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

February 22, 2013


“The only two things I don’t

eat for lunch are breakfast and dinner.”

Join us for Restaurant Week! February 24 - March 3

3 course prix fixe dinner $30 per person

– Anonymous

Inspired Lunch Menu Starting at 9 dollars

2 course prix fixe lunch $12 per person

16 y e a r s i n s a n ta f e

526 Galisteo Street • 820.0919 www.restaurantmartin.com

548 Agua Fria, Santa Fe | 982-8608 | RistraRestaurant.com

Nature's Art and Functionals.

Happy Hour Special At The Bar After Work | After Session | Après Ski

50% off

OUR FAMOUS ‘CLASSIC’ APPETIZERS CALAMARI, DUMPLINGS & SPRING ROLLS Wines by the glass, ‘Well’ Cocktails & our House Margarita! $5.00 each

Monday thru Friday from 4:00 - 6:00pm Full Bar with Free Wi-Fi Visit us online

www.santacafe.com Instant Gift Certificates Recipes & Reservations OPEN EVERYDAY LUNCH from $9.50 DINNER from $19.00 231 Washington Ave Santa Fe, NM 505 984 1788

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February 22 -28, 2013

www.

sequoiasantafe

.com

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


David Nakabayashi PRESENTIMENT February 22 through March 22 OPENING RECEPTION

Friday, February 22 from 5 – 7 pm

435 S. Guadalupe St., Santa Fe, NM 87501 505 982-8111 zanebennettgallery.com Tuesday-Saturday 10-5 or by appointment RAILYARD ARTS DISTRICT WALK LAST FRIDAY OF EVERY MONTH

&

b o t w i n

e y e s

e y e

g r o u p

o p t i c s s a n ta

f e

Cartier Chanel Chrome Hearts Anglo American Anne et Valentin Beausoleil Lunettes Dolce & Gabbana Etnia Barcelona FACEaFACE Ronit Furst Gotti i.c!berlin Lindberg Denmark Oliver Peoples RetroSpecs Loree Rodkin Theo 2.5 Eyephorics…

Dr . M a r k bot w i n Dr . Jonath an bot w i n Dr . J e r e M y bot w i n

Optometric Physicians

444 St Michaels Drive

5 0 5 . 9 5 4 . 4 4 4 2 BotwinEyeGroup.com PASATIEMPO

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Santa Fe Community Orchestra Oliver Prezant, Music Director

New Works by New Mexico’s Composers Readings of Works by

Janice Simmons and

Charles Blanchard Friday, February 22, 6:00 pm Stieren Hall at The Santa Fe Opera Free admission, Donations appreciated Call 466-4879 for more information or to submit works for consideration

SFCO’s New Works by New Mexico’s Composers program is sponsored by a generous grant from The Mill Foundation.

PHOTO: BRIGITTA SCHOLZ

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

! N O O S G COMIN Española Valley Humane Society

is opening its second resale store in Santa Fe. DON’T MISS THE GRAND OPENING MARCH 2

851 Saint Michaels Drive

Gareth Armstrong’s

Lensic Presents L I V E

in the Candyman Center. We are presently accepting donations and consignments of quality furniture, home decor, fine art and other salable treasures.

Please call 505.614.4252

Starring Guy Masterson

Sunday, March 3; 7 pm, $15–$35

Shylock: Villain or victim? Gareth Armstrong’s witty one-man play explores the many ways Shakespeare’s famous Jew (from The Merchant of Venice) has been portrayed over the centuries. Tickets: 505-988-1234 www.TicketsSantaFe.org S E R V I C E C H A R G E S A P P LY AT A L L P O I N T S O F P U R C H A S E

th e lensic is a non profit, member-supported organ ization

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February 22 -28, 2013


EEL RANCHO DE LAS GOLONDRINAS PRESENTS

MERCHANDISE & WARES AND HOW THEY CAME TO NEW MEXICO: 1825-1880 by Susan Boyle

Thursday February 28, 2013, 7 pm at the Santuario de Guadalupe Agua Fria and Guadalupe Streets, Santa Fe Santa Fe as an international shopping destination? ...Certainly not in 1825!

Consumerism was not much of a topic of conversation in Santa Fe in the mid-1800s. Nonetheless, its citizens looked forward to seeing what new merchandise might make its way to Santa Fe via the important trade routes into town. FREE! Arrive early for a good seat (505) 471-2261/golondrinas.org Support provided by the Santa Fe Arts Commission

Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room

JEWEL MARK, SANTA FE'S FAMILY JEWELER

Bedroom

Entertainment

Lighting

Accessories

Hopi Bedroom $994 Queen $896 Nightstand $420 Blanket Chest $488

Handcrafted in Santa Fe

SANTA FE COUNTRY FURNITURE 525 Airport Road • 660-4003 • Corner of Airport Rd. & Center Dr.

Monday - Saturday Fine Jewelry The Mark of Distinction Established 1987

OPEN EVERY DAY 10-6 • 505.820.6304 233 Canyon Road • www.jewel-mark.com

9-5

Closed Sundays

TO FIND US ON GOOGLE MAPS USE: 273 AIRPORT RD. • IPHONE SEARCH USE: “LOC: +35.638542, -106.024098”

PASATIEMPO

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THE SANTA FE NEW MEXICAN

February 22, 2013

On the cOver 36 a shOt in the dark This week Pasatiempo zooms in on the movies with stories, critics’ Oscar picks, and an inordinate number of photos of burly men in open-toe footwear. Monroe Gallery of Photography celebrates the work of the late Sid Avery, described as the master chronicler of the sunset years of Hollywood’s Golden Age, shooting the biggest movie stars for popular magazines from 1946 to 1961. Sid Avery: The Art of the Hollywood Snapshot runs through March 24. On the cover is Avery’s photograph of Buster Keaton, taken in 1964 for a U.S. Steel advertisement. © 2012 Sid Avery/mptvimages.com

bOOks 12 in Other Words The Searchers — the real story 14 Lannan Literary event Honoring Langston Hughes

mUsic and PerFOrmance 17 18 22 71

Onstage Tristan Prettyman at Vanessie bert dalton Quartet Dave Brubeck remembered Pasa reviews Santa Fe Symphony sound Waves Postpunk and girl-power stew

mOving images

54 Pasa Pics 58 West of Memphis 60 Tabu

caLendar 64 Pasa Week

and 8 mixed media 11 star codes 62 restaurant review

site santa Fe 24 art is life is art Linda Mary Montano 28 State of Mind Goin’ back to Cali 32 mungo thomson Crickets and Rolodexes

artFeast 50 edible adventures Food for creative thought

FiLm 40 the Oscars Word has it Daniel Day-Lewis is involved 46 swords and sandals Peplum on parade

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

Pasatiempo is an arts, entertainment & culture magazine published every Friday by The New Mexican. Our offices are at 202 e. marcy st. santa Fe, nm 87501. editorial: 505-986-3019. Fax: 505-820-0803. e-mail: pasa@sfnewmexican.com PasatiemPO editOr — kristina meLcher 986-3044, kmelcher@sfnewmexican.com ■

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

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

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

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

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

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

cOntribUtOrs Jon bowman, Laurel gladden, robert ker, bill kohlhaase, Jennifer Levin, susan meadows, robert nott, adele Oliveira, Jonathan richards, heather roan-robbins, casey sanchez, michael Wade simpson, roger snodgrass, steve terrell, khristaan villela

PrOdUctiOn dan gomez Pre-Press Manager

The Santa Fe New Mexican

© 2013 The Santa Fe New Mexican

Robin Martin Owner

Ginny Sohn Publisher

advertising directOr Tamara Hand 986-3007

marketing directOr Monica Taylor 995-3824

art dePartment directOr Scott Fowler 995-3836

graPhic designers Rick Artiaga, Dale Deforest, Elspeth Hilbert

advertising saLes mike Flores 995-3840 stephanie green 995-3820 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


It’s our favorite time of the year -

Santa Fe Restaurant Week! Join us February 24th through March 3rd and enjoy an incredible 3-course dinner menu featuring fresh starters, delectable entrĂŠes, and tempting desserts - all for only $30!

SFPS District Collaborative Orchestra and Guitar Concert Monday, February 25, 6:30 p.m. 135 Students From Eleven Schools, ages 8 through 18 Almudena Abeyta, SFPS Chief Academic Officer, will deliver opening remarks. Event is free, suggested donation of $8

Call 505-467-2513 for more information. SFPS K-12 Strings Education program is a joint effort of Santa Fe Chamber Music Festival, Santa Fe Concert Association, Santa Fe Youth Symphony Association, and Santa Fe Public Schools. Special Thanks to SJR Charitable Trust

Reservations recommended. Please call 505.995.4530. Located at Eldorado Hotel & Spa 309 W. San Francisco Street EldoradoHotel.com *Surcharge applies to some items.

PASATIEMPO

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MIXED MEDIA

Songwerks Voice Studio Classical and Contemporary

All Ages and All Levels Welcome! Dr. Karen Hall, voice teacher, soprano, author, editor, music researcher 30 Years Teaching Experience 607 Cerrillos Road, Studio F-2, Santa Fe, 919-8818 • www.karenshall.com

Jewels for the king and queen in all of us...

115 Don Gaspar

between San Fransico & water st.

505.984.0040 • 800.784.0038 www.goldeneyesantafe.com

We will be open Sunday, Dec. 23, 11:00 to 4:00

final markdowns! come and get ’em! On Your Little Feet Get it Together On Your Feet 8

February 22 - 28, 2013

sale items reduced UP TO

50%!

(60% with this coupon)

*FINE PRINT: Bring this ad in for an additional 10% off sale items only! Coupon expires 2/28/13. You must present this coupon at time of purchase for your extra 10% sale discount. No exceptions! Sanbusco Market Center Info line 983-3900

Anasazi Restaurant chef Juan Bochenski offers his achiote grilled Atlantic salmon dish during Santa Fe Restaurant Week.

Dine and dandy From Sunday, Feb. 24, to Sunday, March 3, Santa Fe’s winter dining scene bustles with more activity than usual. During those eight days, the local food-service industry takes part in the fourth annual Santa Fe Restaurant Week. This year, more than 50 local restaurants showcase their talents, offering prix fixe dinners in a number of price ranges: $25 for two people and $20, $30, or $40 per person. Plenty of participating restaurants also offer à la carte lunch specials during the week. From the family-friendly Cowgirl BBQ to more upscale white-linen joints like The Compound, there’s something for every palate and every wallet size. Along with special dinners and lunch items, Santa Fe Restaurant Week offers the culinarily curious a bevy of classes and special events, such as “How to Make Fresh Pasta” with chef Andrew Cooper of Terra Restaurant at Four Seasons Rancho Encantado and “The ABC’s of Sake: Seminar and Tasting” with certified sake specialist Ayame Fukuda at Shohko Café. Anasazi Restaurant’s new chef, Juan Bochenski, presents a workshop titled “The Art of Making Empanadas,” and some of Santa Fe’s best bartenders offer a roving class called “Raising the Bar: Cocktail Crafting from the Masters.” To get in on Santa Fe Restaurant Week’s prix fixe meals, head to http://santafe.nmrestaurantweek.com and find the list of participating restaurants. Call the restaurants directly to make reservations. To get tickets for special classes and seminars, click the “events” link on the website’s home page. Events sell out fast, so hurry! You can also register online to be entered in drawings for prizes, such as gift certificates from local restaurants. For information, call 847-3333. If you can’t be in Santa Fe for Restaurant Week, don’t worry. Taos holds its Restaurant Week March 3 to 10, and Albuquerque’s dining spots get hopping March 10 to 17. You can register for classes and check out restaurant specials in these cities by visiting www.nmrestaurantweek.com. And keep this in mind: according to the latest Bureau of Labor Statistics and U.S. Census Bureau data compiled by the National Restaurant Association, restaurant jobs account for 10 percent of New Mexico’s workforce, and every dollar you spend in New Mexico’s restaurants generates an extra 71 cents in sales for the state. More sales, more business. More business, more jobs. While you’re feeding your belly, you’re also feeding the economy. You’re a job creator simply by digesting! — Rob DeWalt


on the practice of calligraphy as a spiritual art form at this special demonstration, co-presented with the One Drop Zen Community of Whidbey Island,Washington.

The Roshi’s books and the calligraphies created during the evening will be available for purchase. Simultaneous translation and video-cast provided.

107 W Palace Ave. On the Plaza in Santa Fe 505 476-5072 • nmartmuseum.org

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

Zen Master and Calligrapher Shodo Harada Roshi will share his teachings

B A B E T T E S F. C O M

Tuesday, February 26, 2013 6:00 to 8:00 p.m. St. Francis Auditorium New Mexico Museum of Art $5 at the door

(505) 989-3435

Special Presentation An Evening with Zen Master & Calligrapher

The MASTERS Program

Early College Charter High School is accepting applications for Fall 2013 sophomores and juniors only.

Lottery Drawing on March 5, 2013 Applications (see website) due by 4 PM Friday, March 1 We are a caring community of learners with an emphasis on excellence. Our program combines high school and college courses in a dual-credit program and we focus on rigorous academics and high standards. Support is always available from teachers and tutors. STEM is emphasized, as is service to the community.

www.themastersprogram.net (505) 428-7320 PASATIEMPO

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tonight . february 22, 2013 . 5-7pm

L a s t F r i d ay a r t Wa L k In Santa Fe’s Vibrant Railyard Arts District tonight . july 30 . 2010 . 5-7pm last friday every month

charLotte jackson Fine art Ronald Davis, Pixel Dust Renderings 2012

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WiLLiam james david keLLy richard siegaL charLotte jackson

READ ST.

WAREHouSE 21

james keLLy contemPorary The Art of Renewal: Group Show of Gallery Artists

LeWaLLen gaLLeries Winter Group Show

tai gaLLery Japanese Bamboo Art

david richard gaLLery Judy Chicago, Woven & Stitched June Wayne, The Tapestries

cAmIno DE lA FAmIlIA

WiLLiam siegaL gaLLery Gallery Artists

zane bennett

zane bennett contemPorary art David Nakabayashi, Presentiment

Join us at SITE Santa Fe for our new season featuring a suite of contemporary art exhibitions that explore that california State of mind.... Tonight: Public Opening 5-7pm State of Mind: New California Art Circa 1970 Mungo Thomson: Time, People, Money, Crickets Linda Mary Montano: Always Creative Featuring a performance by Linda Montano 12-7 pm, Singing My Heart Out image: Robert kinmont, 8 Natural Handstands (detail)1969/2009, nine silver gelatin prints, each: 8 x 8 in. photo: Joerg lohse, Image courtesy Alexander and Bonin, ny

The Railyard Arts District (RAD) is comprised of seven prominent Railyard area galleries and SITE Santa Fe, a leading contemporary arts venue. RAD seeks to add to the excitement of the new Railyard area through coordinated events like this monthly Art Walk and Free Fridays at SITE, made possible by the Brown Foundation, Inc., of Houston. We invite you to come and experience all we have to offer.

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February 22 -28, 2013


STAR CODES Heather Roan Robbins

Spring is just a short time away, but we’re not done with winter yet.

Mercury retrogrades for the next three weeks and sends us back to do our winter homework. It’s time to compost the year — learn and correct our course for the future — because when the energetic spring hits, we will need all our wisdom in the driver’s seat. Feeling a little spacey? One of this month’s lessons is learning how to dwell in uncertainty, with feelings close to the surface. Walking around in a fuzzy haze is lovely under safe circumstances, but we should focus when engaging in dangerous Mercury situations, like answering a loaded question. When our feelings quiver this much they can easily distort what we see. Use sensitivities to understand and improve the situation as Venus joins Mercury retrograde, Mars, the sun, and Neptune in Pisces on Monday. Luckily, the planets in Pisces also form a supportive trine stabilizing Saturn in Scorpio, and this can help us stay organized and sane under these amorphous astrological conditions. We can tap into this Saturnine support when we use our rituals of habits and our training. Saturn likes systems and traditions. As the weekend begins, expect a bout of benign narcissism — a moment when we should put ourselves in the center and attend to our needs under a waxing moon in Leo. Watch out for malignant narcissism. Early next week, notice a tendency to be hard on ourselves and on one another as a persnickety Virgo moon holds high standards about the very things we’re having trouble with under Mercury retrograde — like factual accuracy and deadlines. Practice acceptance and put safety first.

C U ST O M PA I N T I N G , D E C O R AT I V E F I N I S H E S , C O L O R C O N S U LTAT I O N

www.gretchenovermandesigns.blogspot.com Tel.505.670.4622

The Monks’ Corner First Ever 20% Storewide Sale! Continues thru Feb. 28 235 Don Gaspar • 982-1915

Store hours: 10am-5pm • Mon thru Sat

Friday, Feb. 22: Insecurity wafts as Venus semisquares Pluto. We may be afraid of losing something precious, and this can shift our priorities. Speak with care and tie up loose ends. This evening the mood becomes expansive and sociable under an outgoing Leo moon. Saturday, Feb. 23: Notice an impulse to shop and either resist or keep the receipts. The mood is warmhearted with a tendency toward emotional melodrama when we don’t feel understood — and that’s all too easy as Mercury retrogrades. Assume the best and clarify information. Sunday, Feb. 24: Keep the heart and eyes open; this could be a rocky day. Be one’s own audience rather than seek approval or understanding as the moon opposes Venus and then heads into prickly Virgo. Later, healthy self-indulgence is helpful. Monday, Feb. 25: Hurry up and wait — a full moon in Virgo can make us more demanding, while the rest of today’s aspects slow us down and complicate the situation. Prioritize and forgive. Direct the critical mind with care — give it a problem to solve, not problems to find. Pre-spring cleaning may be great therapy. Feelings are tender as Venus enters Pisces. Tuesday, Feb. 26: On this strangely oppositional day, note smoldering resistance as Mercury conjuncts Mars and the moon opposes both. Delays may be irritating but turn out lucky. It’s easy to flare up over a misunderstanding; check facts first. We may need to reassess recent decisions or clarify direction. Wednesday, Feb. 27: If called to make a sudden decision, make it lifeaffirming. It may feel like a waste of time to socialize, but we need to strengthen relationships now as the moon enters Libra. Some old splinter or grudge can bother us this morning. Thursday, Feb. 28: The mood is dreamy, intuitive, hopeful, sensitive, and easily bruised by the dissonance between our ideals and our reality as Venus conjuncts Neptune. Pour gentle creativity into art and word. ◀ www.roanrobbins.com

For 34 years Little Earth School has been cultivating confident independent life-long learners with strong academic and social skills

NOW ENROLLING FOR FALL 2013 Preschool–Sixth Grade

OPEN HOUSE

February 23, 10am-noon

GUIDED TOUR

February 27, 9am-10am (PLEASE RSVP)

505-988-1968 321 West Zia Road, Santa Fe www.LittleEarthSchool.org

PASATIEMPO

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In Other wOrds The Searchers: The Making of an American Legend by Glenn Frankel, Bloomsbury USA, 405 pages The Searchers, John Ford’s 1956 Western, is the tale of an obsessive, Indianhating frontiersman named Ethan Edwards (played by John Wayne) who endures years of hardship in an effort to find his niece, Debbie (played as a girl by Lana Wood and as a teen by Natalie Wood), who was kidnapped by Comanches on the Texas plains years before. The question is: Once he finds her, will Ethan rescue her or, given that she has been living like a Comanche, kill her? The film was adapted from Alan Le May’s 1954 novel of the same name, which offers a very different ending than the one you see in the movie version. In his well-researched book The Searchers: The Making of an American Legend, Glenn Frankel notes of the film, “Like the generation that first dismissed it as just another Hollywood Western, we think we know what it is about, but its relentless ambiguity defeats us.” The book’s subtitle, The Making of an American Legend, does not refer only to Ford’s movie. Frankel goes back to 1830s Texas to recount the real history behind the reel legend, starting with a Comanche raid on Parker’s Fort and the abduction of Cynthia Ann Parker, who served as the historical model for Debbie. More than half of the book (not including notes) is dedicated to the back story of the people who inspired Le May’s book — particularly James Parker, who spent 15 years, often alone, searching for his niece Cynthia Ann. (Parker is basically the Wayne character.) Though James Parker eventually

Make your garden GROW!

book reviews gave up his quest, Cynthia Ann was recaptured in 1860 — by which time she was so thoroughly indoctrinated into the Comanche way of life that the last thing she wanted to do was return home. Frankel’s dedication to telling the story is impressive, and the writing is always clear and direct. There’s certainly little time to be bored, what with the constant stream of rampage, rape, murder, and abduction perpetrated by both white settlers and Indians throughout the narrative. For instance, we discover that James Parker’s hatred of Comanches once led him to gun one down at a trading post near the Sabine River without much cause. The sad story of Cynthia Ann Parker’s return to “civilization” and the depression that overtook her as she longed to return to her Native family is beautifully told. So is the lengthy saga of her son, Quanah Parker. He first fought against white rule and then, when defeated, adapted to the white man’s world, making a name and fortune for himself along the way. Frankel details how whites viewed women who fell into Indian hands, often wanting them dead or forgotten for fear that they had sexual relations with their captors. This hatred of miscegenation — whether forced or consensual — lies at the heart of Le May’s novel and Ford’s film. Frankel doesn’t get to the actual production of the film until page 245, and you almost forget what the book is about after a while. Yet in an age in which we tend to look forward and not back, it’s refreshing to see an author lay out an exciting history lesson. Frankel notes that Le May did his research, and it paid off in Frank Nugent’s script for The Searchers, which captures the lonely and stressful isolation inherent in both Le May’s novel and in 1830s Texas pioneer life. Frankel devotes a chapter apiece to the careers of Le May, Ford, and Wayne. He discusses the casting of the film (Robert Wagner, John Agar, and Fess Parker all campaigned for the role eventually played by Jeffrey Hunter) and lays out a lot of strangely fascinating facts about the number of vehicles and people used in the making of The Searchers. He also notes that Ford reportedly took some behind-the-scenes footage of the production on location in Monument Valley, but nobody knows where that footage is today. The picture received mostly positive reviews and did OK business, but it was not nominated for a single Academy Award. “The Searchers is perhaps the greatest Hollywood film that few people have seen,” Frankel notes near the end of his tome. The comment suggests that Frankel sees the picture as a cult, rather than a classic, film. Maybe it’s that rare case: both cult and classic, and a movie that bears continued attention and conversation as it nears its 60th anniversary. — Robert Nott

T H E W O O D CA R E S P E C I A L I S T A n t i q u e s F i n e F u r n i t u re K i t ch e n s B u i l t - i n C a b i n e t r y !

!

!

Gardening 101: The Basics of Gardening in Santa Fe Santa Fe Center for Spiritual Living Saturday, March 16; 9 am to 3:30 pm 505 Camino de los Marquez You’ll learn essential skills for ornamental, fruit, and vegetable gardening success.

Instructors: Tracy Neal and Jannine Cabossel. Course fee: $45. Space is limited.

REGISTER NOW at www.sfmga.org A community service of

Gardening Hotline

www.sfmga.org (505) 471-6251

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February 22 - 28, 2013

Touch-up

Repair

Polishing

CALL BARRY METZGER

505-670-9019

OR VISIT OUR NEW LOCATION

1273-B Calle De Comercio, Santa Fe, NM 87507

www.thewoodcarespecialist.com


PASATIEMPO

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Bill Kohlhaase I For The New Mexican

Top, from left: Langston Hughes, 1961; AP Photo Portrait of the writer by Winold Reiss; AP Photo/National Portrait Gallery Photograph of Hughes by Gordon Parks, 1943; Library of Congress Bottom, from left: David Mills

Room at the top

Photograph of Hughes by Jack Delano, 1942; Library of Congress Carl Van Vechten’s photo of the author, 1936; Library of Congress

David Mills takes Langston Hughes far from home Langston Hughes was a major force in the Harlem Renaissance

of the 1920s and a leading figure in American literature until his death in 1967. Best known as a poet, Hughes also published novels and short story collections and wrote for the theater. When actor/writer David Mills brings his one-man presentation Dreamweaver: The Works of Langston Hughes to the Lensic Performing Arts Center on Wednesday, Feb. 27, as part of the Lannan Literary series, he will present the entire spectrum of Hughes’ work, not just the poetry. “Langston was extremely prolific,” Mills said. “I dare say he might have been a better fiction writer than he was a poet, and of course he wasn’t a bad poet at all. Read his short stories, read [the collection] The Ways of White Folks, read his story ‘Rock, Church.’ It’s phenomenal. Its sense of character, the lessons, his rhetorical skills. He’s a wonderful craftsman.” Mills has a different sense of Hughes than most, having lived for two and a half years in the Harlem brownstone on 127th Street, now a historic landmark, where the writer lived for the last 20 years of his life. Hughes shared the home with an older couple, Emerson and Toy Harper, living and working on the third floor in a pair of rooms. It was here that he wrote the poems in his classic Montage of a Dream Deferred, published in 1958, his popular and humorous Simple books (Simple Takes a Wife; Simple Speaks His Mind), plays, and the second volume of his autobiography, I Wonder as I Wander. 14

February 22 - 28, 2013

When Mills lived there in the 1990s, the home contained many pieces of memorabilia, including Hughes’ typewriters (one of them is seen on the cover of Hughes’ Selected Poems), photos from his many travels, the piano on which he composed song lyrics, and original copies of magazines containing Hughes’ work. One of the most iconic photos, Mills said, was a shot of the poet working as a busboy in a hotel in Washington, D.C., before his first poetry collection, The Weary Blues, was published in 1926. The poet Vachel Lindsay, who was giving readings in Washington at the time, dined at the hotel, “and Hughes, knowing who he was, slid him some of his own poems later that evening, prompting Lindsay to say that he’d discovered this great Negro poet.” Mills, who had previously participated in a reading at the house and knew its owner, had just moved out of his Harlem home and was looking for a new space when he made the offer to be a tenant. He ended up on the second floor, beneath the famous rooms where Hughes did most of his later work. After that, a second man moved into the house, taking the tiny upstairs space where Hughes had worked and slept. “That annoyed me,” Mills admitted. “This guy wasn’t even a writer.” Mills sought a grant to establish a series of readings at the house and was named artist-in-residence. When people came by, he conducted tours, giving them a sense of the house’s history and the man who called it home. The


things he learned about Hughes from his experiences there give insight into the writer’s work ethic and craft. Hughes was unusual among black writers because he supported himself — never handsomely — by his work (and, early on, with the help of a pair of benefactors). This, Mills said, was one reason he was so prolific and wrote in so many genres, including children’s books. “Sometimes he did hack work to survive, but he was the first African American poet who, from the age of 25, lived on his work.” In 1946 Hughes was picked by Kurt Weill to write the libretto for the Broadway adaptation of Elmer Rice’s Pulitzer Prize-winning play Street Scenes. “That’s how he came to the house. This was very unusual for the time: a white guy and an African American guy collaborating on a Broadway production. But it made [Hughes] the money for the one and only house he ever owned.” According to Mills, Hughes kept an interesting schedule, one that he began in the 1930s and continued when he moved into the 127th Street house. “He would go out at night in Harlem with his notebook, and he was a habitué of different bars and music spots, taking notes on everything he saw. He’d stay out until sunrise and then come home and his ‘fake aunt’ [Toy Harper] would make him breakfast and he’d go up to the third floor and work. He had two other typewriters, and he kept different color paper in each one to keep his different projects straight. He’d go to bed sometime after noon and then get up at nightfall and do it all again.” Hughes’ poetry as well as his fiction was never academic and always accessible. He sought authenticity in his writing, which he famously declared came from “the low-down folk.” “Hughes was writing for and about the common person,” Mills explained. “And he was criticized for this, by James Baldwin among others. But his way was to celebrate and be with the people, to take the common narrative and bring wisdom, joy, and laughter to your writing, even when it contains an artful lesson. He was the first person to write [poetry] as blues, not as lyric. And some of his greatest stories are the Simple stories. They can be funny, but in their way they are real.” Hughes never shied away from the consequences of his ethnicity or the experiences it gave him. His essay “The Negro Artist and the Racial Mountain,” first published in The Nation in 1926, champions an approach that would be embraced by the Black Arts Movement in the 1970s. In the essay, Hughes tells of a young poet who says to him, “I want to be a poet — not a Negro poet,” which Hughes takes to mean, “I want to write like a white poet.” “And I was sorry the young man said that,” Hughes writes, “for no great poet has ever been afraid of being himself.” Mills said, “Hughes was referring to [Harlem Renaissance poet] Countee Cullen, who wrote much more in the European classical style of A.E. Housman and John Keats. He was a fine writer, but he had a different aesthetic than Hughes in his person and how he related to his forebears and his ethnicity in his poetry. I can understand the impulses in wanting to transcend race. But it’s dangerous to want to homogenize your experience and not recognize one’s cultural grounding.” Mills himself is a poet. His collection The Dream Detective was published in 2009. “But my aesthetic is relatively different than Hughes’. I’m concerned about my community, like he was, but my writing comes out a different way. [When I perform], I don’t want this to be about me. I will come out of character at the end and talk about the man’s art.” In addition to the poetry, Mills reads from Hughes’ short stories. And there’s one piece he might add. Hughes was a great traveler and spent time in Spain, Russia, and other parts of Europe. But, Mills said, he never made it to New Mexico, a fact that surprises some people familiar with his poem “A House in Taos” (“Touch our bodies, wind,/But blow quickly/Through the red, white, yellow skins /Of our bodies /To the terrible snarl,/Not mine,/ Not yours,/Not hers,/But all one snarl of souls”). Addressing the wind and skies above the house, Hughes suggests the tangled cultural history of the area. It’s as if this man of Harlem, this man of the world, saw a place he had never visited. ◀

details ▼ David Mills performs Dreamweaver: The Works of Langston Hughes, a Lannan Literary event ▼ 7 p.m., Wednesday, Feb. 27 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $6, $3; 988-1234, www.ticketssantafe.org

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February 22 -28, 2013


ON STAGE Three for four: Atrium String Quartet Formed in St. Petersburg, Russia, in 2000, the Atrium String Quartet went on to secure important international performance awards and a busy schedule of international concert bookings. St. John’s College presents the ensemble in the Great Hall in its Peterson Student Center (1160 Camino de Cruz Blanca, 984-6000) at 7:30 p.m. on Friday, Feb. 22. On the program for this free event are Beethoven’s early F-Major Quartet (op. 18, no. 1), Debussy’s only quartet, and the Third Quartet of Shostakovich. The Atrium foursome has all 15 of Shostakovich’s remarkable quartets in its repertoire and has recorded three of them; the Third figured on its debut release for EMI Classics. Shostakovich initially attached programmatic headings to this work’s movements, revealing that the piece depicted the mounting political tension of the 1930s, the cataclysm of war, and the futility of it all. The much-persecuted composer suppressed the headings before he released the piece, probably suspecting that the less he said about the subject, the better. — JMK

Anastasia Adamenko

THIS WEEK

It’s never too late: Bach Valentine’s concert If you missed the muss and fuss of Feb. 14 this year, join the New Mexico Performing Arts Society for its third annual Valentine’s concert at the Immaculate Heart of Mary Retreat and Conference Center Chapel (50 Mount Carmel Road) at 4 p.m. Sunday, Feb. 24. The all-Bach program has harpsichordist Susan Patrick, violinist Kerri Lay, flutist Linda Marianiello, and cellist Sally Guenther. The concert features four sonatas, including the trio sonata from The Musical Offering, composed for Frederick II of Prussia in 1747. Tickets are $25, with discounts available, and may be purchased at www.ihmretreat.com and at the door (cash or check only). Call 474-4513 for reservations. — LEG

Beat-box beatnik: Martin Sexton The music industry is flooded with singer-songwriters hoping to leave an indelible mark on the listening world. Most fail, unlike Syracuse, New York-born singer-songwriter Martin Sexton. He’s a charismatic storyteller who floats between jazz, R & B, folk, pop, country, and jam rock, bringing a lush soulfulness to his live performances and studio recordings, like a tent revivalist waving a modified acoustic/electric six-string instead of a Bible. Sexton, who began his music career in his early 20s as a busker in Harvard Square, possesses an incredible vocal range while using a beat-box method he crafted before hip-hop assumed ownership of the popular mouth-percussion technique. Sexton’s singing, blended with his rhythmic finger-tap guitar and mindboggling command of pedal effects, sets him far apart from the growing herd of folky singer-songwriters. Catch Sexton at 7:30 p.m. Thursday, Feb. 28, at the Lensic Performing Arts Center, 211 W. San Francisco St. Tickets, $22 to $38, are available by calling 988-1234 and through www.ticketssantafe.org. — RDW

The very model of a musician: Tristan Prettyman Former model Tristan Prettyman knows how to look the part of the pop/rock madonna, but there’s a lot more to her than image. Her fifth album, Cedar + Gold, offers quite a bit of musical variety. She tells personal stories in interesting ways, once in a while with risqué lyrics that bring new meaning to the “adult alternative” style she inhabits. Prettyman hits the stage at Vanessie (427 W. Water St., 982-9966) at 7:30 p.m. Sunday, Feb. 24. Tickets are $18 from Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe. org) and $20 at the door. — PW

PASATIEMPO

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DOWNBEAT BERT DALTON CELEBRATES DAVE BRUBECK

Paul Weideman I The New Mexican

you look at the biography of the late, great jazz pianist Dave Brubeck, two facts will make you wonder how he achieved what he did. First, when he was a kid, his ambition was to be a cattleman. Second, even when he had taken up music, it seemed unlikely he would ever learn notation. “An intriguing fact is that he graduated from music school without knowing how to read music, probably because of a learning disability,” said pianist Bert Dalton. “The dean of Mills College only let him graduate under the condition that he never teach, because they didn’t want him to embarrass the college.” Instead, Brubeck went on to soar as a musical conceptualist. His best-known high point was the 1959 album Time Out, recorded with members of his longtime quartet — alto saxophonist Paul Desmond (composer of the big hit “Take Five”), bassist Eugene Wright, and drummer Joe Morello. Dalton, saxophonist Dave Anderson, bassist Rob “Milo” Jaramillo, and drummer John Bartlit pay tribute to the music man with Time Out for Brubeck, a concert at the Scottish Rite Center on the afternoon of Sunday, Feb. 24. Will they faithfully cover Brubeck and his bandmates? “That’s sort of been the question we’ve asked ourselves as we’ve been working all this out. And we have come to the conclusion that we will definitely pay homage to the arrangements and will try to interweave some of their idiosyncrasies, but in the style and spirit of Brubeck. We are jazz musicians in our own right, and we bring our own experience and personalities and musical ideas to these arrangements, so it will come out sounding like us.” In a 2003 interview with Pasatiempo, Brubeck recalled his childhood home in Concord, California, and its four pianos. They got plenty of use by his music-teacher mother and his siblings. It was the first sound he heard when he woke up and the last when he went to bed. When we spoke, he said, “My son just finished practicing on my piano in the front room, and now it’s my turn, and so it goes on.” Brubeck talked about his youth spent herding cattle in California. That’s all he wanted to do, but nevertheless, he gravitated to music. The die was cast when he changed his college major from veterinary science to music. His inventive mind 18

February 22 - 28, 2013

was soon perplexing his cohorts in college, in an Army band, and after World War II. He told DownBeat magazine in the mid-1950s, “The reaction has gone on ever since I was a kid: ‘What the hell is he doing?’ ” It was the composer Darius Milhaud who finally convinced him to stick with it, and his career was peppered with successes in the studio, on the concert stage, and as an educator. Brubeck’s accolades include election to the DownBeat Hall of Fame in 1994, a National Medal of the Arts in 1995, and a National Endowment for the Arts Jazz Master award in 1999. He died last Dec. 5, one day short of his 92nd birthday. Dalton has no idea where the man got his radical rhythmic ideas. “But what I have found out is that he was already pretty experimental in the Army band, where he met Paul Desmond, so that was in the 1940s. Desmond reported that when he was auditioning to get in the Army band, Brubeck was already playing in B flat in his left hand and G in his right. “I love his sense of adventure and his sense of why not, why not try things this way? Up until Brubeck, there had been a lot of pioneering in harmony and in melodic concepts — look at Charlie Parker, who broke a lot of melodic rules, and Bill Evans, one of my favorites, who almost redefined harmony — but we’ve always been sort of safely within the confines of 4/4 and occasionally 3/4. Brubeck and Desmond took it upon themselves to challenge that and at the same time to create very flowing, interesting music within those time signatures. They weren’t just doing a math problem but playing very swinging jazz. They made it feel very natural.” In the Time Out liner notes, Steve Race describes how, on “Blue Rondo à la Turk,” the band starts working in an exotic variety of 9/8 time. After a great Desmond solo, Brubeck comes in “with a characteristically neat transition into the heavy block chords which are a familiar facet of his style, and before long ‘Rondo à la Turk’ is a stamping, shouting blues.” “Take Five” is complicated, but it also swings, and it’s such a memorable melody. “It’s complicated to our Western ears, but in a lot of other cultures ... for instance, when Brubeck wrote ‘Blue Rondo à la Turk,’ he drew on a very

AP Photo /Paul Mello

UPBEAT


traditional Turkish dance rhythm,” Dalton said. “He was borrowing from the music he would hear in his travels. He wrote some beautiful melodies inspired by Japanese music, and one of the early records was from the quartet’s visit to Mexico, and he did treatments of folk songs from that country. He was a real chameleon.” Dalton said he learned several Brubeck tunes 40 years ago, and these will be included in the Feb. 24 gig. Most of the material for the concert comes from Time Out and from the quartet’s 1963 concert at Carnegie Hall. The Scottish Rite performance is being staged in part to aid the center’s preservation fund. The building, a century old last year, was designed after the Alhambra in Spain, with arches that are based on the golden ratio. Among its important features are about 100 vintage set drops, each one depicting a setting specific to one of the morality plays in the Scottish Rite. “We’re trying to hang on to this building, and it’s quite a challenge,” Dalton acknowledged. “As with all civic organizations, we have less membership in the 21st century than we had in the past, so we’re losing more members than we’re gaining. And everything is more expensive now, so the organization is not financially able to keep the building going. “What Scottish Rite is doing is that where this used to be a secret building on the corner that no one could go into, in the last 10 to 15 years, the membership has made it available to the community for events, particularly for children’s events.” Anyone who wants to see more of the Scottish Rite Center should call 982-4414 and either come an hour early or stay after the concert, when docents from the volunteer group the Order of the Thistle give tours of the building. Dalton will undoubtedly tell the audience something about the theater, mixed in with information about Brubeck and his music. “Absolutely. I love talking to the audience and adding some interesting stories and anecdotes,” he said. “It brings a humanness to the music to talk about these guys and why the band clicked. The subtitle to this is Brubeck Decoded. I think a general audience with just a small amount of introduction can easily follow along these rhythms. If you know how to count it, it’s a lot more fun.” ◀

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▼ Bert Dalton Quartet: Time Out for Brubeck ▼ 4 p.m. Sunday, Feb. 24 ▼ Scottish Rite Center, 463 Paseo de Peralta ▼ $20 suggested donation at the door; $75 VIP ticket with champagne reception; call 982-4414 for reservations

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ARTsmart presents the 16th Annual ™

It’s Restaurant Week in Santa Fe. Wander in to La Plazuela & explore our three course per person prix fixe menu.

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Santa Fe A weekend of fine ART, FOOD, WINE, FASHION & HOMES benefiting ART programs for Santa Fe’s youth

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February 22 -28, 2013

Arroya Gallery Barbara Meikle Fine Art Beals & Abbate Fine Art Blue Rain Gallery Canyon Road Contemporary Casweck Gallery Charles Azbell Gallery Darnell Fine Art Dominique Boisjoli Fine Art Evoke Contemporary Frank Howell Gallery Galerie Zuger Gaugy Gallery GF Contemporary Giacobbe Fritz Fine Art Heidi Loewen Porcelain InArt Santa Fe Jane Sauer Gallery Joe WadeFine Arts

Little Bird at Loretto Mark White Fine Art Matthews Gallery NuArt Gallery Pippin Contemporary Pop Gallery River Trading Post Sage Creek Signature Gallery Silver Sun Trader Tersa Vorenberg Goldsmith Vivo Contemporary Waxlander Gallery Wiford Gallery Wiiliam and Joseph Gallery Windsor Betts Art Brokerage Winterowd Worrell Gallery Zaplin Lampert Gallery

for more information: artfeast.com • 505.603.4643


s tat e o f m i n d new california art circa 1970

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We need your help to remove trash before we can plant native species, restore habitat, and improve recreational opportunities at the historic Buckman town site. For more details, directions, and to reserve a spot, contact Steve Cary at 505-231-6361 or scary@audubon.org. sponsors include:

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Audubon N E W M E X I C O

February 22 - 28, 2013

PASA REVIEWS

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Santa Fe Symphony Lensic Performing Arts Center, Feb. 17

Pastoral, musical-pastoral, pastoral-poetical

A

contented, old-fashioned feeling pervaded the Santa Fe Symphony’s concert last Sunday afternoon at the Lensic Performing Arts Center. Conductor Steven Smith and his musicians didn’t set out to challenge any comfort zones in this program of cherished classics, but they provided solid performances that the audience clearly enjoyed. The program, which was titled “Birds and Brahms,” opened with the overture to Rossini’s opera semiseria La gazza ladra (The Thieving Magpie), always an effective curtain raiser in that it begins with a snappy drumroll as a call to order. Rossini’s transparent orchestral textures threaten to draw attention to any inconsistencies in unison playing. Smith was probably wise to hew to the side of caution, choosing a relatively relaxed tempo that nonetheless allowed for an appropriate measure of cheerfulness. The orchestra’s concertmaster, David Felberg, proved an adept soloist in Vaughan Williams’ The Lark Ascending, a beloved work for violin and orchestra that embodies the pastoral spirit that fueled many an artistic production in turn-of-the-20th-century Britain. The Victorian/ Edwardian poet and novelist George Meredith was much given to the sort of rural imagery that saturates his poem “The Lark Ascending” (published in 1883), and Vaughan Williams captured its spirit exquisitely when he came to write his piece on the eve of World War I and revise it a few years later. The composer’s second wife, Ursula, explained that he set out less to mimic Meredith’s poem than to seize its essence, saying he “had made the violin become both the bird’s song and its flight, being, rather than illustrating, the poem from which the title was taken.” Felberg’s reading was supple but never arbitrary, its fluid phrases born aloft on pinions of rhythmic precision and spot-on intonation. The vibrancy of his rich, focused tone was cast into striking relief by the mostly tranquil background in which orchestral strings were hushed by mutes. The overall landscape this performance portrayed was bucolic but overcast, filled more with melancholy than with sunshine — and that, I think, is precisely what Vaughan Williams had in mind. Off we went to Mitteleuropa for the rest of the program. Smetana’s admired tone poem The Moldau sported good ensemble playing in the woodwind roulades that evoke the gathering stream at the work’s opening, to which the string players added enthusiastic elbows as the river grew in force and grandeur. And yet, it was in Brahms’ Symphony No. 2, which occupied the second half of the concert, that the players seemed the most engaged, perhaps because its demands were greater. Smith did not impose a strongly etched interpretation on this famous masterwork of musical pastoralism, although his tempos tended to be a notch fleeter than standard. The performance was, however, crafted with pleasing finesse, which was especially appreciated in some potentially tricky transitions in the first and third movements. It cannot be said that the orchestra plays with consistent refinement in all its sections, but for the most part it was fully up to the task. The nature of this supernal score invites special mention of the orchestra’s midrange, capably upheld by the horns, violas, and cellos, which did much to infuse the requisite warmth that goes to the heart of Brahms’ most congenial symphony. — James M. Keller


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caLendar of eventS FRIDAy

SFCC Governing Board Candidate Forums

Room 216 505-428-1501 Position 5, 10 a.m. to noon; Position 3, 1:30 p.m. to 3:30 p.m. SFCC’s Faculty Senate hosts open forums for board candidates.

SATURDAy

Student Filmmakers’ Summit – Public Forum

2:30 to 3:30 p.m., Room 563, TV Studio 505-428-1738 Students will present their ideas for the future of NM’s film industry. TUESDAy

SFCC Governing Board Election

7 a.m. to 7 p.m., Santa Fe polling places 505-428-1667 Board positions are at-large and run for six-year terms. More information about board candidates is at www.sfcc.edu. A list of polling place is available at www.sfcc.edu/polling. Early and absentee voting is available now through Friday, March 1. Vote in person at the County Elections Bureau, 102 Grant Ave., or apply for an absentee ballot by contacting County Clerk’s Office. THURSDAy

Backyard Astronomy

7 to 8 p.m., Planetarium Enjoy a live presentation of the current skies. THURSDAy

The Night Sky

7 to 8 p.m., Planetarium A presentation of astronomy in history.

FRIDAy

505-428-1774

505-428-1774

Woodturning, Ceramics and Jewelry Exhibition – Opening Reception

5 to 7 p.m., Red Dot Gallery 505-820-7338 SFCC’s Red Dot Gallery exhibit at 826 Canyon Road.

SPECIAL AND ONGOING EVENTS

Woodworking Faculty and Student Showcase

505-428-1501

AARP Tax Aide Santa Fe

505-428-1780

Carbon Economy Series: Permaculture

505-819-3828

Free GED Orientation Classes

505-428-1356

Work from fine woodworking faculty and students will be on display in the Visual Arts Gallery through March 7.

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AARP Tax Aide is available on campus to assist individuals with their taxes from 8:30 a.m. to 5 p.m., Monday through Friday and 9 a.m. to 1 p.m. on Saturdays through April 15 (the college is closed March 18-24 for Spring Break and March 29-31 for Spring Holiday) in the college’s West Wing atrium. There is no charge for this service and no age or income limits. The sixth workshop in a series that focuses on sustainable practices. Learn the basics of permaculture design, its core values, application of natural patterns and the indicators of sustainability. Walk out with an initial sustainability plan for your very own site. Presenter Inginia Boccalandro studied at the Permaculture Institute and has participated in permaculture initiatives in California, New Mexico and Texas. The Friday night workshop will be held 7 to 9 p.m. March 15, and 9:30 a.m. to 4:30 p.m. on Saturday, March 16 and Sunday, March 17. To register or for more information, go to www.carboneconomyseries.com. Sponsored by SFCC. Orientation classes begin on Friday, March 1 with additional classes on March 2, 8 and 9. Classes are held from 2 to 5 p.m. in Room 568. The mandatory three, 4-hour classes will prepare you for the GED program.

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Produced by SFCC’s Marketing and Public Relations Office. Individuals who need special accommodations should make arrangements by calling the phone number listed for each event.

Learn more

505-428-1000

www.sfcc.edu/news_and_events

PASATIEMPO

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There is only one artist, and that’s energy itself. And ry there’s only one libra ll of ideas, and we a have access to it. age The old artist ad of holding onto one’s genius is no longer nius appropriate. The ge . is out of the bottle — Linda Mary Montano

ontano: Linda Mar y M n from tio ta en docum Tom Marioni Handcuffed to s, 1973 for Three Day

Rob DeWalt I The New Mexican

TWENTY-FOUR SEVEN The art/life of Linda Mary Montano

In conjunction with the group exhibition State of Mind: New California Art Circa 1970 and the single-artist show Mungo Thomson: Time, People, Money, Crickets, which open at SITE Santa Fe on Friday, Feb. 22, SITE also presents Linda Mary Montano: Always Creative, a concentrated exhibition of the seminal American performance artist’s work from 1969 to the present day. The show is curated by SITE’s Janet Dees. Born in 1942, Montano was raised in a devoutly Catholic home, and although both of her parents also aspired to creative endeavors — they played in an orchestra — Montano was more drawn to the Catholic faith. After a year in college, she spent two years with the Maryknoll Sisterhood, hoping to become a nun. Severe anorexia forced her to leave the novitiate, and she ended up graduating from the College of New Rochelle with a degree in sculpture in 1965. Art, it seemed, was the most effective healing for her, and since 1971 Montano has been a full-time professional performance artist. Rather than holding on to the notion that art imitates life, Montano has always stressed in her work that art is life. In her sprawling endurance piece Fourteen Years of Living Art (1984-1998), for example, Montano examined the seven body chakras in two seven-year cycles, incorporating ritual and healing practices into the work. In the 1983-1984 piece Art/Life: One Year Performance (aka Rope Piece), Montano and Taiwanese artist Tehching Hsieh were tied together by an 8-foot rope and were not allowed to touch each other for an entire year. Throughout her career, Montano has drifted between new media and New Age, abstract spirituality and very palpable physical pain, feminism and religious fealty, transforming her life into a breathing object of art-as-medicine through introspection and sacrifice. As Montano writes in her 2005 anthology Letters from Linda M. Montano, “Performance art’s ability to de-automate the artist and viewer makes it a worthy vehicle of mystical technology.” Always Creative consists of live performances by Montano, video, drawings, and other materials from her personal and professional archives, which the artist hopes to gift to New York University. Montano and SITE Santa Fe have also collaborated on an illustrated publication titled You Too Are a Performance Artist: Art in Everyday Life, which serves as a performance art workbook. On different occasions throughout the run of the exhibition in Santa Fe, Montano will conduct art/life counseling sessions live at SITE and via Skype. During the show’s opening and closing receptions, she performs a new two-part outdoor endurance work entitled Singing My Heart Out/Singing My Heart In. Pasatiempo spoke to Montano a week before the public opening of Always Creative. continued on Page 26 24

February 22 - 28, 2013


Mock-up of SITE Santa Fe remote art/life counseling booth

Documentation from Fourteen Years of Living Art

Detail of SITE Santa Fe remote art/life counseling booth

Documentation from Fourteen Years of Living Art (1984-1998)

Art/life counseling, Fourteen Years of Living Art

Colored clothing (detail), Fourteen Years of Living Art

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Linda Mary Montano, continued from Page 24 Pasatiempo: I understand you’re going to do an outdoor performance in Santa Fe as well as counseling and performance art. When did these things take shape in your career? Linda Mary Montano: After being involved in the one-year piece with Tehching Hsieh, I was inspired to think more long-term. I had done endurance-related work before that: being handcuffed for three days, being blindfolded for a week on different occasions in galleries and at home. … It had something to do with vow-taking and Catholicism that was very dear to my artistic practice. Having been in the convent for two years and living in a Zen center for two years and living in a yoga ashram for a number of years, I was already familiar with creating situations where life became a mindful practice. So my art became my way of attuning to every single minute of my everyday life. Pasa: And in the case of your work with viewers at SITE, that attuning becomes a shared experience through what you’re calling a sort of art therapy? Montano: As part of the first seven years of the Fourteen Years exhibit, I went to the New Museum in New York once a month and sat in a covered window and saw people for seven hours, doing art-life therapy. At the time, I used tarot and palm and psychic readings. Now that I’m back in the fold of Catholicism, albeit a more mystic side of it, I let go of those things and now establish a connection based on prayer and the Holy Spirit, so to speak. Pasa: In light of your return to the Catholic faith, though, could you not have sought some sort of dispensation from the church as an artist? After all, in 2009 you did send Pope Benedict a “Roman Catholic Performance Artist Manifesto,” spelling out certain opinions. Montano: I started backing off from anything that would get me into any kind of sacerdotal trouble and went more generic. So now I talk about glands and not chakras. And I don’t get embroiled in the woo-woo or scary or supernatural. I’m not borrowing from traditions that I know very little about, really. I went to India once and realized: Chakras? What the heck am I even talking about? Pasa: Performance art differs now from that of the ’60s, ’70s, and ’80s. We have the internet, which is great for seeing the work of those who have been doing it for generations and no longer do. But it also changes what newer performance artists can do today, and a lot of the work feels a bit too self-aware or media-aware. Some of it even seems hyper-self-absorbed. Montano: The older ones using video were pretty proud of the fact that we were doing it for the right reasons: changing consciousness, changing the tone, so to speak, of the ’60s and ’70s. And the collaboration back then was tremendous. I think what happened was that the East started permeating the West through yoga and Buddhism and Hinduism, and a lot of shaktipat — psychic energy, if you want to call it something else — got released. Now the youth are filled with their own energy. So it’s a really pumped two minutes in time for the performance art world. It’s probably going to swing around again, where the elders will remind the youngsters that there’s another, more classic component that they can add. But the younger ones are also our teachers. We were the suffering, poor, struggling, depressed artists. They’re over that, which is good. It’s time for the elders to let go of the fact that newer artists are playing off of their work — or at least learning from it. There is only one artist, and that’s energy itself. And there’s only one library of ideas, and we all have access to it. The old artist adage of holding onto one’s genius is no longer appropriate. The genius is out of the bottle. There’s a cultural transparency now where the permission has been given for everyone to create. The internet is that permission slip. ◀

details

▼ Linda Mary Montano: Always Creative Opening reception 5-7 p.m. Friday, Feb. 22; through May 19 ▼ Live performance piece Singing My Heart Out Noon-7 p.m. Friday, Feb. 22 ▼ Live performance piece Singing My Heart In Noon-7 p.m. Friday, May 17 ▼ SITE Santa Fe, 1606 Paseo de Peralta, 989-1199 ▼ By gallery admission; Fridays no charge


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A lot of the forms, t a lot of the differen ia practices and med they were doing in the late ’60s and t early ’70s, is wha artists are doing in art school today. It’s a legacy that has continued. — Karen Moss, Orange County Museum of Art

Michael Abatemarco I The New Mexican

CALIFORNIA DREAMING The state of the state circa 1970

In Chris Burden’s infamous Shoot, a 1971 performance piece at F Space in Orange County, California, the artist had a friend shoot him in the arm with a .22 rifle. It wasn’t a piece you could hang on the wall, so the documentation, including a photograph of a bleeding Burden, became representative of the work itself. That photograph, along with evidence of other performances, happenings, and conceptual artworks, appears in the exhibition State of Mind: New California Art Circa 1970, which runs at SITE Santa Fe in conjunction with the single-artist exhibits Mungo Thomson: Time, People, Money, Crickets and Linda Mary Montano: Always Creative. State of Mind helps us understand what was happening in the art world at a particular time and place without re-creating the actual pieces — which is fortunate for Burden. State of Mind was one of several exhibitions that formed the multivenue overview of West Coast art Pacific Standard Time, organized by the Getty Research Institute in 2011 with major support from the Getty Foundation. The funding provided opportunities for curators Constance M. Lewallen of the Berkeley Art Museum and Karen Moss of the Orange County Museum of Art to visit with each living artist represented in the show. “It was really quite a process of mining the archives of these artists,” Moss told Pasatiempo. “That’s why we were able to do such a detailed exhibition. What’s happened, though, in recent years, is that all the documentation has become valuable. So many of the artists were young, and it was early in their careers. Now people like Chris Burden, John Baldessari, Eleanor Antin, and Bruce Nauman are all famous. The exhibition shows the variety of practices and disciplines people were using. I think that’s why people have been drawn to it. They think of conceptual art as being very boring, not dramatic, not compelling. This show goes against that grain.” The version of State of Mind Lewallen and Moss bring to SITE Santa Fe is modified. It opens on Friday, Feb. 22. Included is work by Burden, Antin, and Suzanne Lacy, who all explored the human body as the medium for art. For them, as with Montano, art was performative. Other artists, such as Baldessari, were intent on exploring environments beyond the gallery space as the canvas for concept-based projects. “The fact that so much of the work was ephemeral was important to the ethos and desire of artists to not just be selling objects in a gallery,” Moss said. “It was a political statement. An artist can make their work outside the white cube of the museum gallery.” In some cases, the documentation of an event is an integral part of the artwork. Such is the case with Douglas Huebler’s Location Piece #6, Los Angeles, March 1969. The piece involves a series of photographs taken by two people who, following Huebler’s instructions, placed stickers in random locations throughout the city and took snapshots of them. A typed-up description of the project and continued on Page 30 28

February 22 - 28, 2013


John Baldessari: California Map Project Part I: California, 1969/2009, archival ink-jet prints on Dibond; each 8.25 x 12.25 x 1.25 inches; below, Bonnie Sherk: Sitting Still I (Facing Construction of 101 Freeway Interchange Near Bayshore Boulevard and Army Street, San Francisco), 1970, color photograph, 13 x 20 inches; images courtesy the artists

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State of Mind, continued from Page 28 several deliberately unremarkable photographs make up the piece. Huebler was commenting on the idea of artist as maker by limiting his involvement and relinquishing control to others. He had no input over where his photographers placed the stickers, for instance. Other artists, such as Ed Ruscha, explored wordplay and language, while artists such as Bonnie Sherk took to the streets and other public places. Sherk once ate her lunch before a live audience inside a cage at the Lion House of the San Francisco Zoo. California circa 1970 was a time of challenging conventions. The Vietnam War was raging, and protests spread throughout the state from campus to campus and into ethnic communities as well. Lines became blurred. Theatrical and musical performances escaped from their traditional venues as artists brought their talents to other arenas, such as city sidewalks, bridges, public parks, and highways. Art and activism were often synonymous, and social issues were in the forefront of the public consciousness. “Conceptual work took many forms, particularly in California, where there was such a will to experiment and a lot of freedom, a lot spaces and schools that supported that practice,” Moss said. “The real reason for that is that, at the time, the press and market system were really centered in New York. California was strong in having a lot of art schools and museums that were more open and also some alternative and artist-run spaces where artists could do their own programs. The New York work was — I don’t want to say academic, but it was more serious. Some people will say it’s more cerebral. New York’s the center of the art world, so there was more scrutiny.” Freedom from scrutiny allowed California artists to lead in experimental art forms such as the land-based art of Baldessari, whose California Map Project Part I: California was composed of a series of images, shot throughout the state, of materials arranged to spell out the word California. Freedom from scrutiny also allowed Montano to test convention by handcuffing herself to artist Tom Marioni for three days in a piece that explored ideas of relationships and domesticity. State of Mind underscores the ingenuity of California artists and their challenges to the status quo. For example, Burden staged TV Hijack in 1972. The performance occurred as he was being interviewed by a local television station. During the live broadcast, he held a knife to the interviewer’s throat and threatened to kill her if the station cut the transmission. After that, Burden doused the tapes with acetone, thereby destroying the evidence and ensuring that no one would ever see the work again. Artists were challenging the very notion of what art could be. “It all really started with the free speech movement at Berkeley,” Moss said, “and the civil rights movement, followed by the Vietnam War protests and women’s liberation, ethnic movements, the Black Panthers — all of these movements were so strong and so centered in California, they couldn’t help but be reflected in the arts. There are several pieces about the Vietnam War [in the show] and a whole section on feminist art. There’s a very strong social and political bent. Other work is more about art-making and the artistic process. But it’s all very conscious about making a social comment. It’s idea-oriented and issue-oriented work.” Only recently, with exhibitions like State of Mind and Pacific Standard Time, has the West Coast art scene begun to be critically evaluated in a broad context. “There have been shows on L.A. Pop and L.A. conceptual art or shows on the Bay Area performance or video work, but never were they done under one roof,” Moss said. “That’s changing. There’s been quite a few exhibitions that dealt with this period and this kind of work, but it’s all new. It’s all been in the past couple of years. What’s really important about this show is that a lot of the forms, a lot of the different practices and media they were doing in the late ’60s and early ’70s, is what artists are doing in art school today. It’s a legacy that has continued.” ◀

details ▼ State of Mind: New California Art Circa 1970 ▼ Opening reception 5-7 p.m. Friday, Feb. 22; through May 19 ▼ SITE Santa Fe, 1606 Paseo de Peralta, 989-1199 ▼ By gallery admission; Fridays no charge


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d I’m really intereste in field recordings, audio capturing of the natural world. I am interested in nature, certainly, but I’m also intere ested in how cultur nd captures nature a how we frame it. — Mungo Thomson

kets, 2012 Still from Cric

Paul Weideman I The New Mexican

MUNGO & THE CRICKETS Art and acoustics from Mungo Thomson

Just try to stereotype Mungo Thomson. You really can’t do it, because his artistic goals and mediums are so wide-ranging. In Mungo Thomson: Time, People, Money, Crickets, opening at SITE Santa Fe on Friday, Feb. 22, the California artist engages his audience with six works involving video, photography, magazine-referencing mirrors, coins, film, and collapsible room dividers. The show is curated by Irene Hofmann, SITE’s Phillips Director. It runs in conjunction with the group exhibition State of Mind: New California Art Circa 1970 and with the single-artist show Linda Mary Montano: Always Creative. Thomson earned a bachelor of arts degree at the University of California, Santa Cruz, and a master of fine arts at UCLA. His résumé during the past decade includes solo exhibitions and projects in several U.S. cities as well as in Berlin, Basel, Paris, Brussels, Vancouver, and Guangzhou, China. He has participated in biennial exhibitions in New York at the Whitney Museum of American Art, in Berlin, Istanbul, Panama City, and Cuenca, Ecuador. Pasatiempo: Your video piece Crickets is an orchestral performance based on cricket chirps, or stridulation. It also has a solidly scientific element, since you noted the species and where the chirps were recorded. Mungo Thomson: The Crickets music is a follow-up to a sound piece from 2008 called b/w, which is whale song sped up 16 times so it sounds like birds, and on the other side [is] birdsong slowed down 16 times so it sounds like whales. I’m really interested in field recordings, audio capturing of the natural world. I am interested in nature, certainly, but I’m also interested in how culture captures nature and how we frame it. Pasa: Basing a human musical score on cricket chirps is an unusual and ambitious idea. Can you tell us something about the translation process and about working with composer Michael Webster? Thomson: Michael worked with me on the b/w piece as well as my Coat Check Chimes that I did for the Whitney Biennial. The process was challenging, because it was about what kind of instruments could make these sounds and what kind of performers could play them in that way. It was a transcription process of an existing set of field recordings, a French album of field recordings of crickets from around the world, which I then licensed and we set about transcribing into musical notation and then auditioning performers. I wanted it to be dynamic, so there are parts with just two percussionists and parts where 18 people are playing full blast. Crickets are a standard for silence, because when you hear them, everything else is quiet, and you tend to tune them out. Since John Cage’s work with silence as music inspired decades of ambient music and elevator music and New Age music that incorporates animal 32

February 22 - 28, 2013


All images courtesy the artists and SITE Santa Fe

calls, I wanted to go all the way back around to something sort of traditional rather than super avant-garde, to render this avant-garde idea in a more traditional way. Pasa: Void and Observer is a sculptural work about mis-struck coins, right? Thomson: It is. These are modeled on these error coins that happen. They’re rejected, and then they become high-end specialty items with collectors. You can find them, but I couldn’t find a half dollar that was reasonably priced. It’s JFK looking at the blank side of the coin, and he could be said to be contemplating the void. These are mistakes, and they persist and become more valuable than the functional objects, and in a way that’s a void in cultural space. Pasa: At SITE you’re premiering Acoustic Partition, taking off after your Coat Check Chimes, which was basically hangers that rang like bells. You’re camouflaging artworks in apparently functional, banal things. Thomson: Yeah, well, I guess I want this to be similar as a piece of museum infrastructure that happens to play music through its use by visitors. Pasa: Are visitors prompted toward it, or is there an element of surprise? Thomson: I still don’t know. It’s not done. Once it’s done and in place, the rules will follow. It will depend on what’s possible, whether it needs a chaperone or whatever. Pasa: Was Coat Check Chimes labeled? Thomson: It was, but it was in a part of the museum where you’re not looking for art. With the SITE piece, we’ll find out how hardy it is, how much abuse it can take, and whether that’s even the right thing for it. Pasa: It will make accordion sounds? Thomson: Yes, we’re using parts of an accordion, and when you open it, it pushes air through the reeds. It’s been a lot of work. Pasa: Your Time cover project has some depth for you. In 2011 you told a Los Angeles County Museum of Art interviewer that you grew up looking at your parents’ copies of Time magazine. Thomson: Yeah, I’ve been fooling around with the Time logo as kind of a study in time. In this piece, there are 6-foot mirror versions that expand the museum space, and sometimes they’re situated across from each other so you have that infinity thing happening. They’re just based on issues that in some way resonate culturally or cosmologically in terms of time. Pasa: In that LACMA piece, you referred to Martin Heidegger’s concept of “the distance of the near” and the way we stop seeing common things. It seems you’re in this realm, emphasizing the obvious, when you sort of force us to take a trip through the Margo Leavin Gallery Rolodex. Thomson: The Rolodex piece [Untitled] is a film of the audience of a gallery, of the entire constituency of the gallery, from the artists and collectors to the electrician. It’s a legendary Los Angeles gallery that recently closed, but I showed there for about 10 years. It showed my kind of work, but also the film is in line with that kind of work. It has this kind of administrative, conceptual, dry character, but it’s done in stop motion, and that makes it whimsical and kind of silly in a way. It’s slightly more comic, but I also view it cosmologically. It’s a plan that’s revolving; these are the people on the planet. Pasa: Do you have artistic fantasies that you want to fulfill or wish you could? Thomson: There are a lot of objects that are sort of stumping me in terms of physics. I recently was trying to find out if it was possible to put a piece of film over a mirror so that it would reflect back black and white instead of color. Sometimes I have really giant ideas for things that are technically or physically impossible. I’m really interested in objects and how they function in the world, how they sort of make sense among other objects. I think art objects are the most reified objects there are in a world of objects, and I like to use them to point to some of the absurdities and non sequiturs in the chain of meaning, if you will. A lot of my ideas come from just participating in culture and just tweaking one little thing. Pasa: And you’re dealing with simple objects, nothing high-tech in this age of high-tech. Thomson: Yeah, I’m not really interested in being esoteric. It’s not exactly populist, per se, but it’s ... to use a term from comedy, it’s broad. Hence the title Time, People, Money, Crickets. It’s big and little things. ◀

Mungo Thomson: June 25, 2001 (How the Universe Will End) and (reflected) March 6, 1995 (When Did the Universe Begin?), 2012, enamel on low-iron mirror with poplar and anodized aluminum, 74 x 56 x 2.5 inches; left, the Margo Leavin Gallery Rolodex; below, page from People, 2011, 10.5 x 7.875 inches

details ▼ Mungo Thomson: Time, People, Money, Crickets ▼ Opening reception 5-7 p.m. Friday, Feb. 22; through May 19 ▼ Artist talk 2 p.m. Saturday, February, 23 ▼ SITE Santa Fe, 1606 Paseo de Peralta, 989-1199 ▼ By gallery admission; Fridays no charge

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Greer Garson Theatre Presents Cold Water Mar. 1–3, 8–10, 2013

A world premier documentary theater piece created and performed by the documentary theater class of the PAD at SFUAD. Conceived and directed by PAD faculty member Victor Talmadge, the play is part of a series of original documentary theater pieces about New Mexico. It tells the rich survival story of the village of Aqua Fria, and the ups and downs of villagers of the greater Santa Fe community living with and without the abundance of water. Celebrating their everyday courage and constructed entirely from interviews and found material, the story reflects universal themes over the struggle for water.

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February 22 -28, 2013

Pro Musica

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$20-$65. Santa Fe Pro Musica Box Office: 505.988.4640 (ext.1000) 800.960.6680 | Tickets Santa Fe at the Lensic: 505.988.1234 For complete season concert listing visit www.santafepromusica.com The 2012-2013 Season is partially funded by New Mexico Arts (a Division of the Department of Cultural Affairs) and the National Endowment for the Arts.


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DaviD Mills Dreamweaver: The Works of Langston Hughes WeDnesDay 27 February at 7pM Lensic Performing Arts center Justice That Justice is a blind goddess Is a thing to which we black are wise. Her bandage hides two festering sores That once perhaps were eyes. —Langston Hughes Celebrate Harlem Renaissance writer Langston Hughes—affectionately known as Shakespeare in Harlem—in this one-person dramatic rendition of Hughes’ poems and short stories. Actor and writer David Mills’ performance takes the audience on an odyssey spanning five decades—from the 1920s through the 1960s—of Hughes’ writings, where Mills portrays Hughes’ notable characters, such as Madam Alberta K. Johnson and Jessie B. Simple. Mills has worked professionally in the dramatic and literary communities for more than a decade. For three years, he lived in Langston Hughes’ landmark home where he was inspired to create his tribute. TICKETS ON SALE NOW

ticketssantafe.org or call 505.988.1234 $6 general/$3 students/seniors with iD Video and audio recordings of Lannan events are available at:

www.lannan.org

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Paul Weideman I The New Mexican

Reachingforthestars S

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Sid Avery: The Art of the Hollywood Snapshot, a new book from Rare Art Press, London, and an exhibition of the same name at Monroe Gallery of Photography, holds for fans of photography and classic films a wonderful wealth of images. Attend to the word “snapshot” in the title — many of these are not the “glamor shots” we’re used to seeing of Veronica Lake, Douglas Fairbanks, and Greta Garbo. Avery captured less-posed moments, often in family settings. There are, for example, a series of shots of Humphrey Bogart and Lauren Bacall at home, hanging a picture, sitting at the dining-room table, and reading on the livingroom floor with small son Stephen, a trio of large dogs lounging nearby; and great candids of Paul Newman and Joanne Woodward at their house, of the Rat Pack horsing around on the set of Ocean’s Eleven, of Jayne Mansfield signing autographs, and of Harpo Marx clowning with a pretty model, actually a pose for an evaporated-milk ad that Avery shot. Why do movie stars look so good compared to the rest of us? Is it the makeup? Do they possess a special bearing, maybe a unique character trait? Perhaps it’s natural selection, Hollywood-style, with the casting folks just totally biased toward great-looking people. And are their faces really bigger than ours so that their screen presence is naturally maximized? We have our share of celebrity sightings in Santa Fe, but I was a little closer to ground zero during the three years I worked at Larry Edmunds Cinema Bookshop in Hollywood. And no, none of those stereotypes mentioned above are universal among the Filmed Ones. After the electrifying instant of recognition passes, they appear to act like, well, regular people — or sometimes regular people who know they’re being watched.

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I was on the scene in the late 1970s. During breaks between archiving and selling movie stills, lobby cards, and posters (and learning to appreciate a good martini at Musso & Frank Grill right across Hollywood Boulevard from the shop), I acquired a skill. I got rather expert at obtaining signed movie stills from stars who came to Larry Edmunds to peruse books on acting, makeup, costuming, and special effects as well as theater scripts, fan books, and once in a while stills of themselves. (Adam West was one of those.) The trick is to find the right moment and make it very easy, politely asking the question and presenting the actor or actress with the photo, offered at the correct angle, and a felt-tip pen, butt-end first, so that the signing requires little pause, thought, or effort. I balked just before asking John Carradine when I noticed his hands were crippled with palsy, but I was able to acquire signings from Samantha Eggar, François Truffaut, Marlo Thomas, Anthony Zerbe, Salome Jens, Kim Darby, and David Carradine — the latter simply signed the photo (of him in his Kung Fu role) with “Peace” and a yin/yang symbol. My little immersion in the motion-picture world involved, for the most part, a younger generation of actors than those gloriously photographed by Avery. Bogart died in the late ’50s, and Gable in 1960. Several should have been around but died young: James Dean, Jayne Mansfield, Inger Stevens, and Sal Mineo among them. When I was in Hollywood, Steve McQueen and Audrey Hepburn were still with us, not to mention Kim Novak, Frank Sinatra, Marlon Brando, Yul Brynner, Rock Hudson, Dean Martin, Elizabeth Taylor, Tony Perkins, and Janet Leigh, but their movie-star heydays were more or less past (in many cases because they had prioritized other paths).

Sid Avery: Harpo Marx, 1957; opposite page, from left, Dean Martin, circa 1960; Janet Leigh and Anthony Perkins, 1959; all images © 2012 Sid Avery/mptvimages.com

Candid shots of all of these stars populate the pages of the new Avery book, created by the photographer’s son Ron Avery and entertainment author Tony Nourmand. Here is the iconic photo of Liz Taylor, head back, soaking up the sun, on the set of Giant; Rock Hudson hosing off his classic Oldsmobile; Debbie Reynolds, Bob Newhart, and Vincent Price goofing off; and a priceless photo of Dean Martin sitting at a coffee table strewn with liquor, cigarettes, muffins, and ice cream, throwing his arms up in an “I give up” gesture. Among the book’s many images of Sid Avery himself are photos of him with various movie stars — from a young Lana Turner in 1941 to Brad Pitt in 2001 — with his wife on their wedding day, in an Army Jeep, and on the cover of Time magazine. Avery (1918-2002) has been described as the master chronicler of the sunset years of the Golden Age of Hollywood, shooting the biggest movie stars for most of the popular magazines from 1946 to 1961. Ron Avery writes in the foreword that his father was an innovator — he improvised a solarization technique used with motion-picture film and a strobe light that could by synchronized with a camera — and treated everyone with whom he worked with kindness and respect. His rapport extended to people who were reputed to be temperamental. “What’s interesting is that, in most cases, when he would shoot these subjects he encountered no difficulty at continued on Page 38 36

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Sid Avery was the master chronicler of the sunset years of the Golden Age of Hollywood.

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Left, Humphrey Bogart and Lauren Bacall, 1952; top to bottom, Marlon Brando, 1953; Rock Hudson and Elizabeth Taylor, 1955

Sid Avery, continued from Page 37 all, and that’s a testament to my dad. He treated these stars like people and, as a result, they treated him in kind.” The photographer’s career choice arguably relates back to the time when, as a young boy in Ohio, he was turned on by seeing images magically come up on his uncle’s prints in trays of developer solution. He pursued the craft in high school, taking pictures with an old camera he had repaired. He went on to work in a Los Angeles darkroom, processing celebrity portraits by Life magazine photographers, and then began working with photographer Gene Lester, shooting stars in nightclubs. Avery opened his own studio on Hollywood Boulevard when he was 21. Two years later, World War II service altered his trajectory, but it actually expanded his knowledge of photography. After photojournalism training with Life for six months, he worked with the Army Signal Corps — work that included processing footage from the war’s European theater. Afterward, he and his new wife, Englishwoman Diana Berliner, set up a studio in Hollywood, and he began specializing in the candid star portraits, often in family settings, that were then in 38

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vogue. The celebrities appreciated the speed of his process and developed a great trust in his ability. “His working style was to remain at a slight distance and subtly direct a scene, which gave his subject room to let their personality emerge,” the authors write. As the scene changed both in Hollywood and in the magazine world, Avery and his wife and manager shifted into advertising photography. Then, in 1982, he set up the Hollywood Photographers’ Archive to collect and exhibit images by others who had worked in Los Angeles. Following his donation of the archive to the Los Angeles County Museum of Art and the Academy of Motion Picture Arts and Sciences, the mission expanded to include the world of television. Avery worked on improving the archive until his death in 2002. ◀

details ▼ Sid Avery: The Art of the Hollywood Snapshot ▼ Exhibit through March 24 ▼ Monroe Gallery of Photography, 112 Don Gaspar Ave., 992-0800


Santa Fe Science Café For Young Thinkers

“Heads Up! Protecting Earth From Large Asteroid Impacts” Catherine Plesko Los Alamos National Laboratory Wednesday, February 27, 6 – 7:30 PM O’Keeffe Education Annex, 123 Grant St. Day and night little pieces of asteroids and comets, the crumbs left over from the formation of the planets in our solar system, rain down on Earth in the form of meteors. But once in a while something as big as Santa Fe hits Earth and can explode with the force of a small nuclear bomb. Luckily for us, dangerous impacts are rare and take place high over the oceans, but it’s a good idea to have a plan for the unexpected. So astronomers search the skies for new asteroids and comets and track their orbits to see which ones might be dangerous. Come learn what scientists are doing to confront this existential threat to Earth and to all of us.. Admission is Free. Youth (ages 13-19) seating a priority, but all are welcome! Cathy also will appear on the KSFR Radio Café (101.1 FM) with host Mary Charlotte at 8:30 AM that day. Catherine has been a scientist at LANL since 2007. She is a PhD graduate of Earth and Planetary Sciences at UC Santa Cruz. When not searching the Heavens, she spends quality time exploring running trails around Los Alamos and Santa Fe. Go to www.sfafs.org or call 603-7468 for more information.

A presentation of short films & images from Northern Chile. Beatriz Yuste, ICOMOS Intern, Spain Thursday 28th of February at 5pm New Mexico History Museum. Free and open to the public.

$4,000,000 . u o y o t d e n r u t re In 2012, our members earned over $4,000,000 through their participation in their credit union.

Find out how you can Earn Your Return at nmefcu.org.

For more information contact Cornerstones at 982-9521 Sponsored by:

In collaboration with

1710 St. Michaels Drive 913 W. Alameda, inside La Montanita Co-op 505.476.6000 800.347.2838 nmefcu.org Federally insured by NCUA

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Jonathan Richards and Laurel Gladden I For The New Mexican

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MY KINGDOM FOR AN OSCAR They found Richard III this year, curled up beneath a parking lot in Leicester, England. Richard has been featured in his share of movies in the past, and we can probably expect more screen time now for the twisted monarch with the scoliotic spine. But as we picture him lurching across Bosworth Field shouting for a horse, he hardly looks any more ungainly and out of whack than Oscar does this year as he staggers toward the Dolby Theatre in Hollywood on nine uneven legs. We take a back seat to no one in our admiration for the last Plantagenet, but we do wish Oscar could make up his mind about how many pictures to nominate. Anyway, here’s a look at the contests this year. — JR

JONATHAN’S PICKS BEST PICTURE

The rule Oscar uses for stocking this category is as follows: “The pictures receiving the highest number of votes shall become the nominations for final voting for the Best Picture award. There may not be more than 10 nor fewer than five nominations; however, no picture shall be nominated that receives less than five percent of the total votes cast.” The truth is, the candidates that got left off the list (The Sessions, Moonrise Kingdom, The Master) were never going to win anyway. The race comes down to Lincoln versus Argo, with Silver Linings Playbook laying off the pace as a long-shot spoiler. When Ben Affleck was passed over for best director, the smart money wrote off Argo’s chances, and Lincoln became the odds-on favorite. But Affleck’s been winning a lot of the run-ups, so the tide may be shifting, a backlash fueled by voters’indignation at the snub. Choice: Lincoln or Argo Prediction: Argo

DIRECTING

This year, the talk is more about who didn’t get nominated than who did. The jaw-dropping omissions are Affleck and Kathryn Bigelow, whose Zero Dark Thirty made the best picture cut without bringing along its director. Another eyebrow raiser is Tom Hooper, who sent Les Misérables to the ball but was not invited for his directing work. Ditto Quentin Tarantino for Django Unchained. Bigelow and Hooper, however, have as many detractors as cheerleaders. Of those left standing, Ang Lee (Life of Pi) will pick up some votes, but there’s really nobody to challenge the heavyweight who gave us Lincoln. Choice: Steven Spielberg/Lincoln Prediction: Steven Spielberg

ACTOR IN A LEADING ROLE

The cinematic woods are full of great actors. Does anybody remember the name of the guy who won last year? It doesn’t mean he’s suddenly turned into chopped liver; it’s all about the material and luck and marketing and everything falling into place. Unless you’re Daniel Day-Lewis. Day-Lewis is an amazing actor, and he brought our 16th president to life as surely as John Wilkes Booth did the opposite. Denzel Washington, Bradley Cooper, Hugh Jackman, Joaquin Phoenix — practice your gracious loser looks. If Day-Lewis doesn’t collect the golden statuette on Sunday night, the entire Academy should be taken out and shot. Sic semper tyrannis! Choice: Daniel Day-Lewis /Lincoln Prediction: Daniel Day-Lewis

ACTRESS IN A LEADING ROLE

Meryl Streep wasn’t nominated this year. Who does that leave? The little girl in Beasts of the Southern Wild has a lot of admirers, but 9-year-olds shouldn’t win Oscars, and anyway, the voters probably can’t even spell Quvenzhané Wallis. Emmanuelle Riva is heartbreaking in Amour, and Naomi Watts is always good. So are a lot of women who didn’t get nominated. Jessica Chastain may be the new Streep, but Zero Dark Thirty’s torture controversy undermines her chances. This looks like Jennifer Lawrence’s year. She even made the cover of Vanity Fair as“the world’s most desirable woman.” I think Oscar has the hots for her. Choice: Jennifer Lawrence/Silver Linings Playbook Prediction: Jennifer Lawrence

ACTOR IN A SUPPORTING ROLE

All of a sudden Alan Arkin is everywhere, and where he goes Oscar nominations seem to follow. But look who else came to the party. Oscar winner Christoph Waltz (Inglourious Basterds) is here with Django Unchained. Oscar winner Philip Seymour Hoffman (Capote and two other nominations) comes in with The Master. Double Oscar winner Robert De Niro (The Godfather Part II and Raging Bull plus four other nominations) is here for Silver Linings Playbook. Oscar winner Tommy Lee Jones (The Fugitive and two other nominations) weighs in with Lincoln. Arkin too has an Oscar (Little Miss Sunshine and a couple of best actor nominations). You can’t get into this party without an Oscar under your belt. One of these guys will have to make room on the mantelpiece. Choice: Alan Arkin/Argo Prediction: Tommy Lee Jones/Lincoln 40

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ACTRESS IN A SUPPORTING ROLE

As usual, this is one of the toughest categories to predict. It’s always nice to see an unfamiliar name, and Jacki Weaver came out of nowhere to grab a nomination for Silver Linings Playbook. Amy Adams gives us some interesting grit in The Master. Helen Hunt is terrific as a sex therapist in the wonderful The Sessions, but what clip are they going to show? Sally Field is remarkable as Mary Todd Lincoln. But there seems to be a feeling that Les Misérables ought to get something, and that something could be for Anne Hathaway. The defining characteristics of her performance could be summed up by the title of one of last year’s best picture contenders: Extremely Loud and Incredibly Close. Choice: Helen Hunt/The Sessions Prediction: Anne Hathaway/Les Misérables

WRITING (ORIGINAL SCREENPLAY)

The same kind of shamefaced recognition of an otherwise slighted heavyweight contender could be at work in this category. If Jessica Chastain doesn’t take the gold for Zero Dark Thirty, writer Mark Boal might well pick up the consolation prize. It certainly won’t be Flight, a movie without much other than the star power of Denzel Washington to recommend it. Wes Anderson and Roman Coppola delivered a deliciously quirky screenplay for Moonrise Kingdom, and writer-director Michael Haneke was intriguing but obscure in Amour. For flat-out entertainment value, you probably aren’t going to beat writer-director Quentin Tarantino’s extravagant excess in Django Unchained. Choice: Wes Anderson & Roman Coppola/Moonrise Kingdom Prediction: Quentin Tarantino/Django Unchained

WRITING (ADAPTED SCREENPLAY)

Abe Lincoln, with his stovepipe hat and frock coat, should have some coattails, and the complex offbeat script by Tony Kushner (adapted from Doris Kearns Goodwin’s Team of Rivals) deserves a place on those coattails. His closest rival is probably newcomer Chris Terrio, who kept us on the edge of our collective seat in Argo, even though we knew how it was going to turn out. Director David O. Russell adapted Matthew Quick’s novel into the beguiling Silver Linings Playbook, and director Benh Zeitlin and Lucy Alibar created something wild out of the latter’s stage play for Beasts of the Southern Wild. I’m not sure why David Magee’s screenplay for Life of Pi was nominated, but it won’t be a factor. Choice: Tony Kushner/Lincoln Prediction: Lincoln

BONUS ROUND

Amour leads the foreign language field, but I’d like to get Haneke alone in a room and grill him about the ending. There is no more exhilarating surprise in the documentary field than Searching for Sugar Man. Animated features had a disappointing year, but Brave may lead the pack. And the songs are almost always ho-hum, but for sheer volume, Les Mis could drown out the others with“Suddenly.”

NO RESPECT

Those four best director snubs lead this field. In the acting categories, Leonardo DiCaprio (Django Unchained) is still looking for a little love. John Hawkes is terrific in The Sessions in the kind of role that Oscar usually drools over. Helen Mirren could have earned a nod for Hitchcock. Matthew McConaughey had a career year, but Oscar didn’t notice. But hey, it’s just the Oscars!

DISCLAIMER

The author assumes no responsibility for wagers lost based on these predictions. continued on Page 42

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Oscars,

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LAUREL’S PICKS BEST PICTURE

This is a pretty nice group of nominees, though I still don’t understand why the Academy didn’t choose a nice round 10 and include Paul Thomas Anderson’s The Master. My least favorite of the bunch is Les Misérables. It’s overblown and melodramatic, and I got bored just watching the trailer. It has moviegoing audiences in its thrall, though — every time I’ve been to the movies lately, I’ve seen a gaggle of teenage girls milling around whatever theater it’s in. Lincoln is solid but a little too stuffy. Silver Linings Playbook is a winning, memorable, quirky all-American comedy — not to mention the fact that it’s the first picture in more than 30 years to receive Oscar nods in all four acting categories. (The last one was Reds, by the way.) Honestly, it’s one of my favorite movies of 2012, but that doesn’t meant it’s best picture material. Amour, a French-language film from Austrian director Michael Haneke, is a bit of a long shot, and it might simply be too bleak for the Academy. (To soften the blow, though, it could still walk away with best foreign language film award.) For its creativity and emotional intensity, Beasts of the Southern Wild deserves recognition. The Life of Pi mesmerized me while Pi and the tiger were trying to coexist in the boat, but the rest of the film dragged. Zero Dark Thirty is politically charged and timely, but it has taken a lot of flak for its portrayal of torture, and I think as a film, it’s not particularly well structured or well paced. (It’s also longer than it needed to be.) The pulpy revisionist fantasy Django Unchained combines a lot of popular genres — buddy flick, spaghetti Western, love story, and revenge fantasy — and manages to provide both humor and the over-the-top gory violence that Americans seem to love. It’s pretty close to perfect, aside from being about 20 minutes too long. The Academy snubbed Ben Affleck in the directing category, and it’s rare for a film to win best picture without its director taking home that prize. (The last time that happened was in 1990 with Driving Miss Daisy.) Still, to my mind, Argo is the film to beat. It had solid performances, excellent pacing, and touches of humor, and it made a story with a foregone conclusion suspenseful for two hours straight. Should and will win: Argo Long shot: Django Unchained If the Oscars were a popularity contest: Les Misérables

DIRECTING

This category is a head-scratcher: directors of four of the nine best picture nominees (Ben Affleck, Kathryn Bigelow, Quentin Tarantino, and Tom Hooper) got snubbed, and conventional wisdom holds that this award goes to the director of the film that wins best picture. Though I don’t think Benh Zeitlin (Beasts of the Southern Wild) will win, I have a feeling great things are in store for him. Ang Lee did amazing things with CGI, but when the tiger wasn’t on-screen, Life of Pi was a bit of a snooze. This may be Michael Haneke’s only shot at a non-foreign-film Oscar, and part of me wants to root for him based simply on that fact. But the safe bet is on the 300-pound gorilla, Steven Spielberg. Will win: Steven Spielberg/Lincoln

ACTOR IN A LEADING ROLE

Some categories are easy to call. I love Bradley Cooper. You have to give the guy, formerly People magazine’s Sexiest Man Alive, credit for agreeing to hide his light under a garbage bag, but he’s out of his league here. Denzel Washington is a fine, fine performer. Last fall I would have said Joaquin Phoenix was a shoo-in in this category — his portrayal of Freddie Quell in The Master is his finest work to date. But I think Stephen Colbert summed up this category best: “Shouldn’t they just make an Oscar in the shape of Daniel Day-Lewis and give it to him?” Will win: Daniel Day-Lewis/Lincoln If Oscars were handed out in October: Joaquin Phoenix/The Master

ACTRESS IN A LEADING ROLE

Jessica Chastain has taken home a couple of statuettes so far this awards season, but her performance didn’t blow me away — most of what she does in Zero Dark Thirty is ponder and glower (looking gorgeous the whole time, mind you, but still). It would be hard to go wrong with a legend like Emmanuelle Riva, whose turn in Amour is heartbreaking. Few things I saw on the silver screen this year can top what 9-year-old Quvenzhané Wallis (the youngest nominee on record) does as Hushpuppy in Beasts of the Southern Wild, but Jennifer Lawrence is riding high. As critic Zach Baron put it,“She is Godzilla stomping a building, she is a Just Blaze beat, she is all the natural disasters at once.” Should win: Quvenzhané Wallis/Beasts of the Southern Wild Will win: Jennifer Lawrence/Silver Linings Playbook

ACTOR IN A SUPPORTING ROLE

Alan Arkin is a hoot in Argo, and Robert De Niro finally came back to life in Silver Linings Playbook, proving that he can show off his comic chops without Focker-ing it up for the cheap seats. It’s hard to find fault with Tommy Lee Jones (Lincoln), who does wily and cranky better than almost anyone else. (I can’t wait to see him as MacArthur.) Poor Philip Seymour Hoffman. As with Joaquin Phoenix, if Oscars were handed out before Thanksgiving, I think he would walk away with the prize. But for me, no one in this category comes close to Christoph Waltz as the charming but twisted Dr. King Schultz. A significant oversight: Leonardo DiCaprio. He has come a long way from being King of the World to being king of Candyland. Who knew the guy who stole millions of teenage girls’hearts in the late ’90s would play a vicious, sadistic fop so well? As for Matthew McConaughey, maybe the Academy snubbed him because they were afraid he would show up on the red carpet without a shirt. Shoulda coulda woulda: Philip Seymour Hoffman/The Master Will win: Christoph Waltz/Django Unchained

ACTRESS IN A SUPPORTING ROLE

I’ve loved everything I’ve ever seen Jacki Weaver do, including her turns in Animal Kingdom (2010) and Silver Linings Playbook. And like most American moviegoers, I still like Sally Field — I really, really like her. Haters gonna hate — specifically Anne Hathaway, whom people are suddenly treating with an unusual level of snarky animosity. But Hathaway will probably win based solely on her delivery of “I Dreamed a Dream”— and for allowing the filmmakers to give her that radical new haircut. Will win: Anne Hathaway/Les Misérables

WRITING (ORIGINAL SCREENPLAY)

In Zero Dark Thirty, Mark Boal did a nice job imagining things that have been redacted in the lead-up to Osama bin Laden’s assassination. I’d love to see Wes Anderson and Roman Coppola win for their sweet, smart, highly original writing in Moonrise Kingdom, but Anderson’s world might be a little too quirky and twee for the Academy. If the voters can get past his juicy gore and copious use of the N word, Quentin Tarantino deserves the prize for his daring, always-clever, rapid-fire work in Django Unchained. In a sweeter, stranger world: Wes Anderson & Roman Coppola/Moonrise Kingdom Will win: Quentin Tarantino/Django Unchained

WRITING (ADAPTED SCREENPLAY)

David Magee’s adaptation of Yann Martel’s Life of Pi struck me as too slavish. Tony Kushner (Lincoln) did a solid job turning Doris Kearns Goodwin’s Team of Rivals into a popular drama. Lucy Alibar and Benh Zeitlin’s script for Beasts of the Southern Wild is certainly the most creative and imaginative of the bunch. But Chris Terrio’s work in Argo is whip-smart and tight as a spring. He made a true story with a known outcome thrilling and injected humor into an account of a perilous situation. Should and will win: Chris Terrio/Argo

RANDOM NOTES

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In the documentary category, my vote goes to the compelling, well-balanced Searching for Sugar Man. Sixto Rodríguez recently revealed to Rolling Stone that he’s planning to meet with producers to discuss making his first album in decades, so here’s hoping he has a stateside revival soon. While Les Mis might seem a shoo-in for anything to do with singing, my money’s on pop sensation Adele for her soulful, slow-burning original song, “Skyfall.” I would love to see Jacqueline Durran walk home with a statuette for her costume designs in Anna Karenina. St. Petersburg is much colder than Santa Fe, and I still left the theater feeling like a total schlub bundled up in my puffy down coat and winter boots. And I mean that in the best way possible. ◀


HERE’S THE SCORE

AP Photo/Damian Dovarganes

Soundtracks nominated this year for best original score fall into two categories: those with period affectations (Lincoln, Anna Karenina) and those combining cosmopolitan world-music influences with symphonic orchestra (Argo, Life of Pi, Skyfall). We all know the Academy loves John Williams, witnessed by his 48 nominations and five wins over the years. His Lincoln soundtrack — with the Chicago Symphony Orchestra — is like the film: not really as epic as you might expect, despite all the folksiness and timpani-induced appeals to gravitas. Williams can be considered a favorite only because he’s a perennial favorite. If the award were given simply on orchestration, it would go to Dario Marianelli for the luscious instrumentation he brought to Anna Karenina. His clever weaving of an old Russian folk tune throughout the soundtrack ties the entire film together. Matching music to the film’s locations has been a characteristic of James Bond soundtracks for the last 25 years or so. Thomas Newman, who’s never won but has been nominated 11 times, peppered the Skyfall soundtrack with appropriately exotic touches while finding fresh ways to work in familiar Bond themes. Alexandre Desplat’s Argo is heavy with Middle Eastern influences, as its plot suggests, and not too leading in tense, emotional passages, appropriate to a film whose ending is old news. My pick for the Oscar would be Mychael Danna’s Life of Pi, not only for its attractive East Indian touches but also for its understatement. When it might have pushed its tiger-induced tension on us, it chose, instead, serenity. — Bill Kohlhaase

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Join the H Journey HEALTHY EARTS

POETRY READING The New Mexico Aging W I T H& C HLong OC O L AT E A NDServices W I NE ! Term

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pen your box is of poems, love the Department providing letters, inspiring thoughts… inspiring, award winning Bring them on Valentine’s Day documentary movie “Age to share with us over a glass of wine of Champions” at 3 PM and chocolate fondue. February 27th care and 28th at We are a continuing community that is Retirement part independent the Taos Village living, part assisted living and part Theatre at 414 Camino de la skilled nursing home. And these parts Placita in Taos. The presentation make up the whole lot of love that is oinis the journey hosted by of therediscovery Taos the basic characteric of ourRetirement community. Village, Taos Senior Olympics Join the journey of rediscovery at Taos Retirement and Holy Cross Village. Hospital.

The Compound Restaurant Celebrates

New Mexico Restaurant Week

February 24 – March 3, 2013 Three course prix fixe menu: $40 per person* For reservations: 505-982-4353 or www.compoundrestaurant.com 653 Canyon Road • Santa Fe * Price does not include beverages, tax and gratuity.

Members of the public are invited. EVENT: Please RSVP at 758-8248 as HEALTHY HEARTS POETRY READING seating limited. Thursday, is February 14, 2013 4 pm at The Village Bistro RSVP by February 12.

E V E N T

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T AO S

RETIREMENT VILL AGE 414 Camino de la Placita . Taos NM

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Desert Academy Performing Arts Presents

AsYouLike It

Women Pursuing Peace in Israel-Palestine Santa Fe Woman’s Club 1616 Old Pecos Trail, Santa Fe, 87505 Saturday, February 23rd, 3-5pm Rabbi Hefetz

Beyond the daily news of war and inequity, there are organizations in the Middle East, and on-the-ground solutions that are building relationships and understanding between Jews and Arabs. Come hear three women speak from their unique perspectives, and engage in dialogue on this complex and key region for peacemaking in the world.

Education Dircetor, working on a daily basis towards peace Rabbis for Human Rights

Yael Maizel

J-Street Southwest Field Director

Desert Academy

FRIDAY & SATURDAY, FEB. 22 & 23, 7:00PM Reservations recommended, call 992-8284, ext. 26 All remaining tickets at the door (cash or check only)

7300 OLD SANTA FE TRAIL • WWW.DESERTACADEMY.ORG

All are welcome in respectful dialogue and questions, refreshments will be served! Please contact LiA ROSen LiaRosen@earthlink.net or 505-428-0668 Rabbis for Human Rights (Israel)

JEWISH FEDERATION OF NEW MEXICO New Mexico’s Center for Jewish Philanthropy

Dottie Indyke

Executive Director of Creativity for Peace

New Mexico

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PEPLUMRALLY

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February 22 - 28, 2013

Jon Bowman I For The New Mexican


SWORD AND SANDAL EPICS LIVE AGAIN ON YOUTUBE ird your loincloths. We’re here to examine peplum. And we’re not talking about the pleated skirts once worn by the world’s most manly men, including Hercules, Maciste, and comparable semi-deities. Rather, today’s topic of conversation is the peplum genre — those furiously paced Italian movies, set in ancient times, that revolve around these heroes. You could always recognize the hero. He was the behemoth who towered barrel-chested over mere mortals, his muscles rippling. Another iron-clad maxim: the hero had to undertake a perilous quest. In no particular order, this entailed: • Gratuitous displays of brute force, such as uprooting trees or hurling boulders • Avoiding traps set by exotic, seductive queens • Defeating entire legions of foot soldiers and batting off gladiators as though they were gnats • Slaying primeval monsters and ravenous beasts • Outwitting sorcerers or meddling gods • Rescuing besieged villages or damsels in distress — often both Nearly 300 peplum titles were released in rapid-fire succession between 1958 (the year of the mega-hit Hercules, with bodybuilder Steve Reeves) and 1963, when the genre lost its mojo, giving way to the spaghetti Western as Italy’s most profitable movie export. By today’s standards, these pictures are sexist, silly, juvenile, excessively violent, horribly dubbed, ludicrously scripted, and full of cheesy special effects. In short, they’re a barrel of kitschy fun, and they ought to have a bigger cult following among action fans. It’s difficult to find peplum DVDs, but more than 100 titles in the public domain have surfaced on YouTube, so you can view them for free in the comfort of your home. As a starting point, for hours of mindless entertainment, here are 10 of my favorite peplum picks, all found on YouTube. For each film, I offer a few observations about The Beef (the hero), The Babes (the hot actresses), The Brains (the filmmakers), and The Beasts (the obstacles and adversaries faced by The Beef ) as well as the best quote from the film’s (dubbed) dialogue.

COLOSSUS OF RHODES (1961) YouTube Channel: TheTempestAhead1110 (Sharp-looking print, English dialogue, Greek subtitles) The Beef: Hollywood expat Rory Calhoun, as Greek freedom fighter Darios, leads a revolt to overthrow the tyrannical King Serse in Rhodes. The Babe: Italian sprite Lea Massari, just before her breakout in Antonioni’s L’Avventura. The Brains: Sergio Leone directs his first (credited) film, foreshadowing the genius he would demonstrate when he really got cooking with his spaghetti Westerns. The Beast: The Colossus, an impenetrable fortress on the harbor. Defenders inside rain molten lead down on troublemakers. Best Quote: A seductive Mirte (Mabel Karr) tells Darios, “I can grant your most secret wish.” He replies, “Which one?”

FURY OF ACHILLES (1962) YouTube Channel: PeplumZ (The print is occasionally washed out. A more pristine, widescreen version can be seen on the Peplum TV pay channel, found at www.justin.tv/peplum_channel.) The Beef: Stone-faced Gordon Mitchell, a Denver bodybuilder and rugged performer in the Jack Palance mold, goes up against Hector in this sweeping, almost operatic reenactment of the Trojan War. The Babe: Italy’s Gloria Milland, regal and statuesque, with a short fuse and flaming red hair. The Brains: Director Marino Girolami crafts intense battle scenes that make the 2004 Brad PittWolfgang Petersen film Troy look trite and conceited by comparison. The Beasts: In addition to the opposing armies, the gods intervene often here, à la Homer. Best Quote: Achilles’confession:“It is not necessary to be a hero. A child could kill me provided he struck me in the right spot.”

THE GIANTS OF THESSALY (1960) YouTube Channel: PeplumZ (Excellent print, highlights the fantasy action) The Beef: Swiss-French performer Roland Carey actually took acting classes — a novelty for the genre. You know the story: he’s Jason, leading the Argonauts on a quest to find the Golden Fleece and to get Zeus to put away his thunderbolts. The Babe: Palestine-born actress Ziva Rodann, often seen in 1960s TV shows, notably as Queen Nefertiti opposite Victor Buono’s King Tut on Batman.

The Brains: Riccardo Freda, a crack horror director who’s been overshadowed by his protégé Mario Bava. The Beasts: A gorilla Cyclops, witches, bickering gods. Best Quote: Adrasto, making a move on Jason’s wife, Creusa (Rodann):“What good are the gems in the treasury of Thessaly when it is she I desire most of all? Her loveliness is ablaze in me like an open furnace.”

GOLIATH AND THE SINS OF BABYLON (1963) YouTube Channel: DoctorBritches (Print opens scratchy but clears up.) The Beef: Mark Forest, aka Lou Degni, a 1952 Mr. America competitor. He’s hot and heavy to kick Babylonians’ butts after they’ve occupied the kingdom of Nephir and demanded an annual tribute of 30 virgins. The Babe: This is one of the rare sword-and-sandal epics without a serious love interest, although José Greci occasionally bats her long lashes in the general direction of the brawny Forest. The Brains: Michele Lupo directs spectacular set pieces: a chariot race, a sea battle with ramming ships, and a hair-raising scene with Forest spread-eagled on a torture rack, facing the prospect of becoming a human pin cushion. The Beasts: Hungry lions, horny Babylonians. Best Quote: Maciste’s sidekick, Xandros, urges his outmatched comrades to keep up the fight: “Are we men or a pack of women?”

GOLIATH AND THE VAMPIRES (1961) YouTube Channel: PeplumZ (Nice print with a few minor scratches) The Beef: One of the genre’s A-list talents, American bodybuilder Gordon Scott made the pilgrimage to Italy after replacing Lex Barker as the screen’s 11th Tarzan. His best peplum, Duel of the Titans, can’t be seen online, but this one is goofy escapist fun. Goliath allies himself with cave-dwelling “blue men”against waxen-faced zombies and Kobrak, their vampire master. The Babes: Two for the price of one: the abducted fiancée Guja (Leonora Ruffo) and the electrifying Astra (Gianna Maria Canale), Kobrak’s scantily clad accomplice. The Brains: Executive producer Dino de Laurentiis financed plenty of bizarre barnstorming action set against lavish sets. The Beasts: A giant rubber spider in a pit, bloodsuckers, zombie minions. Best Quote: Kobrak:“I want him alive! His magnificent body can serve as a model for the army of slaves with which I shall conquer the world.” continued on Page 48 PASATIEMPO

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“His magnificent body can serve as a model for the army of slaves with which I shall conquer the world. — Kobrak, in Goliath and the Vampires

Swords and sandals, continued from Page 47 HERCULES IN THE CENTER OF THE EARTH aka HERCULES IN THE HAUNTED WORLD (1961) YouTube Channel: TheMasterSculptor (Clean print; colors well preserved) The Beef: Reg Park, Arnold Schwarzenegger’s mentor, made only five films, four times starring as Hercules. Here, the bodybuilding champion from Leeds, England, journeys to Hades to recover an amulet that will lift a princess from an insidious trance. The Babe: Leonora Ruffo resurfaces as Princess Deianira. Other characters she played in 1960-1961: Dejanira, Gigliola, and Guja. Notice the dream-queen pattern? The Brains: Directed by Mario Bava, Italy’s answer to Hitchcock, this atmospheric and visually stoked genre hybrid blends elements of the macabre with the muscle-flexing heroics that sword-and-sandal fans demand. The Beasts: None other than Christopher Lee as a satanic fiend. Best Quote: Thesus tells Hercules:“You know, I didn’t think Hades would be anything like this.”

HERCULES UNCHAINED (1959) YouTube Channel: TheCinemaZombie (Sharp. Be sure to watch it in widescreen mode.) The Beef: The man, the myth, the legend himself, Montana bodybuilder Steve Reeves, who put peplum on the map internationally with Hercules in 1958. Hercules isn’t available on YouTube, but this sequel is, and it’s even bigger and better than the original. The Babes: Sassy Sylva Koscina returns as Ione, Hercules’wife, and temptress Sylvia Lopez is Queen Onfale,“the Man-Eater of Lydia. ”That’s not even counting scores of servant girls. The Brains: Director Pietro Francisci cast Reeves on the recommendation of his daughter, who saw him in the Hollywood comedy Athena. Francisci also smartly hired Mario Bava as cinematographer and special-effects director, giving him free rein to embellish the look of the picture. The Beasts: Fake man-eating tigers, a brutish giant, interlopers from Mount Olympus, feuding Thebans. Best Quote: Hercules’friend Ulysses, baiting the giant Anteus,“I’ll show you what a boy can do!”

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SAPPHO, VENUS OF LESBOS aka THE WARRIOR EMPRESS (1960) YouTube Channel: SapphoPEPLUM (Decent print, a little soft in places) The Beef: His biceps didn’t bulge, but Kerwin Mathews made up for it with swaggering bravado. In between The 7th Voyage of Sinbad and The 3 Worlds of Gulliver came this film in which he plays a rebel leader hiding out in the ancient equivalent of a convent — the temple of the poetess Sappho, where men are expressly forbidden to go. The Babe: Tina Louise, Ginger on Gilligan’s Island, moonlights as Sappho. She doesn’t exactly convey rarefied intelligence, but she wears the veils quite well, and yes, there is a lesbian subplot, although it’s subdued by today’s standards. The Brains: Pietro Francisci again, slumming it after manhandling Steve Reeves in other films. Also pay attention to the swirling musical score by Angelo Francesco Lavagnino, a prolific composer who collaborated with Orson Welles on Othello. The Beasts: A den of hungry lions, tyrants, a neurotic king. Best Quote: You can’t beat the movie’s tag line, billing Sappho as“the world’s boldest beauty.”

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Clearance Sale

PianoWerkes is dedicated to making a contribution to our community by loaning fine pianos to local schools and arts organizations at no charge. These pianos along with overstocked new and used pianos, are gathered one time a year and sold to the public at drastically reduced prices. Thursday, Friday & Saturday - Feb. 21, 22 & 23 - 10am - 5pm All Days

SLAVE QUEEN OF BABYLON aka I AM SEMIRAMIS (1963) YouTube Channel: SapphoPEPLUM (Average print; some fading evident) The Beef: Santa Fe’s John Ericson, in his sole peplum appearance, plays Kir, a king held in captivity who becomes the plaything of the scheming Queen Semiramis of Assyria. The Babe: Yvonne Furneaux as her royal highness, channeling her 1959 performance as Princess Ananka, a high-strung reincarnated Egyptian priestess, in Hammer Films’remake of The Mummy. The Brains: The movie was directed by Primo Zeglio. Special kudos are due to the folks behind the SapphoPEPLUM channel on YouTube, who have restored pivotal scenes cut from the American theatrical print. This prototypical evil queen melodrama has gotten a bum rap, partly due to the loss of 20 minutes of footage that turned the plot into gibberish. The Beasts: Palace backstabbers, power-hungry thugs. Best Quote: The queen telegraphs her modus operandi:“It’s in the darkness that treachery hides itself. And it’s in the dark that we can disarm an enemy who would otherwise destroy us.”

SON OF SAMSON (1960) YouTube Channel: DoctorBritches (Some skips and fading) The Beef: Mark Forest signaled that he might dethrone Steve Reeves as the king of peplum. In the end, Reeves prevailed, but Forest was always his most spirited challenger — more robust and durable than Gordon Scott. The Babe: Cuban dancer/actress Chelo Alonso, as Queen Smedes, attempts to waylay Maciste, the Son of Samson, with a belly dance. Alonso, a star of the Folies Bergère in real life, reigned supreme as peplum’s most sensuous dancer. The Brains: The brisk action pacing is courtesy of veteran director Carlo Campogalliani, who began his career making Maciste movies during the silent era. The Beasts: Marauding Persian raiders, Egyptian slave runners, writhing snakes, snapping crocodiles, the usual assortment of stray lions. Best Quote: Defiantly, Queen Smedes vows,“You win Maciste, but you will never burn me.” ◀

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ARTfeast 2013

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Adele Oliveira I The New Mexican

he 100 brightly colored plates on display in The William and Joseph Gallery vary in theme and composition, but they all have one thing in common: each plate was designed by a Santa Fe public school fifth-grader. Every year, the city’s fifth-graders design place mats for ARTsmart, a nonprofit arts organization founded by the Santa Fe Gallery Association to support arts education in Santa Fe’s public schools. One hundred place mats are selected to be made into ceramic plates. Though the plates depict some common subjects, including the sun, trees, and animals, a few plates stand out. The winning plate this year is a pink-and-purple-dappled, sad-eyed bull designed by Alyssa Bernal of Eldorado Elementary School. The plate designed by third-place winner Mateo Perez (Chaparral Elementary School) plays with perspective, homing in on the tiled soles of a boy’s sneakers. The plate designed by José Magallanes of Agua Fría Elementary School is a sophisticated tableau showing flamingos perched on a thin strip of sand. The color of the sky and the flamingos’ stick-thin legs are reflected in the water below. The plates are a focal point of ARTSmart’s yearly fundraiser, ARTfeast. ARTsmart is 20 years old this year, and the first Edible Art Tour (ARTfeast’s biggest event) was held in 1998. “The biggest change [since the beginning] is that the events have gotten so big,” said ARTsmart board president Mary Bonney, owner of The William and Joseph Gallery. “It started as a dinner party in a gallery. Connie Axton [owner of Ventana Fine Art and an ARTsmart founder] has told me stories

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about washing dishes in her gallery till 2 a.m. It was very much grass-roots, and now it’s a fundraising machine. We do 80 percent of our fundraising in three days.” In November, ARTsmart and Fine Arts for Children and Teens (FACT, a nonprofit organization that provides art education to young people ages 5 through 18) announced they were merging. FACT executive director Julia Bergen moved on from her position last year, and it seemed like an ideal time to enact an institutional change. Though the two organizations are not yet legally joined, the merging process should be completed by late May. After the merger, the organization will be called ArtFACT and will be head-quartered in FACT’s current location, the Pink Church at 1516 Pacheco St. (The Pink Church Foundation, which owns the building, will gift the property to ArtFACT.) A search for a new executive director is under way. “The city has a lot of nonprofits with similar missions,” said Shawn Katz, FACT board president. “We started having discussions with ARTsmart, and a merger just made sense. We want to create a sustainable operating model for the future, and we want to grow and expand our platform, both regionally and statewide. ... We’ll reach over 4,000 kids when we merge.” The Edible Art Tour (EAT) is the most popular event of ARTfeast, attracting about 1,500 attendees. (Other ARTfeast events include a gourmet dinner, a fashion show, and an artist’s brunch.) During EAT, participants gallery-hop and taste cuisine from 35 different Santa Fe restaurants and caterers. Though the tour takes place primarily on Canyon Road, a number


of downtown and Railyard galleries also participate. “Where else can you get a taste from all of these restaurants for $35?” Bonney said. “We’re doing a little ménage à trois this year,” said Marianne Deery, executive chef at Jinja Bar & Bistro, which serves food at Vivo Contemporary during the tour. “Mini-lettuce wraps, pot stickers, and chocolate silk cake morsels. They’re favorites from the restaurant — comfort food.” Deery said that Jinja has participated in ARTfeast for about 10 years. The event gives her staff an opportunity to hobnob with other chefs and regular customers, and “it’s very important to be involved in and support community events and to make sure that kids are happy and creative at school. It gives everyone a great hometown feeling.” Certain galleries go all out with elaborate decorations. Giacobbe-Fritz Fine Art transforms its two gallery spaces into Alice in Wonderland-themed rooms, complete with children dressed as playing cards, the Red Queen’s throne room, a down-therabbit-hole entryway, and mini-pizzas shaped like hearts, spades, clubs, and diamonds from Rooftop Pizzeria. To date, ARTsmart has donated more than $1 million to the Santa Fe Public Schools. “Last year, we wrote a check for $67,000,” Bonney said. In 2012 the organization distributed a total of $151,697 to the public schools, arts education programs at FACT, scholarships, endowments, and reimbursements for student artists. In part, ARTsmart is able to make large donations because it doesn’t cost it anything to host ARTfeast. “Every event is underwritten,” Bonney explained. “Lots of organizations will raise, say, $20,000 at an event, but they’ll end up spending $10,000 to put it on. We had at least $50,000 underwritten this year, and that’s a conservative estimate.” Primarily, funds raised during ARTfeast supplement arts education in the public schools. “The district pays for the art teachers,” explained Amy Summa, arts education coordinator at SFPS. “The formula is more or less 430 students per art teacher. The district also funds materials at about $5 per student. This pays for the basics: paper, paint, crayons, and brushes. With the additional money from ARTsmart, we have another $2.50 per student.” The extra funding allows teachers to invest in higherquality art supplies and to fund special projects, such as fused glass or batik workshops. “Those kinds of extras are really important,” Summa said. “For kids who come from poverty, as so many of our students do, to be able to give their mother a silk batik scarf — that’s really special.” Funds from ARTsmart also pay for a visiting artists program, during which local and international artists visit classrooms for special projects. Recent visiting artists have included printmaker Ron Pokrasso, Issa Nyaphaga (originally from Cameroon and known for body painting), and ceramist Pamela Messer. “The visiting artists bring cutting-edge techniques and philosophy to the classroom,” Summa said. “They offer an experience that the teachers can’t.” For both Katz and Bonney, the reward of ARTfeast is seeing the results in Santa Fe’s young artists. “It all goes back to art and kids,” Katz said. “At FACT, we bring art to students who don’t have access to it otherwise. [ARTfeast] really celebrates this phenomenon. It’s really exciting when you hear a kid say, ‘This is my art.’ ” “Exactly,” Bonney agreed. “They declare it. They say, ‘I am an artist.’ ” ◀

ARTfeast events

For tickets call 603-4643 or visit www.artfeast.com

Friday, Feb. 22

Art of Fashion: Runway Show & Luncheon 11:30 a.m. Friday, Feb. 22 Santa Fe Community Convention Center, 201 W. Marcy St. $100 per person; $900 for a table for 10

Edible Art Tour 5-8 p.m. Downtown & Canyon Road $35 in advance; $40 day of tour (see Pasa Week, page 69 for details) Feast or Famine Dance Party 8:00 p.m. -2 a.m. Anasazi Ballroom, Eldorado Hotel 309 W. San Francisco St. $15; free with an EAT ticket

Saturday, Feb. 23

Art of Home Tour 12 p.m.-4 p.m. No charge

Gourmet Dinner & Auction 6 p.m. Four Seasons Resort Rancho Encantado Santa Fe, 198 N.M. 592 $175 per person; $1,500 for a table for 10

Sunday, Feb. 24

Artists’ Champagne Brunch & Auction 11 a.m.-2 p.m. Hotel Santa Fe, 1501 Paseo de Peralta $75 per person; $600 for a table for eight

Art of Home Tour 12 p.m.-4 p.m. No charge

Left to right, Mary Alayne Thomas: Mine Is a Long and Sad Tale, watercolor finished with encaustic, courtesy Giacobbe-Fritz Fine Art; Tricia Cherrington: Fresh Juice, oil, courtesy Ventana Fine Art; Mary Alayne Thomas: Such a Curious Croquet Game, watercolor finished with encaustic, courtesy Giacobbe-Fritz Fine Art; opposite page, Laurin McCracken: Pears and Artichoke on Plate, watercolor, courtesy Greenberg Fine Art PASATIEMPO

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February 22 -28, 2013

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MOVING IMAGES pasa pics

— compiled by Robert Ker

TABU This story explores a torrid love affair between a handsome adventurer and a pregnant married heiress living in the African savanna circa 1960. It’s a familiar subject, but it doesn’t receive the usual treatment in Miguel Gomes’ subversive film from Portugal. He inverts time, beginning his story at the end, to cast the past in gauzy perspective. We’re left to wonder what’s real, what’s imagined, and how to assemble this puzzle box of a movie into a coherent whole. Film buffs will enjoy Gomes’ playful experiments with film techniques, although the elliptical structure might put off casual viewers. Not rated. 118 minutes. In Portuguese with subtitles. The Screen, Santa Fe. See review, Page 60. ( Jon Bowman) UPSTREAM COLOR Director Shane Carruth (Primer) appears to present his latest film at a benefit screening for the Center for Contemporary Arts. The story focuses on a couple who find each other after both being drugged by something that disassembles their lives and draws them into a large, ageless organism. Or something like that. 7 p.m. Friday, Feb. 22, only. Not rated. 96 minutes. Lensic Performing Arts Center, Santa Fe. (Not reviewed) Amy Seimetz and Shane Carruth in Upstream Color, at the Lensic Performing Arts Center in Santa Fe

opening this week DARK SKIES This looks like a haunted-house movie, except rather than featuring a villain from within, it focuses on one who is far, far away. When aliens phone the home of a family (with parents played by Keri Russell and Josh Hamilton) and target them for invasion, things quickly progress from odd to scary. Rated PG-13. 95 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) A GLIMPSE INSIDE THE MIND OF CHARLES SWAN III In this dramedy that challenges Charlie Sheen to play a character much like himself, the actor assumes the role of Charles Swan III, a graphic designer in the ’70s with a laundry list of dysfunctions. When his girlfriend breaks up with him, Swan gives into his personal demons and ends up in the emergency room. Tormented by bad dreams and odd fantasies, Swan spends most of the film coping with both physical and emotional hangovers. Not even a Coppola — in this case writer-director Roman — can make Sheen watchable. The protracted screenplay and the surface-level performances across the board (by some fairly big names) point to the obvious: this film was in dire need of an intervention right out of the gate. Rated R. 86 minutes. Center for Contemporary Arts, Santa Fe. (Rob DeWalt) 54

February 22 - 28, 2013

ORNETTE: MADE IN AMERICA Shirley Clarke’s restored documentary on saxophonist Ornette Coleman is filled with flashbacks, suggestive juxtapositions, and staged symbolism, both effective and not. Structured around Coleman’s 1983 return to his hometown of Fort Worth to open the geodesic Caravan of Dreams concert space and perform Skies of America, the film asks the question: How could this man raised on the wrong side of the tracks transcend his surroundings to become one of music’s most imaginative figures? When Clarke contrasts the rumble of the train passing next to his boyhood home and the driving rhythms of Prime Time the answer is clear. 84 minutes. The Screen, Santa Fe. (Bill Kohlhaase) PERFORMANCE AT THE SCREEN The series of high-definition screenings of performances from afar continues with a showing of Mozart’s The Abduction From the Seraglio from Barcelona’s Gran Teatre del Liceu. Diana Damrau stars. 11 a.m. Sunday, Feb. 24, only. Not rated. 174 minutes, including two intermissions. The Screen, Santa Fe. (Not reviewed) SNITCH Dwayne Johnson plays John, a dad who will do anything for his son. When the son is imprisoned for drug trafficking, John becomes an informant to spring him. If that sounds improbable, wait for the tractor-trailer chase scenes. Rated PG-13. 95 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed)

WEST OF MEMPHIS In 1993 three boys were found murdered in a ditch in West Memphis, Arkansas. Three teenagers were convicted of the crime in a sensational trial that linked the murders to satanic ritual. Damien Echols, Jason Baldwin, and Jessie Misskelley served 18 years before being exonerated and released in 2011. Director Amy Berg builds West of Memphis with the gripping suspense of a police thriller, detailing the tireless efforts of outside activists to expose the flaws and misconduct in the original trial. Rated R. 145 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) See review, Page 58.

now in theaters AMOUR This exquisitely crafted film is beautifully played by a couple of legends of French cinema. Jean-Louis Trintignant (Z) and Emmanuelle Riva (Hiroshima, Mon Amour) portray retired musicians in their 80s. When she suffers a minor stroke and enters an inexorable decline after botched surgery, he honors his promise to keep her at home in their Paris apartment, coping as his beloved wife sinks into a living hell. Austrian filmmaker Michael Haneke turns his unsparing lens on the indignities, sufferings, and helplessness that can attend the end of a long life. Depressing but riveting. Not rated. 127 minutes. In French with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards)


ARGO Ben Affleck takes a true story by the throat and delivers a classic seat-squirming nail-biter that has been nominated for seven Oscars. In 1980, as the world watched the hostages in the U.S. embassy in Tehran, a small group of Americans were rescued by the CIA, who pretended to be making a sci-fi film and disguised them as members of a Canadian location-scouting crew. A terrific cast is headed by Affleck, Alan Arkin, and John Goodman. Rated R. 120 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) BEASTS OF THE SOUTHERN WILD Benh Zeitlin’s debut feature transports viewers to a magical world conjured up by its 6-year-old heroine, Hushpuppy (Quvenzhané Wallis). She lives with her stern father in the Bathtub, a low-lying community in the Louisiana bayou that’s about to be slammed by a hurricane. The storm unleashes fears, emotions, and reveries for Hushpuppy, who clings to her dreams as the devastation mounts. The film is up for four Oscars, including Best Picture, with nominations for Zeitlin and Wallis. Rated PG-13. 93 minutes. Regal DeVargas, Santa Fe. ( Jon Bowman) BEAUTIFUL CREATURES There’s a new girl in town (Alice Englert), and there’s something supernatural about her. Will her powers hamper her chances with a local hunk (Alden Ehrenreich) or destroy the town long inhabited by her uncle ( Jeremy Irons)? She’ll find out when the nature of her powers is revealed on her 16th birthday. Rated PG-13. 123 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) CHASING ICE Director Jeff Orlowski follows environmental photographer and one-time climate-change denier James Balog as he launches and maintains his Extreme Ice Survey, a long-term photography project that gives what Balog calls a “visual voice” to the planet’s rapidly receding glacial ice sheets. Visually stunning and horrifying in scope and context, Chasing Ice often appears to be more about Balog than the planet — and although his story is compelling, the ice should be the true star. Rated PG-13. 75 minutes. Center for Contemporary Arts, Santa Fe. (Rob DeWalt) ESCAPE FROM PLANET EARTH This film about aliens who try to escape an aggressive planet comes from Rainmaker Entertainment. The animation looks strong, but the jokes look to be the usual wisecracks and burps. Rated PG. 95 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) A GOOD DAY TO DIE HARD In 1988, Die Hard raised the action bar when John McClane (Bruce Willis) got stuck in a building with baddies. The title

then referred to McClane’s grit; in 2013, it may refer to the franchise itself. Rated R. 98 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) HANSEL & GRETEL: WITCH HUNTERS Those who have clamored for an edgy, modern take on Hansel and Gretel finally have a movie at the end of their bread-crumb trail. Jeremy Renner and Gemma Arterton play those feisty kids, all grown up and now bounty hunters who will push witches into ovens for money — while dressed in black leather, of course. Rated R. 88 minutes. Screens in 3-D only at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Not reviewed) IDENTITY THIEF Sandy Patterson ( Jason Bateman) discovers his identity has been stolen. He has one week to clear his name, so he goes to Florida to find the thief (Bridesmaids’ Melissa McCarthy), and they engage in a lot of insulting and punching. Rated R. 111 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) LES MISÉRABLES The stage version of Victor Hugo’s novel is the longest-running musical of all time. In the hands of director Tom Hooper, who guided The King’s Speech with subtlety and grace, this screen adaptation is garish, shrill, and over the top. The songs are up close and personal like you’ve never seen or heard them. The cast (headed by Hugh Jackman and Russell Crowe) performs bravely, if not always wisely or too well. Nominated for Academy Awards in eight categories, including Best Picture. Rated PG-13. 158 minutes. Regal DeVargas, Santa Fe. (Jonathan Richards) LIFE OF PI Ang Lee’s adaptation of Yann Martel’s bestselling novel is an intriguing exercise in going toward, intense being, and going away. The first and last are the frame in which the story, of a boy on a lifeboat with a Bengal tiger in a wild ocean, is set. That middle part is a fabulous creation of imagination. The lead-in sets it up with a promise of a story that “will make you believe in God.” The real star is the CGI that will make you believe in tigers, at least. Nominated for 11 Oscars, including Best Picture. Rated PG. 127 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. ( Jonathan Richards) LINCOLN Steven Spielberg’s Lincoln is a small film, considering its subject. With the Civil War as background, it focuses on the passage of the 13th Amendment to the Constitution and what was required to achieve it. The president deals with the false choice of ending the war and slavery, criticism from his political enemies, and dysfunction in his own family. Daniel Day-Lewis

Ornette: Made in America

looks and sounds the part of the 16th president, though sometimes his words and the cadences at which they come feel self-conscious. Up for Academy Awards in 12 categories. Rated PG-13. 149 minutes. Regal Stadium 14, Santa Fe. (Bill Kohlhaase) MAMA Andrés Muschietti directs this feature about two girls who survived in the wilderness for five years with the help of a freaky spirit called Mama. When their uncle (Nikolaj CosterWaldau) and his girlfriend ( Jessica Chastain) take the tykes in, the ghost comes along, and Mama don’t take no mess. Despite decent performances, Mama is more of the same: a woman-done-wrong monster, an endless string of speaker-blowing “boo” moments, and a central conceit about how kids see the darnedest things. And worst of all, CGI ghosts just aren’t scary. Rated PG-13. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) MASQUERADE South Korean director Choo Chang-min takes a familiar plot, the look-alike who stands in for a ruler and does a more enlightened job of things, and plugs it into a mystery from 17th-century Korea, where a strange two-week gap in court records coincides with aberrantly humane behavior from the king. It’s essentially the plot of Dave (1993) retold with great style and color by Choo, and its echoes of the mysterious chapter in Korean history give it a special continued on Page 56 PASATIEMPO

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resonance. Lee Byung-hun is wonderful in the dual role of king and look-alike. Not rated. 131 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) QUARTET At 75, Dustin Hoffman makes his debut as a director with appealing geriatric material. Beecham House is a retirement home for musicians, among them brooding Reg (Tom Courtenay), sweet daffy Cissy (Pauline Collins), and lecherous, fun-loving Wilf (Billy Connolly). When diva Jean (Maggie Smith) arrives, it completes a foursome who once starred together in a noted production of Verdi’s Rigoletto and sets the stage for an encore performance. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) SAFE HAVEN You know what to expect in this film based on a Nicholas Sparks novel: a woman learns to love again, everything takes place in the golden light before sunset, and nobody is far from a secluded beach. Rated PG-13. 115 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) SEARCHING FOR SUGAR MAN Malik Bendjelloul’s film about the musician Sixto Diaz Rodríguez follows the triumphs and frustrations of a journalist and a recordstore owner in their efforts to shed light on the mystery surrounding him. Nominated for a best-documentaryfeature Oscar. Rated PG-13. 85 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) SIDE EFFECTS Steven Soderbergh claims to be taking a sabbatical from making movies. He’s leaving us with a nifty psychological thriller, starring Jude Law as an earnest shrink who prescribes a new drug to a depressed patient (Rooney Mara) and gets caught up in a maelstrom when a murder rears its head. Catherine Zeta-Jones is smooth as a professional colleague, and beefy Channing Tatum is agreeable as the husband of Mara’s character. The movie revels in its twists and turns, and most of them work. Rated R. 105 minutes. Regal Stadium 14, Santa Fe. ( Jonathan Richards) SILVER LININGS PLAYBOOK After his release from a mental institution, Pat Solatano (Bradley Cooper) moves in with his parents ( Jacki Weaver and Robert

spicy bland

medium

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February 22 - 28, 2013

De Niro) and vows to win back his estranged wife. He meets and befriends Tiffany ( Jennifer Lawrence), who also has a couple of screws loose. The finely honed dialogue, attention to detail, and impressive performances make the movie a near-perfect oddball comedy. This film received Oscar nominations for all four principals; it garnered four additional Oscar nods as well. Rated R. 122 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) STAND UP GUYS Director Fisher Stevens packages a mélange of genres that includes the buddy movie, the mob movie, and the over-the-hill-gang movie to produce a sometimes hackneyed but highly entertaining romp. It relies almost entirely on the enormous charm, talent, and history of its three stars — Al Pacino, Christopher Walken, and Alan Arkin — and they do not disappoint. Pacino is Val, released from prison after almost three decades of taking the fall for his gang mates. Walken is Doc, his best friend, who has an unhappy duty on his hands. Arkin is their old pal and getaway driver Hirsch. Rated R. 95 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) 2013 OSCAR NOMINATED SHORT FILMS: ANIMATION The strongest set of animation nominees in years boasts the familiar (Disney and The Simpsons get nods with Paperman and Maggie Simpson in “The Longest Daycare”), the surreal (Fresh Guacamole), the pastoral (Adam and Dog), and the poignant (Head Over Heels). Even better, the program is ideal for children; there are none of the scary or “edgy” films of the past — only heart and humor. Not rated. 41 minutes total. The Screen, Santa Fe. (Robert Ker) 2013 OSCAR NOMINATED SHORT FILMS: DOCUMENTARY In this year’s crop of documentary shorts, Kings Point takes us inside a retirement community; Mondays at Racine shows us a beauty salon that caters to women undergoing chemotherapy once a month; Inocente centers on a homeless teenage immigrant who strives to become an artist; Redemption looks at people in New York City who survive by redeeming cans and bottles for money; and Open Heart follows Rwandan children to Sudan in search of treatment for their heart disease. Not rated. 195 minutes total. The Screen, Santa Fe. (Not reviewed) 2013 OSCAR NOMINATED SHORT FILMS: LIVE ACTION The live-action nominees are slightly uneven, but there isn’t a bad one in the bunch. Asad spins a fable of a young boy in a Somali fishing village. Death of a Shadow contains imaginative steampunk set pieces. Curfew tells of a former junkie who babysits his niece; it contains nice moments, but the mix of tones is jarring. Henry is a moving tale of an elderly pianist holding desperately to his memories. Buzkashi Boys is

about two boys in Kabul, Afghanistan, who yearn to play a pololike game on horseback. It offers one striking image after another — if a short-film program is like a passport around the world, it’s the brightest stamp. In English and various other languages with subtitles. Not rated. 106 minutes total. The Screen, Santa Fe. (Robert Ker) THE WAITING ROOM This documentary should be required viewing. Director Peter Nicks distilled five months of filming into a representation of a typical day in the emergency room of Highland Hospital in Oakland, California, which, according to one doctor, is “the safety net of society ... an institution of last resort.” We meet patients (some of whom don’t speak English and many of whom are uninsured), nurses, and doctors, but we do not see a single talking head, and we hear only a few voice-overs. Not rated. 81 minutes. The Screen, Santa Fe. (Laurel Gladden) WARM BODIES A young zombie (Nicholas Hoult) stumbles around with his peers but yearns for more. Enter a cute zombie hunter (Teresa Palmer) who gets his heart beating again. Their extremely unlikely romance holds the key to “curing” the zombie plague, but first they need to fight some skinny, angry, CGI thingies and get daddy ( John Malkovich) to approve of their relationship. The setup is clever, and the use of pop music is inspired, but Warm Bodies is thin on content and often lurches along as slowly as the undead. Rated PG-13. 97 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker) ZERO DARK THIRTY Kathryn Bigelow’s CIA procedural about the hunt for Osama bin Laden has stoked a fierce debate over the effectiveness and morality of torture. Jessica Chastain gives a powerful performance in the role of the key investigator. For the most part the events feel real, sometimes unbearably so. Chastain has been nominated for a best actress Oscar, and the film is up for best picture. Rated R. 157 minutes. Regal Stadium 14, Santa Fe. ( Jonathan Richards)

other screenings CCA Cinematheque 5:45 p.m. Thursday, Feb. 28: A Late Quartet. Presented by Santa Fe Pro Musica. Warehouse 21 1614 Paseo de Peralta, 989-4423 5:30 p.m. Wednesday, Feb. 27: Bully. Refreshments precede the screening. Discussion to follow. ◀


5BEST PICTURE

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1050 Old Pecos Trail, 982-1338, ccasantafe.org Amour (PG-13) Fri. to Sun. 12 p.m., 2:30 p.m., 5:15 p.m., 8 p.m. Mon. to Wed. 12:30 p.m., 3 p.m., 5:30 p.m., 8 p.m. Thurs. 12:30 p.m., 3 p.m., 8 p.m. Chasing Ice (PG-13) Fri. to Sun. 6 p.m. Mon. to Thurs. 2 p.m. A Glimpse Inside the Mind of Charles Swan III (R) Fri. to Sun. 8:30 p.m. A Late Quartet (R) Thurs. 5:45 p.m. Searching for Sugar Man (PG-13) Fri. to Sun. 12:15 p.m., 3 p.m. Mon. to Thurs. 4:30 p.m., 7:30 p.m.

A Film by MICHAEL HANEKE

the SCreen

562 N. Guadalupe St., 988-2775, fandango.com Argo (R) Fri. and Sat. 1:30 p.m., 4:20 p.m., 7:20 p.m.,

9:50 p.m. Sun. to Thurs. 1:30 p.m., 4:20 p.m., 7:20 p.m. Beasts of the Southern Wild (PG-13) Fri. to Thurs. 1:50 p.m., 7:40 p.m. Les Misérables (PG-13) Fri. to Thurs. 1:20 p.m., 6:50 p.m. Masquerade (NR) Fri. and Sat. 4:30 p.m., 9:55 p.m. Sun. to Thurs. 4:30 p.m. Quartet (PG-13) Fri. and Sat. 1:40 p.m., 4:10 p.m., 7:30 p.m., 9:45 p.m. Sun. to Thurs. 1:40 p.m., 4:10 p.m., 7:30 p.m. Silver Linings Playbook (R) Fri. and Sat. 1:10 p.m., 3:50 p.m., 7:10 p.m., 10:05 p.m. Sun. to Thurs. 1:10 p.m., 3:50 p.m., 7:10 p.m. Stand Up Guys (R) Fri. and Sat. 4:40 p.m., 10:10 p.m. Sun. to Thurs. 4:40 p.m. West of Memphis (R) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 10 p.m. Sun. to Thurs. 1 p.m., 4 p.m., 7 p.m. regAl StAdium 14

3474 Zafarano Drive, 424-6296, fandango.com Beautiful Creatures (PG-13) Fri. to Wed. 1:30 p.m., 4:20 p.m., 7:15 p.m., 10:30 p.m. Dark Skies (PG-13) Fri. to Wed. 1:10 p.m., 4 p.m., 7:50 p.m., 10:25 p.m. Escape From Planet Earth 3D (PG) Fri. to Wed. 4:45 p.m., 7:05 p.m. Escape From Planet Earth (PG) Fri. to Wed. 2:20 p.m., 9:30 p.m. A Good Day to Die Hard (R) Fri. to Sun. 1:20 p.m., 2 p.m., 4:10 p.m., 4:40 p.m., 7:10 p.m., 7:40 p.m., 10:15 p.m., 10:45 p.m. Mon. to Wed. 1:20 p.m., 2 p.m., 4:10 p.m., 4:40 p.m., 7:10 p.m., 7:40 p.m., 10:15 p.m., 10:45 p.m. Hansel & Gretel:Witch Hunters 3D (R) Fri. to Wed. 2:05 p.m., 7:20 p.m. Identity Thief (R) Fri. to Wed. 2 p.m., 4:50 p.m., 7:30 p.m., 10:10 p.m. Life of Pi 3D (PG) Fri. to Wed. 1:15 p.m., 7:15 p.m. Life of Pi (PG) Fri. to Wed. 4:15 p.m., 10:15 p.m. Lincoln (PG-13) Fri. to Wed. 1:25 p.m., 9 p.m. Mama (PG-13) Fri. to Wed. 4:45 p.m., 9:40 p.m. Safe Haven (PG-13) Fri. to Wed. 1 p.m., 1:30 p.m., 4 p.m., 4:30 p.m., 7 p.m., 7:45 p.m., 10 p.m., 10:30 p.m. Side Effects (R) Fri. to Wed. 2:15 p.m., 5 p.m., 7:45 p.m., 10:25 p.m. Snitch (PG-13) Fri. to Wed. 2:10 p.m., 4:35 p.m., 7:20 p.m., 10 p.m. Warm Bodies (PG-13) Fri. to Wed. 1:40 p.m., 4:25 p.m., 7:55 p.m., 10:25 p.m. Zero Dark Thirty (R) Fri. to Wed. 5:15 p.m.

Ornette: Made in America (NR) Fri. and Sat. 6 p.m. Mon. and Tue. 3 p.m. Wed. 5:30 p.m. Thurs. 5 p.m. Oscar Nominated Short Films 2013:Animation

P E T E R J A C K S O n A n D F R A n wA L S H P R E S E n T

(NR) Fri. 4 p.m. Sat. 10:45 a.m. Tue. 5 p.m.

BEST DOCUMENTARY NOMINEE

Oscar Nominated Short Films 2013: Documentary

(NR) Wed. 7:20 p.m.

CRITICS’ CHOICE AWARDS CHICAGO FILM CRITICS ASSOCIATION DALLAS - FT. WORTH FILM CRITICS Runner-Up

Oscar Nominated Short Films 2013: Live Action

“INSpIRING.”

(NR) Sat. 3:45 p.m. Mon. 5 p.m.

-Stephen Holden, THE NEW yoRK TIMES

Mon. and Tue. 7:15 p.m. Wed. 3 p.m. Thurs. 3 p.m., 7:15 p.m. The Waiting Room (NR) Sat. 12:30 p.m. Sun. 2:30 p.m.

DIRECTED BY AMY BERG wRITTEn BY AMY BERG & BILLY McMILLIn West of Memphis: Voices For Justice Album available January 15

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087 Beautiful Creatures (PG-13) Dark Skies (PG-13) Escape From Planet Earth 3D (PG) Escape From Planet Earth (PG) A Good Day to Die Hard (R) Hansel & Gretel:Witch Hunters (R) IdentityThief (R) Mama (PG-13) Safe Haven (PG-13) Snitch (PG-13) Warm Bodies (PG-13)

mitChell Storyteller CinemA (tAoS)

110 Old Talpa Canon Road, 575-751-4245 Beautiful Creatures (PG-13) Fri. 4:40 p.m., 7:15 p.m., 9:50 p.m. Sat. 2:05 p.m., 4:40 p.m., 7:15 p.m., 9:50 p.m. Sun. 2:05 p.m., 4:40 p.m., 7:15 p.m. Mon. to Thurs. 4:40 p.m., 7:15 p.m. Escape From Planet Earth 3D (PG) Fri. and Sat. 7:20 p.m., 9:30 p.m. Sun. to Thurs. 7:20 p.m. Escape From Planet Earth (PG) Fri. 4:45 p.m. Sat. and Sun. 2:20 p.m., 4:45 p.m. Mon. to Thurs. 4:45 p.m. A Good Day to Die Hard (R) Fri. 4:50 p.m., 7:25 p.m., 9:40 p.m. Sat. 2:25 p.m., 4:50 p.m., 7:25 p.m., 9:40 p.m. Sun. 2:25 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 p.m., 7:25 p.m. IdentityThief (R) Fri. 4:35 p.m., 7:05 p.m., 9:55 p.m. Sat. 2:10 p.m., 4:35 p.m., 7:05 p.m., 9:55 p.m. Sun. 2:10 p.m., 4:35 p.m., 7:05 p.m. Mon. to Thurs. 4:35 p.m., 7:05 p.m. Safe Haven (PG-13) Fri. 4:30 p.m., 7 p.m., 9:55 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:55 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. Snitch (PG-13) Fri. 4:50 p.m., 7:30 p.m., 9:45 p.m. Sat. 2:15 p.m., 4:50 p.m., 7:30 p.m., 9:45 p.m. Sun. 2:15 p.m., 4:50 p.m., 7:30 p.m. Mon. to Thurs. 4:50 p.m., 7:30 p.m. Warm Bodies (PG-13) Fri. 4:45 p.m., 7:35 p.m., 9:50 p.m. Sat. 2:30 p.m., 4:45 p.m., 7:35 p.m., 9:50 p.m. Sun. 2:30 p.m., 4:45 p.m., 7:35 p.m. Mon. to Thurs. 4:45 p.m., 7:35 p.m.

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The Abduction From the Seraglio From Barcelona’s gran teatre del liceu (NR)

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Tabu (NR) Fri. and Sat. 1:30 p.m., 7:45 p.m.

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‘‘

DAVID O. RUSSELL’S FILM IS ABOUT THE PERSISTENCE OF HOPE AND THE POSSIBILITY OF HEALING LOVE.’’

Written for the screen and directed by

david o. russell

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Maggie Tom Billy Pauline Smith Courtenay Connolly Collins

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moving images film reviews

West Memphis railroad Jonathan Richards I For The New Mexican West of Memphis, documentary, rated R, Regal DeVargas, 3.5 chiles All too often in sensational criminal cases, what is on trial is not the defendant but the crime. Show enough graphic, emotionally wrenching evidence about what happened to the victim, and a jury would probably convict the Dalai Lama if the prosecution had him in the dock. The police are under pressure to make quick arrests. Ambitious prosecutors are under pressure to get a conviction and advance their careers. Politicians rush to the cameras to take credit for a justice system that “works.” News media post banner headlines and whip up a popular frenzy to sell papers or boost ratings. Protesters gather outside courthouses carrying signs and screaming epithets. It’s not that nobody cares whether or not the suspects really did it. But that’s far from the only consideration. And once the train gets rolling, there’s not much incentive to jump off. As Damien Echols says, “This case is nothing out of the ordinary. This happens all the time.” Echols is the central figure of the West Memphis Three, a trio of men who, as teenagers in 1993, were convicted of the murders of three 8-year-old boys in Arkansas. The bodies were found naked and hogtied in a muddy drainage ditch near the boys’ homes in West Memphis. Echols and his friends Jason Baldwin and Jessie Misskelley were outsiders, weirdos who wore their hair long and their clothes black and were into magic and heavy metal. The little boys’ naked bodies were scarred and genitally mutilated. Prosecutor John Fogleman wove a story of satanic ritual and drinking blood and presented “expert” witnesses. The state got a confession out of Misskelley, a boy with a low

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Damien Echols, one of the West Memphis Three, with his wife, Lorri Davis

IQ whose story kept changing, apparently to suit suggestions fed to him by police interrogators until he “got it right.” Assistant medical examiner Frank Peretti, who testified for the state, painted bloodchilling pictures of sexual mutilation and cultist torture of the victims. The testimony of Peretti, who was later revealed to have flunked his professional certification exams several times, turned out to be hopelessly inept. Outside experts later debunked many of his conclusions. Some of these experts were brought in at the expense of Lord of the Rings director Peter Jackson, the who grew interested in the case as it became increasingly apparent that justice had been dishonored. Jackson, who co-produced the documentary, points a finger at the prosecution: “I have a pathological hatred of bullying,” he says in the film. “Wrong was being perpetrated by people who I believe knew they were doing wrong.” Following a tradition with long roots (think of Bob Dylan’s “The Lonesome Death of Hattie Carroll” and “Hurricane”), a number of entertainment figures, including Johnny Depp and Pearl Jam’s Eddie Vedder, devoted resources to righting the wrongs of the case. The driving force behind the battle for justice was Lorri Davis, a New York landscape architect who began a correspondence with Echols after learning about the case in 1996 and married him in prison in 1999. She and Echols also co-produced the film. The ground of the case has been covered before, notably in the HBO documentary trilogy Paradise Lost, from filmmakers Joe Berlinger and Bruce Sinofsky, and in the book Devil’s Knot, by Arkansas journalist Mara Leveritt. You’ll find similar stories repeated all over the place. The Exonerated, a stage dramatization, and After Innocence, a film documentary by Jessica Sanders, tell true stories of innocent people who spent decades in prison and of their struggles to regain their lives. Books by Robert Mayer (Dreams of Ada) and John Grisham (The Innocent Man) detail different but eerily similar

wrongful capital murder convictions in the same Oklahoma town that involve the same “dream confession” scenario, the same prosecutor, and the same jailhouse snitch. And another current documentary, the shattering The Central Park Five (co-directed by Ken Burns), sets forth a miscarriage of justice not unlike West of Memphis: the railroading of five innocent black and Hispanic teenagers (ages 14 to 16) for the rape and beating of the woman known as the Central Park Jogger in 1989. In these cases and countless others, the public and the state wanted satisfaction. And they got it. Some of the Central Park Five had done as much as 13 years in prison before the state said “nevermind.” Grisham’s man, a former minor league baseball player, served 11 years on death row before being exonerated by DNA evidence. Mayer’s subjects are still locked up. All of them carry permanent emotional scars. As Echols says: nothing out of the ordinary. After a reexamination of the evidence in 2010 by the Arkansas Supreme Court, the West Memphis Three were finally released from prison in 2011. They had served 18 years. They didn’t get off scotfree, though. The deal they accepted had them plead guilty while asserting their innocence, a tortuous device that protects the state against a subsequent lawsuit. The original trial judge, now a state senator, remains dogged in his belief in the verdict. So does the prosecutor, Fogleman, who agreed to talk to the filmmakers because “I needed to be heard by my voters.” He recently lost his bid for the Arkansas Supreme Court. Among the new material that West of Memphis presents is persuasive evidence against the man who may be the real killer. He was the last person seen with the boys, and his DNA was found on the knots that bound their bodies. According to the police, he is not a suspect. Director Amy Berg builds West of Memphis with the gripping suspense of a police thriller, but real life has not cooperated in providing an ending. ◀


Santa Fe Farmers’ Market Institute

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Gas ‘fracking’ in Mora and San Miguel Counties? The fight against a most powerful industry. Meet the filmmakers after the movie!

February 27 Place: Santa Fe Farmers’ Market Pavilion Admissions: General Admission: $12, Institute Members, Seniors & Students over 18: $10, Under 18 and Santa Fe Farmers’ Market Vendors: Free

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59


moving images film reviews

Forbidden fruit Jon Bowman I For The New Mexican Tabu, romantic drama, not rated, in Portuguese with subtitles, The Screen, 3.5 chiles You have probably seen the Russian folk dolls called matryoshka. Carved in wood, these elaborately painted figurines — usually styled as peasant girls — are hollowed out so that each one can contain another doll that’s smaller than the last and fits snugly inside it. The Portuguese film Tabu bears some structural resemblance to matryoshka doll sets. Directorwriter Miguel Gomes introduces not one story line but a series of them, set in different times and places. They’re related and connected, like Russian dolls nesting inside each other, but each narrative also stands alone. As if that isn’t stylistically subversive enough, Gomes gives the different stories different looks. The picture opens with what appears to be a contemporary mystery yarn set in modern-day Lisbon. A dying, dementia-crazed woman named Aurora (Laura Soveral) has lost all her money at a casino, convinced she would win a huge jackpot based on a dream in which oracles — hairy monkeys — advised her to go for broke. Aurora’s next-door neighbor Pilar (Teresa Madruga) is aghast. Pilar believes Aurora has suffered a nervous breakdown, but could there be more sinister dealings at work here? Why doesn’t Aurora’s distant daughter intervene to help? What’s with Aurora’s stoic African housekeeper, Santa (Isabel Cardoso), whom Aurora often accuses of engaging in witchcraft? Pilar, a meddler and a do-gooder by nature, can’t resist getting more deeply involved. Gomes and cinematographer Rui Poças have shot this section, called “Paradise Lost,” in the style of the old noir detective movies, using black-and-white 35 mm film that accentuates the shadowy scenes, often set at night or in tight urban apartments. The characters’ everyday affairs seem mundane enough, but Aurora’s failing health and money woes suggest a greater impending crisis to come. Aurora herself supplies some resolution to the mystery by issuing a deathbed summons for Pilar to find an old friend, an Italian expatriate, Gian Luco Ventura, now living in a Lisbon nursing home. Ventura, it turns out, has a storied past. He spent much of his youth as a worldly vagabond, roaming across Africa and Asia. He begins to relate the story of his life, a story told in a section called “Paradise,” the events of which unfold some 50 years prior. Then a new drama — this one a romantic tragedy — crystallizes, bringing a much younger Aurora (Ana Moreira) into the arms of the dashing Ventura 60

February 22 - 28, 2013

Anna Moreira and Carloto Cotta

(Carloto Cotta) at the foot of the fictional Mount Tabu. That’s where Aurora grew up, a spoiled heiress and wild-game hunter, living with a foppish husband on a tea plantation in colonial Africa. She’s pregnant with their first child, but that doesn’t stop her from throwing all caution to the wind in a highly charged and illicit affair with Ventura. In a marvelously inventive experiment, this section was shot in 16 mm, employing the boxy Academyratio framing common in cinema’s silent era. Also replicating the silent aesthetic, Gomes dispenses with all dialogue for this narrative strand. We hear background jungle noises, but otherwise, the only words come from Aurora’s readings of long-forgotten love letters and Ventura’s voice-over narration in the ripe, flowery style of Harlequin Romance novels. Now the action moves outdoors, to expansive savannas and dense jungles. The most notable exception: a lurid lovemaking scene that is so swoon-worthy you’ll be left breathless. These abrupt reversals are quite jarring at first, but this is no mere academic exercise on Gomes’ part. He has transported us to a time and place now long gone, resurrecting dormant memories that will soon be forever buried. These memories become all the more powerful and haunting because they are not presented in sharp, crystal-clear focus but rather are depicted as flickering shadow plays by the use of archaic artistic devices, also soon to lapse into obscurity. It’s akin to discovering a prized long-lost recording of Beethoven’s Fifth Symphony on a scratchy, worn-out wax cylinder. Gomes borrowed his film’s title and the two sectional subtitles from the delirious 1931 work by F.W. Murnau and Robert Flaherty. It too spins a tale of forbidden love set against a backdrop of colonialism, but on a South Sea island. In an Australian

interview ahead of his picture’s screening at the Sydney Film Festival, Gomes said he wanted not only to pay homage to Murnau but also to express his admiration for “an extinguished cinema that could be symbolized by Murnau’s work.” In this regard, he’s plumbing similar waters as last year’s silent salute The Artist, but Gomes dives deeper, creating an edgier work that is often more daring and certainly more original. True, this edginess will probably make Tabu less palatable to general audiences and more of a film buff’s wet dream. Still, there ought to be a place in cinema for works that break the mold. One can picture Gomes and Canada’s mad-genius filmmaker Guy Maddin occupying the same bathysphere, on a sacred mission to bring back images of wild, mythical deep-sea creatures. But before surfacing, Gomes would redirect the ship to a swampy cove so as not to miss any saltwater crocodiles lurking nearby. The crocodile is as a recurring symbol in Tabu. We see ferocious young whippersnappers that have been placed in captivity but defy all efforts to tame them. We also encounter huge hidden beasts that gaze out from riverbed thickets, their expressions blank and their eyes impenetrable. I’m quite sure the crocodiles are meant to stand for something — perhaps the treachery of time, the wildness of the lovers, the resilience of Africa, the jaded rule of the colonialists, or all of the above. I wouldn’t deign to tell you precisely what’s afoot here. Part of the beauty of experiencing an open-ended work like Tabu is giving it your own interpretation. If you like films that require you to meet them halfway, this one might be your cup of tea. If not, hey, there’s always an old Tarzan movie playing somewhere. ◀


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AMOUR A Film by MICHAEL HANEKE

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BRENDAN FRASER SARAH JESSICA PARKER JESSICA ALBA JANE LYNCH CRAIG ROBINSON WILLIAM SHATNER GEORGE LOPEZ SOFIA VERGARA RICKY GERVAIS AND ROB CORDDRY

2013 Oscar Nominee for Best Documentary!!!

TONIGHT!!! at The Lensic • 7:00p, Fri Feb 22 Writer/director Shane Carruth, director of PRIMER, IN PERSON!!!

A fundraiser for the CCA Cinematheque. $12. Tickets at Ticketssantafe.org or call 988-1234

“Ecstatically beautiful” –Village Voice

THIS WEE KEND ONL Y!!

Santa Fe Pro Musica presents:

A LATE QUARTET

5:45p Thursday, February 28 Visit www.santafepromusica.com or call 988-4640 for tickets and information about the Brentano String Quartet concert sponsored by Santa Fe Pro Musica on Friday, March 1

Fri-Sun Feb 22-24

IN DIGITAL 3D AND Soundtrack available on

NOW PLAYING AT THEATERS EVERYWHERE IN

AND DIGITAL 3D. ALSO PLAYING IN 2D.

CHECK DIRECTORIES FOR THEATERS AND SHOWTIMES.

12:00p - Amour 12:15p - Searching for Sugar Man* 2:30p - Amour 3:00p - Searching for Sugar Man* 5:15p - Amour 6:00p - Chasing Ice* 8:00p - Amour 8:30p - Inside the Mind of Charles Swan III*

Mon-Wed Feb 25-27 12:30p - Amour 2:00p - Chasing Ice* 3:00p - Amour 4:30p - Searching for Sugar Man* 5:30p - Amour 7:30p - Searching for Sugar Man* 8:00p - Amour

Thu Feb 28 12:30p - Amour 2:00p - Chasing Ice* 3:00p - Amour 4:30p - Searching for Sugar Man* 5:45p - Santa Fe Pro Musica presents: A Late Quartet 7:30p - Searching for Sugar Man* 8:00p - Amour * indicates show will be in The Studio at CCA for $7.50 or $6.00 for CCA Members

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61


RESTAURANT REVIEW Susan Meadows I For The New Mexican

Angel food

Midtown Bistro

901 W. San Mateo Road, 820-3121 Lunch 11 a.m.-2 p.m. Tuesdays-Fridays; brunch 10 a.m.-2 p.m. Saturdays & Sundays; dinner 5-9 p.m. Tuesdays-Saturdays; closed Mondays Beer & wine license pending Noise level: lively bistro Patio dining in season Vegetarian options Wheelchair accessible Credit cards, no checks

The Short Order With a bakery, a microbrewery, and a pizza joint, the mixed light-industry and residential neighborhood around West San Mateo Road had lacked only the fine-dining element. Apparently, an angel heard the call. Angel Estrada, formerly executive chef at Santacafé, opened Midtown Bistro in December 2012. With an atmosphere equally suitable for an important business lunch, a romantic dinner, or a family celebration, the bistro offers interesting choices, such as red wine risotto and vegetable tempura, along with steakhouse classics. Generally wellprepared fresh food is the rule, while the few less-than-delicious dishes will no doubt get some tweaking by this highly experienced chef. The attentive and personable staff makes dining here a pleasure. So does the check. Recommended: black bean soup, vegetable tempura, Reuben sandwich, fish and chips, rib-eye steak, leek risotto, and house cheesecake.

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.

62

February 22 - 28, 2013

Santa Fe’s light-industry neighborhood near the rail line on West San Mateo Road contains a Zen-like oasis, where vertical stone pieces are scattered about through a peaceful garden. That’s where you’ll find Midtown Bistro, which opened in December 2012. Fans of chef-owner Angel Estrada, previously at Santacafé for 16 years and at Il Piatto before that, have already found it. The atmosphere is suitable for an important business lunch, a celebration with friends or family, or even a romantic dinner. The ambience is contemporary industrial, with plenty of light, combined with a clubby steakhouse feel, with white tablecloths and red cushy chairs updating the classic banquette. General manager Edmund Catanach and the wait staff provide a warm welcome, and while they never let your glass run dry or leave you wanting for anything, they give you time to appreciate your meal. The personal touch is natural and a given here. Patio tables in summer let you enjoy the garden oasis and the occasional passage of the Rail Runner Express. At lunch, a selection of burgers and other sandwiches, hot plates, and salads are fuel for the working folk in the neighborhood. A classic Reuben is piled high with quality pastrami and sauerkraut and comes with a potato salad just like my granny made. Add a cup of hearty black bean soup (the soup of the day), and even the hardest-working bloke’s stomach won’t be growling before dinner — and at a price that’s hard to beat except at a drive-thru. The fish-and-chips platter features lightly battered grouper, still moist and tender inside, and supermodel-skinny shoestring fries. Creamy tartar sauce and coleslaw with a bonus of refreshing clementine sections add additional texture, though the sauce lacked the promised jalapeño heat. Our only disappointment was that our server failed to mention until asked that the bistro was still looking for a pastry chef and that the pie already in front of us came from the supermarket. Feeling the post-holiday letdown in January, I went again for dinner midweek, expecting a dining room as desolate as the streets outside. Instead, a Christmas tree still warmed the cold midwinter night with its festive baubles and lights. Joyful music (though a little loud at my table), the sparkly tree, and happy diners celebrating lifted me out of my doldrums. We started with the winter vegetable tempura, which is not a dish you’ll find everywhere. The contrast of outer crunch, inner veggie sweetness, and a spicy-hot dipping sauce (which errs only a touch on the sweet side) makes it a plate I’d order again. But I recommend that you share; it’s a little heavy as an appetizer for one. The Caesar salad was big and crunchy, with fresh romaine hearts, but it needed punch from garlic and anchovies,

while the generous leaves of shaved Parmesan were curiously tasteless. The Colorado Gold Canyon rib-eye steak packs flavor with a good juicy rim of caramelized fat and a perfectly cooked-to-order center, and it’s big enough for the heartiest appetite. A side of buttery mashed potatoes, crisp green beans, and a slick of demiglace completed this well-priced classic. The menu lists two risottos, and while I tasted only the one that comes with the scallops, I’ll wager the vegetarian version is well worth a try. The scallops gave off a whiff of ammonia and had a stringy texture, but it hardly mattered because the leek risotto with spinach and kalamata olives rated a wow. Perhaps others had expressed disappointment over supermarket desserts, because choices on that cold night included two that were made in-house — a cheesecake and a chocolate mousse. I didn’t finish the mousse, which was dry and lacked character, but it was a battle of the spoons over the cheesecake. Much like the tangy ricotta versions one might find in Italy, it crumbled like I imagine clouds might if you could eat them. The bistro is still waiting for its beer and wine license. It should be in by March. In any case, an Angel in Midtown is just what the neighborhood needs. ◀

Check, please

Lunch for two at Midtown Bistro: Soup and sandwich ......................................... $10.00 Fish and chips ................................................ $14.00 Key lime pie ...................................................... $7.00 Chocolate tart ................................................... $7.00 Cranberry juice ................................................. $2.50 Two espressos ................................................... $6.00 TOTAL ............................................................ $46.50 (before tax and tip) Dinner for two, another visit: Caesar salad ...................................................... $9.00 Vegetable tempura ............................................ $7.00 Scallops with risotto ....................................... $23.00 Rib-eye steak ................................................... $25.00 Chocolate mousse ............................................ $7.00 Cheesecake ....................................................... $8.00 Cranberry juice ................................................. $2.50 TOTAL ............................................................ $81.50 (before tax and tip)


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

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

January 20, 2012

January 4, 2013

February 17, 2012

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

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Theater Grottesco

presents

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Out of Context orchestra

Storm

Currents events: New Media Festival

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January 25, 2013 The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture September 21, 2012

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The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture May 4, 2012

The Santa Fe Concert Association

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Armistead Maupin & Christopher Turner W.S. MerWin

24th AID & Comfort Gala Honorary Co-chairs

To tell the truthiness @ SITE Santa Fe

The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture February 3, 2012

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Aspen Santa Fe Ballet

Coming Soon

PASATIEMPO

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pasa week 22 Friday

ClassiCal musiC

atrium string Quartet Beethoven, Debussy, and Shostakovich quartets, 7:30 p.m., Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, no charge, 984-6000. TgiF harpsichord recital Jan Worden-Lackey, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations accepted, 982-8544, Ext. 16.

gallery/museum openings

arroyo gallery 200 Canyon Rd., 988-1002. Scott Wilson Maclaren Revisionist: New Photographic Images, reception 5-7 p.m., through March 13. arTfeast 2013 Exhibits, food, wine, and fashion through Sunday, Feb. 24; Art of Fashion runway show and luncheon, 11:30 a.m.-2 p.m., Santa Fe Community Convention Center; Edible Art Tour on Canyon Rd. and downtown, 5-8 p.m. (see list of participating galleries on Page 69); Feast or Famine dance party with music by DJs Dynamite Sol and Joe Ray Sandoval, 8 p.m.2 a.m., Anasazi Ballroom, Eldorado Hotel; Tickets and details available at ARTsmart, 603-4643, and online at artfeast.com, proceeds benefit ARTsmart, a local nonprofit that supports art programs in area organizations and schools (see story, Page 50). Beals & abbate Fine art 713 Canyon Rd., 438-8881. Synthesis, four-year retrospective of works in ink by Anthony Abbate, reception 5-8 p.m., through March 4. Bill Hester Fine art 830 Canyon Rd., 660-5966. Homage to the Strong Woman/Eternal, work by Susanna Hester, reception 5-7 p.m., through Thursday, Feb. 28. David richard gallery 544 S. Guadalupe St., 983-9555. Woven and Stitched, textiles by Judy Chicago; The Tapestries — Forces of Nature and Beyond, work by June Wayne (1918-2011); Stained and Unstretched, paintings by Paul Reed; reception 5-7 p.m., through March 23. Firefly lighting 17715 US 85/285 Exit 176, 455-2835. Divine Seats, cast glass sculpture by Michael Honack, reception 4-7 p.m. gF Contemporary 707 Canyon Rd., 983-3707. Alice in Wonderland, themed ARTfeast celebration, reception 5-8 p.m. giacobbe-Fritz Fine art 702 Canyon Rd., 986-1156. Alice in Wonderland, ARTfeast group show, reception 5-8 p.m. Jane sauer gallery 652 Canyon Rd., 995-8513. Questioning Femininity, kiln-formed glass sculpture by Susan Taylor Glasgow, reception 5-8 p.m., through March 15. michael Henington Fine art gallery 802 Canyon Rd., 992-0300. St.Elizabeth Shelter benefit party, reception 4-8 p.m., a percentage of art sales benefits the shelter. nüart gallery 670 Canyon Rd., 988-3888. Feast Your Eyes on Student Films, screenings of films by Santa Fe University of Art & Design students Eric Fulcher, Jonathan Heckler, and Ana Laura Hernandez, 5-8 p.m.

Pasa’s Little Black Book......... 65 Exhibitionism...................... 66 At the Galleries.................... 67 Libraries.............................. 67 Museums & Art Spaces........ 67 In the Wings....................... 68

64

February 22 - 28, 2013

compiled by Pamela Beach, pambeach@sfnewmexican.com

THeaTer/DanCe

Benchwarmers 12 Annual showcase of New Mexico talent presented by Santa Fe Playhouse; eight fully staged playlets, 7:30 p.m., 142 E. De Vargas St., $20, 988-4262, santafeplayhouse.org, ThursdaySunday through March 3. ‘The Drowsy Chaperone’ Santa Fe Preparatory School presents the musical, 7:30 p.m., 1101 Camino de Cruz Blanca, $10 at the door, discounts available, through Sunday, Feb. 24.

Books/Talks

salaton ole ntutu Maasai chief speaks on indigenous cultures and natural healing at various events through Monday, Feb. 25, visit andrew-naturopath.com for details, tickets for ticketed events available at the Lensic box office, 988-1234, ticketssantafe.org.

eVenTs

Jane Sauer Gallery shows the glass sculpture of Susan Taylor Glasgow.

a sea gallery 407 S. Guadalupe St., 988-9140. Drawings As Courage and Backbone, group show, reception 5-7 p.m. siTe santa Fe 1606 Paseo de Peralta, 989-1199. State of Mind: New California Art Circa 1970, conceptual and avant-garde works of the late 60s and 70s; Linda Mary Montano: Always Creative, interactive performance, Mungo Thomson: Time, People, Money, Crickets, multimedia; reception 5-7 p.m., through May 19 (see stories, Pages 24, 28, and 32). Verve gallery of photography 219 E. Marcy St., 982-5009. Works by Henry Horenstein, Linda Ingraham, and Brigitte Carnochan, reception 5-7 p.m., through May 4.

Elsewhere............................ 71 People Who Need People..... 71 Under 21............................. 71 Pasa Kids’............................ 71 Sound Waves...................... 71

William & Joseph gallery 727 Canyon Rd., 982-9404. Apples to Apples, group show of paintings, through March 7. Worrell gallery 103 Washington Ave., 989-4900. Works by Claire McArdle, David Griffin, and Rance Jones, reception 5-7 p.m. Zane Bennett Contemporary art 435 S. Guadalupe St., 982-8111. Presentiment, paintings by David Nakabayashi, reception 5-7 p.m., through March 22. Zaplin lampert gallery 651 Canyon Rd., 982-6100. Journey, new paintings by Joe Anna Arnett, through March 23.

exploring Creativity Beginning oil painting workshop with Sara Eyestone, 9:30-11:30 a.m., Georgia O’Keeffe Museum Education Annex, 123 Grant Ave., $8, part of the museum’s adult learning programs, 946-1039. night of illumination Closing ceremony and downtown walking tour of the community poetry project Snow Poems, opening remarks 6 p.m.; tours 6:15 p.m.; performances by Snow Poems Hear Here Choir 7:15 p.m.; Santa Fe Arts Commission Community Gallery, Santa Fe Community Convention Center, 201 W. Marcy St., snowpoemsproject.com.

nigHTliFe

(See Page 65 for addresses) Café Café Los Primos Trio, traditional Latin rhythms, 6-9 p.m., no cover. ¡Chispa! at el mesón The Three Faces of Jazz and friends, featuring Bryan Lewis on drums, 7:30-10:30 p.m., no cover. Cowgirl BBQ Guitarist Sean Farley, 5-7:30 p.m.; Joe Barron Band, Texas Country and rock ’n’ roll, 8:30 p.m.-close; 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. Follow Pasatiempo on Facebook and Twitter.


Dinner for Two Classical guitarist David Briggs, 7 p.m., no cover. El Cañon at the Hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. El Farol Calle 66, salsa/cumbia/merengue, 9 p.m.-close, $5 cover. Evangelo’s 43rd-anniversary bash with music by rock cover band Chango, 9 p.m., $5 cover. Hotel Santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. La Fiesta Lounge at La Fonda Los Wise Guys, oldies/country/rock, 8-11 p.m., no cover. La Posada de Santa Fe Resort and Spa Nacha Mendez Trio, pan-Latin music, 6:30-9:30 p.m., no cover. The Palace Restaurant & Saloon C.S. Rockshow, Don Curry, Pete Springer, and Ron Crowder, classic rock, 9:30 p.m., no cover. Pranzo Italian Grill Geist Cabaret with pianist David Geist, 6-9 p.m., $2 cover. Second Street Brewery Bill Hearne Trio, classic country, 6 p.m., no cover. Second Street Brewery at the Railyard Swing Soleil, Gypsy jazz and swing, 6-9 p.m., no cover. Vanessie Zenobia and Jay Boy Adams, country-blues, soul, and R & B, 8 p.m., $5 cover.

d Wine Bar 315 Restaurant an 986-9190 il, Tra Fe a nt 315 Old Sa nt & Bar anasazi Restaura Anasazi, the of Rosewood Inn e., 988-3030 113 Washington Av nch Resort & Spa Ra Bishop’s Lodge Rd., 983-6377 1297 Bishops Lodge Café Café 6-1391 500 Sandoval St., 46 ón es m El at ¡Chispa! e., 983-6756 213 Washington Av uthside Cleopatra Café So 4-5644 47 ., Dr o an far Za 82 34 Cowgirl BBQ , 982-2565 319 S. Guadalupe St. Dinner for Two , 820-2075 106 N. Guadalupe St. at The Pink The Dragon Room a Fe Trail, nt Sa d adobe 406 Ol 983-7712 lton El Cañon at the Hi 811 8-2 98 , St. al ov 100 Sand Spa 309 W. San Eldorado Hotel & 5 45 8-4 98 , Francisco St. El Farol 3-9912 808 Canyon Rd., 98 ill Gr & r El Paseo Ba 2-2848 99 , St. teo lis Ga 8 20

23 Saturday GaLLERy/muSEum oPEnInGS

aRTfeast 2013 Free Art of Home tour, noon-4 p.m.; gourmet dinner and auction honoring Star Liana York, with live music, 6 p.m., Four Seasons Rancho Encantado Resort. Tickets and details available at ARTsmart, online at artfeast.com or 603-4643, proceeds benefit ARTsmart, a local nonprofit that supports art programs in area organizations and schools (see story, Page 50).

In ConCERT

Ink on Paper and Luke Carr Drum/bass/electronics duo and acoustic post-punk songwriter, 8 p.m., High Mayhem Emerging Arts studio, 2811 Siler Lane, $10 suggested donation at the door.

THEaTER/DanCE

Benchwarmers 12 Annual showcase of New Mexico talent presented by Santa Fe Playhouse; eight fully staged playlets, 7:30 p.m., 142 E. De Vargas St., $20, discounts available, 988-4262, santafeplayhouse.org, ThursdaySunday through March 3. ‘The Drowsy Chaperone’ Santa Fe Preparatory School presents the musical, 7:30 p.m., 1101 Camino de Cruz Blanca, $10 at the door, discounts available, through Sunday, Feb. 24. ‘Gun Shy’ Comedy written by Joey Chavez and presented by New Mexico School for the Arts’ Theater Department, doors open at 7 p.m. with refreshments, local dining raffle, and prizes, curtain rises at 8 p.m., 275 E. Alameda St., $15, discounts available, 424-7787.

Pasa’s little black book Evangelo’s o St., 982-9014 200 W. San Francisc Hotel Santa Fe ta, 982-1200 1501 Paseo de Peral La Boca 2-3433 72 W. Marcy St., 98 ina nt La Casa Sena Ca 8-9232 98 e., Av e lac 125 E. Pa at La Fonda La Fiesta Lounge , 982-5511 St. o isc nc 100 E. San Fra a Fe Resort nt Sa de da La Posa e Ave., lac Pa and Spa 330 E. 0 00 986-0 at the The Legal Tender eum us m d oa ilr Lamy Ra 466-1650 151 Old Lamy Trail, g arts Center in rm Lensic Perfo o St., 988-1234 211 W. San Francisc Sports Bar & Grill om The Locker Ro 473-5259 2841 Cerrillos Rd., The Lodge Lodge Lounge at St. Francis Dr., N. 0 75 Fe at Santa 992-5800 rider Bar at Low ’n’ Slow Low 5 Washington Ave., Hotel Chimayó 12 988-4900 The matador o St., 984-5050 116 W. San Francisc

BookS/TaLkS

Gallery talk Artist Mungo Thomson discusses his work in Time, People, Money, Crickets, 2 p.m., SITE Santa Fe, 1606 Paseo de Peralta, by gallery admission, 989-1199. June Wayne’s Tapestries and Judy Chicago’s Textiles Panel discussion with Judy Chicago, Elissa Auther, Janet Koplos, and David Eichholtz, 2-4 p.m., David Richard Gallery, 544 S. Guadalupe St. Photography From a to Z Photography curator Katherine Ware talks about collecting strategies, future exhibitions, and special projects at the New Mexico Museum of Art, 2 p.m., reception follows, St. Francis Auditorium, 107 W. Palace Ave., no charge, 476-5072. Women Pursuing Peace in Israel-Palestine Dottie Indyke, Yael Maizel, and Rabbi Hefetz discuss the regions, 3-5 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, call 428-0668 for information.

EVEnTS

The Flea at El museo 8 a.m.-3 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia, santafeflea.com, 982-2671, weekends through April. ‘milking the Rhino’ Screening of the documentary and Q & A with co-producer Jeannie Magill 2 p.m., Cerrillos Hills State Park Visitor Center, 37 Main St., Cerrillos, 474-0196. Santa Fe artists market 8 a.m.-2 p.m., Saturdays through March at the Railyard plaza between the Farmers Market and REI, 310-1555. Santa Fe Farmers market 8 a.m.-1 p.m., 1607 Paseo de Peralta, 983-4098.

The mine Shaft Tavern 2846 NM 14, Madrid, 473-0743 molly’s kitchen & Lounge 1611 Calle Lorca, 983-7577 museum Hill Café 710 Camino Lejo, Milner Plaza, 984-8900 music Room at Garrett’s Desert Inn 311 Old Santa Fe Trail, 982-1851 The Palace Restaurant & Saloon 142 W. Palace Ave, 428-0690 Pranzo Italian Grill 540 Montezuma Ave., 984-2645 Pyramid Café 505 W. Cordova Rd., 989-1378 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 Santa Fe Farmers Market

nIGHTLIFE

(See addresses below) Café Café Los Primos Trio, traditional Latin songs, 6-9 p.m., no cover. ¡Chispa! at El mesón Andy Kingston Trio, jazz, 7:30-10:30 p.m., no cover. Cowgirl BBQ Singer/songwriters Kate Mann, Michelle McAfee, Lisa Joyce, 2-5 p.m.; Big Daddy Love, roots-rock band, 8:30 p.m.-close; no cover. The Dragon Room at The Pink adobe Don Curry and Pete Springer, classic rock, 9 p.m.-close, no cover. El Farol Zenobia and company, rock and R & B, 9 p.m., $5 cover. Evangelo’s Led Zeppelin cover band Moby Dick, 9 p.m.-close, $5 cover. La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. La Fiesta Lounge at La Fonda Los Wise Guys, oldies/country/rock, 8-11 p.m., no cover. La Posada de Santa Fe Resort and Spa Jazz vocalist Whitney and guitarist Pat Malone, 8-11 p.m., no cover. The mine Shaft Tavern Anthony Leon & The Chain, alt. country, 8 p.m.-close, $5 cover. molly’s kitchen & Lounge Dream Weapon Dance Party with DJs Dirt Girl, Mickey Paws, and P.F.F.P., 9 p.m., $5 cover. Pranzo Italian Grill Geist Cabaret with pianist David Geist, 6-9 p.m., $2 cover.

pasa week

continued on Page 69

Pavilion, 1607 Paseo de Peralta, 989-3278 Secreto Lounge at Hotel St. Francis 210 Don Gaspar Ave., 983-5700 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 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 Totemoff Lodge at the Santa Fe Ski Basin N.M. 475, 982-4429 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

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65


exhibitioNism

A peek at what’s showing around town

scott Wilson macLaren: White Sands Horizontal (I), 2013, lomograph. Scott Wilson MacLaren captures the beauty of desert landscapes in photographs made with a lomograph camera. “In this series, I have chosen to emphasize the abstract, otherworldly qualities of the landscape,” the artist writes. The exhibition, Revisionist: New Photographic Images, opens Friday, Feb. 22, with a 5 p.m. reception at Arroyo (200 Canyon Road). Call 988-1002.

David Nakabayashi: Presentiment Distraction, 2012, oil on canvas. Presentiment, an exhibition of paintings by David Nakabayashi, opens at Zane Bennett Contemporary Art (435 S. Guadalupe St.) with a 5 p.m. reception on Friday, Feb. 22. Nakabayashi’s surreal landscapes, seascapes, and cityscapes feature human figures engaged in actions that seem disconnected from their surroundings. A mysterious figure in an orange jumpsuit recurs throughout the series. Call 982-8111.

Nicolas Gadbois: Power Tower, 2009, oil on canvas. Nicolas Gadbois paints landscapes that include human-made features such as radio towers, cars, road signs, and highways. His use of vibrant colors and vivid imagery devoid of people suggests a postapocalyptic world. Roadshow, an exhibition of the artist’s paintings, is on view at the Betterday Coffee Shop (905 W. Alameda St. in the Solana Center, 555-1234) until March 21. Call Gadbois at 660-0972.

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February 22 - 28, 2013

elizabeth hahn: Left Leaning, 2013, acrylic on paper. Elizabeth Hahn’s playful and imaginative paintings and prints are on view at Harry’s Roadhouse (96 Old Las Vegas Hwy., 989-4629). The artist derives her imagery from dreams and memories and her use of bright colors and patterns from her experience with quilting and embroidery. The show opens on Thursday, Feb. 28. (There is no reception.) Call Hahn at 690-5166.

Linda ingraham: Botanica Set, 2008, archival pigment prints, paint, and resin on wood panels. Verve Gallery of Photography (219 E. Marcy St.) presents an exhibition of the work of Henry Horenstein, Linda Ingraham, and Brigitte Carnochan. Horenstein’s photographs are from his series Animalia and are close-up portraits of humans and animals revealing abstract patterns and textures. Ingraham shoots botanicals and other imagery derived from nature and combines painting and photography in her mixed-media pieces. The show also includes images from Carnochan’s recent series of botanicals, Leaving My Garden: The Beauty of the Natural World. There is a 5 p.m. reception on Friday, Feb. 22. Call 982-5009.


At the GAlleries

liBrAries

A Gallery Santa Fe 142 W. Marcy St., Suite 104, 603-7744. Abstract paintings by Vittorio Masoni, through March 16. Adobe Gallery 221 Canyon Rd., 955-0550. Cochiti Pueblo Figurative Pottery, through Monday, Feb. 25. Alexandra Stevens Fine Art 820 Canyon Rd., 988-1311. Heartfelt Expressions, new work by gallery artists, through Thursday, Feb. 28. Artservices Gallery 557 W. Cordova Rd., 660-1456. Elephants and Buddhas, photographs by Will Buckley, through Thursday, Feb. 28. Axle Contemporary 670-7612 or 670-5854. VaginaVan for V-Day, installation by Shirley Klinghoffer. Visit axleart.com for van locations through Friday, Feb. 22. Canyon Road Contemporary Art 403 Canyon Rd., 983-0433. The Heart Collective, group show, through Thursday, Feb. 28. Charlotte Jackson Fine Art 554 S. Guadalupe St., 989-8688. Pixel Dust Renderings 2012, computer-generated 3-D work by Ronald Davis, through Monday, Feb. 25. Eggman & Walrus Art Emporium 130 W. Palace Ave., second floor, 660-0048. Pinupology, photographs and multimedia by Carolina Tafoya and Ungelbah Dávila, through Saturday, Feb. 23. Marigold Arts 424 Canyon Rd., 982-4142. Winter Shadows, landscape watercolors by Robert Highsmith, through March 14. Monroe Gallery of Photography 112 Don Gaspar Ave., 992-0800. Sid Avery: The Art of the Hollywood Snapshot, through March 24 (see story, Page 36). Peyton Wright Gallery 237 E. Palace Ave., 989-9888. Art of Devotion, 20th annual exhibit of art and objects from the Spanish Colonial Americas combined with an inaugural exhibit of European Old Master works of the mid-1500s to the 1800s, through March. Photo-eye Gallery 376-A Garcia St., 988-5152. The Nude: Classical, Contemporary, Cultural, through April 20. Santa Fe Arts Commission Community Gallery Santa Fe Community Convention Center, 201 W. Marcy St., 955-6705. Silver: 25 Years of Arts in the Community, group show, through Friday, Feb. 22. Santa Fe Clay 545 Camino de la Familia, 984-1122. Ceramics by David Eichelberger, Donna Polseno, and Sam Taylor, through March 2. Santa Fe Community College, School of Arts and Design Visual Arts Gallery 6401 Richards Ave., 428-1501. Fine Woodworking Showcase, works by faculty, students, and program alumni, through March 7. Santa Fe University of Art & Design Fine Arts Gallery 1600 St. Michael’s Dr., 473-6500. Al-Mutanabbi Street Starts Here, traveling group show of book art, through March 22. Vivo Contemporary 725-A Canyon Rd., 982-1320. Giving Voice to Image, collaborative exhibit between New Mexico poets and gallery artists, through March 26.

Beaumont and Nancy Newhall Library Marion Center for Photographic Arts, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5052. Open by appointment only. Catherine McElvain Library School for Advanced Research, 660 Garcia St., 954-7200. Open Monday-Friday, call for hours. Chase Art History Library Thaw Art History Center, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 473-6569. Open Monday-Friday, call for hours. Faith and John Meem Library St. John’s College, 1160 Camino de Cruz Blanca, 984-6041. Visit stjohnscollege.edu for hours of operation. $20 fee to nonstudents and nonfaculty. Fray Angélico Chávez History Library Palace of the Governors, 120 Washington Ave., 476-5090. Open 1-5 p.m. Tuesday-Friday. Laboratory of Anthropology Library Museum of Indian Arts & Culture, 476-1264. Open 1-5 p.m. Monday-Friday, by museum admission. New Mexico State Library 1209 Camino Carlos Rey, 476-9700. Upstairs (state and federal documents and books) open noon-4:30 p.m. Monday-Friday; downstairs (Southwest collection, archives, and records) open 9 a.m.-4:30 p.m. Monday-Friday. Quimby Memorial Library Southwestern College, 3960 San Felipe Rd., 467-6825. Rare books and collections of metaphysical materials. Open Monday-Friday, call for hours. Santa Fe Community College Library 6401 Richards Ave., 428-1352. Open MondayFriday, call for hours. Santa Fe Institute 1399 Hyde Park Rd., 984-8800. 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. Alone Together, mixed-media paintings by Natalie Smith, through March 10, Spector Ripps Project Space. Gallery hours available online at ccasantafe.org or by phone, no charge. Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Annie Leibovitz: Pilgrimage, through May 5 • Georgia O’Keeffe and the Faraway: Nature and Image, through

Arvina Martin, by tom Jones, in the exhibit Thicker Than Water, Museum of contemporary Native Arts

May 5. 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; NM residents free 5-7 p.m. first Friday of the month. Museum of Contemporary Native Arts 108 Cathedral Pl., 983-8900. Thicker Than Water, lens-based group show • Summer Burial, mixed media by Jason Lujan; through May 12 • Spyglass Field Recordings: Santa Fe; multimedia work by Nathan Pohio • Images of Life, portraits by Tyree Honga • Moccasins and Microphones: Modern Storytelling Through Performance Poetry, documentary by Cordillera Productions; through March. 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 December • Woven Identities: Basketry Art From the Collections • They Wove for Horses: Diné Saddle Blankets, Navajo weavings and silverworks; exhibits through March 4 • Margarete Bagshaw: Breaking the Rules, 20-year retrospective, through 2013 • Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Let’s Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month. Open 10 a.m.5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents no charge on Sundays; free to NM residents over 60 on Wednesdays. Museum of International Folk Art 706 Camino Lejo, Museum Hill, 476-1200. New Mexican Hispanic Artists 1912-2012, installation in Lloyd’s Treasure Chest, through Thursday, Feb. 28 • New World Cuisine: The Histories of Chocolate, Mate y Más, longterm • Folk Art of the Andes, work from the 19th and 20th centuries • Multiple Visions: A Common Bond, international collection of toys and traditional folk art. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents

$6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; no charge for NM residents on Sundays. Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 982-2226. Filigree and Finery: The Art of Spanish Elegance, an exhibit of historic and contemporary jewelry, garments, and objects, through May 27 • Metal and Mud — Iron and Pottery, works by Spanish Market artists, through April • San Ysidro Labrador/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 Spanish Market youth 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. Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author • Telling New Mexico: Stories From Then and Now, core exhibition of chronological periods from the pre-Colonial era to the present. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; no charge on Wednesdays for NM residents over 60; no charge on Fridays 5-8 p.m.; NM residents no charge on Sundays. New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Alcove 12.8, revolving group show of works by New Mexico artists, through Sunday, Feb. 24 • Art on the Edge 2013, Friends of Contemporary Art + Photography’s biennial juried group show includes work by Santa Fe artists Donna Ruff and Greta Young, through April 14 • 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. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; NM residents no charge on Sundays. Poeh Museum 78 Cities of Gold Rd., Poeh Center Complex, Pueblo of Pojoaque, 455-3334. Núuphaa, works by Pueblo of Pojoaque Poeh Arts Program students, through March 9. Open 8 a.m.5 p.m. Monday-Friday; 9 a.m.-4 p.m. Saturday; donations accepted. SITE Santa Fe 1606 Paseo de Peralta, 989-1199. State of Mind: New California Art Circa 1970, conceptual and avant-garde works of the late 60s and 70s; Linda Mary Montano: Always Creative, interactive performance; Mungo Thomson: Time, People, Money, Crickets, multimedia; reception 5-7 p.m. Friday, Feb. 22, through May 19. Open 10 a.m.-5 p.m. Tuesday-Saturday; 10 a.m.-7 p.m. Friday; noon-5 p.m. Sunday. $10; seniors and students $5; Fridays no charge. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 982-4636. A Certain Fire: Mary Wheelwright Collects the Southwest, 75th anniversary exhibit, through April 14. 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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67


In the wings MUSIC

Christian Steiner

Randal Bays Celtic-style guitarist/composer, 7:30 p.m. Saturday, March 2, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com. Tin Hat Avant-acoustic chamber quartet, 7:30 p.m. Wednesday, March 6, Gig Performance Space, 1808-H Second St., $25 at the door, gigsantafe.com.

Brentano string Quartet on stage at st. Francis Auditorium at 7:30 p.m. Friday, march 1

Wynton Marsalis and the Lincoln Center Jazz Orchestra 7:30 p.m. Wednesday, March 6, the Lensic, $25-$95, 988-1234, ticketssantafe.org. Stu MacAskie Trio Jazz pianist, with Asher Barreras on bass, and John Trentacosta on drums, part of KSFR Radio’s Music Café Series, 7 p.m. Friday, March 8, Museum Hill Café, Milner Plaza, 710 Camino Lejo, $20, 428-1527. Cristianne Miranda and the Bert Dalton Trio Sincerely, Peggy Lee, tribute concert, 6 p.m. Sunday, 7:15 p.m. Monday, March 10-11, La Casa Sena Cantina, 125 E. Palace Ave., $25, 988-9232. Pipes and Drums of the Black Watch 3rd Battalion Royal Regiment of Scotland band, 7:30 p.m. Monday, March 11, the Lensic, $20-$75, 988-1234, ticketssantafe.org. Adrian Legg British fingerstyle master guitarist, 8 p.m. Tuesday, March 12, Garrett’s Desert Inn, 311 Old Santa Fe Trail, $20, garrettsdesertinn.com, 982-1851. The Mavericks Country band on its reunion tour, 7:30 p.m. Wednesday, March 20, the Lensic, $34-$49, 988-1234, ticketssantafe.org. Apple Hill String Quartet Outliers, featuring oboist Pamela Epple and pianist Debra Ayers, music of Brahms, Grieg, and Ligeti, 6 p.m. Friday, March 22, Scottish Rite Center, 463 Paseo de Peralta, $25, discounts available, ticketssantafe.org, 988-1234. Robert Earl Keen Roots-country songwriter, 7 p.m. Wednesday, March 27, Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, $31, ticketssantafe.org, 988-1234.

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February 22 - 28, 2013

Oliver Mtukudzi and The Black Spirits African band, 7 p.m. Thursday, March 28, the Lensic, $20-$40, student discounts available, ticketssantafe.org, 988-1234. Minus the Bear Prog. pop-rock band, As in We opens, 7:30 p.m. Monday, April 1, Santa Fe Sol Stage & Grill, 37 Fire Pl., $18, 988-1234, ticketssantafe.org. Jeff Mangum Acoustic guitar and vocals, 7:30 p.m. Tuesday, April 2, the Lensic, $20-$32, a portion of the ticket sales benefits the nonprofit, Blue Skies for Children, ticketssantafe.org, 988-1234. Arlo Guthrie Here Comes the Kid, a tribute to Woody Guthrie, 7:30 p.m. Thursday, April 4, the Lensic, $20-$45, student discounts available, ticketssantafe.org, 988-1234. Tracy Grammer Multi-instrumentalist folk singer, 7:30 p.m. Friday, April 12, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com. Ian Tyson Veteran country singer/songwriter, 7:30 p.m. Wednesday, April 17, the Lensic, $20-$45, 988-1234, ticketssantafe.org. Santa Fe Symphony Orchestra April Joy, Mozart and Dvoˇrák, 4 p.m. Sunday, April 21, pre-concert lecture 3 p.m., the Lensic, $20-$70, 988-1234, ticketssantafe.org.

THEATER/DANCE

‘Cold Water’ Santa Fe University of Art & Design Documentary Theatre Project students’ play about the Northern New Mexico village of Agua Fría, 7 p.m. Friday and Saturday, 2 p.m.

Upcoming events Sunday, March 1-10, Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, discounts available, 988-1234, ticketssantafe.org. The Met Live in HD Wagner’s Parsifal, 10 a.m. Saturday, March 2, the Lensic, $22-$28, discounts available, ticketssantafe.org, 988-1234. ‘Shylock’ Theatre Tours International presents Gareth Armstrong’s one-man play, 7 p.m. Sunday, March 3, the Lensic, $15-$35, 988-1234, ticketssantafe.org. ‘In the Time of Butterflies’ Teatro Paraguas presents a new play by Caridad Svich, 7:30 p.m. Fridays and Saturdays, 2 p.m. Sundays, March 8-24, 3205 Calle Marie, $15, discounts available, Sundays pay-what-you-wish, 424-1601. Wise Fool New Mexico The circus arts and puppetry troupe presents March Madness Cabaret, 4 p.m. Sunday, March 10, doors open at 3:30 p.m., Wise Fool Studio, 2778-D Siler Rd., $10-$15 sliding scale at the door. ‘Fiddler on the Roof’ National touring production, 7:30 p.m. Sunday, March 10, the Lensic, $20-55, ticketssantafe.org, 988-1234. ‘Exquisite Absurdity: 30 Years of Looking Forward’ Theater Grottesco celebrates its 30th anniversary with re-created scenes of past performances and previews of works from its 2013 performance series titled Eventua, 7 p.m. Thursday-Saturday, 4 p.m. Sunday, March 15May 5, Center for Contemporary Arts, Muñoz Waxman Gallery, 1050 Old Pecos Trail, $25, students $10, Thursdays pay-what-you-wish, 474-8400. Belisama Irish Dance Company Rhythm of Fire; including Michael Patrick Gallagher and regional championship and top-10 world finalist dancers from Santa Fe and Los Alamos, 7:30 p.m. Friday, March 15, the Lensic, $10-$20, 988-1234, ticketssantafe.org. ‘Clybourne Park’ Fusion Theatre presents the 2012 Tony Award winning play by Bruce Norris, 8 p.m. Friday,

tin Hat performs Wednesday, march 6, at gig performance space.

2 and 8 p.m. Saturday, March 22-23, the Lensic, $20-$40, students $10, ticketssantafe.org, 988-1234. Aspen Santa Fe Ballet The contemporary ballet company performs Jiˇrí Kylián’s Return to a Strange Land; Alejandro Cerrudo’s Last; and Trey McIntyre’s Like a Samba, 7:30 p.m. Friday-Saturday, March 29-30, the Lensic, $25-$72, discounts available, ticketssantafe.org, 988-1234. National Theatre of London in HD The series continues with People, a new comedy by Alan Bennett, 7 p.m. Friday, April 5; This House, a new play about Parliament by James Graham, 7 p.m. Thursday, May 16; the Lensic, $22, student discounts available, 988-1234, ticketssantafe.org. Les Ballets Trockadero de Monte Carlo All-male drag dance company that parodies classical ballet, 7:30 p.m. Monday, April 15, the Lensic, $25-$72, 988-1234, ticketssantafe.org.

HAPPENINGS

You Are What You Wear: Costume and Character in Opera UNM professor Dorothy Baca and Emilee McVey Lee of the Santa Fe Opera and Santa Fe Community College, share their insights during a behind-the-scenes view of the costume-design process at the Santa Fe Opera, refreshments 9 a.m. Saturday, March 9, program 9:30 a.m.-noon, Stieren Hall, 301 Opera Dr., $10 in advance at guildsofsfo.org, 629-1410, Ext. 100. Lannan Foundation’s In Pursuit of Cultural Freedom series Social critic/author Barbara Ehrenreich with David Barsamian, 7 p.m. Wednesday, March 13, the Lensic, $6, discounts available, 988-1234, ticketssantafe.org. Bead Fest Santa Fe More than 150 booths; demonstrations; jewelry-making workshops; and book signings; Thursday-Sunday, March 14-17, Santa Fe Community Convention Center, 201 W. Marcy St., $12 4-day pass available in advance at beadfest.com, $15 at the door. Keep It Rolling Santa Fe’s roller derby team, Disco Brawlers, host a fundraiser for the Santa Fe Children’s Museum; 7:30-9:30 p.m. Saturday, March 16, raffle, bake-sale items, skate rentals, Rocking Rollers, 2915 Agua Fría St., $7 in advance, $10 at the door, sfdiscobrawlers@yahoogroups.com. Spring fashion show and talk A Fashion Story: Mixing Old and New to Create Modern Designs, 2 p.m. Sunday, March 17, Zane Bennett Contemporary Art, 435 S. Guadalupe St., presented by New Mexico Committee of National Museum of Women in the Arts, $35, 988-1234, ticketssantafe.org. Banff Mountain Film Festival 2013 World Tour Annual collection of international films related to adventure sports, expeditions, and mountain cultures, 7 p.m. Monday and Tuesday, March 18-19, the Lensic, $16, two-day pass $28, 988-1234, ticketsssantafe.org. Lannan Foundation literary event Novelists Russell Banks and Stona Fitch, Wednesday, March 27; all events begin at 7 p.m., the Lensic, $6, discounts available, ticketssantafe.org, 988-1234. Bollywood Dance Invasion 2013 Fundraiser hosted by the nonprofit Amma Center of New Mexico; video/light show, vegetarian meal, and astrology readings, 7:30 p.m. Saturday, March 30, Warehouse 21, 1614 Paseo de Peralta, $15, children’s discounts available, 989-4423.


pasa week

from Page 65

ARTfeast Edible Art Tour pairings Friday, Feb. 22

23 Saturday (continued)

DOWNTOWN

Second Street Brewery Man No Sober, roots rock duo, 6-9 p.m., no cover. Second Street Brewery at the Railyard Broomdust Caravan, juke joint honky-tonk and biker bar rock, 6-9 p.m., no cover. Tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m.-close, no cover. The Underground at Evangelo’s DJ Dynamite Sol, 9 p.m.-close, $5 cover. Vanessie Bob Finnie, pop standards piano and vocals, 6:30 p.m.-close, no cover.

Blue Rain Gallery/Red Sage Casweck Gallery/The Butler Did It Evoke Contemporary/Il Piatto Cucina Italiana Galerie Zuger/Blue Corn Café & Brewery Heidi Lowen Porcelain Gallery/Santa Fe School of Cooking Joe Wade Fine Art/El Farol Littlebird at Loretto/Red Mesa Pippin Contemporary/Jambo Café Pop Gallery/The Pantry Signature Gallery/Tante Luce Windsor Betts Gallery/Cowgirl BBQ Worrell Gallery/The Shed

24 Sunday gallERy/mUSEUm opEningS

aRTfeast 2013 Artists’ Champagne Brunch and auction, 11 a.m.-2 p.m., Hotel Santa Fe; free Art of Home tour, noon-4 p.m. Tickets and details available at ARTsmart, 603-4643 and online at artfeast.com, proceeds benefit ARTsmart, a local nonprofit that supports art programs in area organizations and schools (see story, Page 50).

CANYON ROAD

opERa in hd

performance at The Screen The series continues with Mozart’s The Abduction From the Seraglio at the Gran Teatre del Liceu in Barcelona, 11 a.m., Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $20, discounts available, 473-6494.

claSSical mUSic

new mexico performing arts Society A Musical Offering: Chamber Music of Johann Sebastian Bach, guest artists include cellist Sally Guenther and violinist Kerri Lay, 4 p.m., Immaculate Heart Retreat Center Chapel, 50 Mount Carmel Rd., $25, discounts available, ihmretreat.com or 474-4513.

in concERT

Bert dalton Quartet Time Out For Brubeck, tribute to Dave Brubeck; Dalton on piano, John Bartlit on drums, Dave Anderson on alto saxophone, and Rob “Milo” Jaramillo on bass, 4 p.m., Scottish Rite Center, 463 Paseo de Peralta, VIP tickets $75, 982-4414, $20 suggested donation at the door supports the center’s preservation efforts (see story, Page 18). Tristan prettyman Singer/songwriter, 7:30 p.m., Vanessie, 427 W. Water St., $18 in advance, 988-1234, ticketssantafe.org, $20 at the door.

ThEaTER/dancE

Benchwarmers 12 Annual showcase of New Mexico talent presented by Santa Fe Playhouse; eight fully staged playlets, 2 p.m., 142 E. De Vargas St., $20, discounts available, 988-4262, santafeplayhouse.org, Thursday-Sunday through March 3. ‘The drowsy chaperone’ Santa Fe Preparatory School presents the musical, 2 p.m., 1101 Camino de Cruz Blanca, $10 at the door, discounts available. Julesworks Follies The local-talent showcase series includes Clown Bellydance of Mina, the Cute by Jasmine Quinsier; two sketches by Julesworks’ Monty Python Recreation Brigade Squadron, and other acts, 6 p.m., Rouge Cat, 101 W. Marcy St., $3 at the door, 310-9997.

Beijing XieXie (detail), by Geoffrey Gorman, Santa Fe Arts Commission Community Gallery

BookS/TalkS

innovating Santa Fe’s Water Future Jan-Willem Jansens and David Bacon in conversation, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

EVEnTS

The Flea at El museo 10 a.m.-4 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia, santafeflea.com, 982-2671, weekends through April. international folk dances 6:30-8 p.m. weekly, followed by Israeli dances 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, beginners welcome. Railyard artisans market 10 a.m.-4 p.m. weekly. Gerry Carthy, tenor guitar and flute, 10 a.m.-1 p.m.; saxophonist Brian Wingard 1 p.m.-4 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, railyardartmarket.com, 983-4098. Santa Fe Farmers market 10 a.m.-4 p.m., 1607 Paseo de Peralta, 983-4098. Santa Fe Restaurant Week begins Discounted meals ($25 for two or $20-$40 per person) at participating restaurants, and culinary events, daily through March 3, visit http.//santafe.nmrestaurantweek.com for a list of restaurants and details, 847-3333.

nighTliFE

(See Page 65 for addresses) cowgirl BBQ Tom Rheam, pop/rock/funk, 8 p.m., no cover. dinner for Two Classical guitarist Vernon de Aguero, 6 p.m., no cover. The dragon Room at The pink adobe Pat Malone Trio, featuring Kanoa Kaluhiwa on saxophone, Asher Barreras on bass, and Malone on guitar, 7-10 p.m., call for cover. El Farol Nacha Mendez and guests, pan-Latin music, 7 p.m.-close, no cover. la casa Sena cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda La Fonda Talent Showcase, any music genre, stand-up comedy, and more welcome, $25 to the winners, 7-10 p.m., no cover. la posada de Santa Fe Resort and Spa Wily Jim, Western swingabilly, 7 p.m., no cover. The mine Shaft Tavern The Barbwires, soulful blues, 3-7 p.m., no cover.

Arroyo Santa Fe/Zia Diner Barbara Meikle Fine Art/Maria’s New Mexican Kitchen Beals & Abbate Fine Art/The Old House Canyon Road Contemporary/Mariscos Costa Azul Charles Azbell Gallery/Del Charro Saloon Darnell Fine Art/Quail Run Club Dominique Boisjoli Fine Art/Café Café Frank Howell Gallery/Saffron of Santa Fe Gaugy Gallery/Peas ’n’ Pod Catering GF Contemporary/Whole Foods Market Catering Giacobbe-Fritz Fine Art/Rooftop Pizzeria InArt Santa Fe/La Boca Jane Sauer Gallery/La Plazuela Mark White Fine Art Fine Art/Blue Corn Café & Brewery Matthews Gallery/Café Café Nüart Gallery/La Casa Sena River Trading Post/The Ranch House Sage Creek Gallery/Pizzeria da Lino Silver Sun Gallery/Osteria d’Assisi Tresa Vorenberg Goldsmiths/Steaksmith at El Gancho Vivo Contemporary/Jinja Bar & Bistro Waxlander Gallery/Terra at Four Seasons Resort Rancho Encantado Wiford Gallery/Luminaria at Inn & Spa at Loretto William and Joseph Gallery/Kakawa Chocolate House Winterowd Fine Art/Amaya at Hotel Santa Fe Zaplin-Lampert Gallery/Whole Hog Café

25 Monday in concERT

Santa Fe public School orchestras Collaborative string orchestra and guitar performances, 6:30 p.m., the Lensic, no charge.

BookS/TalkS

ancient art: new images: “Buon Fresco” did michelangelo Stand Up or Sit down in the Sistine chapel? With Santa Fe artist Frederico Vigil, 2 p.m., Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, $10, 982-2226. ▶▶▶▶▶▶▶▶ PASATIEMPO

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The Durango Collection Curator Jeanne Brako speaks as part of Southwest Seminars’ Ancient Sites and Ancient Stories lecture series, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775.

Tiny’s 505 Jam hosted by Synde Parten, John Reives, and M.C. Clymer, 7:30 p.m., no cover. vanessie Pianist David Geist and friends, Broadway tunes, 6:30 p.m.-close, no cover.

evenTs

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

28 Thursday gallery/MUseUM oPenings

harry’s roadhouse 96 Old Las Vegas Highway, 989-4629. Paintings and prints by Elizabeth Hahn, through April 3.

nighTlife

(See Page 65 for addresses) Cowgirl BBQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover. el farol Geeks Who Drink Trivia Night, 7 p.m., no cover. la Casa sena Cantina Singer/songwriter Matthew Andrae, 6 p.m., no charge. la fiesta lounge at la fonda Soulstatic, funk and R & B, 7:30-11 p.m., no cover. vanessie Bob Finnie, pop standards piano and vocals, 6:30 p.m.-close, no cover.

in ConCerT

Martin sexton Singer/songwriter, 7:30 p.m., the Lensic, $22-$38, 988-1234, ticketssantafe.org. a Musical Journey from shtetl to stage Musically illustrated talk with Santa Fe Concert Association artistic director Joe Illick, 7 p.m., Temple Beth Shalom, 205 E. Barcelona Rd., $20 in advance, 216-0672 or santafejff.org.

TheaTer/DanCe

Benchwarmers 12 Annual showcase of eight fully staged playlets by New Mexico playwrights, presented by Santa Fe Playhouse, 7:30 p.m., 142 E. De Vargas St., $20, discounts available, 988-4262, santafeplayhouse.org, Thursday-Sunday through March 3.

26 Tuesday in ConCerT

Bob Weir Grateful Dead founding member, guitarist/songwriter, 7:30 p.m., the Lensic, $54, 988-1234, ticketssantafe.org.

Books/ Talks

Books/Talks

santa fe University of art & Design Creative Writing faculty readings and Q & a Works of fiction-in-progress, 7 p.m., O’Shaughnessy Performance Space, 1600 St. Michael’s Dr., no charge, 473-6200. secret Pledge: The alchemy of the every Day Poet Steven E. Counsell reads from his illustrated book Illuminations: The Geography of the Imagination and poet Jane Lipman reads from her collection On the Back Porch of the Moon followed by signings, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

nighTlife

(See Page 65 for addresses) ¡Chispa! at el Mesón Argentine Tango Milonga, 7:30-11 p.m., $5 cover.

Talking Heads

Grande Vague Noire, by June Wayne (1918-2011), David Richard Gallery, 544 S. Guadalupe St.

Cowgirl BBQ Old school rockabilly band Rob-A-Lou, 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 Guitarist Ramon Bermudez Jr., contemporary Latin tunes, 6 p.m., no charge. 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 Acoustic open-mic nights presented by 505 Bands, 7:30 p.m.-close, no cover. vanessie Bob Finnie, pop standards piano and vocals, 6:30 p.m.-close, no cover.

27 Wednesday TheaTer/DanCe

‘Bully’ A free screening of the documentary by Lee Hirsch on bullying in U.S. schools begins at 6 p.m. Wednesday, Feb. 27, at Warehouse 21, 1614 Paseo de Peralta, followed by a community forum. Doors open at 5:30 p.m. with refreshments served prior to the screening. Call 989-4423 or 470-0442 for details.

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February 22 - 28, 2013

‘Dreamweaver: The Works of langston hughes’ David Mills’ dramatic rendition of the writer’s poems and short stories, 7 p.m., the Lensic, $3 and $6, 988-1234, ticketssantafe.org (see story, Page 14).

Books/Talks

‘Bully’ Screening of Lee Hirsch’s documentary on the problem of bullying in U.S. schools followed by a community forum, doors open at 5:30 p.m., film starts at 6 p.m., Warehouse 21, 1614 Paseo de Peralta, no charge, 989-4423 or 470-0442.

Curator’s talk 15-minute lunchtime gallery discussion led by the Georgia O’Keeffe Museum’s curatorial department, 12:30 p.m., 217 Johnson St., 946-1000, by museum admission. health in a new light Free stress-reduction workshop led by Joalie Davie, 5:30-8:30 p.m., WESST/ Santa Fe, 3900 Paseo del Sol, limited space, 474-6556. a Misplaced Massacre: sand Creek in history and Memory Historian Ari Kelman speaks, noon-1 p.m., School for Advanced Research, 660 Garcia St., no charge, 954-7203. World War ii in new Mexico New Mexico Museum of Art docent talks series, 12:15 p.m., 107 W. Palace Ave., by museum admission, 476-5072.

nighTlife

(See Page 65 for addresses) ¡Chispa! at el Mesón Flamenco guitarist Chuscales, 7-9 p.m., no cover. Cowgirl BBQ Ambient jazz/rock band Marbin, 8 p.m., no cover. el farol Salsa Caliente, 9 p.m., no cover. la fiesta lounge at la fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover. la Posada de santa fe resort and spa Wily Jim, Western swingabilly, 7-10 p.m., no cover. second street Brewery Vinyl Listening Sessions with DJ Spinifex, 6-9 p.m., no cover.

Merchandise and Wares and how They Came to new Mexico 1825-1880 National Park Service historian Susan Boyle speaks as part of El Rancho de las Golondrinas’ winter lecture series, 7 p.m., Santuario de Guadalupe, 100 S. Guadalupe St., no charge, 989-4561. richard Wagner’s ‘Parsifal’ Desirée Mays discusses the composer’s final opera, 1-3 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, $10, a Renesan Institute for Lifelong Learning discussion, 982-9274.

nighTlife

(See Page 65 for addresses) ¡Chispa! at el Mesón Bert Dalton and Milo Jaramillo, jazz piano and bass, 7-9 p.m., no cover. Cowgirl BBQ Bootleg Prophets, bluegrass and folk, 8 p.m., no cover. el farol Jazz saxophonist Trey Keepin, 9 p.m., no cover. evangelo’s Little Leroy and Friends, rock/country/R & B, 9 p.m.-close, $5 cover. la Boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover. la Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la fiesta lounge at la fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover. la Posada de santa fe resort and spa Pat Malone Trio, featuring Kanoa Kaluhiwa on saxophone, Asher Barreras on bass, and Malone on guitar, 7-10 p.m., Staab House Salon, no cover. The Matador DJ Inky spinning soul/ punk/ska, 8:30 p.m.-close, no cover. vanessie Faith Amour and John Rangel, jazz vocals/piano/ bass, 7:30 p.m.-close, $5 cover. Zia Diner Swing Soleil, Gypsy jazz and swing, 6:30-8:30 p.m., no cover.


▶ Elsewhere albuquErquE Museums/Art Spaces

for applications and information; submission deadline Thursday, Feb. 28; $175 participation fee; santafestudiotour.com.

Filmmakers/Playwrights/Writers

Sunday Chatter Serenata of Santa Fe performs music of Kenji Bunch and Wallingford Riegger, 10:30 a.m. Sunday, Feb. 24, poetry reading by Hakim Bellamy follows, The Kosmos, 1715 Fifth St. N.W., chatterchamber.org, $15 at the door.

Santa Fe Independent Film Festival Film submissions sought for the Oct. 16-20 festival; early deadline Friday, March 1; regular deadline Wednesday, May 1; late deadline July 1; final deadline Aug.1. For rules and guidelines, visit santafeindependentfilmfestival.com. Santa Fe Playhouse 92nd season Accepting play proposals of all genres for the fall 2013-summer 2014 season from individuals who would like to direct; call 988-4262 or email playhouse@santafeplayhouse.org for proposal packets by Sunday, March 31. 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.

jémEz SpringS

Singers

Indian Pueblo Cultural Center 240112th St. N.W., 866-855-7902. 100 Years of State & Federal Policy: The Impact on Pueblo Nations, through Thursday, Feb. 28 • 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. Mariposa Gallery 3500 Central Ave. S.E., 505-268-6828. Made in Japan, mixed-media work by Santa Fe artist Cate Goedert, through Thursday, Feb. 28.

Events/Performances

Fire & Ice Winter Festival Chile cook-off, beer garden, children’s activities and contests, arts & crafts booths, and fireworks finale, 10 a.m.-7 p.m. Saturday, Feb. 23, Jémez Springs Village Park, NM 4, no charge.

Women’s a cappella group Madrigal through contemporary; nonvibrato; email acappellasingers@mail.com for details.

taoS

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. Fight Illiteracy Literacy Volunteers of Santa Fe will train individuals willing to help adults learn to read, write, and speak English; details available online at lvsf.org, or call 428-1353.

Museums/Art Spaces

Harwood Museum of Art 238 Ledoux St., 575-758-9826. Red Willow: Portraits of a Town • Eah-Ha-Wa (Eva Mirabal) and Jonathan Warm Day Coming • Eli Levin: Social Realism and the Harwood Suite; exhibits celebrating Northern New Mexico, through May 5. Open 10 a.m.5 p.m. Tuesday-Saturday, noon-5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday. Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. 11th Annual Miniatures Show & Sale, multimedia works of Taos County artists, through Sunday, Feb. 24. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $5; non-residents $10; seniors $8; students $6; ages 6-16 $2; no charge for Taos County residents with ID.

▶ people who need people Artists/Craftspeople/Photographers

41st Annual Girls Inc. of Santa Fe Arts & Crafts Show Artists applications available online at girlsincofsantafe.org for the Aug. 3-4 event; deadline March 10. 2013 Governor’s Awards for Excellence in the Arts Nominate New Mexican artists, businesses, nonprofits/foundations, or individuals contributing to the arts; nominations may be mailed or hand-delivered no later than Friday, March 22, to New Mexico Arts, 407 Galisteo St., Suite 270, 87501; forms available online at nmarts.org, or call 827-6490. Photobook workshop scholarship Open to photographers and students ages 27 and younger for a workshop hosted by Radius Books (983-4068) Friday-Sunday, March 22-24; for details contact Alex Webb and Rebecca Norris Webb at webbnorriswebb@gmail.com or visit magnumphotos.com. Santa Fe Studio Tour Call for artists for the June 29-30 tour; email teena@shutterandbrushfineart.com

Volunteers

▶ under 21 Girl power DJ night K’La, Pezz, Dirt Girl, Teddy No Name, and Amy BassCakes, 7 p.m.-midnight Friday, Feb. 22, Warehouse 21, 1614 Paseo de Peralta, $10, $5 for costumed superheroes, 989-4423. Outbreak! Concert with All the Wrong Reasons, On Believer, and Exalt, 7 p.m. Saturday, Feb. 23, Warehouse 21, 1614 Paseo de Peralta, $3, 989-4423. St. John’s College Community Seminars Read and discuss seminal works; free to 11th12th-grade students. Rabelais’ Gargantua and Pantagruel, 5-6:30 p.m. Wednesdays, through March 6, 1160 Camino de Cruz Blanca, call 984-6117 to register. Santa Fe Science Café for Young Thinkers Heads Up! Protecting Earth From Large Asteroid Impacts, discussion for students ages 13-19 led by Catherine Plesko of LANL, 6-7:30 p.m. Wednesday, Feb. 27, Georgia O’Keeffe Museum Education Annex, 123 Grant Ave., 982-0121, no charge.

▶ pasa Kids 2013 Children’s Water Conservation Poster Contest All students grades 1-6 are invited to participate in this year’s theme of Show Us Your Water Appreciation; entry deadline Friday, March 15; visit santafenm.gov or call 955-4225 for prize details and more information. Coloring the Landscape Artist-led family program for children ages 4-12 accompanied by an adult, 9:30-11:30 a.m. Saturday, Feb. 23, Georgia O’Keeffe Museum, 217 Johnson St., no charge, 946-1039. ◀

This little Pigrow went to Mayhem At 8 p.m. Saturday, Feb. 23, High Luke Carr Mayhem Emerging Arts (2811 Siler Lane, www.highmayhem.org) doubles down on local postpunk with two entities that celebrate album releases on the same evening. But their newest sounds couldn’t be more divergent from one another. Luke Carr, formerly of Pitch and Bark, performs in conjunction with the release of Pigrow, an eight-song, 18-minute mini epic recorded at the Albuquerque home studio of John Dieterich, guitarist for cerebral audible-chaos kings Deerhoof. (Dieterich and Carr share engineering, mixing, and mastering credits on the project, and Dieterich contributes dobro and synth to two tracks.) Carr pulls multiple duties as vocalist and multi-instrumentalist on this relatively acoustic affair, laying down drums, guitar, and bass in a live-loop setup, and, according to Dieterich, many of the tracks emerged from a single take in the studio. Wisps of bare-bones Cake and XTC can be heard, but Carr manages to pull together a sound that draws much more on his own stylistic quirks; his influences are more about sonic impression than band names or genres. In an email sent to “Waves,” Carr explained, “Someone told me that I tend to hide behind my art. That pissed me off, because it was accurate; so Pigrow is sort of a brief musical drama that purges a lot of old ideas and stories. I have always loved stories, but I never realized I was living one, and it turns out I am the author. Thankfully, it’s not as serious as it all sounds.” The lyrics are personal, if a bit abstract in narrative. And they fit snugly within Carr’s technically astute and playful instrumentation. The album is available in CD and download format via Carr’s website, www.lukecarrsound.com. iNK oN pAPER — aka bassist, High Mayhem co-founder, and Late Severa Wires band member Carlos Santistevan and drummer Milton Villarrubia III of WAITV — release the five-track, 42-minute album Official Demo, a gorgeously dissonant bass-andpercussion foray into postpunk, noise rock, and dirty jazz aided by laptop and effects prowess. At times haunting and hypnotic, at other moments hard-driving, vertiginous, and explosive, Official Demo presents a rhythmic surprise around every dark, cacophonous, and twisted corner. The album drops the day of the show, and if you’re smart enough to go, you can buy one of iNK oN pAPER’s limited-edition Official Demo CDs packaged in a handmade sleeve. You can also grab the album at www.inkonpaper. bandcamp.com. There’s a $10 cover at the door for the all-ages show. Ladies’ night Fast on the heels of V-Day and One Billion Rising, Warehouse 21 (1614 Paseo de Peralta, 989-4423) hosts Girl Powers!, an EDM dance party featuring all women DJs in celebration of the creative female force. The lineup includes K’La, Pezz, Dirt Girl, Teddy No Name, and Amy BassCakes. Besides dancing, there’s a costume contest with prizes (superheroines, superheroes, mutants, villains, and aliens: this means you), a clothing booth by Hyperclash, performances by circus go-go group the Pyrofessionals, a comic book booth, and an appearance by Lunaria — a superhero from a “news intern by day/vigilante by night” comic book series. The all-ages party costs $10; costumed folks get in for $5; and the first 10 people in line get in free. — Rob DeWalt rdewalt@sfnewmexican.com Twitter: @PasaTweet @Flashpan A weekly column devoted to music, performances, and aural diversions. Tips on upcoming events are welcome.

PASATIEMPO

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Pasatiempo. Feb. 22, 2013  

The Feb. 22, 2013 edition of Pasatiempo.

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