track “Never Enough,” which nearly all of which date from CD a must for Baroque aficionados. — James M. Keller borrows heavily from Donna Summers’ “I Feel Love,” the two decades connecting to soft album closer “Breathe Life,” Hearts and Knives tHe BiLL HoRVitZ eXPanDeD BanD The Long is a time machine worth hopping on. — Rob DeWalt 1655 to 1674, the sadness Walk (Big Door Prize Records) What’s expanded in Bill Horvitz’s 17-piece Expanded Band? The instrumentascout niBLett It’s Up to Emma (Drag city) Scout sometimes blossoms into tion. Rather than weight the ensemble with jazz brass, Niblett’s sparse, heart-rending music often sounds like a composer Horvitz finds room for oboe, horn, French horn, woman alone with her guitar — with the reverb adjusted unbridled grief. bassoon, violin, and cello. Add his electric guitar, and you to that late-night, candle-burning frequency — even when have a rich-sounding group, one whose instrumental textures she’s joined by accompaniment. It’s a throwback to 1990s sounds found in grunge and on the early records of PJ Harvey. break the traditional four-times-three horn section format.

This loneliness is especially pointed on It’s Up to Emma, a breakup That sound often seems bigger than its 17 pieces, dense and warmly crafted. Horvitz breaks out small combinations for special effect, like the album about a person who has been stripped of love and affection and left riff between guitar and tuba that opens the rhythmic “Funk Side Story,” alone. Niblett doesn’t convey this through sad-sack strumming and cutesy a clever amalgam of variations on themes from West Side Story. The pleas for empathy; this is the harrowing sound of one who is not whole and is angry. Niblett opens with “Gun,” a murder ballad about going eight pieces are dedicated to the composer’s late brother, yet there after her ex that’s filled with hollow space, a rat-a-tat snare, and a guitar is little sentimentalism. The family tie is made stronger with the solo that sounds like something Kurt Cobain used to tear off. Her inclusion of keyboardist Wayne Horvitz, another brother, known lyrics pose questions, reflecting confusion and denial. She sings, for his jam band work in Zony Mash. The pieces are a varied lot “What do you want from me?” on “Second Chance Dreams” and of dance, funk, and Latin-influenced excursions that hold fine calls another track “Could This Possibly Be?” Album closer soloing, often from unexpected instruments. The title tune is a “What Can I Do?” is the real showstopper, sensitive chamber piece that highlights oboe, bassoon, and muted trumpet in beginning with Niblett singing soulfully something that can’t be heard as jazz. to a guitar and cello before layering on the Yet the group can be as hard blowing as rock and resorting to increasingly higher any big band. Listen to alto saxophonist wails of the song title’s refrain. Aside from Steve Adams come in tough against the a distracting cover of TLC’s brilliant “No pounding close of pianist Horvitz’s Scrubs,” Emma is an album that is solo on “As If.” You’ll be taken. scarred and may also leave scars.

— Bill Kohlhaase — Robert Ker

28

PASATIEMPO I May 24-30, 2013

ALTERMANN GALLERIES MAKE OFFER SALE Mon- Fri 9 a.m. - 5 p.m. Today til 7 p.m. Saturday May 25th, 10 a.m. - 5 p.m.

Over 150 Works of Art VISIT WWW.ALTERMANN.COM

Henry C. Balink 1882 - 1963 Tesuque Pueblo Girl Signed; ‘Henry C Balink’, l/l Oil on linen 10 by 12 inches Estimated Value: $9,000 to $12,000 Jerry Venditti b. 1942 Gateway to Acoma Signed; ‘Venditti 95’, l/r Oil on canvas 59 ½ by 47 ½ inches Estimated Value: $6,000 to $8,000

Jie-Wei Zhou b. 1962 The Parasol Signed; ‘[Chinese characters] Jie Wei Zhou’, l/r Oil on canvas 40 by 30 inches Estimated Value: $15,000 to $20,000

Terri Kelly Moyers b. 1953 Red Roses Signed; ‘Terri Kelly Moyers © ‘99’, l/l Oil on canvas 48 by 30 inches Estimated Value: $14,000 to $18,000

Now Accepting Consignments of Art Works for Auctions; August 10th & November 17th 2013 Santa Fe

345 Camino del Monte Sol, Santa Fe (505) 983-1590 tony@altermann.com PASATIEMPOMAGAZINE.COM

29

S A N TA F E B O TA N I C A L G A R D E N E V E N T S !

18th Annual Garden Tours & Picnic Lunch June 2 and June 9, 1–4pm Tickets at The Lensic 988-1234, ticketssantafe.org

¡Viva Flora!

PHOTO: flickfair

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

Free and open to the public.

PHOTO: CHARLES MANN

Painting by Jan Denton, New Mexico Evening Primrose

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

www.santafebotanicalgarden.org • 471-9103 GARDEN TOUR TITLE SPONSOR

GRAND OPENING GALA SPONSOR

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

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

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

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

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

thursday, June 20th honor Our serviceman

Friday, June 21st

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

saturday, June 22nd

Lithia night Gifts to first 500 visitors to the Lithia Booth

tickets at the Lensic Or caLL: 988-1234

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

How to Die in Oregon Film Screening Join us for a free film screening and discussion with Katherine Morris, MD Date: Sunday, May 26, 2013 Time: 1:00pm Location: UUCSF 107 W Barcelona Rd - Santa Fe RSVP: Diane LeResche at lediane@aol.com Refreshments provided Compassion & Choices believes people should control their own end-of-life decisions.

We work to ensure those decisions are honored.

To learn more call 1-800-247-7421 or visit us online at www.compassionandchoices.org In 1994, Oregon became the first state to legalize death with dignity. In How to Die in Oregon, filmmaker Peter Richardson gently enters the lives of the terminally ill as they consider whether – and when – to end their lives.

•

Katherine Morris, MD Dr. Morris studied at Oregon Health and Science University, earning her medical degree in 1996. She was an attending surgical oncologist at Legacy Medical Center and medical director of the Cancer Research and Hepatobiliary Program at Legacy Health System in Portland, Oregon, before moving to Albuquerque, where she is currently a surgical oncologist and

• •

assistant professor.

505.983.5264 thefirebird.com

30

PASATIEMPO I May 24 - 30, 2013

ON STAGE Jazz jazz jazz: Joshua Breakstone

Brackeen, and Cecil McBee on saxophonist Glen Hall’s The Book of the Heart. Since that time, Breakstone has made music with a roster of bop stars, including Vic Juris, Tommy Flanagan, Kenny Barron, Pepper Adams, and — for many years now — bassist Earl Sauls. The Santa Fe gig features Breakstone with Sauls and resident drummer John Trentacosta. The show, a benefit for local public radio station KSFR-FM, begins at 7 p.m. For tickets ($20 each), contact KSFR at 428-1527 or visit www.ksfr.org.

— PW

A lovely soft guitar tone with sometimes fiercely inventive improvisations describes the music of New York jazz guitarist Joshua Breakstone. A frequent visitor to New Mexico, Breakstone plays the Museum Hill Café, 710 Camino Lejo, on Thursday, May 30. The guitarist’s recorded output goes back to 1981, when he joined sidemen Billy Hart, JoAnne

Channel 2: The StereoFidelics

Reggae, set, go: Calling of Jah Children USA

Warmer weather in Santa Fe signals the arrival of various touring reggae bands, which will make their way across the country over the next few months. Fast on the heels of a May 23 performance by Pato Banton at Santa Fe Sol Stage & Grill (37 Fire Place, www.solofsantafe.com), the venue hosts the Calling of Jah Children USA Tour at 9 p.m. Wednesday, May 29 (doors open at 8). The lineup includes both roots-reggae acts and dancehall veterans, so there’s something here for every ear. Admiral “Mr. Reality” Tibet is on deck with his socially conscious dancehall talents, while Larry “Professor Bassie” Silvera brings his electric bass wizardry to the party. Also included is Donovan Banzana, whose successful ’90s album World Power is still a roots-reggae mainstay, and his voice has only improved with age. The Danjah Band and saxophonist/producer Tony Greene also perform. Advance tickets for the 21-and-up concert ($17 plus a $3 handling fee) are available through Santa Fe Sol’s website. — RDW

iko Nakam ar a

Rosalie O’Connor

Asheville, North Carolina, duo The StereoFidelics know how to coax big sound out of a small setup. Falling somewhere between mod- and bluegrass-influenced art rock and jazzy improv, Chris Padgett and Melissa McGinley tackle up to six instruments while crooning fantastic vocal harmonies. There are no loops or digital tricks in this live show — just a full-on old-fashioned jam propelled by McGinley’s scatlike vocals. Her drumming prowess is remarkable (and fun to watch), and she plays a mean electric violin.

Padgett oversees electric guitar and a foot-controlled Moog bass synthesizer, which is reason enough to get to this show. Catch The StereoFidelics at 8 p.m.

Thursday, May 30, at Cowgirl BBQ (319 S. Guadalupe St., 982-2565). There’s no cover.

Get a preconcert taste over at www.stereof.com/musicvideo. — RDW

ih uk Ps

THIS WEEK

An unsentimental education: School of Aspen Santa Fe Ballet & folklórico

W.H. Auden advised that “anyone who has a child today should train him to be either a physicist or a ballet dancer. Then he’ll escape.” Students from the local division of the School of Aspen Santa Fe Ballet show the results of following what may be the more rigorous path at the Lensic Performing Arts Center (211 W. San Francisco St.) at 1 and 6 p.m. on Sunday, May 26. Audiences will see a dancer’s education unfold: from 3- and 4-year-olds showing off their ability to perform basic movements to advanced students who are mastering ballet’s difficult technique.

A highlight of the shows are the children from the school’s folklórico outreach program performing traditional Mexican dances — they dazzle with their intricate footwork, joy, and commitment. Tickets, $20 and $25, are available by calling 988-1234 and from www.ticketssantafe.org. — MN PASATIEMPOMAGAZINE.COM

31

CHERI IBES: Rare Earth (100 capsules), Socorro County dirt, gel caps, labels, SCUBA Studio affiliation

ERIN HALDANE: Netting, thread, Hidalgo County rocks, Santa Fe University of Art and Design affilia tion

ed clay, mica, : Untitled, calcin CHRISTINA HARRELSON Santa Fe Community th, ves County ear pottery sherd, Cha on College affiliati

LISA MILES: All My Life, Coptic binding, handmade paper with Roosevelt County earth inclusions, SFCC affiliation

MELISSA DOMINGUEZ: Fols om Point, copper, silv er, glass, Colfax County earth, SFCC affiliation

Photos Sandra Wang

d, De Baca e Mascot, glue, woo MONTANA CURRIE: Rar on ati ili aff County dirt, SFUAD

32

unty dirt, rror, Mora Co tled, wax, mi PHAT LE: Unti ion SFUAD affiliat

PASATIEMPO I May 24-30, 2013

RAINA WELLMAN: Atomic Surprise, wire, hot glue, Model Magic, Sharpie, Otero County dirt, Academy of Technology and the Classics affiliation

ELI GONZALES: Escaping My Roots, polylactide, red ink, Colfax County dirt, New Mexico Highlands University affiliation

a, Aren’t Perfect, mixed medi MARTHA TUTTLE: Prayers ñola Valley Fiber Espa , dirt ty Coun la including Cibo Arts Center

VALERIE ROYBAL: Ear th Talisman, mixed media, including Curry County dirt, University of New Mex ico affiliation

RYAN HANSEN: Untitl ed, jar, Eddy Cou nty dirt, SFCC affiliation,

Rob DeWalt I The New Mexican

GETTING DIRTY WITH SCUBA AND RED DOT GALLERY

scar Wilde reportedly once said, “Man is made for something better than disturbing dirt.” Try telling that to artists Sandra Wang and Crockett Bodelson.

Known collectively as SCUBA, the pair has a penchant for playing with and manipulating bits of earth. In August 2011, Bodelson and Wang held their first public exhibit and reception at their now-closed Caldera Gallery on Baca Street. In that inaugural show, titled Why Does It Matter, they gathered dirt from around Abiquiú, La Cienega, and the La Tierra subdivision near Santa Fe. After combining the dirt samples and turning them into oily black clay, the artists built a volcano-like mound on the floor of the installation space with it. Using leftover clay and gesso, Bodelson and Wang sculpted hundreds of tiny toylike objects and tethered them to thin-gauge filament lines hanging from the ceiling. These objects were the art pieces available for purchase.

On Friday, May 24, things get a lot dirtier on the local art scene when SCUBA presents Rare Earth, a mixed-media exhibit at Red Dot Gallery. Conceived from observations made during a glaze-formulation class at Santa Fe Community College, Rare Earth gathers 66 artists, each with ties to a New Mexico-based arts-education program.

Bodelson and Wang have a new studio space on Baca Street packed tightly with clay-firing equipment and an array of ceramic pieces that will make their way into future exhibitions. During a recent studio visit, dozens of kiln-fired ceramic discs that will be used for an exhibition in June (as part of Currents 2013: Santa Fe International New Media Festival) lined a number of cabinets. Next to them sat an array of artworks crafted from dirt, jars, and other materials.

What began as a loose idea to celebrate the varied soil types in New Mexico and create a device for artists to interact more closely with the earth element soon became a project of grand scale and reach. Bodelson and Wang — who raised much of the money to fund Rare Earth by approaching local galleries and businesses with their project plan — hopped in their car, hit the highway, and logged more than 1,200 miles while collecting soil samples from each of New Mexico’s 33 counties. In April the samples were divided among the artists, each of whom was also given a small jar to use as part of a finished piece that incorporated the soil. Beyond that, there were few restrictions, although artists did have to take into account the soil’s tendency to shift inside the jar if moved without care.

“We knew we wanted to use New Mexico as a guide for the show,” Bodelson said, “so we went to the internet to peruse state maps. The map of counties came up first, and it seemed the most earnest way to approach the soil-gathering process. As far as artist selection, Sandra and I wanted to be pretty democratic.”

The pair enlisted the help of a friend to create a file that included major artsar education departments in New Mexico, and participating artists were selected from those departments.

“Red Dot Gallery has been really supportive about the whole project,” Wang said, “and this was an opportunity for a wide range of artists to get their work shown in Santa Fe.” Founded in July 2011 as a student-run initiative to showcase work by Santa Fe Community College students, alumni, and faculty, Red Dot Gallery provides real-world experience to students of the arts, culinary arts, business, and media. The gallery operates in a space donated by Sandy Zane, co-owner of Zane Bennett Contemporary Art. Continuing their mission to create a more robust seller’s market for area artists, Bodelson and Wang decided that a fitting asking price for each of the completed soil-jar pieces would be $100. But buyers may have to wait a bit before getting their purchases. Strange luck and coincidence tend to follow SCUBA when they’re on a mission in the name of art. A few car-trouble issues along the dusty New Mexico blacktop put Bodelson and Wang at the mercy of strangers on more than one occasion. A conversation with one of those strangers — you might ask some probing questions, too, if you were helping someone who appeared to have a keen interest with jars of dirt — revealed that the man was the owner of a gallery in Silver City. The gallerist loved the Rare Earth project so much that he wants to exhibit it there after the show in Santa Fe closes on June 28.

Besides gasoline, SCUBA’s largest expense in developing Rare Earth was the glass jars. Sourced from an Albuquerque supplier of packaging materials that services a number of local salsa, spice-blend, and sauce makers, the jars presented an interesting challenge to artists with average-sized or large hands. The openings are too small to allow for much freedom of finger movement inside the container. Some of the artists got around the problem by atttaching their artwork to the underside of the jar lid and leaving the dirt loose in the jar. Raina Wellman applied this technique to her piece Atomic Surprise, which incorporates Otero County dirt with wire, hot glue, modeling compound, and ink markers.

Others took it a step further. For his untitled reworking of the jar-dirt relationship, Ryan Hansen discarded the lid, removed the bottom of the container, and applied reworked “bricks” made of dirt collected by SCUBA in Eddy County. Now there’s a man who knows how to think outside the jar. ◀

details ▼ Rare Earth, group exhibit ▼ Opening reception 5 p.m. Friday, May 24; exhibits through June 28 ▼ Red Dot Gallery, 826 Canyon Road, 820-7338

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PASATIEMPO I May 24 - 30, 2013

The Santa Fe Institute and the Santa Fe Alliance for Science Congratulate the Student Recipients of the 2013 Prize for Scientific Excellence and Two Outstanding Teachers in Math / Science Since 1996 the Santa Fe Institute has awarded an Annual Prize for Scientific Excellence to a graduating senior from each of the city’s high schools. The purpose of this award is to honor outstanding science students in our community and to encourage them to pursue the study of science in college and beyond. Since 2008, we have been pleased to award the Prize jointly with the Santa Fe Alliance for Science.

The Outstanding Teacher award has been presented to local teachers each year since 2005. This award acknowledges the creativity, originality, academic rigor, and professional excellence of math/science/computer science instructors.

Photo by Laura Ware

Front Row (from left to right): Madeleine Fort, Santa Fe Preparatory School, Alli Brimacombe, New Mexico School for the Arts, Bree Tassin, St. Michael’s High School, Claudia Vanderkolk (outstanding teacher), Santa Fe High School, Suzanne Rodriguez (outstanding teacher), El Dorado Community School.

Back Row (from left to right): Robert Eisenstein, Santa Fe Alliance for Science, Noah Kwicklis, The MASTERS Program, Emma Wolinsky, Monte del Sol Charter School, Ariadne Ellsworth, Desert Academy, Nico Cruz, Santa Fe Institute CAMP Alumnus, Garret Trujillo, New Mexico School for the Deaf, Kyla Mermejo-Varga, Santa Fe Indian School, Jerry Sabloff, Santa Fe Institute, Jordan Vialpando, Academy at Larragoite.

Attached photos: Yomi Tadfor, Santa Fe High School, Elliot F. Radsliff, Santa Fe Waldorf High School.

Not Pictured: Orlando Dominguez, Capital High School.

PASATIEMPOMAGAZINE.COM

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Michael Abatemarco I The New Mexican

F

Show of

strength Art by Native women

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PASATIEMPO I May 24-30, 2013

or the exhibit Stands With a Fist: Contemporary Native Women Artists, Museum of Contemporary Native Arts curator Ryan Rice brings together a selection of work by seven artists — Gina Adams, Merritt Johnson, Tanya Lukin-Linklater, Lindsay Delaronde, Melanie Yazzie, Nanibah Chacon, and Natalie Ball — who explore themes of cultural identity, relationships to land and community, and shifting perspectives on the roles of women in contemporary society. The show opens Friday, May 24, at the museum.

Adams is of mixed Ojibwe, Lakota, Iroquois, Lithuanian and Irish bloodlines. Hailing from Maine, she is finishing a master’s of fine arts degree at the University of Kansas. Her work in the exhibit draws on her indigenous heritage and includes selections from three related series: Honoring Loss, Honoring Modern Unidentified, and Honoring Unidentified.

“Honoring Loss is a series of hand-painted miniatures I finished in August of 2012. They come from a place of wanting to recognize and understand the history of assimilation and loss I have felt culturally,” she said. Each of the small paintings contains a figure in the upper center that is intentionally left unpainted to emphasize that something is missing. “The empty spot, that’s honoring the loss.” Adams’ grandfather was sent as a youth to Richard Henry Pratt’s infamous Carlisle Indian Industrial School, a boarding school intended to assimilate Native people into Western society. “I’m trying to create work, not only on behalf of my grandfather and countless thousands of others who were sent to Carlisle and other Indian boarding schools, but for people of my generation that have a similar story to tell of assimilation.”

Adams’ other series make more explicit reference to Native heritage and the changes wrought over time. Honoring Modern Unidentified was inspired by the story of James Naismith and the invention of basketball, which came to provide Native youth in Kansas opportunities they might otherwise have been excluded from. “If you are a good athlete, no matter where you come from or who you are, you’re instantly accepted. From a perspective of underprivileged Native American youth from a reservation, if you’re a good athlete, you have a better chance at an education.”

Basketball became a symbol for Adams to reinterpret Native American heritage in a contemporary context. The series is composed of ceramic molds made from basketballs, covered in an encaustic medium, incised, and painted.

“Honoring Modern Unidentified goes with [Honoring Unidentified], a series of photographs that have been called unidentified because the Native people and the photographers are unknown. The photographs are staged. I was intrigued by these photographs and wanted to do work that would honor the unidentified people.” Adams matched clothing and beadwork in the photographs, which she found online, with indigenous items from the collection of the university’s Spencer Museum of Art that lacked a historic provenance.

Johnson’s sculptural installations, such as She Drinks Men’s Teeth, deal with the dichotomies between self-perception and how we are perceived by others. “She Drinks Men’s Teeth is a very figurative work,” Johnson said. “Other works are not so much figurative in a literal sense, but I think of them as being capable of hiding a figure, almost like a curtain or a drapery that could be used to hide behind. I was thinking about the way we are concealed by others unwillingly and also the way we conceal ourselves intentionally.” The figure in She Drinks Men’s Teeth is veiled, perhaps recalling cultural proscriptions against showing women’s faces in some Middle Eastern cultures. “We’re always making monsters out of someone else, whether that’s on a small scale individually or as a small community or on a larger scale as a national community. In the end, what I’m interested in doing is calling attention to and asking questions

about these sorts of constructs we have about individuals through the lens of culture.”

Johnson is a multidisciplinary artist of Mohawk, Blackfoot, and non-Native heritage whose work in part explores the effects of colonialism on indigenous cultures. “I’m interested in using my own experience and relationship to the postcolonial history of North America and how that can be expanded to people from other parts of the world who are engaged in other kinds of conversations.”

Yazzie, a Diné artist, also works sculpturally, infusing her work with a sense of the Diné principle of hózhó, which is often translated as harmony, beauty, or balance. Her fabricated steel sculptures are included in Stands With a Fist, as is video work by Lukin-Linklater, from the villages of Port Lions and Afognak in the Kodiak archipelago of southwestern Alaska. Lukin-Linklater’s performance art encompasses gesture and movement in experimental choreography, tying in themes of her Eskimo heritage and culture. Ball, an emerging artist based in Portland, Oregon, includes examples of star quilts and dolls in the exhibit. In both cases, she creates fabric sculptures that visually explore the history of women in Modoc ceremonials. “The past is not the past,” she writes on her website, indicating the continuum between history and the contemporary world.

Delaronde’s mixed-media prints have a Pop art aesthetic, suggesting the multiple screen prints of Andy Warhol. She, too, uses art as a means of expressing perceptions of Native identity. “I started to think continued on Page 42

Gina Adams: Honoring Modern Unidentified (detail), 2013, clay and wood, 11 inches in diameter; courtesy the artist Above, Lindsay Delaronde: Iakon:kwe, 2009, mixed-media serigraph, 25 x 38 inches; photo Dianne Stromberg; courtesy the Museum of Contemporary Native Arts Opposite page, Adams: Honoring Loss (detail), 2012; watercolor and graphite on paper; 7 x 10 inches; courtesy the artist PASATIEMPOMAGAZINE.COM

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Stands With a Fist, continued from Page 41 about royalty and words like princess and how those words fit into an indigenous context and a Western perspective,” she said. “What came to me right away was sort of a diptych. I used an image of Princess Diana and one of a powwow princess.” The powwow princess is a role maintained by various Native tribes for powwows, social gatherings that honor Native cultures. The princess typically represents her tribe as an ambassador and earns her title through a contest. “I was playing with these two ideas of that word, princess, and how they play off each other. The powwow princess is a woman who’s culturally aware and gives back to her culture. I was also looking at Princess Diana and how she also gave back to the community.”

Delaronde, a Mohawk artist from the Kahnawake reservation, draws parallels and distinctions in juxtaposing the two figures of the powwow princess and Princess Diana. “To generalize the whole concept of the project, indigenous or not, these women are both women. Everybody has equal standing because we live in a multicultural world today. It’s about embracing the contemporary.” Delaronde is interested in exploring cultural ideals of royalty and how they’re manifested visually. “They’re very iconic figures in a sense. Diana has that soft, sweet demeanor that she has in a lot of photographs, and I chose that image of her for that reason, because I think it represents a type of grace that comes with being a princess. The indigenous woman represents the iconic image of a Native American Indian — how she has her hand on her hip and she’s very confident and grounded in herself and has a stoic, prideful look. I’m playing with stereotypes a little bit.”

Chacon is the only artist whose work is included not in the main exhibit space but outside, in the museum’s courtyard. Her project is a site-specific mural that draws inspiration from the courtyard’s bare earth.

“I like to do murals that incorporate the landscape and work in the space they’re designed for,” she said. “A lot of the work that I do is combining textile patterns and mythology — Navajo creation stories — and bringing that into a contemporary context.” The central figure in the mural is depicted sifting sand through her hand. She is surrounded by Navajo textile patterns, abstract renderings of landscape, arranged in a symmetrical composition. “The real beauty of Navajo textile patterns is that they hit on this minimalist aspect and take everything down to the essence of shape, design, and balance.” The central figure has roots in Navajo creation stories, but Chacon does not make the reference explicit. “I like to think of her as a representation of First Woman [an important figure in the Navajo creation story]; however, I want it to be just a woman who’s contemplating her existence in this world. I don’t want it to be a direct representation because I like people to use their imaginations, to have some kind of relation to the figures. That’s the beauty of figurative work: to see yourself in it or relate to it on a personal level.” ◀ 42

PASATIEMPO I May 24-30, 2013

Merritt Johnson: She Drinks Men’s Teeth, 2013, brocade, organza, polyester scarf, basket, glass with resin, teeth, and fly fishing lure, 50 x 20 x 22 inches; courtesy the artist Top, Tanya Lukin-Linklater: video stills from In Memoriam, 2012; courtesy the artist

details ▼ Stands With a Fist: Contemporary Native Women Artists ▼ Opening reception 5 p.m. Friday, May 24; exhibition through July ▼ Museum of Contemporary Native Arts, 108 Cathedral Place ▼ No charge for reception, otherwise by museum admission; 983-1666

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Rob DeWalt I The New Mexican

EyE to EyE Rosalie Favell’s portraits of Native artists

AS

part of the Museum of Contemporary Native Arts’ 2013 spring exhibition season, Ottawa-based Métis (Cree and English) photographer Rosalie Favell presents Facing the Camera: The Santa Fe Suite, a series of portraits celebrating the contemporary Native art world. Favell took the portraits during her 2012 residency at the Santa Fe Art Institute.

Facing the Camera is rooted in the artist’s desire to explore identity, culture, and image making within the Native community. She explained that her approach is something of a departure from societal expectations of what “Native portraiture” entails and that the series was born out of what she saw as a void in documentation of the contemporary Native arts scene.

Favell was born in 1958 and raised in Winnipeg, Manitoba. Her mother was the family’s photographer, and her sister gave Favell her first camera.

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PASATIEMPO I May 24-30, 2013

She has degrees from Ryerson Polytechnic Institute in Toronto and from the University of New Mexico. She has also studied and taught at the postgraduate level at the Institute of American Indian Arts.

In her early work, Favell drew upon family photos and popular culture and employed collage techniques to depict the many ways in which one achieves, or tries to achieve, self-awareness and self-expression. In these deeply personal collaged narratives, the artist often examined her own place in the Native and non-Native world.

“The camera is a powerful weapon used to colonize minds and memories,” Favell said. “The challenge is to know your own part, to know your own place in the picture.” For The Santa Fe Suite, and for other portraiture in the Facing the Camera series, Favell stripped out the elements that marked her early work: collage and digital postproduction techniques that twisted pop

culture and splashes of color into black-and-white portraits, many of them self-portraits.

“I don’t think there’s another photographic record of the contemporary aboriginal arts community like this. In these digital images, there are no headdresses, no blankets, no pottery — nothing to say, Look at me; I’m an aboriginal artist. And the artists that I approached were very receptive to the idea. And you know, my subjects weren’t being posed or cajoled.”

It isn’t lost on Favell that the Facing the Camera project, especially the Santa Fe Suite, conjures up notions of Edward Curtis’ controversial legacy as a “documenter” of Native life in the American Southwest in the early 20th century. Curtis, Favell explained, will always be either admired or reviled for his work — for ostensibly accessorizing and photographing Native Americans in a manner that played into a false romanticism surrounding North American aboriginal life and culture. It was important to Favell to maintain realism and to preserve for posterity a true record of Native artists as people who are not defined simply by their dress, the tools of their trade, or their surroundings in the studio or on the reservation.

“The work goes back to the beginnings of my career,” Favell explained.

“When I first learned photography, I wanted to look at who I was. The color of my skin, as it was different from my mother’s skin, was an important part of this investigation.

“The images are meant to have an edge to them as people find some way of dealing with the camera. To be visualized is a way in which one acknowledges the construction of a positive or empowered representation that includes engaging with, at some level, the numerous social and cultural factors, both good and bad, aboriginal and Western, that have affected an understanding of self. This idea of self is not necessarily linked to individualism. Rather, it

Rosalie Favell: left to right, portraits of Benjamin Harjo Sr., Rose Simpson, Daryl Lucero, Katie Avery, 2012

can be seen as connected to communal needs and values, a sense of place and traditions, as well as personal and extended history.”

Favell’s decision to photograph artists and other members of the Native arts community without including artwork in the frame was almost an accident.

Although she described the absence of artwork in the portraits as an “early failure” on her part, she is now comfortable with viewers accepting the photographs in all their striking nakedness.

Favell assembled a large and diverse cross-section of names and faces for The Santa Fe Suite — so many, in fact, that there isn’t enough room to display them all on the walls of the designated exhibition space. To ensure that every portrait is available for viewing, Favell intends to create a photo album and display it near the images on the wall. You might recognize Frank Buffalo Hyde or Rose Simpson or Benjamin Harjo Sr. or Daryl Lucero. But for every face you do know, you’re bound to discover two that you don’t. ◀

details ▼ Facing the Camera: The Santa Fe Suite, portraits by Rosalie Favell ▼ Opening reception 5 p.m. Friday, May 24; exhibition through July Museum of Contemporary Native Arts, 108 Cathedral Place ▼ No charge for reception, otherwise by museum admission; 983-1666

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Paul Weideman I The New Mexican

Secret designs Acoma Pueblo pottery

The Pottery of Acoma Pueblo, fourth in a series of books about Pueblo ceramics by Dwight P. Lanmon and Francis H. Harlow, is a remarkable record in text, photographs, and diagrams. There is such range and depth in the discussions of materials, paints and slips, pottery forms, and decorative motifs. Consider, for example, the title of Chapter 14 (and this is no more detailed than other chapter titles): “Acoma Pottery with Red Patterns on the Underbody and/or Interior and with Interior Droplets, circa 1850-1920.”

“I don’t think anyone else has ever noticed those red swashes on the inside and tried to come up with any sort of overall picture of what they are,” Lanmon said from his Phoenix home. “Since the book came out, a couple of Acoma potters have said those were signatures of the potter.”

Actual signatures on pots didn’t start until the 1950s, under pressure from dealers. A change in the potters’ cultural milieu that had more of an impact on pottery design and production was the opening of the Santa Fe Trail in 1821. “The availability of mass-produced metal pans, pails, and other forms brought by traders diminished the necessity for producing those forms in pottery and thereby reduced the amount being made for tribal use,” the authors write.

Jars and bowls dominate the pottery at Acoma, which is popularly known as Sky City because of its location atop a high mesa. The people have produced few animal figures, compared to the output of Zuni Pueblo, for example. “In the older days I think what they wanted and needed at Acoma was jars and bowls,” said Harlow, a longtime resident

Propeller motif

Approach to Acoma Pueblo with water carriers, circa 1880-1890; the image shows the Burro Trail leading to the top of Acoma Mesa Top, Acoma polychrome jar, circa 1900, 11 x 12.25 inches Right, Tularosa black-on-white jar, circa 1250, 15 x 16 inches

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PASATIEMPO I May 24-30, 2013

Mary Histia, Acoma pottery maker, 1935 Top right, aerial view of Acoma Pueblo from the east, 2010; photo Keith Glen Bjorndahl Bottom, Acoma polychrome jar, circa 1880, 12.25 x 14.25 inches

of Los Alamos. “That was for practical purposes and for sacred ceremonial purposes.”

Although the new book focuses on Acoma pottery from 1300 to 1930, Harlow’s own investigations have been limited to the period from about 1600 to 1900. “I’ve been very interested in trying to understand the nature of their skills as painters. We don’t know what all the symbols meant, but [design is] very important to them. They are major artists, like this business of the rotational symmetry [designs] they’ve done in ways that are extremely complex. No other pueblo has been able to do them that way.”

Harlow is a puzzle-solver. It’s obvious in his statements about his work: “Most of what’s been written is about the prehistoric wares coming up to the 1500s. Then it becomes very complicated because there are mixtures of people working with each other and going to each other’s pueblos. And at the time of the Pueblo Revolt of 1680 they were ostracized out to various kinds of refugee places and mixed together and they began using each other’s ideas, so the question became who did what and why did they do it that way? That is what has fascinated me.”

Harlow, arguably the preeminent authority on 17th- through 19thcentury Pueblo pottery, recently donated his memoir of some 600 pages to the New Mexico History Museum library. “It’s all been fabulous,” he said. “This is one of those things in my life where I could get in on the ground floor and have all the interactions with the Indians and museum personnel trying to put this together, although as [one-time Laboratory of Anthropology director] Stewart Peckham used to tell me, ‘Don’t touch this thing. This is so complicated, you’ll never be able to solve these problems.’ I think I’ve made progress.”

A taste of that complexity can be glimpsed in one of the book’s appendices. It tracks 19th-century style trends, for instance jars having black rim bands and occurrences of bird and leaf designs and of more abstract patterns, such as “capped spirals with internal negative triangles.”

Harlow and Lanmon are the authors of The Pottery of Zia Pueblo, The Pottery of Santa Ana Pueblo (with Duane Anderson), and The Pottery

Checkerboards

continued on Page 48

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Acoma Pueblo Pottery, continued from Page 47

Background check In one section of The Pottery of Acoma Pueblo, authors Dwight P. Lanmon and Francis H. Harlow identify 941 Acoma potters from the mid-1800s to today. In cases of renowned potters, such as Mary Histia and Pablita Pino, the entries offer details about their work, and all entries provide family affiliations.

After the book’s publication, Lanmon received an email from an Acoma potter. She wrote, “I was going through the pages and started questioning my dad about his parents. I was so excited to find out that my grandmother on my dad’s side is Marie Paytiamo Vallo.

Then I saw a beautiful pottery made by her in the book, and it is at SAR. Now, I really want to go and see it. I remember seeing a huge bread pottery at her house when I was a little girl. My dad told me she made really huge ollas for storing bread. I will continue questioning him with more pictures and names.”

Crisscross hachure

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PASATIEMPO I May 24-30, 2013

Bird’s head with bull’s-eye structure

Bird’s head

Top left, Acoma potter Lola (Hinio) Vallo and her daughters, 1936 Top right (from left), Pablita (Wanya) Pino, Juana Wanya, and Pablita (Wanya) Sarracino, recognized as the best potters of Acoma, 1900; photo Sumner Matteson Right, Acoma polychrome jar, circa 1920, 12.75 x 17 inches Images courtesy Museum of New Mexico Press

of Zuni Pueblo. In their Acoma book, they present more than 800 pottery examples. There is also a chapter titled “Acoma Photograph Album,” which shows 31 photographs of Acoma people taken in the late 19th and early 20th century. Among them is a famous Edward Curtis image of women at the water, but it’s just another opportunity for the authors to illuminate the pueblo’s pottery: the caption mentions the “continuous undulating rainbow band and foliate designs” visible on one of the three jars in the picture.

Lanmon said that according to the Acomas’ oral tradition, they came from the Four Corners area, so they look back at Mesa Verde and Chaco Canyon pottery as being ancestral. Do any of the decorative motifs on Acoma pottery hark back to Mesa Verde or Chaco? “There is one that we call Tularosa, a style of ancient pottery of the 1200s and probably ancestral to Acoma, but probably not directly ancestral in design. Basic to Acoma pottery is ground-up potsherds as temper, and they not only ground up

mistakes but when going out on the plains to collect cow dung for firing, they also found fragments of ancient pots, and one of those designs was called a Tularosa.

“We illustrate a Tularosa black-on-white jar in the book, and it was reintroduced probably in the 1910s or 1920s. So there is a direct contact, but it’s more than likely 700 years apart. Also, there are two ancient black-on-white pots that were collected by the Smithsonian at Acoma in the 1880s, so the people had ancient pots sitting around.”

Regarding Spanish influences on Acoma pottery, Harlow said there was probably some transference of ideas around 1700, “but on the other hand, I think it’s not tremendous. I think the Indians were very conservative. They really were not happy about Spanish people coming into the area, and they were working hard to keep their own traditions alive. They had their own religions, and they had to make sure some of their pottery was really dedicated to those who could carry messages to the gods in the skies.” The book states that the potters traditionally “believed the vessels to be sacred and blessed, a gift of Mother Earth.”

The precise symbolism of many of the pottery designs remains secret.

“That’s right,” Lanmon said. “We submitted the manuscript to the tribe before it went to press, because we’re not going to get into any of that ritual stuff, to expose any of the ceremonial uses of pottery.

We’re really focusing on useful, functional pottery. Cooperation was the key for us with the tribe — and neither Frank nor I take any monetary return from these books. All of the author royalties go back to the tribes.”

One significant but not unexpected finding during the Acoma research was a great concern among potters that their young people are not taking the time to learn traditional pottery. Lanmon said that some are handcrafting pots but with commercial clays and pigments, or else they are working with greenwares: preformed, mass-produced, slip-cast pottery. They sell the latter goods honestly as “ceramics,” while the handmade work is marketed as “pottery.”

“Still,” he said, “it is a bit of a slippery slope down toward mass production. Many are traditional, still going out to collect their own clay and pigments and forming the pots by hand, and they’re very concerned that their children and grandchildren would rather be flipping hamburgers at McDonald’s for a wage.”

Nevertheless, the new book is a great source of pride for the potters of Acoma. After its publication on May 1, Lanmon received an email from one of them saying that a new group is meeting to learn traditional pottery. “My mission may be coming true,” Lanmon said. “Their ancestors will take the young people to the clay pits. It is keeping a 700-year tradition alive.”

If you visit Acoma to attend a public dance ceremony and you buy a pot from one of the people who sell vessels in front of their homes, will it be the “real thing”? Maybe or maybe not, Lanmon said. “Some potters do all three: traditional clays and forming; handmade but with commercial clays and pigments; or the slip-cast. But all of the major potters are doing traditional process, for the higher prices they can get.

“The only thing that is rarely done now is firing outdoors. In part it’s because of the style of pottery that’s done now: very elaborate and finely detailed, so it’s fired using kilns. If you get a smoke cloud on the side of a pot, most collectors will say it’s defective, but what that really shows is that it was made in the traditional way from beginning to end.

“They say it’s smelly and smoky and hard on you, and finding enough cow dung these days is almost impossible. But I’m hoping that as collectors read this book, they will realize that traditional firing is an added value.” ◀

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details ▼ The Pottery of Acoma Pueblo book signing with Dwight P. Lanmon ▼ 1 p.m. Sunday, May 26 ▼ Wheelwright Museum of the American Indian, 704 Camino Lejo ▼ No charge; 982-4636, Ext. 110

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N AT I V E T R E A S U R E S H O N O R S AR T I S T TA M M Y G A R C I A

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

Adele Oliveira I The New Mexican

hether a towering bronze sculpture or a swollen clay pot, it’s easy to tell a Tammy Garcia piece just by looking at it.

Her deeply carved pots and multifaceted bronze sculptures feature sharp, hard angles; a mix of traditional and unconventional Native art motifs (for instance, a parrot adorns a bronze tile); and, in the case of the bronze work, a rainbow of patinas. Garcia’s work is bold; it demands to be looked at.

Garcia, born and raised at Santa Clara Pueblo, is the recipient of the Native Treasures Living Treasure Award, presented on Friday, May 24, as part of the ninth annual Native Treasures: Indian Arts Festival. Two hundred artists representing 40 tribes and pueblos display their work at this year’s invitational show. Native Treasures is the single-largest source of fundraising for exhibitions at the Museum of Indian Arts and Culture, as artists must donate a portion of their proceeds to the museum. Last year, Native Treasures had its most successful show to date, in terms of fundraising and attendance, which was estimated at 5,500 to 6,000 people.

“We select 200 of the best and the brightest. That’s the biggest difference between us and other shows,” said Karen Freeman, Native Treasures co-chair. “We’re intimate and small. I have a lot of respect for Indian Market, but that’s 1,200 artists.

It’s huge.”

Freeman noted that Native Treasures tries to make sure that 30 to 40 percent of the artists each year are first-time participants. “Because we have a lot of returning patrons who want to see fresh work, we try to keep it new and exciting.” This year’s new artists include jeweler Robin Waynee (Chippewa), weaver D.Y. Begay (Diné), and Garcia’s sister, Autumn Borts-Medlock (Santa Clara), who is also a potter.

This year also marks Garcia’s first time participating in Native Treasures. “It’s an honor to be given the award and participate in the show because I’ve admired the Museum of Indian Arts and Culture since I started making pottery,” Garcia said. “I’ve seen my great-great-grandma’s [Serafina Tafoya’s] work there, and it’s definitely been a huge inspiration in my life.”

Garcia remembers riding bikes with her sister when the two were growing up in Santa Clara. They would take back roads to reach a candy store near the rear of the pueblo and sometimes ride all the way to the Río Grande. Often, they stopped for a visit at their great-grandmother Christina Naranjo’s house. “I come from a pretty extensive genealogy of potters,” Garcia said. Her family tree includes renowned potter Margaret Tafoya, a great-great-aunt. “At Christina’s house, we’d see pottery in the living room and the kitchen, and the family fired in her backyard. Sometimes the smell of firing pottery will take me back to that time.”

Garcia began making coil pots at 16 years old. Her primary teacher was her mother, Linda Cain, though she received advice and tutelage from many members of her extended family. “Starting when I was a teenager, I learned very quickly. But once I learned how to make a basic pot, I also learned that there was risk involved: you can spend weeks working on one and then have it break. When I was first starting out, I made a lot of mistakes, and I got very discouraged. I thought I wanted

a job with a guaranteed paycheck, so I got a job at a restaurant doing dishes. I did it for a couple days, and then I thought maybe pottery-making isn’t so bad.”

Garcia returned to pottery in earnest and worked to perfect traditional forms and designs. Yet her work extends beyond the traditional. After about 12 years of making pottery, she began to experiment with the form, especially in terms of asymmetry. In 1999 she expanded beyond pottery and began working in bronze.“I was at a point where I’d made small pots, then really big pots, had worked in various shapes and sizes, and artistically I needed something more. It was very liberating and exciting. Working in pieces for bronze, you use a different type of oil-based clay, and the same pottery rules don’t apply, because it doesn’t dry. My first bronze sculpture was 12 inches tall, and my third piece was 6 feet. I was creatively ready.”

Like Garcia’s first forays into pottery, working in bronze was difficult at first. But she said, “I loved the durability of bronze and that the material had some strength to it.” Her bronze work is colorful and imposing. One figural piece, called Andrea, is of a tall, featureless woman. Though the subject is traditional, the bright red, green, and gold of Andrea’s patina and the aggressive angles of the form make for a contemporary presentation.

Most of Garcia’s work simultaneously represents modernity and tradition. Garcia credits this partly to the two worlds she grew up in: she spent summers with her father in Southern California’s San Bernardino Mountains, taking trips to Disneyland and the beach. “Having that experience of seeing two very different lifestyles opened my way of thinking beyond traditional Pueblo pottery. I still really love historical pottery, like the Anasazi who recorded history in their pots. When I look at what’s going on in my life, I think about how I can reflect that in the work that I do.” ◀

details ▼ Native Treasures: Indian Arts Festival Party and presale: wine, champagne, hors d’oeuvres, rain-themed artwork, and presentation of the Living Treasure Award to Tammy Garcia 5:30-7:30 p.m. Friday, May 24 Santa Fe Community Convention Center, 201 W. Marcy St. $100, includes an early-bird ticket for Saturday’s show; www.ticketssantafe.org, 988-1234 ▼ Show & sale 9 a.m. to 4 p.m. Saturday & Sunday, May 25 & 26 Santa Fe Community Convention Center, 201 W. Marcy St. $20 Saturday early-bird admission (9-10 a.m.); $10 Saturday general admission (10 a.m.-4 p.m.); free on Sunday; tickets available at the entrance; 476-1250

Tammy Garcia and Preston Singletary: Snow Drop, 2009, blown and sand-carved glass, 8.5 inches high, 10 inches in diameter; opposite page, top, Garcia in her studio, photo Sara Stathas; opposite page, bottom, Garcia: Thunderbird, 2004, bronze, 23 x 24 x 8.5 inches

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movIng Images film reviews

Follow the fleet Rob DeWalt I The New Mexican Star Trek: Into Darkness, sci-fi action-adventure, rated PG-13, Regal Stadium 14, 3.5 chiles According to a May 19 article by dailymail.co.uk contributor Rosie Taylor, “Cosmologists studying a map of the universe from data gathered by the Planck spacecraft have concluded that it shows anomalies that can only have been caused by the gravitational pull of other universes.” The theory of a “multiverse,” which hints — philosophically at least — at time travel and multiple realities, isn’t a new one. Despite naysayers, it’s done wonders for the Star Trek franchise in all its incarnations ever since the original television series (known among Trekkers as TOS) premiered in the U.S. in 1966.

Star Trek creator Gene Roddenberry’s vision lives on in the newest cinematic relaunch of the franchise, which serves as a vehicle to establish back stories for the series’ most beloved characters. The reboot began in 2009 with director J.J. Abrams’ Star Trek, which drew strongly from Star Trek novels Spock’s World, Prime Directive, and Best Destiny to explain away a few dangling plot points that weren’t previously explored on-screen.

The plot direction of the 2009 film was considered a profound betrayal of Roddenberry’s source material by many of the franchise’s most devoted fans — specifically ones who couldn’t or wouldn’t embrace the alternate-reality necessities that made the screenplay by Roberto Orci and Alex Kurtzman purr so smoothly. The same disappointments will no doubt come to bear among some Trekkers who venture out to see Star Trek: Into Darkness, the newest film in the franchise, which is also helmed by Abrams and written primarily by Orci and Kurtzman (with contributions by co-producer Damon Lindelof).

To the naysayers I announce: get a new reality and enjoy the ride, preferably in 3-D. Into Darkness finds Kirk (Chris Pine), Spock (Zachary Quinto), Uhura (Zoe Saldana), Sulu ( John Cho), Bones, aka Dr. McCoy (Karl Urban), Chekov (Anton Yelchin), and Scotty (Simon Pegg) up against a menacing genetically enhanced supervillain whose origins lie within Starfleet’s own ranks. Disgruntled doesn’t even begin to describe the mind-set of Officer John Harrison, played with distinct British flair by a muscled-up Benedict Cumberbatch (the Sherlock Holmes television series, The Hobbit: An Unexpected Journey’s Necromancer).

A thrilling color-saturated chase-and-rescue sequence opens the film, and it’s worth showing up on time for. It’s this scene that first justifies the expense of watching the proceedings in 3-D: Abrams uniquely understands action sequences from a wide52

PASATIEMPO I May 24-30, 2013

An enterprising franchise: from Star Trek: Into Darkness

angle perspective and utilizes the medium better than most 3-D blockbuster directors. If you’re looking for mangled Michael Bay-like tight shots that feel like they were lensed in a dark closet by someone with little or no motor control, look elsewhere.

In writing about Into Darkness, the potential for spoilers abounds, because the screenwriters draw heavily from the Star Trek TOS canon. Some plot points from previous Trek films are repurposed to provide accessibility to both Trekkers and those just looking for a thrilling blockbuster adventure. The safe route here is to stick to themes, many of which swirl around the often rocky working relationship between the emotionally reactive Captain Kirk and the half-human/half-Vulcan/usually emotionless and logical Spock. Things get rockier when Kirk violates the Prime Directive (which dictates that there can be no interference with the development of alien civilizations) to save Spock. Spock then turns in Kirk to his superiors at Starfleet Command.

When the starship U.S.S. Enterprise returns to Earth, Kirk is demoted to first officer of the ship, and his predecessor, Admiral Christopher Pike, takes command. When Kirk attends a secret meeting about Harrison’s bombing of a Starfleet records installation in London, the meeting comes under siege. Kirk is eventually reinstated as captain of the U.S.S. Enterprise and accepts a mission to take his crew to the Klingon home world of Kronos, where Harrison is hiding. His orders, handed down from a shady Admiral Marcus (RoboCop’s Peter Weller): transport a payload of 72 long-range prototype photon torpedoes, pinpoint Harrison’s coordinates, and send him to hell. Kirk’s underlings, however, have other plans.

What follows is predicated on the notion that the crew of the Enterprise is made up of explorers, not

warriors. Conflicted by the prospect of inciting an interstellar war with the Klingons based on flimsy — if not contrived — intelligence, the Enterprise crew considers mutiny. Allusions to domestic terrorism and hasty post-9/11 action by the U.S. military and its allies in Iraq are unmistakable, but the screenwriters and Abrams flesh out most of the parallels through action sequences instead of lengthy exposition.

And oh, what electrifying sequences! A brutal villain calls for brutal action and reaction, and whether it’s a ship-to-ship volley of photon torpedoes, a collision of ships, or a good old-fashioned face pummeling on Earth, Abrams delivers with all the refractive-lens-flare panache his devotees have come to expect. But he still finds room for visual subtlety. Some of Into Darkness’ most endearing 3-D shots celebrate the cold, quiet weightlessness of space. Postcollision debris dances in the foreground and background with striking clarity. Abrams and cinematographer Dan Mindel (2009’s Star Trek, the upcoming The Amazing Spider-Man 2) prefer on-set camerawork over postproduction fix-its, which lends the film a comforting organic quality.

Pine and Quinto have established an on-screen Kirk-Spock rapport that harks back to the original Star Trek series. Quinto stretches the Spock character to new heights of complexity, while Pine is restricted a bit by a screenplay that embraces the womanizing, tantrum-prone qualities that William Shatner and Roddenberry brought to the original Kirk role.

Saldana shines as Uhura, and if producers of the next installment have any sense, they’ll develop her character further.

Into Darkness isn’t perfect. Some of the most sainted Star Trek tropes are enlisted for quick laughs, but most fall flat. Then again, in Hollywood, it’s safer to go where at least some have gone before. ◀

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movIng Images film reviews

Figure study Michael Abatemarco I The New Mexican Renoir, drama, rated R, in French with subtitles, Center for Contemporary Arts, 3 chiles Director Gilles Bourdos’ quiet, observant Renoir, based on a book by Jacques Renoir, great-grandson of the Impressionist painter Pierre-Auguste Renoir, is a beguiling film. Events covered in this beautifully shot biopic occurred late in the life of the great artist, soon after the death of his wife, when a young model named Andrée Heuschling (Christa Theret) arrived to work for him. Much of the film is a study of Heuschling through the eyes of the painter and other men of the Renoir household.

First we meet the angry, brooding Claude (Thomas Doret), the youngest son of Pierre-Auguste. He has a lot to be angry about. His mother is dead, his older brothers are away fighting in World War I, and his father, the only familial presence in his life, is distant and cold, speaking to the boy only to scold him. It is to his credit that Bourdos, who also wrote the screenplay, steers clear of the puppy love that a boy of Claude’s age might feel for a tenderhearted beauty like Heuschling. Claude is more jealous than enamored. He comes to see Heuschling as a competitor for his father’s attention and love.

Pierre-Augueste (Michel Bouquet) regards the model with an artist’s eye. The film never quite ventures into the realms one expects, avoiding all suggestions of a May/December romance between its leads. Pierre-Auguste simply needs a model so he can continue to paint. She teases him at one point, attempting to gauge the depth of his interest in her, and tells him she has found another lover. PierreAuguste merely replies that she should get back to

Christa Theret and Michel Bouquet

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PASATIEMPO I May 24-30, 2013

Lasting impressions: Michel Bouquet and Christa Theret

work. The beauty of her nude form arouses him, but he is content to simply capture it on the canvas.

He seems less interested in depicting her likeness, however, than in her poses and gestures. A great deal of screen time is given to Theret in the nude, and the camera seems content to linger languidly, but not gratuitously, on her body.

At this point in his life, the artist is racked with debilitating arthritis that has mangled his hands to the point where he needs assistants to squeeze out tubes of paint for him. Despite the suggestion that some of his female servants have had sexual relations with him in the past, their role is largely as nurses, administering to his comforts and massaging his poor hands.

Although Renoir’s pace is slow, quite a lot happens in the film, and Bourdos seems content to tell this tale through glances and suggestion.

The Renoir family’s days are spent on outings to the countryside. Alexandre Desplat’s score insinuates itself throughout, adding tones of dramatic tension where otherwise there would be none. How much stress can there be if your days are spent on picnics in the south of France, sketching beautiful nude young women who lie in dappled sunlight while other women frolic in a nearby river?

In the midst of this summer idyll, filmed much like an Impressionist painting, comes Jean Renoir (Vincent Rottiers), the future filmmaker and PierreAuguste’s middle son. Jean, a soldier, is home to convalesce from an injury sustained in the war. He and Heuschling soon fall in love. Considering the level of nudity in the film, it’s a wonder that their love scenes are so modest. Rottiers plays Jean as a spoiled rich kid who doesn’t realize he’s a spoiled rich kid. When Heuschling reminds him of this, it seems to him a small revelation.

The character of Heuschling is underdeveloped, and while this seems intentional, it is at times a

hindrance to the film. She is no less based on a historical figure than her male counterparts. Heuschling went on to marry Jean and to act in his silent films under the name Catherine Hessling, but in Renoir we see her only through the eyes of Claude, Jean, and Pierre-Auguste. Heuschling reveals little of her own past, stating at one point that she is an artist, a dancer, an actress, and a singer. It is unclear if she has really been any of those things, and there are suggestions that she has worked as a prostitute.

Pierre-Auguste doesn’t seem to mind and states that all women deserve the same respect, regardless of whether they are queens or whores, a backhanded compliment if ever there was one.

Theret plays Heuschling as a free spirit, and she quickly takes a liking to her easy lifestyle among the prestigious Renoirs. This leads to the film’s one real dramatic moment, when older servants put her in her place, reminding her that most of them came to work as maids for Pierre-Auguste in the vain hope of becoming models and that those who came as models instead became maids. Heuschling’s rebellion, while small, marks her as someone with too much self-respect to let that become her fate.

Much of Renoir is centered on the presence of femininity in the lives of men at various stages. It is observant in the way it regards women through men’s eyes, and it encompasses many honest emotions. Claude is perplexed by his father’s interest in nudes but quickly comes to regard Heuschling similarly as an object. It seems that none of the Renoir men truly see her for herself. Renoir may suffer for its sketchy treatment of its female characters, but as a film of perceptions and nuances, it lingers in the mind. A final shot perhaps makes it plain why Bourdos opted not to film a chronological treatment that traces the elder Renoir’s life from young boy to old man. With the presence of Pierre-Auguste, Claude, and Jean under one roof, he didn’t need to. ◀

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MOVING IMAGES pasa pics

— compiled by Robert B. Ker

Honey, I shrunk the superheroes: Epic, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week AT ANY PRICE Monsanto’s genetically modified seed patents and the cutthroat world of agribusiness that seeks profit and expansion at any price are subjects that cry out for a great dramatic treatment, but Ramin Bahrani only glances off it. He plants his field with distracting subplots that compete for space and die on the vine.

Dennis Quaid, in an inept, mugging performance, is Henry Whipple, a successful third-generation Iowa farmer and seed salesman who works painfully hard as he glad-hands customers and closes deals at funerals with strangers. Zac Ephron is good as his younger son Dean, who races stock cars and wants nothing to do with the farm until a melodramatic twist jolts his priorities. Everybody’s reckless and corrupt, except Henry’s loving wife, Irene (Kim Dickens), and his older son Grant (Patrick W. Stevens), who hightails it after the opening credits and is seen no more. He thus escapes a minefield of

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PASATIEMPO I May 24-30, 2013

story holes and awkward direction. And Monsanto (here called Liberty) skates away with never a hair out of place. Rated R. 115 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) EPIC A teenage girl gets shrunk into a secret forest world where she must join friendly plants and animals against an evil dude that threatens their world and ours. Director Chris Wedge (Ice Age) helms this animated adventure, which looks to convey the wonder and quiet majesty of a fantasy kingdom while also including a talking snail (voiced

by Aziz Ansari) with a “wasssssup?!?” sense of humor. Colin Farrell, Beyoncé, Steven Tyler, Amanda Seyfried, and Christoph Waltz also voice characters.

Rated PG. 103 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) RENOIR A quiet film with emotional depth and good performances, Renoir is a sun-dappled look into the lives of several members of the famous painter’s household. When a free-spirited young woman (Christa Theret) comes

to model for Pierre-Auguste (Michel Bouquet), she serves his creative ends and falls in love with his son Jean (Vincent Rottiers). Her character is deliberately ambiguous, and the focus is less on history than on the nature of perceptions. Rated R. 111 minutes. In French with subtitles. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) See review, Page 54.

SCATTER MY ASHES AT BERGDORF’S The inspired title, from a classic New Yorker cartoon by Victoria Roberts (who is briefly interviewed), might lead us to expect a bit of bracing irony from Matthew Miele’s documentary about the iconic New York fashion mecca. But what we get is a self-hugging valentine to the 5th Avenue shop, a sugary decaf cappuccino with way too much foam. There are some interesting people here, like Bergdorf’s fashion director Linda Fargo and a veteran personal shopper who admits if she weren’t doing what she does, she’d be drinking. It’s also fun to watch the fabulous Christmas windows being designed and executed. There’s a bit of history and an intriguing look at the family apartment that once commanded the top floor. And of course, some of it

is pure shopaholic pleasure. But mostly it’s a parade of fashion designers gushing ad nauseam about the store as the pinnacle of their dreams and a chorus of recession-proof conspicuous consumers culled from the population most likely to be taken out and lined up against a wall come the revolution. You have teases of a real movie here, but this feels like an hourand-a-half trailer for it. Rated PG-13. 93 minutes.

Regal DeVargas, Santa Fe. ( Jonathan Richards)

now in theaters THE ANGELS’ 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, mild-mannered 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) 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. Paul Walker and Michelle Rodriguez also return to the franchise, which is just as speedy and angry as it ever was, even on the sixth lap around the track. 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; Regal DeVargas, Santa Fe. (Robert Ker)

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. Rated R. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos.

(Not reviewed)

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 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)

THE GREAT GATSBY Baz Luhrmann’s movie rendering of F. Scott Fitzgerald’s classic American novel is The Great Gatsby the way Jay Gatsby might have directed it.

Gaudy, extravagant, and ecstatically excessive, it lights up the screen like a lavish party into which Luhrmann hopes Daisy Buchanan will wander some night — and if not Daisy, then at least the rest of the world, looking for a good time. 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; and Tobey Maguire plays the narrator, Nick Carraway. Rated PG-13.

143 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D at Regal DeVargas, Santa Fe; DreamCatcher, Española; Storyteller, Taos. ( Jonathan Richards)

spicy

medium

bland

heartburn

mild

Read Pasa Pics online at www.pasatiempomagazine.com

IRON MAN 3 Tony Stark (Robert Downey Jr.), once a cocksure genius ladies’ man, is suffering from anxiety attacks and an inability to relate to his live-in girlfriend, Pepper Potts (Gwyneth Paltrow). That’s when a terrorist 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. Screens in 2-D at DreamCatcher, Española; Storyteller, Taos. (Laurel Gladden) JACKIE Dutch director Antoinette Beumer casts two actresses from her home country (real-life 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 continued on Page 58

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continued from Page 57

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)

Scatter My Ashes at Bergdorf’s

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 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. Not rated. 96 minutes. In English and Dutch with subtitles. Center for Contemporary Arts, Santa Fe. (Robert Ker) MUD Matthew McConaughey is in top form as Mud, an Arkansas Delta backcountry hothead with a ton of charm who enlists a couple of teenage boys (Tye Sheridan and Jacob Lofland) to help him reunite with his sweetheart (Reese Witherspoon). Meanwhile, the law and the irate father of a man he killed are out looking for him. It’s a colorful tale and a cautionary one.

Director Jeff Nichols does a good job with style and character, but he lets the story run on too long and loses the handle at the end. With Sam Shepard and Michael Shannon. Rated PG-13. 130 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards)

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PASATIEMPO I May 24-30, 2013

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 DeVargas, 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 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 that it would be unpatriotic to hate it. Rated R. 130 minutes. Regal Stadium 14, Santa Fe. (Robert Ker)

STAR TREK: INTO DARKNESS In the newest installment of the Star Trek film series, director J.J. Abrams, cinematographer Dan Mindel, and a trio of screenwriters up the ante on action and visual effects while honoring franchise creator Gene Roddenberry’s enduring legacy. Following 2009’s Star Trek, the film finds Kirk (Chris Pine) and Spock (Zachary Quinto) at odds after a violation of the Prime Directive and the arrival of a genetically enhanced villain (Sherlock Holmes’ Benedict Cumberbatch). Visually stunning in 3-D and overly self-aware of original Star Trek source material, Into Darkness unabashedly steers the U.S.S. Enterprise in new and exciting directions while exploring themes of unjust war and terrorism.

Some die-hard Trekkers may scoff at certain plot devices, but the new scientific prospect of alternate universes renders their complaints moot, if not petty. Rated PG-13. 132 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. Screens in 2-D only at Storyteller, Taos.

(Rob DeWalt) See review, Page 52

other screenings Regal Stadium 14 7 p.m. Thursday, May 30: Now You See Me. 9 p.m. Thursday, May 30: After Earth.

Taos Community Auditorium 133 Paseo del Pueblo Norte, Taos, 575-758-2052 Sunday-Tuesday, May 26-28: No. ◀

“GORGEOUS.” – StEphEn hOldEn, thE nEw YORk timES

lUSh and EnGaGinG...

‘REnOiR’ iS claSSic FREnch mOviEmakinG

“

with SOmE mOdERn twiStS.”

What’s shoWing

– kEnnEth tURan, lOS anGElES timES MICHEL BOUQUET CHRISTA THÉRET VINCENT ROTTIERS

Call theaters or check websites to confirm screening times.

CCA CinemAtheque And SCreening room

1050 Old Pecos Trail, 982-1338, ccasantafe.org The Angels’ Share (NR) Fri. to Mon. 2:15 p.m., 4:15 p.m., 8:15 p.m. Tue. to Thurs. 3:45 p.m., 7:45 p.m.

Jackie (NR) Fri. to Mon. 6:15 p.m. Tue. to Thurs.

5:45 p.m.

Renoir (R) Fri. to Mon. 1 p.m., 3:15 p.m., 5:30 p.m., 7:45 p.m. Tue. to Thurs. 2:30 p.m., 4:45 p.m., 7 p.m. regAl deVArgAS

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

At Any Price (R) Fri. to Thurs. 4:40 p.m., 7:40 p.m.

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

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

The Iceman (R) Fri. and Sat. 1:40 p.m., 10:05 p.m.

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

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

Oblivion (PG-13) Fri. and Sat. 1:20 p.m., 4:20 p.m., 7:20 p.m., 10:05 p.m. Sun. to Thurs. 1:20 p.m., 4:20 p.m., 7:20 p.m.

Scatter My Ashes at Bergdorf ’s (PG-13) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 9:45 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m. regAl StAdium 14

3474 Zafarano Drive, 424-6296 42 (PG-13) Fri. to Wed. 11 a.m.

After Earth (PG-13) Thurs. 9 p.m.

Epic 3D (PG) Fri. to Wed. 1:10 p.m., 4:15 p.m., 7:10 p.m., 10 p.m.

Epic (PG) Fri. to Wed. 11 a.m., 11:30 a.m., 1:40 p.m., 2:10 p.m., 4:45 p.m., 5:15 p.m., 7:40 p.m., 8:10 p.m., 10:30 p.m.

Fast & Furious 6 (PG-13) Fri. to Wed. 1 p.m., 1:35 p.m., 2:10 p.m., 4:10 p.m., 4:30 p.m., 5:20 p.m., 7:20 p.m., 7:35 p.m., 8:30 p.m., 10:30 p.m., 10:40 p.m.

The Great Gatsby 3D (PG-13) Fri. to Wed. 3:50 p.m., 10:20 p.m.

The Great Gatsby (PG-13) Fri. to Wed. 12:20 p.m., 7:15 p.m.

The Hangover Part III (R) Fri. to Wed. 11:15 a.m., 1:15 p.m., 2 p.m., 4 p.m., 4:30 p.m., 7 p.m., 7:30 p.m., 9:50 p.m., 10:20 p.m.

Iron Man 3 3D (PG-13) Fri. to Wed. 4 p.m., 10 p.m.

Iron Man 3 (PG-13) Fri. to Wed. 11:05 a.m., 1 p.m., 2 p.m., 5:05 p.m., 7:05 p.m., 8:05 p.m., 11 p.m.

Now You See Me (PG-13) Thurs. 7 p.m.

Pain & Gain (R) Fri. to Wed. 10:50 p.m.

Star Trek: Into Darkness 3D (PG-13) Fri. to Wed. 12:30 p.m., 3:30 p.m., 3:45 p.m., 7:10 p.m., 9:30 p.m., 10:15 p.m.

Star Trek: Into Darkness (PG-13) Fri. to Mon. 12 p.m., 12:50 p.m., 4:15 p.m., 6:30 p.m., 7:30 p.m., 10:45 p.m. Tue. and Wed. 12 p.m., 12:50 p.m., 4:15 p.m., 6:30 p.m., 7:30 p.m., 10:45 p.m. the SCreen

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, thescreensf.com Free the Mind (NR) Fri. to Mon. 12:15 p.m. Tue. to Thurs. 5:35 p.m.

The Reluctant Fundamentalist (R) Fri. 2 p.m.,

4:40 p.m., 7:20 p.m. Sat. 2 p.m., 7:20 p.m.

Sun. and Mon. 2 p.m., 4:40 p.m., 7:20 p.m.

Tue. to Thurs. 3 p.m., 7:20 p.m.

mitChell dreAmCAtCher CinemA (eSpAñolA)

15 N.M. 106 and U.S. 84/285, 505-753-0087 Epic 3D (PG) Fri. 4:45 p.m., 7:10 p.m., 9:40 p.m.

Sat. 2 p.m., 4:45 p.m., 7:10 p.m., 9:40 p.m.

Sun. 2 p.m., 4:45 p.m., 7:10 p.m. Mon. to Thurs.

4:45 p.m., 7:10 p.m.

Epic (PG) Fri. 4:45 p.m., 7:10 p.m., 9:40 p.m.

Sat. 2 p.m., 4:45 p.m., 7:10 p.m., 9:40 p.m.

Sun. 2 p.m., 4:45 p.m., 7:10 p.m. Mon. to Thurs.

4:45 p.m., 7:10 p.m.

Fast & Furious 6 (PG-13) Fri. 4:40 p.m., 5 p.m., 7:05 p.m., 8 p.m., 9:55 p.m. Sat. 2:10 p.m., 4:40 p.m., 5 p.m., 7:05 p.m., 8 p.m., 9:55 p.m. Sun. 2:10 p.m., 4:20 p.m., 5 p.m., 7:05 p.m. Mon. to Thurs.

4:20 p.m., 5 p.m., 7:05 p.m.

The Great Gatsby (PG-13) Fri. 6:55 p.m., 9:50 p.m.

Sat. 2:25 p.m., 6:55 p.m., 9:50 p.m. Sun. 2:25 p.m., 6:55 p.m. Mon. to Thurs. 6:55 p.m.

The Hangover Part III (R) Fri. 4:50 p.m., 7:25 p.m., 9:45 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:25 p.m., 9:45 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:25 p.m.

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

Iron Man 3 (PG-13) Fri. 4:35 p.m., 7:20 p.m., 10:05 p.m. Sat. 1:50 p.m., 4:35 p.m., 7:20 p.m., 10:05 p.m. Sun. 1:50 p.m., 4:35 p.m., 7:20 p.m.

Mon. to Thurs. 7:20 p.m., 7:35 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 Thurs. 4:30 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 Thurs. 4:30 p.m., 7:15 p.m.

A FILM By GILLES BOURDOS RENOIR-THEFILM.COM

StaRtS tOdaY

“TO DIE FOR...A DAZZLING DOCUMENTARY.” -Peter Travers, ROLLING STONE

ExclusivE EngagEmEnt staRts tODaY

Regal DeVaRgas Mall CineMa 6 562 North Guadalupe St. 505-988-1110 www.regmovies.com

Santa Fe Institute Community Lecture Zoobiquity: What Dolphin Diabetes Can Teach Us About Human Health

mitChell Storyteller CinemA (tAoS)

110 Old Talpa Canon Road, 575-751-4245 Epic (PG) Fri. 4:45 p.m. Sat. and Sun. 2 p.m., 4:45 p.m. Mon. to Thurs. 4:45 p.m.

Epic 3D (PG) Fri. and Sat. 7:10 p.m., 9:40 p.m.

Sun. to Thurs. 7:10 p.m.

Fast & Furious 6 (PG-13) Fri. 5 p.m., 8 p.m. Sat. 2:10 p.m., 5 p.m., 8 p.m. Sun. 2:10 p.m., 4:20 p.m., 5 p.m., 7:05 p.m. Mon. to Thurs. 4:20 p.m., 5 p.m., 7:05 p.m.

The Great Gatsby (PG-13) Fri. 6:55 p.m., 9:50 p.m.

Sat. 2:25 p.m., 6:55 p.m., 9:50 p.m. Sun. 2:25 p.m., 6:55 p.m. Mon. to Thurs. 6:55 p.m.

The Hangover Part III (R) Fri. 4:50 p.m., 7:25 p.m., 9:45 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:25 p.m., 9:45 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:25 p.m.

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

Iron Man 3 (PG-13) Fri. 4:30 p.m., 7:15 p.m., 9:55 p.m. Sat. 1:45 p.m., 4:30 p.m., 7:15 p.m., 9:55 p.m. Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m.

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

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

CCA CinemAtheque 1050 Old Pecos Trail, Sante Fe (505) 982-1338

Thursday, May 30, 7:30 p.m.

James A. Little Theater 1060 Cerrillos Rd. Santa Fe Lectures are free and open to the public.

Seating is limited.

Dinosaurs suffered from brain cancer, arthritis, and gout. Koalas catch Chlamydia. Gorillas experience depression. Stallions self-harm in a way that correlates to “cutting” for human patients. Animals and humans get the same diseases, yet physicians and veterinarians rarely talk. Barbara NattersonHorowitz draws from the latest in medicine, veterinary science, and evolutionary and molecular biology to propose an interdisciplinary, comparative approach to physical and behavioral health for doctors treating patients of all species.

www.santafe.edu Barbara Natterson-Horowitz, M.D., is an attending cardiologist at the UCLA Medical Center, a professor of medicine for the UCLA Division of Cardiology, and a consultant to the Los Angeles Zoo. Her recent book with Kathryn Bowers is Zoobiquity: What Animals Can Teach Us About Health and the Science of Healing.

Support for SFI’s 2013 lecture series is provided by Los Alamos National Bank.

PASATIEMPOMAGAZINE.COM

59

RESTAURANT REVIEW Laurel Gladden I For The New Mexican

Fare thee well

Sweetwater Harvest Kitchen 1512 Pacheco St., 795-7383 Breakfast 8-11 a.m., lunch 11 a.m.-3 p.m.

Mondays-Fridays; brunch 9 a.m.-3 p.m.

Saturdays; dinner 5-9 p.m. ThursdaysSaturdays; closed Sundays Counter service at breakfast, lunch & brunch; table service at dinner Takeout available Vegetarian & vegan options Handicapped-accessible Beer, wine & mead Noise level: soothingly quiet to pleasantly festive Credit cards, local checks

•

The Short Order Most of the menu at Sweetwater Harvest Kitchen is a little out of the ordinary — dishes with names like FlicFloc oats, drowned eggs, and green pancakes. The kitchen uses organic ingredients and offers an array of gluten-free, vegetarian, and vegan options. Buckwheat, quinoa, and spelt cakes; creative salads; and Asianinspired dishes appear alongside classics like lasagna and shrimp and grits. Beer, mead, and wine on tap are served. Credit card transactions are conducted using iPads, though cash is always welcome. Service can be uneven — it’s welcoming, if not always speedy or efficient. Recommended: breakfast burrito, tortilla soup, shaved salad, green pancakes, and shrimp and grits.

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

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

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PASATIEMPO I May 24-30, 2013

If you heed the vaguely bossy sign outside Sweetwater Harvest Kitchen that demands, “Eat here now,” you’re in for an interesting meal. Sure, you could order a breakfast burrito, enchiladas, or an egg with bacon and toast. But most of the menu is creative and out of the ordinary — dishes with names like FlicFloc oats, drowned eggs, and green pancakes. The kitchen uses organic ingredients and offers an array of gluten-free, vegetarian, and vegan options.

There are quinoa cakes; salads combining cabbage, radish, and squash or Brussels sprouts, mozzarella, and olives; and pancakes made from buckwheat and spelt. A few Asianinspired dishes, like soba noodles and a bánh mì sandwich, make appearances alongside classics like lasagna and shrimp and grits.

Co-owner Fiona Wong has said that she wants Sweetwater to be like a sanctuary, and it succeeds, at least as far as ambience goes. Though the surfaces are modern and industrial-minimalist, the space has an inviting, open airiness, thanks mostly to clean lines, a soaring pitched ceiling, and tall divided-light windows.

You can prop yourself up with pillows on the deep cushioned banco that runs along one wall, nab a seat at the bar, or plant yourself at the long community table, where an herb garden is the built-in centerpiece.

Eggs and a little cheese are involved in the forearmsized breakfast burrito, and you can ask for your chile inside or smothered over the top. The burrito’s distinguishing features, though, are fried (not scrambled) eggs, black beans, and diced sweet potato. The green chile is mildly hot and roasty, while the red has a lovely smokiness.

When those sweet potatoes appear as a side for other dishes, the menu calls it hash. The flavor is strong and sweet, which makes a nice counterpoint to anything salty it accompanies, but its consistency is more like salsa or chutney than hash — soft and oddly slippery and not crispy in any way.

The baked eggs arrive piping hot, if slightly overcooked, in a cute white ramekin. The mushroom frittata has a pleasingly solid, expertly rendered custardy texture; a sprinkling of very salty feta brings a little life and balance to this mellow, earthy dish. The green pancakes sound like a dish a 6-year-old would love. In fact, they’re a savory, nutritious powerhouse: spelt cakes flecked with chopped leafy greens and accented with cumin and green onion.

Beneath a firm, deep-brown crust they were just slightly slimy. A zesty, garlicky tomato sauce, standing in for the lime-cilantro butter on the menu, overwhelmed the cakes’ herbaceous greenery. I devoured them anyway.

You can get a better bánh mì elsewhere in town, but Sweetwater’s is perfectly acceptable if that’s what you’re craving. The shaved salad is one of my new favorite dishes: a sprightly, refreshing, satisfying collage of crunchy cabbage, peppery radish, sliced pear, and Gruyère ribbons in a champagne vinaigrette. The house salad is fulfilling with its buttery avocado, starchy quinoa, salty feta, and tahini-based dressing. A thin, crispy flatbread combines

the classic flavors of fig, prosciutto, and ricotta, but cherry tomatoes seem an odd addition, especially with the candylike fruitiness of the purple-black Mission figs.

Sturdier options such as risotto, meaty lasagna, lamb, and duck come into play at dinner, and the three-course, $19 prix fixe is an excellent deal. Sweetwater’s take on the beloved Southern shrimp and grits is respectable and filling. The shrimp were plump and boldly flavored, the overly generous mound of grits savory and satisfying despite an unusual mushy quality.

Sweetwater is slightly ahead of the curve. It serves locally produced mead and offers wines — sustainable ones — on tap. Credit card transactions are conducted using iPads and Square card readers. (Don’t worry: cold hard cash is still welcome.) While I applaud an attempt at reduced paper usage, the electronic procedures here still have some kinks. Not everyone wants to tip 15, 18, or 20 percent for counter service, especially when you have to fetch your own flatware, napkin, water, and glass. I prefer to see an itemization of my bill before I pay, and I’m not fond of deciding what kind of tip to leave while my server hovers right behind me.

Service can be uneven — it’s welcoming, if not always speedy or efficient. Servers may be eager and attentive at first, only to disappear for extended lengths of time as the evening wears on. Otherwise, everyone seems kind, well meaning, and cheerful. Don’t let that bossy sign out front fool you. ◀

Check, please

Dinner for two at Sweetwater Harvest Kitchen: Pint, Stone IPA........................................................ $ 5.00 Glass, Baileyana Pinot Noir .................................... $ 9.00 Prix fixe dinner: shaved salad,................................ $ 19.00 tortilla soup & lasagna Flatbread ................................................................ $ 14.00 Shrimp and grits ..................................................... $ 15.00 TOTAL.................................................................... $ 62.00 (before tax and tip) Brunch for four, another visit: Single cappuccino................................................... $ 3.50 Large latte ............................................................... $ 4.00 Regular coffee ......................................................... $ 2.50 House salad ............................................................ $ 9.50 Smothered breakfast burrito................................... $ 8.50 Baked eggs .............................................................. $ 9.50 Side of bacon .......................................................... $ 3.00 Chicken bánh mì .................................................... $ 11.50 TOTAL.................................................................... $ 52.00 (before tax and tip)

THE FUTURE OF BUSINESS AND INNOVATION IN SANTA FE

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62

PASATIEMPO I May 24 - 30, 2013

pasa week 24 Friday

ClassiCal musiC

music on Barcelona The ensemble performs music of Schoenberg, a performance by the Santa Fe Flute Choir follows, 5:30-6:30 p.m., Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., donations welcome, 424-0994. santa Fe High school Choir 6:30 p.m., Little Theater, Santa Fe High School, 2100 Yucca St., donations accepted, 670-4854.

TgiF recital Violist Shanti Randall and pianist Peggy Abbot perform music of Bach, Pärt, and Rachmaninoff, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated, 982-8544, Ext.16.

gallery/museum openings

art of russia gallery 225 Canyon Rd., Suite 5, 466-1718. New location grand opening, reception 5-7 p.m.

Barbara meikle Fine art 236 Delgado St., 992-0400. Mellifluous Menagerie, new oil paintings by Barbara Meikle, reception 5-8 p.m., through June 24.

Bellas artes 653 Canyon Rd., 983-2745. The Maquettes, work by the late ceramicist Ruth Duckworth (1919-2009), through July 27.

Center for Contemporary arts 1050 Old Pecos Trail, 982-1338. Balancing Signal to Noise, works by Zoe Blackwell, Brandon Soder, and Betsy Emil, Spector Ripps Project Space; Muñoz Waxman front and main galleries: Vector Field, installation by Conor Peterson; The Curve, works by CENTER’s competition-winning photographers David Favrod and Ignacio Evangelista; reception 6-8 p.m., through June 30. gebert Contemporary 558 Canyon Rd., 992-1100. Fable, paintings by Covington Jordan, reception 5-7 p.m., through July 1. gVg Contemporary 202 Canyon Rd., 982-1494. Forge, Spin, Wrap, and Weld, metalwork group show, reception 5-7 p.m., through June 14.

Hunter Kirkland Contemporary 200-B Canyon Rd., 984-2111. Luminous Grace, paintings by Jennifer J.L. Jones, reception 5-7 p.m., through June 9. inart gallery 219 Delgado St., 983-6537. Spirit of Place, new landscapes by Tom Blazier, reception 5-7 p.m. inn and spa at loretto 211 Old Santa Fe Trail. Sculpture by Kent Ullberg, reception and book signing 6-8 p.m., for information call Wiford Gallery, 982-2403. legends santa Fe 125 Lincoln Ave., 983-5639. New Blood, works

by Marla Allison, Chris Pappan, and De Haven Solimon Chaffins, closing reception 5-7 p.m., through May 29. matthews gallery 669 Canyon Rd., 992-2882.

Spectrum — Art From the 19th, 20th & 21st Centuries, reception 5-7 p.m., through June 6. meyer east gallery 225 Canyon Rd., 983-1657. New work by Kent Lovelace, reception 5-7 p.m., through June 7. meyer gallery 225 Canyon Rd., 983-1434.

Paintings by Russian artist Andrei Kioresku, reception 5-7 p.m., through June 13. museum of Contemporary native arts 108 Cathedral Pl., 983-1666. Facing the Camera: The Santa Fe Suite, photographic portraiture by Rosalie Favell; Stands With a Fist: Contemporary Native Women Artists; Apache

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

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

in ConCerT

J.D. allen Trio New York City-based tenor saxophonist, bassist Dezron Douglas, and percussionist Jonathan Barber; free family concert 3-3:45 p.m.; 6 and 8 p.m. sets, $55-$250; The Den, 132 W. Water St., Santa Fe Jazz Club Festival, 670-6482 (see story, Page 24).

THeaTer/DanCe

Belisama Dance Contemporary Spring Repertory Concert, featuring 70 student dancers, 7 p.m. today and Saturday, James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., $15, discounts available, 988-1234, ticketssantafe.org.

Photo-eye Gallery shows Svjetlana Tepavcevic’s plant seed studies, 376-A Garcia St.

Chronicle, Nanna Dalunde’s experimental documentary on the artist collective Apache Skateboards; For Instance, Look at the Land Beneath Your Feet, video installation by Kade L. Twist; free reception 5-7 p.m., through July (see stories, Pages 40-45). new Concept gallery 610 Canyon Rd., 795-7570. Works on Paper, group show of works by gallery artists, reception 5-7 p.m., through June 10. nüart gallery 670 Canyon Rd., 988-3888. In a Broken Tongue, paintings by Cecil Touchon, reception 5-7 p.m., through June 9. pippin Contemporary 200 Canyon Rd., 795-7476. Celebration of new location and second anniversary, reception 5-7 p.m., through June 4. plaza galeria 66 E. San Francisco St., Suite 8-A, 603-7190.

Pop-up exhibit of bicycle-themed prints and posters by Chris McLean, reception 6-8 p.m., through June 14. rancho Viejo gallery 55-E Cañada del Rancho, 204-6146. Group show of mixed media, reception 5-7 p.m.

In the Wings....................... 68 Elsewhere............................ 69 People Who Need People..... 70 Under 21............................. 70 Pasa Kids............................ 70

red Dot gallery 826 Canyon Rd., 820-7338. Rare Earth, mixedmedia works in jars by New Mexico students and teachers (see story, Page 32); Splinter Group, drawings and sculpture by Debby Young; reception 5-7 p.m., through June 28. santa Fe art Collector 217 Galisteo St., 988-5545. Dahlia Rumba, work by Cami Thompson, reception 5-7 p.m., through Saturday. selby Fleetwood gallery 600 Canyon Rd., 992-8877. Spring Ensemble, paintings by Stephen Dinsmore, Joe Ostraff, and Sandra Pratt, reception 5-7:30 p.m., through June 4.

Ventana Fine art 400 Canyon Rd., 983-8815. 30th anniversary group show, reception 5-7 p.m., through June 15.

Waxlander gallery 622 Canyon Rd., 984-2202. Dynamic Color: The Freedom of Expression, new works by Patrick Matthews and Tracee Matthews, reception 5-7 p.m., through June 3. yares art projects 123 Grant Ave., 984-0044. Four Tides, Four Decades, paintings and works on paper by Sam Scott, reception 5:30-7:30 p.m., through July 1.

BooKs/TalKs

Hakim Bellamy and Daniel Banks The poets read from their respective works Swear and Shades; Q & A and signing follows, 6:30 p.m., Momo & Company Bakery & Boba Tea Bar, 229-A Johnson St., no charge, 983-8000 (see Subtexts, Page 14).

eVenTs

native Treasures indian arts Festival benefit pre-sale party Reception for 2013 Museum of Indian Arts and Culture Living Treasure Tammy Garcia; traditional and contemporary rain-themed works; artists meet-and-greet; open wine/champagne bar; and hors d’oeuvres; 5:30-7:30 p.m., Santa Fe Community Convention Center, $100 includes an early bird ticket for Saturday’s market, 988-1234, ticketssantafe.org, Saturday and Sunday market schedules available online at nativetreasures.org (see story, Page 50).

nigHTliFe

(See Page 64 for addresses) 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. ▶▶▶▶▶▶▶▶

calendar guidelines Please submit information and listings for Pasa Week

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

PASATIEMPOMAGAZINE.COM

63

Cowgirl BBQ Pianist/singer/songwriter Mitch LaCassagne, 5-7:30 p.m.; experimental rock and funk band The Strange, 8:30 p.m.; no cover.

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

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

La Fiesta Lounge at La Fonda Cathy Faber’s Swingin’ Country Band, 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 Palace Restaurant & Saloon Busy & The Crazy 88, Busy McCarroll, Kevin Zoernig, Baird Banner, and Justin Bransford, pop band, 9 p.m., call for cover.

Rouge Cat Female impersonator Bella Gigante belts out Broadway tunes, 8:30 p.m., call for cover.

Second Street Brewery Bill Hearne Trio, roadhouse honky-tonk, 6-9 p.m., no cover.

Second Street Brewery at the Railyard Hot Honey, singer/songwriters Lucy Barna, Paige Barton, and Lori Ottino, Appalachian and country tunes, 7-10 p.m., no cover.

Stats Sports Bar & Nightlife DJ Breakaway, spinning hip-hop and dance and reggae beats with DJ Don Martin, 10 p.m., call for cover.

Tiny’s Controlled Burn, rock and blues, 8:30 p.m.-close, no cover.

The Underground at Evangelo’s Rock cover band Chango, 9:30 p.m., call for cover.

Vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; pianist Bob Finnie, 8 p.m.-close, call for cover.

d Wine Bar 315 Restaurant an 986-9190 il, Tra Fe 315 Old Santa Shop Betterday Coffee lano Center , So St. a ed am Al .

W 5 90 nch Resort & Spa Bishop’s Lodge Ra ., 983-6377 Rd 1297 Bishops Lodge fé Ca fé Ca 6-1391 500 Sandoval St., 46 Casa Chimayó 8-0391 409 W. Water St., 42 ón es m El at ¡Chispa! e., 983-6756 213 Washington Av uthside Cleopatra Café So 4-5644 47 ., Dr o an far Za 3482 Cowgirl BBQ , 982-2565 319 S. Guadalupe St. at The Pink The dragon Room a Fe Trail, nt Sa d Ol adobe 406 983-7712 lton El Cañon at the Hi 811 8-2 98 , St. al ov nd 100 Sa Spa Eldorado Hotel & St., 988-4455 o isc nc Fra n 309 W. Sa El Farol 3-9912 808 Canyon Rd., 98 ill gr & r El Paseo Ba 2-2848 99 , St. teo lis Ga 8 20

64

PASATIEMPO I May 24-30, 2013

25 Saturday gaLLERy/mUSEUm oPENiNgS

glenn green galleries 136 Tesuque Village Rd., 820-0008. Melanie Yazzie, an International Voice, works on paper, 2:30-5 p.m. reception and artist talk, through July 20.

Little Bird at Loretto 211 Old Santa Fe Trail, 820-7413. Native artists’ group show, reception 10 a.m.-6 p.m., through Sunday.

Stan Natchez gallery 201 E. Palace Ave., 231-7721. The American Dream, multimedia miniatures, reception 5-7 p.m., through June 22.

iN CoNCERT

Bass Music Fiesta DJ sets by Minnesota, Brotherhood Sound, and Mute Swuaun & The Infektor, 4-10 p.m., Railyard Plaza, 1607 Paseo de Peralta, no charge, for full line-up visit heathconcerts.org.

THEaTER/daNCE

Belisama dance Contemporary Spring Repertory Concert, featuring 70 student dancers, 7 p.m., James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., $15, discounts available, 988-1234, ticketssantafe.org.

Julesworks Follies The monthly variety show series continues, 7 p.m., Aztec Café, 317 Aztec St., tickets sold at the door, call 310-9997 for more information.

BookS/TaLkS

Eloyda Roybal Romero The New Mexico author discusses and signs copies of her autobiography The Roybal Legacy, 2 p.m., Santa Fe Public Library, Main Branch, second floor, 145 Washington Ave., 955-6780.

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

211 W Sports Bar & grill om Ro er ck Lo The 473-5259 2841 Cerrillos Rd., The Lodge Lodge Lounge at St. Francis Dr., N. 0 at Santa Fe 75 992-5800 The matador o St., 984-5050 116 W. San Francisc vern The mine Shaft Ta 473-0743 d, dri Ma , 2846 NM 14 & Lounge molly’s kitchen 3-7577 98 , 1611 Calle Lorca fé Ca 0 museum Hill lner Plaza, 984-890 710 Camino Lejo, Mi

Exploring New mexico’s Lost decade: archaeology and the aftermath of the Pueblo Revolt of 1680 A talk by Harvard anthropology professor Matthew Liebmann, 7 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., no charge, presented by the Harvard-Radcliffe Club of New Mexico.

Terry Wilson The Santa Fe author discusses and signs copies of Confessions of a Failed Saint, 3 p.m., Ark Bookstore, 133 Romero St., 988-3709.

oUTdooRS

Wildflower hike Join park manager Sarah Wood to see what’s blooming at Cerrillos Hills State Park, 10 a.m., 16 miles south of Santa Fe off NM 14, parking area one half-mile north of the village of Cerrillos, $5 per vehicle, 474-0196.

EVENTS

Native Treasures indian arts Festival Traditional and contemporary works by more than 200 artists, 10 a.m.-4 p.m. today and Sunday, Santa Fe Community Convention Center, 201 W. Marcy St., $10 at the door, early birds (9-10 a.m.) $20, 476-1250, nativetreasures.org (see story, Page 50).

Northern New mexico Fine arts & Crafts guild Fair 10 a.m.-5 p.m., Cathedral Park, East Palace Ave. and Cathedral Pl., no charge, through Monday.

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

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

Santa Fe model Railroad Club Featuring circus models and trains; plus, a Veterans/MIA train, 10 a.m.-5 p.m., Santa Fe County Fairgrounds, 3229 Rodeo Rd., no charge, through Monday, santafemodelrailroadclub.org.

NigHTLiFE

(See addresses below) Café Café Los Primos Trio, traditional Latin songs, 6-9 p.m., no cover.

Cowgirl BBQ Railyard Reunion Bluegrass Band, 2-5 p.m.; singer/songwriter Robby Overfield and his trio, 8:30 p.m.; no cover.

El Cañon at the Hilton Gerry Carthy, tenor guitar and flute, 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 Cathy Faber’s Swingin’ Country Band, 8-11 p.m., no cover.

La Posada de Santa Fe Resort and Spa Jazz vocalist Whitney and guitarist Pat Malone, with bass player Asher Barreras, 6-9 p.m., no cover.

The mine Shaft Tavern Jim & Tim, soulful blues, 3-7 p.m. on the deck, no cover.

Pranzo italian grill 2013 New Mexico Music Awards winners John Rangel and Faith Amour, piano and vocals, 6-9 p.m., call for cover.

Second Street Brewery Roots-rock duo Man No Sober, 6-9 p.m., no cover.

Second Street Brewery at the Railyard Bill Hearne Trio, roadhouse honky-tonk, 7 p.m., no cover.

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

Sweetwater Harvest Kitchen Hawaiian slack-key guitarist John Serkin, 6 p.m., no cover.

Tiny’s Folk/rock band Drastic Andrew, 8:30 p.m.-close, no cover.

Tortilla Flats Folk singer/songwriter Eryn Bent, 6-9 p.m., 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 Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; pianist Bob Finnie, 8 p.m.-close, call for cover.

28 Tuesday

26 Sunday

nigHTliFE

in concErT

Joy Kills Sorrow Americana ensemble, 7:30 p.m., Gig Performance Space, 1808-H Second St., $15 in advance at southwestrootsmusic.org, $18 at the door (see story, Page 20).

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.

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

gallEry/mUSEUm opEningS little Bird at loretto 211 Old Santa Fe Trail, 820-7413. Group show of works by Native artists, reception 10 a.m.-6 p.m.

in concErT

cry me a river Beth Kennedy Jones sings the Julie London Songbook today and Monday, accompanied by the Bert Dalton Trio, 6 p.m., La Casa Sena Cantina, 125 E. Palace Ave., $25, 988-9232. lyle lovett and robert Earl Keen An acoustic evening with the Texas musicians, 7 p.m., Santa Fe Opera, 301 Opera Dr., $38-$89, santafeopera.org, 986-5900 (see story, Page 18).

Paintings by Forrest Solis at Sugarman-Peterson Gallery, 130 W. Palace Ave.

THEaTEr/dancE

School of aspen Santa Fe Ballet and aspen Santa Fe Ballet Folklórico Annual spring recital by students ages 3-18, 6 p.m., the Lensic, $20 and $25, 988-1234, ticketssantafe.org.

BooKS/TalKS

dwight lanmon The author signs copies of The Pottery of Acoma Pueblo, 1 p.m., Wheelwright Museum of the American Indian, 704 Camino Lejo, Museum Hill, no charge, 982-4636 (see story, Page 46).

Tending Seeds of peace in liberia Christian Bethelson and William “Uncle Jake” Jacobs discuss the region, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

EVEnTS

native Treasures indian arts Festival Traditional and contemporary works for sale by more than 200 artists, 10 a.m.-4 p.m., Santa Fe Community Convention Center, 201 W. Marcy St., no charge, 476-1250, nativetreasures.org (see story, Page 50). northern new mexico Fine arts & crafts guild Fair 10 a.m.-5 p.m. Cathedral Park, East Palace Ave. and Cathedral Pl., no charge, ends Monday. photon Energy & the Transformational influences of 2013 Gary Plapp’s workshop on the practice of dowsing, 1:30-4:30 p.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $15 in advance, $20 at the door, brownpapertickets.com. railyard artisans market Multi-instrumentalist Gerry Carthy 10 a.m.1 p.m.; guitarist/vocalist Kendal Martel 1-4 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, railyardartmarket.com, 983-4098, market 10 a.m.-4 p.m.

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

Santa Fe model railroad club Featuring circus models and trains; plus, a Veterans/MIA train, 10 a.m.-5 p.m., Santa Fe County Fairgrounds, 3229 Rodeo Rd., no charge, ends Monday, santafemodelrailroadclub.org.

nigHTliFE

(See Page 64 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.; Troy Browne Trio, contemporary rock and blues, 8 p.m., no cover.

El Farol 2013 New Mexico Music Awards winner 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.

The mine Shaft Tavern Americana guitarist Gene Corbin, 3-7 p.m.; Paw and Eric, alt. bluegrass, 7 p.m.-close; no cover.

Second Street Brewery at the railyard Joe West’s Santa Fe Revue, eclectic folk-rock, 1-4 p.m., no cover.

Vanessie Pianist Doug Montgomery, jazz and classics, 7 p.m.-close, no cover.

27 Memorial Day in concErT

cry me a river Beth Kennedy Jones sings the Julie London Songbook accompanied by the Bert Dalton Trio, 6 p.m., La Casa Sena Cantina, 125 E. Palace Ave., $25, 988-9232.

BooKS/TalKS

Tiwanaku: an andean civilization A Southwest Seminars lecture by author Matthias Strecker, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775.

(See Page 64 for addresses) ¡chispa! at El mesón Argentine Tango Milonga, 7:30-11 p.m., call for cover. cowgirl BBQ 2013 New Mexico Music Awards-winning folk-rockers The Bus Tapes, 8 p.m., no cover.

El Farol Canyon Road Blues Jam with Tiho Dimitrov, Brant Leeper, Mikey Chavez, and Tone Forrest, 8:30 p.m.-midnight, no cover. la casa Sena cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Soulstatic, funk and R & B, 7:30-11 p.m., no cover.

Second Street Brewery at the railyard Acoustic open-mic nights with Case Tanner, 7:30-10:30 p.m., no cover.

Tiny’s Mike Clymer of 505 Bands’ acoustic open-mic night, 8:30 p.m., no cover.

Vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; jazz pianist Bert Dalton, 8 p.m.-close, no cover.

pasa week

continued on Page 69

Talking Heads

EVEnTS

northern new mexico Fine arts & crafts guild Fair 10 a.m.-5 p.m., Cathedral Park, East Palace Ave. and Cathedral Pl., no charge.

Santa Fe model railroad club Featuring circus models and trains; plus, a Veterans/MIA train, 10 a.m.-3 p.m., Santa Fe County Fairgrounds, 3229 Rodeo Rd., no charge, santafemodelrailroadclub.org.

nigHTliFE

(See Page 64 for addresses) cowgirl BBQ Cowgirl karaoke with Michele Leidig, 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 Soulstatic, funk and R & B, 7:30-11 p.m., no cover.

The mine Shaft Tavern Jim & Tim, soulful blues, 3-7 p.m. on the deck, no cover.

Vanessie Pianist Doug Montgomery, jazz and classics, 7 p.m.-close, no cover.

a native american perspective: T.c. cannon Slip by the New Mexico Museum of Art during the lunch hour Wednesday, May 29, and view the late Santa Fe painter’s contemporary portraitures in a docent tour and discussion of his works. The artist-of-the-week series begins at 12:15 p.m., by musuem admission, 107 W. Palace Ave., 476-5072.

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exhibitionism

A peek at what’s showing around town

Aaron Karp: Untitled 5, 2011, acrylic on paper. New Concept Gallery (610 Canyon Road) presents Works on Paper, an exhibition of paintings, etchings, and photographs. The show includes work by Aaron Karp, Reg Loving, Julia Roberts, and other gallery artists. Electronic-acoustic harpist Roark Barron performs at the opening reception on Friday, May 24, at 5 p.m. Call 795-7570.

Kent Lovelace: St. Saturnin Moonrise, 2013, oil on copper. Meyer East Gallery (225 Canyon Road) presents a show of paintings on copper by Kent Lovelace. The artist’s atmospheric landscapes are rendered in soft tones that accentuate hazy sunlit fields and transitions from day to evening. There is a 5 p.m. opening reception on Friday, May 24. Call 983-1657.

Frank morbillo: Balancing Act, 2013, steel with patina.

Matthews Gallery’s exhibition Spectrum: Art From the 19th, 20th, and 21st Centuries offers viewers a chance to see contemporary work

by Kate Rivers, Michelle Williams, and others alongside pieces by Impressionists, Post-Impressionists, and Cubists, including works by Cassatt, Toulouse-Lautrec, Picasso, and Léger. Spectrum opens Friday, May 24, with a reception at 5 p.m.

The gallery is at 669 Canyon Road.

Call 992-2882.

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PASATIEMPO I May 24-30, 2013

sam scott: High Tide, 1996, acrylic on canvas. Four Tides, Four Decades covers the years 1981 to 2013 in the career of artist Sam Scott. The exhibition of paintings and works on paper opens Friday, May 24, at Yares Art Projects (123 Grant Ave.) with a 5:30 p.m. reception. Scott’s pieces draw from landscapes but retain an Abstract Expressionist feel.

The show features Scott’s entire Four Tides series from 1996. Call 984-0044.

Cecil touchon: Post Dogmatist Painting #609, 2013, rice paper and acrylic on birch panel. Cecil Touchon, who is associated with Massurrealism — a style combining surrealism with mass-produced imagery such as advertisements — renders geometric forms that look like parts of letters arranged into abstract configurations. Much of his work has the visual appearance of collage. In a Broken Tongue, a solo exhibition of his work, opens at Nüart Gallery (670 Canyon Road, 988-3888) with a 5 p.m. reception on Friday, May 24.

At the GAlleries Argos Gallery/Eli Levin Studio 1211 Luisa St., 988-1814. Jack Sinclair Retrospective: Masterworks in Oil, Pastel and Charcoal, through May. Charlotte Jackson Fine Art 554 S. Guadalupe St., 989-8688. Flux, paintings

by Clark Walding, through June 3.

Gerald Peters Gallery 1011 Paseo de Peralta, 954-5700. A Survey: Selections From Rome and Other Works, Patrick Oliphant’s drawings, monotypes, cartoons, and sculpture, through June 8.

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.

Photo-eye Gallery 376-A Garcia St., 988-5152. Golden Eagle Nomads, photographs by John Delaney; Means of Reproduction, Svjetlana Tepavcevic’s plant seed studies, through July 12.

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.

Sugarman-Peterson Gallery 130 W. Palace Ave., 982-0340. New paintings

by Forrest Solis, through June 20.

Touching Stone Gallery 539 Old Santa Fe Trail, 988-8072. Origin, work by ceramicist Jonathan Cross, through Saturday, May 25.

Zane Bennett Contemporary Art 435 S. Guadalupe St., 982-8111. European Perspectives: The Radiant Line, group show, through Friday, 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. Balancing Signal to Noise, works by Zoe Blackwell, Brandon Soder, and Betsy Emil, Spector Ripps Project Space; Muñoz Waxman front and main galleries: Vector Field, installation by Conor Peterson; The Curve, works by CENTER’s competitionwinning photographers David Favrod and Ignacio Evangelista; reception 6-8 p.m. Friday, May 24, through July 7. Gallery hours available online at ccasantafe.org or by phone, no charage.

El Rancho de las Golondrinas 334 Los Pinos Rd., 471-2261. Living museum and historic paraje (stopping place) on El Camino Real, the Royal Road to Mexico City. Open 10 a.m.-4 p.m. Wednesday-Sunday through September. $8; seniors and teens $5; ages 12 and under no charge.

Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land, through Sept. 8 • ArtSpring 2013, works by students of New Mexico School for the Arts’ Visual Arts Department, through Tuesday, 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., 983-1666. Facing the Camera: The Santa Fe Suite, photographic portraiture by Rosalie Favell • Stands With a Fist: Contemporary Native Women Artists • For Instance, Look at the Land Beneath Your Feet, video installation by Kate L. Twist • Apache Chronicle, Nanna Salunde’s experimental documentary on the artist collective Apache Skateboards; free reception 5-7 p.m. Friday, May 24, through July (see stories, Pages 40-42 and 44). 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 Identities: Basketry Art From the Collections

Ranchos Church No. 1, 1929, on exhibit in Georgia O’Keeffe in New Mexico: Architecture, Katsinam and the Land, Georgia O’Keeffe Museum • 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 chargae; 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.

Filigree and Finery: The Art of Spanish Elegance, an exhibit of historic and contemporary jewelry, garments, and objects, through Monday, May 27 • Stations of the Cross, group show of works

by New Mexico artists, through Sept. 2 • Metal and Mud — Out of the Fire, works by Spanish Market artists, through August • San Ysidro/ St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, Colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late Colonial period re-creation. Open 10 a.m.5 p.m. Tuesday-Sunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays.

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

Cowboys Real and Imagined, artifacts and photographs from the collection, through March 16, 2014 • Tall Tales of the Wild West: The Stories of Karl May, photographs

and ephemera in relation to the German author, through Feb. 9, 2014. Open 10 a.m.-5 p.m.

Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; 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. 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. Docent tours 2 p.m. Mondays, Wednesdays, Fridays, and Saturdays.

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In the wings MUSIC

Santa Fe Women’s Ensemble Fiesta de Musica, music of Casals and Victoria, and international folk songs, 3 p.m. Saturday, June 1, First Presbyterian Church of Santa Fe; 3 p.m. Sunday, June 2, Immaculate Heart of Mary Retreat and Conference Center Chapel; $25, discounts available, 954-4922.

The Sound of Stan Getz Santa Fe musicians Dave Anderson on saxophone, Bert Dalton on keyboard, Asher Barreras on bass, and Cal Haines on drums, 3-5 p.m. Sunday, June 2, The Bosque Center, 6400 Coors Blvd. N.W., Albuquerque, $23 in advance at brownpapertickets.com, $25 at the door.

Santa Fe Community Orchestra Season finale includes music of Brahms, Grieg, and Rimsky-Korsakov, 2:30 p.m. Sunday, June 2, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., donations appreciated, 466-4879 or sfco.org.

Mumford & Sons English folk-rock band, Michael Kiwanuka and Mystery Jets open, 7 p.m. Thursday, June 6, 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 online 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.

The Flatlanders Texas country trio, acoustic set 7:30 p.m.

Wednesday, June 19, Santa Fe Sol Stage & Grill, 37 Fire Pl., $34, 988-1234, ticketssantafe.org.

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. Line-up includes Eliza Gilkyson, A Hawk & A Hawksaw, and Max Baca y Los Texmaniacs.

Schedules and updates available online at santafebandstand.org.

Patty Griffin Singer/songwriter, Friday, June 28, Max Gomez opens, Greer Garson Theatre, SFUAD, 1600 St. Michael’s Dr., ticketssantafe.org, 988-1234.

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, Christine Brewer in recital, Sunday, Aug. 4; 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.

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PASATIEMPO I May 24-30, 2013

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.

Son Volt Alt.-country band, 7:30 p.m. Friday, July 12, Santa Fe Sol Stage & Grill, 37 Fire Pl., $23, 988-1234, ticketssantafe.org.

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

THEATER/DANCE

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.

Upcoming events 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, mail@theaterwork.com.

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.

HAPPENINGS

Savor the Flavor Nonprofit organization Delicious New Mexico and the Museum of International Folk Art co-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, $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

John proulx and his jazz trio join the line-up performing in st. John’s college’s music on the Hill 2013 summer series.

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; 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, $10-$37; Chicks ’n’ Chaps, rodeo clinic for women in support of Breast Wishes Fund, 1 p.m. Friday, June 21, $65 early bird tickets; Santa Fe Rodeo Grounds, ticketssantafe.org, 988-1234.

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, 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.

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

pasa week

continued from Page 65

29 Wednesday in concert

JAH Children USA Tour Line-up includes reggae artists Admiral Tibet, Danjah Band, and Donovan Banzana, 9 p.m., doors open at 8 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $17 in advance, solofsantafe.com.

books/talks

creating an opera season Brad Woolbright, Santa Fe Opera’s director of artistic administration, discusses SFO’s selection process, 5:30 p.m., Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., $10, presented by the Santa Fe Opera Guild, 629-1410, Ext. 123. a native american Perspective: t.c. cannon The New Mexico Museum of Art docent talk series continues with a discussion of the late painter, 12:15 p.m., 107 W. Palace Ave., by museum admission, 476-5072.

nightlife

(See Page 64 for addresses) ¡chispa! at el Mesón Flamenco guitarist Chuscales, 7-9 p.m., no cover. cowgirl bbQ Americana and alt-country singer/songwriter Coles Whalen, 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.

30 Thursday in concert

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., Museum Hill Café, Milner Plaza, 710 Camino Lejo, $20, 428-1527.

books/talks

kim Müller The Santa Fe chef featured in The Chef’s Collaborative Cookbook discusses sustainable food, cooking, and produce, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see Subtexts, Page 14).

Zoobiquity: What Dolphin Diabetes can teach Us about human health A talk by author Barbara Natterson-Horowitz, 7:30 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., no charge, Santa Fe Institute’s Community Lecture Series, 984-8800.

nightlife

(See Page 64 for addresses) ¡chispa! at el Mesón John Proulx Trio, L.A. pianist/vocalist with Michael Glynn on bass and Cal Haines on drums, 7-9 p.m., no cover.

cowgirl bbQ Pop/rock duo StereoFidelics, 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 2013 New Mexico Music Awards winner Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover. la casa sena cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la fiesta lounge at la fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover. 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 Americana/folk flatpicking guitarist Ben Wright, 6-8 p.m., no cover. steaksmith at el gancho Mariachi Sonidos del Monte, 6:30 p.m., no cover. tiny’s 2013 New Mexico Music Awards-winning band Country Blues Review, 8 p.m.-close, no cover.

Vanessie Bob Finnie, pop standards piano and vocals, 7 p.m.-close, no cover.

Zia Diner Swing Soleil, Gypsy jazz and swing, 6-8 p.m., no cover.

▶ Elsewhere Abiquiú

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 Thursday, 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. richard levy gallery 514 Central Ave. S.W., 505-766-9888. Color Matter, abstracts by Xuan Chen; new paintings

by Charles Fresquez; through May.

Harry’s Roadhouse shows work by textile artist Candace Kenyon, 96 Old Las Vegas Highway

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 Saturday, May 25.

Open 10 a.m.-4 p.m. Tuesday-Saturday; $5 suggested donation.

events/Performance

albuquerque Wine festival More than 20 wineries participate in the annual event noon-6 p.m. Saturday-Monday, May 25-27; live entertainment; arts & crafts; and food vendors; Balloon Fiesta Park, 4401 Alameda Blvd. N.E., $20, abqwinefestival.com, ages 21 and under accompanied by an adult no charge. sunday chatter The ensemble performs music of Schoenberg and Mozart, 10:30 a.m. Sunday, May 26; plus, a poetry reading by Kenneth P. Gurney, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, chatterchamber.org.

cErrillos

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, through June 16.

chAmA

cumbres & toltec scenic railroad The season starts Saturday, May 25, traversing 64 miles of Northern New Mexico and Southern Colorado; 888-286-2737, details available online at cumbrestoltec.com.

chimAyó

chimayó Museum 13 Plaza de Cerro, 505-351-0950. Chimayósos: Portrait of a Community, photographs by Don Usner, through July. Open 11 a.m.-4 p.m.

Wednesday-Saturday, through October, donations welcome.

los AlAmos Museums/art spaces

Mesa Public library art gallery 2400 Central Ave., 662-8250. Underground of Enchantment, traveling group show of 3-D

photographs of New Mexico’s Lechuguilla Cave of Carlsbad Caverns National Park, through Wednesday, 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 Wednesday, 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.

mAdrid Museums/art spaces

Johnsons of Madrid 2843 NM 14, 471-1054. Group show of works by gallery artists.

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. range West gallery 2861 NM 14, 474-0925. Cirque de la Vie, new paintings by Shelly Johnson, reception 3-6 p.m. Saturday, May 25. tapestry gallery 4 Firehouse Ln., 471-0194. Reductive Architectonics — Plus Additions, new tapestries by Donna Loraine Contractor, through June 20.

events/Performances

Madrid’s 40th rebirth-Day celebration Memorial Day weekend May 25-27, Gypsy Plaza Rebirth-Day Celebration, live music, children’s art projects, and exhibit openings; Memorial Day Annual Rival Ballgame, noon Monday, May 27, Oscar Huber Memorial Ballpark; scheduled events continue every weekend through May, details available online at visitmadridnm.com. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM

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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.

Grand Bohemian Gallery at El Monte Sagrado Living Resort and Spa 317 Kit Carson Rd., 575-737-9840. Trucks in Their Natural Habitat, paintings by Elizabeth Jose.

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, 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.

La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. Open 10 a.m.-5 p.m. Monday-Saturday, noon-5 p.m.

Sunday. Adults $8; under 16 $4; children under 5 no charge.

Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462.

Retrospective, Altar Screens and Retablos: Catherine Robles Shaw & Family, opening reception 5:30-7:30 p.m. Friday, May 24, through July 7, retablo demonstrations 10 a.m.-noon Saturday, May 25.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 3-6 p.m. Saturday, May 25, through the summer.

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.

La Cienega/La Cieneguilla Studio Tour Artists interested in participating in the annual tour held Thanksgiving weekend can contact Lee Manning for information, 699-6788, lensandpens@comcast.net.

New Mexico furniture craftspersons Santa Fe Arts Commission Community Gallery is planning an exhibit of chairs from June through August 2014; traditional, modern, sculptural, and functional pieces considered; submit portfolio to Rod Lambert, Community Gallery manager, P.O. Box 909, Santa Fe, NM, 87504, 955-6705.

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.

Events/Performances

Contest

London’s National Theatre in HD The live broadcast series continues with This House, James Graham’s Parliamentary drama, 7 p.m. Friday and Saturday, May 24-25, Taos Community Auditorium, 145 Paseo del Pueblo Norte, $15, discounts available, 575-758-2052.

truchas

Cardona-Hine Gallery 82 County Rd. 75, 505-689-2253. Twenty-Five Years Later: A Revolution in Art, works by Barbara McCauley and Alvaro Cardona-Hine, reception 1-5 p.m. Sunday, May 26.

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PASATIEMPO I May 24-30, 2013

Paintings by Elizabeth Jose at Grand Bohemian Gallery at El Monte Sagrado Living Resort and Spa, 317 Kit Carson Rd., Taos

▶ People who need people Artists

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 tailgatecontest@santafeopera.org; include name, email address, phone number, and approximate number in your group.

Filmmakers/Performers/Writers

Julesworks Follies The monthly variety show series seeks show ideas and behind-the-scenes help; contact Jules, 310-9997, srubinfilms@gmail.com.

Santa Fe Independent Film Festival Submissions sought for the Oct.16-20 festival; deadline July 1; final deadline Aug. 1. Visit santafeindependentfilmfestival.com for rules and guidelines.

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.

Volunteers

Birders Lead ongoing birdwatching walks at Leonora Curtin Wetland Preserve, Ortiz Mountains Educational Preserve, and Santa Fe Botanical Garden at Museum Hill; call 471-9103 or email info@santafebotanicalgarden.org for more information.

The Hospice Center Work in the office (computer skills desirable) with the bereavement program and help with flower arrangements and delivery for the Flower Angel program; call Mary Ann at 988-2211.

Kitchen Angels Drive vans to deliver food for the homebound two hours a week between the hours of 4:30 and 6:30 p.m.; 471-7780, kitchenangels.org.

People for Native Ecosystems Pitch in with feeding the prairie dog colonies in Santa Fe two or three hours a week; call Pat Carlton, 988-1596.

Pet Project Maintain sales floors, sort donations, and create displays at Santa Fe Animal Shelter and Humane Society’s two retail stores located on Camino Entrada and W. Cordova Rd.; contact Katherine Rodriguez at 983-4309, Ext. 128, or Anne Greene at 474-6300.

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 sfcommunityfarm@gmail.com or visit santafecommunityfarm.org for details.

Santa Fe Women’s Ensemble Always in need of ushers for concerts; email info@sfwe.org or call 954-4922.

▶ under 21 New Mexico film casting call 350 extras ages 18 and older sought for the feature film Slash shooting the last week in June through August in Santa Fe and Albuquerque; 1-7 p.m. Sunday, May 26, Warehouse 21, 1614 Paseo de Peralta, 989-4423.

▶ Pasa Kids Santa Fe Model Railroad Club Featuring circus models and trains; plus, a Veterans/MIA train, 10 a.m.-5 p.m. Saturday and Sunday, 10 a.m.-3 p.m. Monday, May 25-27, Santa Fe County Fairgrounds, 3229 Rodeo Rd., no charge, santafemodelrailroadclub.org.

Bee Hive Kids Books Mother-Daughter Book Club (ages 10-12), discussion of R.J. Palacio’s book Wonder, 6:30 p.m. Wednesday, May 29, 328 Montezuma Ave., no charge, 780-8051.

Flying Cow Gallery Warehouse 21, 1614 Paseo de Peralta, 989-4423.

Dragonfly Art Studio student exhibit (ages 5-13), 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.

Santa Fe High School Demonette Basketball Youth Camp For ages 6 years and up; 9 a.m.-3 p.m. Saturday, June 1, lunch provided, Toby Roybal Gymnasium, 2100 Yucca St., $25, call Elmer Chavez, 467-2412. ◀