The New Mexicanâ€™s Weekly Magazine of Arts, Entertainment & Culture January 18, 2013
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January 18-24, 2013
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SUNDAY, JANUARY 20, 4:00 pm Pre-concert talk at 3:00 pm • At The Lensic
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The 2011–2012 season is funded in part by the Santa Fe Arts Commission and the 1% Lodger’s Tax, New Mexico Arts, a division of the Office of Cultural Affairs, and the National Endowment for the Arts. 4
January 18-24, 2013
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January 18 - 24, 2013
On the cOver 32 kathleen mcintosh In Santa Fe, whenever a concert calls for a harpsichord, Kathleen McIntosh is there. And she’s there quite often, frequently performing with Serenata of Santa Fe, Santa Fe Pro Musica, and other chamber-music ensembles. Solo recitals by McIntosh are much more rare, and this week, fans of Baroque music are in for a treat. On Sunday, Jan. 20, McIntosh performs pieces by Bach, Albeniz, and Scarlatti, among others, at the Scottish Rite Center. Cover photo by Sam Adams.
12 in Other Words Roald Amundsen
46 48 52 53
mUsic 14 18 20 23 24 30 63
robert burns Scotland in song Just a Gigolo One-man show Pasa review Jeremy Denk in L.A. Onstage this Week Louis Lortie Pasa tempos CD Reviews terrell’s tune-Up The ones that got away sound Waves 21 fun salute
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January 18-24, 2013
The Santa Fe Concert Association presents
Diane Tintor: Olive Branch (detail), 2007, sterling silver; courtesy the artist
performs Liszt transcriptions of Wagner
Invasion of the plant species
Longtime collaborators Susanna Carlisle and Bruce Hamilton continue their exploration of invasive plant species, which began with their 2011 mixed-media project Runaways, with Runaways Two — a multimedia installation for Alcove 12.8, the latest in an ongoing series of alcove exhibitions at the New Mexico Museum of Art. The show also features the work of Yoshiko Shimano, Cristina González, Diane Tintor, and Cedra Wood. For Runaways Two, Carlisle and Hamilton suspend a series of blown-glass globes from the ceiling. Plant imagery digitally projected through the globes onto the wall beyond is distorted and refracted, while other plant imagery is projected onto the globes directly. Alcove 12.8 opens at 5 p.m. on Friday, Jan.18, with a reception hosted by the Women’s Board of the Museum of New Mexico. Also opening at the museum on Friday is Art on the Edge 2013, the biennial juried exhibition of Friends of Contemporary Art + Photography. Museum attendance is free Fridays from 5 to 8 p.m. Otherwise, entry to Alcove 12.8 is by museum admission. Join the artists from the exhibit on Jan. 25 at 5:30 p.m. for “Contemporary Conversations,” gallery talks inside the museum. The New Mexico Museum of Art is at 107 W. Palace Ave. Call 476-5072 or visit www.nmartmuseum.org. — Michael Abatemarco
THURSDAY, JANUARY 24, 2013 7:30 PM • St. Francis Auditorium • $20 - $50 Tickets: 505-988-1234
The Santa Fe Concert Association 321 West San Francisco Street, Suite G Santa Fe, New Mexico 87501 Phone: 505.984.8759 Fax: 505.820.0588 PASATIEMPO
Luminaria’s Pastry Chef Andrea Clover competes on the Food Network’s Sugar Dome Join us in the Living Room to watch it live with Andrea January 20, 2013 • 5-7pm Happy Hour and Complimentary Treats Free Dessert with Dinner in Luminaria
Santa Fe Pro Musica Orchestra Thomas O’Connor, conductor Jan Lisiecki, piano Lensic Performing Arts Center Piano Recital Friday, January 25 at 7:30pm Chopin 12 Etudes, Opus 10 Chopin 12 Etudes, Opus 25 Concerto Saturday, January 26 at 6:00pm Sunday, January 27 at 3:00pm Beethoven Overture to The Creatures of Prometheus Haydn Symphony No. 101 in D Major, “Clock” Hob. I:101 Beethoven Piano Concerto No. 4 in G Major, Op. 58
© Mathias Bothor/Deutche Grammophon
Sensational 17-year-old Canadian
pianist: “Remarkably poetic... an extraordinary talent,” marvels The Manchester Evening News.
Meet the Music Introduction: Saturday and Sunday one hour before each performance.
$20-$65. Students $10 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.
January 18-24, 2013
Winter Classic Weekend
STAR CODES Heather Roan Robbins Are we really living by our philosophies? If not, is it our life or our ideas that need to change? The planets want to know as Mercury and the sun join Mars in idealistic, political, and community-oriented Aquarius this weekend. This Aquarius energy also asks us to get out there and work the room. It reminds us that we are not an island, to look at how we are woven into our family and society, warp and weft, and to notice how those systems affect us and how we can affect them. The mood is generally open-minded but stubborn, experimental if not so practical, and a little disconnected this coming week. Our near-and-dear ones can get possessive or insecure as energy shifts away from home. Keep lines of communication open and gratitude flowing. Friday begins pushy and competent under a challenged Aries moon, but the mood generally mellows over the weekend as the moon enters earthy Taurus. Underneath this mellowness some specific points of contention brew as Mars challenges Uranus and will brew until they come to a head this spring when these two planets conjunct. As the week begins, mental Mercury sextiles ingenious Uranus. Nudge people’s curiosity and their desire to try something new, but be respectful in the process. For the next few months, we may be called to deal with our vulnerabilities and our permeability as Jupiter retrogrades back to square Neptune in Pisces. Acknowledge competence, strengthen boundaries, and build up immune systems. Most important, lean into the give-and-take of mutual support — make the neighbors soup when they’re sick, and let them return the favor.
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Friday, Jan. 18: Avoid knee-jerk opposition as the Aries moon squares the Capricorn sun and Mercury. Unusual mental strength needs careful channeling. Momentum slows down in the late afternoon as the moon enters Taurus. Saturday, Jan. 19: Slow it way down this morning. Later, investigate what practical and tangible improvements can be made in mind, body, spirit, love, and housekeeping. Get grounded before the Aquarian influx. Work through a tight or cranky place in the late afternoon as the moon opposes Saturn. Engage with the community in creative ways as Mercury and the sun enter Aquarius tonight. Sunday, Jan. 20: Use discontent wisely — an irritating Mars-Uranus semisquare can make us edgy. Minor accidents are more likely when we’re in a mood. Rest helps. In the late afternoon, discussions may stimulate longterm projects. Notice odd dreams or thoughts tonight as the collective consciousness swirls. Monday, Jan. 21: It’s an upbeat, active Monday under a verbal Gemini moon. After a spacey, uncertain morning, a hopeful vibe wafts in. Give-and-take is key as the moon trines Mercury and conjuncts Jupiter. Tuesday, Jan. 22: We have a chance to change our mind or help change another person’s mind, if we explore options as a way to free us from some stuck place as Mercury sextiles Uranus. Dreaming helps, but don’t lose sight of practicalities midday. A sudden change may call on our adaptability.
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In Other wOrds The Last Viking: The Life of Roald Amundsen by Stephen R. Bown, Da Capo Press, 358 pages Like many people nowadays, I knew little of Roald Amundsen except that he beat Robert Falcon Scott to the South Pole in 1911. What a revelation, then, to discover in Stephen R. Bown’s comprehensive biography of Amundsen that the Norwegian explorer was much more than merely the winner of that so-called race. In fact, according to Bown, Amundsen “created an unparalleled legacy of real-life adventure, of daunting physical and mental challenge, while engaged in an uncompromising pursuit of the chimera of acclaim.” By being the first person to navigate both the Northwest and Northeast passages and to reach both the North and South poles — all within a 20-year span, from 1908 to 1928 — Amundsen effectively put an exclamation point on the last great age of exploration. The explorer was able to claim those prizes, Bown writes, because of the “military-style execution of his objectives, carried out with gusto and flamboyant self-promotion.” As a result, he has often been unfairly characterized as cold, austere, and ruthless in pursuing his own glory. Bown disagrees with that assessment, portraying Amundsen as a taskmaster on expeditions but warm, generous, loyal, and self-deprecating the rest of the time. To put the man, his feats, and his legendary status in perspective, Bown envisioned this biography as a “largecanvas story of Amundsen’s life and times rather than as a meditation on his character.” Yet it was his strength of character — that flexibility, creativity, determination, ambition, and grit — that drove Amundsen literally to the ends of the Earth. “Amundsen’s most fascinating trait was his ability to constantly reinvent himself as an explorer, devising new techniques for new goals,” Bown writes. “Like an artist constantly changing mediums, Amundsen made transitions from sailing ships to skis and dogsleds, to open-cockpit airplanes, to a prototype airship.” Bown’s chronological recounting of Amundsen’s exploits is bookended by a prologue and an epilogue. In these sections, the author needlessly repeats a good deal of information, particularly his own mostly glowing personal opinions of his subject. Another complaint: the book could have used more detailed maps to help the reader follow the explorer’s progress. But those are minor quibbles. Overall, The Last Viking is an eye-opening, mind-blowing page-turner. Bown has the ability to convey reams of facts, figures, and statistics while engaging the reader in Amundsen’s many life-and-death adventures, family squabbles, discreet love affairs, and financial struggles. The narrative is augmented with 32 historical photographs. 12
January 18-24, 2013
book reviews Part 1, “West,” introduces us to Amundsen’s early years in Norway as he studies medicine, gets his sea legs on merchant and fishing ships, and crews on his first Antarctic foray. The hard lessons gained on that troubled expedition helped Amundsen avoid making the same mistakes during future explorations. “This is the greatest factor: the way in which the expedition is equipped, the way in which every difficulty is foreseen, and precautions taken for meeting or avoiding it,” he wrote. “South” follows the young explorer as he learns firsthand the lifesaving benefits of adapting Inuit gear, clothing, and sled dogs to his purposes. It is precisely because Amundsen painstakingly planned his Antarctic expedition around these adaptations — compared to Scott’s rigid insistence on using only British materials and technology — that the Norwegian successfully reached the South Pole. Meanwhile, Scott died on the ice after his poorly equipped expedition reached the pole two weeks after Amundsen’s. Scott’s death, along with Amundsen’s secretive (some say devious) plans to beat him to the pole, made the Brit into something of a hero-martyr and the Norwegian into, at least in some eyes, a villain. This unfair and inaccurate characterization hounded Amundsen the rest of his life, occasionally casting him into spells of depression and self-doubt. “South” also shows Amundsen traveling extensively, lecturing, fundraising, and using the media to drum up publicity. The more than 400 New York Times articles Bown researched for the book are testament to just how adept Amundsen became in that effort. Amundsen was a master at commercializing his expeditions in order to pay his creditors and to raise money for the next great adventure. His name and image appeared in ads for everything from floral arrangements to bread, funeral homes, drugstores, and shoes, and he commanded substantial speaking fees. The Norwegian’s glory days didn’t end with his conquest of the South Pole. “East” traces Amundsen’s voyage through the previously unnavigated Northeast Passage from Oslo to Nome and his nearly deadly attempt to “fly from continent to continent across the Polar Sea.” In “North,” Amundsen finally accomplishes his dream of polar flight, commanding a multinational crew in an Italian airship. As with so many of the Norwegian’s journeys, the crew narrowly escaped disaster before reaching its goal. “Lost,” the last part of the book, details Amundsen’s final attempt at fame, when his biplane disappeared in a fog bank, never to be seen again. As fellow adventurer Lincoln Ellsworth observed, “The end, no doubt, was as he himself would have wished it. For Amundsen often told me that he wanted to die in action.” In time, the great explorer’s name slipped from memory — undeservedly so, Bown writes. “Amundsen packed more travel, excitement, danger, tragedy, pathos and triumph into his fifty-six years than seems possible, even now.” — Wayne Lee
SubtextS The great divide There was a time when humans lived in close alliance with the changing seasons and the growth cycles of crops and animals, when the rhythms of life depended on the timing of the sun and the moon. Progress — which gives us such modern conveniences as electric lights and central heating, as well as genetically engineered produce grown indoors — has made some aspects of life easier while separating us from, and encroaching upon, the natural world. Environmental author and poet Rae Marie Taylor, who has worked as an illustrator for Mesa Verde National Parks’ archaeology lab, feels this divide acutely. She is especially concerned about the impact of development on land and water. She reads from her new book of essays, The Land: Our Gift and Wild Hope (published by Bright Shores Press) at 6 p.m. on Thursday, Jan. 24, at Collected Works Bookstore (202 Galisteo St., 988-4226). The essays trace Taylor’s nomadic life from the Rocky Mountains and the American Southwest to Quebec. She writes about our connection to the land as well as how society has forgotten this bond and the importance of the “sacred.” The reading is followed by a panel discussion, led by the author, with aural historian and preservationist Jack Loeffler, a Santa Fe Living Treasure who writes about the relationships of indigenous cultures to homeland, and A. Kyce Bello, author and editor of Return of the River: Writers, Scholars, and Citizens Speak on Behalf of the Santa Fe River (Sunstone Press). The audience is invited to participate in a question-and-answer session after the panel to explore contemporary issues about the land we rely on and often don’t treat with respect, and ideas for reestablishing human connection to it. — Jennifer Levin
Cubop City Blues by Pablo Medina, Grove Press, 270 pages Is there a more humorous allegory of fleeing one bad situation for another than Pablo Medina’s story of Johnny Luna and his seventh try to escape Cuba? After six failures, Johnny builds a craft that shames the slapdash rafts of previous balseros. The ship is too seaworthy, and Johnny and his partner, Obdulio, drift past Miami. They come ashore on a nude beach north of their target. “El Paraíso!” exclaims Obdulio as he discards his clothing. “Paraíso, no,” says a naked old man. “Haulover Beach.” Nudity is a liberty that Johnny hadn’t counted on, and he removes only his shirt. One of the nude men complains that the country is being taken over by Johnny’s kind. But does he mean Cubans or those who fear nakedness? “You can’t go anywhere without running into these people, even Europe,” the man whines. Soon, while enjoying ham sandwiches and numerous beers with the nudists, the new arrivals are assaulted by an overdressed crew from “television his-pánico.” They want to know what happened to the raft. The crew is disappointed to find that the two refugees have arrived in a sturdy boat that took six months to build. “Why don’t you break the boat up a little. Make it seem more weather beaten,” a reporter suggests in an attempt to fit the pre-existing narrative. “We need to show how hard it is for the people, how much they are having to sacrifice, even their own lives, in order to escape the tyranny of Castro.” Johnny, realizing he’s exchanged one bad reality for another, throws the reporter’s microphone into the sea. Medina’s Cubop City is a collection of loosely related stories that trace the difficulties of assimilating into an unpredictable culture. While expatriate Cubans are the focus, the book’s themes are universal. Relationships seldom meet expectations. Skill and talent are seldom recognized, and then only as a source of envy. Petitions to God — whether Catholic, Jewish, or Santeria — go unanswered. Violence arrives without invitation. The point of assimilation is not Miami but New York, or Cubop City, a place where Afro-Cuban and bebop rhythms symbolically conjoin. But it’s not as easy for individuals. As the Storyteller, one of the book’s reoccurring characters, explains on the first page, “I came to Cubop City as a boy, brought here by my parents, who fled one Sodom and entered another.” Another binding character is Angel, a victim of a vicious stabbing, who spends subsequent chapters looking for his attacker and the reason he was attacked. The answer has something to do with Jelly Roll Morton, the musician who claimed that a “Spanish tinge” was necessary to the proper spicing of jazz rhythms. The killing of Chano Pozo, the Cuban percussionist who influenced Dizzy Gillespie, is imagined in detail and becomes a fable of misdirected revenge. Then there’s Cornelia, a woman who claims that “loss” is her secret name. Stories of cheating partners, maternal care, striving children, and the desires of old men come in the first, second, and third person. An air of magical realism — urban-style — rises like sewer steam. The tales seem unhinged in time, some happening 70 years ago, some 30. Visions and magic play a role but often to no effect. It’s as if Medina is telling us that nothing is real, not even the supernatural. Cubop City Blues attempts more than it achieves. Sometimes the language tries too hard: “You trembled like a deer caught in the headlights of the dump truck of language.” Other times, images leap straight in your face: “Angel is so close to death he can taste its breath.” A good book, though not a great one, Cubop City deserves two readings to make its various threads whole cloth. — Bill Kohlhaase
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The songs of Scotlandâ€™s national poet
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Rob DeWalt I The New Mexican January 2012 it was widely reported that unreleased music by Michael Jackson would be donated to the Robert Burns Birthplace Museum in Alloway, in southwestern Scotland. Word of the unpublished work by Jackson — a collaboration with equally eccentric television personality, concert promoter, and former husband of Liza Minelli, David Gest — first broke in 2008, when it was revealed that the King of Pop’s original plan was to develop a stage musical that celebrated the work of legendary Scottish poet and songwriter Robert Burns (1759-1796). The plan fell through in the ’90s when Jackson’s intended director and executive producer both died. When Jackson passed away in June 2009, Gest decided to donate Jackson’s Burns recordings to the museum in Scotland that bears the bard’s name. One wonders what Burns would have thought of his songs and airs being translated by the man who gave the world “Thriller,” along with enough odd behavior to keep tabloid journalists busy for decades. Then again, as Robert Crawford points out in the introduction to his 2008 book The Bard: Robert Burns, A Biography, Jackson and Burns may have had a few things in common. “Burns’s life,” Crawford writes, “has many clearly dramatic elements — struggle against ‘obscurity,’ mental illness, political persecution and ruin, in addition to the upheavals of many love affairs, marriage and adultery. His personality, mixing warmth with humour and shrewdness, but also an attraction to excess and self-recrimination, compelled and still compels worldwide attention.”
A legacy for his countrymen
The most comprehensive collection of Burns’ songs is undoubtedly Linn Records’ 2007 box set The Complete Songs of Robert Burns, which assembles all 368 known Burns tunes across 12 volumes. The music is performed by some of Scottish folk music’s finest contemporary musicians. Curated by Fred Freeman, an honorary Fellow in English at the University of Edinburgh, the collection honors Burns’ musical contributions by translating his songs using the Scottish folk traditions that Burns preferred. Although Burns had a deep understanding of classical composition, he wanted little to do with classical music’s more polished trappings in his own creative endeavors. “Burns is thought of as a collector of old Scottish melodies and airs, to which he set his own words or adapted old ones,” Freeman writes in an essay about the 12-volume CD collection. “But there is more to Burns. He was a composer and arranger of consummate skill. He could take a jaunty tune and turn it into a smooth air. He could detect the basic essence of a melody, and by doing so stand it on its head. And he could, most importantly, re-create tunes from fragments and motifs.” Burns’ songs, as well as his poems, were life sketches of the Scottish condition of his time. A longtime farmer — and not a very good one — by trade, Burns didn’t welcome the loss of oral traditions in his homeland. His works, many of them emotional treatises about love, freedom, and sex (such as “A Red, Red Rose,” “The Jolly Beggars; or, Love and Liberty: A Cantata,” and “The Fornicator,” respectively), sprung from a deep-seated desire to flesh out, restore, and preserve the folk songs of Scotland before they faded into obscurity. He feared such a thing in light of the English ruling class’s general dislike for Scottish linguistic accents and folk-music traditions. His songwriting was not only a creative departure from creeping cultural norms — it was a radical act of patriotism. “Following the Jacobite rebellion of 1745,” writes Colin Fox, spokesman for the Scottish Socialist Party, on his website, www.socialistunity.com, “Scots culture and its tongues [Scots and Gaelic] were repressed by the powers that be in both London and Edinburgh. Wearing tartan was outlawed and the Highlands were subdued militarily. Edinburgh’s genteel nobility, in deference to the new arrangements, referred now to Scotland as ‘North Britain’ and spent as little time here as possible. They considered the Scots language to be coarse, couthy and backward. Out of nowhere then — Alloway in Ayrshire — and into this overwhelmingly subservient, stultifying atmosphere of ‘British’ conformity came a peasant farmer with a prolific poetic voice writing with beauty, wit, irreverence, intelligence, and power on a stimulating array of subjects; lovemaking, farming, beauty, drinking and carousing, the human condition, the environment, fiction and current affairs — and in the Scots tongue!”
Conspicuously missing from The Complete Songs of Robert Burns is Scotland-born singer Jean Redpath, who, in the early ’60s, found herself in New York City rubbing elbows with some of American folk music’s most notable luminaries, including Ramblin’ Jack Elliot and Bob Dylan. continued on Page 16
Robert Burns, continued from Page 15
Photo credit: David Marlow and Parasol Productions
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January 18-24, 2013
Following a critically acclaimed performance at Gerde’s Folk City in Greenwich Village, Redpath signed to Elektra Records in 1963 and has recorded, performed, and lectured internationally on the Scottish music scene ever since. Her most ambitious work is The Songs of Robert Burns: A Discography, a project begun in 1976 to record Robert Burns’ complete musical canon, including his known interpretations of other people’s material. Although 22 volumes were slated for production, Redpath only completed 323 songs. When Redpath’s musical partner, composer and Burns scholar Serge Hovey, died of complications from Lou Gehrig’s disease in 1989, Redpath abandoned the project, reportedly because she felt no musician could contribute as wholly or passionately to it as Hovey had. The seven volumes that Redpath and Hovey did complete are a testament to Redpath’s dedication to Burns’ attention to vocal detail. As Freeman has pointed out in his own writings on the matter, Burns tinkered with the lyrical aspects of songwriting with the “painstaking subtlety of a man obsessed with fusing English and Scots language, of unconventionally mixed register and variety, into veritable tone poems. What could be freer, or more idiosyncratic, than his deceptively simple ‘gie’s a hand o’ thine’ (‘Auld Lang Syne’)? ... To his mind, communication and expression were paramount. Enunciation and the clarity and informality of the speaking voice ... were central to his idea of song.” Redpath’s heavenly voice is a finely tuned instrument in the preservation of Scottish folk music and oral traditions, especially when Burns’ songs are interpreted a cappella, such as “It Was A’ for Our Rightful King.” Hovey’s instrumental renderings, however, are almost entirely piano-based, especially on the first volume of the collection. “Auld Lang Syne,” sung a cappella here, is perhaps Burns’ best-known song, and over the centuries, it has been reworked into countless arrangements and with numerous alternative melodies. From fiddle, to trumpet, to guitar, piano, and even techno, it remains a staple song to ring in the New Year, from Alaska to Melbourne. But no one — no one — sings it with more passion and depth than Jean Redpath. ◀
B U R N S
N I G H T
S A N T A
It is customary in Scotland and other countries to mark the birth of Robert Burns with a Burns Night Supper on or around his birthday, Jan. 25. At 6 p.m. Saturday, Jan. 19, the Santa Fe Scottish Rite Order of theThistle and the Order of the Thistle Pipes & Drums presents their 27th annual Robert Burns Night celebration in Santa Fe.This is the third such celebration to be held at the Scottish Rite Center (463 Paseo de Peralta). Dennis McLain, pipe corporal of The Order of the Thistle Pipes & Drums, said the evening follows the traditional regimen of a proper Robert Burns Supper, which includes music, food, poetry, dancing, and a wee nip of traditional single-malt scotch. In more than 200 years, few Burns fans have veered from the customs that make up the night’s revelry. Song selections include “A Man’s A Man For A’That,” a spoken-word treatise (with instrumental accompaniment) on democratic humanism and the nature of equality, and“Scots Wha Hae,” an unofficial blood-soaked Scottish national anthem that lays bare Burns’ (at-the-time) radical notions of national sovereignty and identity.“Auld Lang Syne”is, of course, also on tap. It wouldn’t be a typical Burns Night without a steaming, peppery haggis — in this case a U.S.D.A.inspected, Oregon-sourced, savory mixture of minced lamb offal, onion, oatmeal, suet, spices, and salt, traditionally housed in an animal stomach and simmered for hours on end. While it’s an acquired taste, haggis has its place at the Scottish table. Burns’ “Ode to a Haggis”and the ceremony surrounding it at a Burns supper are perhaps more fulfilling than the dish itself. But in a town that treasures its Sunday menudo bowl, there are bound to be more haggis fanciers than foes. Pranzo Italian Grill owner Michael O’Reilly provides the single-malt scotch, and there are other edibles to soak it up with. Aside from the bagpipes, thistle pipes, and drums, celebrants can look forward to Celtic music by Santa Fe’s Schola Cantorum ensemble and dancing by New Mexico’s Belisama Irish Dance Company. Tickets, $45, are available at the door. Proceeds benefit the preservation and operation of the Scottish Rite Center. Call 982-4414 or 505-500-8131 for reservations.
© Robbie Jack, Edinburgh, 2012
Roger Snodgrass I For The New Mexican
A DAPPER, ELDERLY MAN WEARING A BLAZER walks into an office at La Fonda in Taos
in 1959, hoping to sell a valise full of what people thought of in those days as dirty pictures. Fortifying himself with a few drinks of cognac and loosening his tie, the actor Maurice Roëves enters into the inner life of Angelo Ravagli, the lone character in the one-man play, Just a Gigolo, which opens Friday, Jan. 18, at the Santa Fe Playhouse. His Ravagli will spend much of the next hour baring his heart and soul, talking about his love life with Frieda Lawrence, the wife of the artist and novelist D.H. Lawrence, and about his own remarkable role in Lawrence’s controversial paintings. Years earlier, Ravagli came into the story of the Lawrences during an interlude in Italy, when the couple stayed at an estate owned by the family of Ravagli’s wife. Eight years younger than D.H. Lawrence and two years younger than Frieda, Ravagli looked after the property much like the lusty gamekeeper Oliver Morell in Lawrence’s novel Lady Chatterley’s Lover. In the play, Ravagli claims the gamekeeper’s role was based on his own affair with Frieda Lawrence, some 30 years before. “Angelo, to his dying day, referred to himself as the real Lady Chatterley’s lover,” said Vanessa Rawlings-Jackson, producer of the play. “There’s no evidence, no notes from Lawrence identifying him,” she said, opening up at least a hint of ambiguity that adds a spice of fascination to the story. Circumstantial support for Ravagli’s claim may be found in the events that followed Lawrence’s death in 1930. After their stay in Italy, Lawrence and Frieda wandered from place to place, spending time in Ceylon, Australia, New Mexico, and Mexico before returning to France, where Lawrence died in Vence. Five years later, after Frieda returned to Taos, she arranged for Lawrence’s body to be exhumed and cremated; she asked Ravagli to bring the ashes to New Mexico. Ravagli carried out the mission and then some, leaving his family behind and staying on at the Lawrence ranch, not far from Taos, with Frieda. Eighteen years later, they were married, as rumor had it, to keep Ravagli from being deported for moral turpitude, a legal term that refers to behavior considered a breach of community morality. Frieda’s legacy is another curious piece of the puzzle, Rawlings-Jackson said, considering that Lawrence had a brother and Frieda had two children by her first marriage. She left the ranch to the University of New Mexico, despite the fact that Ravagli had no place else to go. He managed to stay on for a few years after Frieda’s death. He was also left Lawrence’s paintings and the rights to Lady Chatterley’s Lover, which had only been published privately and in abridged editions, primarily because of its sexual content. When Ravagli met with the owner of the Taos hotel, he probably needed money from the sale of the paintings to return home to Italy. The rights to Lady Chatterley’s Lover must have seemed pretty worthless to Ravagli at the time. But an obscenity trial in England in 1960 cleared the way for publishing the novel in its entirety, and it became a bestseller. “Ravagli’s family becomes multimillionaires,” Rawlings-Jackson said. “Not Frieda’s children; not Lawrence’s family. So in a strange way, Angelo is the winner.” Just a Gigolo was written and directed by Stephen Lowe. It is his third play about Lawrence, based on extensive archival research and consultation with leading scholars. It was written specifically with Roëves in mind and fine-tuned during a four-week stint at the Edinburgh Fringe Festival last year, followed by a run at the University of Nottingham. Roëves lends decades of acting experience to the role, including performances in the film The Last of the Mohicans and on TV’s Cheers and Murder, She Wrote. Roëves said that performing alone, without a prompter or other actors to cue the memory, is a little like walking a high wire without a net. “What makes it exciting and dangerous is that it’s not punctuated.” In one of the previews, he drew a blank. “And I really thought, this is the end. I’m really sorry. This guy has totally lost his marbles. Goodbye, we’ll get you your money back,” he said. “But then something cropped up and I got it.” ◀
details ▼ Just a Gigolo ▼ Santa Fe Playhouse, 142 E. De Vargas St., 988-4262 ▼ 7:30 p.m. Friday & Saturday, Jan. 18 & 19; 2 p.m. Sunday, Jan. 20 ▼ $20 at the door, $15 for students & seniors; call 986-1801
January 18-24, 2013
Santa Fe Farmers’ Market Institute
WEDNESDAY NIGHT M
Climate Refugees brings to light the heart wrenching truth of what is quickly becoming mankind’s greatest challenge. —Sundance Institute
The human face of climate change. The next cause for war?
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
t e e w Th e S
JANUARY 1 – 26, 2013 Ann Coulston & Robert Marcus Crumpackers Cafe & Bakeshop Green Party of Santa Fe Jacona Farm La Fonda on the Plaza La Montanita Coop Lakind Dental Group
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PASA REVIEWS Pianist Jeremy Denk Duane Smith Auditorium, Los Alamos High School, Jan. 12
Denk of Arabia
ianists are blessed with a recital repertoire so rich that other instrumentalists can scarcely think of it without a twinge of jealousy. On the downside, pianists have to bear a cross that their colleagues do not; they must often perform on instruments to which they are not accustomed, and sometimes on instruments they do not like. This fact of musical life loomed large through much of Jeremy Denk’s Saturday-evening recital, which was presented by the Los Alamos Concert Association. He did not appear to be in sympathy with the particular concert grand he was playing, and the sound he produced throughout the evening was consistently gray and lacking in brilliance, its bass range dominating its treble to a disconcerting degree. Listeners should not place all the blame on the pianist when this happens, but neither does it set the stage for an optimal concert experience. Still, one may wonder how much better Schumann’s Davidsbündlertänze would have fared even channeled through a different piano. This suite of 18 character pieces, composed in 1837, is bound up with the composer’s love affair with his future wife, Clara Wieck, the daughter of his piano teacher, but it also serves as an encoded dialogue between two of Schumann’s imaginary friends, fiery Florestan and elegiac Eusebius, who stood at the center of the Davidsbündler, the “League of David,” a society of Romantic visionaries the composer dreamed up to battle the musical Philistines. Each movement of the Davidsbündlertänze accordingly relates to one emotional extreme or the other. How, then, are we to understand an interpretation that hewed to remote objectivity, that admitted minimal rhythmic flexibility through rubato, that (for whatever reason) painted its pictures using a thin timbral palette? One expects the opening movement (Lebhaft) to seize the listener’s attention with dramatic flair, but Denk played it with the indifference of an accountant. The fifth movement (Einfach) seemed not “simple,” as its title suggests, but merely glib; the sixth (Sehr rasch) lacked the incisive attacks that would lend real fervor; and in the seventh (Nicht schnell), arpeggiated chords surely meant to suggest reverie were rendered with jarring harshness. Denk seemed to make some peace with the work around its midpoint, rendering the contrapuntal lines of movement nine (Lebhaft) with winning clarity, but even so he never displayed much affection for the set, let alone a sense of wonder or discovery. Denk is at heart an anti-Romantic pianist, a temperament that has served him supremely well in much of his repertoire but seemed essentially incompatible with Schumann.
The second half of the program was given over to Bach’s Goldberg Variations, a Himalaya of the keyboard repertoire that Denk has just recorded for Nonesuch Records. He began his introductory remarks by invoking Glenn Gould, stating that doing so was essential for anyone addressing the topic of the Goldberg Variations. What he was getting at remained unclear. After uttering Gould’s name, he spoke no further of his famous predecessor. His interpretation of the piece did not seem to emulate Gould’s recorded performances — certainly not Gould’s famous first recording, from 1955, which was marked by hyper-clarity, but not that pianist’s more ruminative but still austere version from 1982, either. Denk did follow Gould’s lead in taking a loose approach to repeats in this theme with 30 variations. Sometimes he repeated both halves of a variation, as notated by Bach, but elsewhere he eliminated some of the repeats — not a heresy, given the work’s considerable length. Much of his playing in the Goldberg Variations was beautiful and compelling, and some of it was distinctive. Variation 11 emerged with engaging sprightliness, Variation 13 was infused with the sort of dreamy elegance and sensitive pedaling one would have welcomed in the Schumann (one rejoiced that he took both repeats here, allowing listeners to appreciate it all the more), and Variation 22 (the Alla breve) struck an unusually prayerful stance, conveying a lovely sense of repose and even transcendence. Denk possesses a strong technique that supported him almost flawlessly through this work, which has been known to throw the best of pianists off track if they slacken their attention for even a moment. What I missed, however, was a sense of musical humor. Its absence had been a handicap in the three Schumann movements whose headings designate levity (Mit Humor twice, Mit gutem Humor once), but it also might have infused a more congenial spirit into Bach’s variations overall. In his pre-performance remarks, Denk spoke of the piece’s daunting length and of the fact that its unremitting expanses of G Major are interrupted by only three sections in G Minor — as he put it, “three minor-key variations within a desert of happiness.” His comment evoked laughs, but it proved to be an accurate description of how Denk relates to happiness. (I speak only on a musical level, of course; I have no idea how happy he is in his life apart from that.) There was much to admire in his solidly accomplished rendition of the Goldberg Variations, but it did not exude much joie de vivre. Joyfulness did emerge with gurgling vigor in Variation 25, but it was such a rare sensation that it seemed aberrant, a fountain of elation inexplicably bursting from what seemed only “a desert of happiness.” — James M. Keller
Experience is it! Dr. Gary Puro has returned to practice!
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ON STAGE Students from the New Mexico School for the Arts are back from their winter holiday and ready to wow you at the James A. Little Theater (New Mexico School for the Deaf, 1060 Cerrillos Road). At 7 p.m. Friday and Saturday, Jan. 18 and 19, and 2 p.m. Sunday, Jan. 20, NMSA dance students present a work choreographed by dance-department chair Adam McKinney to Ravel’s String Quartet in F Major. Also on the bill are two premieres, one choreographed by NMSA faculty member Curtis Uhlemann, and one by guest artist Lee-Wei Chao. At 7 p.m. Thursday to Saturday, Jan. 24 to 26, the school’s drama students present an evening of one-act plays at James A. Little Theater. On tap is a play about bullying and abuse (recommended for mature audiences only) titled Sessions, written by NMSA theaterdepartment chair Joey A. Chavez, and It Snows by London-based dramatist Bryony Lavery. Tickets for the dance and theater shows are $10 (students and seniors $5) and are available through Tickets Santa Fe at the Lensic (988-1234, www.tickets-santafe. org). Pictured: Alejandra Avila and Robin Ediger-Seto
© Paulo T. Photography 2012
Words and movement: New Mexico School for the Arts
Santa Fe Symphony comes in from the cold The Santa Fe Symphony presents its Winter Brilliance concert at 4 p.m. on Sunday, Jan. 20, at the Lensic Performing Arts Center (211 W. San Francisco St.). The symphony performs the overture to Carl Nielsen’s opera Maskarade and Tchaikovsky’s Symphony No. 5. Special guest, pianist Spencer Myer, who studied at Juilliard and the Oberlin Conservatory of Music, Carl Nielsen tackles Rachmaninoff’s Piano Concerto No. 2, the piece that launched the composer’s international reputation. The symphony sponsors a preconcert lecture by its music director and conductor, Steven Smith, at 3 p.m. Concert tickets are $20 to $70 (discounts available) and may be purchased from Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe. org); admission to the lecture is free to ticket holders.
Keyed in: jazz pianist Julian Waterfall Pollack’s trio
For a guy who graduated from high school in 2006, pianist-composer Julian Waterfall Pollack has covered a lot of ground. He played on Marian McPartland’s NPR radio program Piano Jazz while still a teenager and has appeared at some of New York’s finest jazz clubs, including the Blue Note and the Village Vanguard. He performed John Adams’ Hallelujah Junction for two pianos at the Mendocino Music Festival in 2010 (the other pianist was his mother), and his own Concert for Piano and Orchestra has drawn accolades for its warmth and contemporary feel. Pollack leads his trio at 7:30 p.m. on Saturday, Jan. 19, at the Great Hall in the Peterson Student Center at St. John’s College (1160 Camino de Cruz Blanca), as part of the school’s Music on the Hill Elevated series. He’ll combine his classical leanings and jazz-standard interpretations with a taste for contemporary music. A jazz remake of Transcripted: pianist Louis Lortie Death Cab for Cutie’s “Brothers on a Hotel In the era before recordings, most music-lovers had rather few opportunities to engross Bed?” Yes! Tickets are $25 at the door; the themselves in the ever-expanding repertoire. That was especially the case with operas, concert supports financial aid for St. John’s which could only be seen rarely and at considerable expense. But there was a way to students. Call 984-6199 for reservations surmount that impediment; no sooner did an opera meet with success than piano before 5 p.m. Friday, Jan. 18. transcriptions of its highlights were published so pianists could revisit the scores on their own. Some of these transcriptions fell within the grasp of accomplished amateurs, but others were crafted to show off the dazzling capabilities of leading virtuosos. Franz Liszt’s piano transcriptions and paraphrases fall into the latter category, and the Canadian pianist Louis Lortie performs a selection of them, including a fantasy on Mozart’s Don Giovanni and transcriptions from several Wagner operas, in a recital sponsored by the Santa Fe Concert Association. Lortie’s concert takes place at St. Francis Auditorium in the New Mexico Museum of Art (107 W. Palace Ave.) at 7:30 p.m. on Thursday, Jan. 24. Tickets, $20 to $50 (discounts available), may be purchased from Tickets Santa Fe at the Lensic (988-1234, ticketssantafe.org). PASATIEMPO
eBO TAylOR BROADCAST Appia Kwa Bridge (Strut) “Berberian Sound Studio” Guitarist-vocalist-composer Film Soundtrack (Warp Records) Ebo Taylor makes an argument for In screenwriter-director Peter Strickland’s longevity and an encompassing, panBerberian Sound Studio — a homage African sound on his third recording to the gory, erotic Italian horror genre for the eclectic European label. The disc known as giallo — an experienced emphasizes the highlife style that Taylor soundman is summoned to work on a helped champion in the 1950s in his giallo project in the mid-’70s. Through a native Ghana, but also includes detectable Afro-beat, Malian series of strange circumstances, the Foley artist soon descends guitar, and Nigerian juju influence. Recorded when its leader into madness. The audible atmosphere for Berberian Sound was 76, Appia Kwa Bridge might seem a study in nostalgia — Studio was crafted by Birmingham, England, indie-electronica/ he includes a tune first recorded by Jacob Sam’s Kumasi Trio in found-sound/Brit-pop-collage band Broadcast, whose vocalist, Trish the 1920s; and the title piece is dedicated to a bridge that serves as a Keenan, died of pneumonia in 2011 at the age of 42, just months lovers’ rendezvous in his hometown of Saltpond — but its infectious before the film’s release. Strickland couldn’t have chosen a more perfect rhythms and celebratory moods make it good-time music of the best ensemble to get the job done. Broadcast’s soundtrack is more akin to sort. Taylor studied and performed with Fela Kuti in London during the a film’s sound reel minus the dialogue, with 39 tracks ranging in length 1960s, and the songs here with trumpet and baritone sax blends recall the from eight seconds (“The Serpent’s Semen”) to three-and-a-half minutes late Kuti’s Africa ’70 band. Taylor also nods to both the electric (“Teresa, Lark of Ascension”). Eerie church organs, reverb-drenched ballroom style of highlife and the guitar form, with its emphasis hammered dulcimers, industrial machines, rumbling synths, on improvisation and lyricism. Not everything here is upbeat. haunting voices, and of course, plenty of screams and cackles Taylor’s unaccompanied guitar and world-weary voice on inhabit a great deal of the album. To those hoping for a “Barrima,” a mournful lament on the death of his first wife, straightforward Broadcast album with jaunty allusions to Apart from the fact is the only place he shows his age. The title tune, with its mod and Brit pop and cut-and-paste sampling: don’t waste tight horn section and vibrant vocal chorus, is a marvel. your time on this soundtrack. But for fans of outfits like that it was one of the Taylor’s solo, with its audible cool, is a flowing testament Sleep Chamber and Clock DVA (the early stuff), as well to melodicism in service of rhythm. — Bill Kohlhaase as for people who love being frightened while at home most happening musical alone, consider picking up this one. — Rob DeWalt Conductus, Vol. I: Music and Poetry From Thirteenthgenres 800 years ago, Century France (Hyperion) Apart from the fact that it GARBARek, HADen & GiSmOnTi Magico: Carta de was one of the most happening musical genres 800 years Amor (eCm) Here’s a stirring conjunction of character conductus remains the ago, conductus remains the stuff of mystery. Textbooks and talent: Norwegian saxophonist Jan Garbarek, Iowaused to say that this repertoire of some 800 pieces to Latin born bassist Charlie Haden, and Brazilian guitarist and stuff of mystery. texts served to conduct clerics around a sanctuary while pianist Egberto Gismonti. The trio had twin successes with celebrating liturgy — hence the name. Many recent scholars the 1979 ECM releases Magico and Folk Songs; after two doubt that, but they don’t have much to suggest instead. (Mark more years of touring came this live set in Munich, presented Everist’s excellent notes for this painstakingly produced CD provide here for the first time. The title track of the two-CD set is subdued a careful summary of the relevant musicology.) What is unquestionable beauty in the form of gently finger-picked guitar figures, minimalistic is that conductus includes some of the most refined and imaginative music of tenor-sax explorations that occasionally approach the passionate, and nearly the Middle Ages, pieces for solo singer or in two-, three-, or even four-part inaudible bass drones. Next comes “La Pasionaria,” a long-form piece from harmony (though no four-part examples are included in this selection of Haden’s Liberation Music Orchestra repertoire with Carla Bley that features 16 conducti). These pieces mark an early stop on the pathway to modern extended, virtuosic solos by Gismonti and Haden. Garbarek works a more harmony; one senses the anonymous composers groping their route from intense and raw edge, keening on soprano against a busy, complex bed consonance to consonance, sometimes crashing dissonantly along the of deep strings. On “Folk Song,” there are intriguing color contrasts way. We also hear them exulting in being able to convey specific in the thumping bass, Garbarek’s plaintive soprano, and a ringing rhythms through musical notation — a recent breakthrough at guitar picking that asserts the rhythm before dissolving into a long the time. The rhyming poems range from hymns of praise to rubato section. The trio works outside territory on Garbarek’s outraged railing against prostitution or experimental “Spor” and, after the corruption of church officials. Tenors peaceful “Branquinho,” we (finally) John Potter, Christopher O’Gorman, hear Gismonti’s piano on “All That Is and Rogers Covey-Crump bring them Beautiful,” a previously unrecorded all alive in performances that are accuHaden work that shows intriguing rate in pitches and rhythms, chaste in group interplay and a variety of flavors, emotional climate, and committed in heavy on the improv. Distinctive, their historical devotion. rewarding music, overall. — James M. Keller — Paul Weideman
January 18-24, 2013
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Barrymore January 18
Christopher Plummer reprises his Tony-winning role as legendary actor John Barrymore in this dramatic one-man film, broadcast in HD.
$22/$15 Lensic members & students
Tickets: 505-988-1234 www.TicketsSantaFe.org S E R V I C E C H A R G E S A P P LY AT A L L P O I N T S O F P U R C H A S E
t h e l e n s i c i s a n o n p r o f i t, m e m b e r- s u p p o rt e d o r ga n i z at i o n
Viajes Pintorescos y arqueológicos Khristaan D. Villela
Ancient Maya murals of Xultún 2010, while exploring a looter’s trench in a building at the ancient Maya ruins of Xultún (pronounced “shooltoon”) in Guatemala, a Boston University undergraduate named Max Chamberlin discovered traces of paint on the wall of an exposed room. When the archaeological team led by William Saturno, assistant professor of archaeology at the same university, investigated, they discovered that all four walls of the room were painted with bright murals. Glyphs painted on the wall suggest that the murals date to about 814. One wall at Xultún has a niche originally screened by a curtain, and within the archaeologists found the image of a seated Maya king wearing a huge headdress of quetzal feathers. Two other walls show seated and kneeling men. One holds a painting or drawing implement and is named in a caption in Maya hieroglyphs as Younger Brother Obsidian. The fourth wall shows several groups of painted and incised (in the plaster) glyphs for days and columns of numbers. The images would prove to be the earliest-known Maya astronomical tables, painted on a wall that was frequently whitewashed and that seemed to have served as a blackboard. One of the calculations casts 2.5 million days, or 7,000 years into the future, and is yet more evidence dispelling the idea that the Maya calendar ended four weeks ago, on Dec. 21, 2012. Although there are traces of painting inside many ancient Maya buildings, well-preserved murals are rare discoveries. Probably the most famous Maya murals were discovered by Giles Healey in 1947 at a site in the Lacandón rain forest of Chiapas, Mexico. They were named Bonampak, meaning “painted walls” in the Yucatec Maya language, by
Santa Fe’s resident Mayanist, Sylvanus G. Morley. At the time, Morley was director of both the Laboratory of Anthropology and the Museum of New Mexico. Healey actually discovered the ruins of Bonampak in May 1946, accompanied by Carl Frey and John G. Bourne. As Mary Ellen Miller writes in The Murals of Bonampak (1986), Frey was an American draft dodger who had married a Lacandón Maya woman. And Bourne, who is a long-time Santa Fe resident, was a 20-year-old student from Los Angeles whose grandfather was president of Singer Sewing Machine. Healey was making a film about the ancient Maya. When the local Maya, who still revered the ruins as a shrine, led the trio to the site, they did not show the visitors the building with the murals. When Healey returned in 1947, the Lacandón showed him the murals, and he became their “discoverer,” at least among white men. The murals of Bonampak consist of three rooms painted floor to ceiling with scenes from the life of the king of the city, ceremonial dances, a battle, and a scene with the battle captives presented and sacrificed. There is also a musical band, images of nobles from other cities, and several scenes of Bonampak’s royal family. The murals were painted in 790, just a few years before the city’s abandonment. They were preserved because the limestone roof leaked, coating the painted walls with a quarter inch of calcium carbonate.
he Xultún murals were painted 25 years later, on the other side of the ancient Maya world. In his great work, The Inscriptions of Petén (1938), Morley wrote that Xultún was discovered in 1915 by a chiclero named Aurelio Aguayo but not scientifically investigated until Morley and his team from the Carnegie Institution of Washington visited
Left, stucco portrait of a king or deity on the outside of a building at the Maya city of Xultún; photo by Pablo Durana, courtesy Proyecto San Bartolo - Xultún; right, the king of Xultún as painted on the wall of a private residence; photo by William Saturno, courtesy Proyecto San Bartolo - Xultún 26
January 18-24, 2013
in 1920. Chicleros were the men who used to crisscross the tropical rain forest of northern Guatemala, bleeding rubber trees for natural latex, which a century ago was actually used for chewing gum. From the late 19-teens through the 1930s, Morley posted notices in the region’s towns and villages, promising bounties for any man who discovered Maya ruins with carved monuments in the jungle. Chicleros led him to many important discoveries. Morley named the site Xultún, a made-up word in the Yucatec Maya that means end stone, or last stone, because as of the early 1920s, Xultún had the Maya monument with the latest date — 10.3.0.0.0 in their Long Count system (Aug. 15, 869). Xultún is located almost 30 kilometers northeast of the Maya city of Uaxactún, in Guatemala’s Department of Petén. The site may be the largest Maya city you never heard of, as it is now known to cover 12 square miles and was occupied for more than a thousand years, from the first century B.C. to the 10th century of our era. Although Morley photographed and drew some of the monuments and mapped one section of the site, Xultún remained largely unknown to science until 2008, when the Boston U. team began a survey. But local grave robbers and looters rediscovered continued on Page 28
Heather Hurst’s watercolor recreation of image from Xultún, showing how the Maya elite practiced skull deformation, courtesy Proyecto San Bartolo - Xultún; right, column of dates and numbers separated by periods of six months; below, locations of the painted astronomical calculations in the mural building at Xultún
Take a look: Maya murals in your home ▼ The Yale University’s Bonampak Documentation Project, including full-color watercolor reproductions of the murals by archaeological illustrator Heather Hurst, can be seen at www.yale.edu/bonampak. ▼ For National Geographic’s video on the Xultún project, featuring William Saturno, visit http://bit.ly/K4wDHz. ▼ To see zoomable photos of the Xultún murals, go to http://on.natgeo.com/KQHQWq.
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Viajes continued from Page 27
the site, and beginning in the 1960s, they tunneled into many buildings at Xultún. Hundreds of Maya cities large and small have been looted over the past half-century. Looting in Guatemala, Mexico, and Peru is largely driven by two factors: poverty in the countries of origin on the one hand, and on the other, collectors in Latin America as well as in the U.S., Europe, and the Far East. The Xultún murals were not the first that Saturno discovered. In 2001, he ducked into a looter’s tunnel at the site of San Bartolo, a short distance from Xultún, and discovered a room with spectacular painted walls. The San Bartolo murals were painted around the second century B.C., about a thousand years earlier than those at Xultún. They are the earliest painted exposition of ancient Maya cosmology discovered to date, depicting mythological scenes about one of the Maya creator deities, the Maize god, and relating his biography to that of the human king of San Bartolo. Maya kings and queens were thought to be like in kind to the Maize god. The San Bartolo murals show the Maize god being dressed by lovely ladies at a place called Flower Mountain. Other figures pierce their penises in a penitential rite, shedding holy blood. Still another scene shows four sacred trees, each representing a world direction (east, north, west, and south), each with a sacred bird and a sacrificial hearth.
he Xultún murals provided another first for Maya studies: the earliestknown records of astronomical computations. Like other peoples of ancient Mexico and Central America, the Maya were great sky watchers. Over hundreds of generations, Maya astronomers figured out the cycles of the sun, moon, and visible planets. They even learned how to predict solar and lunar eclipses. As accurate as their observations were, their understanding of astronomy more closely resembles our astrology. Heavenly bodies were living beings, gods, and ancestors who could influence human lives. In particular, ancient Maya elites wished to link their actions to astronomical cycles, just as they anchored the events in their lives in the Long Count calendar. At Xultún, one wall shows row after row of numbers, written in bar and dot notation — dots for numbers 1 to 4, and bars for 5. Saturno and other scholars realized that 146 or 147 days separated the numbers in these columns from each other, which equals six lunar months. The figures were also even numbers of cycles of the planets Venus and Mercury, as well as cycles of the 260 and 365-day calendars. This kind of table was previously known only from the Dresden Codex, a manuscript painted at least 500 years later, and one of only four surviving Maya manuscripts. The Xultún numbers were contrived to link human actions to the great cosmic cycles. Who painted them? Saturno guesses that the man pictured on the wall who is named Younger Brother Obsidian may have been the sibling of the Xultún king, and the scribe who painted the walls. Remember, he holds a writing implement. As Michael Coe and Justin Kerr note in The Art of the Maya Scribe (1998), ancient Maya scribes were often either nobles themselves or were attached to princely households, where they painted books and ceramics and worked on composing texts for their lords. Astronomical and mathematical calculations like those at Xultún seem to have been an important part of their job description. Saturno’s work is helping us understand how ancient Maya kings and nobles used math, science, and the calendar to establish their presence and memory in the cosmos. ◀
details ▼ “From the Myth of Kings to the Math of Kings: Art, Science, and the Ancient Maya,” lecture by archaeologist William Saturno, presented by the School for Advanced Research
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Here’s a stack of albums released during 2012 that deserve notice — though I didn’t get around to reviewing them last year. Call these the ones that got away — almost. Some are several months old, but they aren’t quite ready for the proverbial dustbin of history. ▼ We Walk the Line: A Celebration of the Music of Johnny Cash. On April 20 last year, a small starstudded army of country and “Americana” (I still hate that label) musicians descended upon Austin to pay tribute to the late Man in Black in honor of his 80th year. This package includes a concert DVD and a CD of most of the performances. As is typical for all-star shebangs, this show had a few misfires. There’s an overly MOR take of “It Ain’t Me, Babe” by Shelby Lynne and Pat Monahan and a fragile “I’m So Lonesome I Could Cry” by Amy Lee. And while Johnny Cash could make Nine Inch Nails’ “Hurt” his own, Lucinda Williams falls way short. Fortunately, there are many delights here. When I first read the credits I wondered about the wisdom of having Seattle singer Brandi Carlile do “Folsom Prison Blues,” but just a few seconds into it, it became obvious that she nailed it. The Carolina Chocolate Drops turn “Jackson” into a fiddle-andbanjo romp. Rhett Miller rocks “The Wreck of the
January 18-24, 2013
Listening to a Mark Lanegan album is like walking into a dark house at 4 a.m. that you think is empty — until you see the ominous glow of a cigarette on the other side of the room. Old 97,” the song that gave his band its name. Shooter Jennings, son of Waylon, sings with Amy Nelson, daughter of Willie, for a version of “Cocaine Blues” that is worthy of Cash’s own interpretation. Kris Kristofferson sounds like the tough old outlaw he is on “Big River.” I was never a big fan of Brooks & Dunn, but Ronnie Dunn does a fine version of “Ring of Fire” here, backed by “friends from New Mexico,” a couple of trumpeters from Santa Fe’s favorite all-female mariachi band Mariachi Buenaventura. (The group backed Dunn a couple of years ago on his video for “How Far to Waco.”) ▼ World Famous Headliners. Former NRBQ guitarist and part-time Santa Fe resident Big Al Anderson has got himself a new band. Nobody who has followed Big Al’s work with NRBQ (dang, it’s been nearly 20 years since he left them) or his solo work will be surprised that the Headliners’ sound is nice and rootsy, with tasteful pop sensibilities. There are three guitarists in this outfit — Anderson, Shawn Camp (who co-wrote all the songs with Anderson), and Pat McLaughlin. All three sing. The album is loaded with good-time songs. One of my favorites is “Jukin’” — a funky, bluesy, countryish tune. The Headliners get shamelessly pretty on the soulful “Take Me Back,” which would have fit in on Anderson’s smoky After Hours album, while “I Bleed” sounds like a tune from Pet Sounds remade by Southerners. Anderson and company aren’t afraid to get just a little bit goofy on tunes like “Ding Dong” and “Party ‘Til the Money’s Gone.” Visit www.worldfamousheadliners.com. ▼ Blues Funeral by Mark Lanegan. Even before the Screaming Trees broke up around the turn of the century, Ellensburg, Washington, singer Mark Lanegan had established himself as a solo artist known for
moody, often morose songs. The ache in Lanegan’s weary voice is almost tangible. At his best, he can make Leonard Cohen sound like Bobby Sherman. Listening to a Lanegan album is like walking into a dark house at 4 a.m. that you think is empty — until you see the ominous glow of a cigarette on the other side of the room. “The Grave Digger’s Song” and “St. Louis Elegy” (featuring background vocals from his Gutter Twins colleague Greg Dulli) show Lanegan doing what he does best. But undoubtedly the biggest surprise on Blues Funeral is “Ode to Sad Disco.” With the loud relentless electronic drums and dark textured synths, Lanegan makes it sound like — you guessed it — a sad disco. Check out www.marklanegan.com. ▼ The Backward Path by Dan Melchior. Dan Melchior is an Englishman who was a major player in the Medway garage/punk scene that produced Billy Childish and Holly Golightly. (He’s worked with both of those artists.) In recent years he’s played with a hard-punching, blues-influenced band called Das Menace. There’s not much Menace in this low-key album. On most songs here he sounds more like Robyn Hitchcock than Childish. The best song is “I Have Known the Emptiness,” which features an acoustic guitar over a dreamlike electronic backdrop. “I have known the emptiness and I tried to love it/But it nearly bored me half to death,” Melchior deadpans. As much as I like it, I think it would sound even better with some Das Menace crunch and fire. Visit www.danmelchior.net. ▼ Tall Tales by The Perch Creek Family Jug Band. Here are some Australian family values for you. This group isn’t lying by calling itself a family band. All but one member has the surname Hodgkins. Some of the band’s songs don’t really sound like jug-band music — sometimes they sound more like they were made by a bluegrass group or lightweight blues band. And sometimes the band reminds me of one of those goofy British skiffle groups of the 1950s with its earnest covers of American folk, jazz, blues, and country songs — everything from “Oh, Susanna” to “Minnie the Moocher.” But Perch Creek does have a jug player, not to mention “Australia’s top one-legged saw player.” That’s Christi Hodgkins, who is the subject of the original song “How Did the Young Man Lose His Leg.” See www.perchcreek.com. ◀
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h• arpsichord James M. Keller I The New Mexican
January 18-24, 2013
But that was pretty much the end of her relationship with the piano. “I won a scholarship to go study in Europe, and I got to pick the teacher I wanted to work with.” McIntosh decided she wanted to study with Thurston Dart, a British pioneer in the historical-performance movement. “I played for him, and he said, ‘I was going to send you to study with George Malcolm, but I can’t send you on to him as you are.’ ” For all his strengths, her harpsichord instructor in Oregon had passed along technique as he had acquired it from his own teacher, the renowned Wanda Landowska, a worthy flag-bearer of the harpsichord revival but one whose approach to the instrument was not fundamentally different from her approach to the piano. Dart conceived harpsichord playing as essentially distinct from piano playing, a point of view that enjoys universal support today. “He taught me proper hand formation for the harpsichord, how to relax the hand, historical fingerings. It set me on a good path. By the way, it’s lucky for me he didn’t send me to work with George Malcolm, because Malcolm approached the harpsichord in the old way, the Landowska way. Then after I returned to the United States I studied with another fine harpsichordist, Laurette Goldberg, in Berkeley.” Goldberg was a pupil of Gustav Leonhardt, a lion of the early-music world who passed away in 2012, and through Goldberg’s influence McIntosh refined her technique and stylistic outlook along the lines that are most widely admired by harpsichordists today. Just as 20th-century harpsichordists were uncovering the technical secrets that made the harpsichord repertoire spring to life, builders were growing ever more assiduous in crafting instruments to support their work. In this recital, McIntosh will play a harpsichord built for her by John Phillips, a highly respected craftsman in Berkeley who produces only a handful of instruments annually and currently has a waiting list of about four years. For most of her ensemble work, McIntosh uses a Phillips instrument in the Flemish style, but for this recital she will play a twomanual instrument he copied from an original built in 1707 by the French harpsichord builder Nicolas Dumont. “This is the one I play for solo pieces and big literature,” she said. Flemish-style instruments were smaller and more portable — the one McIntosh owns has 55 keys — but the Dumont instrument, which has 66 keys, boasts a considerably wider range that makes it suitable for nearly all harpsichord music from the period. “It has been a long time since I played a solo recital,” McIntosh said. “I’ve just been so busy with so much chamber activity, so it’s a question of time. I thought I might call this concert ‘A Few of My Favorite Things,’ but that seemed almost unfair because I have so many favorite things in the harpsichord literature.” Anchoring her concert is an undisputed masterpiece, Bach’s G-Minor Suite (BWV 808), the third of the so-called English Suites. For the rest, she had an immense repertoire to choose from. Most Baroque composers could be productive to a fault, but McIntosh feels she has put together a no-fault program. “Almost every Baroque composer wrote at least one or two little jewels, and that’s what I was looking for.” Four of the seven composers on her concert are from the Spanish tradition, and one of them, Mateo Albéniz, hardly contributed to the repertoire at all; McIntosh said that she can recall only two pieces of his. The other three composers are better known: Domenico Scarlatti (actually a Neapolitan who spent much of his career employed by the royal court in Madrid), Antonio Soler, and Manuel Blasco de Nebra. Scarlatti was the kingpin of the bunch. “Soler was a big fan of Scarlatti’s music. He was very familiar with Scarlatti’s sonatas and emulated them. It’s fair to say that Scarlatti’s work is more
consistent in quality, but Soler’s is more Spanish-sounding. It captures the guitar figuration more often.” Although she will be playing a French-style harpsichord, McIntosh has included only one French composer in her recital: Jacques Duphly, an 18th-century figure who could reach exceptional heights — or not. He published four books of harpsichord pieces from 1744 to 1768, after which he receded entirely from public view. “He died in obscurity, the day after the storming of the Bastille,” McIntosh said. “Nobody even knew where he lived any more. His last book of harpsichord pieces is a bit iffy. He moved away from his roots in the great French harpsichord tradition, toward the new Classical style, which really didn’t suit the instrument well.” The three Duphly pieces she has programmed are accordingly drawn from his earlier collections, and they include one of his finest achievements: La Félix, a work of inherent nobility that, McIntosh feels, “pushes the instrument to the limit with its orchestral scope.” But France also plays a part in the story
you go to a concert of Baroque music in Santa Fe, chances are far better than even that the performance will involve a harpsichord and that the harpsichordist will be Kathleen McIntosh. As a reigning keyboard instrument throughout the Baroque era — the entire 17th century and the first half or so of the 18th — the harpsichord was an almost indispensable member of the continuo group, the assemblage of instruments that provided the harmonic foundation above which the melodic lines unfurled. When a harpsichord’s keys are depressed, tiny quills pluck the instrument’s strings, yielding a distinctive sound that may range from a sweet twang to a burnished nasality, a timbre that blends easily with other instruments in an ensemble to fill out the group’s texture. As a continuo collaborator, McIntosh has for the past decade and a half been the go-to gal for such organizations as the Santa Fe Chamber Music Festival, Serenata of Santa Fe, Santa Fe Pro Musica, and Taos Chamber Music Group. Parallel to its role as a continuo instrument, the harpsichord was blessed in its heyday with an extraordinary solo repertoire that includes central masterworks by most of the great Baroque composers of Europe. Some of the instrument’s most essential repertoire continued to be played on the piano after that instrument gradually displaced the hegemony of the harpsichord during the later decades of the 18th century. In the 20th century, however, historically minded musicians instigated a revival of the harpsichord, and new generations of practitioners rediscovered the innate capacities of an instrument that had once stood at the very center of musical life. On Sunday, Jan. 20, McIntosh offers a recital of music for solo harpsichord, something she does rarely. Her concert takes place at the Scottish Rite Center, where she appears often with her colleagues from Serenata of Santa Fe, which is sponsoring this performance. But whereas Serenata typically performs in the building’s auditorium, this event will take place in its less-visited ballroom, a dining hall or gathering space that happens to sport five chandeliers by Tiffany & Co. “I love playing in the main hall,” McIntosh said, “but it seemed as if it would be too much space for a solo harpsichord recital. We thought a little more intimate would be nice.” Rather than set herself apart from the audience in usual concert fashion, she will have the listeners’ seats gathered around the instrument. Loudness is not one of the harpsichord’s attributes. In fact, its limitations of volume proved an Achilles’ heel when the fortepiano, with its larger sound and sustaining power, superseded the harpsichord during the period of Haydn and Mozart. On the other hand, the harpsichord is far from inaudible, unlike its cousin the clavichord, which was designed specifically to whisper. The harpsichord invites listeners to pay hushed attention, and most find that their ears adjust to its level with no difficulty. Like most harpsichordists, McIntosh came to the instrument by way of the modern piano. She studied piano seriously while an undergraduate at the University of Oregon, but even then she had misgivings. “I had the misfortune of studying piano with a teacher who thought Bach was somebody you warmed up on. So I started to take harpsichord lessons on the side as a way to cover the Baroque literature, which I absolutely loved. My harpsichord teacher was a genius, and my lessons were filled with references to French poetry and dance. I studied secretly with him for about two years, not wanting my piano teacher to know, and I did play a graduation recital on the piano. I played the Liszt Sonata!”
to the fore
of the piece that opens her program. It is a chaconne by Johann Caspar Ferdinand Fischer, who is credited with introducing the French style to German keyboard music. Drawn from a set of suites depicting the nine muses of Greek mythology, this chaconne was meant to illustrate Euterpe, muse of lyric poetry and song, and musicians should always have Euterpe on their side when they give a recital. ◀
Kathleen McIntosh, solo harpsichord concert, presented by Serenata of Santa Fe
3 p.m. Sunday, Jan. 20; reception follows
Scottish Rite Center, 463 Paseo de Peralta
$25, discounts available; Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org)
Casey Sanchez I For The New Mexican
Family tiesFamily tiesFamil The revealing imagery of Thicker Than Water
To explore indigenous life in personal terms, curators at the Museum of Contemporary Native Arts sent four artists back to their family photo albums. The resulting show, Thicker Than Water, explores family and belonging, blood and identity. Australian Aboriginal artist Brenda Croft delves headlong into her personal snapshots to narrate the story of her dead brother. Canadian Mohawk artist Greg Staats and Diné-Greek artist Anna Tsouhlarakis make visual abstractions out of, respectively, the forging of Iroquois wampum beads and the Navajo ritual of kinaaldá, a ceremony celebrating the beginning of menstruation. Ho-Chunk photographer Tom Jones makes portraits of his friends, family and neighbors who have been excluded from or adopted into tribal recognition. The exhibit opens Friday, Jan. 18. The four artists are slated to attend the opening reception. In a departure from gallery protocol, the artists worked closely alongside curators Nancy Marie Mithlo, a University of Wisconsin-Madison professor of art history and Native American studies, and Ryan Rice, the museum’s chief curator, to create work specifically for this show. “We were really fortunate to receive an Andy Warhol Foundation for the Visual Arts grant aimed toward innovation in curatorial strategies,” Mithlo said. “It was a wonderful acknowledgment of what we are trying to do. I think the choice of 34
January 18-24, 2013
what to present should be reciprocal. I’m not into the idea of the curator as a person shopping at the department store; that’s not my style.” Mithlo, a Chiricahua Apache, said she hopes the show will help shift discussions about tribal identity from debates about the federal recognition process and genetics to something more expansive. “Often, a conversation about belonging can be something that is limiting. We wanted something that is more expansive. The arts allow for that kind of conversation.” Jones addresses issues of tribal inclusion with his trademark wit. His photo series features large-format images of Ho-Chunk community members with their tribal status superimposed over the portraits. In one image, a young man holds his arms akimbo, the word “removed” pasted over his chest, a reference to the purging of members from tribal government rolls. In another, a toddler reclines on a beanbag as his mixed lineage and its lack of federal recognition is rendered in a mathematic equation: “1/8 Winnebago + 1/8 Ho-Chunk = 1/4 Ho-Chunk = 0 Percent Indian.” “I am questioning, What does a viewer see and read into a photograph of a person?” Jones said. “The message is not all about judgments, stereotypes, or blood quantum — it is about the demise of a culture that has been infiltrated with white thinking and greed.”
Tom Jones: left, Fernando Hazic Ontiveros, 1/8 Winnebago + 1/8 HoChunk = 1/4 Ho-Chunk = 0 Percent Indian, 2012, digital print; above, Jerry Riness, Adopted Ho-Chunk, 2012, digital print Opposite page, Brenda Croft: west/ward/bound, 1959/1999/2009, inkjet print on vinyl, 197 x 118 inches Images courtesy the artists
ly tiesFamily tieFamily ties Jones has never been one to shy away from controversy or humor. The artist boldly titled one of his photo series I am an Indian first and an artist second. The photographer and University of Wisconsin professor said his title is a play on the late Native artist Fritz Scholder’s notion “of wanting to be known as an artist and not as an Indian artist.” As a foil to the cultural polemics of Jones, Tsouhlarakis exposes just how messy and circular family relations can be. The name of her video installation 3 + 4 is a reference to her three-quarter Navajo heritage. Her mix of video art and stills explore her relations to her mother, grandmother, and daughters against the backdrop of the Kinaaldá. “Lots of cultures flee in shame from menstruation. What Diné do is incredibly elaborate instead. It’s something just for women. Yet my work is not as much about the ceremony as the stories that go along with it.” The artist’s piece centers around a video installation that draws on source footage of striated canyon walls not far from her childhood home west of Crownpoint, New Mexico, where she remembers the ritual taking place. “I’m not interested in an actual linear story of our lives. Instead, I’m showing flickering moments of our life,” Tsouhlarakis said. Her video is continued on Page 36
Greg Staats: from mnemonic loci, 2012, series of chromogenic color prints PASATIEMPO
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Greg Staats: from mnemonic loci, 2012, series of chromogenic color prints
accompanied by audio snippets of her grandmother singing “Amazing Grace” — a melody that travels across languages exceedingly well — in Diné. Alongside the moving visuals, Tsouhlarakis has also mounted four large prints, each with text referencing a traditional Navajo prayer about seeking beauty, “It is before, it is behind, it is above, it is below.” The title 3 + 4 is also a reference to one woman missing from Tsouhlarakis’ intergenerational family life. Her mother left the family when she was 2. Despite being raised speaking Navajo, Tsouhlarakis eventually lost fluency in the tongue, which was replaced by Greek, a language she inherited from the other half of her family. “That makes my Navajo grandma really angry,” she said wryly. In an even more abstract vein, Staats creates video art full of references to wampum, shell beads historically used by Haudenosaunee tribes of the Northeast as mnemonic aids for remembering tribal traditions, customs, and stories. In Liminal Disturbance, the artist’s hands are seen manipulating strings of wampum as he recites untranslated Mohawk phrases from parts of a condolence ceremony. Far from just a funeral speech, the phrases are narrated at political events and treaty signings because of their statements about enduring ancestral ways of Iroquois life. “It’s a live videofeedback installation. My words are actually affecting the image,” Staats explained. Croft, whose work has been shown at the Venice Biennale, among other international exhibitions, has long used manipulated family photographs to explore the legacies of her dead mother, father, and brother. A lecturer in indigenous art and culture at the University of South Australia, Croft uses photos not just to explore family lineage but as a document of how history and technology have transformed the lives of Australia’s many Aboriginal tribes. In the Thicker Than Water exhibit, she includes archival family photos whose provocative captions suggest larger personal transformations and longing for the wholeness of the past. While less abstract or overtly political than works by the show’s other artists, Croft’s family photos speak directly to the way in which families shape and interrupt our daily lives. “Everyone has a family photo album. They are visuals that inundate us,” Mithlo said. “We’re hoping that the audience will be able to understand and relate.” ◀
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January 18-24, 2013
▼ Thicker Than Water Opening reception 5 p.m. Friday, Jan. 18; exhibit through May 12 ▼ “The Personal Archive: Memory and Imagination in Contemporary Art,” symposium featuring artists Brenda Croft, Tom Jones, Greg Staats, and Anna Tsouhlarakis 2 p.m. Saturday, Jan. 19 ▼ Museum of Contemporary Native Arts, 108 Cathedral Place, 983-1777 ▼ Reception & symposium no charge; exhibit by museum admission
Join us for Osterias monthly Wine and Tapas Tasting Jan 24th from 6-7 • $20 per person Space is limited! RSVP now! (505) 986 5858
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W inter ’s Light A Program of Readings and Choral Music
Presented by The Zia Singers — Karen Marrolli, Director Saturday, January 26, 2013 at 7:00pm Sunday, January 27, 2013 at 3:00pm Tickets $20, Students Free Immaculate Heart of Mary Chapel
50 Mount Carmel Road, Santa Fe, New Mexico
www.TheZiaSingers.com The Zia Singers will be performing a selection of songs from their upcoming concert at the Capitol Rotunda on January 22nd at 12:00pm. PASATIEMPO
THE EDGE FACTOR
The work of
regional artists at the New Mexico Museum of Art
Douglas Fairfield I For The New Mexican he expression “on the edge” imports multiple meanings. It can evoke uncommon predicaments or states of mind in which a precipice exists, a precipitous ledge — psychologically, emotionally, or physically — that may result in unpredictable behavior or unknown outcomes, which force us to consider things beyond our comfort zones. When artists step over that threshold, knowingly or not, their work may be a disastrous failure or take on a seismic shift that forges a path to new art forms. As to the latter, think about Monet and Impressionism, van Gogh and self-expression, Kandinsky’s breakthrough with nonobjective art, Cubism as devised by Picasso and Braque, and Duchamp expanding the concept of that which we call art. These artists, to name only a few, altered the way we think about art and changed the way we look at the world. Art on the Edge 2013 — the third biennial juried exhibition sponsored by the Friends of Contemporary Art + Photography (FOCA+P) — opens Friday, Jan. 18, at the New Mexico Museum of Art. Invited juror Toby Kamps, curator of modern and contemporary art for the Menil Collection in Houston, understands the term “edge” in art as something new — a delicate edge that courses between modes, an art that is difficult to categorize or pin down. “Santa Fe itself represents a kind of edge,” Kamps said when contacted at his office. “It’s a place full of history and culture but still peripheral because it’s not a major heart of art making, studying, or selling like New York or Los Angeles.” That statement alone may take some Santa Feans to the edge, but, to his credit, Kamps chose an eclectic group of work for the exhibit in which he saw a connecting thread, what he calls an “ ‘X factor’ — an elusive, exciting resonance of ideas and execution.” continued on Page 40
Martina Shenal: Untitled (eucalyptus), 2011, archival pigment print, 24 x 30 inches; opposite page, Derrick Velasquez: Untitled 41, 2012, vinyl and cherry, 67 x 60 x 1.25 inches; images courtesy the artists PASATIEMPO
Art on the Edge, continued from Page 39 Kamps pared down a pool of 2,882 works submitted by 268 regional artists from Texas, Oklahoma, Colorado, Utah, Arizona, and New Mexico; the result is a show featuring 37 pieces by eight artists, including four from New Mexico — Heidi Pollard and Rebekah Potter from Albuquerque and Donna Ruff and Greta Young of Santa Fe. Rounding out the group are Rosemary Meza-DesPlas (Dallas), Joel Santaquilani (Amarillo), Martina Shenal (Tucson), and Derrick Velasquez (Denver). Photographers Santaquilani and Shenal bring to the mix the most mundane subject matter, yet their individual perspectives are far from ordinary. The photographs in Santaquilani’s series Parking Spaces (2012), of unsuspecting shoppers strolling through parking lots, were taken from inside his car. The graphic quality of black and white, the stark edges of the car’s window frame, and the photographer’s skewed perspective give the images their distinctive appearance. His process was simple enough. “I used an old, large wide-angle lens with lots of glass, which was definitely not discreet, and I learned how to zone focus and compose without looking through the camera, how to internalize the angle of view, and how to hold the camera at a certain angle, because I was determined 40
January 18-24, 2013
to get a very particular kind of composition. ... I got hooked on getting images that had that dominating black presence of the car, a large field of flat white sky, and a diminutive human figure.” With such a repeated set of graphic elements, the series looks like a set of film stills (Santaquilani studied film in college). Shenal works in plain sight. In fact, her all-encompassing vision takes in much of the banal environment in which she lives. But the way Shenal isolates her subject matter — forcing viewers to look at a piece of the whole — imparts a significance to something otherwise ignored. “My subjects are often insignificant and peripheral, although my intent involves a transformation to the monumental,” Shenal said. “They are, in one sense, more about the act of looking than a narrative about place — ambiguous fragments of the material world.” Untitled (eucalyptus), from 2011, is a perfect example. Pictured is the stump of a eucalyptus tree centered between two like windows in a nondescript brick building which are, in turn, flanked by two small trees. The matter-of-factness of the scene is unremarkable, but the image is striking for that very reason as well as for the strict symmetry imposed by the photographer. The stump takes on a very special character, not only anchoring the composition but looking much like a miniature mesa transported to a groomed lawn. Meza-DesPlas’ watercolors of women’s breasts and derrières may be seen in a variety of ways — the least probable of which is sexy. Consider them as medical illustrations, anatomical studies, or in the case of 44 (2010) — 44 breasts suspended in a white void — a group of marine life forms like a colony of Cyclopean eels. But in truth, Meza-DesPlas’ watercolors are social commentaries. “I do see my work in terms of social statement and satire. I would like the viewer to think about how we assign social codes to breasts and butts ... and perhaps ponder ideas about sexism, ageism, eroticism, and maternity. In the artwork 44 the breasts seem to jockey for position within the picture plane. They are imperfect and some hang low with weight. It is as if they have taken on [individual] personalities.” That duality of sameness and difference among Meza-DePlas’ body parts is a vital consideration. “I choose to work in the format of a (loose) grid to give the work a sense of homogeny. [But] while I was painting the same form, each one has a very unique topography.” Abstracted body parts are strewn about in the turmoil of Young’s expressionist painting Rax (2012) in which dismembered limbs and a face or two are caught up in a cataclysmic explosion of energetic mark making and dashes of color. One wonders if Rax represents a natural disaster or a state of mind. Equally bold in its execution and use of large passages of white and black gesso is Young’s painting The Conversation (2011), which is tacked onto the wall unframed with added components of rocks and string. Visually it’s a loud painting, presumably of two figures engaged in a tumultuous exchange. “It could be a loud, busy conversation,” Young said. “A lot of stuff is floating back and forth. The rocks and string weigh it down physically and could ground it metaphorically.” Young’s work conveys a variety of influences. Central among those cited by the artist are the work of Willem de Kooning, Kara Walker, and Anselm Kiefer. Precision is key for the newspaper cutouts by Ruff in which she plays upon viewers’ understanding, or lack thereof, about world conflict and, for some, avoidance of in-depth analysis of a particular situation. Ruff realizes that many newspaper readers who are far from war can get easily distracted by something as simple as decorative and colorful graphics positioned on the page, and they end up ignoring the top story. To make her point, she takes front pages from The New York Times and slices and dices intricate, colorful patterns into the paper using designs similar to Islamic art. Her piece titled 2.12.11, for instance, displays the headline “MUBARAK OUT” across the top, with corresponding text and photographs compromised by interconnected pinwheel shapes making the story close
details ▼ Art on the Edge 2013, group exhibit Opening reception 5 p.m. Friday, Jan. 18; exhibit through April 14 ▼ Lecture by curator Toby Kamps, “Silence: Subject and Substance in Art” 1 p.m. Saturday, Jan. 19 ▼ New Mexico Museum of Art, 107 W. Palace, 476-5041 ▼ Entrance to exhibit by museum admission (no charge 5-8 p.m. Fridays); lecture no charge
Opposite page, Joel Santaquilani: Parking Spaces #2, 2012, gelatin silver print
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to unreadable. In a kind of positive/negative spatial aspect, viewers can visually flipflop between the printed story to the decorative patterning on the surface of the paper. In Ruff’s 3.21.11 piece, in which the headline reads “Allies Intensify Air Assault in Libya as Rebels Regroup,” the paper itself has been assaulted by the artist’s symmetrical cutout scheme that sweeps across text and a picture of a devastating explosion. Taking Ruff’s handiwork to another level, imagine her cutouts as gunshot holes that have riddled the paper. Less precise in appearance but keenly mapped out are the textile wall pieces by Potter, who cites painting and handcrafted materials as inspiration. Gee’s Bend quilts and Japanese boro pieces were early influences for the artist, who painted in oils and acrylics until about seven years ago. “In 2005, I kept getting an inner urge to sew,” Potter said. “Having rejected my mother’s advice to learn to sew long ago, I set out trying to understand how to thread the machine, and once that happened the rest was history.” Paramount to Potter’s asymmetrical, nonrepresentational creations are the tactile qualities of different fabrics, not only for the viewer but for herself during the work phase. “Every day that I explore how the textiles respond there is a breakthrough of sorts. Each type and piece has its own ‘character’ that informs the process. ... For myself, there is a deep satisfaction in the hand-stitching aspect. It is in the methodical sutures that I feel a certain investment of self that equates to a certain level of attention and care.” Sculptural concepts come into play with work by Velasquez and Pollard. The former uses natural and industrial materials to create free-standing floor pieces as well as wall reliefs. One of the more dynamic pieces by Velasquez is Untitled 41 (2012), which is mounted on a wall and brings to mind gigantic lollipops striated with rainbow colors. At more than 5 feet in height and 5 feet across, Velasquez’s wedge-shaped construct consists of multiple strips of polychrome vinyl stacked atop one another with a cherrywood stem at its core. Aspects of layering, gravitational pull, and color combinations come to mind. Smaller in stature than Untitled 41, but no less commanding, is Untitled 46 (2012); the works are similar in execution but the latter is done in strips of black vinyl. Pollard’s use of papier-mâché sparks memories of grade-school projects. But her resulting creations in black have a dark edge. Four Immeasurables (2011) is a funny (meaning odd) wall construct that consists of three vertical forms — think Mickey Mouse fingers — attached to a like horizontal form below. Is this a cartoonish hand with three digits extended? Or are these burnt, ash-covered growths emerging from charred ground? The challenge of making sense of it all is fun. Another papier-mâché piece called Ears (2011) is a childish-looking rendering of a head. Square in shape and sporting two ears and a crew cut, the piece may remind viewers of those handheld magnet games from the 1950s called Hair-do Harriet and Wooly Willy, in which players moved metal shavings onto an image of a face with a magnetic stylus to create beards, eyebrows, sideburns, and other such features. Pollard’s personification is faceless, however. Is it a statement about being clueless? Or are we asked to imagine our own faces within her empty framework? Collectively, Kamps sees a common denominator among the artwork. “I think there’s something raw to the work in that it doesn’t seem to be hung up on traditional academic techniques. I know there’s all kinds of careful studio labor and deliberation behind each work, but I get the feeling with this group that it comes from a place of exuberance, decisiveness, and action.” ◀
intimacy: the divine ambush santa fe, new mexico • april 26-27, 2013
Fr. Richard Rohr James Finley explore how human and divine intimacy mirror and inform one another.
april 25, 2013
Rev. Ruth Patterson gives witness to finding intimacy in the most difficult circumstances.
cac.org Discover how God breaks through our defenses in the same seductive way lovers do. PASATIEMPO
A yeAr full of endingS Michelle BlAde’S creAtive cAtAclySM Michael Abatemarco I The New Mexican
an Francisco-based artist Michelle Blade’s 366 Days of the Apocalypse, a series of paintings made in response to conjecture that 2012 would culminate with a global cataclysm, is a poignant and surreal body of images. It was widely believed that the ancient Maya had predicted that the world would end on Dec. 21, 2012. Had the annihilation come about, Blade’s series would be short a number of paintings. She committed herself to making one per day for all of 2012. Making Light of It, a solo exhibition of Blade’s work at the Center for Contemporary Arts, includes all 366 images from the series. Over the course of the year, motifs began to appear throughout the body of work. “As the project unfolded I noticed reoccurring characters and symbolic places and things,” Blade told Pasatiempo. “Hands, fires, figures in barren lands, portraits, book covers, depictions of artworks, sculptures. One of the new themes that emerged is an anonymous hooded or silhouette figure that is either monstrous or mysterious. I refer to them as id characters. They may be even my id.” All of the images in 366 Days of the Apocalypse are named for the days they were made. The mysterious figure appears, for example, in Day 210 and in Day 282 as a hooded figure and as a silhouette in Day 198. Blade conceived the project in late 2011. “I was going through a few big life changes, and it was a knee-jerk decision in hopes to find stability in my daily life and creative practice,” she said. “Despite the lack of overt apocalyptic imagery,
January 18-24, 2013
all of the images relate to the project. The Mayans believe that 2012 would mark a cultural shift, and this was what I was partially interested in capturing or journaling — the shifts I was noticing over the course of this particular year, whether that be in my personal life, the world, or through various knowledge I was encountering and studying.” As a daily practice, Blade’s commitment never wavered, although she did have trying days. “There were days I was sick and uninspired, and sometimes this resulted in adequate or bad paintings. Despite this, I tried to remind myself that portraying the peaks and valleys is part of the project. Sustaining the dedication and persistence was incredibly challenging. Some days you feel uninspired, and there is nothing you can do about that but to sit down and give it your best. I work constantly, but I’ve never done a daily painting project of this size so it was hard to adjust to the new commitment at first. I love a good challenge, though, so I was never concerned about not finishing. I was more concerned with the quality of my commitment.” The series contains both figurative and abstract imagery or a combination of the two. “I’m more comfortable working with figurative imagery, but I do enjoy the scary freedom abstract imagery embodies. It’s more difficult to paint continued on Page 44
Michelle Blade: Day 215, 9 x 12 inches; right, above, Day 249, 8 x 10 inches; right, below, Day 297, 2012, 8 x 10 inches; opposite page, Day 252, 8 x 10 inches All images from 366 Days of the Apocalypse, 2012, acrylic ink on paper
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Michelle Blade, continued from Page 42 abstractly.” In many of the works, such as Day 296, human figures, their features indistinct, traverse smoky, barren landscapes, like shades in the underworld or, more aptly, survivors in a post-apocalyptic world. The next image in the sequence, Day 297, offers a contrast to the previous one — it contains a portrait of a woman whose face is a flowery burst of color. As a daily record, the paintings are too ambiguous to refer to specific incidents. One exception is Day 221, a painting of the toxic cloud billowing from an oil-refinery fire that occurred in the Bay Area last August, but even that painting becomes equivocal in light of the project as a whole. The series, overall, is a haunting look at the world we live in, under the shadow of real threats such as the refinery fire, as opposed to threats such as those that the Maya calendar has been misinterpreted as indicating. 366 Days of the Apocalypse contains this internal dialogue between the real and the imaginary, as well as a dialogue between catastrophe as an act of divine will — as in Revelation, the last book of the New Testament — and as a human-made event. Blade sometimes paints book covers that relate to the theme of the end times. One book is titled This Is the Hour; another is The Fall of America (a collection of poems by Allen Ginsberg). Another title, seen in Day 222, is more optimistic: Life After Death. “I’ve painted [the books] to queue the viewer into the philosophies I’m drawing from,” Blade said. “I think the book covers also simultaneously create threads of conversation between the different paintings.” Blade, a multimedia installation artist, even incorporates painting into her sculptural work. Human figures seen from behind or depicted with their faces obscured show up time and again. And 366 Days of the Apocalypse is not Blade’s first artistic exploration on the theme of prophecy. “Much of my work deals with ritual and prophecy and the quest to connect with the unfamiliar. By painting on a daily basis I was embarking on quest for growth, and the depictions in the paintings are documents of that quest.” ◀
details ▼ Making Light of It: 366 Days of the Apocalypse by Michelle Blade ▼ Opening reception (featuring music by The Lazer Cats) 6:30 p.m. Friday, Jan. 18; exhibit through Feb. 17 ▼ Muñoz Waxman Gallery, Center for Contemporary Arts, 1050 Old Pecos Trail, 982-1338 ▼ No charge
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Day 365, 8 x 10 inches
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Jonathan Richards I For The New Mexican Barrymore, screen version of the play, not rated, Lensic Performing Arts Center, 3.5 chiles Reviewers of Barrymore, Christopher Plummer’s new movie rendering of his 1997 Tony-winning stage performance, like to identify John Barrymore as Drew Barrymore’s grandfather. This is a sobering thought (and Barrymore was certainly a guy who could use a sobering thought). John Barrymore was a huge star, acclaimed as the leading Shakespearean actor of his time, cited by Orson Welles as the greatest Hamlet he ever saw. He was a major influence on the generation of Olivier and Gielgud, though nothing survives of his Shakespeare work but a few filmed snippets. He was one of the towering movie stars of the silent era. By the time talkies came along he was in alcohol-fueled decline, but he still made a string of classics in the early ’30s, including Dinner at Eight, Grand Hotel, and Twentieth Century. Barrymore kept threatening to return to the stage, but by 50 his brain was too pickled to retain lines (in his later film roles his lines were written on blackboards just off camera). Toward the end, he made his living poking fun at the caricature of himself as a genial drunken has-been ham. In May of 1942, he collapsed while rehearsing Rudy Vallee’s radio show, and he died a few days later, at the age of 60. The playwright William Luce imagines Barrymore just before his death, in a vacant Broadway theater, which he has rented to rehearse for a comeback in one of his triumphs, Richard III. Barrymore enters drunk, and keeps drinking, and the attempted rehearsal degenerates into a mishmash of wandering reminiscences, while his frustrated stage manager Frank (John Plumpis) stands offstage feeding him lines and pleading with him to get down to work. 46
January 18-24, 2013
The role is an actor’s dream, a smorgasbord of everything from songs and dirty limericks to classical soliloquies, and Plummer plays it to the hilt. When he first got hold of the play, which Luce wrote for him, Plummer was close in age to its subject. By the time of the recent revival in Toronto that serves as the basis for Érik Canuel’s film adaptation, the actor had tacked on about another decade and a half, although Plummer at 80 is in a lot better shape than Barrymore was at 60. What is wonderful about the movie is the way it captures and preserves a great stage performance, something we can only wish had been done with Barrymore’s fabled Hamlet and Richard III (a few brief, tantalizing clips are available on YouTube). Plummer loves the character, and he plays him with enormous style and charm. He comes onstage pushing a rack of costumes and singing an old song about a gal in Kalamazoo. “Oops,” he says, “I forgot the baby!” He plunges into the wings and quickly returns with a black doctor’s bag stuffed with booze, and launches into an evening’s-length monologue, interrupted occasionally by the poor guy on book. We hear about John Barrymore’s famous theatrical family, or families — the Barrymores on his father’s side, the Drews on his mother’s. Barrymore does wicked impressions of his famous siblings, Lionel and Ethel. He recalls his ambition to be an artist and his stint as an editorial cartoonist for the New York Sun, before he gave up and went into the family business. He reminisces about friendships, and a man who believed in his talent when the world thought him nothing more than a lightweight matinee idol. And from time to time, almost by accident, he slips into the business at hand, grasping for the words from Richard III that will no longer stick in his boozy head. “Don’t give me a line unless I ask for it,” he snaps at his beleaguered prompter. “If I forget something, I shall simply say ‘line!’ ” (Short pause.) “Line!”
When Barrymore does stumble upon a passage from Richard III or a soliloquy from Hamlet, he delivers the words with a passion and a delicacy that evoke his heyday. The readings seem to come from somewhere deep within him, wisps of brilliance gathered from a distant star. The conceit of the piece is that Barrymore is rehearsing in an empty house, or perhaps one filled with an audience of potential backers. The play can’t quite decide, and the movie has it both ways. Oddly enough, it more or less works. In real time, of course, the seats are full of theatergoers, and Barrymore plays off them. The movie sometimes shows the appreciative audience, sometimes a cavernous empty auditorium, a theater at its most hauntingly, vulnerably romantic. Barrymore is at its best when it accepts that it is a play. Where it slips up is in Canuel’s attempts to “moviefy” it. The great man kicks a chair in frustration, and the camera self-consciously relocates to stage right to watch the chair come hurtling over. Barrymore reminisces about a trip to Italy with his friend playwright Ned Sheldon, and the movie opens up to a balcony in Florence. He leaves the stage for the play’s act break, but the movie follows him down to his dressing room. There are moments when a cinematic device works, but for the most part anything that distracts from the essential truth of Plummer’s live performance as that regal wreck John Barrymore is a bad idea. The play’s the thing. ◀
details ▼ Barrymore, film adaptation of the play, with Christopher Plummer ▼ 7 p.m. Friday, Jan. 18, only ▼ Lensic Performing Art Center, 211 W. San Francisco St. ▼ $22, discounts available; 988-1234, www.ticketssantafe.org
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MOVING IMAGES pasa pics
— compiled by Robert Ker
violence comes courtesy of South Korean director Kim Jee-Woon (The Good, the Bad, and the Weird), making his English-language debut. Rated R. 107 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) MAMA Guillermo del Toro co-produces another horror film, this time helping director Andrés Muschietti expand his short Mamá into a feature about two girls who survived in the wilderness for five years. They’re taken in by their uncle (Nikolaj Coster-Waldau), who suspects that they were protected by their mother’s ghost all that time. Jessica Chastain co-stars. Rated PG-13. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) MET LIVE IN HD: MARIA STUARDA Joyce DiDonato stars in this staging of Donizetti’s opera, which is broadcast live from the Met. David McVicar directs. Elza van den Heever co-stars. 11 a.m. Saturday, Jan. 19, with a 6 p.m. encore. Lensic Performing Arts Center, Santa Fe. (Not reviewed) As always, art supplies lead to evil: Mama, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española
opening this week BARBARA A Berlin doctor runs afoul of the East German authorities after she applies for an exit visa to join her West German boyfriend and is exiled to a provincial hospital. Barbara (Nina Hoss) finds herself being tailed by undercover Stasi agents, who occasionally subject her to impromptu interrogations and strip searches. When she lets down her guard with another doctor (Ronald Zehrfeld) who seems to be making a play for her, we question whether he’s attracted to her or has been instructed to keep her under close surveillance. This drama, the fifth teaming of writer-director Christian Petzold and Hoss, takes a while to build momentum owing to the restrained performances and Petzold’s subtle depiction of the claustrophobic Cold War milieu. Hans Fromm’s cinematography is a strong suit in this feature; much of it has been shot at night — the dark, elongated shadows recalling the netherworld of film noir. Rated PG-13. 105 minutes. In German with subtitles. The Screen, Santa Fe. ( Jon Bowman) BARRYMORE In 2011, Christopher Plummer went to Toronto to revive his 1997 Tony-winning performance as the great and wasted actor John Barrymore and make a movie record of it. The role is an actor’s dream, a smorgasbord of everything from dirty limericks to 48
January 18-24, 2013
classical soliloquies, and Plummer plays it to the hilt. We find the 60-year-old Barrymore in 1942 in a vacant Broadway theater he has rented to rehearse for a comeback in one of his triumphs, Richard III. The great man enters drunk, and the rehearsal degenerates into wandering reminiscences. Occasionally, almost by accident, he slips into the business at hand, grasping for the words that will no longer stick in his boozy head. Barrymore is at its best when it accepts that it is a play, and only slips up when it tries to open up into a movie. 7 p.m. Friday, Jan. 18, only (screens with the short documentary Backstage With Barrymore). Not rated. 83 minutes. Lensic Performing Arts Center, Santa Fe. ( Jonathan Richards) See story, Page 46. BROKEN CITY Mark Wahlberg plays Billy Taggart, an ex-NYPD officer who is, naturally, down and out. Fortunately for him, the city’s popular mayor (Russell Crowe) suspects a man is having an affair with his wife (Catherine Zeta-Jones) and hires Billy to investigate. This simple shot at redemption, however, opens a big can of worms, and Billy responds by opening a big can of whoop-butt. Rated R. 109 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) THE LAST STAND Arnold Schwarzenegger plays Ray Owens, an ex-LAPD officer who is, naturally, down and out. He takes a job as a small-time sheriff in a border town. The big-time calls, however, when a drug cartel storms his town. The gangsters realize they picked the wrong sheriff to mess with. The over-the-top
PERFORMANCE AT THE SCREEN The series of high-definition screenings of performances from afar continues with Mozart’s The Marriage of Figaro from London’s Royal Opera House. Erwin Schrott and Miah Persson star. 11 a.m. Sunday, Jan. 20, only. Not rated. 186 minutes, with one intermission. The Screen, Santa Fe. (Not reviewed) RUST AND BONE Writer-director Jacques Audiard brings together two damaged characters in a drama of self-discovery. Tough guy Ali (Matthias Schoenaerts) is self-centered and a bit brutish, but not a bad sort. Cool, beautiful, Stéphanie (Marion Cotillard) is head orca trainer at Marineland in Antibes, till she loses both legs at the knee to a killer whale. Ali has a 5-year-old son, with whom he is careless and disengaged, as he is with Stéphanie. But he helps her get back on her feet, so to speak, and their relationship develops. Audiard mixes brutishness and poetry, mostly to good effect, but loses the ending to sentimentality. Rated R. 120 minutes. In French with subtitles. Regal DeVargas, Santa Fe. (Jonathan Richards) See review, Page 52. TCHOUPITOULAS This mesmerizing documentary works best if you toss aside sticky questions of veracity and continuity and just let it wash over you, like a dream. Directed by brothers Turner Ross and Bill Ross IV, Tchoupitoulas (named after a busy New Orleans street) follows Bryan, Kentrell, and William Zanders — along with their dog Buttercup — as they spend an evening wandering the streets of the Big Easy. In between encounters with characters and glimpses inside various venues, William shares random
thoughts and observations and the Rosses blur and swirl the streetlights, creating hypnotic moments of colorful abstraction. Not rated. 80 minutes. Center for Contemporary Arts, Santa Fe. (Laurel Gladden) See review, Page 53.
now in theaters ANNA KARENINA This is not like any Anna Karenina you’ve ever seen before. Director Joe Wright (Atonement) and screenwriter Tom Stoppard have reimagined and restructured the classic story with a stunningly original vision that treads the border between triumph and disaster and manages to keep miraculously to the side of the angels. An Anna Karenina soars or sinks with its heroine, and while Keira Knightley can charm, swoon, and rage, when it comes to plumbing the depths of Tolstoy’s tragic heroine, she shows the strain of acting. She hits all the notes but doesn’t manage to play between them. Nominated for Oscars in four categories. Rated R. 129 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) ANY DAY NOW Filmmaker Travis Fine’s latest drama is based on the true story of a West Hollywood gay couple’s attempt to adopt a mentally disabled child who is being neglected by his drug-addicted mother. An aging, broke, flamboyant drag performer — brilliantly played by Alan Cumming — and his newfound lover, a closeted district attorney (Garret Dillahunt), quickly form a loving bond with the boy. But as they fight for full custody within a prejudiced legal system, the mother is released from jail and also fights for parental rights. Stellar performances, meticulous production design, and a great soundtrack make Any Day Now a joy to watch. Rated R. 97 minutes. The Screen, Santa Fe. (Rob DeWalt) ARGO Ben Affleck takes a true story by the throat and delivers a classic seat-squirming nail-biter that has been nominated for seven Academy Awards. In 1980, as the world watched the hostages in the U.S. embassy in Tehran, a small group of Americans made it to the Canadian ambassador’s residence and hid out there while the White House and the CIA desperately tried to figure out how to spirit them out of the country. The plan? Pretend to be making a sci-fi film and disguise the Americans as members of a Canadian location-scouting crew. A terrific cast is headed by Affleck as the CIA operative, with Alan Arkin (up for a best supporting actor Oscar) and John Goodman at the Hollywood end. Rated R. 120 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards)
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 is at its best when the talking heads of climate-change activism — of which there are way too many here — are not in the picture. At times the film appears to be more about Balog than the planet, and although his story and passion are compelling, the ice should be the true star. Rated PG-13. 75 minutes. Center for Contemporary Arts, Santa Fe. (Rob DeWalt) DJANGO UNCHAINED Quentin Tarantino’s first film since 2009’s Inglourious Basterds is an homage to the Spaghetti Western, but it mixes, matches, and mismatches ideas, themes, and music from a lot of other movies as well. Django ( Jamie Foxx) is a freed slave who partners with a bounty hunter (Christoph Waltz, a best supporting actor Oscar nominee) to find and free Django’s enslaved wife. The performances are solid and often terrific (as with Leonardo DiCaprio’s foppish Southern plantation owner), and the blood and humor flow openly. Still, it’s longer than it ought to be. Nominated for Best Picture by the Academy. Rated R. 165 minutes. Regal Stadium 14, Santa Fe. (Robert Nott) GANGSTER SQUAD Get out your fedora and suspenders, because it’s time to return to late-1940s Los Angeles, where gangsters ruled (in the movies, anyhow) and the cops were crooked. Well, some cops weren’t. This film focuses on a small, secret group of policemen who get together to take on the mob. Sean Penn, Ryan Gosling, Josh Brolin, and Michael Peña play some of the cops and robbers, while Emma Stone is the top-billed dame. Rated R. 113 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) A HAUNTED HOUSE In the early 2000s, Marlon Wayans made a small fortune with the Scary Movie series, in which he spoofed the Scream movies. Here, he pokes fun at the Paranormal Activity films. As star and co-writer, Wayans avoids the Scary Movie formula of dumb gags and obvious references by making something that almost resembles a real film — in this case, a farce about a couple (Wayans and Essence Atkins) who move in together and realize, in part through a ghost, how hard that can be on a relationship. But despite good intentions and performances, the laughs aren’t frequent, and there are about 20 gay-panic jokes too many. Rated R. 86 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker)
The Last Stand
THE HOBBIT: AN UNEXPECTED JOURNEY This is the first of Peter Jackson’s three films based on Tolkien’s 1937 children’s novel about a hobbit named Bilbo (Martin Freeman) who is recruited by the wizard Gandalf (Ian McKellen) and 13 dwarfs to help slay a dragon. The Hobbit is a breezier book than the Lord of the Rings trilogy, and so the movie is more lighthearted than Jackson’s earlier adaptations — sometimes awkwardly so. Still, the attention to detail, the magnificent effects, the warm cast, and the heartfelt themes make The Hobbit a journey full of expected delights. Three Oscar nominations. Rated PG-13. 169 minutes. Screens in 3-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) HOW TO SURVIVE A PLAGUE In his first documentary, journalist David France draws on a treasure trove of archival footage to reveal the triumphs and turmoil that occurred among AIDS activists in 1980s and ’90s. Delineating both the allies and the enemies of those hoping to find viable treatments for the AIDS virus in the face of societal ignorance, media apathy, and political opposition, France occasionally stoops to the demonization of his enemies, detracting from the spirit of cooperation that eventually brought many activists, politicians, and government agencies together. Not rated. 109 minutes. Center for Contemporary Arts, Santa Fe. (Rob DeWalt) continued on Page 50 PASATIEMPO
MOVING IMAGES pasa pics
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HYDE PARK ON HUDSON In June 1939, King George VI (Samuel West) and Queen Consort Elizabeth (Olivia Colman) flew to President Franklin Roosevelt’s estate in upstate New York to make sure they had support in the upcoming war. This bit of history could have made for a gravely serious film, but instead director Roger Michell (Notting Hill) cast Bill Murray as FDR and Olivia Williams as his wife, Eleanor. Murray is never fully believable, and the meeting of the powers is staged as an easygoing weekend in the country. Much of the drama actually stems from Roosevelt’s distant cousin Margaret “Daisy” Suckley (Laura Linney), with whom the president had an affair. Rated R. 95 minutes. Regal DeVargas, Santa Fe. (Robert Ker) THE IMPOSSIBLE On the day after Christmas 2004, a tsunami swept through a swath of Southeast Asia, killing almost 250,000 people. It must have been an experience of unparalleled terror. Among the relatively lucky survivors were a vacationing family of five, played by Naomi Watts (up for a best-actress Oscar), Ewan McGregor, and a trio of sons. The movie follows their desperate struggle to stay alive and find one another again after they are separated by the wall of water. But despite fine work by Watts, McGregor, and the oldest boy (Tom Holland) and a remarkable orchestration of digital effects by director Juan Antonio Bayona’s production team, the movie treads water and never catches the wave. Rated PG-13. 97 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) JACK REACHER Tom Cruise plays airport-novel hero Jack Reacher, one of those ex-Army specialists that you get when you need something fixed. When a former Army sniper ( Joseph Sikora) is arrested for murder, possibly on false charges, it’s time for some fixing. Rated PG-13. 130 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) LES MISÉRABLES The stage musical version of Victor Hugo’s great novel is the longestrunning musical of all time. This movie could put an end to all that. In the hands of director Tom Hooper, who guided The King’s Speech with subtlety and grace, it is garish, shrill, and breathtakingly over the top. The songs are still there, up close and
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January 18-24, 2013
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 Stadium 14 and 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, and it is riveting. The lead-in sets it up with a promise of a story “that will make you believe in God.” The recessional discusses what we have seen, what may or may not be true, and what we’ve learned. Suraj Sharma and Irrfan Khan play Pi, young and older. 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. Screens in 2-D only at DreamCatcher, Española. ( Jonathan Richards) LINCOLN Steven Spielberg’s Lincoln is a surprisingly 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, politically, to achieve it. The president deals with the false choice of ending the war and ending slavery, criticism from his political enemies, and dysfunction in his own family. Daniel Day-Lewis 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; Storyteller, Taos. (Bill Kohlhaase) MONSTERS, INC. Pixar’s 2001 film — about two beasts (voiced by John Goodman and Billy Crystal) who accidentally bring a young girl (Mary Gibbs) into their monster world — lacks the charm of some of Pixar’s more beloved films. But it’s had staying power, in part because of the plush-toy-ready design of the creatures and the loving tribute to movie magic, which is evoked through the monsters’ scare factory. This rerelease expands that magic to three dimensions. Rated G. 92 minutes. Screens in 3-D at Regal Stadium 14, Santa Fe. (Robert Ker) PARENTAL GUIDANCE Billy Crystal and Bette Midler play an aging couple who try to help raise their grandkids, often to comic effect. Rods are spared, children are spoiled, and everyone learns life lessons. Rated PG. 105 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)
SEARCHING FOR SUGAR MAN Malik Bendjelloul’s film about the search for a talented musician named Sixto Diaz Rodriguez is a portrait of a humble man, a rock documentary, and a detective story all in one. It follows the triumphs and frustrations of a journalist and a record-store owner in their efforts to shed light on the mystery surrounding Rodriguez, a superstar in South Africa but virtually unknown in his native United States. Nominated for a best-documentaryfeature Oscar. Rated PG-13. 85 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) SILVER LININGS PLAYBOOK After his release from a mental institution, Pat Solatano (Bradley Cooper) moves in with his parents ( Jacki Weaver and Robert De Niro) and vows to win back his estranged wife. He meets Tiffany ( Jennifer Lawrence), who also has a couple of screws loose. She agrees to help him — but only if he will agree to be her partner in a dance competition. The finely honed dialogue, attention to detail, and impressive performances make the film a near-perfect oddball comedy. The four principals are up for Academy Awards, and the film garnered four additional Oscar nominations. Rated R. 122 minutes. Regal DeVargas, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Laurel Gladden) TEXAS CHAINSAW 3D Someone in Hollywood had a brainstorm about what object might look gnarly when coming out of the screen directly at your 3-D glasses. Late at night, the answer came: a chainsaw, of course! Thus, the Texas Chainsaw Massacre franchise was revved up again. Vrin, vrin, vrin! Rated R. 92 minutes. Screens in 3-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) ZERO DARK THIRTY Kathryn Bigelow’s CIA procedural about the hunt for Osama bin Laden has stoked a fierce debate over the effectiveness and the morality of torture. In all of this soul-searching, it’s easy to lose sight of the fact that this is, as they say, only a movie. 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; Storyteller, Taos. (Jonathan Richards)
other screenings Taos Community Auditorium 133 Paseo del Pueblo Norte, Taos, 575-758-2052 Sunday-Tuesday, Jan. 20-22: The Sessions. ◀
BILL MURRAY IS FRANKLIN D. ROOSEVELT LAURA LINNEY
HHHH! A THRILL TO DISCOVER & BEHOLD! HUGELY ENTERTAINING & FUNNY!” “
– Rex Reed, THE NEW YORK OBSERVER
Call theaters or check websites to confirm screening times. CCA CinemAtheque And SCreening room
1050 Old Pecos Trail, 982-1338, www.ccasantafe.org Chasing Ice (PG-13) Fri. to Sun. 2 p.m., 5:45 p.m., 6:15 p.m. Mon. 5:15 p.m., 6:15 p.m. Wed. and Thurs. 5:15 p.m., 6:15 p.m. How to Survive a Plague (NR) Fri. to Mon. 4 p.m. Wed. and Thurs. 4 p.m. Searching for Sugar Man (PG-13) Fri. to Sun. 3:45 p.m., 7:30 p.m. Mon. 3:15 p.m., 7:15 p.m. Wed. and Thurs. 3:15 p.m., 7:15 p.m. Tchoupitoulas (NR) Fri. to Sun. 1 p.m., 8 p.m. Wed. and Thurs. 8 p.m. regAl deVArgAS
562 N. Guadalupe St., 988-2775, www.fandango.com Anna Karenina (R) Fri. to Thurs. 4:10 p.m., 7 p.m. Argo (R) Fri. and Sat. 1:30 p.m., 4:20 p.m., 7:05 p.m., 9:45 p.m. Sun. to Thurs. 1:30 p.m., 4:20 p.m., 7:05 p.m. Hyde Park on Hudson (R) Fri. and Sat. 1:50 p.m., 4:40 p.m., 7:40 p.m., 10 p.m. Sun. to Thurs. 1:50 p.m., 4:40 p.m., 7:40 p.m. The Impossible (PG-13) Fri. and Sat. 1:20 p.m., 9:50 p.m. Sun. to Thurs. 1:20 p.m. Les Miserables (PG-13) Fri. to Thurs. 1 p.m., 4:15 p.m., 7:30 p.m. Rust & Bone (R) Fri. and Sat. 1:40 p.m., 4:30 p.m., 7:10 p.m., 9:55 p.m. Sun. to Thurs. 1:40 p.m., 4:30 p.m., 7:10 p.m. Silver Linings Playbook (R) Fri. and Sat. 1:10 p.m., 3:50 p.m., 6:50 p.m., 9:40 p.m. Sun. to Thurs. 1:10 p.m., 3:50 p.m., 6:50 p.m. regAl StAdium 14
3474 Zafarano Drive, 424-6296, www.fandango.com Broken City (R) Fri. to Thurs. 1:45 p.m., 4:20 p.m., 7:10 p.m., 10:05 p.m. Django Unchained (R) Fri. to Thurs. 1 p.m., 4:30 p.m., 8:15 p.m. Gangster Squad (R) Fri. to Thurs. 1:30 p.m., 4:15 p.m., 7:30 p.m., 10:30 p.m. A Haunted House (R) Fri. to Thurs. 2:20 p.m., 5 p.m., 8 p.m., 10:20 p.m. The Hobbit: An Unexpected Journey 3D (PG-13) Fri. to Thurs. 1 p.m., 8:40 p.m. Jack Reacher (PG-13) Fri. to Thurs. 7 p.m., 10:25 p.m. The Last Stand (R) Fri. to Thurs. 2:30 p.m., 5:10 p.m., 7:40 p.m., 10:20 p.m. Les Miserables (PG-13) Fri. to Thurs. 1:20 p.m., 4:50 p.m., 8:25 p.m. Life of Pi 3D (PG) Fri. to Thurs. 1:15 p.m., 7:15 p.m. Life of Pi (PG) Fri. to Thurs. 4:15 p.m., 10:15 p.m. Lincoln (PG-13) Fri. to Thurs. 1:25 p.m., 5:15 p.m., 8:30 p.m. Mama (PG-13) Fri. to Thurs. 2 p.m., 4:50 p.m., 7:50 p.m., 10:30 p.m. Monsters, Inc. 3D (G) Fri. 4:35 p.m. Sat. to Thurs. 1:50 p.m., 4:35 p.m. Parental Guidance (PG) Fri. to Thurs. 2:15 p.m., 4:40 p.m., 7:15 p.m., 9:50 p.m. Texas Chainsaw 3D (R) Fri. to Thurs. 1 p.m., 3:30 p.m., 5:45 p.m., 8:10 p.m., 10:35 p.m. Zero DarkThirty (R) Fri. to Thurs. 1:10 p.m., 4:40 p.m., 8:35 p.m.
Storyteller dreAmCAtCher CinemA (eSpAñolA)
15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.storytellertheatres.com Broken City (R) Fri. 3:55 p.m., 6:45 p.m., 9:10 p.m. Sat. and Sun. 1:20 p.m., 3:55 p.m., 6:45 p.m., 9:10 p.m. Mon. 1:20 p.m., 3:55 p.m., 6:45 p.m. Tue. to Thurs. 3:55 p.m., 6:45 p.m. Gangster Squad (R) Fri. 4:05 p.m., 7:05 p.m., 9:40 p.m. Sat. and Sun. 1:05 p.m., 4:05 p.m., 7:05 p.m., 9:40 p.m. Mon. 1:05 p.m., 4:05 p.m., 7:05 p.m. Tue. to Thurs. 4:05 p.m., 7:05 p.m. A Haunted House (R) Fri. 4:10 p.m., 7:20 p.m., 9:35 p.m. Sat. and Sun. 1:10 p.m., 4:10 p.m., 7:20 p.m., 9:35 p.m. Mon. 1:10 p.m., 4:10 p.m., 7:20 p.m. Tue. to Thurs. 4:10 p.m., 7:20 p.m. The Hobbit: An Unexpected Journey 3D (PG-13) Fri. to Sun. 2:50 p.m., 9:20 p.m. Mon. to Thurs. 2:50 p.m. The Hobbit:An Unexpected Journey (PG-13) Fri. to Thurs. 6:05 p.m. The Last Stand (R) Fri. 4 p.m., 7 p.m., 9:25 p.m. Sat. and Sun. 1:30 p.m., 4 p.m., 7 p.m., 9:25 p.m. Mon. 1:30 p.m., 4 p.m., 7 p.m. Tue. to Thurs. 4 p.m., 7 p.m. Life of Pi (PG) Fri. 3:50 p.m., 6:40 p.m., 9:15 p.m. Sat. and Sun. 12:55 p.m., 3:50 p.m., 6:40 p.m., 9:15 p.m. Mon. 12:55 p.m., 3:50 p.m., 6:40 p.m. Tue. to Thurs. 3:50 p.m., 6:40 p.m. Mama (PG-13) Fri. 4:20 p.m., 6:50 p.m., 9:05 p.m. Sat. and Sun. 1:15 p.m., 4:20 p.m., 6:50 p.m., 9:05 p.m. Mon. 1:15 p.m., 4:20 p.m., 6:50 p.m. Tue. to Thurs. 4:20 p.m., 6:50 p.m. Parental Guidance (PG) Fri. 4:25 p.m., 6:55 p.m., 9:45 p.m. Sat. and Sun. 1:25 p.m., 4:25 p.m., 6:55 p.m., 9:45 p.m. Mon. 1:25 p.m., 4:25 p.m., 6:55 p.m. Tue. to Thurs. 4:25 p.m., 6:55 p.m. Silver Linings Playbook (R) Fri. 4:30 p.m., 7:10 p.m., 9:30 p.m. Sat. and Sun. 12:50 p.m., 4:30 p.m., 7:10 p.m., 9:30 p.m. Mon. 12:50 p.m., 4:30 p.m., 7:10 p.m. Tue. to Thurs. 4:30 p.m., 7:10 p.m. Texas Chainsaw 3D (R) Fri. 4:15 p.m., 7:15 p.m., 9:50 p.m. Sat. and Sun. 1 p.m., 4:15 p.m., 7:15 p.m., 9:50 p.m. Mon. 1 p.m., 4:15 p.m., 7:15 p.m. Tue. to Thurs. 4:15 p.m., 7:15 p.m.
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110 Old Talpa Canon Road, 575-751-4245 Broken City (R) Fri. 4:45 p.m., 7:15 p.m., 9:50 p.m. Sat. 2:10 p.m., 4:45 p.m., 7:15 p.m., 9:50 p.m. Sun. 2:10 p.m., 4:45 p.m., 7:15 p.m. Mon. to Thurs. 4:45 p.m., 7:15 p.m. Gangster Squad (R) Fri. 4:50 p.m., 7:20 p.m., 9:50 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:20 p.m., 9:50 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:20 p.m. Mon. to Thurs. 4:50 p.m., 7:20 p.m. The Last Stand (R) Fri. 4:40 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:25 p.m., 4:40 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:25 p.m., 4:40 p.m., 7:05 p.m. Mon. to Thurs. 4:40 p.m., 7:05 p.m. Lincoln (PG-13) Fri. 6:55 p.m. Sat. and Sun. 2:05 p.m., 6:55 p.m. Mon. to Thurs. 6:55 p.m. Mama (PG-13) Fri. 4:55 p.m., 7:25 p.m., 9:40 p.m. Sat. 2:30 p.m., 4:55 p.m., 7:25 p.m., 9:40 p.m. Sun. 2:30 p.m., 4:55 p.m., 7:25 p.m. Mon. to Thurs. 4:55 p.m., 7:25 p.m. Silver Linings Playbook (R) Fri. 4:35 p.m., 7:10 p.m., 9:45 p.m. Sat. 2 p.m., 4:35 p.m., 7:10 p.m., 9:45 p.m. Sun. 2 p.m., 4:35 p.m., 7:10 p.m. Mon. to Thurs. 4:35 p.m., 7:10 p.m. Zero DarkThirty (R) Fri. 6:45 p.m., 9:55 p.m. Sat. 2:15 p.m., 6:45 p.m., 9:55 p.m. Sun. 2:15 p.m., 6:45 p.m. Mon. to Thurs. 6:45 p.m.
OUTRAGEOUSLY ENTERTAINING. Joe Morgenstern
THE NEW FILM BY
QUENTIN TARANTINO JAMIE
Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, www.thescreensf.com Any Day Now (R) Fri. and Sat. 12:30 p.m., 5:10 p.m. Sun. to Wed. 5:10 p.m. Barbara (PG-13) Fri. to Wed. 2:40 p.m., 7:15 p.m. Thurs. 2:40 p.m. Royal Opera House’sThe Marriage of Figaro (NR) Sun. 11 a.m.
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moving images film reviews
Injured animals Jonathan Richards I For The New Mexican Rust and Bone, drama, in French with subtitles, rated R, Regal DeVargas, 3 chiles If ever you’re having a really bad day — the flu lingering, the toilet overflowing, the car going ka-plock ka-plock — just remind yourself that things could be worse. You could have had your legs bitten off by a killer whale. That’s the kind of day Stéphanie (Marion Cotillard), the head orca trainer at Marineland in Antibes, has. One moment she’s putting the great seagoing mammals through their paces, persuading them to leap from the pool in tandem with water cascading from their massive black-and-white bodies. The next, all hell has broken loose, and she wakes up in the hospital with nothing left from the knees down. Cotillard is one of only two women — the other was Sophia Loren, for Two Women — to win a best-leading-actress Oscar for a foreign-language role (as Edith Piaf in La Vie en Rose). She is a hell of an actress, and she makes you feel the anguish of that moment of discovery deep in your gut. She goes through shock and harrowing depression. For a long time she keeps to her room, shades drawn, seeing no one. But she’s a tough girl, and gradually she begins to pull herself out of it. And one day she picks up the phone and calls Ali (Matthias Schoenaerts), a nightclub bouncer she met one night when he saved her from a brawl. They don’t really know each other, but he gave her his phone number, and something about him stuck in her mind. We’ve met Ali before. The film opens with him on a train with his 5-year-old son, Sam (Armand
Armand Verdure and Matthias Schoenaerts
January 18-24, 2013
La vie en l’eau: Marion Cotillard
Verdure), heading for Antibes. They’re broke. “I’m hungry,” the boy complains, and Ali scavenges the train car for half-eaten sandwiches and bags of chips. They make a pretty good meal of it, too — it’s eye-opening how much food gets left behind by travelers on the Côte d’Azure. Ali is a bruiser and a brute. But he’s not devoid of all moral compass. We gather that the reason he’s taken custody of the kid is that his mother was using him to smuggle drugs. Still, Ali is not much of a dad. He keeps forgetting to pick up Sam at school and is generally pretty lax about keeping an eye on him. They crash with his sister and her husband, and she helps him get the bouncer job. Pretty soon he moves on to work as a security guard, and moonlights for a shady guy named Martial (Bouli Lanners) who installs surreptitious video equipment for businesses to spy on their employees. When Stéphanie calls, Ali comes over, and a relationship begins to develop between the tough guy and the wounded woman. He gets her to eat, he gets her to smile. He takes her down to the beach, and finally convinces her to go for a swim. We’ve been aware of her leglessness for a while by now, but this is where it knocks you over. As Ali scoops her up in his arms, and the towel falls away from her bathing-suited body, we see the naked stumps of her legs full on. My first thought was, How the #@&* did they do that? My second was, I know actors like De Niro and Christian Bale will gain or lose a lot of weight for a part, but this lady puts them to shame. This is CGI brought to a shockingly intimate level. We’re used to tsunamis, and cities being destroyed. We’re not prepared for this.
Together, they navigate stages of Stéphanie’s rehabilitation. Before, she had been a tease. “I liked turning them on,” she tells Ali. “Then I got bored.” Now, she’s not sure if the sexual equipment even still works. Ali, amiable but not a smooth talker, offers in the crudest way to help her find out. Everything seems to work fine, and it’s another major step in her return to life. The sex scenes are among the most unusual you’ll ever see on film. Ali’s other extracurricular employment is as a bare-knuckle fighter, brawling for money in smashmouth bouts of the kind that movies love, with the blood spewing in gelatinous sheets, not unlike the spray made by an orca breaking the surface. Stéphanie comes to the fights, and in one of the movie’s most ill-considered scenes, inspires Ali to turn the tables when he is getting the crap beaten out of him when she limps over toward the fight on her new prosthetic limbs. But director Jacques Audiard can deal in poetry as well as rough stuff, and nowhere better than when he brings Stéphanie back for a visit to her old place of work. A moment of communion between her and an orca, possibly the one who ate her legs, through the glass wall of the Marineland tank, is as affecting as any love scene. But, as with the tiger in Life of Pi, one needs to be cautious not to go overboard ascribing human emotions to wild animals. While Stéphanie is growing and changing, Ali is not. It will take a terrible crisis, triggered by a character flaw we’ve noted already, to shock him out of his blithe self-centeredness. In human terms, it’s a positive turn of events. In movie terms, it makes for a flabby ending to a muscular film. ◀
moving images film reviews
“It’s one terrific film, as smart, thoughtful and emotionally involving as just about anything that’s out there.” –Kenneth turan, Los angeLes times
Born a ramblin’ man: William Zanders
Let the good times unfold Laurel Gladden I For The New Mexican Tchoupitoulas, dreamlike documentary, not rated, Center for Contemporary Arts, 3 chiles While you’re sitting in the dark theater watching this brief, mesmerizing film, your mind might wander. You might start thinking about a childhood adventure, a vacation in New Orleans, the first time you spent a night away from home, or a time you got lost in a strange city. Your inclination to daydream won’t be because the film is boring, though. It just may lull you into a reverie with its serene, dreamlike quality; jewel-like colors and blurry lights; easy, natural pacing; and musical rhythms. Directed by brothers Turner Ross and Bill Ross IV, Tchoupitoulas (named after a busy New Orleans street, pronounced chop-a-tool-us) follows Bryan, Kentrell, and William Zanders, who live in the Algiers neighborhood, across the Mississippi River. One day, at sunset, they take their dog Buttercup and hop on the ferry to spend an evening wandering the streets of the Big Easy. Like three Cinderellas, they remind one another that the last ferry home is at midnight. The fact that they miss the boat (that’s not a spoiler, really) doesn’t serve as a plot point so much as a device to give the boys additional hours to explore their one-of-a-kind city. As we follow them around, we encounter all sorts of characters: scragglylooking drunkards, motor-mouthed oyster shuckers, strippers, drag queens, sidewalk evangelists, fire twirlers, and musicians, from rappers to buskers to elderly bluesmen. The brothers also meander through darker, less-populated avenues, where William gets some tips on playing the flute from a young woman dressed as a fairy and a heavily intoxicated dude tries to convince a woman to go home with him. In between street scenes and glimpses inside various venues are hypnotic moments of abstraction, during which clever William, in voice-over, shares random thoughts, dreams, and observations and the Rosses blur and swirl the streetlights. You feel like you’re looking through a giant kaleidoscope. The boys’ banter is sometimes indecipherable, but that’s OK. It has a bouncy, impromptu rhythm that echoes the jazz filling the streets. Some of the scenes are clearly spontaneous, while others feel somewhat staged. You wonder if the boys missed their ferry accidentally or if the Rosses orchestrated the whole thing. When the brothers sneak onto a spooky old riverboat, was the idea theirs or the Rosses’? Were they really in any danger, with the camera crew following them? Though the film is edited to suggest that the boys’ adventure takes place during a single night, the events were actually filmed over a nine-month period. That doesn’t really matter, though. The Rosses were clearly intent on capturing the feel of a night spent stumbling around New Orleans; they certainly succeeded, so who cares if they distilled the best of nine months into less than 90 minutes? Tchoupitoulas works best if you toss aside sticky questions of veracity and continuity and just let the film wash over you like a dream. ◀
BarBara: Friday through Wednesday 2:40 and 7:15 thursday at 2:40
“ALAN CUMMING DELIVERS WHAT IS POSSIBLY HIS BEST PERFORMANCE TO DATE.” - BOYD VAN HOEIJ, VARIETY
any day noW: Friday at 5:10; saturday at 12:30 and 5:10; sunday through thursday at 5:10
THE MARRIAGE OF FIGARO (ROYAL OpERA HOUSE, LONDON)
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RESTAURANT REVIEW Bill Kohlhaase I The New Mexican
Nile Café on the Trail 620 Old Santa Fe Trail, 501-0612 11 a.m.-8 p.m. Tuesday-Saturdays (breakfast served until 4 p.m.); closed Sundays & Mondays Noise level: quiet to moderate Vegetarian options No alcohol Credit cards, local checks
The Short Order What began and continues as a food truck now has a modest second home. Gigi Griffo’s Nile Café on the Trail is a tiny, two-room dining spot that might remind you of grandma’s house if it weren’t for the contemporary art. Renditions of Greek, Egyptian, and other Mediterranean dishes are freshly made (Griffo even stacks her own gyro meat), modestly spiced, and wonderfully satisfying. Think of it as eastern Mediterranean comfort food: tabbouleh, falafel, dolmas, and the like are all simply prepared and refreshingly lively. Breakfast items, like couscous with nuts, may remind you of lunch. Though there’s only a trio of dinner entrees (lunch is served until closing), they’re all worth trying. Homemade desserts and unusual beverages — sparkling pomegranate juice with molasses, for instance — make for special treats. Service? As good as that at home. Recommended: gyros, “kofta” burgers, vegetarian moussaka, baked chicken, roast leg of lamb, baklava, and Egyptian doughnuts.
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.
January 18-24, 2013
Stretches of Old Santa Fe Trail actually feel like a trail. Past Paseo de Peralta, homes, shops, and adobe walls crowd the winding, sliver-sized sidewalk as it follows the road south. This is where, up a couple concrete stairs and beyond a narrow porch, you’ll find Nile Café on the Trail, one of the city’s more eclectic restaurants. Some of that eclecticism is due to its location in a spare building whose tiny rooms suggest that in the distant past it may have been a family dwelling. In more recent times, it was the Dish n’ Spoon. There’s no street parking, but you can park across Santa Fe Trail in the Mellow Velo bike shop’s lot. On entry, you pass through the first room with its glass cooler and a couple of tables and into the tiny dining room. The vertical-slat, two-tone paneling and cramped confines suggest grandma’s house. By contrast, there’s a swirl of track lighting on the ceiling and art of the sort grandma never had. Otherwise, the interior design is early thrift store. The chairs in the room, except for two, are all different from one another. Somehow, I felt right at home. The Nile’s menu is familiar to those who knew its previous incarnation as a popular food truck. If what we overheard owner Gigi Griffo tell a neighboring table can be believed, it will be out prominently next summer. But for now, Griffo’s home cooking has a home, which means if you’re partial to freshly made, simple renditions of tabbouleh, falafel, gyros, and moussaka, you’ve come to the right place. The food here almost has as much personality as its owner who buzzes around in an apron delivering dishes and welcoming each guest as if they were regular visitors even when they’re not. A recent Saturday evening experience was truly a family affair, with Griffo’s husband taking orders and their shy daughter wandering in and out of the kitchen. The food, a mix of Greek, Egyptian, and other eastern Mediterranean influences, is as subtle as it is exotic. The flavors speak quietly in harmonious conversation; the spices whisper rather than shout. Stuffed grape leaves are plump with slightly oily rice, the leaves themselves not too salty, the whole mouthful hinting at parsley and garlic. Tabbouleh, its bulgur firm and chewy, is bright with parsley and a touch tangy with lemon. Falafel is crunchy outside and warmly giving and satisfying at the center. If you’ve been bothered by the mudslide of average hummus that has descended on Santa Fe lately, take heart. The Nile’s, with its delicate garbanzo flavor, is smoothly textured and modestly spiced without overpowering influences of lemon, sesame tahini, or additional spices. The same can be said for the chipotle hummus, which has only a touch of smoky pepper flavor. Dinners, once available only on Fridays, are now served most nights. The baked chicken, with its leg quarter marinated in Griffo’s mix of seven spices and accompanying pile of rice sprinkled with cinnamon, was a soothing, comforting plate. Slices of roast leg of lamb were juicy and redolent of the same spice blend. The moussaka, not the usual mix of chewy eggplant and other vegetables, is a velvety dish of fried eggplant in a sauce as thick and complex as the best marinara.
Lunch seems the most popular meal. Griffo prepares and stacks her own gyro meat, and the lamb’s grilled flavors contrast with tomato and a fine tzatziki sauce. The homemade tzatziki — bright, thin yogurt sporting tiny bits of parsley and tomato — is wonderful on the soft chewy pitas, one of the few things not made in-house. The “kofta” burger, despite being thoroughly cooked, was the juiciest burger we’ve had all year and maybe the most flavorful, each bite beginning with hints of parsley and followed by cumin, paprika, and who knows what else unwinding as we chewed. Cumin fries were just OK (more cumin, please), and they go well washed down with an unusual and delightful mix of sparkling water, pomegranate juice, and molasses with a mint leaf. The only disappointment was a thin, flavorless pumpkin soup. The baklava is light, crisp and not too sweet. The mamoul cookies, dusted with powdered sugar and hiding a date, are a dream. But my fry-happy palate liked the Egyptian doughnuts best, their crackling, fritter-like pastry in no way shaped like a doughnut, sat in a coat of sweet syrup which we licked up after the doughnut was gone. I wondered if service could be punctual here with such a small staff. Griffo is constantly striding back and forth to the kitchen, greeting everyone as they enter and helping with the cooking. The food, even when the little place was crowded, came quickly, and someone was never far away when we had a need or question. A simple meal is both nourishing and inspiring — eat here and you’ll be ready to hit the trail. ◀
Dinner for three at Nile Café on the Trail: Tabbouleh...............................................................$ 7.95 Falafel sandwich.....................................................$ 6.95 Baked chicken & rice .............................................$15.95 Roast lamb & rice...................................................$17.95 Pomegranate/molasses sparkling water with mint ...$ 2.95 Hibiscus tea ............................................................$ 2.50 Two Egyptian doughnuts........................................$ 7.95 TOTAL....................................................................$62.20 (before tax and tip)
Lunch for two, another visit: Chipotle hummus ..................................................$ 7.95 Vegetarian moussaka ..............................................$12.95 Pumpkin soup ........................................................$ 3.95 Lamb gyro...............................................................$ 8.95 Homemade lemonade.............................................$ 3.00 Egyptian tea............................................................$ 1.50 Baklava ...................................................................$ 2.50 Mamoul cookies .....................................................$ 4.50 TOTAL....................................................................$45.30 (before tax and tip)
Santa Fe’s only not-forprofit, community-supported independent theatre, showing the best in world and independent cinema.
1050 Old Pecos Trail • 505.982.1338 • ccasantafe.org
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cHRiS aND TUckER
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“Masterful” - indieWIRE “Hypnotically immersive”` - Variety The new film by Bill & Turner Ross
Friday-Sun Jan 18-20
Mon Jan 21
Tues Jan 22
Wed-Thurs Jan 23-24
1:00p - Tchoupitoulas* 2:00p - Chasing Ice 3:45p - Searching for Sugar Man 4:00p - How to Survive a Plague* 5:45p - Chasing Ice 6:15p - Chasing Ice* 7:30p - Searching for Sugar Man 8:00p - Tchoupitoulas*
3:15p - Searching for Sugar Man 4:00p - How to Survive a Plague* 5:15p - Chasing Ice 6:15p - Chasing Ice* 7:15p - Searching for Sugar Man
3:15p - Searching for Sugar Man 4:00p - How to Survive a Plague* 5:15p - Chasing Ice 6:15p - Chasing Ice* 7:15p - Searching for Sugar Man 8:00p - Tchoupitoulas* * indicates show will be in The Studio at CCA for $7.50 or $6.00 for CCA Members
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COMING SOON 56
January 18-24, 2013
pasa week 18 Friday
storyCorps mobileBooth tour The national nonprofit organization records interviews with residents daily through Feb. 9, (look for the Airstream trailer parked on Palace Avenue on the Plaza) collecting stories to be archived at the American Folklife Center at the Library of Congress. Segments of interviews will air on KSFR 101.1 FM. Call 800-850-4406 or visit storycorps.org to make reservations.
Back street Bistro 513 Camino de los Marquez, 982-3500. Crossing the Line, paintings by Ricardo Gutierrez and Julianna Poldi, reception 5:30-7:30 p.m., through March 3. Center for Contemporary arts — muñoz Waxman gallery 1050 Old Pecos Trail, 982-1338. Making Light of It: 366 Days of the Apocalypse, paintings by Michelle Blade, reception 6:30-8 p.m., through Feb. 17 (see story, Page 42). Kristin Johnson Fine art 323 E. Palace Ave., 428-0800. New Year’s group show of gallery artists, reception 5-8 p.m. la Tienda exhibit space 7 Caliente Rd., Eldorado, 466-4211 or 466-6930. Plein Aire and More, group show, reception 5-7 p.m., through Feb. 16. museum of Contemporary native arts 108 Cathedral Pl., 983-1777. Thicker Than Water, lens-based group show (see story, Page 34); Summer Burial, mixed media by Jason Lujan, through May 12; Spyglass Field Recordings: Santa Fe, multi-media 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; reception 5-7 p.m. new mexico museum of art 107 W. Palace Ave., 476-5072. 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 (see story, Page 38); Alcove 12.8, revolving group show of works by New Mexico artists, reception 5-8 p.m., through Feb. 24. in ConCerT santa Fe Community orchestra New Works by New Mexico’s Composers, readings of works by Jeremy Bleich and Christopher Musson, 6 p.m., Stieren Hall, Santa Fe Opera, 301 Opera Dr., donations appreciated, 466-4879. susie mcentire-eaton Country-Western singer, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated, 982-8544.
‘Just a gigolo’ Santa Fe Playhouse presents Stephen Lowe’s drama set in New Mexico, 7:30 p.m., 142 De Vargas St., $20, discounts available, santafeplayhouse.org, reservations 986-1801, continues through Sunday, Jan. 20 (see story, Page 18).
Pasa’s Little Black Book......... 58 Exhibitionism...................... 60 At the Galleries.................... 61 Libraries.............................. 61 Museums & Art Spaces........ 61
compiled by Pamela Beach, email@example.com
Sunset Watch, by Brad Melton, Collected Works Bookstore, 202 Galisteo St.
‘Winter dances’ New Mexico School for the Arts’ student and faculty production, 7 p.m., James A. Little Theatre, New Mexico School for the Deaf, 1050 Cerrillos Rd., $10 in advance and at the door, discounts available, 988-1234, ticketssantafe.org, continues Saturday and Sunday, Jan. 19-20.
eric herm The author and farmer discusses Surviving Ourselves: The Evolution of Community, Education, and Agriculture in the 21st Century, Natural Grocers by Vitamin Cottage, 3328 Cerrillos Rd., noon, 474-0111.
In the Wings....................... 62 Elsewhere............................ 63 People Who Need People..... 63 Under 21............................. 63 Sound Waves...................... 63
heidegger on Being and Causation Graham Harman discusses the philosopher’s logic, 3:15 p.m., Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, no charge, 984-6070.
Cimarron sky-dog reserve benefit Collected Works Bookstore presents a screening of Mara LeGrand’s film Wild Horses — In the Winds of Change as the culmination of the Third Annual Sky-Dog Equine Photography Contest (photographs on display through March; 20 percent of photograph sales benefits the reserve), 5 p.m., 202 Galisteo St., 988-4226.
(See Page 58 for addresses) ¡Chispa! at el mesón The Three Faces of Jazz and friends, featuring Bryan Lewis on drums, 7:30-10:30 p.m., no cover. Club 139 at milagro DJ Alchemy, sol therapy and Chicanobuilt, 9 p.m., $5-$7 cover. Cowgirl BBQ Singer/songwriter Liv Lombardi, 5-7:30 p.m., no cover. The Bus Tapes, folk-rock, 8:30 p.m.-close, no cover. 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. hotel santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. la Fiesta lounge at la Fonda Jimmy Stadler Band, Americana/rock, 8-11 p.m., no cover. la posada de santa Fe resort and spa Nacha Mendez Trio, pan-Latin rhythms, 6:30-9:30 p.m., no cover. The palace restaurant & saloon C.S. Rockshow with Don Curry, Pete Springer, and Ron Crowder, 9:30 p.m., no cover. pranzo italian grill Pianist Robin Holloway, 6-9 p.m., $2 cover. second street Brewery Hot Club of Santa Fe, Gypsy jazz, 6 p.m., no cover. second street Brewery at the railyard Bill Hearne Trio, roadhouse honky-tonk, 6-9 p.m., no cover. Tiny’s Americana/blues guitarist Jim Almand, 5:30-8 p.m.; classic rock band The Jakes, 8 p.m.-midnight; no cover. vanessie Bob Finnie, piano and vocals, 6 p.m.-close, call for cover.
19 Saturday opera in hd
The met live in hd The series continues with Donizetti’s Maria Stuarda, 11 a.m. and 6 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $22-$28, ticketssantafe.org, 988-1234. ▶▶▶▶▶▶▶▶
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 firstname.lastname@example.org, 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 email@example.com or firstname.lastname@example.org. Follow Pasatiempo on Facebook and Twitter.
Julian Waterfall Pollack Jazz pianist, part of the Music on the Hill Elevated series presented by St. John’s College; 7:30 p.m., doors open at 7 p.m., Great Hall, Peterson Student Center, 1160 Camino de Cruz Blanca, $25, 984-6199.
Ballet en Fuego Mexican, Spanish, and Latin dance company, 5:30 and 7:30 p.m., La Posada de Santa Fe Resort & Spa, 330 E. Palace Ave., $48 includes dinner, 954-9670. ‘Just a Gigolo’ Santa Fe Playhouse presents Stephen Lowe’s drama set in New Mexico, 7:30 p.m., 142 De Vargas St., $20, discounts available, santafeplayhouse.org, reservations 986-1801, continues Sunday, Jan. 20 (see story, Page 18). ‘Winter dances’ New Mexico School for the Arts student and faculty production, 7 p.m., James A. Little Theatre, New Mexico School for the Deaf, 1050 Cerrillos Rd., $10 in advance and at the door, discounts available, 988-1234, ticketssantafe.org, continues Sunday, Jan. 20.
exhibit symposium The Personal Archive: Memory and Imagination in Contemporary Art, artist panel discussion in conjunction with the group show Thicker Than Water, 2-4 p.m., Museum of Contemporary Native Arts, 108 Cathedral Pl., no charge, 983-1777 (see story, Page 34).
Pasa’s little black book d Wine Bar 315 restaurant an 986-9190 il, 315 Old Santa Fe Tra nt & Bar ra au st re i az as an Anasazi, the of Inn d Rosewoo 988-3030 e., Av 113 Washington h resort & spa nc ra e dg Bishop’s lo 983-6377 ., Rd 1297 Bishops Lodge ón es ¡chispa! at el M e., 983-6756 213 Washington Av uthside cleopatra café so 4-5644 47 ., Dr o an 3482 Zafar gro club 139 at Mila St., 995-0139 o 139 W. San Francisc Q cowgirl BB , 982-2565 319 S. Guadalupe St. o dinner for tw , 820-2075 106 N. Guadalupe St. e at the Pink adob the dragon room 983-7712 il, 406 Old Santa Fe Tra lton hi e th at n el caño 811 8-2 98 , St. 100 Sandoval ., 983-9912 Rd on ny Ca 8 el Farol 80 evangelo’s o St., 982-9014 200 W. San Francisc santa Fe hotel chimayó de 988-4900 e., Av ton ing ash W 5 12 hotel santa Fe ta, 982-1200 1501 Paseo de Peral
January 18 -24, 2013
Gallery talk Curator Toby Kamp discusses his recent project, Silence: Subject and Substance in Art, 1-2 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., no charge, 476-5072. Mixed Media revolution Artists Sandra Duran Wilson and Darlene Olivia McElroy sign copies of and demonstrate techniques from their new book, 1:30-3:30 p.m., Artisan Santa Fe, 2601 Cerrillos Rd., 954-4179. opera Breakfast lecture John Webber discusses Donizetti’s Maria Stuarda, part of a series of pre-opera lectures in conjunction with The Met at the Lensic season, 9:30 a.m., Collected Works Bookstore, 202 Galisteo St., $5 donation at the door, 988-4226.
27th annual santa Fe robert Burns night Piping, Celtic dancing, readings of Burns’ poetry, silent auction, and dinner; cocktail hour 5 p.m., dinner and activities 6 p.m., Scottish Rite Center, 463 Paseo de Peralta, $45, 982-4414 (days) or 505-500-8131 (evenings); proceeds benefit the center (see story, Page 14). 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. 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 shops 8 a.m.-1 p.m., 1607 Paseo de Peralta, 983-4098. santa Fe tango club alternative Milonga 8 p.m.-midnight, Dance Station, 901 W. Alameda St., Solana Center, $10, 982-3926.
la Boca 72 W. Marcy St., 982-3433 la casa sena cantina 125 E. Palace Ave., 988-9232 la Fiesta lounge at la Fonda 100 E. San Francisco St., 982-5511 la Posada de santa Fe resort and spa 330 E. Palace Ave., 986-0000 the legal tender at the lamy railroad Museum 151 Old Lamy Trail, 466-1650 lodge lounge at the lodge at santa Fe 750 N. St. Francis Dr., 992-5800 the Matador 116 W. San Francisco St., 984-5050 the Mine shaft tavern 2846 NM 14, Madrid, 473-0743 Molly’s kitchen & lounge 1611 Calle Lorca, 983-7577 the Palace restaurant & saloon 142 W. Palace Ave, 428-0690 Pranzo italian Grill 540 Montezuma Ave., 984-2645 rouge cat 101 W. Marcy St., 983-6603
(See addresses below) ¡chispa! at el Mesón Ryan Finn Quartet, Caribbean jazz fusion, 7:30-10:30 p.m., no cover. club 139 at Milagro DJ Poetics, hip-hop/house/Latin, 9 p.m., $5-$7 cover. cowgirl BBQ Bill Hearne Trio, roadhouse honky-tonk, 2-5 p.m., no cover. Broomdust Caravan, juke joint honky-tonk and biker bar rock, 8:30 p.m.-close, no cover. dinner for two Zoltan Duo, guitar and bass, 7 p.m., no cover. hotel santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. la Fiesta lounge at la Fonda Jimmy Stadler Band, Americana/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. Pranzo italian Grill Pianist and vocalist John Rangel and Faith Amour, 6-9 p.m., $2 cover. second street Brewery Roots-rock band Man No Sober, 6-9 p.m., no cover. second street Brewery at the railyard Americana singer/songwriter Eryn Bent, 6-9 p.m., no cover. taberna la Boca Nacha Mendez Duo, pan-Latin rhythms, 6:30-9:30 p.m., no cover. tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m.-close, no cover.
san Francisco street Bar & Grill 50 E. San Francisco St., 982-2044 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 Pavilion, 1607 Paseo de Peralta, 989-3278 the starlight lounge RainbowVision Santa Fe, 500 Rodeo Rd., 428-7781 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 the Underground at evangelo’s 200 W. San Francisco St., 577-5893 Upper crust Pizza 329 Old Santa Fe Trail, 982-0000 vanessie 427 W. Water St., 982-9966 Zia diner 326 S. Guadalupe St., 988-7008
the Underground at evangelo’s Led Zeppelin tribute band Moby Dick and DJ Dynamite Sol, 9 p.m.-close, $5 cover. vanessie Pianists Doug Montgomery, 6-8 p.m. and Bob Finnie, 8 p.m.-close. Call for cover.
20 Sunday oPera in hd
Performance at the screen The series continues with Mozart’s Le Nozze di Figaro at London’s Royal Opera House, 11 a.m., Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $20, discounts available, 473-6494.
santa Fe symphony orchestra & chorus Featuring pianist Spencer Myer, music of Rachmaninoff, Tchaikovsky, and Nielsen, 4 p.m., pre-concert lecture 3 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $20-$70, 988-1234, ticketssantafe.org. serenata of santa Fe The chamber music ensemble presents Harpsichord-Centric featuring Kathleen McIntosh. 3 p.m., reception follows, Scottish Rite Center, 463 Paseo de Peralta, $25, 988-1234, ticketssantafe.org (see story, Page 32).
drama on Barcelona Occasional Barcelona Players present The Voice I Found and Own: Women and the World of Words, 3 p.m., Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., donations appreciated, 982-9674 or 992-0665. ‘Just a Gigolo’ Santa Fe Playhouse presents Stephen Lowe’s drama set in New Mexico, 2 p.m., 142 De Vargas St., $20, discounts available, santafeplayhouse.org, reservations 986-1801 (see story, Page 18). ‘Winter dances’ New Mexico School for the Arts’ student and faculty production, 2 p.m., James A. Little Theatre, New Mexico School for the Deaf, 1050 Cerrillos Rd., $10 in advance and at the door, discounts available, 988-1234, ticketssantafe.org.
an afternoon With Ben Franklin: Words and Music Former director of the Palace of the Governors Thomas Chávez, UNM Latin American professor Celia López-Chávez, and musician Mayling Garcia celebrate Franklin’s musical invention, the glass armonica, 2 p.m., part of the New Mexico History Museum’s weeklong celebration of Franklin’s 307th birthday, 113 Lincoln Ave., by museum admission, 476-5200. one kind of Folks Local historian Bill Baxter looks at Black History in Santa Fe County, a Martin Luther King Jr. Day program, 2 p.m., Cerrillos Hills State Park, 37 Main St., Cerrillos, 474-0196. to Fish out of Water: a conversation on the state of new Mexico’s lakes, rivers, and Waterways Authors John Nichols and Taylor Streit with KSFR Radio host David Bacon, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.
the Flea at el Museo 9 a.m.-3 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. Jazz saxophonist Brian Wingard 10 a.m.-1 p.m.; acoustic guitarist Adrian Wall 1-4 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 983-4098, railyardartmarket.com. Santa Fe Farmers Market Shops 10 a.m.-4 p.m., 1607 Paseo de Peralta, 983-4098.
legends Santa Fe 125 Lincoln Ave., 983-5639. Work by Taos Pueblo fashion designer Patricia Michaels, reception and viewing of the TV series Project Runway (featuring creations by Michaels), 6:30 p.m.
louis lortie The French-Canadian pianist performs Liszt’s transcriptions of Wagner’s and Mozart’s operas, 7:30 p.m., Q & A follows, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$50, discounts available, ticketssantafe.org, 988-1234.
(See Page 58 for addresses) Cowgirl BBQ Zenobia & Company, gospel/R & B, noon3 p.m., no cover. Doug Webb Band, rock, 8 p.m.-close, 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 rhythms, 7 p.m.-close, no cover. la Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 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. Vanessie Pianist Doug Montgomery, selections from the Great American Songbook, 7 p.m.-close, no cover.
21 Monday BookS/tAlkS
the great Pyramid of giza The Archaeological Society of America hosts author/lecturer Bob Brier, 7:30 p.m., dinner 6:30 p.m., Courtyard Marriott, 3347 Cerrillos Rd., talk no charge, dinner $28, 982-2846 or 455-2444. Pueblo Propriety, lexicography, and literacy Erin Debenport speaks as part of the 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.
Martin luther king Jr. Day event Santa Fe NAACP 2013 Martin Luther King Jr. Community Service Award ceremony, noon2 p.m., State Capitol Building Rotunda, Old Santa Fe Trail and Paseo de Peralta. Weekly all-ages informal swing dances Lesson 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., dance only $3, lesson and dance $8, 473-0955.
(See Page 58 for addresses) Cowgirl BBQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover. el Farol Geeks Who Drink Trivia Night, 7 p.m., no cover. la Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Syd Masters & the Swing Riders, Western swing, 7:30-11 p.m., no cover.
Fiesta Queens, by Erin Currier, Santa Fe Arts Commission Community Gallery, Santa Fe Community Convention Center, 201 W. Marcy St.
tiny’s The Santa Fe Great Big Jazz Band, 7-9 p.m., no cover. Vanessie Pianist Doug Montgomery, selections from the Great American Songbook, 7 p.m.-close, no cover.
22 Tuesday ClASSICAl MuSIC
Zia Singers The women’s chorus performs selections from their winter concert, By Winter’s Light, noon, State Capitol Building Rotunda, Old Santa Fe Trail and Paseo de Peralta, no charge, ziasingers.com.
Social Media Marketing Women in Film New Mexico hosts a panel discussion, 7-8:30 p.m., reception 6:30-7 p.m., Center for Contemporary Arts, 1050 Old Pecos Trail, $15, 982-1338.
(See Page 58 for addresses) ¡Chispa! at el Mesón Argentine Tango Milonga, 7:30-11 p.m., $5 cover. Cleopatra Café Southside Saltanah Dancers, bellydancing, 6:30-8:30 p.m., no cover. Cowgirl BBQ Country singer/guitarist Gary Reynolds, 8 p.m., no cover. el Farol Canyon Road Blues Jam, with Tiho Dimitrov, Brant Leeper, Mikey Chavez, and Tone Forrest, 8:30 p.m.-midnight, no cover. la Fiesta lounge at la Fonda Syd Masters & the Swing Riders, Western swing, 7:30-11 p.m., no cover. Second Street Brewery at the Railyard Acoustic open-mic nights with Case Tanner, 7:30-10:30 p.m., no cover. tiny’s Acoustic open-mic nights presented by 505 Bands, 7:30 p.m.-close, no cover. Vanessie Bob Finnie, piano and vocals, 6:30 p.m.-close, call for cover.
23 Wednesday BookS/tAlkS
Art on the edge Part of the New Mexico Museum of Art Docent Talks series, 12:15 p.m., 107 W. Palace Ave. $9, by museum admission, 476-5072. Finding the Calories: Family economy, Crop Yields, and Population Increase From 250 Ce to 800 Ce in the Prehistoric Four Corners District Lecture by David Stuart and Jenny Lund, noon-1 p.m., School for Advanced Research, 660 Garcia St., no charge, 954-7203.
eighth Annual Santa Fe Farmers Market Institute Wednesday Night Movie Series Screening of the documentary Climate Refugees by Michael Nash, 7 p.m., guest speaker and Q & A session follows, Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, $12 includes food, discounts available, call Joanne Smogor for more information, 303-895-5367, or email email@example.com.
(See Page 58 for addresses) ¡Chispa! at el Mesón Jazz guitarist Pat Malone, 7-9 p.m., no cover. Club 139 at Milagro DJ MayRant and friends, electronic dance music, 9 p.m., $5-$7 cover. Cowgirl BBQ Singer/songwriter Matt Jones, with pop band Ascetic Junkies, 8 p.m., no cover. el Farol Salsa Caliente, 9 p.m., no cover. la Boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover. la Fiesta lounge at la Fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover. la Posada de Santa Fe Resort and Spa Wily Jim, Western swingabilly, 7-10 p.m., no cover. tiny’s 505 Jam hosted by Synde Parten, John Reives, and M.C. Clymer, 7:30 p.m., no cover. Vanessie Bob Finnie, piano and vocals, 6:30 p.m.-close, call for cover.
‘let’s trade Shoes’ Capitol High School Capital Arts and Production Academy dancers present their most current work based on ideas of anti-bullying, positive self-worth, and tolerance, 7 p.m., Bryan Fant Theatre, 4851 Paseo del Sol, $5 at the door, reservations 467-1124, continues Friday, Jan. 25. ‘Sessions’ and ‘It Snows’ New Mexico School for the Arts presents two one-acts written by Joey A. Chavez and Bryony Lavery respectively; performed by 9th-12thgrade students, 7 p.m., James A. Little Theatre, New Mexico School for the Deaf, 1050 Cerrillos Rd., $10 in advance and at the door, discounts available, 988-1234, ticketssantafe.org, continues through Saturday, Jan. 26.
From the Myth of kings to the Math of kings: Art, Science, and the Ancient Maya Archaeologist William Saturno speaks, 6:30-7:30 p.m., New Mexico History Museum auditorium, 113 Lincoln St., $10, presented by the School for Advanced Research, 954-7203 (see story, Page 26). Rae Marie taylor The author reads from and signs copies of The Land: Our Gift and Wild Hope followed by a panel discussion titled Collective Imagination Matters: Three Authors Share on Restoring Hope With the Land Itself with Jack Loeffler and A. Kyce Bello, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see Subtexts, Page 12).
(See Page 58 for addresses) ¡Chispa! at el Mesón Bert Dalton and Milo Jaramillo, jazz piano and bass, 7-9 p.m., no cover. Club 139 at Milagro Noches Latinas with DJ Dany, 9 p.m., $5-$7 cover. Cowgirl BBQ Grateful Dead tribute band Detroit Lightning, 8 p.m., no cover. la Fiesta lounge at la Fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover. la Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio with 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. taberna la Boca Nacha Mendez, panLatin chanteuse, 6:30-9:30 p.m., no cover. tiny’s Joe West and friends, theatrical folk, 8 p.m.-midnight; no cover. Vanessie Bob Finnie, piano and vocals, 6:30 p.m.-close, call for cover.
continued on Page 63 PASATIEMPO
A peek at what’s showing around town
Covington Jordan: Untitled Two, 2012, mixed media on canvas. The New Year’s exhibition continues at Gebert Contemporary (558 Canyon Road) through Feb. 3. The show includes work by Colin Cochran, Covington Jordan, Tasha Ostrander, and other gallery artists. Call 992-1100.
Gerry Weber: Shades of Blue, 2012, watercolor. Plein Aire and More is an exhibition of paintings by local artists including Gerry Weber, Karen Nelson, and Judi Ewert at La Tienda Exhibit Space (7 Caliente Road, in Eldorado). The show opens with a 5 p.m. reception on Friday, Jan. 18. Call 466-4211.
thomas W. Abbott: White Laundry, 2010, watercolor. Kristin Johnson Fine Art (323 E. Palace Ave.) presents an exhibition of work by gallery artists including Wade Hoefer, Michael Billie, and Karen Jacobs. The show opens with a 5 p.m. reception on Friday, Jan. 18. Call 428-0800.
Philip baldwin and monica Guggisberg: Suspended Mobility 5, 2012, blown-glass vessels and stainless steel rods. Suspended Mobility, an exhibition of mobile sculptures by husband-and-wife team Philip Baldwin and Monica Guggisberg, continues through Feb. 9 at David Richard Gallery (544 S. Guadalupe St., 983-9555).
Julianna Poldi: Swizzle, 2007, acrylic on canvas. New Mexico artists Julianna Poldi and Ricardo Gutierrez present Crossing the Line, an exhibition of their abstract paintings. “Art transcends what’s linear and allows for abstraction, helping us to see things in a new way,” the artists write. The show opens Friday, Jan. 18, at Back Street Bistro (513 Camino de los Marquez) with a reception at 5:30 p.m. Call 982-3500.
January 18-24, 2013
At the GAlleries
Adobe Gallery 221 Canyon Rd., 955-0550. Paintings by Quincy Tahoma (1920-1956), through Feb. 14. Arroyo Gallery 200 Canyon Rd., 988-1002. Vivid New Mexico, paintings by Cathy Carey, through January. Axle Contemporary 670-7612 or 670-5854. Cold Storage, ice installations by Cheri Ibes, visit axleart.com for van locations through Feb. 10. Commissioner’s Gallery — New Mexico State Land Office 310 Old Santa Fe Trail, 827-5762. Paintings by Carlos Salazar, through January. David Richard Gallery 544 S. Guadalupe St., 983-9555. Material Distillation, paintings and sculpture by Eric Zammitt; Suspended Mobility, glass mobiles by Philip Baldwin and Monica Guggisberg, through Feb. 9. Eggman & Walrus Art Emporium 130 W. Palace Ave., second floor, 660-0048. Paint Forward, figurative abstracts by John Barker, through January. Gebert Contemporary 558 Canyon Rd., 992-1100. New Year’s Exhibition!, group show of gallery artists, through Feb. 3. Henington Fine Art 802 Canyon Rd., 690-9160. Lopez Love, works by the Lopez family, through Jan. 25. Manitou Galleries 123 W. Palace Ave., 986-0440. Calendar Art Show, through Friday, Jan. 18. Marigold Arts 424 Canyon Rd., 982-4142. New works by gallery artists, through January. Monroe Gallery of Photography 112 Don Gaspar Ave., 992-0800. Mark Shaw: The Kennedys, through Jan. 27. New Concept Gallery 610-A Canyon Rd., 795-7570. Winter Scenes, group show of paintings and photographs, through Saturday, Jan. 19. Photo-eye Gallery 376-A Garcia St., 988-5152. Here Far Away, photographs by Pentti Sammallahti, through Feb. 9. Santa Fe Art Institute Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5050. Shifting Baselines, works by Cynthia Hooper and Hugh Pocock, through Jan. 25. Santa Fe Arts Commission Community Gallery Santa Fe Community Convention Center, 201 W. Marcy St., 955-6705. Fine Folk of New Mexico, group show, through Jan. 26. Santa Fe Clay 545 Camino de la Familia, 984-1122. Beginning to End, works by Christine Golden, Aisha Harrison, and Clayton Keyes, through Saturday, Jan. 19. Transcendence Design 1521-F Upper Canyon Rd., first two-story building down the driveway, 984-0108. In the Space Between, works by Charlotte Cain and Michael Cain, through January. Turner Carroll Gallery 725 Canyon Rd., 986-9800. Contemporary Terrain, group show of landscapes, through Sunday, Jan. 20. Verve Gallery of Photography 219 E. Marcy St., 982-5009. Floating World, photographs and poems translated by Brigitte Carnochan; Stephen Strom: A Retrospective; through Saturday, Jan. 19.
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. Making Light of It: 366 Days of the Apocalypse, paintings by Michelle Blade, reception 6:30-8 p.m. Friday, Jan. 18, Muñoz Waxman Gallery, through Feb. 17 (see story, Page 42) • Forget Your Perfect Offering, installation (and rotating performance series) by Sydney Cooper and Edie Tsong, through Jan. 27. Gallery hours available by phone or online at ccasantafe.org, no charge.
st. Francis of Assisi, in the exhibit Recent Acquistions, Museum of spanish colonial Art
Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Georgia O’Keeffe and the Faraway: Nature and Image, through May 5. Open 10 a.m.5 p.m. Saturday-Thursday, 10 a.m.-7 p.m. Fridays. $12; seniors $10; NM residents $6; students18 and over $10; under 18 no charge; 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 (see story, Page 34); Summer Burial, mixed media by Jason Lujan, through May 12; Spyglass Field Recordings: Santa Fe; multi-media 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; reception 5-7 p.m. Friday, Jan.18. Open 10 a.m.-5 p.m. Monday and WednesdaySaturday, noon-5 p.m. Sunday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays. Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 476-1250. 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 World Cuisine: The Histories of Chocolate, Mate y Más, through Jan. 5, 2014 • New Mexican Hispanic Artists 1912-2012, installation in Lloyd’s Treasure Chest, through February • 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. Metal and Mud — Iron and Pottery, showcase of 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. Altared Spaces: The Shrines of New Mexico, photographs by Siegfried Halus, Jack Parsons, and Donald Woodman, through Feb. 10 • Tall Tales of the Wild West: The Stories of Karl May, collection of photographs and ephemera in relation to the German author, longterm • 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. 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, reception 5-8 p.m. Friday, Jan. 18, through April 14 (see story, Page 38) • Alcove 12.8, revolving group show of works by New Mexico artists, through Feb. 24 • 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. New Mexico National Guard Bataan Memorial Museum and Library 1050 Old Pecos Trail, 474-1670. Housed in the original armory from which the 200th Coast Artillery Regiment was processed for entry into active service in 1941. Military artifacts and documents. Open 10 a.m.-4 p.m. Tuesday-Saturday, by donation. 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. 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. MondaySaturday, 1-5 p.m. Sunday. Docent tours 2 p.m. Mondays, Wednesdays, Fridays, and Saturdays.
In the wings MUSIC
Santa Fe Pro Musica Orchestra Winter Weekend Classical Recital: 7:30 p.m. Friday, Jan. 25; Jan Lisiecki: solo Chopin recital; Winter Weekend Classical Concerto, 6 p.m. Saturday, 3 p.m. Sunday, Jan. 26-27, Lisiecki joins the orchestra, music of Beethoven and Haydn; Lensic Performing Arts Center, 211 W. San Francisco St., $20-$65, 988-1234, ticketssantafe.org. Zia Singers By Winter’s Light, winter concert mixing classical and contemporary choral music; 7 p.m. Saturday, 3 p.m. Sunday, Jan. 26-27, Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $20 at the door, ziasingers.com. Notes on Music The performance/talk series continues with pianist Joseph Illick discussing Richard Wagner, 7:30 p.m. Tuesday, Jan. 29, United Church of Santa Fe, 1804 Arroyo Chamiso, $20, 988-1234, ticketssantafe.org. Matisyahu Reggae and alt. rock songwriter, 7:30 p.m. Thursday, Jan. 31, Lensic Performing Arts Center, 211 W. San Francisco St., $29-$47, 988-1234, ticketssantafe.org. Gabriela Montero Solo piano recital, 4 p.m. Sunday, Feb. 10, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$50, 988-1234, ticketssantafe.org.
Eric Bibb and Habib Koité on stage in support of their album, Brothers in Bamako, 7 p.m. Saturday, Feb. 9, Lensic Performing Arts Center, 211 W. San Francisco St., $19-$39, 988-1234, ticketssantafe.org. First Take Trio In Love With Jazz, Michael Anthony on guitar, Michael Glynn on bass, and Cal Haines on drums; joined by multi-woodwind master Arlen Asher, 7-9 p.m. Thursday, Feb. 14, Outpost Performance Space, 210 Yale Blvd. S.E., Albuquerque, $18 in advance, $20 at the door, brownpapertickets.com. The Met Live in HD Verdi’s Rigoletto Saturday, Feb. 16; screening at 11 a.m. and 6 p.m. Wagner’s Parsifal, 10 a.m. only on Saturday, March 2; Zandonai’s Francesca da Rimini, 10 a.m. and 6 p.m. Saturday, March 16, Lensic Performing Arts Center, $22-$28, discounts available, ticketssantafe.org, 988-1234. New Mexico Performing Arts Society A Musical Offering: Chamber Music of Johann Sebastian Bach, guest artists include violinist Carol Hawkins, cellist Sally Guenther, and flutist Linda Marianiello, 4 p.m. Sunday, Feb. 24, Immaculate Heart Retreat Center Chapel, 50 Mount Carmel Rd., $25, discounts available, ihmretreat.com or 474-4513.
January 18-24, 2013
Sandra Wong, Greg Tanner Harris, and Ross Martin Vibraphone, fiddle, and guitar trio, 8 p.m. Saturday, Feb. 16, doors open at 7:30 p.m., Gig Performance Space, 1808-H Second St., $15 at the door, gigsantafe.com. Santa Fe Symphony Orchestra & Chorus Birds & Brahms, featuring violinist David Felberg, 4 p.m. Sunday, Feb. 17; Voyages of Discovery IV: The Beauty of Mathematics & Music, Sunday, March 17; pre-concert lectures 3 p.m.; Lensic Performing Arts Center, 211 W. San Francisco St., $20-$70, 988-1234, ticketssantafe.org. Paper Bird Indie band; He’s My Brother, She’s My Sister opens; 7 p.m. Tuesday, Feb. 19, doors open at 6:30 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $12, holdmyticket.com. Bert Dalton Quartet Time Out For Brubeck, tribute to Dave Brubeck; Dalton on piano, Dave Anderson on alto saxophone, John Bartlit on drums, and Rob “Milo” Jaramillo on bass, 4 p.m. Sunday, Feb. 24, Scottish Rite Center, 463 Paseo de Peralta, $20 suggested donation at the door goes toward preservation of the center. Brentano String Quartet Music of Haydn, Bartók, and Brahms, 7:30 p.m. Friday, March 1, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$65, 988-1234, ticketssantafe.org. Oliver Mtukudzi and The Black Spirits African band, 7 p.m. Thursday, March 28, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$40, student discounts available, 988-1234, ticketssantafe.org.
Upcoming events ‘Shylock’ Theatre Tours International presents Gareth Armstrong’s one-man play, 7 p.m. Sunday, March 3, Lensic Performing Arts Center, 211 W. San Francisco St., $15-$35, 988-1234, ticketssantafe.org. ‘Buried Child’ Ironweed Productions in co-production with Santa Fe Playhouse presents Sam Shepard’s drama, 7:30 p.m. Thursday-Saturday, 2 p.m. Sunday, March 28-April 14, 142 De Vargas St., $20, discounts available, santafeplayhouse.org, 988-4262. National Theatre of London in HD The series continues with People, a new comedy by Alan Bennett, 7 p.m. Friday, April 5, Lensic Performing Arts Center, $22, student discounts available, 988-1234, ticketssantafe.org.
Winterbrew More than a dozen New Mexico breweries and local restaurants participate in a comfort food and craft-brew festival; 4-8 p.m. Friday, Jan. 25, Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, $15 in advance, $20 at the door, nmbeer.org. Filigree and Finery: The Art of Spanish Elegance An exhibit of historic and contemporary jewelry, garments, and objects, public opening Saturday, Jan. 26, runs through May 27, Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, by museum admission, 982-2226. Souper Bowl XIX The Food Depot’s annual fundraiser continues the tradition of offering local-chef-prepared soups and selling cookbooks with recipes for the creations from noon to 2:30 p.m. Saturday, Jan. 26, at the Santa Fe Community Convention Center, for information call 471-1633. Telluride Mountainfilm on Tour
Annual environmental- and conservation-themed film screenings presented by WildEarth Guardians; 7 p.m. Wednesday, Feb. 6, Lensic Performing Arts Center, 211 W. San Francisco St., $15, 988-1234, ticketssantafe.org. WorldQuest 2013 Santa Fe Council on International Relations hosts a college bowl-style game of international trivia, 6-9 p.m. Friday, Feb. 8, Santa Fe Community College, 6401 Richards Ave., $40 in advance (includes dinner), 982-4931, sfcir.org. Sweetheart Auction Annual fundraiser for the Cancer Foundation of New Mexico; catered dinner; open wine bar; silent auction, live auction, and vacation raffle, 5-9 p.m. Saturday, Feb. 9, Santa Fe Community Convention Center, 201 W. Marcy St., $45, 955-7931, cancerinstitutefoundation.org. Annie Leibovitz: Pilgrimage Lecture and discussion benefiting the Georgia O’Keeffe Museum, 6 p.m. Tuesday, Feb. 12, Lensic Performing Arts Center, 211 W. San Francisco St., $35-$75, discounts available, ticketssantafe.org, 988-1234. KSFR Radio benefit Is Democracy Over?, talk by Marty Kaplan, reception with wine and hors d’oeuvres 5:30 p.m. Saturday, Feb. 16, talk 6:30 p.m. followed by a discussion with Kaplan and Craig Barnes, Museum Hill Café, 710 Camino Lejo, Plaza, $75 in advance, 428-1527 or ksfr.org. SITE Santa Fe exhibit openings Friday, Feb. 22: 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, Friday, Feb, 22; Mungo Thomson: Time, People, Money, Crickets, multimedia; reception 5-7 p.m., 1606 Paseo de Peralta, 989-1199.
‘Some Kind of Love Story’ and ‘Elegy for a Lady’ Teatro Paraguas presents Arthur Miller’s two one-acts, 8 p.m. Friday, 7 p.m. Saturday, 2 and 6 p.m. Sunday, Jan. 25-27, 3205 Calle Marie, $12; discounts available; matinee pay-what-you-wish, 424-1601. ‘Benchwarmers 12’ Annual showcase of New Mexico talent presented by Santa Fe Playhouse; eight fully staged playlets running Feb. 7 through March 3; 142 E. De Vargas St., $10-$25, 988-4262, santafeplayhouse.org. ‘Beauty of the Father’ Theaterwork presents Nilo Cruz’s play, 7:30 p.m. Friday and Saturday, 2 p.m. Sunday, Feb. 8-17, 333 Montezuma Ave., $15, teens $10, 471-1799. ‘Coal: The Musical’ Littleglobe presents a staged reading of its work-in-progress on environmental issues, 7 p.m., Friday, Feb. 8, Lensic Performing Arts Center, 211 W. San Francisco St., $10, student discounts available, 988-1234, ticketssantafe.org. ‘The Warriors: A Love Story’ ARCOS Dance presents its multi-media performance, 7:30 p.m. Friday and Saturday, 2 p.m. Sunday, Feb. 8-17, Center for Contemporary Arts, 1050 Old Pecos Trail, $20 in advance, student discounts available, 473-7434 or firstname.lastname@example.org, visit arcosdance.com for information.
indie folk-rock band paper Bird on stage tuesday, Feb. 19, at santa Fe sol stage & grill.
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▶ Elsewhere chama
40th Annual Chama Chile Ski Classic and Winter Fiesta Cross-country skiing, snowshoeing, and combined races, frisbee golf, ski clinics, chile contest/sampler, live music, beer tasting, and costume contest, Saturday-Monday, Jan. 19-21; chamaski.com, 575-756-2294.
Bond House Museum 706 Bond St., 505-747-8535. De la Tierra y Cerca de la Tierra, groups show, reception and book signings (The Anasazi Project by Don Kirby and Joan Gentry and Española by Camilla Trujillo) 5-7 p.m. Friday, Jan. 18, through March 22. Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). Open noon-4 p.m. Monday-Friday, no charge.
los alamos Events/Performances
‘Frost/Nixon’ Los Alamos Little Theatre presents Peter Morgan’s portrayal of the postWatergate interviews between David Frost and Richard Nixon, 7:30 p.m. Friday and Saturday, Jan. 18-19, Performing Arts Center, 1670 Nectar St., $12, discounts available, 662-5493. Authors Speak The series continues with Santa Fe Poet Laureate Jon Davis reading from his collections, 7 p.m. Thursday, Jan. 24, Upstairs Rotunda, Mesa Public Library, 2400 Central Ave., 662-8247, no charge.
taos Museums/Art Spaces
Harwood Museum of Art 238 Ledoux St., 575-758-9826. Maye Torres: Unbound, drawings, sculpture, and ceramics • Three exhibits in collaboration with ISEA2012 Albuquerque: Machine Wilderness — Curiosity: From the Faraway Nearby • Falling Without Fear • Charles Luna. All exhibits through Jan. 27. 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. La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. Cultural Threads: Nellie Dunton and the Colcha Revival in New Mexico, through Jan. 30. Open 10 a.m.5 p.m. Monday-Saturday, noon-4 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge; Taos County residents with ID no charge on Sunday.
The Met at Taos Center for the Arts The simulcast series from the Metropolitan Opera continues with Donizetti’s Maria Stuarda, 10:55 a.m. Saturday, Jan. 19, Taos Community Auditorium, 145 Paseo del Pueblo Norte, $22, 18 and under $10, 575-758-2052.
▶ people who need people Artists/Craftspeople/Photographers
After Dark II National juried art show about all things nocturnal hosted by Greg Moon Art of Taos July 6-27; midnight Monday, April 15, deadline; visit callforentry.org for details.
Call for photographers Submissions sought for Center’s Choice Awards and Review Santa Fe by Wednesday, Jan. 23; details available online at visitcenter.org; 984-8353. Fan Association of North America grants Offered to organizations, entities, or individuals that have projects regarding education, research, publication, and exhibition or conservation related to hand-held fans; grant requests from $100-$3,000 considered; submission deadline Friday, Feb. 1; visit fanassociation.org for details. Rodeo de Santa Fe poster contest Open to Santa Fe artists and photographers; adult and child categories; deadline Thursday, Jan. 31; call 920-8444 for complete rules, size regulations, prize packages, and submission instructions. Santa Fe Society of Artists spring jury selection Download membership applications at santafesocietyofartists.com; call 455-3496 for more information. Second Annual Temple Beth Shalom Jewish Arts Festival Judaic art sought for festival held May 4-5; application due date Friday, Feb. 15; guidelines and details available online at tbsartfest.org; for more information email email@example.com.
2012 PEN Literary Awards Send in submissions or nominate someone to be considered in the fields of fiction, science writing, essays, sports writing, biography, children’s literature, translation, drama, or poetry; deadline Friday, Feb. 1; visit pen.org or write to firstname.lastname@example.org for more information. 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; rules and guidelines available online at santafeindependentfilmfestival.com. Santa Fe Playhouse 92nd season Accepting play proposals of all genres for the fall 2013-summer 2014 season from artists who would like to direct; call 988-4262 or email email@example.com for proposal packets by Sunday, March 31.
Bienvenidos Help out by manning the tourist information window on the Plaza for the volunteer division of the Santa Fe Chamber of Commerce; call membership chairwoman, Marilyn O’Brien, 989-7901. Kitchen Angels Cooking and driving shifts open; some as short as two hours, once a week; call 471-7780 or visit kitchenangels.org to learn more.
▶ Under 21 Rock/punk show Exalt, BeyondFused, HN-88, and Choking on Air, 7 p.m. Friday, Jan. 18, Warehouse 21, 1614 Paseo de Peralta, $5 at the door, 989-4423. St. John’s College Community Seminars Free to 11th-12th-grade students. Icelandic Sagas and Tales, 6:30-8 p.m. Tuesdays through Feb. 19; Rabelais’ Gargantua and Pantagruel, 5-6:30 p.m. Wednesdays, Jan. 30-March 6, 1160 Camino de Cruz Blanca, call 984-6117 to register. ◀
21! Well played ... Mr. Bond. There are very few places in Santa Fe where one can go to enjoy ska, metal, punk, and pop punk on one stage on the same night. Actually, there’s only one place where that happens. Warehouse 21 (1614 Paseo de Peralta, 989-4423) — you know the joint, but you probably don’t go there because there’s no beer — consistently supports a particular section of the local music scene that other venue owners and entertainment bookers deem too Exalt, stage left off the radar to draw a decent crowd. Perhaps bar and club owners will change their minds when the Santa Fe Music Alliance gets involved with the teen center and starts paying more attention to the all-ages scene and younger musicians who encapsulate a broader range of styles. Such a partnership is, according to W21 insiders, very probable in the months ahead. In the meantime, should you be aching to get your punk and metal on and want to spend part of your weekend supporting musicians instead of a tequila company, come out and hear the young bands on the W21 stage at 7 p.m. Friday, Jan. 18. (The show wraps up at 10 p.m., so there’s still plenty of time to hit the bars.) Local pop-punk/alt-rock outfit HN-88, short for “Hating Nate since 1988” (Nate King is the band’s bassist-vocalist), is a mainstay of the teen center, although the group does perform elsewhere. Formed in 2006, HN-88 has toured portions of the U.S. and performed as part of the Vans Warped Tour in Las Cruces in June 2012. Two of the band’s albums are available on iTunes, and the newest release, Stop Counting the Seconds, is available from the band’s label, Medical Records (www.medical-recordings.net/releases.html). Check out a few songs at www.hn-88.com. Formed in 2010 during an elective rock-school class at the Academy for Technology and the Classics, experimental-metal act Exalt played its first gig in 2011 at the now-defunct Little Wing performance space at The Candyman Strings & Things. (The Candyman still produces a stellar music-education program). These folks are young (ranging from 14 to 17) but dedicated. Vocalist Anthony Lambson, guitarists Randall Pietrocci and Chris Martinez, drummer Rami Malin, and bassist Emiliano Trujillo churn out some seriously hypnotic, fuzzed-out tuneage with hints of Black Sabbath, Australian band Silverchair, and the sneering, screaming angst of groups like Mindless Self Indulgence and Slipknot. It’s a metal stew, and it’s hella tasty. Check out the Exalt track “Wounds” over at www.reverbnation.com/exaltsantafe. The seven-member Santa Fe ska ensemble BeyondFused congealed (that’s beyondfusion-ish, yes?) in February 2012 and recently released its debut EP, titled Download Pending. After a brief hiatus the band is back performing live and recording new material. You can watch band videos on the BeyondFused Facebook page and stream the EP at www. soundcloud.com/beyondfused/sets/download-pending. Last but not least, local band Choking on Air have been at it since around 2010 but have yet to release any music or share it with fans online. Although the band describes itself on its Facebook page as an alt-metal/hardcore-punk group, no hardcore punk bands are listed among its influences. Instead, acts such as Korn, The Misfits (early horror punk is not hardcore punk, fellas), and Green Day are mentioned, which means you can most likely look forward to something more along the lines of contemporary, Britrock-influenced posthardcore with a slight pop edge (think Falling in Reverse or These Arms Are Snakes). There’s a $5 cover at the door for this all-ages show. No drugs, no booze, no violence — no kidding. — Rob DeWalt firstname.lastname@example.org Twitter: @PasaTweet @Flashpan
A weekly column devoted to music, performances, and aural diversions. Tips on upcoming events are welcome.
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